The four experiments presented support Boyer's theory that counterintuitive concepts have transmission advantages that account for the commonness and ease of communicating many non-natural cultural concepts. In Experiment 1, 48 American college students recalled expectation-violating items from culturally unfamiliar folk stories better than more mundane items in the stories. In Experiment 2, 52 American college students in a modified serial reproduction task transmitted expectation-violating items in a written narrative more successfully than bizarre or common items. In Experiments 3 and 4, (...) these findings were replicated with orally presented and transmitted stimuli, and found to persist even after three months. To sum, concepts with single expectation-violating features were more successfully transmitted than concepts that were entirely congruent with category-level expectations, even if they were highly unusual or bizarre. This transmission advantage for counterintuitive concepts may explain, in part, why such concepts are so prevalent across cultures and so readily spread. (shrink)

The main purpose of this dissertation is to examine critically and discuss the role of imagination in science and religion, with particular emphasis on its possible epistemic, creative, and meaning-making functions. In order to answer my research questions, I apply theories and concepts from contemporary philosophy of mind on scientific and religious practices. This framework allows me to explore the mental state of imagination, not as an isolated phenomenon but, rather, as one of many mental states that co-exist and interplay (...) in our cogntive architecture. Based on the philosophical discourse of philosophy of mind, four types of imagination are indentified and conceptualized: sensory, propositional, experiential, and creative imagination. These categories are then employed on five phenomena that can be found in scientific and religious environments: metaphors, models, thought experiments, aspect perception, and - in the religious case - rituals. In relation to the concept of religious "seeing" I consider how imaginings may influence visionary experiences and visualization, and compare these phenomena with cases of scientific visualization and eureka experiences. In regard to scientific and religious models, a distinction is made between, on the one hand, two notions of truth and, on the other hand, truth-independent meaning-making. In light of these categories, I differentiate between, and critically discuss, the use of imagination in doxastic, non-doxastic and fictionalist accounts. In light of this investigation, I formulate and defend the position of interactivism, which acknowledges a constant interplay between different attitudes and mental states. In my examination of rituals and scientific and religious thought experiments, special attention is given to the mental capacity to recreate the experiences that are entailed in an imagined scenario. At the end of the investigation, I consider the possible impact that my study might have on how we view science and religion as well as the dialogue bewteen these two fields. (shrink)

We investigate how current models of the conceptual representation of God as highly agentive have consequences for how the God concept is processed in memory for stories when God is not presented as specifically agentive. Participants read stories describing a person experiencing a potentially harmful situation, avoiding the harm, and then thanking either God or luck. Results indicate significant differences between recall of the God and luck stories: God was recalled more often, recalled with intentional language, and God stories were (...) recalled with more intrusions than luck stories. However, results indicate no differences between God and luck story recall on a subsequent recognition task. Participants’ religious identity correlated with both recall and recognition scores. Findings are taken as evidence of a God concept that is represented as highly agentive, and differences between the recognition and recall task reflect differences between intuitive and explicit theology. Results further our knowledge about the way conceptual representation of the supernatural can influence text processing, and suggest ways in which the perception of agency can be influenced. (shrink)

This chapter offers a brief characterization of creativity, followed by a review of some of the reasons people have been skeptical about the possibility of explaining creativity. It surveys some of the recent work on creativity that is naturalistic in the sense that it presumes creativity is natural, as opposed to magical, occult, or supernatural, and is therefore amenable to scientific inquiry. The chapter divides into two categories. The broader category is empirical philosophy, which draws on empirical research while addressing (...) questions that have traditionally been regarded as philosophical. The second category is experimental philosophy, a special branch of empirical philosophy in which experiments are designed by philosophers with the explicit purpose of addressing philosophical questions. This categorization is admittedly somewhat artificial, but it is a familiar one in the prevailing division of intellectual labor, and it will be a useful organizational tool for the chapter. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

How do readers create representations of fictional worlds from texts? We hypothesize that readers use the real world as a starting point and investigate how much and which types of real-world information is imported into a given fictional world. We presented subjects with three stories and asked them to judge whether real world facts held true in the story world. Subjects' responses indicated that they imported many facts into fiction, though what exactly is imported depends on two main variables: the (...) distance that a narrative world lies from reality and the types of fact being imported. Facts that are true of the real world are more likely to be imported into worlds that are more similar to the real world, and facts that are more central to the representation of the real world are more likely to be imported overall. These results indicate that subjects make nuanced inferences when creating fictional worlds, basing their representations both on how different a story world is from the real world and on what they know to be causally central to the real world. (shrink)

