後續研究建議

第二階段研究將針對找出的景觀創造力腦區進行更進一步的比較，利用受測 者實際畫下的景觀設計圖面行為資料，去探討景觀設計創造力程度與腦區反應間 的關係。藉由參考陶倫斯創造力測驗的創造力指標，給予受測者景觀創造力評 值，並對照到腦區反應資料，除了探討景觀創造力與腦神經反應間的關係之外，

也希望能發展出一景觀創造力評分標準。

參考文獻

1. 陳長益。Goff, K., & Torrance, E. P. (2006)。陶倫斯創造力測驗成人適用精簡 版: 指導手冊。台北市: 心理。

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& Review, 11(6), 1011-1026.

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(2014). Impact and Sustainability of Creative Capacity Building: The Cognitive, Behavioral, and Neural Correlates of Increasing Creative Capacity. In L. Leifer, H.

Plattner & C. Meinel (Eds.), Design Thinking Research (pp. 65-77): Springer International Publishing.

12. Heilman, K. M., Nadeau, S. E., & Beversdorf, D. O. (2003). Creative innovation:

Possible brain mechanisms. Neurocase, 9(5), 369-379.

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14. Limb, C. J., & Braun, A. R. (2008). Neural Substrates of Spontaneous Musical Performance: An fMRI Study of Jazz Improvisation. Plos One, 3(2).

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Psychological Review, 69(3), 220-232.

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Functional correlates of musical and visual ability in frontotemporal dementia.

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Cotman, C. (1998). Emergence of artistic talent in frontotemporal dementia.

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Neural correlates of creative writing: An fMRI Study. Hum Brain Mapp, 34(5), 1088-1101.

23. Sternberg, R. J., & Lubart, T. I. (1999). The concept of creativity: Prospects and paradigms. Handbook of creativity, 1, 3-15.

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25. Torrance, E. P. (1968). Torrance tests of creative thinking: Personnel Press, Incorporated.

26. Wallas, G. (1926). The art of thought. New York: Harcourt, Brace and Company.

27. Ward, T. B. (1994). Structured Imagination - the Role of Category Structure in

附錄

附錄一、行為與社會科學研究倫理審查核可證明

附錄二、研究參與者同意書

英文：Neural Correlates of Landscape Design Creativity: An fMRI study

研究機構名稱：國立台灣大學/生物資源既農學院/園藝暨景觀系 經費來源：行政院國家科學委員會 National Science Council

研究計畫主持人：張俊彥 職稱：教授

二﹑參與研究之條件與限制：

不適，若遇上述情況您可隨時按下手邊求救球告知實驗操作人員，實驗操作人

十一﹑研究參與者權利： 號碼為：(02)3366-9956、(02)3366-9980。

(二) 研究計畫主持人或研究人員已經妥善地向您說明了研究內容與相關

附錄三、實驗安全問卷 6. 是否有下列任一情況：人工耳蝸、ICV filter、Swan-Ganz 導管、胰島素體內

注射器、體內電極、刺激器、神經刺激器、植入之藥物注射器

附錄四、前置檢查問卷

受測者編號:___ 檢查人員簽名：_________ 日期:___年___月___日 時間:___\___

附錄五、實驗題本內容

題本一：ABAB BABA

題本二：BABA ABAB

附錄六、原文附錄

Sternberg, R. J., & Lubart, T. J. (1996). Investing in creativity. American Psychologist, 51(7), 677-688.

Creativity is the ability to produce work that is both novel (i.e., original or unexpected) and appropriate (i.e., useful or meets task).

Hawthorne, G., Quintin, E., Saggar, M., Bott, N., Keinitz, E., Liu, N., & et al.

(2014). Impact and Sustainability of Creative Capacity Building: The Cognitive, Behavioral, and Neural Correlates of Increasing Creative Capacity. In L. Leifer, H.

Plattner & C. Meinel (Eds.), Design Thinking Research (pp. 65-77): Springer International Publishing.

We define creativity as “a state of being and adaptation of personal skill sets that enables an individual to synthesize novel connections and express meaningful outcomes”. This definition captures the intersection of three different axes. To determine how creative a person, deliverable or process is, these components can be rated along three continuums from – (a) existing to new/novel, (b) linear to

synthesizing, and (c) no value/meaning to meaningful. We propose a visual

illustration of these continuums with three axes. A deliverable or process with high

defined. The intention of this focus is to better align the skill of creativity to indications that go beyond the possession of creativity into the ability to exercise/apply it.

Guilford, J. P. (1956). The Structure of Intellect. Psychological Bulletin, 53(4), 267-293.

In convergent thinking, there is usually one conclusion or answer that is regarded as unique, and thinking is channeled or controlled in the direction of that answer. In tests of the convergent-thinking factors, there is one keyed answer to each item.

