Beyond modularityattempts a synthesis of Fodor's anticonstructivist nativism and Piaget's antinativist constructivism. Contra Fodor, I argue that: (1) the study of cognitive development is essential to cognitive science, (2) the module/central processing dichotomy is too rigid, and (3) the mind does not begin with prespecified modules; rather, development involves a gradual process of “modularization.” Contra Piaget, I argue that: (1) development rarely involves stagelike domain-general change and (2) domainspecific predispositions give development a small but significant kickstart by focusing the infant's (...) attention on proprietary inputs. Development does not stop at efficient learning. A fundamental aspect of human development (“representational redescription”) is the hypothesized process by which information that isina cognitive system becomes progressively explicit knowledgetothat system. Development thus involves two complementary processes of progressive modularization and progressive “explicitation.” Empirical findings on the child as linguist, physicist, mathematician, psychologist, and notator are discussed in support of the theoretical framework. Each chapter concentrates first on the initial state of the infant mind/brain and on subsequent domain-specific learning in infancy and early childhood. It then goes on to explore data on older children's problem solving and theory building, with particular focus on evolving cognitive flexibility. Emphasis is placed throughout on the status of representations underlying different capacities and on the multiple levels at which knowledge is stored and accessible. Finally, consideration is given to the need for more formal developmental models, and a comparison is made between representational redescription and connectionist simulations of development. In conclusion, I consider what is special about human cognition by speculating on the status of representations underlying the structure of behavior in other species. (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)

Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that AI (...) image generation is a kind of theft. This paper analyzes, substantiates, and critiques these arguments, concluding that AI image generators involve an unethical kind of labour theft. If correct, many other AI applications also rely upon theft. (shrink)

This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the creative process is rational; whether it is teleological; the relation of creativity (...) to knowledge; whether creativity can be explained; computational and Darwinian theories of creativity; whether creativity is a virtue; the relation of creativity to tradition; the aesthetic value of creativity; and whether creative activity is different in science and art. (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)

Creativity has often been declared, especially by philosophers, as the last frontier of science. The assumption is that it will defy explanation forever. I will defend two claims in order to oppose this assumption and to demystify creativity: (1) the perspective that creativity cannot be explained wrongly identifies creativity with what I shall call metaphysical freedom; (2) the Darwinian approach to creativity, a prominent naturalistic account of creativity, fails to give an explanation of creativity, because it confuses conceptual issues with (...) explanation. I will close with some remarks on the status and differences in some explanations available in contemporary cognitive science. (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)

Humans are organisms of a creative sort. We make new things that scaffold the ecology of our minds, shape the boundaries of our thinking and form new ways to engage and make sense of the world. That is, we are creative ‘thingers’. This paper adopts the perspective of Material Engagement Theory and introduces the notion ‘thinging’ to articulate and draw attention to the kind of cognitive life instantiated in acts of thinking and feeling with, through and about things. I will (...) focus more specifically on Creativethinging, or creative material engagement, exploring the importance of thinging for understanding our species unique capacity for inventiveness. (shrink)

This volume builds on two recent developments in philosophy on the relationship between art and science: the notion of representation and the role of values in theory choice and the development of scientific theories. Its aim is to address questions regarding scientific creativity and imagination, the status of scientific performances--such as thought experiments and visual aids--and the role of aesthetic considerations in the context of discovery and justification of scientific theories. Several contributions focus on the concept of beauty as employed (...) by practising scientists, the aesthetic factors at play in science and their role in decision making. Other essays address the question of scientific creativity and how aesthetic judgment resolves the problem of theory choice by employing aesthetic criteria and incorporating insights from both objectivism and subjectivism. The volume also features original perspectives on the role of the sublime in science and sheds light on the empirical work studying the experience of the sublime in science and its relation to the experience of understanding. The Aesthetics of Science tackles these topics from a variety of novel and thought-provoking angles. It will be of interest to researchers and advanced students in philosophy of science and aesthetics, as well as other subdisciplines such as epistemology and philosophy of mathematics. (shrink)

