Successful problem-solving and enhanced creative ability may improve physical health, cognitive well-being, and overall independence of older adults. In general, older adults who are more creative, may be better able to cope with cognitive decline and navigate everyday tasks. While previous research on creative performance in older adulthood showed age-related stability, open questions remain regarding the specific underlying cognitive basis for this invariability across the lifespan. Mediation analyses showed that intelligence measures served as underlying cognitive mechanisms for the stability of creative thinking in older age. The broader implications of these findings provide insight into the complex relationships supporting age-related preservation in creativity.

Music is often considered an important domain for creativity. Traditional studies of musical creativity have examined musical improvisation using jazz as a model. While this approach has yielded many valuable insights about creativity's cognitive and neural mechanisms, it has limited the study sample to those with the means to engage in improvisation within one specific Western style. Here we introduce a novel tool for assessing musical creativity in the broader sample of individuals with no specialized training. In two experiments (n = 165) we show that this sequencer can be used in people with minimal training to generate a database of sequences composed in the Bohlen-Pierce scale, and to evaluate them for creativity. Results show that creativity ratings are predicted by length of melodies, number of distinct pitches used, and information content of pitch intervals. Results also show some external validity with existing creativity tasks. We advocate the use of this sequencer in creativity research, as it provides a theoretically motivated, rigorous tool to examine the iterative process of producing and evaluating musical creativity.

How do we assess the quality of an idea? Current theories suggest that episodic memory contributes to creative ideation, implicating memory retrieval and mental simulation in the generation of creative ideas; however, the role of memory in creative evaluation has not been systematically examined. Across two independent online samples (Study 1 n=50, Study 2 n=626), we explore how episodic retrieval supports the evaluation of two distinct aspects of creativity: novelty and effectiveness. In both studies, participants were presented with a series of creative ideas-responses on the alternate uses task-and were asked to independently rate them for novelty/effectiveness. Following each rating, participants were prompted to reflect on their process and type a brief description about how they made their evaluation. We apply computational linguistic analysis to quantify the prevalence of episodic/perceptual details (sights, sounds, etc.) in each evaluation, along with past-focused and future-focused words. Consistent with prior work, we observe a negative correlation (=-.39) between novelty and effectiveness ratings. Ordinal logistic regression models indicate that perceptual detail and temporal orientation of evaluations are predictive of novelty and effectiveness ratings. We show that people refer more to the past when evaluating familiar, effective ideas; conversely, people refer more to the future when evaluating highly novel, less effective ideas. Overall, these results are consistent with the hypothesis that episodic retrieval supports the evaluation of creative ideas.

Individual differences in executive functions (or executive control abilities) predict variation in creative thinking ability. Relatedly, propensity for mind-wandering-or task unrelated thought-has been gaining attention among creativity scholars, but its effects on creativity remain unclear. The present study conceptually replicates and extends recent laboratory and experience-sampling work to assess the links between individual differences in divergent thinking, executive control abilities (working memory capacity and attention control), and measures of mind-wandering collected in both contexts. SEM analyses indicated that executive control factors weakly predicted divergent thinking scores, mainly due to their role in filtering out uncreative ideas rather than generating highly novel ones. Lab-based measures of mind-wandering didn't significantly correlate with overall creative thinking, challenging the idea that mind-wandering uniformly enhances creativity, but they were positively linked to highly creative divergent thinking scores. Daily-life measures of mind-wandering, meanwhile, did not provide stronger predictive insights into creative thinking than lab measures. Finally, exploratory analyses found that divergent thinking scores based on highly creative responses were positively associated with episodes of more fantastical, unrealistic mind-wandering, or "daydreaming." We end our investigation with a call for greater theoretical precision and some hypotheses to guide future work. [Data, scripts, and preprint: https://osf.io/at5gx/].

In the present study, 258 doctoral students working in the health, biological, and social sciences were asked to solve a series of field-relevant problems calling for creative thought. Proposed solutions to these problems were scored with respect to critical creative thinking skills such as problem definition, conceptual combination, and idea generation. Results indicated that health, biological, and social scientists differed with respect to their skill in executing various operations, or processes, involved in creative thought. Interestingly, no differences were observed as a function of the students' level of experience. The implications of these findings for understanding cross-field, and cross-experience level, differences in creative thought are discussed.

Students of creativity have long been interested in the relationship between creativity and deviant behaviors such as criminality, mental disease, and unethical behavior. In the present study we wished to examine the relationship between creative thinking skills and ethical decision-making among scientists. Accordingly, 258 doctoral students in the health, biological, and social sciences were asked to complete a measure of creative processing skills (e.g., problem definition, conceptual combination, idea generation) and a measure of ethical decision-making examining four domains, data management, study conduct, professional practices, and business practices. It was found that ethical decision-making in all four of these areas was related to creative problem-solving processes with late cycle processes (e.g., idea generation and solution monitoring) proving particularly important. The implications of these findings for understanding the relationship between creative and deviant thought are discussed.

