The goal of this article is to display the attractiveness of a novel account of the place of creativity in the human mind. This is designed to supplement (and perhaps replace) the widespread assumption that creativity is thought-based, involving novel combinations of concepts to form creative thoughts, with the creativity of action being parasitic upon prior creative thinking. According to the proposed account, an additional (or perhaps alternative) locus of creativity lies in the assembly and activation of action-schemata, with creative (...) thoughts arising subsequently from the mental rehearsal of those actions, normally resulting in either visual imagery or inner speech. (shrink)

Creativity has often been declared, especially by philosophers, as the last frontier of science. The assumption is that it will defy explanation forever. I will defend two claims in order to oppose this assumption and to demystify creativity: (1) the perspective that creativity cannot be explained wrongly identifies creativity with what I shall call metaphysical freedom; (2) the Darwinian approach to creativity, a prominent naturalistic account of creativity, fails to give an explanation of creativity, because it confuses conceptual issues with (...) explanation. I will close with some remarks on the status and differences in some explanations available in contemporary cognitive science. (shrink)

Recreative Minds develops a philosophical theory of imagination that draws upon the latest work in psychology. This theory illuminates the use of imagination in coming to terms with art, its role in enabling us to live as social beings, and the psychological consequences of disordered imagination. The authors offer a lucid exploration of a fascinating subject.

Social psychology is a flourishing discipline. It explores the most essential questions of the human psyche, and it does so with clever, ingenuitive research methods. This edited volume is a textbook for advanced social psychology courses. Its primary target audience is first-year graduate students in social psychlogy, although it is also appropriate for upper-level undergraduate courses in social psychology and for doctoral students in disciplines connecting to social psychology. The authors of the chapters are world-renowned leaders on their topic, and (...) they have written these chapters to be engaging and accessible to students who are just learning the discipline. After reading this book, you will be able to understand almost any journal article or conference presentation in any field of social psychology. You will be able to converse competently with most social psychologists in their primary research domain, a use skill that is relevant not only in daily life but also when interviewing for a faculty position. And, most importantly, you will be equipped with the background knowledge to forge ahead more confidently with your own research. (shrink)

Simonton examines the idea of the genius through his own theory called chance-configuration theory.

Currently, production and comprehension are regarded as quite distinct in accounts of language processing. In rejecting this dichotomy, we instead assert that producing and understanding are interwoven, and that this interweaving is what enables people to predict themselves and each other. We start by noting that production and comprehension are forms of action and action perception. We then consider the evidence for interweaving in action, action perception, and joint action, and explain such evidence in terms of prediction. Specifically, we assume (...) that actors construct forward models of their actions before they execute those actions, and that perceivers of others' actions covertly imitate those actions, then construct forward models of those actions. We use these accounts of action, action perception, and joint action to develop accounts of production, comprehension, and interactive language. Importantly, they incorporate well-defined levels of linguistic representation. We show how speakers and comprehenders use covert imitation and forward modeling to make predictions at these levels of representation, how they interweave production and comprehension processes, and how they use these predictions to monitor the upcoming utterances. We show how these accounts explain a range of behavioral and neuroscientific data on language processing and discuss some of the implications of our proposal. (shrink)

Many philosophers and psychologists have sought to explain experiences of auditory verbal hallucinations and “inserted thoughts” in schizophrenia in terms of a failure on the part of patients to appropriately monitor their own inner speech. These self-monitoring accounts have recently been challenged by some who argue that AVHs are better explained in terms of the spontaneous activation of auditory-verbal representations. This paper defends two kinds of self-monitoring approach against the spontaneous activation account. The defense requires first making some important clarifications (...) concerning what is at issue in the dispute between the two forms of theory. A popular but problematic self-monitoring theory is then contrasted with two more plausible conceptions of what the relevant self-monitoring deficits involve. The first appeals to deficits in the neural mechanisms that normally filter or attenuate sensory signals that are the result of one’s own actions. The second, less familiar, form of self-monitoring approach draws an important analogy between Wernicke’s aphasia and AVHs in schizophrenia. This style of self-monitoring theory pursues possible connections among AVHs, inserted thoughts, and the disorganized speech characteristic formal thought disorder. (shrink)

Why does performing certain tasks cause the aversive experience of mental effort and concomitant deterioration in task performance? One explanation posits a physical resource that is depleted over time. We propose an alternative explanation that centers on mental representations of the costs and benefits associated with task performance. Specifically, certain computational mechanisms, especially those associated with executive function, can be deployed for only a limited number of simultaneous tasks at any given moment. Consequently, the deployment of these computational mechanisms carries (...) an opportunity cost – that is, the next-best use to which these systems might be put. We argue that the phenomenology of effort can be understood as the felt output of these cost/benefit computations. In turn, the subjective experience of effort motivates reduced deployment of these computational mechanisms in the service of the present task. These opportunity cost representations, then, together with other cost/benefit calculations, determine effort expended and, everything else equal, result in performance reductions. In making our case for this position, we review alternative explanations for both the phenomenology of effort associated with these tasks and for performance reductions over time. Likewise, we review the broad range of relevant empirical results from across sub-disciplines, especially psychology and neuroscience. We hope that our proposal will help to build links among the diverse fields that have been addressing similar questions from different perspectives, and we emphasize ways in which alternative models might be empirically distinguished. (shrink)