Interdisciplinary understanding requires integration of insights from different perspectives, yet it appears questionable whether disciplinary experts are well prepared for this. Indeed, psychological and cognitive scientific studies suggest that expertise can be disadvantageous because experts are often more biased than non-experts, for example, or fixed on certain approaches, and less flexible in novel situations or situations outside their domain of expertise. An explanation is that experts’ conscious and unconscious cognition and behavior depend upon their learning and acquisition of a set (...) of mental representations or knowledge structures. Compared to beginners in a field, experts have assembled a much larger set of representations that are also more complex, facilitating fast and adequate perception in responding to relevant situations. This article argues how metacognition should be employed in order to mitigate such disadvantages of expertise: By metacognitively monitoring and regulating their own cognitive processes and representations, experts can prepare themselves for interdisciplinary understanding. Interdisciplinary collaboration is further facilitated by team metacognition about the team, tasks, process, goals, and representations developed in the team. Drawing attention to the need for metacognition, the article explains how philosophical reflection on the assumptions involved in different disciplinary perspectives must also be considered in a process complementary to metacognition and not completely overlapping with it. (Disciplinary assumptions are here understood as determining and constraining how the complex mental representations of experts are chunked and structured.) The article concludes with a brief reflection on how the process of Reflective Equilibrium should be added to the processes of metacognition and philosophical reflection in order for experts involved in interdisciplinary collaboration to reach a justifiable and coherent form of interdisciplinary integration. An Appendix of “Prompts or Questions for Metacognition” that can elicit metacognitive knowledge, monitoring, or regulation in individuals or teams is included at the end of the article. (shrink)

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.

Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond.

We outline the rationale and preliminary results of using the State Context Property (SCOP) formalism, originally developed as a generalization of quantum mechanics, to describe the contextual manner in which concepts are evoked, used, and combined to generate meaning. The quantum formalism was developed to cope with problems arising in the description of (1) the measurement process, and (2) the generation of new states with new properties when particles become entangled. Similar problems arising with concepts motivated the formal treatment introduced (...) here. Concepts are viewed not as fixed representations, but entities existing in states of potentiality that require interaction with a context---a stimulus or another concept---to `collapse' to observable form as an exemplar, prototype, or other (possibly imaginary) instance. The stimulus situation plays the role of the measurement in physics, acting as context that induces a change of the cognitive state from superposition state to collapsed state. The collapsed state is more likely to consist of a conjunction of concepts for associative than analytic thought because more stimulus or concept properties take part in the collapse. We provide two contextual measures of conceptual distance---one using collapse probabilities and the other weighted properties---and show how they can be applied to conjunctions using the pet fish problem. (shrink)

Creativity has received, and continues to receive, comparatively little analysis in philosophy and the brain and behavioural sciences. This is in spite of the importance of creative thought and action, and the many and varied resources of theories of mind. Here an alternative approach to analyzing creativity is suggested: start from the bottom up with minimally creative thought. Minimally creative thought depends non-accidentally upon agency, is novel relative to the acting agent, and could not have been tokened before the time (...) it is in fact tokened, relative to the agent in question. Thoughts that meet these three conditions—agency, psychological novelty, and modal—are what may be called cognitive breakthroughs. Even if such breakthroughs are not necessary to or definitive of richer creativity, they are indeed central to much of creativity. The minimal analysis provides a more workable explanandum for theories of creativity of varied motivation and method. (shrink)

This entry provides a substantive overview of research and debates concerning creativity in philosophy and related fields. Topics covered include definitions of creativity, whether creativity can be learned, whether it can be explained, attempts to explain creativity in cognitive science, and whether computer programs or AI systems can be creative.

