The different kinds of knowledge which were connected in Natural Philosophy (NP) have been later separated. The real separation came when Physics took its individuality and developed specific mathematical models, such as dynamic systems. These models are not adapted to an integral study of _living systems_, by which we mean evolutionary multi-level, multi-agent, and multi-temporality self-organized systems, such as biological, social, or cognitive systems. For them, the physical models can only be applied to the local dynamic of each co-regulator agent, (...) but not to the global dynamic intertwining these partial dynamics. To ‘revive’ NP, we present the Memory Evolutive Systems (MES) methodology which is based on a ‘dynamic’ Category Theory; it proposes an info-computational model for living systems. Among the main results: (i) a mathematical translation of the part⁻whole problem (using the categorical operation colimit) which shows how the different interpretations of the problem support diverging philosophical positions, from reductionism to emergentism and holism; (ii) an explanation of the emergence, over time, of structures and processes of increasing complexity order, through successive ‘complexification processes’. We conclude that MES provides an emergentist-reductionism model and we discuss the different meanings of the concept of _emergence_ depending on the context and the observer, as well as its relations with anticipation and creativity. (shrink)

Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a recent example of (...) how a system’s ability to generate novel products can both be finely tuned by prior experience and grounded in strategies that cannot be articulated by the system itself. Further, the kinds of processes exploited by GANs need not be seen as incorporating something akin to sui generis imaginative states. The chapter concludes with reflection on the added relevance of personal character to explanations of creativity. [This is Chapter 12 of the book Explaining Imagination.]. (shrink)

Currie’s (2010) argument that “i-desires” must be posited to explain our responses to fiction is critically discussed. It is argued that beliefs and desires featuring ‘in the fiction’ operators—and not sui generis imaginings (or "i-beliefs" or "i-desires")—are the crucial states involved in generating fiction-directed affect. A defense of the “Operator Claim” is mounted, according to which ‘in the fiction’ operators would be also be required within fiction-directed sui generis imaginings (or "i-beliefs" and "i-desires"), were there such. Once we appreciate that (...) even fiction-directed sui generis imaginings would need to incorporate ‘in the fiction’ operators, the main appeal of the idea that sui generis imaginings (or "i-beliefs" or "i-desires") are at work in fiction-appreciation dissipates. [This is Chapter 10 of Explaining Imagination (OUP, 2020)]. (shrink)

Clark and Chalmers propose that the mind extends further than skin and skull. If they are right, then we should expect this to have some effect on our way of knowing our own mental states. If the content of my notebook can be part of my belief system, then looking at the notebook seems to be a way to get to know my own beliefs. However, it is at least not obvious whether self-ascribing a belief by looking at my notebook (...) is a case of introspection the same way that knowing my non-extended beliefs is. Traditionally this sort of introspection is thought to be privileged and special in ways that the extended introspection case seems not to be. There is nothing privileged about looking at my notebook. Anyone could do it. The aim of the paper is to find out how to understand extended introspection and whether there is something privileged and special about knowing one’s own extended beliefs. Moreover, the notebook case has close analogs using twenty-first century technology. It seems possible to know our beliefs that are extended to smartphones, wearable technology or a cloud-based data store. First, I present the case of extended introspection. I then discuss whether it should be understood as ordinary introspection or as mind-reading. Both seem to be bad fits, which finally prompts an original account for extended introspection based on epistemic rules. (shrink)

The findings reveal that e-commerce serendipity is an artificially facilitated unplanned experience, jointly shaped by consumers and online platforms along with their designers. Being an artificial serendipity, e-commerce serendipity is characterised by its expectedness, thrillingness, and varied outcomes. Three routes were presented for consumers to experience e-commerce serendipity: coincidence, unexpected discovery, encountering. These routes differed via the varying interaction patterns between serendipitists and third parties under different conditions. The findings regarding ecommerce serendipity as a form of artificial serendipity have significant (...) implications for both research and practice. (shrink)