I argue that creativity is compatible with determinism and therefore with naturalistic explanation. I explore different kinds of novelty, corresponding with four distinct concepts of creativity – anthropological, historical, psychological and metaphysical. Psychological creativity incorporates originality and spontaneity. Taken together, these point to the independence of the creative mind from social learning, experience and previously acquired knowledge. This independence is nevertheless compatible with determinism. Creativity is opposed to specific causal factors, but it does not exclude causal determination as such. So (...) creativity can be naturalized. (shrink)

Carl Hausman presents here a sustained and systematic examination of the problems of constructing a framework for understanding the concept of creativity. His discussion is unique in focusing systematically on problems of understanding creativity, examining our assumptions about what we take to be creative, and the possibility of seeing how creativity fits into a world that we expect to behave in rational patterns. In a careful examination of this complex phenomena, Hausman suggests a way of approaching creativity in terms of (...) a novel theory of metaphor. (shrink)

According to one of the rivals, “poets do not create from knowledge but on the basis of certain natural talents and guided by divine inspiration, just like seers and the singers of oracles.”1 There is “a form of possession and madness, caused by the muses, that seizes a tender and untouched soul and inspires and stimulates it so that it educates by praising the deeds of ancestors in songs and in every other mode of poetry. Whoever knocks on the door (...) of poetry without the madness of the muses trusting that technique alone will make him a whole poet does not reach his aim; he and his poetry of reason disappear before the poetry of the madman.”2 Even knowledge cannot arise in a purely rational way. In his seventh letter Plato explains how “from a long and dedicated pursuit of the subject and from close companionship, [understanding] suddenly, like fire being kindled by a leaping spark, is born in the soul and straightaway finds nourishment in itself.”3 Thus understanding or building a work of art contains an element that goes beyond skill, technical knowledge, and talent. A new force takes hold of the soul and directs it, toward theoretical insight in one case, toward artistic achievement in the other.The view adumbrated in these quotations is very popular today. Interestingly enough it seems to receive support form the most rigorous and most advanced parts of the sciences. This rigor, it is pointed out, is but a transitory stage in a process which has much in common with what Plato envisaged. Of course, it is necessary to make some changes: Plato’s knowledge was stable while scientific knowledge progresses. Plato assumed that outside forces—madness, divine inspiration—impinge on the soul while the moderns let the appropriate ideas, images, emotions arise from the individual soul itself. But there seem to exist many reasons to recommend a Platonism that has been modified in this way.In the following essay I shall try to show that the reasons that have been given are invalid and that the view itself—the view that culture needs individual creativity—is not only absurd but also dangerous. To make my criticism as concrete as possible I shall concentrate on e specific group of arguments in its favor. And to make it as clear as possible I shall use arguments trying to show the role of individual creativity in the sciences. If these clear and detailed arguments fail, then the rhetoric emerging from more foggy areas will altogether lose its force. 1. Plato, Apology of Socrates 22c. Translations, unless otherwise noted, are my own2. Plato, Phaedrus 245a.3. Plato, Epistles 341c, d. Paul Feyerabend studied singing and opera production in Vienna, history of theater and theatrical production at the Institute for the Methodological Reform of the German Theater in Weimar, and physics, astronomy, and philosophy in Vienna. He has lectured on aesthetics, the history of science, and philosophy in Austria, Germany, England, New Zealand, and the United States. At the moment he holds a joint appointment at the University of California, Berkeley, and the Federal Institute of Technology in Zurich. His books include Against Method , Erkenntnis für freie Menschen , and Philosophical Papers . Forthcoming works are Farewell to Reason and Stereotypes of Reality. (shrink)

Little, Brown, 1992 Review by Glenn Branch on Jul 5th 1999 Volume: 3, Number: 27.