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)

This paper defends two initial claims. First, it argues that essentially the same cognitive resources are shared by adult creative thinking and problem-solving, on the one hand, and by childhood pretend play, on the other—namely, capacities to generate and to reason with suppositions (or imagined possibilities). Second, it argues that the evolutionary function of childhood pretence is to practice and enhance adult forms of creativity. The paper goes on to show how these proposals can provide a smooth and evolutionarily-plausible explanation (...) of the gap between the first appearance of our species in Southern Africa some 100,000 years ago, and the ‘creative explosion’ of cultural, technological and artistic change which took place within dispersed human populations some 60,000 years later. The intention of the paper is to sketch a proposal which might serve as a guide for future interdisciplinary research. 1 Introduction 2 Creativity and Pretence 3 Language and Creativity 4 Language and Cultural Accretions 5 Language, Play and Model-Building 6 Creativity, Protean Cognition and Sexual Selection 7 The Evolution of Pretence 8 The Emergence of Supposing 9 Pretence and Motivation 10 Two Objections 11 Conclusion. (shrink)

When philosophers discuss the possibility of machines making scientific discoveries, they typically focus on discoveries in physics, biology, chemistry and mathematics. Observing the rapid increase of computer-use in science, however, it becomes natural to ask whether there are any scientific domains out of reach for machine discovery. For example, could machines also make discoveries in qualitative social science? Is there something about humans that makes us uniquely suited to studying humans? Is there something about machines that would bar them from (...) such activity? A close look at the methodology of interpretive social science reveals several abilities necessary to make a social scientific discovery, and one capacity necessary to possess any of them is imagination. For machines to make discoveries in social science, therefore, they must possess imagination algorithms. (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)

This paper presents an emerging aspect of intentionality through recent Artificial Intelligence (AI) developments in art and design. Our main thesis is that, if we focus just on the outcome of the artistic process, the intentionality of the artist does not have any relevance. Intention is measured as a result of actions regardless of whether they are human-based or not as long as there is an esthetical value intersubjectively acknowledged. In other words, what matters is the ‘intentio’ embedded in the (...) work of art (the output) rather than the ‘intendere’ (the process). By considering the former aspect, intentionality becomes free of human intervention, therefore 'unintentional'. This thesis is supported through a range of examples related to AI in general and AI art in particular. However, in the case of a self-driving vehicle, the macro-goal of the system is fixed by humans, even though the AI system itself will take care of decomposing the macro-goal into a set of micro-goals and take the corresponding decisions. In the case of art, the system does not need to have any exterior goal to the extent that art is pure freedom of expression, as many philosophers have acknowledged. In this sense, the decisions of any AI system generating art or design are independent of humans and must be judged only on the ground of the final outcome. A work of art will be judged ‘artistic’ to the extent that humans will recognize an artistic intent in the work itself. In particular, the introduction of random processes makes an AI-generated artwork fully independent of human creativity. (shrink)

Creativity is generally thought to be the production of things that are novel and valuable. Humans are unique in the extent of their creativity, which plays a central role in innovation and problem solving, as well as in the arts. But what are the cognitive sources of novelty? More particularly, what are the cognitive sources of stochasticity in creative production? I will argue that they belong to two broad categories. One is associative, enabling the selection of goal-relevant ideas that have (...) become activated by happenstance in an unrelated context. The other relies on selection processes that leverage stochastic fluctuations in neural activity. At the same time, I will address a central puzzle, which is to understand how the outputs of stochastic processes can nevertheless generally fall within task constraints. While the components appealed to in the accounts that I offer are well established, the ways in which I combine them together are new. (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)

Like the information patterns that evolve through. biological processes, mental representations or memes evolve through adaptive exploration and transformation of an information space through variation, selection, and transmission. However since memes do not contain instructions for their replication our brains do it for them, strategically, guided by a fitness landscape that reflects both internal drives and a worldview that forms through meme assimilation. This paper presents a tentative model for how an individual becomes a meme evolving agent via the emergence (...) of an autocatalytic network of sparse, distributed memories, and discusses implications for complex creative thought processes and why they are unique to humans. A hypothetical scenario for the evolutionary dynamics of a given meme in a society of interacting individuals is presented. (shrink)

