This paper seeks to answer the question: Can contemporary forms of artificial intelligence be creative? To answer this question, I consider three conditions that are commonly taken to be necessary for creativity. These are novelty, value, and agency. I argue that while contemporary AI models may have a claim to novelty and value, they cannot satisfy the kind of agency condition required for creativity. From this discussion, a new condition for creativity emerges. Creativity requires curiosity, a motivation to pursue epistemic (...) goods. I argue that contemporary AI models do not satisfy this new condition. Because they lack both agency and curiosity, it is a mistake to attribute the same sort of creativity to AI that we prize in humans. Finally, I consider the question of whether these AI models stand to make human creativity in the arts and sciences obsolete, despite not being creative themselves. I argue, optimistically, that this is unlikely. (shrink)

What occurs in the mind of an expert who is performing at their very best? In this paper, I survey the history of debate concerning this question. I suggest that expertise is neither solely a mastery of the automatic nor solely a mastery of intelligence in skilled action control. Experts are also capable of performing automatic actions intelligently. Following this, I argue that unconscious-thought theory (UTT) is a powerful tool in coming to understand the role of executive, intelligent action control (...) in the fluidly automatic performance of expertise. Relying on a body of empirical evidence concerning the cognitive structures and perceptual strategies employed by experts, I show that the realm of skilled action is an ideal environment within which the powers of unconscious cognitive processing can have positive effects on action. I conclude that experts rely upon unconscious thinking in the production of intelligently automatic skilled actions. (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.

Perhaps a part of what makes expertise so inspiring to the curious researcher is the possibility of appropriating the structural components of skilled action to draw a roadmap towards their achievement that anyone might be able to follow. Accordingly, the purpose of this essay is to shed light upon the role that creativity plays in the production and environment of skilled action to that foregoing end. In doing so, I suggest that the lessons to be learned from recent empirical research (...) on creativity has much to offer to the cognitive science of skill and expertise. Experts are able to bring their intelligence to bear in controlling fast and seemingly automatic actions by utilizing a form of control often called ‘intelligent automaticity.’ In this spirit, I argue that the environment of intelligently automatic action control curates a similarly ideal environment for the processes of creativity. Moreover, insofar as creativity is ideally operative within the environment of expert action control, I argue further that creativity functions as one representative form of ‘intelligence’ embedded within otherwise fluid, and automatic expert actions. Creativity is able to do so even without conscious representation through the powers of incubated cognition. (shrink)

I argue for an account of creativity that unifies creative achievements in the arts, sciences, and other domains and identifies its characteristic value. This account draws upon case studies of creative work in both the arts and sciences to identify creativity as a kind of successful exploration. I argue that if creativity is properly understood in this way, then it is fundamentally a property of processes, something only agents can achieve, something that comes in degrees, subjectively novel, and non-formulaic. As (...) I develop the account, I show how it avoids challenges faced by other accounts of creativity, especially concerning creativity's value. Hills and Bird have together argued that creativity is not necessarily valuable. My account challenges this view. If I am right that creativity is a kind of successful exploration, then creativity does have a characteristic value, specifically epistemic value. (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.

In social and political theory, the imagination is often used in accounting both for creativity, innovation, and change and for sociopolitical stagnation and the inability to promote innovation and change. To what extent, however, can we attribute such seemingly contradictory outcomes to the same mental faculty? To address this question, this paper develops a comprehensive account of the political imagination, one that explains the various roles played by imagination in politics and thus accounts for the promises and limits of the (...) political imagination. This conceptualization of the political imagination allows us to account for the simultaneous presence of its seemingly contradictory roles—such as promoting stability and order on the one hand while generating creativity and critical innovation on the other. (shrink)

To imagine is to form a mental representation that does not aim at things as they actually, presently, and subjectively are. One can use imagination to represent possibilities other than the actual, to represent times other than the present, and to represent perspectives other than one’s own. Unlike perceiving and believing, imagining something does not require one to consider that something to be the case. Unlike desiring or anticipating, imagining something does not require one to wish or expect that something (...) to be the case. // -/- Imagination is involved in a wide variety of human activities, and has been explored from a wide range of philosophical perspectives. Philosophers of mind have examined imagination’s role in mindreading and in pretense. Philosophical aestheticians have examined imagination’s role in creating and in engaging with different types of artworks. Epistemologists have examined imagination’s role in theoretical thought experiments and in practical decision-making. Philosophers of language have examined imagination’s role in irony and metaphor. // -/- Because of the breadth of the topic, this entry focuses exclusively on contemporary discussions of imagination in the Anglo-American philosophical tradition. (shrink)

Three kinds of things may be creative: persons, processes, and products. The standard definition of creativity, used nearly by consensus in psychological research, focuses specifically on products and says that a product is creative if and only if it is new and valuable. We argue that at least one further condition is necessary for a product to be creative: it must have been produced by the right kind of process. We argue furthermore that this point has an interesting epistemological implication: (...) when you judge a product to be creative--attributing creativity--you are not just judging it to be new and valuable. Even if you did not witness how it was produced, you are also making a judgement about how it was produced. (shrink)

We praise and admire creative people in virtually every domain from the worlds of art, fashion and design to the fields of engineering and scientific endeavour. Picasso was one of the most influential artists of the twentieth century, Einstein was a creative scientist and Jonathan Ive is admired the world over as a great designer. We also sometimes blame, condemn or withhold praise from those who fail creatively; hence we might say that someone's work or ideas tend to be rather (...) derivative and uninspired. Institutions and governmental advisory bodies sometimes aspire, claim or exhort us to enable individual creativity, whether this is held to be good for the individual as such or in virtue of promoting wider socio-economic goods. It is at least a common thought that people are more self-fulfilled if they are creative and society more generally is held to be all the better for enabling individual creativity. (shrink)