Course Syllabus

Semester & Location:

Fall 2019 - DIS Copenhagen

Type & Credits:

Core Course - 3 credits

Core Course Study Tours:

Leeds, Cambridge & London

Major Disciplines:

Neuroscience, Psychology

Faculty Members:

Jes Buster Madsen - jesbustermadsen@gmail.com

Carla Caetano (Guest Instructor) - cca@dis.dk

Program Director:

Lars Rossen 

Program Assistant:

Jenna Bates- jba@dis.dk

Time:

Monday & Thursday, 8.30 - 09.50, N7-C25

 

Description of Course

Prerequisites: One course in neuroscience, physiological psychology, or biological psychology at university level.

How do we understand creativity and the brain? This course asks you to explore and debate human creativity through neurobiological, cognitive, and psychological perspectives. Main topics include discussions of the definition of creativity; psychological and cognitive profiles of creative individuals; functional neuroanatomy; the neurochemistry of the creative processes; the neural correlates of creative thought; cognitive processes and lastly, cognitive strategies for optimizing creative output. Study tours within Denmark and Europe will provide the experiential foundation for further understanding theory and research in the field.

Learning Objectives

By the end of this course students should demonstrate a clear understanding of the complexity of creativity, brain related functions, individual differences and the challenges inherent in the neuroscientific approach. Students should be able to identify central constructs, theories, models, and research in the understanding of creativity from a neurocognitive perspective.

Faculty

Jes Buster Madsen, Cand. Mag.

Master in Cognition and Communication (University of Copenhagen, 2015), Bachelor in Philosophy (University of Copenhagen, 2013). Author of the novel Projekt Luftballon.

Specialization: Cognitive neuroscience and Creative Writing. With DIS since 2018.

Guest Instructor

Carla Caetano

Senior Consultant in Research Development (2019), Program Director of Psychology and Cognitive Neurosciences Department. Ph.D. (Psychology and Cognitive Neuroscience 2012-2019) Fuller Graduate School of Psychology Pasadena, CA.(1992). Post Doctorate (Adult Neuropsychology), UCLA/Cedar Sinai Medical Center, Los Angeles CA. (2000-2002). Licensed Psychologist (2002, California, USA), Specialist  & Supervisor in Clinical Neuropsychology (Denmark). Fine Artist with exhibitions in Denmark. With DIS 1999-2000 and since 2003.

Approach to Teaching

A key component of this course is student participation and discussion. It is thought, that students should take responsibility for their own learning, and that discussion and debate is the cornerstone of a good learning environment.

Each class is structured and will include aspects such as: A) short exercises, which will often be practical in nature, to activate and engage the students. B) mini-lectures, where bullet points and essential ideas are explained to the class. C) group-work and discussions, in order to summarize and understand the day’s readings. D) case discussions, video clips

Expectations of the Students

This course emphasizes collaborative learning. This involves in-class group activities and frequent discussion among peers. It is expected that all students engage actively in class.

Additionally, the class is non-electronic, meaning that laptops are not allowed in class.

Academic Regulations  

Disability and Resource Statement

Any student who has a need for accommodation based on the impact of a disability should contact Academic Support (acadsupp@dis.dk) to coordinate this.  In order to receive accommodations, students should inform the instructor of approved DIS accommodations within the first week of classes.

Grading

Assignments

Percentages

Attendance & Participation

10%

Midterm Exam

20%

Essay

20%

Final Presentation

30%

Final Exam

20%

 

 

Evaluation

 

Attendance & Participation: 10%

This class is driven by student participation. The primary character of the class will be exploration of ideas, idea generation, inquiry and discussion. Students must bring to class an inquisitive mind, a willingness to share their thoughts, ideas and questions. Grades will be deducted when readings have not been completed and when participatory efforts are lacking. Please see participation rubric on canvas for specifics. Unexcused and frequent absenteeism will result in a loss of grade.

 

Neuroscience of Creativity Essay: 20%

Due: September 23

Write a 5-page essay (12000 Characters with Spaces) in which you discuss a topic within the Neuroscience of Creativity

It is expected, that you use peer-reviewed articles, and at least one peer-reviewed Neuroscience article.

