My basic argument is that a computer cannot distinguish between metaphor and nonsense. This would be my new “Turing Test.” I was very fond of a particular Italian poem, but I was told by an Italian friend that it was a hackneyed poem of little worth. I then taught myself to experience the poem alternately, as real poetry and as the silly nonsense that my friend claimed it really was. Having done so, I realized that I could do the same (...) with any metaphor, such as “having a green thumb.” Thinking about the nature of this switch, from the literal to the metaphorical, I also realized that it was the sort of change that could not be prescribed or even described: this, the basic aesthetic gesture, remains beyond the boundary of logical definition. It then dawned on me that it might provide a test for the validity of a “Turing Test,” by any definition. Can a computer track a mind as it goes through this transformation? I could not envisage such a possibility. This would be a “Turing Test” based on the discipline of aesthetics rather than on technology. It may even be argued that the ability to experience metaphor is the very definition of the human. (shrink)

Research has independently highlighted the roles of semantic memory and associative abilities in creative thinking. However, it remains unclear how these two capacities relate to each other, nor ho...

The present study examined gender differences in the distribution of creative abilities through the lens of the greater male variability hypothesis, which postulated that men showed greater interindividual variability than women in both physical and psychological attributes. Two hundred and six undergraduate students in Hong Kong completed two creativity measures that evaluated different aspects of creativity, including: a divergent thinking test that aimed to assess idea generation and a creative problem-solving test that aimed to assess restructuring ability. The present findings (...) extended the research of greater male variability in creativity by showing that men generally exhibited greater variance than women in the overall distribution of the creativity scores in both divergent thinking and creative problem solving, despite trivial gender differences in mean scores. The findings further enriched the discourse of the greater male variability hypothesis by showing interesting domain-specific gendered patterns: greater male variability was more likely to occur in figural forms of creativity, with larger effect sizes, when compared to the variability in verbal forms of creativity; and mixed gendered patterns were found in the upper tails of the creativity score distribution with respect to the verbal domain but not the figural one, despite greater male representation being consistently observed in the lower tail of the distribution. Possible underlying mechanisms and implications were discussed. (shrink)

The associative theory of creativity states that creativity is associated with differences in the structure of semantic memory, whereas the executive theory of creativity emphasises the role of top-down control for creative thought. For a powerful test of these accounts, individual semantic memory structure was modelled with a novel method based on semantic relatedness judgements and different criteria for network filtering were compared. The executive account was supported by a correlation between creative ability and broad retrieval ability. The associative account (...) was independently supported, when network filtering was based on a relatedness threshold, but not when it was based on a fixed edge number or on the analysis of weighted networks. In the former case, creative ability was associated with shorter average path lengths and higher clustering of the network, suggesting that the semantic networks of creative people show higher small-worldness. (shrink)