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)

The dynamic constraint relaxation theory predicts crucial roles of the initial diversity and evaluation in creative problem-solving. We reported the experimental evidence supporting these predictions, using an insight problem. The experiments showed that the degrees of making different types of trials and the appropriate evaluation were closely related to individual differences in insight problem-solving, and that evaluation became more appropriate by making the problem-solving goal explicit. The review of the research in related fields showed that these experimental findings were in (...) congruent with the evidence obtained from different types of creative activities. (shrink)

The different kinds of knowledge which were connected in Natural Philosophy (NP) have been later separated. The real separation came when Physics took its individuality and developed specific mathematical models, such as dynamic systems. These models are not adapted to an integral study of _living systems_, by which we mean evolutionary multi-level, multi-agent, and multi-temporality self-organized systems, such as biological, social, or cognitive systems. For them, the physical models can only be applied to the local dynamic of each co-regulator agent, (...) but not to the global dynamic intertwining these partial dynamics. To ‘revive’ NP, we present the Memory Evolutive Systems (MES) methodology which is based on a ‘dynamic’ Category Theory; it proposes an info-computational model for living systems. Among the main results: (i) a mathematical translation of the part⁻whole problem (using the categorical operation colimit) which shows how the different interpretations of the problem support diverging philosophical positions, from reductionism to emergentism and holism; (ii) an explanation of the emergence, over time, of structures and processes of increasing complexity order, through successive ‘complexification processes’. We conclude that MES provides an emergentist-reductionism model and we discuss the different meanings of the concept of _emergence_ depending on the context and the observer, as well as its relations with anticipation and creativity. (shrink)

Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a recent example of (...) how a system’s ability to generate novel products can both be finely tuned by prior experience and grounded in strategies that cannot be articulated by the system itself. Further, the kinds of processes exploited by GANs need not be seen as incorporating something akin to sui generis imaginative states. The chapter concludes with reflection on the added relevance of personal character to explanations of creativity. [This is Chapter 12 of the book Explaining Imagination.]. (shrink)

Currie’s (2010) argument that “i-desires” must be posited to explain our responses to fiction is critically discussed. It is argued that beliefs and desires featuring ‘in the fiction’ operators—and not sui generis imaginings (or "i-beliefs" or "i-desires")—are the crucial states involved in generating fiction-directed affect. A defense of the “Operator Claim” is mounted, according to which ‘in the fiction’ operators would be also be required within fiction-directed sui generis imaginings (or "i-beliefs" and "i-desires"), were there such. Once we appreciate that (...) even fiction-directed sui generis imaginings would need to incorporate ‘in the fiction’ operators, the main appeal of the idea that sui generis imaginings (or "i-beliefs" or "i-desires") are at work in fiction-appreciation dissipates. [This is Chapter 10 of Explaining Imagination (OUP, 2020)]. (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)

Clark and Chalmers propose that the mind extends further than skin and skull. If they are right, then we should expect this to have some effect on our way of knowing our own mental states. If the content of my notebook can be part of my belief system, then looking at the notebook seems to be a way to get to know my own beliefs. However, it is at least not obvious whether self-ascribing a belief by looking at my notebook (...) is a case of introspection the same way that knowing my non-extended beliefs is. Traditionally this sort of introspection is thought to be privileged and special in ways that the extended introspection case seems not to be. There is nothing privileged about looking at my notebook. Anyone could do it. The aim of the paper is to find out how to understand extended introspection and whether there is something privileged and special about knowing one’s own extended beliefs. Moreover, the notebook case has close analogs using twenty-first century technology. It seems possible to know our beliefs that are extended to smartphones, wearable technology or a cloud-based data store. First, I present the case of extended introspection. I then discuss whether it should be understood as ordinary introspection or as mind-reading. Both seem to be bad fits, which finally prompts an original account for extended introspection based on epistemic rules. (shrink)