Multiple-choice tests are well adapted to the measurement of these abilities. In divergent thinking, on the other hand, there is much searching or going off in various directions. This is most clearly seen when there is no unique conclusion.

For the measurement of such abilities, completion tests are almost a necessity. The distinction is not so clear in some problem-solving tests, in which there must be and usually is some divergent thinking or search as well as ultimate convergence toward the solution. But the processes are logically and operationally separable, even in such activities

Wallas, G. (1926). The art of thought. New York: Harcourt, Brace and Company.

"The first in time I shall call Preparation, the stage during which the problem was 'investigated ... in all directions'; the second is the stage during which he was not consciously thinking about the problem, which I shall call Incubation; the third, consisting of the appearance of the 'happy idea' together with the psychological events which immediately preceded and accompanied that appearance, I shall call Illumination. And I shall add a fourth stage, of Verification ..." .

Mednick, S. A. (1962). The Associative Basis of the Creative Process.

Psychological Review, 69(3), 220-232.

The greater the number of associations that an individual has to the requisite elements of a problem, the greater the probability of his reaching a creative solution. This variable is not independent of the preceding one since an individual with a high concentration of associative strength in few associative responses is not likely to have a proliferation of associations. The more associates which are evoked by a requisite element of a problem, the more likely it is that an associate will exist which will serve as a mediating bridge to another requisite element, facilitating combination. It seems likely that this variable will not be related to speed of

creative solution since it may take a good deal of time to get to the mediating links.

Heilman, K. M., Nadeau, S. E., & Beversdorf, D. O. (2003). Creative innovation:

Possible brain mechanisms. Neurocase, 9(5), 369-379.

A high level of general intelligence, domain-specific knowledge and special skills are necessary components of creativity. Specialized knowledge is stored in specific portions of the temporal and parietal lobes.

Developing alternative solutions or divergent thinking has been posited to be a

Creativity requires cognitive abilities, such as working memory, sustained attention, cognitive flexibility, and judgment of propriety, that are typically ascribed to the prefrontal cortex. Not surprisingly, the central role the prefrontal cortex must play in creativity has been stressed by other investigators.

Goel, V. (2014). Creative brains: designing in the real world. Front Hum Neurosci, 8.

Design problem-solving is typically characterized as a multistep process involving problem scoping/framing, generation of preliminary ideas, refinement, and

detailing. Each phase differs with respect to the type of information dealt with, the degree of commitment to generated ideas, the level of detail attended to, the

number and types of transformations engaged in, the mental representations needed to support the different types of information and transformations, and the

corresponding computational mechanism. As one progresses from the preliminary phases to the detailing phases, the problem becomes more structured.

I have argued for a dual mechanism cognitive account of realworld problem-solving. The question now is whether there is any support for such a model at the neuropsychological level. I will suggest that there is evidence for anatomical dissociations corresponding to the cognitive dissociations identified in the previous section. To this end I propose the Frontal Lobe Lateralization Hypothesis (FLLH).

FLLH: Left and right prefrontal cortex make differential contributions (in terms of the structure of representations and types of transformations) to real-world problem solving. The right PFC supports abstract, vague, ambiguous, indeterminate

representations of the world, while the left PFC abhors uncertainty and tries to

automatically fill in the gaps with concrete, determinate, unambiguous, specific information.

Shah, C., Erhard, K., Ortheil, H.-J., Kaza, E., Kessler, C., & Lotze, M. (2013).

Neural correlates of creative writing: An fMRI Study. Hum Brain Mapp, 34(5), 1088-1101.

To investigate the different aspects of the creative writing process, we used functional magnetic resonance imaging while 28 healthy participants performed a new paradigm related to creative writing: ‘‘brainstorming’’ (planning a story) and

‘‘creative writing’’ (writing a new and creative continuation of a given literary text), as well as an additional control paradigm of ‘‘reading’’ and ‘‘copying.’’

Episodic memory retrieval, free-associative and spontaneous cognition, and semantic integration were observed in a right lateralized activation pattern in bilateral hippocampi, bilateral temporal poles (BA 38), and bilateral posterior cingulate cortex in a ‘‘creative writing’’ minus ‘‘copying’’ comparison.

Limb, C. J., & Braun, A. R. (2008). Neural Substrates of Spontaneous Musical Performance: An fMRI Study of Jazz Improvisation. Plos One, 3(2).

Abstract To investigate the neural substrates that underlie spontaneous musical

and lateral orbital regions with focal activation of the medial prefrontal (frontal polar) cortex. Such a pattern may reflect a combination of psychological processes required for spontaneous improvisation, in which internally motivated, stimulus-independent behaviors unfold in the absence of central processes that typically mediate self-monitoring and conscious volitional control of ongoing performance.