This article reviews claims for creativity in the economy and in education distinguishing two accounts: 'personal anarcho-aesthetics' and 'the design principle'. The first emerges in the psychological literature from sources in the Romantic Movement emphasizing the creative genius and the way in which creativity emerges from deep subconscious processes, involves the imagination, is anchored in the passions, cannot be directed and is beyond the rational control of the individual. This account has a close fit to business as a form of (...) 'brainstorming', 'mind-mapping' or 'strategic planning', and is closely associated with the figure of the risk-taking entrepreneur. By contrast, 'the design principle' is both relational and social and surfaces in related ideas of 'social capital', 'situated learning', and 'P2P' (peer-to-peer) accounts of commons-based peer production. It is seen to be a product of social and networked environments — rich semiotic and intelligent environments in which everything speaks. The article traces the genealogies of these two contrasting accounts of creativity and their significance for educational practice before showing how both notions are strongly connected in accounts of new forms of capitalism that require a rethinking of the notion of creativity and its place in schools and institutions of higher education. The article begins by providing a context in terms of a history of the knowledge economy and the historical tendency toward aesthetic or designer capitalism. (shrink)

​Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process—one with (...) its own inscrutable principles of operation. Explaining Imagination upends that view, showing how, on closer inspection, the imaginings at work in hypothetical reasoning, pretense, the enjoyment of fiction, and creativity are reducible to other familiar mental states—judgments, beliefs, desires, and decisions among them. Crisscrossing contemporary philosophy of mind, cognitive science, and aesthetics, Explaining Imagination argues that a clearer understanding of imagination is already well within reach. (shrink)

According to David Chalmers, the hard problem of consciousness consists of explaining how and why qualitative experience arises from physical states. Moreover, Chalmers argues that materialist and reductive explanations of mentality are incapable of addressing the hard problem. In this chapter, I suggest that Chalmers’ hard problem can be usefully distinguished into a ‘how question’ and ‘why question,’ and I argue that evolutionary biology has the resources to address the question of why qualitative experience arises from brain states. From this (...) perspective, I discuss the different kinds of evolutionary explanations (e.g., adaptationist, exaptationist, spandrel) that can explain the origins of the qualitative aspects of various conscious states. This argument is intended to clarify which parts of Chalmers’ hard problem are amenable to scientific analysis. (shrink)

Construction of a robot discoverer can be treated as the ultimate success of automated discovery. In order to build such an agent we must understand algorithmic details of the discovery processes and the representation of scientific knowledge needed to support the automation. To understand the discovery process we must build automated systems. This paper investigates the anatomy of a robot-discoverer, examining various components developed and refined to a various degree over two decades. We also clarify the notion of autonomy of (...) an artificial agent, and we discuss the ways in which machine discoverers become more autonomous. Finally we summarize the main principles useful in construction of automated discoverers and we discuss various possible limitations of automation. (shrink)

CHAMELEON is a computational melodic harmonization assistant. It can harmonize a given melody according to a number of independent harmonic idioms or blends between idioms based on principles of conceptual blending theory. Thus, the system is capable of offering a wealth of possible solutions and viewpoints for melodic harmonization. This study investigates how human creativity may be influenced by the use of CHAMELEON in a melodic harmonization task. Professional and novice music composers participated in an experiment where they were asked (...) to harmonize two similar melodies under two different conditions: one with and one without computational support. A control group harmonized both melodies without computational assistance. The influence of the system was examined both behaviorally, by comparing metrics of user-experience, and in terms of the properties of the artifacts that were created between the two experimental conditions. Results suggest that appreciation of the system was expertise-dependent. At the same time, users seemed to adopt more explorative strategies as a result of interaction with CHAMELEON based on the fact that the harmonizations created this way were more complex, diverse, and unexpected in comparison to the ones of the control group. (shrink)

Goal-directed problem solving as originally advocated by Herbert Simon’s means-ends analysis model has primarily shaped the course of design research on artificially intelligent systems for problem-solving. We contend that there is a definite disregard of a key phase within the overall design process that in fact logically precedes the actual problem solving phase. While systems designers have traditionally been obsessed with goal-directed problem solving, the basic determinants of the ultimate desired goal state still remain to be fully understood or categorically (...) defined. We propose a rational framework built on a set of logically inter-connected conjectures to specifically recognize this neglected phase in the overall design process of intelligent systems for practical problem-solving applications. (shrink)

Semiotics, in the guise of the limited Saussurean semiology, has been widely used in the humanities and in cultural studies for the past 20 to 30 years at least. With the advent, nearly 20 years ago, of the environmental humanities, including the new field of humanities animal studies, the weaknesses of this mode of analysis became increasingly clear. This essay forms part of a larger attempt to develop a Peirce-informed biosemiotic theory capable of affording conceptual tools for the broad-based study (...) of human and nonhuman natural and cultural developmental ecologies. It is particularly concerned to develop a biosemiotic, and hence non-reductive, account of aesthetic experience in which function consists in the growth of knowledge. Based on the role of chance, and thus creativity, in natural and cultural evolutionary systems, this essay uses poetry and poetic theory in order to argue that chance is a habit-upsetting happenstance whereby something which has the potential to become a sign , or to become a bearer of meaning, actually does become a sign to some living thing. (shrink)