Humanist thought has long considered the nature of creativity in workers but the dominant framework for conceptualising creativity, rooted in psychological theory, has provided inadvertent limits on who might be considered creative at work. This is because creativity is commonly defined through the recognition of produced and valued novelty. This definition obscures all that is unrecognised, unrealised, unexercised, and currently in potential from being considered as creativity. Given that creativity can sometimes exist in potential, and that some workers have their (...) creativity actively prevented from being recognised, researching and understanding the unrecognised creative person can be seen as an important goal for humanist scholars. The goal of this paper then is to unpick the contradiction between unrecognised creativity and dominant definitions of creativity in order to enable a deeper understanding of creativity at work. The paper proceeds with an immanent critique of the dominant framework and its definition of creativity, before proposing a critical realist inspired ontology of creativity, including an augmented definition of creativity. The consequences of this research for understanding creativity in organisations are briefly reflected upon. (shrink)

This volume builds on two recent developments in philosophy on the relationship between art and science: the notion of representation and the role of values in theory choice and the development of scientific theories. Its aim is to address questions regarding scientific creativity and imagination, the status of scientific performances--such as thought experiments and visual aids--and the role of aesthetic considerations in the context of discovery and justification of scientific theories. Several contributions focus on the concept of beauty as employed (...) by practising scientists, the aesthetic factors at play in science and their role in decision making. Other essays address the question of scientific creativity and how aesthetic judgment resolves the problem of theory choice by employing aesthetic criteria and incorporating insights from both objectivism and subjectivism. The volume also features original perspectives on the role of the sublime in science and sheds light on the empirical work studying the experience of the sublime in science and its relation to the experience of understanding. The Aesthetics of Science tackles these topics from a variety of novel and thought-provoking angles. It will be of interest to researchers and advanced students in philosophy of science and aesthetics, as well as other subdisciplines such as epistemology and philosophy of mathematics. (shrink)

​Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process—one with (...) its own inscrutable principles of operation. Explaining Imagination upends that view, showing how, on closer inspection, the imaginings at work in hypothetical reasoning, pretense, the enjoyment of fiction, and creativity are reducible to other familiar mental states—judgments, beliefs, desires, and decisions among them. Crisscrossing contemporary philosophy of mind, cognitive science, and aesthetics, Explaining Imagination argues that a clearer understanding of imagination is already well within reach. (shrink)

According to David Chalmers, the hard problem of consciousness consists of explaining how and why qualitative experience arises from physical states. Moreover, Chalmers argues that materialist and reductive explanations of mentality are incapable of addressing the hard problem. In this chapter, I suggest that Chalmers’ hard problem can be usefully distinguished into a ‘how question’ and ‘why question,’ and I argue that evolutionary biology has the resources to address the question of why qualitative experience arises from brain states. From this (...) perspective, I discuss the different kinds of evolutionary explanations (e.g., adaptationist, exaptationist, spandrel) that can explain the origins of the qualitative aspects of various conscious states. This argument is intended to clarify which parts of Chalmers’ hard problem are amenable to scientific analysis. (shrink)

Construction of a robot discoverer can be treated as the ultimate success of automated discovery. In order to build such an agent we must understand algorithmic details of the discovery processes and the representation of scientific knowledge needed to support the automation. To understand the discovery process we must build automated systems. This paper investigates the anatomy of a robot-discoverer, examining various components developed and refined to a various degree over two decades. We also clarify the notion of autonomy of (...) an artificial agent, and we discuss the ways in which machine discoverers become more autonomous. Finally we summarize the main principles useful in construction of automated discoverers and we discuss various possible limitations of automation. (shrink)

