In 1979, Douglas Hofstadter published Gödel Escher Bach: An Eternal Golden Braid , a brilliant exploration of some of the most difficult and fascinating ideas at the heart of cognitive science: recursion, computation, reduction, holism, meaning, "jootsing" (jumping out of the system), "strange loops", and much, much more. What made the book's expositions so effective were a family of elaborate (and lovingly elaborated) analogies: the mind is like an anthill, a formal system is like a game, theorem and nontheorem (...) are like figure and ground, Bach's Inventions are like dialogues, and much, much more. The whole analogy-package was wrapped in layers of self-conscious reflection. "Anything you can do I can do meta-" was one of Doug's mottos, and of course he applied it, recursively, to everything he did. (shrink)

For Merleau-Ponty, the question of phenomenological method was always connected to the problem of expression, in that the results of successful expression can for him amount to a catching of the world “in its nascent state”. In other words, elucidating the phenomena as they show themselves demands a certain amount of creativity to come through. But even though creative expression is without doubt of chief importance for Merleau-Ponty, it is not so easy to determine what exactly it consists in. (...) Minimally, it is more demanding than simply repeating an already formulated expression. On the other hand, it cannot start from nothing – we must begin within an existing tradition, with its acquired expressions, that we somehow take up and transform. A recurrent image of creative expression comes from Malraux, who claimed that it is a “coherent deformation” of what is given in the world. In this paper, I will use Saussure’s principle of analogy to throw light upon the notion of coherent deformation and of creativity. Although Merleau-Ponty merely mentions this principle in passing, I argue that it can clarify the productivity of language that he saw as crucial also for Saussure’s linguistics. (shrink)

In order to show how formal analogies between different physical systems play an important conceptual work in physics, this paper analyzes the evolution of Einstein’s thoughts on the structure of radiation from the point of view of the formal analogies he used as “lenses” to “see” through the “black box” of Planck’s blackbody radiation law. A comparison is also made with his 1925 paper on the quantum gas where he used the same formal methods. Changes of formal points (...) of view are most of the time taken for granted or passed over in silence in studies on the mathematization of physics as if they had no special significance. Revisiting Einstein’s classic papers on the nature of light and matter from the angle of the various theoretical tools he used, namely entropy and energy fluctuation calculations, helps explain why he was in a unique position to make visible the particle structure of radiation and the dual nature of light and matter. Finally, this case study calls attention to the more general question of the surprising creative power of formal analogies and their frequent use in theoretical physics. This aspect of intellectual creation can be useful in the teaching of physics. (shrink)

The method of analogy is considered as it is used in epistemological considérations of both the object of creation and the creative process itself in art and the sciences. Both areas of creativity are considered within the context of the general systems theory concept of an open system which offers a convenient vehicle for relating the scientist and the artist with the product of his creation. It also provides a convenient method for the explanation of the essential nature of (...) the created object. It is shown how the creative process in both art and science can be viewed as a heuristic search for the structure of an open system‐the object of creation.Similarities in the two areas‐art and science‐are emphasized over the differences, in order to demonstrate the power of the method of analogy. (shrink)

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

Research on innovation often highlights analogies from sources outside the current problem domain as a major source of novel concepts; however, the mechanisms underlying this relationship are not well understood. We analyzed the temporal interplay between far analogy use and creative concept generation in a professional design team's brainstorming conversations, investigating the hypothesis that far analogies lead directly to very novel concepts via large steps in conceptual spaces . Surprisingly, we found that concepts were more similar to (...) their preceding concepts after far analogy use compared to baseline situations . Yet far analogies increased the team's concept generation rate compared to baseline conditions. Overall, these results challenge the view that far analogies primarily lead to novel concepts via jumps in conceptual spaces and suggest alternative pathways from far analogies to novel concepts. (shrink)

The dissertation criticizes two analogical applications of Darwinism to the spheres of mind and culture: the Darwinian approach to creativity and memetics. These theories rely on three basic analogies: the ontological analogy states that the basic ontological units of culture are so-called memes, which are replicators like genes; the origination analogy states that novelty in human creativity emerges in a "blind" Darwinian manner; and the explanatory units of selection analogy states that memes are "egoistic" and that they can spread (...) independently of our mind. The detailed philosophical analysis offered in the dissertation shows that these three analogies rely on either wrong or trivial statements: they provide either wrong or no new descriptions or explanations of the phenomena at hand. In Chapter One, I introduce the diverse ways, in which contemporary Darwinism is used today outside of evolutionary biology. Chapter Two explains what it means to claim that something evolves in a Darwinian manner. Chapter Three to Five address each of the three analogies separately. Darwinism applied to culture and mind, at least in the way discussed in this study, is not a dangerous idea. It leads either to wrong claims or to a re-telling in Darwinian terms of what we have already known. (shrink)