Reasoning from a naturalistic perspective, viewing the mind as an evolved biological organ with a particular structure and function, a number of influential philosophers and cognitive scientists claim that science is constrained by human nature. How exactly our genetic constitution constrains scientific representations of the world remains unclear. This is problematic for two reasons. Firstly, it often leads to the unwarranted conclusion that we are cognitively closed to certain aspects or properties of the world. Secondly, it stands in the way (...) of a nuanced account of the relationship between our cognitive and perceptual wiring and scientific theory. In response, I propose a typology or classification of the different kinds of biological constraints and their sources on science. Using Boden’s notion of a conceptual space, I distinguish between constraints relating to the ease with which we can reach representations within our conceptual space and constraints causing possible representations to fall outside of our conceptual space. This last kind of constraints does not entail that some aspects or properties of the world cannot be represented by us – as argued by advocates of ‘cognitive closure’ – merely that some ways of representing the world are inaccessible to us. It relates to what Clark and Rescher have framed as ‘the alien scientist hypothesis’. The purpose of this typology is to provide some much needed clarity and structure to the debate about biological constraints on science. (shrink)

Many kinds of creativity result from combination of mental representations. This paper provides a computational account of how creative thinking can arise from combining neural patterns into ones that are potentially novel and useful. We defend the hypothesis that such combinations arise from mechanisms that bind together neural activity by a process of convolution, a mathematical operation that interweaves structures. We describe computer simulations that show the feasibility of using convolution to produce emergent patterns of neural activity that can support (...) cognitive and emotional processes underlying human creativity. (shrink)

This article proposes a unified framework for understanding creative problem solving, namely, the explicit–implicit interaction theory. This new theory of creative problem solving constitutes an attempt at providing a more unified explanation of relevant phenomena (in part by reinterpreting/integrating various fragmentary existing theories of incubation and insight). The explicit–implicit interaction theory relies mainly on 5 basic principles, namely, (a) the coexistence of and the difference between explicit and implicit knowledge, (b) the simultaneous involvement of implicit and explicit processes in most (...) tasks, (c) the redundant representation of explicit and implicit knowledge, (d) the integration of the results of explicit and implicit processing, and (e) the iterative (and possibly bidirectional) processing. A computational implementation of the theory is developed based on the CLARION cognitive architecture and applied to the simulation of relevant human data. This work represents an initial step in the development of process-based theories of creativity encompassing incubation, insight, and various other related.. (shrink)

Several works published in the last decades defend the claim that the concept of creativity should be demystified. With the aim of showing that creativity is not an obscure power owned by only few individuals and free from constraints, authors working at the intersection field between philosophy and cognitive science have notably focused on the structure and evolution of cognitive mechanisms underlying our creative capacities. While taking up the suggestion that we should try not to mystify creativity, this article argues (...) that what is required for such demystification is primarily a transcendental and phenomenological inquiry. Kant’s and Merleau-Ponty’s works are here discussed in order to develop such a transcendental inquiry into creativity. Both Kant and Merleau-Ponty bring to the fore the conditions of possibility for creative acts, and highlight fundamental role of creativity itself in the formation of meaningfulness. The keystone of both philosophers’ inquiries is the emphasis on the interdependence between creativity and rules. Yet, due to the different approaches to the transcendental, Kant’s and Merleau-Ponty’s accounts do not fully converge, but should rather be considered as complementary. (shrink)

Metaphors are found all throughout science: in published papers, working hypotheses, policy documents, lecture slides, grant proposals, and press releases. They serve different functions, but perhaps most striking is the way they enable understanding, of a theory, phenomenon, or idea. In this paper, we leverage recent advances on the nature of metaphor and the nature of understanding to explore how they accomplish this feat. We attempt to shift the focus away from the epistemic value of the content of metaphors, to (...) the epistemic value of the metaphor’s consequences. Many famous scientific metaphors are epistemically good, not primarily because of what they say about the world, but because of how they cause us to think. Specifically, metaphors increase understanding either by improving our sets of representations, or by making it easier for us to encode and process data about complex subjects by changing how we are disposed to conceptualize those subjects. This view hints towards new positions concerning testimonial understanding, factivity, abilities, discovery via metaphor, and the relation between metaphors and models. (shrink)