Epistemic diversity is widely approved of by social epistemologists. This paper asks, more specifi cally, how much epistemic diversity, and what kinds of epistemic diversity are normatively appropriate? Both laissez-faire and highly directive approaches to epistemic diversity are rejected in favor of the claim that diversity is a blunt epistemic tool. There are typically a number of diff erent options for adequate diversifi cation. The paper focuses on scientifi c domains, with particular attention to recent theories of smell.

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)

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)

Stratified properties such as ‘happy unhappiness’, ‘ungrounded ground’, ‘fortunate misfortune’, and evidently ‘true falsity’ may generate dialetheias (true contradictions). The aim of the article is to show that if this is the case, then we will have a special, conjunctive, kind of dialetheia: a true state description of the form ‘Fa and not Fa’ (for some property F and object a), wherein the two conjuncts, separately taken, are to be held untrue. The particular focus of the article is on happy (...) unhappiness: people suffering from (or enjoying) happy unhappiness (if there is some situation or state of mind of this kind) cannot be truly said ‘happy’ or ‘unhappy’, but we can say they are both. In the first section three cases of conjunctive stratification are presented; in the second section the logic of stratified contradictions is explored. The last section focuses on eudemonistic ascriptions: stated that a is happy to be unhappy (or unhappy to be happy), should we say a is happy? unhappy? both? neither? (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)

The goal of this article is to display the attractiveness of a novel account of the place of creativity in the human mind. This is designed to supplement (and perhaps replace) the widespread assumption that creativity is thought-based, involving novel combinations of concepts to form creative thoughts, with the creativity of action being parasitic upon prior creative thinking. According to the proposed account, an additional (or perhaps alternative) locus of creativity lies in the assembly and activation of action-schemata, with creative (...) thoughts arising subsequently from the mental rehearsal of those actions, normally resulting in either visual imagery or inner speech. (shrink)

According to the restructuring hypothesis, insight problem solving typically progresses through consecutive stages of search, impasse, insight, and search again for someone, who solves the task. The order of these stages was determined through self-reports of problem solvers and has never been verified behaviorally. We asked whether individual analysis of problem solving attempts of participants revealed the same order of problem solving stages as defined by the theory and whether their subjective feelings corresponded to the problem solving stages they were (...) in. Our participants tried to solve the Five-Square problem in an online task, while we recorded the time and trajectory of their stick movements. After the task they were asked about their feelings related to insight and some of them also had the possibility of reporting impasse while working on the task. We found that the majority of participants did not follow the classic four-stage model of insight, but had more complex sequences of problem solving stages, with search and impasse recurring several times. This means that the classic four-stage model is not sufficient to describe variability on the individual level. We revised the classic model and we provide a new model that can generate all sequences found. Solvers reported insight more often than non-solvers and non-solvers reported impasse more often than solvers, as expected; but participants did not report impasse more often during behaviorally defined impasse stages than during other stages. This shows that impasse reports might be unreliable indicators of impasse. Our study highlights the importance of individual analysis of problem solving behavior to verify insight theory. (shrink)

