This chapter offers a brief characterization of creativity, followed by a review of some of the reasons people have been skeptical about the possibility of explaining creativity. It surveys some of the recent work on creativity that is naturalistic in the sense that it presumes creativity is natural, as opposed to magical, occult, or supernatural, and is therefore amenable to scientific inquiry. The chapter divides into two categories. The broader category is empirical philosophy, which draws on empirical research while addressing (...) questions that have traditionally been regarded as philosophical. The second category is experimental philosophy, a special branch of empirical philosophy in which experiments are designed by philosophers with the explicit purpose of addressing philosophical questions. This categorization is admittedly somewhat artificial, but it is a familiar one in the prevailing division of intellectual labor, and it will be a useful organizational tool for the chapter. (shrink)

This paper surveys historical and recent philosophical discussions of the relations between imagination and creativity. In the first two sections, it covers two insufficiently studied analyses of the creative imagination, that of Kant and Sartre, respectively. The next section discusses imagination and its role in scientific discovery, with particular emphasis on the writings of Michael Polanyi, and on thought experiments and experimental design. The final section offers a brief discussion of some very recent work done on conceptual relations between imagination (...) and creativity. (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)

The present experiment investigated the development of implicit and explicit knowledge during concept learning. According to Cleeremans and Jiménez , the content of a representation can be conscious only when the representation is of a sufficiently good quality; on this theory, increasing explicit and decreasing implicit knowledge might be expected with training. The view that implicit knowledge arises from compilation of explicit knowledge makes the opposite prediction. The present research tested these possibilities using subjective measures based on confidence ratings. One (...) group of participants was presented with blocks of category exemplars that activated prior knowledge, whereas another group was presented with blocks of categories that did not elicit any useful prior knowledge. The results showed that, irrespective of the knowledge group participants were allocated to, explicit knowledge increased over the course of learning, whereas implicit knowledge either stayed the same or decreased, consistent with Cleeremans and Jiménez’s prediction. (shrink)

We argue that analogical reasoning, particularly Gentner's structure-mapping theory, provides an integrative theoretical framework through which we can better understand the development of symbol use. Analogical reasoning can contribute both to the understanding of others’ intentions and the establishment of correspondences between symbols and their referents, two crucial components of symbolic understanding. We review relevant research on the development of symbolic representations, intentionality, comparison, and similarity, and demonstrate how structure-mapping theory can shed light on several ostensibly disparate findings in the (...) literature. Focusing on visual symbols, we argue that analogy underlies and supports the understanding of both intention and correspondence, which may enter into a reciprocal bootstrapping process that leads children to gain the prodigious human capacity of symbol use. (shrink)

Depictive expressions of thought predate written language by thousands of years. They have evolved in communities through a kind of informal user testing that has refined them. Analyzing common visual communications reveals consistencies that illuminate how people think as well as guide design; the process can be brought into the laboratory and accelerated. Like language, visual communications abstract and schematize; unlike language, they use properties of the page (e.g., proximity and place: center, horizontal/up–down, vertical/left–right) and the marks on it (e.g., (...) dots, lines, arrows, boxes, blobs, likenesses, symbols) to convey meanings. The visual expressions of these meanings (e.g., individual, category, order, relation, correspondence, continuum, hierarchy) have analogs in language, gesture, and especially in the patterns that are created when people design the world around them, arranging things into piles and rows and hierarchies and arrays, spatial-abstraction-action interconnections termed spractions. The designed world is a diagram. (shrink)

This paper distinguishes two conceptions of representation at work in the philosophical literature. On the first, "contentive" conception (found, for example, in Searle and Fodor), something is a representation, roughly, if it has "propositional content". On the second, "indicative" conception (found, for example, in Dretske), representations must not only have content but also have the function of indicating something about the world. Desire is representational on the first view but not on the second. This paper argues that philosophers and psychologists (...) have sometimes conflated these two conceptions, and it examines the consequences of this conflation for the developmental literature on the child's understanding of mind. Specifically, recent research by Gopnik and Perner on the child's understanding of desire is motivated by an argument that equivocates between the two conceptions of representation. Finally, the paper suggests that an examination of when the child understands the possibility of misrepresentation in art would be helpful in charting the child's understanding of indicative representation. (shrink)

