Why it is (almost) impossible to teach creativity

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Relishing the independence of the mind is the basis for naturally imaginative activity.

Robert Nelson, Monash University

Industry and educators are agreed: the world needs creativity. There is interest in the field, lots of urging but remarkably little action. Everyone is a bit scared of what to do next. On the question of creativity and imagination, they are mostly uncreative and unimaginative.

Some of the paralysis arises because you can’t easily define creativity. It resists the measurement and strategies that we’re familiar with. Indisposed by the simultaneous vagueness and sublimity of creative processes, educators seek artificial ways to channel imaginative activity into templates that end up compromising the very creativity they celebrate.

For example, creativity is often reduced to problem-solving. To be sure, you need imagination to solve many curly problems and creativity is arguably part of what it takes. But problem-solving is far from the whole of creativity; and if you focus creative thinking uniquely on problems and solutions, you encourage a mechanistic view – all about scoping and then pinpointing the best fit among options.

It might be satisfying to create models for such analytical processes but they distort the natural, wayward flux of imaginative thinking. Often, it is not about solving a problem but seeing a problem that no one else has identified. Often, the point of departure is a personal wish for something to be true or worth arguing or capable of making a poetic splash, whereupon the mind goes into imaginative overdrive to develop a robust theory that has never been proposed before.

For teaching purposes, problems are an anxious place to cultivate creativity. If you think of anyone coming up with an idea — a new song, a witty way of denouncing a politician, a dance step, a joke — it isn’t necessarily about a problem but rather a blissful opportunity for the mind to exercise its autonomy, that magical power to concatenate images freely and to see within them a bristling expression of something intelligent.

New ideas are more about a blissful opportunity for the mind to exercise autonomy.

That’s the motive behind what scholars now call “Big C Creativity”: i.e. your Bach or Darwin or Freud who comes up with a major original contribution to culture or science. But the same is true of everyday “small C creativity” that isn’t specifically problem-based.

Read more:
Creativity is a human quality that exists in every single one of us

Relishing the independence of the mind is the basis for naturally imaginative activity, like humour, repartee, a gestural impulse or theatrical intuition, a satire that extrapolates someone’s behaviour or produces a poignant character insight.

A dull taming

Our way of democratising creativity is not to see it in inherently imaginative spontaneity but to identify it with instrumental strategising. We tame creativity by making it dull. Our way of honing the faculty is by making it goal-oriented and compliant to a purpose that can be managed and assessed.

Alas, when we make creativity artificially responsible to a goal, we collapse it with prudent decision-making, whereupon it no longer transcends familiar frameworks toward an unknown fertility.

We pin creativity to logical intelligence as opposed to fantasy, that somewhat messy generation of figments out of whose chaos the mind can see a brilliant rhyme, a metaphor, a hilarious skip or roll of the shoulders, an outrageous pun, a thought about why peacocks have such a long tail, a reason why bread goes stale or an astonishing pattern in numbers arising from a formula.

We pin creativity to logical intelligence as opposed to fantasy.

Because creativity, in essence, is somewhat irresponsible, it isn’t easy to locate in a syllabus and impossible to teach in a culture of learning outcomes. Learning outcomes are statements of what the student will gain from the subject or unit that you’re teaching. Internationally and across the tertiary system, they take the form of: “On successful completion of this subject, you will be able to …” Everything that is taught should then support the outcomes and all assessment should allow the students to demonstrate that they have met them.

After a lengthy historical study, I have concluded that our contemporary education systematically trashes creativity and unwittingly punishes students for exercising their imagination. The structural basis for this passive hostility to the imagination is the grid of learning outcomes in alignment with delivery and assessment.

It might always be impossible to teach creativity but the least we can do for our students is make education a safe place for imagination. Our academies are a long way from that haven and I see little encouraging in the apologias for creativity that the literature now spawns.

My contention is that learning outcomes are only good for uncreative study. For education to cultivate creativity and imagination, we need to stop asking students anxiously to follow demonstrable proofs of learning for which imagination is a liability.
The Conversation

Robert Nelson, Associate Director Student Experience, Monash University

This article is republished from The Conversation under a Creative Commons license. Read the original article.


Creativity Explained


Last week I reblogged an article about some new research into what makes us creative. This week I’m sharing a video from one of my favourite YouTube channels, which essentially covers the same work. But this one is a video!

Since this is going to be a three part series, I’ll update this post as the other videos are released.

Part 2:

Further reading:

Kidd, C., & Hayden, B. Y. (2015). The psychology and neuroscience of curiosity. Neuron, 88(3), 449-460.

De Pisapia, N., Bacci, F., Parrott, D., & Melcher, D. (2016). Brain networks for visual creativity: a functional connectivity study of planning a visual artwork. Scientific reports, 6.

The Real Neuroscience of Creativity – Scientific American.

Eagleman, D., & Brandt, A. (2017). The Runaway Species: How human creativity remakes the world.

Catapult. Durante, D., & Dunson, D. B. (2018). Bayesian inference and testing of group differences in brain networks. Bayesian Analysis, 13(1), 29-58.

Li, W., Yang, J., Zhang, Q., Li, G., & Qiu, J. (2016). The Association between Resting Functional Connectivity and Visual Creativity. Scientific reports, 6.

Bendetowicz, D., Urbanski, M., Aichelburg, C., Levy, R., & Volle, E. (2017). Brain morphometry predicts individual creative potential and the ability to combine remote ideas. Cortex, 86, 216-229.