Expected structure of the essay:

  1. Introduction: State the main objective of the essay and present the conclusion reached.
  2. Argument (a): Using the peer-reviewed articles, create an argument, which substantiates and supports the main objective of the essay.
  3. Argument (b): Using the peer-reviewed articles, create an argument, which substantiate and supports the main objective of the essay.
  4. Counter Argument: Using the peer-reviewed articles, device a counterargument, which shows the possible fallibility of Arguments a & b.
  5. Conclusion: Summarize the main points of the essay and suggest possible new directions for future research within the field.

 

Midterm Exam: 20%

Due: October 3

There will be a Midterm exam based on the readings and class slides.

It will be a combination of short and long answer questions.

There will be a short review and more information as the semester progress

 

Creativity of Neuroscience Presentation & Paper: 30%

Due: Nov 18

The Creative Presentation and Paper is a individual/group assignment (1-3 students in each).

Each group has to choose an artistic discipline and produce a creative output within that field.

 

  1. Language: Write a 3-page short story or poem.
  2. Music: Compose and record a 3 minute song.
  3. Body: Create and perform a choreagraphy/Stage a short play.
  4. Visual: Draw three pencil drawings, investigating a technique or topic

 

Additionally, each student must write a 4-page (9600 Words with spaces) academic paper, describing and explaining the creative discipline using at least 3 peer-reviewed neuroscience articles.

 

The presentation will be performed at the semester Showcase at the end of the schoolyear.

The paper is due one-week before the showcase.

 

Presentation will account for 20% of the final grade.

Paper will account for 80% of the final grade.

 

Final Exam: 20%

Due: TBA

There will be a final exam based on the readings and class slides.

It will be a combination of short and long answer questions.

There will be a short review and more information as the semester progress.

 

Field Studies

Potential visits include:

  • Improvisation Workshop with the famous danish Freestyle Rapper Pede B

 

Study Tours

The study tours play a vital role in the course. Visits will follow the development of the course and give you a broader and more complex understanding of the topics presented and discussed in class You will travel with your classmates and DIS faculty/staff on two study tours; a short study tour to western Denmark during Core Course Week and a long study tour to Leeds, Cambridge and London. (UK).

Expectations for study tours:

  • Participate in all activities
  • Engage in discussions, ask questions, and contribute to achieving the learning objectives
  • Respect the destination, the speakers, DIS staff, and your fellow classmates
  • Represent yourself, your home university and DIS in a positive light

While on a program study tour DIS will provide hostel/hotel accommodation, transportation to/from the destination(s), approx. 2 meals per day and entrances, guides, and visits relevant to your area of study or the destination. You will receive a more detailed itinerary prior to departure.

 

Core Course Week and Short Study Tour:

Theme: Improvisation

The aim of the Core Course Week is to investigate the practical aspects of different forms of human creativity. We will seek to take the neurocognitive theories out of the classroom, and understand them through the cultural and academic visits we encounter.

During this week we will visit the LEGO center, the Overtacchi museum, be taught how to improvise by a famous danish freestyle rapper, and much more.

In addition to the academic activities on study tour, the study tour program is supplemented with cultural visits and events.

Date:

Monday, September 9th- Friday, September 13th

 

Long Study Tour – Cambridge UK

Themes: Neuroscience Research & Origins of Creativity

The aim of the long study tour is to investigate modern neuroscience research within the realm of creativity and investigate the origins of human creativity.

During the tour, we will visit the Fitzgerald Museum, meet one of the worlds leading experts on Creativity (Anna Abrahams), attend a drawing class, and much more.

In addition to the academic activities on study tour, the study tour program is supplemented with cultural visits and events.

Date:

Sunday, October 27th - Friday, November 1st 

 

Literature:

Required Readings

 