Divergent thinking is the ability to produce a range of responses or solutions and is an element of creative processing. Divergent thinking requires disengagement, the ability to associate between words or ideas, and the production of responses. Lesion and imaging studies have shown frontal-lobe involvement for these activities, and frontal lobe function is highly dependent on white matter pathways. Normal aging often results in deficits in functions controlled by the frontal lobes as well as decrements in white matter connectivity. The objectives of this study were to compare non time-constrained tasks of verbal divergent processing in young adults (YAs) and older adults (OAs) and correlate performance with tasks of working memory, language ability, and disengagement/inhibition. Participants were 30 YAs and 30 OAs. Contrary to the a priori hypothesis, OAs produced significantly more unique responses than YAs, although total fluency was not significantly different. Correlational analyses examining the groups together and separately revealed a number of differences suggesting that the groups were utilizing different underlying cognitive abilities to complete these tasks. The authors propose that the primary factor resulting in higher uniqueness scores for the OAs was a greater wealth of experience as well as longer exposure to language use.

The presence of a childhood imaginary companion (IC) has been proposed to reflect heightened imaginative abilities. This study hypothesized that adults who reported having a childhood IC would score higher on a task requiring the imaginative construction of visual scenes. Additionally, it was proposed that individuals who produced more vivid and detailed scenes would also report richer autobiographical memories, due to a shared reliance on imaginative abilities in construction and recollection. Sixty participants (20 with an IC), completed an adapted scene construction procedure and an autobiographical memory questionnaire. Participants reporting a childhood IC scored significantly higher on scene construction and rated themselves as more imaginative. Scene construction scores were also moderately related to the richness of autobiographical memories, although this was almost entirely due to scores on the thought/emotion/action component of scene construction. Autobiographical memory was unrelated to the presence of an IC. Implications for overlapping and dissociable aspects of imagination and memory are discussed.

Previous research indicates that episodic retrieval contributes to divergent creative thinking. However, this research has relied on standard laboratory tests of divergent creative thinking, such as generating creative uses for objects; it is unknown whether episodic retrieval also contributes to domain-specific forms of creativity. Here we start to explore whether episodic retrieval contributes to content generation on one such domain-specific task: creative writing. In two experiments, we use an episodic specificity induction (ESI) that selectively impacts tasks that draw on episodic retrieval. If episodic retrieval contributes to content generation during creative writing, then ESI should selectively increase the number of episodic details that people subsequently generate on a creative writing task. In our first experiment, we found evidence that ESI increased the number of episodic details participants generated. We observed a similar, though non-significant, trend in the second experiment. These findings constitute a starting point for examining the contribution of episodic retrieval to creative writing, but additional studies will be needed to more definitively characterize the nature and extent of these contributions.

Studies suggest that internally oriented cognitive processes are central to creativity. Here, we distinguish between intentional and unintentional forms of mind wandering and explore their behavioral and neural correlates. We used a sample of 155 healthy adults from the mind-brain-body dataset, all of whom completed resting-state fMRI scans and trait-level measures of mind wandering. We analyzed intentional and unintentional mind wandering tendencies using self-report measures. Next, we explored the relationship between mind wandering tendencies and creativity, as measured by a divergent thinking task. Finally, we describe patterns of resting-state network connectivity associated with mind wandering, using graph theory analysis. At the behavioral level, results showed a significant positive association between creativity and both intentional and unintentional mind wandering. Neuroimaging analysis revealed higher weighted degree connectivity associated with both forms of mind wandering, implicating core regions of the default network and the left temporal pole. We observed topological connectivity differences within the default network: intentional mind wandering was associated with degree connectivity in posterior regions, whereas unintentional mind wandering showed greater involvement of prefrontal areas. Overall, the findings highlight patterns of resting-state network connectivity associated with intentional and unintentional mind wandering, and provide novel evidence of a link between mind wandering and creativity.

In this invited paper, my aim is to introduce the reader to my body of work by outlining where I think empirical aesthetics, and specifically the study of art, is moving or should be moving toward. I will introduce two main foci of my work: 1) studying art/aesthetics outside of the laboratory and in their "natural habitat," i.e. doing ecologically valid studies (most commonly in the museum), and 2) methodological aspects of studying art/aesthetic experience in a broad sense: including theory, measurement, and analysis. As future directions, I see a shift toward investigating potential outcomes, as well as ensuring a stronger connection between theory and methodology by incorporating interdisciplinary approaches as well as using more advanced statistical modeling. My aim is to show not just what I have done in the past, but also how this shaped the work that I am currently doing as well as the direction that I see my work developing in and that I believe should be pursued, not just by me but by many others. I chose this format in order to be able to show how I think my work contributes to these developments and can, hopefully, also keep contributing in the future.

