First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Why are some people more mentally able than others? In an authoritative, critical and intergrated series of review essays Professor Ian Deary inquires after the cognitive and biological foundations of human mental ability differences. Many accounts of intelligence have examined the structure and number of human mental ability differences and whether they can predict sucess in education,work and social life. Few books have taken psychometric intelligence differences as a starting point and brought together the reductionistic attempts to explain them.New to (...) the highly acclaimed Oxford Psychology Series, Looking Down on Human Intelligence appraises the search for the origins of psychometric intelligence differences in terms of brain function parameters. The book provides an original and thought provoking guide to ancient and modern research on one of the most compelling questions in human psychology. (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)

Kant's attempt to establish the principles behind the faculty of judgment remains one of the most important works on human reason.

Margaret Boden presents a series of essays in which she explores the nature of creativity in a wide range of art forms. Creativity is the generation of novel, surprising, and valuable ideas. Boden identifies three forms of creativity each eliciting a different form of surprise.

This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the creative process is rational; whether it is teleological; the relation of creativity (...) to knowledge; whether creativity can be explained; computational and Darwinian theories of creativity; whether creativity is a virtue; the relation of creativity to tradition; the aesthetic value of creativity; and whether creative activity is different in science and art. (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions. The Philosophy of Creativity takes up these questions and, in doing so, illustrates the value of interdisciplinary exchange.

This dissertation argues for a "bundle thesis" of phenomenal consciousness: that the ways things seem to subjects are constituted by bundles of representational and functional properties. I argue that qualia are determined not only by intrinsic properties, but also by relational properties to other bodily and mental states . The view developed on the basis of this claim is called "phenomenal holism." ;Part I examines the current literature on phenomenal consciousness, sorting out various conceptual and historical issues. In particular, I (...) show that current research falls into two camps: that claiming there is no coherent view of phenomenal consciousness or of how it can be studied, and that claiming that phenomenal consciousness is constituted by non-relational and non-causal/functional/representational properties. Neither camp believes that materialist theories of consciousness are possible. ;Part II counters the specific objections these writers raise against materialist theories. First I show that some of the most prominent objections are founded upon an implicit and misguided assumption: that qualia are non-relational simples, based on what I call the segregationist intuition. Then, more specifically, I argue: that while Kripke's argument from a posteriori necessity against the identity-theory is committed to the absence of an appearance/reality distinction, its presumptions entail this distinction; and that the symmetrical development of the possibility of "hidden qualia" shows that absent qualia and zombie arguments against functionalism are absurd. This last argument is extended to argue against the possibility of inverted spectra. It is concluded that none of the standard objections to materialist theories carry significant weight. ;Part III turns to relational theories of consciousness, and supports an "integrationist intuition" about the mind. I first show that higher-order perception and higher-order thought theories are inadequate, in spite of correctly construing consciousness relationally. I then go on to develop the bundle theory, drawing support from empirical research on vision and pain. The dissertation concludes by defending phenomenal holism and integrationist views of mind more generally, and setting directions for future research. (shrink)

Jesse Prinz argues that recent work in philosophy, neuroscience, and anthropology supports two radical hypotheses about the nature of morality: moral values are based on emotional responses, and these emotional responses are inculcated by culture, not hard-wired through natural selection. In the first half of the book, Jesse Prinz defends the hypothesis that morality has an emotional foundation. Evidence from brain imaging, social psychology, and psychopathology suggest that, when we judge something to be right or wrong, we are merely expressing (...) our emotions. Prinz argues that these emotions do not track objective features of reality; rather, the rightness and wrongness of an act consists in the fact that people are disposed to have certain emotions towards it. In the second half of the book, he turns to a defense of moral relativism. Moral facts depend on emotional responses, and emotional responses vary from culture to culture. Prinz surveys the anthropological record to establish moral variation, and he draws on cultural history to show how attitudes toward practices such as cannibalism and marriage change over time. He also criticizes evidence from animal behavior and child development that has been taken to support the claim that moral attitudes are hard-wired by natural selection. Prinz concludes that there is no single true morality, but he also argues that some moral values are better than others; moral progress is possible. Throughout the book, Prinz relates his views to contemporary and historical work in philosophical ethics. His views echo themes in the writings of David Hume and Friedrich Nietzsche, but Prinz supports, extends, and revises these classic theories using the resources of cutting-edge cognitive science. The Emotional Construction of Morals will stimulate and challenge anyone who is curious about the nature and origin of moral values. (shrink)

An outstanding collection of specially commissioned chapters by leading philosophers who explore the relationship between philosophy and creativity. Essential readings for those interested in the philosophy of creativity, it is also an extremely useful resource for those in related subjects such as music, art and visual studies, literature and education.