An intuitive view is that creativity involves bringing together what is already known and familiar in a way that produces something new. In cognitive science, this intuition is typically formalized in terms of computational processes that combine or associate internally represented information. From this computationalist perspective, it is hard to imagine how non-representational approaches in embodied cognitive science could shed light on creativity, especially when it comes to abstract conceptual reasoning of the kind scientists so often engage in. The present (...) article offers an entry point to addressing this challenge. The scientific project of embodied cognitive science is a continuation of work in the functionalist tradition in psychology developed over a century ago by William James and John Dewey, among others. The focus here is on how functionalist views on the nature of mind, thought, and experience offer an alternative starting point for cognitive science in general, and for the cognitive science of scientific creativity in particular. The result may seem paradoxical. On the one hand, the article claims that the functionalist conceptual framework motivates rejecting mainstream cognitive views of creativity as the combination or association of ideas. On the other hand, however, the strategy adopted here—namely, revisiting ideas from functionalist psychology to inform current scientific theorizing—can itself be described as a process of arriving at new, creative ideas from combinations of old ones. As is shown here, a proper understanding of cognition in light of the functionalist tradition resolves the seeming tension between these two claims. (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)

According to Thomas Metzinger, many human cognitive processes in the waking state are spontaneous and are deprived of the experience of epistemic agency. He considers mind wandering as a paradigm example of our recurring loss of epistemic agency. I will enrich this view by extending the scope of the concept of epistemic agency to include cases of depressive rumination and creative cognition, which are additional types of spontaneous cognition. Like mind wandering, they are characterized by unique phenomenal and functional properties (...) that give rise to varying degrees of epistemic agency. The main claim of this paper will be that the experience of being an epistemic agent within a certain time frame is a relational phenomenon that emerges from the organism’s capacity to interact with its cognitive niche. To explore this relation, I develop a new framework that integrates phenomenological considerations on epistemic agency with a functional account of the reciprocal coupling of the embodied organism with its cognitive niche. This account rests upon dynamical accounts of strong embodied and embedded cognition and recent work on cognitive niche construction. Importantly, epistemic agency and organism-niche coupling are gradual phenomena ranging from weak to strong realizations. The emerging framework will be employed to analyze mind wandering, depressive rumination, and creative cognition as well as their commonalities and differences. Mind wandering and depressive rumination are cases of weak epistemic agency and organism-niche coupling. However, there are also important phenomenological, functional, and neuronal differences. In contrast, creative cognition is a case of strong epistemic agency and organism-niche coupling. By providing a phenomenological and functional analysis of these distinct types of spontaneous cognition, we can gain a better understanding of the importance of organism-niche interaction for the realization of epistemic agency. (shrink)

Historically left to the margins, the topics of imagination and creativity have gained prominence in philosophy of science, challenging the once dominant distinction between ‘context of discovery’ and ‘context of justification’. The aim of this chapter is to explore imagination and creativity starting from issues within contemporary philosophy of science, making connections to these topics in other domains along the way. It discusses the recent literature on the role of imagination in models and thought experiments, and their comparison with fictions. (...) It then turns to the importance of constraints on imaginings in the scientific domain, as well as whether constraints can hinder creativity. The second part of the paper focuses on the social dimensions of science. It considers imagination and creativity of scientific communities, asks whether the institution of science promotes creativity (and whether we want it to) or if it encourages conservativeness, and ends with a reflection on the politics of imagination and creativity in science. (shrink)

Creativity is often portrayed as an X-factor that accounts for the spontaneous generation of the absolutely new. Yet the obsession with novelty implies a focus on final products and a retrospective attribution of their forms to unprecedented ideas in the minds of individuals, at the expense of any recognition of the form-generating potentials of the relations and processes in which persons and things are made and grown. In these processes, practitioners are characteristically called upon to copy the works of past (...) masters. However, though they may be guided by a script or score, every practitioner has to improvise his or her own passage through the array of tasks the performance entails. With examples from music, calligraphy and lace-making, I show that the wellsprings of creativity lie not inside people’s heads, but in their attending upon a world in formation. In this kind of creativity, undergone rather than done, imagination is not so much the capacity to come up with new ideas as the aspirational impulse of a life that is not just lived but led. But where it leads is not yet given. In opening to the unknown — in exposure — imagination leads not by mastery but by submission. Thus the creativity of undergoing, of action without agency, is that of life itself. (shrink)