CHAMELEON is a computational melodic harmonization assistant. It can harmonize a given melody according to a number of independent harmonic idioms or blends between idioms based on principles of conceptual blending theory. Thus, the system is capable of offering a wealth of possible solutions and viewpoints for melodic harmonization. This study investigates how human creativity may be influenced by the use of CHAMELEON in a melodic harmonization task. Professional and novice music composers participated in an experiment where they were asked (...) to harmonize two similar melodies under two different conditions: one with and one without computational support. A control group harmonized both melodies without computational assistance. The influence of the system was examined both behaviorally, by comparing metrics of user-experience, and in terms of the properties of the artifacts that were created between the two experimental conditions. Results suggest that appreciation of the system was expertise-dependent. At the same time, users seemed to adopt more explorative strategies as a result of interaction with CHAMELEON based on the fact that the harmonizations created this way were more complex, diverse, and unexpected in comparison to the ones of the control group. (shrink)

Goal-directed problem solving as originally advocated by Herbert Simon’s means-ends analysis model has primarily shaped the course of design research on artificially intelligent systems for problem-solving. We contend that there is a definite disregard of a key phase within the overall design process that in fact logically precedes the actual problem solving phase. While systems designers have traditionally been obsessed with goal-directed problem solving, the basic determinants of the ultimate desired goal state still remain to be fully understood or categorically (...) defined. We propose a rational framework built on a set of logically inter-connected conjectures to specifically recognize this neglected phase in the overall design process of intelligent systems for practical problem-solving applications. (shrink)

This paper is an analysis of the concept of creativity. Tradition is followed in distinguishing three related but increasing complex concepts. The first concerns mere making or bringing into existence. It is not examined at length. The second builds on the first but includes the notion of novelty. The third incorporates the second but adds the notion of value. The latter two concepts of creativity are explored in great detail.

In 1988, David Hull presented an evolutionary account of science. This was a direct analogy to evolutionary accounts of biological adaptation, and part of a generalized view of Darwinian selection accounts that he based upon the Universal Darwinism of Richard Dawkins. Criticisms of this view were made by, among others, Kim Sterelny, which led to it gaining only limited acceptance. Some of these criticisms are, I will argue, no longer valid in the light of developments in the formal modeling of (...) evolution, in particular that of Sergey Gavrilets’ work on adaptive landscapes. If we can usefully recast the Hullian view of science as being driven by selection in terms of Gavrilets’ and Kaufmann’s view of there being “giant components” of high-fitness networks through any realistic adaptive landscape, we may now find it useful to ask what the adaptive pressures on science are, and to extend the metaphor into a full analogy. This is in effect to reconcile the Fisherianism of the Dawkins–Hull approach to selection and replicators, with a Wrightean drift account of social constructionist views of science, preserving, it is to be hoped, the valuable aspects of both. (shrink)

Semiotics, in the guise of the limited Saussurean semiology, has been widely used in the humanities and in cultural studies for the past 20 to 30 years at least. With the advent, nearly 20 years ago, of the environmental humanities, including the new field of humanities animal studies, the weaknesses of this mode of analysis became increasingly clear. This essay forms part of a larger attempt to develop a Peirce-informed biosemiotic theory capable of affording conceptual tools for the broad-based study (...) of human and nonhuman natural and cultural developmental ecologies. It is particularly concerned to develop a biosemiotic, and hence non-reductive, account of aesthetic experience in which function consists in the growth of knowledge. Based on the role of chance, and thus creativity, in natural and cultural evolutionary systems, this essay uses poetry and poetic theory in order to argue that chance is a habit-upsetting happenstance whereby something which has the potential to become a sign , or to become a bearer of meaning, actually does become a sign to some living thing. (shrink)

In this article, I limn the remarkable ascent of Albert Einstein and Wassily Kandinsky into our cultural pantheon. I depict how both figures mastered and transcended their respective fields, and how they called into question long-established disciplinary assumptions and practices. I also demonstrate how the creative works of Einstein and Kandinsky constructed, and were constructed by, the reality we now call "modern.".

