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)

The everyday capacity to understand the mind, or 'mindreading', plays an enormous role in our ordinary lives. Shaun Nichols and Stephen Stich provide a detailed and integrated account of the intricate web of mental components underlying this fascinating and multifarious skill. The imagination, they argue, is essential to understanding others, and there are special cognitive mechanisms for understanding oneself. The account that emerges has broad implications for longstanding philosophical debates over the status of folk psychology. Mindreading is another trailblazing volume (...) in the prestigious interdisciplinary Oxford Cognitive Science series. (shrink)

Recent accounts of pretense have been underdescribed in a number of ways. In this paper, we present a much more explicit cognitive account of pretense. We begin by describing a number of real examples of pretense in children and adults. These examples bring out several features of pretense that any adequate theory of pretense must accommodate, and we use these features to develop our theory of pretense. On our theory, pretense representations are contained in a separate mental workspace, a Possible (...) World Box which is part of the basic architecture of the human mind. The representations in the Possible World Box can have the same content as beliefs. Indeed, we suggest that pretense representations are in the same representational ``code'' as beliefs and that the representations in the Possible World Box are processed by the same inference and UpDating mechanisms that operate over real beliefs. Our model also posits a Script Elaborator which is implicated in the embellishment that occurs in pretense. Finally, we claim that the behavior that is seen in pretend play is motivated not from a ``pretend desire'', but from a real desire to act in a way that ®ts the description being constructed in the Possible World Box. We maintain that this account can accommodate the central features of pretense exhibited in the examples of pretense, and we argue that the alternative accounts either can't accommodate or fail to address entirely some of the central features of pretense. q 2000 Elsevier Science B.V. All rights reserved. (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.

This long-awaited work by prominent Harvard psychologist Stephen Kosslyn integrates a twenty-year research program on the nature of high-level vision and mental ...

What is it like to dream? On an orthodox view, dreams involve misleading sensations and false beliefs. I argue, on philosophical, psychological, and neurophysiological grounds, that orthodoxy about dreaming should be rejected in favor of an imagination model of dreaming. I am thus in partial agreement with Colin McGinn, who has argued that we do not have misleading sensory experiences while dreaming, and partially in agreement with Ernest Sosa, who has argued that we do not form false beliefs while dreaming. (...) Rather, on my view, dreams involve mental imagery and propositional imagination. I defend the imagination model of dreaming from objections. (shrink)

There is a long tradition in philosophy of using a priori methods to draw conclusions about what is possible and what is necessary, and often in turn to draw conclusions about matters of substantive metaphysics. Arguments like this typically have three steps: first an epistemic claim , from there to a modal claim , and from there to a metaphysical claim.

If we are eventually to understand the capability of higher organisms for perceptual recognition, generalization, recall, and thinking, we must first have answers to three fundamental questions: 1. How is information about the physical world sensed, or detected, by the biological system? 2. In what form is information stored, or remembered? 3. How does information contained in storage, or in memory, influence recognition and behavior? The first of these questions is in the.

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.

This paper defends two initial claims. First, it argues that essentially the same cognitive resources are shared by adult creative thinking and problem-solving, on the one hand, and by childhood pretend play, on the other—namely, capacities to generate and to reason with suppositions (or imagined possibilities). Second, it argues that the evolutionary function of childhood pretence is to practice and enhance adult forms of creativity. The paper goes on to show how these proposals can provide a smooth and evolutionarily-plausible explanation (...) of the gap between the first appearance of our species in Southern Africa some 100,000 years ago, and the ‘creative explosion’ of cultural, technological and artistic change which took place within dispersed human populations some 60,000 years later. The intention of the paper is to sketch a proposal which might serve as a guide for future interdisciplinary research. 1 Introduction 2 Creativity and Pretence 3 Language and Creativity 4 Language and Cultural Accretions 5 Language, Play and Model-Building 6 Creativity, Protean Cognition and Sexual Selection 7 The Evolution of Pretence 8 The Emergence of Supposing 9 Pretence and Motivation 10 Two Objections 11 Conclusion. (shrink)

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)

Much of cognitive science is committed to the modular approach to the study of cognition. The core of this approach consists of a pair of assumptions - the anatomical and the functional modularity assumptions - which motivate two kinds of inference: the anatomical and the functional modularity inferences. The legitimacy of both of these inferences has been strongly challenged, a situation that has had surprisingly little impact on most theorizing in the field. Following the introduction of an important, yet rarely (...) made, distinction between two functional concepts - the distinction between cognitive working and cognitive role - this paper analyses these kinds of inference, and refocuses the attention on new aspects of their main limitations. It is argued that both the anatomical and functional modularity inferences can, and do, operate in three distinct modes in contemporary cognitive science, and that seeing this is essential to understanding both the power and the limitations of these methodological tools. (shrink)