Philosophers have usually offered a number of ways of describing hypotheses generation, but all aim at demonstrating that the activity of generating hypotheses is paradoxical, illusory or obscure, and then not analysable. Those descriptions are often so far from Peircian pragmatic prescription and so abstract to result completely unknowable and obscure. The “computational turn” gives us a new way to understand creative processes in a strictly pragmatic sense. In fact, by exploiting artificial intelligence and cognitive science tools, computational philosophy allows (...) us to test concepts and ideas previously conceived only in abstract terms. It is in the perspective of these actual computational models that I find the central role of abduction in the explanation of creative reasoning in science. Creativity and discovery are no more seen as a mysterious irrational process, but, thanks to constructive accounts, as a complex relationship among different inferential steps that can be clearly analysed and identified. I maintain that the computational philosophy analysis of model-based and manipulative abduction and of external and epistemic mediators is important not only to delineate the actual practice of abduction, but also to further enhance the development of programs computationally adequate in rediscovering, or discovering for the first time, for example, scientific hypotheses or mathematical theorems. (shrink)

Evaluation processes are a basic component of creativity. They guide not only the pure judgement about a new artefact but also the generation itself, as creators constantly evaluate their own work. This paper proposes a model for automatic story generation based on the evaluation of stories. A model of how quality in stories is evaluated is presented, and two possible implementations of the generation guided by this evaluation are shown: exhaustive space exploration and constrained exploration. A theoretical model and its (...) implementation are explained and validation of the evaluation function through comparison with human criteria is described. (shrink)

We aim to develop a take on the meaning of works of art that builds on Dennett’s view on the nature of intentionality, namely, that the intentionality exhibited by mental phenomena is not original, but derived. Regarding the meaning of works of art, theories that hold that the meaning is determined by the intentions of the author when creating the work are considered intentionalist. Adopting the view of derived intentionality implies that it is no longer possible to maintain that the (...) semantic content of a work of art is closely linked to the creative act that gave rise to it; accordingly, intentionalist theories should be, broadly speaking, abandoned. However, we claim that one aspect of intentionalist theories is accurate and, moreover, compatible with the perspective on intentionality we adopt: The fact that part of the meaning of a work of art is given by the interpretations that arise when it is assumed that the work was produced by an agent with the purpose of transmitting something. We call this interpretative strategy the work-of-art stance and argue that it should be understood as a subtype of the intentional stance. According to our proposal, this interpretive strategy is part of a view that tries to explain the meaning of works of art as partially indeterminate, relative to a history (and not to a foundational origin) and dependent on interpretive attribution. En este artículo elaboramos una propuesta sobre el significado de las obras de arte que se apoya en la perspectiva de Dennett acerca de la naturaleza de la intencionalidad de los fenómenos mentales. De acuerdo a ella, la intencionalidad que estos exhiben no es original, sino derivada. Adoptar la perspectiva de la intencionalidad derivada implica que ya no será posible sostener que el significado de una obra de arte esté vinculado al acto creativo que le dio origen o que esté determinado por las intenciones que tuvo su autor al crearlas, como han sostenido las teorías intencionalistas. Ahora bien, creemos que hay un aspecto de estas que no es incompatible con la perspectiva de intencionalidad derivada. Se trata del hecho de que parte del significado de la obra de arte está dado por las interpretaciones que surgen sólo cuando se asume que la misma fue producida por un agente con el propósito de transmitir algo. Llamaremos a esta estrategia interpretativa actitud de la obra de arte y defenderemos que debe ser entendida como un subtipo de la actitud intencional. Esta estrategia interpretativa forma parte de una propuesta que intenta explicar el significado de las obras de arte como siendo parcialmente indeterminado, relativo a una historia y dependiente de la atribución interpretativa. (shrink)

What is the goal of creativity? Is it just a symbolic reshuffling or a moment of semantic extension? Similar to the contrast between syntax and semantics, creativity has an internal and an external aspect. Contrary to the widespread view that emphasises the problem-solving role of creativity, here we consider whether creativity represents an authentic moment of ontological discovery and semantic openness like Schopenhauer and Picasso suggested. To address the semantic aspect of creativity, we take advantage of recent externalist models of (...) the mind suggesting that the mind is more than symbol recombination. (shrink)