To investigate the cognitive processes underlying creative inspiration, we tested the extent to which viewing or copying prior examples impacted creative output in art. In Experiment 1, undergraduates made drawings under three conditions: copying an artist's drawing, then producing an original drawing; producing an original drawing without having seen another's work; and copying another artist's work, then reproducing that artist's style independently. We discovered that through copying unfamiliar abstract drawings, participants were able to produce creative drawings qualitatively different from the (...) model drawings. Process analyses suggested that participants' cognitive constraints became relaxed, and new perspectives were formed from copying another's artwork. Experiment 2 showed that exposure to styles of artwork considered unfamiliar facilitated creativity in drawing, while styles considered familiar did not do so. Experiment 3 showed that both copying and thoroughly viewing artwork executed using an unfamiliar style facilitated creativity in drawing, whereas merely thinking about alternative styles of artistic representation did not do so. These experiments revealed that deep encounters with unfamiliar artworks—whether through copying or prolonged observation—change people's cognitive representations of the act of drawing to produce novel artwork. (shrink)

Many animals can be trained to perform novel tasks. People, too, can be trained, but sometime in early childhood people transition from being trainable to something qualitatively more powerful—being programmable. We argue that such programmability constitutes a leap in the way that organisms learn, interact, and transmit knowledge, and that what facilitates or enables this programmability is the learning and use of language. We then examine how language programs the mind and argue that it does so through the manipulation of (...) embodied, sensorimotor representations. The role language plays in controlling mental representations offers important insights for understanding its origin and evolution. (shrink)

Many animals can be trained to perform novel tasks. People, too, can be trained, but sometime in early childhood people transition from being trainable to something qualitatively more powerful—being programmable. We argue that such programmability constitutes a leap in the way that organisms learn, interact, and transmit knowledge, and that what facilitates or enables this programmability is the learning and use of language. We then examine how language programs the mind and argue that it does so through the manipulation of (...) embodied, sensorimotor representations. The role language plays in controlling mental representations offers important insights for understanding its origin and evolution. (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)

Production and comprehension have long been viewed as inseparable components of language. The study of vision, by contrast, has centered almost exclusively on comprehension. Here we investigate drawing—the most basic form of visual production. How do we convey concepts in visual form, and how does refining this skill, in turn, affect recognition? We developed an online platform for collecting large amounts of drawing and recognition data, and applied a deep convolutional neural network model of visual cortex trained only on natural (...) images to explore the hypothesis that drawing recruits the same abstract feature representations that support natural visual object recognition. Consistent with this hypothesis, higher layers of this model captured the abstract features of both drawings and natural images most important for recognition, and people learning to produce more recognizable drawings of objects exhibited enhanced recognition of those objects. These findings could explain why drawing is so effective for communicating visual concepts, they suggest novel approaches for evaluating and refining conceptual knowledge, and they highlight the potential of deep networks for understanding human learning. (shrink)

Production and comprehension have long been viewed as inseparable components of language. The study of vision, by contrast, has centered almost exclusively on comprehension. Here we investigate drawing—the most basic form of visual production. How do we convey concepts in visual form, and how does refining this skill, in turn, affect recognition? We developed an online platform for collecting large amounts of drawing and recognition data, and applied a deep convolutional neural network model of visual cortex trained only on natural (...) images to explore the hypothesis that drawing recruits the same abstract feature representations that support natural visual object recognition. Consistent with this hypothesis, higher layers of this model captured the abstract features of both drawings and natural images most important for recognition, and people learning to produce more recognizable drawings of objects exhibited enhanced recognition of those objects. These findings could explain why drawing is so effective for communicating visual concepts, they suggest novel approaches for evaluating and refining conceptual knowledge, and they highlight the potential of deep networks for understanding human learning. (shrink)

One characteristic of the transition from the Middle Paleolithic to the Upper Paleolithic in Europe was the emergence of representational charcoal drawings and engravings by Aurignacian and Gravettian artists. European Neanderthals never engaged in representational drawing during the Middle and Early Upper Paleolithic, a property that might reflect less developed visuomotor coordination. This article postulates a causal relationship between an evolved ability of anatomically modern humans to throw spears accurately while hunting and their ability to draw representational images from working (...) memory. Unlike Neanderthals, archaic and anatomically modern humans in sub-Saharan Africa adopted longer-range hunting practices using hand-cast spears as a compensation for the emergence of increasingly wary game. For Neanderthals, paleoclimatic fluctuations likely precluded consistent hunting of cold-adapted game, a property making game more approachable for close-range hunting with thrusting spears. As evidence of less historical wariness of humans, many of the species hunted by Neanderthals were eventually domesticated. Due to strong sources of natural selection on archaic and anatomically modern humans for effective hunting, the parietal cortex that integrates visual imagery and motor coordination expanded progressively, yielding the globular shape of the human cranium that is not evident in Neanderthals. To characterize how the cognitive properties employed for throwing spears and drawing line work are similar, the Upper Paleolithic drawings of animals in Chauvet cave, France, are discussed in the speculative context of how these artists engaged simultaneously in overt attention to guide their hand movements and covert attention to their mental images during the drawing process. (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)