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Results remain mixed regarding the effects of incubation tasks on divergent thinking, a type of creativity, generally assessed via the Unusual Uses Task (UUT). Using a within-subjects design, we compared 64 participants' performance on the UUT, after four different incubation tasks: copy a simple painting, copy a complex painting, 0-back-task, and rest. We hypothesized that an arts-related activity during incubation (here: copy a painting) would boost subsequent creativity. Five different creativity scores were computed from the raw UUT data, and we provide a step-by-step guide for how to compute these: fluency, flexibility, originality, subjective creativity, and usefulness. Creativity was only modulated by sex; women outperformed men on creative fluency. No other variables, nor the incubations, modulated any of participants' creativity scores. A within-group comparison showed that the unusual uses of our all-Iranian participants were more useful than unique, echoing previous work suggesting differences between Eastern and Western conceptions of creativity. [ABSTRACT FROM AUTHOR]

Dance has entered mainstream empirical research: dance as an experimental stimulus, and dancers as movement experts. Informed by several sources, including primary sources (original, historical documents, and oral reports, such as interviews with practitioners and academic scholars of Iranian dance genres) and secondary sources (research literature), we describe what we label "Iranian classical dance" within this paper as an important resource for empirical research, not only in humanities scholarship but also, and importantly, for empirical aesthetics, emotion psychology, cross‐cultural psychology, and affective neuroscience. For this purpose, we (1) describe the aesthetics, characteristics, and history of Iranian classical dance; (2) outline issues of definition and systematization; and (3) give an overview of the cultural complexities and sociopolitical issues regarding Iranian classical dance in the past 40 years, which have shaped its current form. After the political revolution of 1979 (Iranian solar calendar year: 1358), dance in Iran—both as everyday practice and as a cultural heritage—was first forbidden, and now remains heavily restricted. International, interdisciplinary research teams can contribute to safeguarding Iranian classical dance in the future by firmly enshrining it into empirical research on human dance. We outline empirical research perspectives on Iranian classical dance, dataset resources, and expert communities. [ABSTRACT FROM AUTHOR]

Moral dilemmas are a useful tool to investigate empirically, which parameters of a given situation modulate participants' moral judgment, and in what way. In an effort to provide moral judgment data from a non-WEIRD culture, we provide the translation and validation of 48 classical moral dilemmas in Persian language. The translated dilemma set was submitted to a validation experiment with N = 82 Iranian participants. The four-factor structure of this dilemma set was confirmed; including Personal Force (Personal, Impersonal), Benefit Recipient (Self, Other), Evitability (Avoidable, Inevitable), and Intentionality (Accidental, Instrumental). When comparing moral judgments of Iranian participants to those of Spanish and Italian participants' from previous research with the same dilemma set, differences emerged. Iranian participants' moral judgments were more deontological (i.e., they refrained from harm), than Spanish and Italian participants. Religiosity made participants' moral judgments more deontological, and also dysphoric mood resulted in a more deontological response style. [ABSTRACT FROM AUTHOR]