Work on analogy has been done from a number of disciplinary perspectives throughout the history of Western thought. This work is a multidisciplinary guide to theorizing about analogy. It contains 1,406 references, primarily to journal articles and monographs, and primarily to English language material. classical through to contemporary sources are included. The work is classified into eight different sections (with a number of subsections). A brief introduction to each section is provided. Keywords and key expressions of importance to research on (...) analogy are discussed in the introductory material. Electronic resources for conducting research on analogy are listed as well. (shrink)

Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general (...) framework of expansionism : a research strategy that suggests that the explanatory goals and resources of both aesthetics and cognitive science should expand to include those of the other. Two relations are considered. First, what is the relation between aesthetics and more traditional cognitive science? Second, what is the relation between aesthetics and new developments in cognitive science that de-emphasize mental representation and emphasize body and action? (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)

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)

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)

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)

More than a hundred years ago, the American philosopher C. S. Peirce suggested the idea of pragmatism as a logical criterion to analyze what words and concepts express through their practical meaning. Many words have been spent on creative processes and reasoning, especially in the case of scientific practices. In fact, philosophers have usually offered a number of ways of construing hypotheses generation, but all aim at demonstrating that the activity of generating hypotheses is paradoxical, illusory or obscure, and thus (...) not analyzable. The “computational turn” gave us a new way to understand creative processes in a strictly pragmatic sense. Artificial Intelligence and Cognitive Science tools allow us to test concepts and ideas previously conceived in abstract terms. It is in the perspective of these actual models that we find the central role of abduction in the explanation of creative reasoning in science. What I call theoretical abduction certainly illustrates much of what is important in abductive reasoning, especially the objective of selecting and creating a set of hypotheses that are able to dispense good explanations of data, but fails to account for many cases of explanation occurring in science or in everyday reasoning when the exploitation of the environment is crucial. The concept of manipulative abduction is devoted to capture the role of action in many interesting situations: action provides otherwise unavailable information that enables the agent to solve problems by starting and performing a suitable abductive process of generation or selection of hypotheses. Many external things, usually inert from the epistemological point of view, can be transformed into what I call epistemic mediators, which are illustrated in the last part of the paper. (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)

In the past years, food has found itself a central focus of creativity in contemporary culture and a pinnacle of this trend has been the kind of culinary creativity displayed at Noma in Copenhagen. But what is culinary creativity? And what is distinctive about the kind of culinary creativity displayed at places like Noma? In this paper, I attempt to answer these two questions. Building up on pioneering work on creativity by Margaret Boden, I argue that creativity is a matter (...) of adding new valuable things to the world. I then distinguish three different ways a recipe can be creative, building up on different culinary trends. I then focus on the specific case of Noma and argue that what is specific about the kind of culinary creativity displayed at Noma is that it emphasizes the role that recipes can play in mediating our relation to the environment. (shrink)

This paper is an extended exploration of Mead's phrase the emergence of the novel. I describe and characterize emergent systems-complex dynamical systems that display behavior that cannot be predicted from a full and complete description of the component units of the system. Emergence has become an influential concept in contemporary cognitive science [A. Clark Being there, Cambridge: MIT Press], complexity theory [W. Bechtel & R.C. Richardson Discovering complexity, Princeton, NJ: Princeton University Press], artificial life [R.A. Brooks & P. Maes Artificial (...) life IV, Cambridge: MIT Press; C.G. Langton Artificial life III, Reading, MA: Addison-Wesley; C.G. Langton et al. Artificial life II, Reading, MA: Addison-Wesley), and robotics [S. Forrest Emergent computation, Cambridge: MIT Press]. I propose that novelty is a necessary property of emergent systems, and I'll explore a specific kind of emergent system: an improvisational theater ensemble. This is an example of emergence in a small social group, which I call collaborative emergence to emphasize several important contrasts with other complex systems that manifest emergence, such as connectionist networks and Alife simulations. (shrink)