The standard view in current philosophy of creativity says that being creative has two requirements: being novel and being valuable. The standard view on creativity has recently become an object of critical scrutiny. Hills and Bird have specifically proposed to remove the value requirement from the definition, as it is not clear that creative objects are necessarily valuable or creative people necessarily praiseworthy. In this paper, I argue against Hills and Bird, since eliminating the element of value from the explanation (...) of creativity hinders the understanding of the role that creative products play in actual epistemic practices, which are fundamentally normative. More specifically, I argue that the terms ‘creativity’ and ‘creative’ function as thick epistemic concepts when employed by competent epistemic agents in practice, that is, these concepts have both a descriptive and an evaluative content that cannot be disentangled from one another. Accordingly, I suggest that philosophers should prefer thick accounts over thin accounts of creativity. A thick account of creativity is one that endorses the standard view at its basis, but further develops it in two ways: by stressing the entanglement of the value and novelty requirements; by permitting to encompass a range of domain-specific characterizations of such entanglement for different epistemic situations. In order to take the first steps in the development of such a thick account of creativity, I look at the domain of scientific practices as a case in point, and try to spell out what the thickness of creative instances typically entails here. Namely, I identify the worthy novelty of creative models and methods with their potential to clarify a tradition, with fruitfulness, and with the fulfilment of exploratory aims. (shrink)

This paper seeks to show how MacIntyre’s concept of a practice can survive a series of ‘scope problems’ which threaten to render the concept inapplicable to business ethics. I begin by outlining MacIntyre’s concept of a practice before arguing that, despite an asymmetry between productive and non-productive practices, the elasticity of the concept of a practice allows us to accommodate productive and profitable activities. This elasticity of practices allows us to sidestep the problem of adjudicating between practitioners and non-practitioners as (...) well as the problem of generic activities. I conclude by suggesting that the contemporary tendency to regard work as an object of consumption, rather than undermining MacIntyre’s account of practices, serves to demonstrate the potential breadth of its applicability. (shrink)

The concept of creativity is a central one in folk psychological explanation and has long been prominent in philosophical debates about the nature of art, genius, and the imagination. The scientific investigation of creativity in humans is also well established, and there has been increasing interest in the question of whether the concept can be rigorously applied to non-human animals. In this paper, I argue that such applications face serious challenges of both a conceptual and methodological character, reflecting deep controversies (...) within both philosophy and psychology concerning how to define and apply the concept of creativity. After providing a brief review of some of the leading theories of creativity and discussing some of the strongest putative cases of creative intelligence in non-human animals, I examine some of the more worrisome difficulties faced by attempts to use these theories to answer the question of whether animals are truly creative. I conclude by examining how we might overcome them, and suggest that one approach worth taking seriously is to adopt what I term a Strong Rejectionist view of creativity, eschewing use of the term entirely in the scientific study of comparative cognition. (shrink)

From 2012 to 2015 I was the first Eugene H. Fram Chair in Applied Critical Thinking at Rochester Institute of Technology, in Rochester, NY. To the best of my knowledge it is the only such endowed position devoted solely to this at a major North American university. It was made possible by a generous 3 million dollar gift from an anonymous alumnus who wished to honor a retired faculty member who had taught for 51 years. The honoree was revered for (...) his devotion to Bloom’s taxonomy and his academic rigor, which infused case studies and the Socratic method. A primary motivation for the chair was a belief that an alarming number of college graduates lack the necessary critical thinking skills in order to advance successfully in their careers. My responsibilities included collaborative leadership, advocacy and oversight for critical thinking across the entire campus. It provided a unique opportunity to reflect on the current state of critical thinking instruction–very broadly construed, as well as to examine its specific role at RIT, an institution with its own unique history, mission, and character. (shrink)

Ethical aspects in engineering design have become increasingly important in recent years. A typical example is the recent rise of artificial intelligence ethics. This paper applies user studies of a design support tool to empirically verify that our ethical framework improves the creativity of an engineer’s design activity. The design support tool provides an environment for the promotion of ethical design perspectives and description. The experiments focus on two functionalities: semi-automatic generation and scenario path recommendation. These functions are designed around (...) the application of ethical design theory, which extends the hierarchical representation of artifacts. Doing this enables users to reconsider their themes at the highest level of the hierarchy and to apply a wider conceptual space of design solutions. For example, by reconsidering the positions of their research themes in the space of the representation field, users can semi-automatically edit them and identify focal areas. Using the scenario path recommendation, designers can update their research themes after considering the ethical impacts of those themes on stakeholders. Both functions are realized by exploiting a knowledge base of ethical and technological discourses. Finally, the ethical design theory is updated based on some unexpected results of our user studies with regards to the cyclic relationship among theory, tools, and observed data. For example, temporal dimensional aspects were confirmed as important. (shrink)

