The Cognitive Reserve (CR) hypothesis suggests that the brain actively attempts to cope with neural damages by using pre-existing cognitive processing approaches or by enlisting compensatory approaches. This would allow an individual with high CR to better cope with aging than an individual with lower CR. Many of the proxies used to assess CR indirectly refer to the flexibility of thought. The present paper aims at directly exploring the relationships between CR and creativity, a skill that includes flexible thinking. We (...) tested a sample of 72 adults (aged between 45 and 78) assessing both their level of CR and their creativity. To evaluate CR we used the proxies commonly used in literature, namely, three subtests from the WAIS (vocabulary, similarities, and digit span) and the years of education. We also used an ad-hoc test asking people to report how frequently they tend to perform activities that are believed to increase CR. We used verbal creativity tasks (alternative uses and generation of acronyms) to assess individual levels of creativity. We asked participants to describe their main occupation (present or past) and coded each occupation as creative or not creative. Results (controlling for age-related differences) showed that scores from the WAIS correlated positively with creativity performance, even though correlations varied across the subtests. Focusing on the frequency and type of activities that people perform, and comparing individuals who have or had a creative job to those with a routine job, a clear relationship between creativity and CR emerged. This effect was more relevant than the level of job complexity. Implications for the study of CR and aging are discussed. (shrink)

The role of prefrontal cortex (PFC) in influencing creative thinking has been investigated by many researchers who, while succeeding in proving an effective involvement of PFC, reported suggestive but sometimes conflicting results. In order to better understand the relationships between creative thinking and brain activation in a more specific area of the PFC, we explored the role of dorsolateral PFC. We devised an experimental protocol using transcranial direct-current stimulation (tDCS). The study was based on a 3 (kind of stimulation: anodal (...) vs. cathodal vs. sham) X 2 (priming: divergent vs. convergent) design. Forty-five healthy adults were randomly assigned to one stimulation condition. Participants’ creativity skills were assessed using the Product Improvement subtest from the Torrance Tests of Creative Thinking. After 20 minutes of tDCS stimulation, participants were presented with visual images of common objects. Half of the participants were instructed to visualize themselves using the object in an unusual way (divergent priming), whereas the other half were asked to visualize themselves while using the object in a common way (convergent priming). Priming was aimed at inducing participants to adopt different attitudes toward the creative task. Afterwards, participants were asked to describe all of the possible uses of the objects that were presented. Participants’ physiological activation was recorded using a biofeedback equipment. Results showed a significant effect of anodal stimulation that enhanced creative performance, but only after divergent priming. Participants showed lower skin temperature values after cathodal stimulation, a findings which is coherent with studies reporting that, when a task is not creative or creative thinking is not prompted, people show lower levels of arousal. The involvement of dorsolateral PFC in creativity has been supported, presumably in association to shift of attention modulated by priming. (shrink)

The present study examined whether cinematographic editing density affects viewers’ perception of time. As a second aim, based on embodied models that conceive time perception as strictly connected to the movement, we tested the hypothesis that the editing density of moving images also affects viewers’ eye movements and that these later mediate the effect of editing density on viewers’ temporal judgments. Seventy participants watched nine video clips edited by manipulating the number of cuts (slow‐ and fast‐paced editing against a master (...) shot, unedited condition). For each editing density, multiple video clips were created, representing three different kinds of routine actions. The participants’ eye movements were recorded while watching the video, and the participants were asked to report duration judgments and subjective passage of time judgments after watching each clip. The results showed that participants subjectively perceived that time flew more while watching fast‐paced edited videos than slow‐paced or unedited videos; by contrast, concerning duration judgments, participants overestimated the duration of fast‐paced videos compared to the master‐shot videos. Both the slow‐ and the fast‐paced editing generated shorter fixations than the master shot, and the fast‐paced editing led to shorter fixations than the slow‐paced editing. Finally, compared to the unedited condition, editing led to an overestimation of durations through increased eye mobility. These findings suggest that the editing density of moving images by increasing the number of cuts effectively altered viewers’ experience of time and add further evidence to prior research showing that performed eye movement is associated with temporal judgments. (shrink)