The Link Between Creativity, Cognition, and Creative Drives and Underlying Neural Mechanisms

Though only a decade has elapsed since the default network (DN) was first defined as a large-scale brain system, recent years have brought great insight into the network's adaptive functions. A growing theme highlights the DN as playing a key role in internally directed or self-generated thought. Here, we synthesize recent findings from cognitive science, neuroscience, and clinical psychology to focus attention on two emerging topics as current and future directions surrounding the DN. First, we present evidence that self-generated thought is a multifaceted construct whose component processes are supported by different subsystems within the network. Second, we highlight the dynamic nature of the DN, emphasizing its interaction with executive control systems when regulating aspects of internal thought. We conclude by discussing clinical implications of disruptions to the integrity of the network, and consider disorders when thought content becomes polarized or network interactions become disrupted or imbalanced. © 2014 New York Academy of Sciences.

This meta-analysis synthesized 102 effect sizes reflecting the relation between specific moods and creativity. Effect sizes overall revealed that positive moods produce more creativity than mood-neutral controls (r= .15), but no significant differences between negative moods and mood-neutral controls (r= -.03) or between positive and negative moods (r= .04) were observed. Creativity is enhanced most by positive mood states that are activating and associated with an approach motivation and promotion focus (e.g., happiness), rather than those that are deactivating and associated with an avoidance motivation and prevention focus (e.g., relaxed). Negative, deactivating moods with an approach motivation and a promotion focus (e.g., sadness) were not associated with creativity, but negative, activating moods with an avoidance motivation and a prevention focus (fear, anxiety) were associated with lower creativity, especially when assessed as cognitive flexibility. With a few exceptions, these results generalized across experimental and correlational designs, populations (students vs. general adult population), and facet of creativity (e.g., fluency, flexibility, originality, eureka/insight). The authors discuss theoretical implications and highlight avenues for future research on specific moods, creativity, and their relationships.