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Current creativity research reveals a fundamental disagreement about the nature of creative thought, specifically, whether it is primarily based on automatic, associative (Type 1) or executive, controlled (Type 2) cognitive processes. We propose that Type 1 and Type 2 processes make differential contributions to creative production depending on domain expertise and situational factors such as task instructions. We tested this hypothesis with jazz pianists who were instructed to improvise to a novel chord sequence and rhythm accompaniment. Afterward, they were asked to perform again under instructions to be especially creative which, via goal activation, is thought to prompt the musicians to engage Type 2 processes. Jazz experts rated all performances. Overall, performances by more experienced pianists were rated as superior. Moreover, creativity instructions resulted in higher ratings. However, there was an interaction between instructions and expertise, revealing that explicit creativity instructions significantly improved improvisation ratings only for the less experienced musicians. We propose that activating or reconfiguring executive Type 2 processes facilitates creativity for less experienced musicians, but does not improve creative performance significantly for more experienced ones because the latter have largely automatized the processes responsible for high-level improvisation or because they have achieved a near-optimal balance between associative Type 1 and executive Type 2 processes. Thus, increasing controlled Type 2 processing is unlikely to help, and may sometimes even diminish, the creativity of experts' performances. [ABSTRACT FROM AUTHOR]

Motor-imagery tasks are a popular input method for controlling brain-computer interfaces (BCIs), partially due to their similarities to naturally produced motor signals. The use of functional near-infrared spectroscopy (fNIRS) in BCIs is still emerging and has shown potential as a supplement or replacement for electroencephalography. However, studies often use only two or three motor-imagery tasks, limiting the number of available commands. In this work, we present the results of the first four-class motor-imagery-based online fNIRS-BCI for robot control. Thirteen participants utilized upper- and lower-limb motor-imagery tasks (left hand, right hand, left foot, and right foot) that were mapped to four high-level commands (turn left, turn right, move forward, and move backward) to control the navigation of a simulated or real robot. A significant improvement in classification accuracy was found between the virtual-robot-based BCI (control of a virtual robot) and the physical-robot BCI (control of the DARwIn-OP humanoid robot). Differences were also found in the oxygenated hemoglobin activation patterns of the four tasks between the first and second BCI. These results corroborate previous findings that motor imagery can be improved with feedback and imply that a four-class motor-imagery-based fNIRS-BCI could be feasible with sufficient subject training. [ABSTRACT FROM AUTHOR]

The design of a digital musical instrument is often informed by the needs of the first performance or composition. Following the initial performances, the designer frequently confronts the question of how to build a larger community of performers and composers around the instrument. Later musicians are likely to approach the instrument on different terms than those involved in the design process, so design decisions that promote a successful first performance will not necessarily translate to broader uptake. This article addresses the process of bringing an existing instrument to a wider musical community, including how musician feedback can be used to refine the instrument's design without compromising its identity. As a case study, the article presents the magnetic resonator piano, an electronically augmented acoustic grand piano that uses electromagnets to induce vibrations in the strings. After initial compositions and performances using the instrument, feedback from composers and performers guided refinements to the design, laying the groundwork for a collaborative project in which six composers wrote pieces for the instrument. The pieces exhibited a striking diversity of style and technique, including instrumental techniques never considered by the designer. The project, which culminated in two concert performances, demonstrates how a new instrument can acquire a community of musicians beyond those initially involved. [ABSTRACT FROM AUTHOR]

Motor-activity-related mental tasks are widely adopted for brain-computer interfaces (BCIs) as they are a natural extension of movement intention, requiring no training to evoke brain activity. The ideal BCI aims to eliminate neuromuscular movement, making motor imagery tasks, or imagined actions with no muscle movement, good candidates. This study explores cortical activation differences between motor imagery and motor execution for both upper and lower limbs using functional near-infrared spectroscopy (fNIRS). Four simple finger- or toe-tapping tasks (left hand, right hand, left foot, and right foot) were performed with both motor imagery and motor execution and compared to resting state. Significant activation was found during all four motor imagery tasks, indicating that they can be detected via fNIRS. Motor execution produced higher activation levels, a faster response, and a different spatial distribution compared to motor imagery, which should be taken into account when designing an imagery-based BCI. When comparing left versus right, upper limb tasks are the most clearly distinguishable, particularly during motor execution. Left and right lower limb activation patterns were found to be highly similar during both imagery and execution, indicating that higher resolution imaging, advanced signal processing, or improved subject training may be required to reliably distinguish them. [ABSTRACT FROM AUTHOR]

A potential path for enabling greater creativity and collaboration is through increased arts and science, technology, engineering, and mathematics (STEM) integration in education and research. This approach has been a growing discussion in US national forums and is the foundation of the science, technology, engineering, and mathematics plus arts and design (STEAM) education movement. Developing authentic artistic integrations with STEM fields (or vice versa) is challenging, particularly in higher education, where traditional disciplinary structures and incentives can impede the creation of integrated programs. Measuring and assessing the outcomes of such integration efforts can be even more challenging, since traditional metrics do not necessarily capture new opportunities created for students and faculty, and the greatest impact may occur over a long period (a career). At Drexel University, we created the Expressive & Creative Interaction Technologies (ExCITe) Center as a standalone institute to pursue and enable such transdisciplinary arts-STEM collaborations, particularly with external arts and education partners. In this perspectives paper, we highlight a range of projects and outcomes resulting from such external collaborations, including graduate research with professional artists, undergraduate student work experiences, and STEAM-based education programs for kindergarten through 12th-grade (K-12) students. While each project has its own specific objectives and outcomes, we believe that they collectively demonstrate this integrated transdisciplinary approach to be impactful and potentially transformative for all levels of learning. [ABSTRACT FROM AUTHOR]

Conflicting theories identify creativity either with frontal-lobe mediated (Type-2) executive control processes or (Type-1) associative processes that are disinhibited when executive control is relaxed. Musical (jazz) improvisation is an ecologically valid test-case to distinguish between these views because relatively slow, deliberate, executive-control processes should not dominate during high-quality, real-time improvisation. In the present study, jazz guitarists (n ​= ​32) improvised to novel chord sequences while 64-channel EEGs were recorded. Jazz experts rated each improvisation for creativity, technical proficiency and aesthetic appeal. Surface-Laplacian-transformed EEGs recorded during the performances were analyzed in the scalp-frequency domain using SPM12. Significant clusters of high-frequency (beta-band and gamma-band) activity were observed when higher-quality versus lower-quality improvisations were compared. Higher-quality improvisations were associated with predominantly posterior left-hemisphere activity; lower-quality improvisations were associated with right temporo-parietal and fronto-polar activity. However, after statistically controlling for experience (defined as the number of public performances previously given), performance quality was a function of right-hemisphere, largely right-frontal, activity. These results support the notion that superior creative production is associated with hypofrontality and right-hemisphere activity thereby supporting a dual-process model of creativity in which experience influences the balance between executive and associative processes. This study also highlights the idea that the functional neuroanatomy of creative production depends on whether creativity is defined in terms of the quality of products or the type of cognitive processes involved. • Neural and behavioral evidence for an expertise-dependent, dual-process model of creativity. • Performance quality/creativity a function of right-hemispheric activity. • Superior creative production is associated with hypofrontality and the inhibition of executive Type-2 processes. • Sophisticated EEG analysis (SPM12; surface-Laplacian transformations) and machine-learning (k-fold validation) techniques. • Collection of high-density EEG during live guitar improvisation. [ABSTRACT FROM AUTHOR]