Many parts of the contemporary philosophical debate have been built on the radicalization of conclusions derived from the acceptance of a certain set of classical dichotomies. It also discusses how pragmatism and abduction are currently presented to solve the problems arising from these dichotomies. For this reason, the efforts of this article have been directed to analyze the impact of this fact on the philosophy of science and logic. The starting point is that accepting abduction implies, in many ways, accepting (...) the foundations of pragmatism. Also, that the analysis of such problems from pragmatism and the particular use of abduction dissolve the dichotomies and, with it, also modify the philosophical problems related to them. Therefore, I propose to understand abduction as the right conceptual device to review the problems and debates of the twentieth century’s epistemology from a pragmatic perspective. In doing so, the aim is to propose that the current use of abduction in contemporary debates may imply a change of the philosophical perspective. (shrink)

Over recent decades there has been a growing interest in the question of whether computer programs are capable of genuinely creative activity. Although this notion can be explored as a purely philosophical debate, an alternative perspective is to consider what aspects of the behaviour of a program might be noted or measured in order to arrive at an empirically supported judgement that creativity has occurred. We sketch out, in general abstract terms, what goes on when a potentially creative program is (...) constructed and run, and list some of the relationships (for example, between input and output) which might contribute to a decision about creativity. Specifically, we list a number of criteria which might indicate interesting properties of a program’s behaviour, from the perspective of possible creativity. We go on to review some ways in which these criteria have been applied to actual implementations, and some possible improvements to this way of assessing creativity. (shrink)

This paper provides an account of the nature of creativity in high-energy physics experiments through an integrated historical and philosophical study of the current and planned attempts to measure the self-coupling of the Higgs boson by two experimental collaborations at the Large Hadron Collider and the planned High Luminosity Large Hadron Collider. A notion of creativity is first identified broadly as an increase in the epistemic value of a measurement outcome from an unexpected transformation, and narrowly as a condition for (...) knowledge of the measurement of the self-coupling of the Higgs. Drawing upon Tal’s model-based epistemology of measurement this paper shows how without change to ‘readings’ a transformation to the model of the measurement process can increase the epistemic value of the measurement outcome. Such transformations are attributed to the creativity of the experimental collaboration. Creativity, in this context, is both a product, a creative and improved model, and the distributed collaborative process of transformation to the model of the measurement process. For the case of the planned measurements at the HL-LHC, where models of the measurement process perform the epistemic function of prediction, creativity is included in the models of the measurement process, both as projected quantified creativity and as an assumed property of the future collaborations. (shrink)

Storytelling is a pervasive part of our daily lives and culture. The task of creating stories for the purposes of entertaining, educating, and training has traditionally been the purview of humans. This sets up the conditions for a creative authoring bottleneck where the consumption of stories outpaces the production of stories by human professional creators. The automation of story creation may scale up the ability to produce and deliver novel, meaningful story artifacts. From this practical perspective, story generation systems replicate (...) the creative abilities of humans and can thus be considered instances of computational creativity. Computational systems that are purported to be creative typically utilize one of three general approaches: exploration of a space of concepts, combination of concepts, and transformation of concepts. In this article we present an approach to story generation that utilize exploration, combination, and transformation. Our approach, implemented in the Vignette Based Partial Order Causal Link story planner, is an algorithm that searches through a space of possible story solutions, guided by combinations of existing story fragments called vignettes. The vignettes are made relevant to novel story generation contexts through an automated transformation pre-process. Through these processes, we show that story generation can incorporate multiple perspectives on computational creativity. Our approach is presented at both the theoretical and technical levels. (shrink)