Recent progress in artificial intelligence has renewed interest in building systems that learn and think like people. Many advances have come from using deep neural networks trained end-to-end in tasks such as object recognition, video games, and board games, achieving performance that equals or even beats that of humans in some respects. Despite their biological inspiration and performance achievements, these systems differ from human intelligence in crucial ways. We review progress in cognitive science suggesting that truly human-like learning and thinking (...) machines will have to reach beyond current engineering trends in both what they learn and how they learn it. Specifically, we argue that these machines should build causal models of the world that support explanation and understanding, rather than merely solving pattern recognition problems; ground learning in intuitive theories of physics and psychology to support and enrich the knowledge that is learned; and harness compositionality and learning-to-learn to rapidly acquire and generalize knowledge to new tasks and situations. We suggest concrete challenges and promising routes toward these goals that can combine the strengths of recent neural network advances with more structured cognitive models. (shrink)

Counterintuitive concepts have been identified as major aspects of religious belief, and have been used to explain the retention and transmission of such beliefs. To resolve some inconsistencies in the literature concerning counterintuitiveness, we conducted three experiments to study the effect of context on recall. Five types of items were used: intuitive, minimally counterintuitive, maximally counterintuitive, minimally counterintuitive with contradictory context, and intuitive with contradictory context. Items were presented with context or without context and participants were asked to recall them. (...) Maximally counterintuitive concepts were found to have the poorest recall in both immediate and delayed recall conditions and regardless of the presence or absence of context. No significant differences were found in the recall rates of minimally counterintuitive concepts and intuitive concepts, although delayed recall affected minimally counterintuitive concepts less than intuitive concepts, suggesting the possibility of differential "fitness." Presence of contradictory context was found to be able to change minimally counterintuitive items into the functional equivalents of intuitive items. When relevant context was present, minimally counterintuitive concepts were recalled significantly better than intuitive concepts, which is consistent with the findings of Barrett & Nyhof. For items presented as lists, intuitive items were recalled better, consistent with the findings of Norenzayan & Atran. Thus, context was the key element affecting recall and the discrepancy among prior studies was resolved. The results imply that no "item-centered" explanation of the formation and transmission of religious concepts can be adequate in itself. Instead, the nature of the surrounding context must be included in any such account. (shrink)

In a couple of classical studies, Keeney proposed two sets of variables labelled as value focused thinking (VFT) and alternative-focused thinking (AFT). Value-focused thinking (VFT), he argued, is a creative method that centres on the different decision objectives and how as many alternatives as possible may be generated from them. Alternative-focused thinking (AFT), on the other hand, is a method in which the decision maker takes notice of all the available alternatives and then makes a choice that seems to fit (...) the problem best. The impact of these two methods on idea generation was measured using a sample of employees. The results revealed that employees in the value-focused thinking condition (VFT) produced fewer ideas. Thus, value-focused thinking (VFT) is not only able to facilitate ideation fluency but also to constrain it. Factors such as cognitive effort and motivation may play a part here. However, the quality of the ideas was judged to be higher in terms of creativity and innovativeness. Hence, value-focused thinking (VFT) seems to have a positive impact on the quality of ideas in terms of creativity and innovativeness regardless of ideation fluency. Implications for the design of idea management systems are discussed. (shrink)

