“Dira” is a novel experimental paradigm to record combinations of behavioral and metacognitive measures for the creative process. This task allows assessing chronological and chronometric aspects of the creative process directly and without a detour through creative products or proxy phenomena. In a study with 124 participants we show that (a) people spend more time attending to selected vs. rejected potential solutions, (b) there is a clear connection between behavioral patterns and self-reported measures, (c) the reported intensity of Eureka experiences is a function of interaction time with potential solutions, and (d) experiences of emerging solutions can happen immediately after engaging with a problem, before participants explore all potential solutions. The conducted study exemplifies how “Dira” can be used as an instrument to narrow down the moment when solutions emerge. We conclude that the “Dira” experiment is paving the way to study the process, as opposed to the product, of creative problem solving.

Divergent thinking as a creative ability and perceptual switching between different interpretations of an unchanging stimulus (known as perceptual multistability) are thought to rely on similar processes. In the current study, we investigate to what extent task instructions and inherent stimulus characteristics influence participants' responses. In the first experiment, participants were asked to give as many interpretations for six images as possible. In the second experiment, participants reported which of two possible interpretations they saw at any moment for the same line drawings. From these two experiments, we extracted measures that allow us direct comparison between tasks. Results show that instructions have a large influence over the perception of images traditionally used in two different paradigms and that these images can be perceived in appropriate ways for both tasks. In addition, we suggest that the connection between the two phenomena can be explored interchangeably through three experimental manipulations: a) using a common set of images across both experiments, b) giving different task instructions for the two tasks, and c) extracting comparable metrics from both experimental paradigms.

Research into group creativity with its dynamic, interpersonal, and multi-perspective character poses many challenges, among others, how to collect data and capture its shared nature. In this paper, we discuss the creative process of an ensemble in dance improvisation as an example of vivid and collaborative creative practice. To identify aspects of improvisational dance cognition, we designed and applied a videostimulated recall approach to capturing the multiple perspectives of the shared creative process. We tested the method during an improvisational session with dancers, showing how the recordings of dancers' thought narratives and internal states might be used for studying group creativity. Finally, we presented an audiovisual installation Between Minds and Bodies that aimed to recreate the dancers' experience and offered immersion into the creative process by accessing individual dancer's thought processes in the improvised performance while watching the dance improvisation.

Field Dependence–Independence (FDI) is a widely studied dimension of cognitive styles designed to measure an individual’s ability to identify embedded parts of an organized visual field as entities separate from that given field. The research aims to determine whether the brain activity features that are considered to be perceptual switching indicators could serve as robust features, differentiating Field-Dependent (FD) from Field-Independent (FI) participants. Previous research suggests that various features derived from event related potentials (ERP) and frequency features are associated with the perceptual reversal occurring during the observation of a bistable image. In this study, we combined these features in the context of a different experimental scheme using ambiguous and unambiguous stimuli during participants’ perceptual observations. We assessed the participants’ FD-I classification with the use of the Hidden Figures Test (HFT). Results show that the peak amplitude of the frontoparietal positivity, the late positive deflection in frontal and parietal areas, is higher for the FD group at specific locations of the left lobe, whereas it occurs later for the FD group at the central and occipital electrodes. Additionally, the FD group exhibits higher levels of gamma power before stimulus onset at channel TP10 and higher gamma power during reversal at the right centroparietal electrodes (T8, CP6, and TP10). The peak amplitude of the reversal positivity, the positive deflection during the reversal, is higher for the FD group at the rear right lobe (P4).

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