Storytelling is a pervasive part of our daily lives and culture. The task of creating stories for the purposes of entertaining, educating, and training has traditionally been the purview of humans. This sets up the conditions for a creative authoring bottleneck where the consumption of stories outpaces the production of stories by human professional creators. The automation of story creation may scale up the ability to produce and deliver novel, meaningful story artifacts. From this practical perspective, story generation systems (...) replicate the creative abilities of humans and can thus be considered instances of computational creativity. Computational systems that are purported to be creative typically utilize one of three general approaches: exploration of a space of concepts, combination of concepts, and transformation of concepts. In this article we present an approach to story generation that utilize exploration, combination, and transformation. Our approach, implemented in the Vignette Based Partial Order Causal Link story planner, is an algorithm that searches through a space of possible story solutions, guided by combinations of existing story fragments called vignettes. The vignettes are made relevant to novel story generation contexts through an automated transformation pre-process. Through these processes, we show that story generation can incorporate multiple perspectives on computational creativity. Our approach is presented at both the theoretical and technical levels. (shrink)

The research reported in this document has been sponsored by the Air Force Office of Scientific Research, OAR, under Contract AF61 ‐640 with the European Office of Aerospace Research, United States Air Force; by the Aeronautical Systems Division of the Air Force Systems Command, United States Air Force, through the European Office of the Office of Aerospace Research, under Contract AF61‐402, and by the US Department of the Army, through its European Research Office, under Contract No. DA‐91‐591‐EUC‐3216.

Analogical cognition refers to the ability to detect, process, and learn from relational similarities. The study of analogical and similarity cognition is widely considered one of the ‘success stories’ of cognitive science, exhibiting convergence across many disciplines on foundational questions. Given the centrality of analogy to mind and knowledge, it would benefit philosophers investigating topics in epistemology and the philosophies of mind and language to become familiar with empirical models of analogical cognition. The goal of this essay is to describe (...) recent empirical work on analogical cognition as well as model applications to philosophical topics. Topics to be discussed include the epistemological distinction between implicit knowledge and explicit knowledge, the debate between empiricists and nativists, the frame problem, expertise, creativity and autism, cognitive architecture, and relational knowledge. Particular attention is given to Dedre Gentner and colleague’s structure-mapping theory – the most developed and widely accepted model of analogical cognition. (shrink)

1. This paper aims at investigating how the cross-cultural chasm can be meaningfully connected with the discussion on creativity and imagination. To examine cross-cultural creativity and imaginatio...

In their exhaustive study of the cognitive operation of analogy, Hofstadter and Sander arrive at a paradox: the creative and inexhaustible production of analogies in our thought must derive from a “reminding” operation based upon the availability of the detailed totality of our experience. Yet the authors see no way that our experience can be stored in the brain in such detail nor do they see how such detail could be accessed or retrieved such that the innumerable analogical (...) remindings we experience can occur. Analogy creation, then, should not be possible. The intent here is to sharpen and deepen our understanding of the paradox, emphasizing its criticality. It will be shown that the retrieval problem has its origins in the failure of memory theory to recognize the actual dynamic structure of events. This structure is comprised of invariance laws as per J. J. Gibson, and this event “invariance structure” is exactly what supports Hofstadter and Sander’s missing mechanism for analogical reminding. Yet these structures of invariants, existing only over optical flows, auditory flows, haptic flows, etc., are equally difficult to imagine being stored in a static memory, and thus only exacerbate the problem of the storage of experience in the brain. A possible route to the solution of this dilemma, based in the radical model of Bergson, is also sketched. (shrink)

The book examines how Darwinism has been used to explain novelty and change in culture through the Darwinian approach to creativity and the theory of memes. The first claims that creativity is based on a Darwinian process of blind variation and selection, while the latter claims that culture is based on and explained by units - memes - that are similar to genes. Both theories try to describe and explain mind and culture by applying Darwinism by way of analogies. (...) Kronfeldner shows that the analogies involved in these theories lead to claims that give either wrong or at least no new descriptions or explanations of the phenomena at issue. Whereas the two approaches are usually defended or criticized on the basis that they are dangerous for our vision of ourselves, this book takes a different perspective: it questions the acuteness of these approaches. Darwinian theory is not like a dangerous wolf, hunting for our self image. Far from it, in the case of the two analogical applications addressed in this book, Darwinian theory is shown to behave more like a disoriented sheep in wolf's clothing. - A revised and much shortened version of a dissertation (2007, Darwinism, Memes and Creativity: A Critique of Analogical Reasoning from Nature to Culture). (shrink)

This chapter aims at pointing out the correspondences between the transformative Five Percenter process of self-cultivation outlined in the Supreme Mathematics and previous interpretations articulated and transmitted in the sapiential traditions of Islam, Christianity, or Taoism.

