Keith Holyoak and Paul Thagard provide a unified, comprehensive account of the diverse operations and applications of analogy, including problem solving, ...

A theory of analogical mapping between source and target analogs based upon interacting structural, semantic, and pragmatic constraints is proposed here. The structural constraint of isomorphism encourages mappings that maximize the consistency of relational corresondences between the elements of the two analogs. The constraint of semantic similarity supports mapping hypotheses to the degree that mapped predicates have similar meanings. The constraint of pragmatic centrality favors mappings involving elements the analogist believes to be important in order to achieve the purpose for (...) which the analogy is being used. The theory is implemented in a computer program called ACME (Analogical Constraint Mapping Engine), which represents constraints by means of a network of supporting and competing hypotheses regarding what elements to map. A cooperative algorithm for parallel constraint satisfaction identities mapping hypotheses that collectively represent the overall mapping that best fits the interacting constraints. ACME has been applied to a wide range of examples that include problem analogies, analogical arguments, explanatory analogies, story analogies, formal analogies, and metaphors. ACME is sensitive to semantic and pragmatic information if it is available, and yet able to compute mappings between formally isomorphic analogs without any similar or identical elements. The theory is able to account for empirical findings regarding the impact of consistency and similarity on human processing of analogies. (shrink)

What is creativity? One new idea may be creative, whereas another is merely new: What's the difference? And how is creativity possible? These questions about human creativity can be answered, at least in outline, using computational concepts. There are two broad types of creativity, improbabilist and impossibilist. Improbabilist creativity involves novel combinations of familiar ideas. A deeper type involves METCS: the mapping, exploration, and transformation of conceptual spaces. It is impossibilist, in that ideas may be generated which – with respect (...) to the particular conceptual space concerned – could not have been generated before. The more clearly conceptual spaces can be defined, the better we can identify creative ideas. Defining conceptual spaces is done by musicologists, literary critics, and historians of art and science. Humanist studies, rich in intuitive subtleties, can be complemented by the comparative rigour of a computational approach. Computational modelling can help to define a space, and to show how it may be mapped, explored, and transformed. Impossibilist creativity can be thought of in “classical” Al terms, whereas connectionism illuminates improbabilist creativity. Most Al models of creativity can only explore spaces, not transform them, because they have no self-reflexive maps enabling them to change their own rules. A few, however, can do so. A scientific understanding of creativity does not destroy our wonder at it, nor does it make creative ideas predictable. Demystification does not imply dehumanization. (shrink)

Our brains process visual data in segregated, specialized cortical areas. As is commonly remarked, the brain processes the what and the where of its environment in separate, distal locations. Indeed, regarding the what information that the brain computes, it responds to edges, colors, and movements using different neuronal pathways. Moreover, so far as we can tell, there are no true association areas in our cortices. There are no convergence zones where information is pooled and united; there are no central neural (...) areas dedicated to information exchange. Still, the visual features that we extract separately have to come together in some way, since our experiences are of these features united together into a single unit. The binding problem is explaining how our brains do that, given the serial, distributed nature of our visual processing. How do our minds know to join the perception of a shape with the perception of its color to give us the single, unified experience of a colored object? (shrink)