Academic freedom has often been defended in a progressivist manner: without academic freedom, creativity would be in peril, and with it the advancement of knowledge, i.e. the epistemic progress in science. In this paper, I want to critically discuss the limits of such a progressivist defense of academic freedom, also known under the label ‘argument from truth.’ The critique is offered, however, with a constructive goal in mind, namely to offer an alternative account that connects creativity and academic freedom in (...) a way that goes beyond mere reference to epistemic progress and involves reference to the freedom to think independently as the freedom we mean when we point to creativity and when we point to academic freedom. The resulting causal independence account is not only epistemologically stronger than a progressivist account, it also allows to counter the curbing of academic freedom in the name of progress. The latter becomes key, for instance, when authoritarian political regimes limit or negate academic freedom with reference to an epistemic progress suitably defined for that regime. (shrink)

Over the last four decades arguments for and against the claim that creative hypothesis formation is based on Darwinian ‘blind’ variation have been put forward. This paper offers a new and systematic route through this long-lasting debate. It distinguishes between undirected, random, and unjustified variation, to prevent widespread confusions regarding the meaning of undirected variation. These misunderstandings concern Lamarckism, equiprobability, developmental constraints, and creative hypothesis formation. The paper then introduces and develops the standard critique that creative hypothesis formation is guided (...) rather than blind, integrating developments from contemporary research on creativity. On that basis, I discuss three compatibility arguments that have been used to answer the critique. These arguments do not deny guided variation but insist that an important analogy exists nonetheless. These compatibility arguments all fail, even though they do so for different reasons: trivialisation, conceptual confusion, and lack of evidence respectively. Revisiting the debate in this manner not only allows us to see where exactly a ‘Darwinian’ account of creative hypothesis formation goes wrong, but also to see that the debate is not about factual issues, but about the interpretation of these factual issues in Darwinian terms. (shrink)

I argue that philosophical studies of the virtues of creativity should attend to the ways that our conceptions of human creativity may be grounded in conceptions of human nature or the nature of reality. I consider and reject claims in this direction made by David Bohm and Paul Feyerabend. The more compelling candidate is the account of science, creativity, and human nature developed by the early Marx. Its guiding claim is that the forms of creativity enabled by the sciences are (...) ultimately valuable insofar as they advance our emancipation from a state of existential alienation. I end by encouraging future investigations of such vertical explanations of the significance of certain virtues in the context of scientific enquiry. (shrink)

Because Western experiments assume creativity is an individual phenomenon and rarely investigate how trust and openness might build collective resonance, flow, and creativity, the creative whole typically amounts to less than the sum of the parts. The author argues, however, that group creativity increases as members develop, especially through Wilber's (in press) transpersonal stages. He illustrates how organizational leaders have facilitated creativity through reflective practice. Presenting evidence regarding the field effects of collective consciousness, he suggests that our minds and hearts (...) interact in subtle yet powerful ways, which leaders can intuit, to support the emergence of collaborative creativity. (shrink)

Beyond modularityattempts a synthesis of Fodor's anticonstructivist nativism and Piaget's antinativist constructivism. Contra Fodor, I argue that: (1) the study of cognitive development is essential to cognitive science, (2) the module/central processing dichotomy is too rigid, and (3) the mind does not begin with prespecified modules; rather, development involves a gradual process of “modularization.” Contra Piaget, I argue that: (1) development rarely involves stagelike domain-general change and (2) domainspecific predispositions give development a small but significant kickstart by focusing the infant's (...) attention on proprietary inputs. Development does not stop at efficient learning. A fundamental aspect of human development (“representational redescription”) is the hypothesized process by which information that isina cognitive system becomes progressively explicit knowledgetothat system. Development thus involves two complementary processes of progressive modularization and progressive “explicitation.” Empirical findings on the child as linguist, physicist, mathematician, psychologist, and notator are discussed in support of the theoretical framework. Each chapter concentrates first on the initial state of the infant mind/brain and on subsequent domain-specific learning in infancy and early childhood. It then goes on to explore data on older children's problem solving and theory building, with particular focus on evolving cognitive flexibility. Emphasis is placed throughout on the status of representations underlying different capacities and on the multiple levels at which knowledge is stored and accessible. Finally, consideration is given to the need for more formal developmental models, and a comparison is made between representational redescription and connectionist simulations of development. In conclusion, I consider what is special about human cognition by speculating on the status of representations underlying the structure of behavior in other species. (shrink)