A human being is the simultaneous composite of several different levels of being, from atomic and subatomic to the level of complex social interaction, and these levels are nested within the individual hierarchically (lower levels giving rise to higher levels, etc.). One of the most important and influential approaches developed in the history of science has been that of systems theory and systemic thinking, in which the different levels of the hierarchy, and the interactions between those levels, are considered simultaneously. (...) Although this model provides a comprehensive view of biological being, the transition from one level to the other is not well defined in it. Uexküll and Pauli (Advances: Journal of the Institute for 417 the Advancement of Health 3:158–174, 1986) suggested that semiosis is the translator of the events from one level to the other. From a psychological point of view, a myriad of semiotic events happen inside an individual, and it has been suggested that among other semiotic events, inner speech plays an important role in mediating personal agency. Dialogical theories of the self, Jungian psychology and hypnosis research evidence show that there is a semiotic multiplicity in human agency and consciousness, and that these multiple streams are all converge to a central semiotic singularity. I argue in this paper that by taking a biosemiotic point of view, human ‘agency’ may be defined as the ability of an individual to direct the incoming and internal streams of semioses and the ability to create an integrative and superordinate new stream of semiosis in addition to the upwardly and downwardly component ones, and how such a view might open a new door for research into the concept of human ‘personality’ and ‘agency’. (shrink)

One of the most important questions in the young field of numerical cognition studies is how humans bridge the gap between the quantity-related content produced by our evolutionarily ancient brains and the precise numerical content associated with numeration systems like Indo-Arabic numerals. This gap problem is the main focus of this paper. The aim here is to evaluate the extent to which cultural factors can help explain how we come to think about numbers beyond the subitizing range. To do this, (...) I summarize Clark’s notion of a difference maker in explaining complex causation that criss-crosses between mind and world and apply it to Menary’s Open MIND. MIND Group, Frankfurt, 2015a) discussion of mathematical cognition as a case of enculturation. I argue that while Menary’s views on enculturation can help explain what makes the difference between numerate and anumerate cultures, it cannot help specify what makes the difference between numerate and anumerate individuals. I argue that features of enculturation do not provide an account of innovation capable of explaining how individuals manage to improve and modify the practices of their cultural niche. This is because Menary’s construal of the role of enculturation in the development of mathematical cognition focuses mostly on the inheritance and transmission of practices, not on their origins, which involve individual-level understanding, rather than population-level practices and pressures. The upshot is that culture provides the necessary background conditions against which individuals can innovate. This role is crucial in the development of numerical abilities—crucial, but explanatorily limited. (shrink)

The connectionist vehicle theory of phenomenal experience in the target article identifies consciousness with the brain’s explicit representation of information in the form of stable patterns of neural activity. Commentators raise concerns about both the conceptual and empirical adequacy of this proposal. On the former front they worry about our reliance on vehicles, on representation, on stable patterns of activity, and on our identity claim. On the latter front their concerns range from the general plausibility of a vehicle theory to (...) our specific attempts to deal with the dissociation studies. We address these concerns, and then finish by considering whether the vehicle theory we have defended has a coherent story to tell about the active, unified subject to whom conscious experiences belong. (shrink)

The paper explores the creative thinking process and throws light on creativity enhancement. From the perspective of possible creativity enhancement both the characteristics of creativity and the creative thinking process are discussed, together with an analysis of the process and its common factors. Constraints on innovation (as a special type of creativity), innovation management and the acceptance of change are discussed; creativity between cooperating individuals is also examined. Some possible computer-based tools to enhance creativity, including innovation, are discussed. A framework (...) of facilities to help promote and support the use of creativity enhancement techniques and tools (SOLI) is proposed. The paper is the result of a study undertaken by the author into creativity, innovation and cooperation. (shrink)

O'Brien & Opie do not address the question of the psychotherapeutic role of unconscious representational states such as beliefs. A dilemma is proposed: if they accept the legitimacy of such states then they should modify what they say about dissociation, and if they do not, they owe us an account of why.

Despite the recent upsurge of interest in the investigation of creativity, the question of how to measure creativity is arguably underdiscussed. The aim of this paper is to address this gap, proposing a multidimensional account of creativity which identifies problem-solving, evaluation, and naivety as measurable features that are common among creative processes. The benefits that result from the adoption of this model are twofold: integrating discussions on creativity in various domains and offering the tools to assess creativity across systems of (...) different kinds. By situating creativity within this framework, I aim to contribute to a non-anthropocentric, more comprehensive understanding of the notion, and to debates on natural and artificial creativity. (shrink)

I describe how close attention to the process of sculpting clay from the perspective of Material Engagement Theory can create a detailed description of a mutable sense of agency and of self. First, I show that sculpting is associated with a loss of sense of agency and self. Second, that to sense agency as a systemic phenomenon creates anxiety. Third, that meaning in an art encounter develops in association with an anterospective viewpoint. Fourth, that within the logic of the extended (...) mind, emergent meaning becomes openly available for further exploration. Fifth, that artistic creativity is not an opaque process. It proceeds in a similar manner to other forms of human, sense-making activities. Finally, that playing seriously with clay can be used in an investigative manner—as a tool for material conceptualisation. (shrink)

O'Brien & Opie's (O&O's) theory demands a view of unconscious processing that is incompatible with virtually all current PDP models of neural activity. Relative to the alternatives, the theory is closer to an AI than a parallel distributed processing (PDP) perspective, and its treatment of phenomenology is ad hoc. It raises at least one important question: Could features of network relaxation be the “switch” that turns an unconscious into a conscious network?

