Many studies have assessed the neural underpinnings of creativity, failing to find a clear anatomical localization. We aimed to provide evidence for a multi-componential neural system for creativity. We applied a general activation likelihood estimation (ALE) meta-analysis to 45 fMRI studies. Three individual ALE analyses were performed to assess creativity in different cognitive domains (Musical, Verbal, and Visuo-spatial). The general ALE revealed that creativity relies on clusters of activations in the bilateral occipital, parietal, frontal, and temporal lobes. The individual ALE revealed different maximal activation in different domains. Musical creativity yields activations in the bilateral medial frontal gyrus, in the left cingulate gyrus, middle frontal gyrus, and inferior parietal lobule and in the right postcentral and fusiform gyri. Verbal creativity yields activations mainly located in the left hemisphere, in the prefrontal cortex, middle and superior temporal gyri, inferior parietal lobule, postcentral and supramarginal gyri, middle occipital gyrus, and insula. The right inferior frontal gyrus and the lingual gyrus were also activated. Visuo-spatial creativity activates the right middle and inferior frontal gyri, the bilateral thalamus and the left precentral gyrus. This evidence suggests that creativity relies on multi-componential neural networks and that different creativity domains depend on different brain regions.

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Previous studies on spatial memory reveal that people represent spatial information in 3 different forms: landmark, route, and survey. The aim of this work was to assess spatial abilities in order to predict a person's cognitive style. In order to do this we used 9 different spatial tasks, which were linked with these 3 forms of spatial representations. We found that the 9 spatial tasks are able to distinguish different levels of spatial ability.

According to the peak and decline model divergent thinking declines at a specific age (in or after middle age). However, if divergent thinking declines steadily in aging still has to be clarified. In order to explore the age-related changes in verbal and visual divergent thinking, in the present study a sample of 159 participants was divided in five age groups: young adults (18-35 years), middle-aged adults (36-55), young old (56-74), old (75-85) and the oldest-old (86-98). Two divergent thinking tasks were administered: the alternative uses for cardboard boxes, aimed at assessing verbal ideational fluency, flexibility and originality; the completion drawing task, aimed at assessing visual ideational fluency, flexibility and originality. Results showed that after peaking in the young adult group (20-35 years) all components of verbal and visual divergent thinking stabilized in the middle-aged adult group (36-55 years) and then started declining in the young old group (56-75). Interestingly, all components were found to be preserved after declining. Yet, verbal and visual divergent thinking were found at the same extent across age groups, with the exception of visual ideational fluency, that was higher in the young old group, the old group and the oldest-old group than verbal ideational fluency. These results support the idea that divergent thinking does not decline steadily in the elderly. Given that older people can preserve to some extent verbal and visual divergent thinking, these findings have important implications for active aging, that is, divergent thinking might be fostered in aging in order to prevent the cognitive decline.

"Sense of direction" is usually assessed by self-report. Several internal factors contribute to proficiency in navigation: spatial cognitive style, respondent's sex, and familiarity with the environment; however, questionnaires assessing sense of direction do not include all these factors. In a recent study, Nori and Piccardi reported that environmental familiarity was crucial for topographical orientation. Regardless of a person's spatial cognitive style (i.e., landmark, route, or survey), the greater their familiarity with the environment, the better their performance. In this study, a questionnaire was used, the Familiarity and Spatial Cognitive Style Scale, to measure 208 women's sense of direction and knowledge of their city of residence. Analysis showed that Spatial Cognitive Style predicted sense of direction but not town knowledge. By contrast, familiarity played a crucial role in both areas, confirming the importance of having a tool to assess this factor.

Creativity refers to the capability to catch original and valuable ideas and solutions. It involves different processes. In this study the extent to which visual creativity is related to cognitive processes underlying visual mental imagery was investigated. Fifty college students (25 women) carried out: the Creative Synthesis Task, which measures the ability to produce creative objects belonging to a given category (originality, synthesis and transformation scores of pre-inventive forms, and originality and practicality scores of inventions were computed); an adaptation of Clark’s Drawing Ability Test, which measures the ability to produce actual creative artworks (graphic ability, esthetic, and creativity scores of drawings were assessed) and three mental imagery tasks that investigate the three main cognitive processes involved in visual mental imagery: generation, inspection and transformation. Vividness of imagery and verbalizer–visualizer cognitive style were also measured using questionnaires. Correlation analysis revealed that all measures of the creativity tasks positively correlated with the image transformation imagery ability; practicality of inventions negatively correlated with vividness of imagery; originality of inventions positively correlated with the visualization cognitive style. However, regression analysis confirmed the predictive role of the transformation imagery ability only for the originality score of inventions and for the graphic ability and esthetic scores of artistic drawings; on the other hand, the visualization cognitive style predicted the originality of inventions, whereas the vividness of imagery predicted practicality of inventions. These results are consistent with the notion that visual creativity is domain- and task-specific.

Previous studies on spatial memory have shown that, in judging direction, participants are more accurate and faster when a map is aligned with the perspective of the spatial layout they had learned (alignment effect). Rossano and Warren (1989 Perception 18 215-229) have shown that when participants have to do a contra-aligned judgment they can either answer correctly, or make alignment or mirror-image errors. We think that the kind of response depends on the different way in which people acquire environmental knowledge: landmark, route, and survey. We hypothesise that landmark and route participants show alignment effects and make, respectively, alignment errors and mirror-image errors, whereas survey participants do not show an alignment effect. An experiment is reported in which participants performed three tasks in order to distinguish their cognitive style. We selected thirty landmark, thirty route, and twenty-eight survey participants. They were then submitted to directional judgment tasks to verify whether the alignment effect was present and to observe the kind of responses. The results revealed that survey participants did not show an alignment effect, and that the kind of errors could depend on the directional judgment task participants had to do, and not only on the cognitive style.