To solve a new problem, people spontaneously engage multiple cognitive processes. Previous work has identified a diverse set of oscillatory components critical at different stages of creative problem solving. In this project, we use hidden state modeling to untangle the roles of oscillation processes over time as people solve puzzles. Building on earlier work, we further developed analytical methods, such as incorporating source separating techniques and identifying the optimal number of states using cross-validation. We extracted brain states characterized by spatio-spectral topographies from time-resolved EEG spectral powers. The data driven approach allowed us to infer the dynamic, trial-by-trial, state sequences, and provided a comprehensive depiction of how various oscillation components interact recurrently throughout the trial. The properties of the states suggest their dissociable cognitive functions. For example, we identified three states with dominant activation in alpha bands but having distinct spatial distributions. People were differentially engaged in these states depending on the stages (e.g., onset or response) and outcomes of the trials (solved with insight or analysis). The current approach, applicable to many tasks requiring extended trial duration, can potentially reconcile findings from previous EEG studies and drive new hypotheses to further our understanding of the complex creative process.

Despite an established body of research characterizing how creative individuals explore their world, relatively little is known about how such individuals navigate their , especially in unstructured contexts such as periods of awake rest. Across two studies, the present manuscript tested the hypothesis that creative individuals are more engaged with their idle thoughts and more associative in the dynamic transitions between them. Study 1 captured the real-time conscious experiences of 81 adults as they voiced aloud the content of their mind moment-by-moment across a 10-minute unconstrained baseline period. Higher originality scores on a divergent thinking task were associated with less perceived boredom, more words spoken overall, more freely moving thoughts, and more loosely-associative (as opposed to sharp) transitions during the baseline rest period. In Study 2, across 2,612 participants, those who reported higher self-rated creativity also reported less perceived boredom during the COVID-19 pandemic, a time during which many people experienced unusually extended periods of unstructured free time. Overall, these results suggest a tendency for creative individuals to be more engaged and explorative with their thoughts when task demands are relaxed, raising implications for resting state functional MRI and societal trends to devalue idle time.

There is growing evidence for the impact of arts engagement on later life cognition. However, confounding by socioeconomic factors may have led to an overestimation of this association. We analyzed data from 4,344 older adults in the Wisconsin Longitudinal Study. We measured participatory (e.g. painting, making music, crafts) and receptive (e.g. concert, play, museum) arts engagement separately. Participants completed six neurocognitive tests measuring two distinct domains of cognitive function (episodic/working memory and executive function/language) concurrently and seven years later. We used inverse probability of treatment weighting (IPTW) to remove confounding by a range of demographic and socioeconomic factors. Engaging in participatory or receptive arts for up to one hour per week (but not more frequently) was associated with better subsequent executive function/language. Similarly, engaging in receptive arts activities for up to three hours per week (but not more frequently) was associated with better subsequent episodic/working memory. These effects were of similar sizes to doing vigorous physical activity for up to one hour per week. However, our findings also highlight key methodological issues when exploring the relationship between arts engagement and cognition that should be considered in future studies, including measurement bias, life-course stage, length of follow-up, variation in outcomes, attrition, and missing data.

Maintaining healthy cognitive functioning and delaying cognitive decline in cognitively intact and cognitive impaired adults are major research initiatives for addressing dementia disease burden. Music interventions are promising, non-pharmaceutical treatment options for preserving cognitive function and psychological health in older adults with varying levels of cognitive function. While passive, music interventions have attracted considerable attention in the abnormal cognitive aging literature, active, music interventions such as music creativity are less well-studied. Among 58 older adults with different levels of cognitive function (cognitively healthy to mild cognitive impairment), we examined the feasibility and acceptability of , a Stage 1 clinical trial developed to assess the effects of a novel, music creativity curriculum on various health outcomes. Music intervention participation (93%), overall study retention (78%), and intervention satisfaction (100%) rates were comparable to other similarly designed clinical trials. Exploratory analyses using mixed-level modeling tested the efficacy of the intervention on cognitive and psychological outcomes. Compared to those in the control condition, participants in the music condition showed some improvements in cognitive functioning and socioemotional well-being. Findings suggest that a 6-week music creativity clinical trial with several multi-modal health assessments can be feasibly implemented within a sample of varying cognitive ability.

Episodic retrieval plays a functional-adaptive role in supporting divergent creative thinking, the ability to creatively combine different pieces of information. However, the same constructive memory process that provides this benefit can also lead to memory errors. Prior behavioral work has shown that there is a positive correlation between the false recognition of lure items in the Deese-Roediger-McDermott (DRM) paradigm, and divergent creative thinking as assessed on the alternate uses task (AUT). Here, we conducted a meta-analysis of functional magnetic resonance imaging studies to test for convergence in the neural substrates associated with these cognitive linkages. Our individual meta-analyses of false recognition-related activity as well as divergent thinking-related neural activity replicated prior meta-analyses. However, there was no significant statistical overlap across the neural regions associated with false recognition and divergent creative thinking. These null findings may reflect the operation of distinct generative retrieval processes engaged during divergent thinking relative to false recognition.