Not all models are explanatory. Some models are data summaries. Some models sketch explanations but leave crucial details unspecified or hidden behind filler terms. Some models are used to conjecture a how-possibly explanation without regard to whether it is a how-actually explanation. I use the Hodgkin and Huxley model of the action potential to illustrate these ways that models can be useful without explaining. I then use the subsequent development of the explanation of the action potential to show what is (...) required of an adequate mechanistic model. Mechanistic models are explanatory. (shrink)

Although our subjective impression is of a richly detailed visual world, numerous empirical results suggest that the amount of visual information observers can perceive and remember at any given moment is limited. How can our subjective impressions be reconciled with these objective observations? Here, we answer this question by arguing that, although we see more than the handful of objects, claimed by prominent models of visual attention and working memory, we still see far less than we think we do. Taken (...) together, we argue that these considerations resolve the apparent conflict between our subjective impressions and empirical data on visual capacity, while also illuminating the nature of the representations underlying perceptual experience. (shrink)

This study provides a survey of phenomena that present themselves during moments of naturally occurring inner experience. In our previous studies using Descriptive Experience Sampling we have discovered five frequently occurring phenomena—inner speech, inner seeing, unsymbolized thinking, feelings, and sensory awareness. Here we quantify the relative frequency of these phenomena. We used DES to describe 10 randomly identified moments of inner experience from each of 30 participants selected from a stratified sample of college students. We found that each of the (...) five phenomena occurred in approximately one quarter of sampled moments, that the frequency of these phenomena varied widely across individuals, that there were no significant gender differences in the relative frequencies of these phenomena, and that higher frequencies of inner speech were associated with lower levels of psychological distress. (shrink)

One of the most important issues concerning the foundations ofconscious perception centerson thequestion of whether perceptual consciousness is rich or sparse. The overflow argument uses a form of ‘iconic memory’ toarguethatperceptual consciousnessisricher (i.e.,has a higher capacity) than cognitive access: when observing a complex scene we are conscious of more than we can report or think about. Recently, the overflow argumenthas been challenged both empirically and conceptually. This paper reviews the controversy, arguing that proponents of sparse perception are committed to the (...) postulation of (i) a peculiar kind of generic conscious representation that has no independent rationale and (ii) an unmotivated form of unconscious representation that in some cases conflicts with what we know about unconscious representation. (shrink)

Prominent models of attentional control assert a dichotomy between top-down and bottom-up control, with the former determined by current selection goals and the latter determined by physical salience. This theoretical dichotomy, however, fails to explain a growing number of cases in which neither current goals nor physical salience can account for strong selection biases. For example, equally salient stimuli associated with reward can capture attention, even when this contradicts current selection goals. Thus, although 'top-down' sources of bias are sometimes defined (...) as those that are not due to physical salience, this conception conflates distinct - and sometimes contradictory - sources of selection bias. We describe an alternative framework, in which past selection history is integrated with current goals and physical salience to shape an integrated priority map. (shrink)

The Centered Mind offers a new view of the nature and causal determinants of both reflective thinking and, more generally, the stream of consciousness. Peter Carruthers argues that conscious thought is always sensory-based, relying on the resources of the working-memory system. This system enables sensory images to be sustained and manipulated through attentional signals directed at midlevel sensory areas of the brain. When abstract conceptual representations are bound into these images, we consciously experience ourselves as making judgments or arriving at (...) decisions. However, our amodal propositional attitudes are never actually among the contents of this stream of conscious reflection. Our beliefs, goals, and decisions are only ever active in the background of consciousness, working behind the scenes. They are never themselves conscious.Drawing on extensive knowledge of the scientific literature on working memory and related topics, Carruthers challenges the central assumptions of many philosophers. In addition to arguing that non-sensory propositional attitudes are never conscious, he also shows that they are never under direct intentional control. Written with his usual clarity and directness, The Centered Mind will be essential reading for all philosophers and cognitive scientists interested in the nature of human thought processes. (shrink)

Phenomenology is about subjective aspects of the mind, such as the conscious states associated with vision and touch, and the conscious states associated with emotions and moods, such as feelings of elation or sadness. These states have a distinctive first-person ‘feel’ to them, called their phenomenal character. In this respect they are often taken to be radically different from mental states and processes associated with thought. This is the first book to fully question this orthodoxy and explore the prospects of (...) cognitive phenomenology, applying phenomenology to the study of thought and cognition. Does cognition have its own phenomenal character? Can introspection tell us either way? If consciousness flows in an unbroken ‘stream’ as William James argued, how might a punctuated sequence of thoughts fit into it? Elijah Chudnoff begins with a clarification of the nature of the debate about cognitive phenomenology and the network of concepts and theses that are involved in it. He then examines the following topics: • Introspection and knowledge of our own thoughts • Phenomenal contrast arguments • The value of consciousness • The temporal structure of experience • The holistic character of experience and the interdependence of sensory and cognitive states • The relationship between phenomenal character and mental representation -/- Including chapter summaries, annotated further reading, and a glossary, this book is essential reading for anyone seeking a clear and informative introduction to and assessment of cognitive phenomenology, whether philosophy student or advanced researcher. It will also be valuable reading for those in related subjects such as philosophy of mind, philosophy of psychology and epistemology. (shrink)

