www.thelancet.com/neurology Published online February 22, 2019 http://dx.doi.org/10.1016/S1474-4422(19)30085-7 1 Scientists love statistics; whether the outcome of a randomised controlled trial or the spread of a disease through a population, researchers seek results backed-up by figures. Policymakers love statistics too; it is easy to justify spending X amount of money when it can be shown that it has benefited Y number of people. While quantitative justifications are logically understandable, what about their qualitative side? Is an intervention beneficial when it cannot be measured by numbers? Those were the questions at the heart of “The Creative Brain”, a roundtable discussion at the Edinburgh International Cultural Summit, a biennial ministerial forum established in 2012 by the British Council, the Edinburgh International Festival, the Scottish Parliament, and the UK Government to bring together artists and policymakers. More than 150 delegates from 44 countries attended this year’s Summit, which featured the theme “Culture and Wellbeing” on its final day, when the round-table discussion took place. Emma Jayne Park, Founder and Artistic Director of the Cultured Mongrel Dance Theatre and Associate Artist with the Scottish Mental Health Arts Festival, opened “The Creative Brain” discussion by expressing her belief in the need for uncodified, non-academic research. “I have a real interest in academia, but I’m also very interested in how we value practice-based research and share practices that I feel would suffer from being codified in an academic way, and how we value those research practices as well, particularly at a time when we are appealing collectively to government for support, because it’s really hard to do that through case studies, even though that’s where lots of really valuable work happens,” she explained. Park pointed to her own show at this year’s Edinburgh Festival Fringe, which was based on her experience of chemotherapy. “Lots of people explained to me afterwards that they felt they had ‘permission’ to reflect on their own experiences of cancer,” she added. “That brings me back to not having an academic practice. Because everything I do is so personcentred, it is impossible to codify those experiences.” Personal experiences are also at the heart of the work carried out by David Leventhal, Programme Director and Founding Teacher at the Mark Morris Dance Group’s Dance for Parkinson’s Disease, which offers dance practice in 24 countries. He explained how participants had learned to use mimicry to aid their movement; for instance, when they froze in the grocery store and couldn’t move, they pretended they were a choreographer and planned out their steps, allowing them to move to the checkout counter. Leventhal reflected on how important evidencebased research about arts and health programmes is when making a case to policymakers and physicians. “There are a lot of neurologists who don’t ‘get it’ and aren’t supportive right away—they do not understand how something as ‘frivolous’ as dance would be something they could recommend,” he said. “There are now 38 peer-reviewed published studies on the effects of Dance for Parkinson’s Disease; a lot of these are based on the standard measure, the Unified Parkinson’s Disease Rating Scale.” He added that, as an artist, he was much interested in the development of the participants’ creativity, their confidence, self-esteem, and social connections, and he urged policymakers to use both qualitative and quantitative measures in their decision-making. Before becoming a neuroscientist, Assal Habibi, Assistant Research Professor of Psychology at The Brain & Creativity Institute in the University of Southern California (Los Angeles, CA, US) was a classical pianist. She has a special interest in using arts and music training to assist children’s social, emotional, and cognitive development. For the past 6 years, she has studied children participating in an El Sistema programme—orchestral training for young people from disadvantaged backgrounds—including using MRI to monitor brain development and measuring intelligence quotient, language skills, and social development. Habibi pointed to the musically trained children’s enhanced working memory, empathy, and social behaviour, and to changes in brain structure and increased connectivity. “Sensory and motor makes sense because they’re playing music, but the frontal part of their brain is involved in a lot of decision Event Valuing qualitative alongside quantitative research

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在定量研究的同时重视定性

www.thelancet.com/neurology 2019年2月22日在线发表 http://dx.doi.org/10.1016/S1474-4422(19)30085-7 1 科学家热爱统计；无论是随机对照试验的结果还是疾病在人群中的传播，研究人员都在寻求有数据支持的结果。政策制定者也喜欢统计；当可以证明它使 Y 人受益时，很容易证明花费 X 金额是合理的。虽然定量的理由在逻辑上是可以理解的，但它们的定性方面呢？当无法用数字衡量时，干预是否有益？这些是“创意大脑”的核心问题，爱丁堡国际文化峰会是英国文化协会于 2012 年设立的两年一度的部长级论坛，爱丁堡国际艺术节、苏格兰议会和英国政府将艺术家和政策制定者聚集在一起。来自 44 个国家的 150 多名代表出席了今年以“文化与福祉”为主题的峰会，并在最后一天进行了圆桌讨论。艾玛·杰恩·帕克 (Emma Jayne Park) 是文化混血舞蹈剧院的创始人兼艺术总监，同时也是苏格兰心理健康艺术节的副艺术家，她表达了对未经编纂的非学术研究的必要性的信念，开启了“创意大脑”讨论。“我对学术界非常感兴趣，但我也对我们如何重视基于实践的研究和分享我认为会因学术方式编纂而受到影响的实践以及我们如何重视这些研究实践也非常感兴趣，尤其是在我们集体呼吁政府支持的时候，因为通过案例研究来做到这一点真的很困难，即使很多真正有价值的工作发生在那里，”她解释道。朴槿惠在今年的爱丁堡艺穗节上指出了她自己的节目，这是基于她化疗的经验。“很多人事后向我解释说，他们觉得他们'允许'反思自己的癌症经历，”她补充道。“这让我回到了没有学术实践的情况。因为我所做的一切都以人为本，所以不可能将这些经历编成法典。” 个人经历也是 Mark Morris 舞蹈团帕金森病舞蹈项目总监兼创始教师 David Leventhal 开展的工作的核心，它在 24 个国家/地区提供舞蹈练习。他解释了参与者如何学会使用模仿来帮助他们的运动；例如，当他们在杂货店里冻得一动不能动时，他们就假装自己是一名编舞家，并计划好他们的步骤，让他们移动到收银台。Leventhal 反思了在向政策制定者和医生提出案例时，关于艺术和健康项目的循证研究是多么重要。“有很多神经病学家没有'明白'，也没有立即提供支持——他们不明白像舞蹈这样'无聊'的东西怎么会是他们可以推荐的东西，”他说。“现在有 38 项经过同行评审的已发表的关于舞蹈对帕金森病影响的研究；其中很多都是基于标准衡量标准，即统一帕金森病评定量表。”他补充说，作为一名艺术家，他对参与者的创造力、信心、自尊和社会关系的发展非常感兴趣，他敦促政策制定者在决策中使用定性和定量措施。在成为神经科学家之前，南加州大学（美国加利福尼亚州洛杉矶）大脑与创造力研究所的心理学助理研究教授 Assal Habibi 是一位古典钢琴家。她对使用艺术和音乐培训来帮助儿童的社交、情感和认知发展特别感兴趣。在过去的 6 年里，她研究了参加 El Sistema 项目的儿童——为来自弱势背景的年轻人提供管弦乐培训——包括使用 MRI 监测大脑发育和测量智商，语言能力和社会发展。哈比比指出，受过音乐训练的儿童的工作记忆、同理心和社会行为得到增强，大脑结构发生变化，连通性增强。“感觉和运动是有道理的，因为他们在播放音乐，但他们大脑的前部参与了很多决策事件价值定性和定量研究