Neurological syndromes in which consciousness seems to malfunction, such as temporal lobe epilepsy, visual scotomas, Charles Bonnet syndrome, and synesthesia offer valuable clues about the normal functions of consciousness and ‘qualia’. An investigation into these syndromes reveals, we argue, that qualia are different from other brain states in that they possess three functional characteristics, which we state in the form of ‘three laws of qualia’. First, they are irrevocable: I cannot simply decide to start seeing the sunset as green, or (...) feel pain as if it were an itch; second, qualia do not always produce the same behaviour: given a set of qualia, we can choose from a potentially infinite set of possible behaviours to execute; and third, qualia endure in short-term memory, as opposed to non-conscious brain states involved in the on-line guidance of behaviour in real time. We suggest that qualia have evolved these and other attributes because of their role in facilitating non-automatic, decision-based action. We also suggest that the apparent epistemic barrier to knowing what qualia another person is experiencing can be overcome by using a ‘bridge’ of neurons; and we offer a hypothesis about the relation between qualia and one's sense of self. (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)

This study compares Pairs of subjects with Single subjects in a task of discovering scientific laws with the aid of experiments. Subjects solved a molecular genetics task in a computer micro‐world (Dunbar, 1993). Pairs were more successful in discovery than Singles and participated more actively in explanatory activities (i.e., entertaining hypotheses and considering alternative ideas and justifications). Explanatory activities were effective for discovery only when the subjects also conducted crucial experiments. Explanatory activities were facilitated when paired subjects made requests of (...) each other for explanation and focused on them. The study extends from individual to collaborative discovery activities the importance to the discovery process of setting goals to find hypotheses and evidence (Dunbar, 1993) and to construct explanations of phenomena and processes encountered in examples (Chi, Bassok, Lewis, & Glaser, 1989). (shrink)

Human and machine discovery are gradual problem-solving processes of searching large problem spaces for incompletely defined goal objects. Research on problem solving has usually focused on search of an instance space (empirical exploration) and a hypothesis space (generation of theories). In scientific discovery, search must often extend to other spaces as well: spaces of possible problems, of new or improved scientific instruments, of new problem representations, of new concepts, and others. This paper focuses especially on the processes for finding new (...) problem representations and new concepts, which are relatively new domains for research on discovery.Scientific discovery has usually been studied as an activity of individual investigators, but these individuals are positioned in a larger social structure of science, being linked by the blackboard of open publication (as well as by direct collaboration). Even while an investigator is working alone, the process is strongly influenced by knowledge and skills stored in memory as a result of previous social interaction. In this sense, all research on discovery, including the investigations on individual processes discussed in this paper, is social psychology, or even sociology. (shrink)

High-level perception--”the process of making sense of complex data at an abstract, conceptual level--”is fundamental to human cognition. Through high-level perception, chaotic environmen- tal stimuli are organized into the mental representations that are used throughout cognitive pro- cessing. Much work in traditional artificial intelligence has ignored the process of high-level perception, by starting with hand-coded representations. In this paper, we argue that this dis- missal of perceptual processes leads to distorted models of human cognition. We examine some existing artificial-intelligence models--”notably (...) BACON, a model of scientific discovery, and the Structure-Mapping Engine, a model of analogical thought--”and argue that these are flawed pre- cisely because they downplay the role of high-level perception. Further, we argue that perceptu- al processes cannot be separated from other cognitive processes even in principle, and therefore that traditional artificial-intelligence models cannot be defended by supposing the existence of a --œrepresentation module--� that supplies representations ready-made. Finally, we describe a model of high-level perception and analogical thought in which perceptual processing is integrated with analogical mapping, leading to the flexible build-up of representations appropriate to a given context. (shrink)

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

The paper consists of a reflexive exercise in which Herbert Simon's views concerning science are applied to his own research. It argues that what connected his ventures into so many different disciplinary domains was a search for complex, hierarchical systems. In the process, the paper establishes a close connection between Simon's insights and his focus on simulation. Instead of simulating Simon on a computer, though, it simulates Simon on paper. This exercise is then contrasted with Simon's own attempts to simulate (...) science. This comparison leads to a reflexive evaluation of Simon's simulations. (shrink)