Reasoning from a naturalistic perspective, viewing the mind as an evolved biological organ with a particular structure and function, a number of influential philosophers and cognitive scientists claim that science is constrained by human nature. How exactly our genetic constitution constrains scientific representations of the world remains unclear. This is problematic for two reasons. Firstly, it often leads to the unwarranted conclusion that we are cognitively closed to certain aspects or properties of the world. Secondly, it stands in the way (...) of a nuanced account of the relationship between our cognitive and perceptual wiring and scientific theory. In response, I propose a typology or classification of the different kinds of biological constraints and their sources on science. Using Boden’s notion of a conceptual space, I distinguish between constraints relating to the ease with which we can reach representations within our conceptual space and constraints causing possible representations to fall outside of our conceptual space. This last kind of constraints does not entail that some aspects or properties of the world cannot be represented by us – as argued by advocates of ‘cognitive closure’ – merely that some ways of representing the world are inaccessible to us. It relates to what Clark and Rescher have framed as ‘the alien scientist hypothesis’. The purpose of this typology is to provide some much needed clarity and structure to the debate about biological constraints on science. (shrink)

In part because “imagination” is a slippery notion, its exact role in the production of scientific knowledge remains unclear. There is, however, one often explicit and deliberate use of imagination by scientists that can be (and has been) studied intensively by epistemologists and historians of science: thought experiments. The main goal of this article is to document the varieties of thought experimentation, not so much in terms of the different sciences in which they occur but rather in terms of the (...) different functions they fulfil. I argue that thought experimentation (and hence imagination) plays a role not only in theory choice but in singular causal analysis and scientific discovery as well. I pinpoint, moreover, some of the rules governing the use of thought experiments in theory choice and in singular causal analysis, that is, some of the criteria they should meet in order to fulfil those functions successfully. (shrink)

Many kinds of creativity result from combination of mental representations. This paper provides a computational account of how creative thinking can arise from combining neural patterns into ones that are potentially novel and useful. We defend the hypothesis that such combinations arise from mechanisms that bind together neural activity by a process of convolution, a mathematical operation that interweaves structures. We describe computer simulations that show the feasibility of using convolution to produce emergent patterns of neural activity that can support (...) cognitive and emotional processes underlying human creativity. (shrink)

This paper presents an emerging aspect of intentionality through recent Artificial Intelligence (AI) developments in art and design. Our main thesis is that, if we focus just on the outcome of the artistic process, the intentionality of the artist does not have any relevance. Intention is measured as a result of actions regardless of whether they are human-based or not as long as there is an esthetical value intersubjectively acknowledged. In other words, what matters is the ‘intentio’ embedded in the (...) work of art (the output) rather than the ‘intendere’ (the process). By considering the former aspect, intentionality becomes free of human intervention, therefore 'unintentional'. This thesis is supported through a range of examples related to AI in general and AI art in particular. However, in the case of a self-driving vehicle, the macro-goal of the system is fixed by humans, even though the AI system itself will take care of decomposing the macro-goal into a set of micro-goals and take the corresponding decisions. In the case of art, the system does not need to have any exterior goal to the extent that art is pure freedom of expression, as many philosophers have acknowledged. In this sense, the decisions of any AI system generating art or design are independent of humans and must be judged only on the ground of the final outcome. A work of art will be judged ‘artistic’ to the extent that humans will recognize an artistic intent in the work itself. In particular, the introduction of random processes makes an AI-generated artwork fully independent of human creativity. (shrink)

The discussion begins with a familiar and defensible characterization of the eureka moment, according to which it is the unexpected product of separate and often seemingly incompatible perspectives. The principal aim of the discussion is to explain how, so characterized, vision-related eureka moments can occur. To fulfill this aim, the discussion employs a notion of crosstalk, in which cognitive interference slightly increases as a result of the creative thinker's considerable, albeit only partly successful, pre-eureka cognitive effort. Such crosstalk, it is (...) suggested, is likely to occur when top-down visual imaging repeatedly stimulates pyramidal cells closely apposed to others that, although simultaneously active, are part of bottom-up visual perception that is initially cognitively unrelated to such imaging. It is further suggested that local circuitry, in the form of inhibitory interneurons, can synchronize cells associated with these initially separate processes, thus causing subsequent perceptual patterns to be subtly modified by pre-eureka problem-solving imagery. This modification, it is claimed, may help explain the unexpected shift in visual perception that accompanies the creative thinker's eureka moment, a shift that can improve the thinker's subsequent understanding of the relevance of information to a problem's solution. (shrink)

