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)

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)

This bold and brilliant book asks the ultimate question of the life sciences: How did the human mind acquire its incomparable power? In seeking the answer, Merlin Donald traces the evolution of human culture and cognition from primitive apes to the era of artificial intelligence, and presents an original theory of how the human mind evolved from its presymbolic form. In the emergence of modern human culture, Donald proposes, there were three radical transitions. During the first, our bipedal but still (...) apelike ancestors acquired "mimetic" skill—the ability to represent knowledge through voluntary motor acts—which made Homo erectus successful for over a million years. The second transition—to "mythic" culture —coincided with the development of spoken language. Speech allowed the large-brained Homo sapiens to evolve a complex preliterate culture that survives in many parts of the world today. In the third transition, when humans constructed elaborate symbolic systems ranging from cuneiforms, hieroglyphics, and ideograms to alphabetic languages and mathematics, human biological memory became an inadequate vehicle for storing and processing our collective knowledge. The modern mind is thus a hybrid structure built from vestiges of earlier biological stages as well as new external symbolic memory devices that have radically altered its organization. According to Donald, we are symbol-using creatures, more complex than any that went before us, and we may have not yet witnessed the final modular arrangement of the human mind. (shrink)

According to some recent empirical studies revealing that creativity is linked to sensorimotor components, the current research was aimed at evaluating whether sensory afferences could modulate originality in drawing of children and adolescents. Sixty-nine children from 1st, 3rd, 6th, and 8th grades were required to produce a man who exists and a man who doesn’t exist with fingers or stylus on a tablet and with a pen on paper. Drawings were assessed with an originality scale comparing original drawings to unoriginal (...) ones. Since, in comparison to drawings made on paper with a pen, drawing with fingers enhances proprioceptive information, this condition was expected, according to cognitive load theory, to favor originality in drawing by reducing cognitive resources devoted to motor control of the graphic gesture. On the contrary, since the use of a stylus involves a proprioceptive loss of information, which enhances intrinsic load by increasing cognitive resources devoted to motor control, it was expected that drawing with a stylus on the tablet would lead to the least original drawings. Results only partially confirmed these hypotheses. While the use of fingers on the tablet led to the highest original scores, using a stylus on the tablet did not impair originality in drawing of children and adolescents. On the opposite, the use of a stylus led 3rd–8th graders to perform better than with pen on paper. This modulation of the tool on originality does not confirm the hypotheses formulated in accordance with the cognitive load framework. However, it could be explained according to an embodied perspective of creativity considering the creative process as relying on a sensorimotor prediction process in which sensory afferences are central to generating and evaluate creative ideas. This research opens new avenues on creativity and proposes to consider the development of predictive motor control as a significant part of creativity development. (shrink)

Drawn from a larger research project exploring discourses of ability and gender, this paper identifies a narrative theme, ‘Girls Find God’, emerging both from teen-orientated television dramas and as a topic of discussion among participants in an online forum, www.smartgirls.tv. It considers the relationship between teens and the media, and the implications for the development of cultural identities and practices. Identifying some key tenets of television dramas which have a girl’s connection with the supernatural at their core, and exploring reflections (...) of on-line forum participants, I argue that the ‘Girls Find God’ narrative goes beyond a simple reinforcement of some historically inscribed relationships between divinity, gender and genius. While it is true that connectedness and service are maintained as the inevitable direction of girls’ talents and reinforced by a divine authority, this narrative also provides a locus for negotiation of what such hegemonic inscriptions might mean in contemporary contexts for girls. (shrink)

This piece is a commentary on a precis of Maggie Boden's book "The creative mind" published in Behavioral and Brain Sciences.