New study reveals why some people are more creative than others

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The question has long eluded researchers. agsandrew/Shutterstock.com

Roger Beaty, Harvard University

Creativity is often defined as the ability to come up with new and useful ideas. Like intelligence, it can be considered a trait that everyone – not just creative “geniuses” like Picasso and Steve Jobs – possesses in some capacity.

It’s not just your ability to draw a picture or design a product. We all need to think creatively in our daily lives, whether it’s figuring out how to make dinner using leftovers or fashioning a Halloween costume out of clothes in your closet. Creative tasks range from what researchers call “little-c” creativity – making a website, crafting a birthday present or coming up with a funny joke – to “Big-C” creativity: writing a speech, composing a poem or designing a scientific experiment.

Psychology and neuroscience researchers have started to identify thinking processes and brain regions involved with creativity. Recent evidence suggests that creativity involves a complex interplay between spontaneous and controlled thinking – the ability to both spontaneously brainstorm ideas and deliberately evaluate them to determine whether they’ll actually work.

Despite this progress, the answer to one question has remained particularly elusive: What makes some people more creative than others?

In a new study, my colleagues and I examined whether a person’s creative thinking ability can be explained, in part, by a connection between three brain networks.

Mapping the brain during creative thinking

In the study, we had 163 participants complete a classic test of “divergent thinking” called the alternate uses task, which asks people to think of new and unusual uses for objects. As they completed the test, they underwent fMRI scans, which measures blood flow to parts of the brain.

The task assesses people’s ability to diverge from the common uses of an object. For example, in the study, we showed participants different objects on a screen, such as a gum wrapper or a sock, and asked to come up with creative ways to use them. Some ideas were more creative than others. For the sock, one participant suggested using it to warm your feet – the common use for a sock – while another participant suggested using it as a water filtration system.

Importantly, we found that people who did better on this task also tended to report having more creative hobbies and achievements, which is consistent with previous studies showing that the task measures general creative thinking ability.

After participants completed these creative thinking tasks in the fMRI, we measured functional connectivity between all brain regions – how much activity in one region correlated with activity in another region.

We also ranked their ideas for originality: Common uses received lower scores (using a sock to warm your feet), while uncommon uses received higher scores (using a sock as a water filtration system).

Then we correlated each person’s creativity score with all possible brain connections (approximately 35,000), and removed connections that, according to our analysis, didn’t correlate with creativity scores. The remaining connections constituted a “high-creative” network, a set of connections highly relevant to generating original ideas.

Two renderings show the lobes of the brain that are connected in the high creative network.
Author provided

Having defined the network, we wanted to see if someone with stronger connections in this high-creative network would score well on the tasks. So we measured the strength of a person’s connections in this network, and then used predictive modeling to test whether we could estimate a person’s creativity score.

The models revealed a significant correlation between the predicted and observed creativity scores. In other words, we could estimate how creative a person’s ideas would be based on the strength of their connections in this network.

We further tested whether we could predict creative thinking ability in three new samples of participants whose brain data were not used in building the network model. Across all samples, we found that we could predict – albeit modestly – a person’s creative ability based on the strength of their connections in this same network.

Overall, people with stronger connections came up with better ideas.

What’s happening in a ‘high-creative’ network

We found that the brain regions within the “high-creative” network belonged to three specific brain systems: the default, salience and executive networks.

The default network is a set of brain regions that activate when people are engaged in spontaneous thinking, such as mind-wandering, daydreaming and imagining. This network may play a key role in idea generation or brainstorming – thinking of several possible solutions to a problem.

The executive control network is a set of regions that activate when people need to focus or control their thought processes. This network may play a key role in idea evaluation or determining whether brainstormed ideas will actually work and modifying them to fit the creative goal.

The salience network is a set of regions that acts as a switching mechanism between the default and executive networks. This network may play a key role in alternating between idea generation and idea evaluation.

An interesting feature of these three networks is that they typically don’t get activated at the same time. For example, when the executive network is activated, the default network is usually deactivated. Our results suggest that creative people are better able to co-activate brain networks that usually work separately.

Our findings indicate that the creative brain is “wired” differently and that creative people are better able to engage brain systems that don’t typically work together. Interestingly, the results are consistent with recent fMRI studies of professional artists, including jazz musicians improvising melodies, poets writing new lines of poetry and visual artists sketching ideas for a book cover.

Future research is needed to determine whether these networks are malleable or relatively fixed. For example, does taking drawing classes lead to greater connectivity within these brain networks? Is it possible to boost general creative thinking ability by modifying network connections?

The ConversationFor now, these questions remain unanswered. As researchers, we just need to engage our own creative networks to figure out how to answer them.

Roger Beaty, Postdoctoral Fellow in Cognitive Neuroscience, Harvard University

This article was originally published on The Conversation. Read the original article.

How to be creative

Couple of interesting videos I thought I’d share. The first is a recent video that refers to some fascinating research that looked at musical creativity with fMRI scans.

The second video is from the indomitable John Cleese.

Creativity is not an easy thing to achieve. I hope these two videos give others a few pointers.

Update: Another great video from Brain Craft on creativity to add to the list.

John Cleese on Creativity

Like everyone else with a pulse, I’m a Monty Python fan. Whether it be a killer white rabbit or a very naughty boy, there is nothing quite like the laughs that a Python sketch can illicit. I recently found this lecture that John Cleese gave on creativity. It is quite interesting the ground he covers and the conditions that are needed to be cultivated in order to be creative. Hope everyone gets as much out of this as I did.