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)

The model of human intelligence that is most widely adopted derives from psychometrics and behavioral genetics. This standard approach conceives intelligence as a general cognitive ability that is genetically highly heritable and describable using quantitative traits analysis. The paper analyzes intelligence within the debate on natural kinds and contends that the general intelligence conceptualization does not carve psychological nature at its joints. Moreover, I argue that this model assumes an essentialist perspective. As an alternative, I consider an HPC theory of (...) intelligence and evaluate how it deals with essentialism and with intuitions coming from cognitive science. Finally, I highlight some concerns about the HPC model as well, and conclude by suggesting that it is unnecessary to treat intelligence as a kind in any sense. (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)

Many animals will invent new behaviour patterns, adjust established behaviours to a novel context, or respond to stresses in an appropriate and novel manner. This is the first ever book on the topic of 'animal innovation'. Bringing together leading scientific authorities on animal and human innovation, this book will put the topic of animal innovation on the map, and heighten awareness of this developing field.

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 ...

A bold new synthesis of paleontology, archaeology, genetics, and anthropology that overturns misconceptions about race, war and peace, and human nature itself, answering an age-old question: What made humans so exceptional among all the species on Earth? Creativity. It is the secret of what makes humans special, hiding in plain sight. Agustín Fuentes argues that your child's finger painting comes essentially from the same place as creativity in hunting and gathering millions of years ago, and throughout history in making war (...) and peace, in intimate relationships, in shaping the planet, in our communities, and in all of art, religion, and even science. It requires imagination and collaboration. Every poet has her muse; every engineer, an architect; every politician, a constituency. The manner of the collaborations varies widely, but successful collaboration is inseparable from imagination, and it brought us everything from knives and hot meals to iPhones and interstellar spacecraft. Weaving fascinating stories of our ancient ancestors' creativity, Fuentes finds the patterns that match modern behavior in humans and animals. This key quality has propelled the evolutionary development of our bodies, minds, and cultures, both for good and for bad. It's not the drive to reproduce; nor competition for mates, or resources, or power; nor our propensity for caring for one another that have separated us out from all other creatures. As Fuentes concludes, to make something lasting and useful today you need to understand the nature of your collaboration with others, what imagination can and can't accomplish, and, finally, just how completely our creativity is responsible for the world we live in. Agustín Fuentes's resounding multimillion-year perspective will inspire readers—and spark all kinds of creativity. (shrink)

We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

The goal of this chapter is to provide an integrated evolutionary and developmental account of the emergence of distinctively-human creative capacities. Our main thesis is that childhood pretend play is a uniquely human adaptation that functions in part to enhance adult forms of creativity. We review evidence that is consistent with such an account, and contrast our proposal favorably with a number of alternatives.

In creative cognition research, the Romantic view about creative cognition is traditionally rejected in favor of the modern view. The modern view about creative cognition maintains that creativity is neither mysterious nor unintelligible and that it is indeed susceptible to analysis. The paradigmatic objects of analysis in creative cognition research have been creative output and the creative process. The degree of creativity of an output is assessed in accordance with certain criterial definitions. The degree of creativity of a cognitive process (...) is assessed in accordance with certain models of creative cognition, psychometric test measures, and neuroimaging studies that are grounded in certain criteria for assessment. The reliance on criterial definitions and criteria for assessment in analyzing either the creative output or the creative process suggests that creative cognition researchers remain under the sway of the classical, bundles-of-criteria theory of meaning. In this paper, I will critically evaluate the criterial problems that confront both criterial definitions and criteria for assessment before proposing an alternative theory of meaning. (shrink)

Hamilton’s theory of kin selection is the best-known framework for understanding the evolution of social behavior but has long been a source of controversy in evolutionary biology. A recent critique of the theory by Nowak, Tarnita, and Wilson sparked a new round of debate, which shows no signs of abating. In this overview, we highlight a number of conceptual issues that lie at the heart of the current debate. We begin by emphasizing that there are various alternative formulations of Hamilton’s (...) rule, including a general version, which is always true; an proximate version, which assumes weak selection; and a special version, which demands other restrictive assumptions. We then examine the relationship between the neighbor-modulated fitness and inclusive fitness approaches to kin selection. Finally, we consider the often-strained relationship between the theories of kin and multilevel selection. (shrink)