The “puzzle” of emotional plasticity concerns making sense of two conflicting bodies of evidence: evidence that emotions often appear modular in key respects, and evidence that our emotions also often appear to transcend this modularity. In this paper, I argue a developmentalist approach to emotion, which builds on Karmiloff-Smith’s (1986, 1992, 1994, 2015) work on cognitive development, can help us dissolve this puzzle.

We aim to develop a take on the meaning of works of art that builds on Dennett’s view on the nature of intentionality, namely, that the intentionality exhibited by mental phenomena is not original, but derived. Regarding the meaning of works of art, theories that hold that the meaning is determined by the intentions of the author when creating the work are considered intentionalist. Adopting the view of derived intentionality implies that it is no longer possible to maintain that the (...) semantic content of a work of art is closely linked to the creative act that gave rise to it; accordingly, intentionalist theories should be, broadly speaking, abandoned. However, we claim that one aspect of intentionalist theories is accurate and, moreover, compatible with the perspective on intentionality we adopt: The fact that part of the meaning of a work of art is given by the interpretations that arise when it is assumed that the work was produced by an agent with the purpose of transmitting something. We call this interpretative strategy the work-of-art stance and argue that it should be understood as a subtype of the intentional stance. According to our proposal, this interpretive strategy is part of a view that tries to explain the meaning of works of art as partially indeterminate, relative to a history (and not to a foundational origin) and dependent on interpretive attribution. En este artículo elaboramos una propuesta sobre el significado de las obras de arte que se apoya en la perspectiva de Dennett acerca de la naturaleza de la intencionalidad de los fenómenos mentales. De acuerdo a ella, la intencionalidad que estos exhiben no es original, sino derivada. Adoptar la perspectiva de la intencionalidad derivada implica que ya no será posible sostener que el significado de una obra de arte esté vinculado al acto creativo que le dio origen o que esté determinado por las intenciones que tuvo su autor al crearlas, como han sostenido las teorías intencionalistas. Ahora bien, creemos que hay un aspecto de estas que no es incompatible con la perspectiva de intencionalidad derivada. Se trata del hecho de que parte del significado de la obra de arte está dado por las interpretaciones que surgen sólo cuando se asume que la misma fue producida por un agente con el propósito de transmitir algo. Llamaremos a esta estrategia interpretativa actitud de la obra de arte y defenderemos que debe ser entendida como un subtipo de la actitud intencional. Esta estrategia interpretativa forma parte de una propuesta que intenta explicar el significado de las obras de arte como siendo parcialmente indeterminado, relativo a una historia y dependiente de la atribución interpretativa. (shrink)

What is the goal of creativity? Is it just a symbolic reshuffling or a moment of semantic extension? Similar to the contrast between syntax and semantics, creativity has an internal and an external aspect. Contrary to the widespread view that emphasises the problem-solving role of creativity, here we consider whether creativity represents an authentic moment of ontological discovery and semantic openness like Schopenhauer and Picasso suggested. To address the semantic aspect of creativity, we take advantage of recent externalist models of (...) the mind suggesting that the mind is more than symbol recombination. (shrink)

Academic freedom has often been defended in a progressivist manner: without academic freedom, creativity would be in peril, and with it the advancement of knowledge, i.e. the epistemic progress in science. In this paper, I want to critically discuss the limits of such a progressivist defense of academic freedom, also known under the label ‘argument from truth.’ The critique is offered, however, with a constructive goal in mind, namely to offer an alternative account that connects creativity and academic freedom in (...) a way that goes beyond mere reference to epistemic progress and involves reference to the freedom to think independently as the freedom we mean when we point to creativity and when we point to academic freedom. The resulting causal independence account is not only epistemologically stronger than a progressivist account, it also allows to counter the curbing of academic freedom in the name of progress. The latter becomes key, for instance, when authoritarian political regimes limit or negate academic freedom with reference to an epistemic progress suitably defined for that regime. (shrink)