The greatest rhetorical challenge to developers of creative artificial intelligence systems is convincingly arguing that their software is more than just an extension of their own creativity. This paper suggests that “creative autonomy,” which exists when a system not only evaluates creations on its own, but also changes its standards without explicit direction, is a necessary condition for making this argument. Rather than requiring that the system be hermetically sealed to avoid perceptions of human influence, developing creative autonomy is argued (...) to be more plausible if the system is intimately embedded in a broader society of other creators and critics. Ideas are presented for constructing systems that might be able to achieve creative autonomy. (shrink)

Perhaps a part of what makes expertise so inspiring to the curious researcher is the possibility of appropriating the structural components of skilled action to draw a roadmap towards their achievement that anyone might be able to follow. Accordingly, the purpose of this essay is to shed light upon the role that creativity plays in the production and environment of skilled action to that foregoing end. In doing so, I suggest that the lessons to be learned from recent empirical research (...) on creativity has much to offer to the cognitive science of skill and expertise. Experts are able to bring their intelligence to bear in controlling fast and seemingly automatic actions by utilizing a form of control often called ‘intelligent automaticity.’ In this spirit, I argue that the environment of intelligently automatic action control curates a similarly ideal environment for the processes of creativity. Moreover, insofar as creativity is ideally operative within the environment of expert action control, I argue further that creativity functions as one representative form of ‘intelligence’ embedded within otherwise fluid, and automatic expert actions. Creativity is able to do so even without conscious representation through the powers of incubated cognition. (shrink)

Creativity is often portrayed as an X-factor that accounts for the spontaneous generation of the absolutely new. Yet the obsession with novelty implies a focus on final products and a retrospective attribution of their forms to unprecedented ideas in the minds of individuals, at the expense of any recognition of the form-generating potentials of the relations and processes in which persons and things are made and grown. In these processes, practitioners are characteristically called upon to copy the works of past (...) masters. However, though they may be guided by a script or score, every practitioner has to improvise his or her own passage through the array of tasks the performance entails. With examples from music, calligraphy and lace-making, I show that the wellsprings of creativity lie not inside people’s heads, but in their attending upon a world in formation. In this kind of creativity, undergone rather than done, imagination is not so much the capacity to come up with new ideas as the aspirational impulse of a life that is not just lived but led. But where it leads is not yet given. In opening to the unknown — in exposure — imagination leads not by mastery but by submission. Thus the creativity of undergoing, of action without agency, is that of life itself. (shrink)

Journal of Human Values, Volume 28, Issue 2, Page 103-114, May 2022. Several feminists have been arguing on the superiority of women over men. This debate, instead of being biological, revolves around the gender roles and moral characteristics of humans, based on which women have been regarded better than men. The current study supported this claim by involving 620 participants, including men and women. Character Strengths Rating Form was used to obtain data. Women projected significantly higher levels on a variety (...) of character strengths as compared to men. The results revealed that women had significantly higher levels of wisdom, justice, curiosity, love of learning, social intelligence, leadership and appreciation of beauty and excellence. The overall picture confirmed women to be more virtuous than men. (shrink)

Most research on people's conceptions regarding creativity has concerned informal beliefs instead of more complex belief systems represented in scholarly theories of creativity. The relevance of general theories of creativity to the creative domain of music may also be unclear because of the mixed responses these theories have received from music researchers. The aim of the present study was to gain a better comparative understanding of theories of creativity as accounts of musical creativity by allowing students to assess them from (...) a musical perspective. In the study, higher-education music students rated 10 well-known theories of creativity as accounts of four musical target activities—composition, improvisation, performance, and ideation—and argued for the “best theoretical perspectives” in written essays. The results showed that students' theory appraisals were significantly affected by the target activities, but also by the participants' prior musical experiences. Students' argumentative strategies also differed between theories, especially regarding justifications by personal experiences and values. Moreover, theories were most typically problematized when discussing improvisation. The students most often chose to defend the Four-Stage Model, Divergent Thinking, and Systems Theory, while theories emphasizing strategic choices or Darwinian selection mechanisms were rarely found appealing. Overall, students tended toward moderate theory eclecticism, and their theory appraisals were seen to be pragmatic and example-based, instead of aiming for such virtues as broad scope or consistency. The theories were often used as definitions for identifying some phenomena of interest rather than for making stronger explanatory claims about such phenomena. Students' theory appraisals point to some challenges for creativity research, especially regarding the problems of accounting for improvisation, and concerning the significance of theories that find no support in these musically well-informed adults' reasoning. (shrink)