During the idea generation phase of the design process, designers often search for inspirations in external sources of information, such as photographs, written descriptions and physical examples. These sources have potential to enhance creative performance. However, they sometimes become too attached to particular ideas of external precedents or various examples. It refers to fixation which is identified as inadequate adoption of features from existing examples. Influence of the existing examples on creativity and fixation, specifically textual examples, have been discussed in (...) this research. -/- For the nature of design, researchers highlighted the restructuring process of design problem by new sources because the capabilities and boundaries of design problems are not defined very well. Further, the design problem is not knowable at any specific point. Design knowledge identifies itself by its ambiguity. Many models have been developed for design process. The various numbers of divided phases of the models can be seen as having two main areas: (1) idea generation phase (or “ideation”); (2) later phase for details. Idea generation plays an important role in the design process. It is the area of new and creative configurations on design. -/- Creativity is an integral part of the design process. Designers purpose to achieve original ideas to demonstrate their ability and unique designs. External stimuli or inspirational inputs play important roles to increase creativity. They can support moments of stimulation. Associations between information from memory and external stimuli can contribute to the creation of new meanings. Designers are widely influenced by their surroundings in daily lives. However, each stimulus may not be the part of a more creative result Even if designers want to utilize stimulus as an inspirational source, somehow it may fixate their mind to its surface features and they may lose potential creative contributions of the source. It is called fixation. There is much research that shows significant evidence of conformity effects across the design problems. -/- The given examples to designers may cause higher-level fixation and lower-level creativity or vice versa. Fixation may occur when example solutions are introduced, on the other hand, the designers may create more original ideas as well. There is a need for research to find ways to avoid fixation traps or reduce their adverse impact. Thus, this research focuses on variables of the given example. -/- The following claims show some research areas remained unclear: (1) Some researchers investigated textual examples as - one of the modalities of representation - but did not focus on forms of textual examples. (2) Much research has been conducted with examples which are selected by the researcher. Nevertheless, designers can also choose or produce their own stimuli. There is not much research on this possibility. In this context, my research focuses on the following two variables through two studies (Study 1 and 2): (1) forms of textual examples; (2) self-construction of textual examples. First, most of the studies in the literature have focused on visual presentation and there is not enough research on the content and form of the text. The study of textual examples has still not been awarded enough attention especially as various forms of text. Some forms of text are as follows: keyword, paragraph, sentence, poem. These observations lead me to the following research question: Which forms of textual example increase creativity and reduce fixation more? (Study 1). -/- Second, most of the studies regarding textual examples have used prose or keywords. The poems have been ignored. However, poems imply more meaning with fewer words. The structure of the poems enables more creative narratives than structure of prose. Because unusual organization of words stimulates the readers and draws their attention. This activates the creative performance of the reader. The surrealist poem is the extreme form of this activation. It is random assemblies with headlines and sentences which is cut from newspapers. Thus, novel meaning networks are formed. The method of creating a surrealist poem offers a new way of getting inspiration. It is termed as self-construction practice by this research. Through this method, designers create their own example from the given one. Reconstruction of the text may increase the creative process and prevent fixations from the given text. This suggestion led me to the following research question: If the designers write their own poem instead of a given poem (as a self-construction practice), can they internalize the textual example? In addition, does it produce more creative and less fixated designs? (Study 2). Two experimental studies were planned to partially answer the research questions, in which novice students of architecture were asked to solve two different design problems, under different conditions. All of the experimental sessions were conducted in a design education studio. The participants produced sketches and added a written explanation relating to their designs. Fluency, flexibility and repetition of key attributes were calculated by the researcher. -/- Originality, practicality, understanding of the task and quality were ranked by judges. Study 1 shows us tendencies of using various textual forms. Distinctions of keywords and of poems have appeared among them. This emphasizes the role of keyword and poem in the design process as inspirational sources and provides many tips for their potential use. The keyword also leads to a high degree of fixation. However, a low degree of fixation is observed when poems are presented as inspirational examples. -/- In Study 2, the self-constructed poem seems to support develop more successful design ideas from many perspectives. In the context of the surrealist poem, writing and reading the surrealist poem trigger the designers’ imagination. At first, the words and lines of poems seem unrelated to each other and designers try to relate them and solve the puzzle of meaning. Hence, novel meaning networks are formed. It indicates that surrealist poems are able to activate the creative performance of the designers. Writing their own surrealist poems ,as a self-construction practice, motivated designers to begin to produce by having fun. Motivated designers have stimulated themselves to produce creative ideas. In other words, the self-construction process may be added to the design process models in the earlier part of the idea generation phase which is called as pre-design and warm-up phase. This earlier phase makes designers highly motivated and they internalized the given examples. -/- Following the conclusions, several implications and recommendations for the design process and education are discussed. (shrink)

In the present research, the authors hypothesized that additive counterfactual thinking mind-sets, activated by adding new antecedent elements to reconstruct reality, promote an expansive processing style that broadens conceptual attention and facilitates performance on creative generation tasks, whereas subtractive counterfactual thinking mind-sets, activated by removing antecedent elements to reconstruct reality, promote a relational processing style that enhances tendencies to consider relationships and associations and facilitates performance on analytical problem-solving tasks. A reanalysis of a published data set suggested that the counterfactual (...) mind-set primes previously used in the literature tend to evoke subtractive counterfactuals. Studies 1 and 2 then demonstrated that subtractive counterfactual mind-sets enhanced performance on analytical problem-solving tasks relative to additive counterfactual mind-sets, whereas Studies 3 and 4 found that additive counterfactual mind-sets enhanced performance on creative generation tasks relative to subtractive counterfactual mind-sets. (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.