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)

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)

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)

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)

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)

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 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)

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)

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 examines the revisionist role that current debates and philosophical positions on extended cognition might play for the historian of science, and uses as its case study August Kekulé’s formulation of the benzene molecule’s structure, including the dreams that Kekulé reported as the origin of his model. It builds on the notion of engaging philosophical positions through the historiography of nineteenth-century chemistry, but also examines some of the implications of the history of science for extended cognition. While an extended (...) cognition approach to Kekulé’s use of graphics and visual materials is promising, I argue that there is less usefulness for the idea of collective cognition. Instead I advocate using detailed historical studies to test theories of extended cognition. (shrink)

Philosophers have usually offered a number of ways of describing hypotheses generation, but all aim at demonstrating that the activity of generating hypotheses is paradoxical, illusory or obscure, and then not analysable. Those descriptions are often so far from Peircian pragmatic prescription and so abstract to result completely unknowable and obscure. The “computational turn” gives us a new way to understand creative processes in a strictly pragmatic sense. In fact, by exploiting artificial intelligence and cognitive science tools, computational philosophy allows (...) us to test concepts and ideas previously conceived only in abstract terms. It is in the perspective of these actual computational models that I find the central role of abduction in the explanation of creative reasoning in science. Creativity and discovery are no more seen as a mysterious irrational process, but, thanks to constructive accounts, as a complex relationship among different inferential steps that can be clearly analysed and identified. I maintain that the computational philosophy analysis of model-based and manipulative abduction and of external and epistemic mediators is important not only to delineate the actual practice of abduction, but also to further enhance the development of programs computationally adequate in rediscovering, or discovering for the first time, for example, scientific hypotheses or mathematical theorems. (shrink)

Creativity has a special role in enabling humans to develop beyond the fulfilment of simple primary functions. This factor is significant for Artificial Intelligence (AI) developers who take replication to be the primary goal, since moves toward creating autonomous artificial-beings beg questions about their potential for creativity. Using Wittgenstein’s remarks on rule-following and language-games, I argue that although some AI programs appear creative, to call these programmed acts creative in our terms is to misunderstand the use of this word in (...) language. I conclude that replication is not the best way forward for AI development in matters of creativity. (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)

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)

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)

In 1988, David Hull presented an evolutionary account of science. This was a direct analogy to evolutionary accounts of biological adaptation, and part of a generalized view of Darwinian selection accounts that he based upon the Universal Darwinism of Richard Dawkins. Criticisms of this view were made by, among others, Kim Sterelny, which led to it gaining only limited acceptance. Some of these criticisms are, I will argue, no longer valid in the light of developments in the formal modeling of (...) evolution, in particular that of Sergey Gavrilets’ work on adaptive landscapes. If we can usefully recast the Hullian view of science as being driven by selection in terms of Gavrilets’ and Kaufmann’s view of there being “giant components” of high-fitness networks through any realistic adaptive landscape, we may now find it useful to ask what the adaptive pressures on science are, and to extend the metaphor into a full analogy. This is in effect to reconcile the Fisherianism of the Dawkins–Hull approach to selection and replicators, with a Wrightean drift account of social constructionist views of science, preserving, it is to be hoped, the valuable aspects of both. (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)

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)

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)

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)

H.-J. Glock has made important contributions to discussions of rationality, reasons, and rules. This chapter addresses four conceptions of rationality that Glock identifies. One of these conceptions of rationality is that rationality consists in responsiveness to reasons. This chapter goes on to consider the idea that reasons became prominent in normative ethics because of their usefulness in articulating moral pluralism. The final section of the chapter connects reasons and rules and contends that both are ineliminable.