  1. Raymond, S. M. (2017). Neural Foundations of Creativity: A Systematic Review. Rev Colomb Psiquiat. 46(3):187-192.
  2. Kozbelt, A., Beghette, R. A., & Runco, M. A: (2010) Theories of Creativity. The Cambridge Handbook of Creativity. Cambridge: Cambridge University press. P.20-47.
  3. Abraham, Anna - The Neuroscience of Creativity. Cambridge University Press. 2018. Chapter 2: How Can Creativity be Assesed? p.24-38
  1. Beaty, R et. al. (2016) – Creative Cognition and Brain Network Dynamics. Trends Cogn Sci. 20(2): 87-95.
  2. Abraham  A (2010) .  The Neuroscience of Creativity .  Cambridge: Cambridge University Press. Chapter 2-  How can creativity be assessed?  (pp 24-47)
  3. Raichle, M. E. (2008) A Brief history of human brain mapping. Trends in Neurosciences. Vol. 32. N0.2, P.118-126.
  4. Abraham, A. (2013) The Promises and Perils of the Neuroscience of Creativity. Frontiers in Human Neuroscience, Vol.7, Art. 246, p.1-9.
  5. Jung, R. al. (2013) The Structure of Creative Cognition in the Human Brain. Frontiers in Human Neuroscience. Vol.7, Article 330. P.1-13.
  6. Beaty, R. et. al. (2017). Robust Prediction of Individual Creative Ability from Brain Functional Connectivity. PNAS. Vol.115, no.5, p.1087-1092.
  7. Peretz, I. (2006) The Nature of music from a biological perspective. Cognition, 100(1), p. 1-32.
  8. D. M. (2016) Musical Creativity “Revealed” in Brain Structure: Interplay between Motor, Default Mode, and Limbic Networks. Nature. Scientific Reports. 6:20482, p. 1-8.
  9. Trimble, M & Hesdorffer, D. (2017). Music and the Brain: The neuroscience of music and musical appreciation. BJPSYCH International. Vol. 14. Number 2. P.28-30.
  10. Friederici, A. D. (2011) The Brain Basis of Language Processing: From structure to Function.Physiol Rev 91: 1357-1392.
  11. Kaufman, J. C. (2002). Dissecting the Golden Goose: Components of Studying Creative Writers. Creativity Research Journal 14(1): 27-40.
  12. Dietrich, A. (2004). Neurocognitive mechanisms underlying the experience of flow. Conscious Cong. 13(4): 746-61.
  13. Abraham  A (2010) .  The Neuroscience of Creativity .  Cambridge: Cambridge University Press. Chapter 10 Visual  Artistic  Creativity   (pp 226-246)
  14. Laland, K., Wilkins, C., Clayton. (2016) The Evolution of Dance. Current Biology 26, Issue 1, P 5-9.
  15. Schwartz, A. B. (2016). Movement: How The Brain Communicates with the World. Cell, 164(6): 1122-1135.
  16. May, J., et al. (2011) Points in Mental Space: an Interdisciplinary Study of Imagery in Movement Creation. Dance Research, 29 (2), p.404-432.
  17. N. C. (2008). The Relationship between Creativity and Mood Disorders. Dialogues Clin Neurosci. 10(2): 251-255.
  18. Heilman, K.M & Discher, I.S. (2018).  Creativity and the Aging Brain (pp476-492). In R. E. Jung & O. Vartanian (Eds). The Cambridge Handbook of  The Neuroscience of Creativity. Cambridge: Cambridge University Press.

 

Recommended Readings

 

  1. https://blogs.scientificamerican.com/beautiful-minds/the-neuroscience-of-creativity-a-q-a-with-anna-abraham/
  2. Abraham, Anna - The Neuroscience of Creativity. Cambridge University Press. 2018.

Chapter 3: Cognitive Explanations of Creativity. p.51-77

  1. Abraham, Anna - The Neuroscience of Creativity. Cambridge University Press. 2018.

Chapter 4: Brain-Based Global explantions of Creativity. p.78-101.

  1. Abraham, Anna - The Neuroscience of Creativity. Cambridge University Press. 2018.

Chapter 6: Neuroscientific Methods in the study of Creativity.  p.126-152

  1. Abraham, Anna - The Neuroscience of Creativity. Cambridge University Press. 2018.

Chapter 7:Unique Problems in the Neuroscientific Study of Creativity. p.155-172

  1. Abraham, Anna - The Neuroscience of Creativity. Cambridge University Press. 2018.

Chapter 8: Musical Creativity p. 173-196

  1. Abraham, Anna - The Neuroscience of Creativity. Cambridge University Press. 2018.

Chapter 8: Musical Creativity p. 173-196

  1. Abraham, Anna - The Neuroscience of Creativity. Cambridge University Press. 2018.

Chapter 9: Literary Creativity p. 200-222

  1. Abraham, Anna - The Neuroscience of Creativity. Cambridge University Press. 2018.

Chapter 9: Literary Creativity p. 200-222

  1. Abraham, Anna - The Neuroscience of Creativity. Cambridge University Press. 2018.

Chapter 11: Kinesthetic Creativity p. 250-272

  1. Abraham, Anna - The Neuroscience of Creativity. Cambridge University Press. 2018.

Chapter 11: Kinesthetic Creativity p. 250-272

 

 

 

 

Course Summary:

Date Details Due