Evolutionary adaptation has been suggested as the hallmark of life that best accounts for life’s creativity. However, current evolutionary approaches still fail to give an adequate account of it, even if they are able to explain both the origin of novelties and the proliferation of certain traits in a population. Although modern-synthesis Darwinism is today usually appraised as too narrow a position to cope with all the complexities of developmental and structural biology—not to say biosemiotic phenomena—, Darwinism need not be (...) if we separate metaphor from reality in natural selection in order to show the axiological complexity of this concept. This can shed light on the relationship between biosemiotics and biological evolution. (shrink)

This article proposes a unified framework for understanding creative problem solving, namely, the explicit–implicit interaction theory. This new theory of creative problem solving constitutes an attempt at providing a more unified explanation of relevant phenomena (in part by reinterpreting/integrating various fragmentary existing theories of incubation and insight). The explicit–implicit interaction theory relies mainly on 5 basic principles, namely, (a) the coexistence of and the difference between explicit and implicit knowledge, (b) the simultaneous involvement of implicit and explicit processes in most (...) tasks, (c) the redundant representation of explicit and implicit knowledge, (d) the integration of the results of explicit and implicit processing, and (e) the iterative (and possibly bidirectional) processing. A computational implementation of the theory is developed based on the CLARION cognitive architecture and applied to the simulation of relevant human data. This work represents an initial step in the development of process-based theories of creativity encompassing incubation, insight, and various other related.. (shrink)

Several works published in the last decades defend the claim that the concept of creativity should be demystified. With the aim of showing that creativity is not an obscure power owned by only few individuals and free from constraints, authors working at the intersection field between philosophy and cognitive science have notably focused on the structure and evolution of cognitive mechanisms underlying our creative capacities. While taking up the suggestion that we should try not to mystify creativity, this article argues (...) that what is required for such demystification is primarily a transcendental and phenomenological inquiry. Kant’s and Merleau-Ponty’s works are here discussed in order to develop such a transcendental inquiry into creativity. Both Kant and Merleau-Ponty bring to the fore the conditions of possibility for creative acts, and highlight fundamental role of creativity itself in the formation of meaningfulness. The keystone of both philosophers’ inquiries is the emphasis on the interdependence between creativity and rules. Yet, due to the different approaches to the transcendental, Kant’s and Merleau-Ponty’s accounts do not fully converge, but should rather be considered as complementary. (shrink)

Metaphors are found all throughout science: in published papers, working hypotheses, policy documents, lecture slides, grant proposals, and press releases. They serve different functions, but perhaps most striking is the way they enable understanding, of a theory, phenomenon, or idea. In this paper, we leverage recent advances on the nature of metaphor and the nature of understanding to explore how they accomplish this feat. We attempt to shift the focus away from the epistemic value of the content of metaphors, to (...) the epistemic value of the metaphor’s consequences. Many famous scientific metaphors are epistemically good, not primarily because of what they say about the world, but because of how they cause us to think. Specifically, metaphors increase understanding either by improving our sets of representations, or by making it easier for us to encode and process data about complex subjects by changing how we are disposed to conceptualize those subjects. This view hints towards new positions concerning testimonial understanding, factivity, abilities, discovery via metaphor, and the relation between metaphors and models. (shrink)