Language understanding is one of the most important characteristics for human beings. As a pervasive phenomenon in natural language, metaphor is not only an essential thinking approach, but also an ingredient in human conceptual system. Many of our ways of thinking and experiences are virtually represented metaphorically. With the development of the cognitive research on metaphor, it is urgent to formulate a computational model for metaphor understanding based on the cognitive mechanism, especially with the view to promoting natural language understanding. (...) Many works have been done in pragmatics and cognitive linguistics, especially the discussions on metaphor understanding process in pragmatics and metaphor mapping representation in cognitive linguistics. In this paper, a theoretical framework for metaphor understanding based on the embodied mechanism of concept inquiry is proposed. Based on this framework, ontology is introduced as the knowledge representation method in metaphor understanding, and metaphor mapping is formulated as ontology mapping. In line with the conceptual blending theory, a revised conceptual blending framework is presented by adding a lexical ontology and context as the fifth mental space, and a metaphor mapping algorithm is proposed. (shrink)

This study addresses building an interactive system that effectively prompts customers to make their decision while shopping online. It is especially targeted at purchasing as concept articulation where customers initially have a vague concept of what they want and then gradually clarify it in the course of interaction, which has not been covered by traditional online shopping systems. This paper proposes information presentation methods to effectively facilitate customers in their concept articulation process, and the framework for interaction design to enable (...) the methods. Specifically, this study builds a system called S-Conart that facilitates purchasing as concept articulation through support for customer’s conception with spatial-arrangement style information presentation and for their conviction with scene information presentation, and then makes a set of evaluation experiments with the system to verify that the approach used in building the system is effective in facilitating the purchasing as concept articulation. (shrink)

The aim of the article is to contribute to the conceptualization of creativity in education. The article makes use of the self-Bildung perspective, which is an up-to-date version of the Neo-humanistic notion of the formation of the personality in order to interpret the original notion of the 'four stages' of the creative process. The conclusion is that in this perspective creativity can be understood as a state of transcendence and a practice of taste. Finally, the article seeks to sketch out (...) a suggestion of the creative capacities that are important to cultivate in education. (shrink)

The aim of the article is to contribute to the conceptualization of creativity in education. The article makes use of the self-Bildung perspective, which is an up-to-date version of the Neo-humanistic notion of the formation of the personality in order to interpret the original notion of the ‘four stages’ of the creative process. The conclusion is that in this perspective creativity can be understood as a state of transcendence and a practice of taste. Finally, the article seeks to sketch out (...) a suggestion of the creative capacities that are important to cultivate in education. (shrink)

Work on analogy has been done from a number of disciplinary perspectives throughout the history of Western thought. This work is a multidisciplinary guide to theorizing about analogy. It contains 1,406 references, primarily to journal articles and monographs, and primarily to English language material. classical through to contemporary sources are included. The work is classified into eight different sections (with a number of subsections). A brief introduction to each section is provided. Keywords and key expressions of importance to research on (...) analogy are discussed in the introductory material. Electronic resources for conducting research on analogy are listed as well. (shrink)

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)

This piece is a commentary on a precis of Maggie Boden's book "The creative mind" published in Behavioral and Brain Sciences.

Like the information patterns that evolve through. biological processes, mental representations or memes evolve through adaptive exploration and transformation of an information space through variation, selection, and transmission. However since memes do not contain instructions for their replication our brains do it for them, strategically, guided by a fitness landscape that reflects both internal drives and a worldview that forms through meme assimilation. This paper presents a tentative model for how an individual becomes a meme evolving agent via the emergence (...) of an autocatalytic network of sparse, distributed memories, and discusses implications for complex creative thought processes and why they are unique to humans. A hypothetical scenario for the evolutionary dynamics of a given meme in a society of interacting individuals is presented. (shrink)

We argue that creative ideas are potentially valuable improbable constructions. We arrive at this formulation of creativity after considering several problems that arise for the theories that suggest that creativity is novelty, originality, or usefulness. Our theory avoids these problems. But since we also derive our theory of creativity from the scientific commitments of a more general theory of cognitive development, a theory called rational constructivism, our theory is unique insofar as it explains creativity in both adults and children through (...) reference to a set of computational mechanisms that have been posited on the basis of independently plausible experimental research. (shrink)