Ever since 1956 when details of the Logic Theorist were published by Newell and Simon, a large literature has accumulated on computational models and theories of the creative process, especially in science, invention and design. But what exactly do these computational models/theories tell us about the way that humans have actually conducted acts of creation in the past? What light has computation shed on our understanding of the creative process? Addressing these questions, we put forth three propositions: (I) Computational models (...) of the creative process are fundamentally flawed as theories of human creativity. Rather, the universal power of computational models lies elsewhere: (II) Computational models of particular acts of creation can serve as effective experiments to test universal hypotheses about creative processes and mechanisms; and (III) Computation-based architectures of the creative mind provide metaphorical frameworks that, like all good metaphors, can serve as rich sources of insight into aspects of the creative process. In this paper, we provide evidence for these three propositions by drawing upon some particular episodes in the cognitive history of science, technology, and art. (shrink)

In recent years there has been a great deal of discussion about the prospects of developing a “naturalized epistemology,” though different authors tend to interpret this label in quite different ways.1 One goal of this paper is to sketch three projects that might lay claim to the “naturalized epistemology” label, and to argue that they are not all equally attractive. Indeed, I’ll maintain that the first of the three – the one I’ll attribute to Quine – is simply incoherent. There (...) is no way we could get what we want from an epistemological theory by pursuing the project Quine proposes. The second project on my list is a naturalized version of reliabilism. This project is not fatally flawed in the way that Quine’s is. However, it’s my contention that the sort of theory this project would yield is much less interesting than might at first be thought. (shrink)

In recent years there has been a great deal of discussion about the prospects of developing a ‘naturalized epistemology’, though different authors tend to interpret this label in quite different ways. One goal of this paper is to sketch three projects that might lay claim to the ‘naturalized epistemology’ label, and to argue that they are not all equally attractive. Indeed, I'll maintain that the first of the three—the one I'll attribute to Quine—is simply incoherent. There is no way we (...) could get what we want from an epistemological theory by pursuing the project Quine proposes. The second project on my list is a naturalized version of reliabilism. This project is not fatally flawed in the way that Quine's is. However, it's my contention that the sort of theory this project would yield is much less interesting than might at first be thought. (shrink)

Previous research on scientific reasoning has shown that it involves a diverse set of skills. Yet, little is known about generality or domain specificity of those skills, an important issue in theories of expertise and in attempts to automate scientific reasoning skills. We present a study designed to test what kinds of skills psychologists actually use in designing and interpreting experiments and contrast expertise within a particular research area with general expertise at designing and interpreting experiments. The results suggest that (...) psychologists use many domain‐general skills in their experimentation and that bright and motivated Carnegie Mellon undergraduates are missing many of these skills. We believe that these results have important implications for psychological and artificial intelligence models of expertise, as well as educational implications in the domain of science instruction. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized by two (...) stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

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 (...) an artificial agent, and we discuss the ways in which machine discoverers become more autonomous. Finally we summarize the main principles useful in construction of automated discoverers and we discuss various possible limitations of automation. (shrink)

This study investigated the cognitive processes involved in inductive reasoning. Sixteen undergraduates solved quadratic function–finding problems and provided concurrent verbal protocols. Three fundamental areas of inductive activity were identified: Data Gathering, Pattern Finding, and Hypothesis Generation. These activities are evident in three different strategies that they used to successfully find functions. In all three strategies, Pattern Finding played a critical role not previously identified in the literature. In the most common strategy, called the Pursuit strategy, participants created new quantities from (...) x and y, detected patterns in these quantities, and expressed these patterns in terms of x. These expressions were then built into full hypotheses. The processes involved in this strategy are instantiated in an ACT‐based model that simulates both successful and unsuccessful performance. The protocols and the model suggest that numerical knowledge is essential to the detection of patterns and, therefore, to higher‐order problem solving. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized by two (...) stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

In the early eighties, philosophers of science came to the conviction that discovery and creativity form an integral part of scientific rationality. Ever since, the?positivists? have been criticised for their neglect of these topics. It is the aim of this paper to show that the positivists' approach to scientific discovery is not only much richer than is commonly recognized, but that they even defended an important thesis which some of the `friends of discovery' seem to have forgotten. Contrary to what (...) is generally accepted, I shall also show that there is no reason at all why the positivists should have ignored discovery. (shrink)