How is it possible to think new thoughts? What is creativity and can science explain it? And just how did Coleridge dream up the creatures of The Ancient Mariner? When The Creative Mind: Myths and Mechanisms was first published, Margaret A. Boden's bold and provocative exploration of creativity broke new ground. Boden uses examples such as jazz improvisation, chess, story writing, physics, and the music of Mozart, together with computing models from the field of artificial intelligence to uncover the nature (...) of human creativity in the arts. The second edition of The Creative Mind has been updated to include recent developments in artificial intelligence, with a new preface, introduction and conclusion by the author. It is an essential work for anyone interested in the creativity of the human mind. (shrink)

Do we have introspective access to our own thoughts? Peter Carruthers challenges the consensus that we do: he argues that access to our own thoughts is always interpretive, grounded in perceptual awareness and sensory imagery. He proposes a bold new theory of self-knowledge, with radical implications for understanding of consciousness and agency.

Our ability to acknowledge and recognise our own identity - our 'self' - is a characteristic doubtless unique to humans. Where does this feeling come from? How does the combination of neurophysiological processes coupled with our interaction with the outside world construct this coherent identity? We know that our social interactions contribute via the eyes, ears etc. However, our self is not only influenced by our senses. It is also influenced by the actions we perform and those we see others (...) perform. Our brain anticipates the effects of our own actions and simulates the actions of others. In this way, we become able to understand ourselves and to understand the actions and emotions of others. -/- This book is the first to describe the new field of 'Motor Cognition' - one to which the author's contribution has been seminal. Though motor actions have long been studied by neuroscientists and physiologists, it is only recently that scientists have considered the role of actions in building the self. How consciousness of action is part of self-consciousness, how one's own actions determine the sense of being an agent, how actions performed by others impact on ourselves for understanding others, differentiating ourselves from them and learning from them: these questions are raised and discussed throughout the book, drawing on experimental, clinical, and theoretical bases. -/- The advent of new neuroscience techniques, like neuroimaging and direct electrical brain stimulation, together with a renewal of behavioral methods in cognitive psychology, provide new insights into this area. Mental imagery of action, self-recognition, consciousness of actions, imitation can be objectively studied using these new tools. The results of these investigations shed light on clinical disorders in neurology, psychiatry and in neuro-development. -/- This is a major new work that will lay down the foundations for the field of motor cognition. (shrink)

The book is an extended study of the problem of consciousness. After setting up the problem, I argue that reductive explanation of consciousness is impossible , and that if one takes consciousness seriously, one has to go beyond a strict materialist framework. In the second half of the book, I move toward a positive theory of consciousness with fundamental laws linking the physical and the experiential in a systematic way. Finally, I use the ideas and arguments developed earlier to defend (...) a form of strong artificial intelligence and to analyze some problems in the foundations of quantum mechanics. (shrink)

This volume presents new essays on the propositional imagination by leading researchers. The propositional imagination---the mental capacity we exploit when we imagine that everyone is colour-blind or that Hamlet is a procrastinator---plays an essential role in philosophical theorizing, engaging with fiction, and indeed in everyday life. Yet only recently has there been a systematic attempt to give a cognitive account of the propositional imagination. These thirteen essays, specially written for the volume, capitalize on this recent work, extending the theoretical picture (...) of the imagination and exploring the philosophical implications of cognitive accounts of the imagination. The book also investigates broader philosophical issues surrounding the propositional imagination. The first section addresses the nature of the imagination, its role in emotion production, and its sophistication manifestation in childhood. The essays in the second section focus on the nature of pretence and how pretence is implicated in adult communication. The third section addresses the problem of 'imaginative resistance', the striking fact that when we encounter morally repugnant assertions in fiction, we seem to resist imagining them and accepting them as fictionally true. In the final section, contributors explore the relation between imagining, conceiving, and judgements of possibility and impossibility. The Architecture of the Imagination will be an essential resource for the growing number of philosophers and psychologists studying the nature of the imagination and on its role in philosophy, aesthetics, and everyday life. (shrink)

An essential work for anyone interested in the creativity of the human mind, "The Creative Mind" has been updated to include recent developments in artificial ...

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)

Many traditional theories of creativity put heavy emphasis on an incubation stage in creative cognitive processes. The basic phenomenon is a familiar one: we are working on a task or problem, we leave it aside for some period of time, and when we return attention to the task we have some new insight that services completion of the task. This feature, combined with other ostensibly mysterious features of creativity, has discouraged naturalists from theorizing creativity. This avoidance is misguided: we can (...) maintain unconscious incubated cognition as (sometimes) part of the creative process and we can explain it in scientifically responsible ways. This paper, focusing on the effects of attention on the functional networking of the brain, attempts just such an explanation. It also serves to assuage the naturalist's scepticism about other features of creative cognition. The broad upshot, one would hope, is that philosophers of mind and cognitive scientists return some attention to the long neglected topic of creativity. (shrink)