This paper considers a central objection to evolutionary epistemology. The objection is that biological and epistemic development are not analogous, since while biological variation is blind, epistemic variation is not. The generation of hypotheses, unlike the generation of genotypes, is not random. We argue that this objection is misguided and show how the central analogy of evolutionary epistemology can be preserved. The core of our reply is that much epistemic variation is indeed directed by heuristics, but these heuristics are analogous (...) to biological preadaptations which account for the evolution of complex organs. We also argue that many of these heuristics or epistemic preadaptations are not innate but were themselves generatedby a process of blind variation and selective retention. (shrink)

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

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)

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)