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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 (...) |
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In this article, we draw upon the philosophy of critical realism to reflect upon issues concerning discovery processes and opportunity development. First, paradoxes in the relationship between opportunity discovery and creativity are identified and explained. Second, the question of how to investigate opportunities is discussed and a solution informed by critical realism presented whereby three new types of discovery are identified and defined for empirical investigation. Using critical realism to augment entrepreneurial opportunity theory, we propose that discovery processes have significance (...) |
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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 (...) |
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Because Western experiments assume creativity is an individual phenomenon and rarely investigate how trust and openness might build collective resonance, flow, and creativity, the creative whole typically amounts to less than the sum of the parts. The author argues, however, that group creativity increases as members develop, especially through Wilber's (in press) transpersonal stages. He illustrates how organizational leaders have facilitated creativity through reflective practice. Presenting evidence regarding the field effects of collective consciousness, he suggests that our minds and hearts (...) |
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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 (...) |
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Research on innovation often highlights analogies from sources outside the current problem domain as a major source of novel concepts; however, the mechanisms underlying this relationship are not well understood. We analyzed the temporal interplay between far analogy use and creative concept generation in a professional design team's brainstorming conversations, investigating the hypothesis that far analogies lead directly to very novel concepts via large steps in conceptual spaces . Surprisingly, we found that concepts were more similar to their preceding concepts (...) |
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The dynamic constraint relaxation theory predicts crucial roles of the initial diversity and evaluation in creative problem-solving. We reported the experimental evidence supporting these predictions, using an insight problem. The experiments showed that the degrees of making different types of trials and the appropriate evaluation were closely related to individual differences in insight problem-solving, and that evaluation became more appropriate by making the problem-solving goal explicit. The review of the research in related fields showed that these experimental findings were in (...) |
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Creativity in science and engineering has moral significance and deserves attention within professional ethics, in at least three areas. First, much scientific and technological creativity constitutes moral creativity because it generates moral benefits, is motivated by moral concern, and manifests virtues such as beneficence, courage, and perseverance. Second, creativity contributes to the meaning that scientists and engineers derive from their work, thereby connecting with virtues such as authenticity and also faults arising from Faustian trade-offs. Third, morally creative leadership is important (...) |
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What is creativity? One new idea may be creative, whereas another is merely new: What's the difference? And how is creativity possible? These questions about human creativity can be answered, at least in outline, using computational concepts. There are two broad types of creativity, improbabilist and impossibilist. Improbabilist creativity involves novel combinations of familiar ideas. A deeper type involves METCS: the mapping, exploration, and transformation of conceptual spaces. It is impossibilist, in that ideas may be generated which – with respect (...) |
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findings from affective neuroscience research. I shall focus mainly on, but in a manner which, I hope is. |
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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 (...) |
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We focus on Karmiloff-Smith's Representational redescription model, arguing that it poses some problems concerning the architecture of a redescribing system. To discuss the topic, we consider the implicit/explicit dichotomy and the relations between natur al language and the language of thought. We argue that the model regards how knowledge is employed rather than how it is represented in the system. |
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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. |
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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 (...) |
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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 (...) |
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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 (...) |
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Construction of a robot discoverer can be treated as the ultimate success of automated discovery. In order to build such an agent we must understand algorithmic details of the discovery processes and the representation of scientific knowledge needed to support the automation. To understand the discovery process we must build automated systems. This paper investigates the anatomy of a robot-discoverer, examining various components developed and refined to a various degree over two decades. We also clarify the notion of autonomy of (...) |
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In this article, I limn the remarkable ascent of Albert Einstein and Wassily Kandinsky into our cultural pantheon. I depict how both figures mastered and transcended their respective fields, and how they called into question long-established disciplinary assumptions and practices. I also demonstrate how the creative works of Einstein and Kandinsky constructed, and were constructed by, the reality we now call "modern.". |
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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 (...) |
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The discussion begins with a familiar and defensible characterization of the eureka moment, according to which it is the unexpected product of separate and often seemingly incompatible perspectives. The principal aim of the discussion is to explain how, so characterized, vision-related eureka moments can occur. To fulfill this aim, the discussion employs a notion of crosstalk, in which cognitive interference slightly increases as a result of the creative thinker's considerable, albeit only partly successful, pre-eureka cognitive effort. Such crosstalk, it is (...) |
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from non-conscious components by positing that consciousness is a universal primitive. For example, the double aspect theory of information holds that infor- mation has a phenomenal aspect. How then do you get from phenomenal infor- mation to human consciousness? This paper proposes that an entity is conscious to the extent it amplifies information, first by trapping and integrating it through closure, and second by maintaining dynamics at the edge of chaos through simul- taneous processes of divergence and convergence. The origin (...) |
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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 (...) |
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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 (...) |
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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 (...) |
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The statements of researchers on the topic of basket divination and the statements of basket diviners in northwest Zambia, Africa, do not fully agree. While researchers rightly stress the importance of observation, analysis and interpretation in basket divination, going so far as to describe diviners as scientists, they fail to recognize that divination is not an abstract, disembodied undertaking. Truthful knowledge is not flushed out of the diviner’s mind as a set of theoretical propositions; it is instead delivered by an (...) |
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The focus of the current study is the individual and environmental attributes of inventiveness among children and adolescents. Research was conducted on the young inventors who were part of a nation-wide inventive ideation contest for children and adolescents in P. R. China. A total of 621 4th to 12th grade students from 112 schools all over China participated in the study. Among them, 38 reported holding one or more patents. Independent t-test showed, compared to their lower-level counterparts, higher-level young inventors (...) |
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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 (...) |
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From 2012 to 2015 I was the first Eugene H. Fram Chair in Applied Critical Thinking at Rochester Institute of Technology, in Rochester, NY. To the best of my knowledge it is the only such endowed position devoted solely to this at a major North American university. It was made possible by a generous 3 million dollar gift from an anonymous alumnus who wished to honor a retired faculty member who had taught for 51 years. The honoree was revered for (...) |
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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 (...) |
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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 (...) |
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Generative deep learning systems offer powerful tools for artefact generation, given their ability to model distributions of data and generate high-fidelity results. In the context of computational creativity, however, a major shortcoming is that they are unable to explicitly diverge from the training data in creative ways and are limited to fitting the target data distribution. To address these limitations, there have been a growing number of approaches for optimising, hacking and rewriting these models in order to actively diverge from (...) |
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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 (...) |
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Most research on people's conceptions regarding creativity has concerned informal beliefs instead of more complex belief systems represented in scholarly theories of creativity. The relevance of general theories of creativity to the creative domain of music may also be unclear because of the mixed responses these theories have received from music researchers. The aim of the present study was to gain a better comparative understanding of theories of creativity as accounts of musical creativity by allowing students to assess them from (...) |
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