Artificial intelligence (AI) technologies are used in various domains of human activities, and one of these domains is scientific research. Now, researchers in many scientific areas try to apply AI technologies to their research and automate it. These researchers claim that the ‘automation of science’ will liberate people from non-creative tasks in scientific research, and radically change the overall state of science and technology so that large-scale innovation results. As I see it, the automation of science is remarkable in another (...) respect: since science is one of the most distinctive human activities, the tendency of automating it prompts us to reconsider the aspects of our humanity itself. One of these aspects is concerned with human creativity, on which this article focuses. In this article, I address two questions concerning the automation of science: first, ‘Can AI makes creative discovery?’; second, ‘What implications may the automation of science have on science and society?’. Scientific discovery is said to be one of the most creative phases of scientific research. I show that, though there are no reasons in principle why AI could not make creative discovery, we do not at present have enough knowledge how to realize it. If the automation of science nevertheless proceeds, the cultural values science as a creative activity has might be reduced, and it might alter the state of scientific community and its relationship with society in some undesirable way. Therefore, I conclude, we need to specify desirable ways of introducing AI technologies into science and devise measures against demerits of automating science. (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.

This paper explores some aspects of the scientific study of creativity by focusing on intentional attempts to create instances of linguistic humour. We argue that this sort of creativity can be accounted for within an influential cognitive approach but that said framework is not a recipe for producing novel instances of humour and may even preclude them. We start by identifying three great puzzles that arise when trying to pin down the core traits of creativity, and some of the ways (...) taken by Cognitive Studies in this quest. We then consider what we call 'creative humour', which exhibits the core features of the aforesaid creativity. We then explore how a key cognitive approach to human communication can account for creative humour. We end by drawing lessons and highlighting limitations to cognitive approaches to creativity. (shrink)

[Both this and the Castilian versions are translations of the editor from a paper originally written in English that will appear in the Anual Review 6]. Aquest article explora alguns aspectes de l'estudi científic de la creativitat centrant-se en la creació d'humor lingüístic intencionat. Sostenim que aquest tipus de creativitat pot explicar-se dins d'un enfocament cognitiu influent, però que aquest marc no és una recepta per a produir exemples nous d'humor i fins i tot pot evitar-los. Començarem identificant tres grans (...) problemes que sorgeixen en tractar de precisar els trets centrals de la creativitat i algunes de les formes adoptades pels estudis cognitius en aquesta cerca. Després considerarem què anomenem «humor creatiu», que exhibeix les característiques centrals de la creativitat abans esmentada. Després investigarem com un enfocament cognitiu clau per a la comunicació humana pot explicar l'humor creatiu. Acaberem extraient conclusions i destacant les limitacions dels enfocaments cognitius per a entendre la creativitat. (shrink)

[Both this and the Valencian versions are translations of the editor from a paper originally written in English that will appear in the Anual Review 6]. Este artículo explora algunos aspectos del estudio científico de la creatividad centrándose en la creación de humor lingüístico intencionado. Sostenemos que este tipo de creatividad puede explicarse dentro de un enfoque cognitivo influyente, pero que dicho marco no es una receta para producir ejemplos novedosos de humor, e incluso puede excluirlos. Comenzaremos identificando tres grandes (...) problemas que surgen al tratar de precisar los rasgos centrales de la creatividad y algunas de las formas adoptadas por los estudios cognitivos en esta búsqueda. Luego consideraremos a qué llamamos «humor creativo», que exhibe las características centrales de la creatividad antes mencionada. A continuación exploraremos cómo un enfoque cognitivo clave para la comunicación humana puede explicar el humor creativo. Por último, extraeremos conclusiones y destacaremos las limitaciones de los enfoques cognitivos para entender la creatividad. (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.

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)

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)

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)

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)

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)

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)

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 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)

​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)

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)

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)

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)

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)

Evolutionary adaptation has been suggested as the hallmark of life that best accounts for life’s creativity. However, current evolutionary approaches still fail to give an adequate account of it, even if they are able to explain both the origin of novelties and the proliferation of certain traits in a population. Although modern-synthesis Darwinism is today usually appraised as too narrow a position to cope with all the complexities of developmental and structural biology—not to say biosemiotic phenomena—, Darwinism need not be (...) if we separate metaphor from reality in natural selection in order to show the axiological complexity of this concept. This can shed light on the relationship between biosemiotics and biological evolution. (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)