In this essay we collect and put together a number of ideas relevant to the under- standing of the phenomenon of creativity, confining our considerations mostly to the domain of cognitive psychology while we will, on a few occasions, hint at neuropsy- chological underpinnings as well. In this, we will mostly focus on creativity in science, since creativity in other domains of human endeavor have common links with scientific creativity while differing in numerous other specific respects. We begin by briefly (...) introducing a few basic notions relating to cognition, among which the notion of ‘concepts’ is of basic relevance. The myriads of concepts lodged in our mind constitute a ‘conceptual space’ of an enormously complex structure, where con- cepts are correlated by beliefs that are themselves made up of concepts and are as- sociated with emotions. The conceptual space, moreover, is perpetually in a state of dynamic evolution that is once again of a complex nature. A major component of the dynamic evolution is made up of incessant acts of inference, where an inference occurs essentially by means of a succession of correlations among concepts set up with beliefs and heuristics, the latter being beliefs of a special kind, namely, ones relatively free of emotional associations and possessed of a relatively greater degree of justification. Beliefs, along with heuristics, have been described as the ‘mind’s software’, and con- stitute important cognitive components of the self-linked psychological resources of an individual. The self is the psychological engine driving all our mental and physical activity, and is in a state of ceaseless dynamics resulting from one’s most intimate ex- periences of the world accumulating in the course of one’s journey through life. Many of our psychological resources are of a dual character, having both a self-linked and a shared character, the latter being held in common with larger groups of people and imbibed from cultural inputs. We focus on the privately held self-linked beliefs of an individual, since these are presumably of central relevance in making possible inductive inferences – ones in which there arises a fundamental need of adopting a choice or making a decision. Beliefs, decisions, and inferences, all have the common link to the self of an individual and, in this, are fundamentally analogous to free will, where all of these have an aspect of non-determinism inherent in them. Creativity involves a major restructuring of the conceptual space where a sustained inferential process eventually links remote conceptual domains, thereby opening up the possibility of a large number of new correlations between remote concepts by a cascading process. Since the process of inductive inference depends crucially on de- cisions at critical junctures of the inferential chain, it becomes necessary to examine the basic mechanism underlying the making of decisions. In the framework that we attempt to build up for the understanding of scientific creativity, this role of decision making in the inferential process assumes central relevance. With this background in place, we briefly sketch the affect theory of decisions. Affect is an innate system of response to perceptual inputs received either from the exter- nal world or from the internal physiological and psychological environment whereby a positive or negative valence gets associated with a perceptual input. Almost every sit- uation faced by an individual, even one experienced tacitly, i.e., without overt aware-ness, elicits an affective response from him, carrying a positive or negative valence that underlies all sorts of decision making, including ones carried out unconsciously in inferential processes. Referring to the process of inferential exploration of the conceptual space that gener- ates the possibility of correlations being established between remote conceptual do- mains, such exploration is guided and steered at every stage by the affect system, analogous to the way a complex computer program proceeds through junctures where the program ascertains whether specified conditions are met with by way of generating appropriate numerical values – for instance, the program takes different routes, depending on whether some particular numerical value turns out to be positive or negative. The valence generated by the affect system in the process of adoption of a choice plays a similar role which therefore is of crucial relevance in inferential processes, especially in the exploration of the conceptual space where remote domains need to be linked up – the affect system produces a response along a single value dimension, resembling a number with a sign and a magnitude. While the affect system plays a guiding role in the exploration of the conceptual space, the process of exploration itself consists of the establishment of correlations between concepts by means of beliefs and heuristics, the self-linked ones among the latter having a special role in making possible the inferential journey along alternative routes whenever the shared rules of inference become inadequate. A successful access to a remote conceptual domain, necessary for the creative solution of a standing problem or anomaly – one that could not be solved within the limited domain hitherto accessed – requires a phase of relatively slow cumulative search and then, at some stage, a rapid cascading process when a solution is in sight. Representing the conceptual space in the form of a complex network, the overall process can be likened to one of self-organized criticality commonly observed in the dynamical evolution of complex systems. In order that inferential access to remote domains may actually be possible, it is necessary that restrictions on the exploration process – necessary for setting the context in ordinary instances of inductive inference – be relaxed and a relatively free exploration in a larger conceptual terrain be made possible. This is achieved by the mind going into the default mode, where external constraints – ones imposed by shared beliefs and modes of exploration – are made inoperative. While explaining all these various aspects of the creative process, we underline the supremely important role that analogy plays in it. Broadly speaking, analogy is in the nature of a heuristic, establishing correlations between concepts. However, analo- gies are very special in that these are particularly effective in establishing correlations among remote concepts, since analogy works without regard to the contiguity of the concepts in the conceptual space. In establishing links between concepts, analogies have the power to light up entire terrains in the conceptual space when a rapid cas- cading of fresh correlations becomes possible. The creative process occurs within the mind of a single individual or of a few closely collaborating individuals, but is then continued by an entire epistemic community, eventually resulting in a conceptual revolution. Such conceptual revolutions make pos- sible the radical revision of scientific theories whereby the scope of an extant theory is broadened and a new theoretical framework makes its appearance. The emerging theory is characterized by a certain degree of incommensurability when compared with the earlier one – a feature that may appear strange at first sight. But incommen- surability does not mean incompatibility and the apparently contrary features of the relation between the successive theories may be traced to the multi-layered structureof the conceptual space where concepts are correlated not by means of single links but by multiple ones, thereby generating multiple layers of correlation, among which some are retained and some created afresh in a conceptual restructuring. We conclude with the observation that creativity occurs on all scales. Analogous to correlations being set up across domains in the conceptual space and new domains being generated, processes with similar features can occur within the confines of a domain where a new layer of inferential links may be generated, connecting up sub- domains. In this context, insight can be looked upon as an instance of creativity within the confines of a domain of a relatively limited extent. (shrink)

