ABSTRACT
The current study assessed main effects and moderators (including emotional expressiveness, emotional processing, and ambivalence over emotional expression) of the effects of expressive writing in a sample of healthy adults. Young adult participants (N=116) were randomly assigned to write for 20 minutes on four occasions about deepest thoughts and feelings regarding their most stressful/traumatic event in the past five years (expressive writing) or about a control topic (control). Dependent variables were indicators of anxiety, depression, and physical symptoms. No significant effects of writing condition were evident on anxiety, depressive symptoms, or physical symptoms. Emotional expressiveness emerged as a significant moderator of anxiety outcomes, however. Within the expressive writing group, participants high in expressiveness evidenced a significant reduction in anxiety at three-month follow-up, and participants low in expressiveness showed a significant increase in anxiety. Expressiveness did not predict change in anxiety in the control group. These findings on anxiety are consistent with the matching hypothesis, which suggests that matching a person's naturally elected coping approach with an assigned intervention is beneficial. These findings also suggest that expressive writing about a stressful event may be contraindicated for individuals who do not typically express emotions.
Subject(s)
Anxiety Disorders/psychology , Anxiety Disorders/therapy , Depressive Disorder/psychology , Depressive Disorder/therapy , Emotions , Somatoform Disorders/psychology , Somatoform Disorders/therapy , Writing , Adaptation, Psychological , Adolescent , Adult , Affective Symptoms/diagnosis , Affective Symptoms/psychology , Affective Symptoms/therapy , Anxiety Disorders/diagnosis , Attitude , Character , Depressive Disorder/diagnosis , Female , Follow-Up Studies , Humans , Individuality , Life Change Events , Male , Prognosis , Self Disclosure , Somatoform Disorders/diagnosis , Surveys and Questionnaires , Young AdultABSTRACT
The effect of brain injury and disease on the output of established artists is an object of much study and debate. The emergence of de novo artistic behaviour following such injury or disease, while very rare, has been recorded in cases of frontotemporal dementia, epilepsy, subarachnoid haemorrhage and Parkinson's disease. This may be an underdiagnosed phenomenon and may represent an opportunity to further understand the neural bases of creative thought and behaviour in man and those of cognitive change after brain injury. There is clearly an important role for hemispheric localization of pathology, which is usually within the temporal cortex, upon the medium of artistic expression, and a likely role for mild frontal cortical dysfunction in producing certain behavioural and cognitive characteristics that may be conducive to the production of art. Possible mechanisms of 'artistic drive' and 'creative idea generation' in these patients are also considered. The increased recognition and responsible nurturing of this behaviour in patients may serve as a source of great comfort to individuals and their families at an otherwise difficult time.
Subject(s)
Brain Damage, Chronic/psychology , Cerebral Cortex/physiopathology , Creativity , Paintings/psychology , Brain Damage, Chronic/physiopathology , Cerebral Cortex/pathology , Cognition/physiology , Female , Frontal Lobe/pathology , Frontal Lobe/physiopathology , Humans , Male , Recovery of Function/physiology , Temporal Lobe/pathology , Temporal Lobe/physiopathologyABSTRACT
For over 100 years the link between synaesthesia and the arts has attracted controversy. This has been spurred by the production of auditory, literary and visual art by famous individuals who report experiences synonymous with the neurological condition. Impressive protagonists in this discussion include Arthur Rimbaud, Charles Baudelaire, Vasily Kandinsky, Vladimir Nabokov, Alexander Scriabin, Olivier Messiaen and David Hockney. Interdisciplinary debates have concerned whether synaesthesia can actively contribute to an artist's ability, whether it is a driving force or a mere idiosyncratic quirk and whether, fundamentally, it is a distinct idiopathic condition or an unusual metaphorical description of normal perception. Recent psychological and neuroscientific evidence offers a new level to the debate. Coherent patterns of a neural basis of synaesthesia have been confirmed with high spatial resolution brain imaging techniques and the link with the arts is transpiring to be more than superficial or coincidental. Moreover, the neural distinction of the synaesthete brain may prove to be a window into a neural basis of creative cognition, and therefore conducive to the expression of creativity in various media.
Subject(s)
Art , Cerebral Cortex/physiology , Creativity , Neural Pathways/physiology , Perception/physiology , Auditory Perception/physiology , Cerebral Cortex/anatomy & histology , Cognition/physiology , Humans , Illusions/physiology , Illusions/psychology , Neural Pathways/anatomy & histology , Verbal Behavior/physiology , Visual Perception/physiologyABSTRACT
Synaesthesia has been known to scientific research for over 100 years but has undergone something of a renaissance recently as new investigations begin to uncover its neurological basis. Rather than being an anomaly, it might offer beneficial insights into the basis of normal perception. A new study by Esterman et al. epitomises this current trend and claims to show that the posterior parietal cortex is a crucial locus of synaesthetic experience. As the posterior parietal cortex is commonly linked to normal sensory integration, Esterman et al.'s finding might lend support to the claim that synaesthesia is an extension of the normal perceptual processes assumed to occur in binding.