Over the last four decades arguments for and against the claim that creative hypothesis formation is based on Darwinian ‘blind’ variation have been put forward. This paper offers a new and systematic route through this long-lasting debate. It distinguishes between undirected, random, and unjustified variation, to prevent widespread confusions regarding the meaning of undirected variation. These misunderstandings concern Lamarckism, equiprobability, developmental constraints, and creative hypothesis formation. The paper then introduces and develops the standard critique that creative hypothesis formation is guided (...) rather than blind, integrating developments from contemporary research on creativity. On that basis, I discuss three compatibility arguments that have been used to answer the critique. These arguments do not deny guided variation but insist that an important analogy exists nonetheless. These compatibility arguments all fail, even though they do so for different reasons: trivialisation, conceptual confusion, and lack of evidence respectively. Revisiting the debate in this manner not only allows us to see where exactly a ‘Darwinian’ account of creative hypothesis formation goes wrong, but also to see that the debate is not about factual issues, but about the interpretation of these factual issues in Darwinian terms. (shrink)

I argue that philosophical studies of the virtues of creativity should attend to the ways that our conceptions of human creativity may be grounded in conceptions of human nature or the nature of reality. I consider and reject claims in this direction made by David Bohm and Paul Feyerabend. The more compelling candidate is the account of science, creativity, and human nature developed by the early Marx. Its guiding claim is that the forms of creativity enabled by the sciences are (...) ultimately valuable insofar as they advance our emancipation from a state of existential alienation. I end by encouraging future investigations of such vertical explanations of the significance of certain virtues in the context of scientific enquiry. (shrink)

The greatest rhetorical challenge to developers of creative artificial intelligence systems is convincingly arguing that their software is more than just an extension of their own creativity. This paper suggests that “creative autonomy,” which exists when a system not only evaluates creations on its own, but also changes its standards without explicit direction, is a necessary condition for making this argument. Rather than requiring that the system be hermetically sealed to avoid perceptions of human influence, developing creative autonomy is argued (...) to be more plausible if the system is intimately embedded in a broader society of other creators and critics. Ideas are presented for constructing systems that might be able to achieve creative autonomy. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized by two (...) stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

Perhaps a part of what makes expertise so inspiring to the curious researcher is the possibility of appropriating the structural components of skilled action to draw a roadmap towards their achievement that anyone might be able to follow. Accordingly, the purpose of this essay is to shed light upon the role that creativity plays in the production and environment of skilled action to that foregoing end. In doing so, I suggest that the lessons to be learned from recent empirical research (...) on creativity has much to offer to the cognitive science of skill and expertise. Experts are able to bring their intelligence to bear in controlling fast and seemingly automatic actions by utilizing a form of control often called ‘intelligent automaticity.’ In this spirit, I argue that the environment of intelligently automatic action control curates a similarly ideal environment for the processes of creativity. Moreover, insofar as creativity is ideally operative within the environment of expert action control, I argue further that creativity functions as one representative form of ‘intelligence’ embedded within otherwise fluid, and automatic expert actions. Creativity is able to do so even without conscious representation through the powers of incubated cognition. (shrink)

Most research on people's conceptions regarding creativity has concerned informal beliefs instead of more complex belief systems represented in scholarly theories of creativity. The relevance of general theories of creativity to the creative domain of music may also be unclear because of the mixed responses these theories have received from music researchers. The aim of the present study was to gain a better comparative understanding of theories of creativity as accounts of musical creativity by allowing students to assess them from (...) a musical perspective. In the study, higher-education music students rated 10 well-known theories of creativity as accounts of four musical target activities—composition, improvisation, performance, and ideation—and argued for the “best theoretical perspectives” in written essays. The results showed that students' theory appraisals were significantly affected by the target activities, but also by the participants' prior musical experiences. Students' argumentative strategies also differed between theories, especially regarding justifications by personal experiences and values. Moreover, theories were most typically problematized when discussing improvisation. The students most often chose to defend the Four-Stage Model, Divergent Thinking, and Systems Theory, while theories emphasizing strategic choices or Darwinian selection mechanisms were rarely found appealing. Overall, students tended toward moderate theory eclecticism, and their theory appraisals were seen to be pragmatic and example-based, instead of aiming for such virtues as broad scope or consistency. The theories were often used as definitions for identifying some phenomena of interest rather than for making stronger explanatory claims about such phenomena. Students' theory appraisals point to some challenges for creativity research, especially regarding the problems of accounting for improvisation, and concerning the significance of theories that find no support in these musically well-informed adults' reasoning. (shrink)