Creativity has received, and continues to receive, comparatively little analysis in philosophy and the brain and behavioural sciences. This is in spite of the importance of creative thought and action, and the many and varied resources of theories of mind. Here an alternative approach to analyzing creativity is suggested: start from the bottom up with minimally creative thought. Minimally creative thought depends non-accidentally upon agency, is novel relative to the acting agent, and could not have been tokened before the time (...) it is in fact tokened, relative to the agent in question. Thoughts that meet these three conditions—agency, psychological novelty, and modal—are what may be called cognitive breakthroughs. Even if such breakthroughs are not necessary to or definitive of richer creativity, they are indeed central to much of creativity. The minimal analysis provides a more workable explanandum for theories of creativity of varied motivation and method. (shrink)

Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general (...) framework of expansionism : a research strategy that suggests that the explanatory goals and resources of both aesthetics and cognitive science should expand to include those of the other. Two relations are considered. First, what is the relation between aesthetics and more traditional cognitive science? Second, what is the relation between aesthetics and new developments in cognitive science that de-emphasize mental representation and emphasize body and action? (shrink)

Epistemic diversity is widely approved of by social epistemologists. This paper asks, more specifi cally, how much epistemic diversity, and what kinds of epistemic diversity are normatively appropriate? Both laissez-faire and highly directive approaches to epistemic diversity are rejected in favor of the claim that diversity is a blunt epistemic tool. There are typically a number of diff erent options for adequate diversifi cation. The paper focuses on scientifi c domains, with particular attention to recent theories of smell.

The standard view in current philosophy of creativity says that being creative has two requirements: being novel and being valuable. The standard view on creativity has recently become an object of critical scrutiny. Hills and Bird have specifically proposed to remove the value requirement from the definition, as it is not clear that creative objects are necessarily valuable or creative people necessarily praiseworthy. In this paper, I argue against Hills and Bird, since eliminating the element of value from the explanation (...) of creativity hinders the understanding of the role that creative products play in actual epistemic practices, which are fundamentally normative. More specifically, I argue that the terms ‘creativity’ and ‘creative’ function as thick epistemic concepts when employed by competent epistemic agents in practice, that is, these concepts have both a descriptive and an evaluative content that cannot be disentangled from one another. Accordingly, I suggest that philosophers should prefer thick accounts over thin accounts of creativity. A thick account of creativity is one that endorses the standard view at its basis, but further develops it in two ways: by stressing the entanglement of the value and novelty requirements; by permitting to encompass a range of domain-specific characterizations of such entanglement for different epistemic situations. In order to take the first steps in the development of such a thick account of creativity, I look at the domain of scientific practices as a case in point, and try to spell out what the thickness of creative instances typically entails here. Namely, I identify the worthy novelty of creative models and methods with their potential to clarify a tradition, with fruitfulness, and with the fulfilment of exploratory aims. (shrink)

The concept of creativity is a central one in folk psychological explanation and has long been prominent in philosophical debates about the nature of art, genius, and the imagination. The scientific investigation of creativity in humans is also well established, and there has been increasing interest in the question of whether the concept can be rigorously applied to non-human animals. In this paper, I argue that such applications face serious challenges of both a conceptual and methodological character, reflecting deep controversies (...) within both philosophy and psychology concerning how to define and apply the concept of creativity. After providing a brief review of some of the leading theories of creativity and discussing some of the strongest putative cases of creative intelligence in non-human animals, I examine some of the more worrisome difficulties faced by attempts to use these theories to answer the question of whether animals are truly creative. I conclude by examining how we might overcome them, and suggest that one approach worth taking seriously is to adopt what I term a Strong Rejectionist view of creativity, eschewing use of the term entirely in the scientific study of comparative cognition. (shrink)

