My aim here is to raise a few questions concerning the problem of representation in scientific discovery computer programs. Representation, as Simon says in his paper, "imposes constraints upon the phenomena that allow the mechanisms to be inferred from the data". The issue is obviously barely outlined by Simon in his paper, while it is addressed in detail in the book by Langley, Simon, Bradshaw and Zytkow (1987), to which I shall refer in this note. Nevertheless, their analysis would appear (...) to leave open certain issues related to the nature of the "constraints" imposed by representation on problem solving strategies. (shrink)

This article describes an implemented architecture for intermediate vision. By integrating a variety of Intermediate visual mechanisms and putting them to use in support of concrete activity, the implementation demonstrates their utility. The sytem, SIVS, models psychophysical discoveries about visual attention and search. It is designed to be efficiently implementable in slow, massively parallel, locally connected hardware, such as that of the brain.SIVS addresses five fundamental problems. Visual attention is required to restrict processing to task-relevant locations in the image. Visual (...) search finds such locations. Visual routines are a means for nonuniform processing based on task demands. Intermediate objects keep track of intermediate results of this processing. Visual operators are a set of relatively abstract, general-purpose primitives for spatial analysis, out of which visual routines are assembled. (shrink)

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 (...) to the particular conceptual space concerned – could not have been generated before. The more clearly conceptual spaces can be defined, the better we can identify creative ideas. Defining conceptual spaces is done by musicologists, literary critics, and historians of art and science. Humanist studies, rich in intuitive subtleties, can be complemented by the comparative rigour of a computational approach. Computational modelling can help to define a space, and to show how it may be mapped, explored, and transformed. Impossibilist creativity can be thought of in “classical” Al terms, whereas connectionism illuminates improbabilist creativity. Most Al models of creativity can only explore spaces, not transform them, because they have no self-reflexive maps enabling them to change their own rules. A few, however, can do so. A scientific understanding of creativity does not destroy our wonder at it, nor does it make creative ideas predictable. Demystification does not imply dehumanization. (shrink)

A classification of the global catastrophic risks of AI is presented, along with a comprehensive list of previously identified risks. This classification allows the identification of several new risks. We show that at each level of AI’s intelligence power, separate types of possible catastrophes dominate. Our classification demonstrates that the field of AI risks is diverse, and includes many scenarios beyond the commonly discussed cases of a paperclip maximizer or robot-caused unemployment. Global catastrophic failure could happen at various levels of (...) AI development, namely, before it starts self-improvement, during its takeoff, when it uses various instruments to escape its initial confinement, or after it successfully takes over the world and starts to implement its goal system, which could be plainly unaligned, or feature-flawed friendliness. AI could also halt at later stages of its development either due to technical glitches or ontological problems. Overall, we identified around several dozen scenarios of AI-driven global catastrophe. The extent of this list illustrates that there is no one simple solution to the problem of AI safety, and that AI safety theory is complex and must be customized for each AI development level. (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)

The structure-mapping theory has become the de-facto standard account of analogies in cognitive science and philosophy of science. In this paper I propose a distinction between two kinds of domains and I show how the account of analogies based on structure-preserving mappings fails in certain (object-rich) domains, which are very common in mathematics, and how the axiomatic approach to analogies, which is based on a common linguistic description of the analogs in terms of laws or axioms, can be used successfully (...) to explicate analogies of this kind. Thus, the two accounts of analogies should be regarded as complementary, since each of them is adequate for explicating analogies that are drawn between different kinds of domains. In addition, I illustrate how the account of analogies based on axioms has also considerable practical advantages, e. g., for the discovery of new analogies. (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)