According to Thomas Metzinger, many human cognitive processes in the waking state are spontaneous and are deprived of the experience of epistemic agency. He considers mind wandering as a paradigm example of our recurring loss of epistemic agency. I will enrich this view by extending the scope of the concept of epistemic agency to include cases of depressive rumination and creative cognition, which are additional types of spontaneous cognition. Like mind wandering, they are characterized by unique phenomenal and functional properties (...) that give rise to varying degrees of epistemic agency. The main claim of this paper will be that the experience of being an epistemic agent within a certain time frame is a relational phenomenon that emerges from the organism’s capacity to interact with its cognitive niche. To explore this relation, I develop a new framework that integrates phenomenological considerations on epistemic agency with a functional account of the reciprocal coupling of the embodied organism with its cognitive niche. This account rests upon dynamical accounts of strong embodied and embedded cognition and recent work on cognitive niche construction. Importantly, epistemic agency and organism-niche coupling are gradual phenomena ranging from weak to strong realizations. The emerging framework will be employed to analyze mind wandering, depressive rumination, and creative cognition as well as their commonalities and differences. Mind wandering and depressive rumination are cases of weak epistemic agency and organism-niche coupling. However, there are also important phenomenological, functional, and neuronal differences. In contrast, creative cognition is a case of strong epistemic agency and organism-niche coupling. By providing a phenomenological and functional analysis of these distinct types of spontaneous cognition, we can gain a better understanding of the importance of organism-niche interaction for the realization of epistemic agency. (shrink)

Creativity has a special role in enabling humans to develop beyond the fulfilment of simple primary functions. This factor is significant for Artificial Intelligence (AI) developers who take replication to be the primary goal, since moves toward creating autonomous artificial-beings beg questions about their potential for creativity. Using Wittgenstein’s remarks on rule-following and language-games, I argue that although some AI programs appear creative, to call these programmed acts creative in our terms is to misunderstand the use of this word in (...) language. I conclude that replication is not the best way forward for AI development in matters of creativity. (shrink)

The Institute Vienna Circle held a conference in Vienna in 2003, Cambridge and Vienna a?

Artificial intelligence (AI) technologies are used in various domains of human activities, and one of these domains is scientific research. Now, researchers in many scientific areas try to apply AI technologies to their research and automate it. These researchers claim that the ‘automation of science’ will liberate people from non-creative tasks in scientific research, and radically change the overall state of science and technology so that large-scale innovation results. As I see it, the automation of science is remarkable in another (...) respect: since science is one of the most distinctive human activities, the tendency of automating it prompts us to reconsider the aspects of our humanity itself. One of these aspects is concerned with human creativity, on which this article focuses. In this article, I address two questions concerning the automation of science: first, ‘Can AI makes creative discovery?’; second, ‘What implications may the automation of science have on science and society?’. Scientific discovery is said to be one of the most creative phases of scientific research. I show that, though there are no reasons in principle why AI could not make creative discovery, we do not at present have enough knowledge how to realize it. If the automation of science nevertheless proceeds, the cultural values science as a creative activity has might be reduced, and it might alter the state of scientific community and its relationship with society in some undesirable way. Therefore, I conclude, we need to specify desirable ways of introducing AI technologies into science and devise measures against demerits of automating science. (shrink)

I propose a new approach to the constitutive problem of psychology ‘what is mind?’ The first section introduces modifications of the received scope, methodology, and evaluation criteria of unified theories of cognition in accordance with the requirements of evolutionary compatibility and of a mature science. The second section outlines the proposed theory. Its first part provides empirically verifiable conditions delineating the class of meaningful neural formations and modifies accordingly the traditional conceptions of meaning, concept and thinking. This analysis is part (...) of a theory of communication in terms of inter-level systems of primitives that proposes the communication-understanding principle as a psychological invariance. It unifies a substantial amount of research by systematizing the notions of meaning, thinking, concept, belief, communication, and understanding and leads to a minimum vocabulary for this core system of mental phenomena. Its second part argues that written human language is the key characteristic of the artificially natural human mind. Overall, the theory both supports Darwin’s continuity hypothesis and proposes that the mental gap is within our own species. (shrink)