From 2012 to 2015 I was the first Eugene H. Fram Chair in Applied Critical Thinking at Rochester Institute of Technology, in Rochester, NY. To the best of my knowledge it is the only such endowed position devoted solely to this at a major North American university. It was made possible by a generous 3 million dollar gift from an anonymous alumnus who wished to honor a retired faculty member who had taught for 51 years. The honoree was revered for (...) his devotion to Bloom’s taxonomy and his academic rigor, which infused case studies and the Socratic method. A primary motivation for the chair was a belief that an alarming number of college graduates lack the necessary critical thinking skills in order to advance successfully in their careers. My responsibilities included collaborative leadership, advocacy and oversight for critical thinking across the entire campus. It provided a unique opportunity to reflect on the current state of critical thinking instruction–very broadly construed, as well as to examine its specific role at RIT, an institution with its own unique history, mission, and character. (shrink)

Ethical aspects in engineering design have become increasingly important in recent years. A typical example is the recent rise of artificial intelligence ethics. This paper applies user studies of a design support tool to empirically verify that our ethical framework improves the creativity of an engineer’s design activity. The design support tool provides an environment for the promotion of ethical design perspectives and description. The experiments focus on two functionalities: semi-automatic generation and scenario path recommendation. These functions are designed around (...) the application of ethical design theory, which extends the hierarchical representation of artifacts. Doing this enables users to reconsider their themes at the highest level of the hierarchy and to apply a wider conceptual space of design solutions. For example, by reconsidering the positions of their research themes in the space of the representation field, users can semi-automatically edit them and identify focal areas. Using the scenario path recommendation, designers can update their research themes after considering the ethical impacts of those themes on stakeholders. Both functions are realized by exploiting a knowledge base of ethical and technological discourses. Finally, the ethical design theory is updated based on some unexpected results of our user studies with regards to the cyclic relationship among theory, tools, and observed data. For example, temporal dimensional aspects were confirmed as important. (shrink)

This paper is an extended exploration of Mead's phrase the emergence of the novel. I describe and characterize emergent systems-complex dynamical systems that display behavior that cannot be predicted from a full and complete description of the component units of the system. Emergence has become an influential concept in contemporary cognitive science [A. Clark Being there, Cambridge: MIT Press], complexity theory [W. Bechtel & R.C. Richardson Discovering complexity, Princeton, NJ: Princeton University Press], artificial life [R.A. Brooks & P. Maes Artificial (...) life IV, Cambridge: MIT Press; C.G. Langton Artificial life III, Reading, MA: Addison-Wesley; C.G. Langton et al. Artificial life II, Reading, MA: Addison-Wesley), and robotics [S. Forrest Emergent computation, Cambridge: MIT Press]. I propose that novelty is a necessary property of emergent systems, and I'll explore a specific kind of emergent system: an improvisational theater ensemble. This is an example of emergence in a small social group, which I call collaborative emergence to emphasize several important contrasts with other complex systems that manifest emergence, such as connectionist networks and Alife simulations. (shrink)

An intuitive view is that creativity involves bringing together what is already known and familiar in a way that produces something new. In cognitive science, this intuition is typically formalized in terms of computational processes that combine or associate internally represented information. From this computationalist perspective, it is hard to imagine how non-representational approaches in embodied cognitive science could shed light on creativity, especially when it comes to abstract conceptual reasoning of the kind scientists so often engage in. The present (...) article offers an entry point to addressing this challenge. The scientific project of embodied cognitive science is a continuation of work in the functionalist tradition in psychology developed over a century ago by William James and John Dewey, among others. The focus here is on how functionalist views on the nature of mind, thought, and experience offer an alternative starting point for cognitive science in general, and for the cognitive science of scientific creativity in particular. The result may seem paradoxical. On the one hand, the article claims that the functionalist conceptual framework motivates rejecting mainstream cognitive views of creativity as the combination or association of ideas. On the other hand, however, the strategy adopted here—namely, revisiting ideas from functionalist psychology to inform current scientific theorizing—can itself be described as a process of arriving at new, creative ideas from combinations of old ones. As is shown here, a proper understanding of cognition in light of the functionalist tradition resolves the seeming tension between these two claims. (shrink)