This commentary explores biological models of analogical and associative learning in support of Illusion 1 and Illusion 4 in D. Noble’s target article. The intent is to support Noble’s theses of emergent higher level functionality from lower level stochastic dynamics and his etiological claim that “there is no privileged level of causation” through a biosemiotic lens. Upon these arguments, a case for creative agency via higher-dimensional constraints will also be made in support of Noble’s claim that organismic behavior is (...) actively directed by an agent. (shrink)

The evolution of arm-leg relationships presents something of a problem for embodied cognitive science. The affordances of habitual bipedalism and upright posture make our two sets of appendages and their interrelationships distinctively human, but these relations are largely neglected in evolutionary accounts of embodied cognition. Using a mixture of methods from historical linguistics, Cognitive Linguistics and linguistic anthropology to analyze data from languages around the world, this paper identifies a robust, dynamic set of part-whole relations that emerge across the human (...) waistline between upper and lower appendage sets cross-culturally. The general pattern—identified as “arm-leg syncretism”—provides a plausible primary source for the uniquely human penchant for creative analogy, or “double-scope conceptual blending”, said to underlie the human language faculty (Fauconnier and Turner 2002, 2008; Deely 2002; Anttila 2003; Bybee 2010). This account not only addresses a conspicuous gap in the literature but also enables us to better understand what it means to be human—including how we came to be unique among other species and how we are still vitally interrelated with other species. Deely (2010) blends both sides of this tension into a single phrase: “the semiotic animal”. The paper further develops this distinction by drawing attention to one of the roles upright posture played in the emergence of semiotic consciousness. (shrink)

How is it that speakers can get to know the meaning of any of indefinitely many sentences they have never encountered before? - the 'problem of linguistic creativity' posed by this question is a core problem of both philosophy of language and theoretical linguistics, and has sparked off a considerable amount of work in the philosophy of mind. The book establishes the failure of the familiar - compositional - approach to this problem, and then takes a radically new start: It (...) develops core elements of the later Wittgenstein's conception of philosophy, and puts them to work to 'dissolve' the problem to prove it ill-framed by clarifying the questions posing it and breaking the spell of mistaken analogies informing it. This sharply focused monograph thus copes with a crucial problem that turns out to be a lot tougher than generally thought, and presents a precise and rigorous demonstration of an unfamiliar and exciting philosophical approach. (shrink)

This article is an effort to improve understanding between Moist and Aristotelian logics on analogy. I argue that Chinese logic can neither fit in Aristotelian deductive framework, nor completely fit in Aristotelian inductive framework. One of the major reasoning skills that ancient Chinese logicians applied is analogical reasoning. Having examined thirteen Moist analogical propositions in a Moist text, the Da Qu 〈大取〉from the perspective of finding rationales (li 理) among things, I conclude that if the rationales can be found in (...) a changing world, then Chinese logicians seek for the “beauty of creative thinking” in the process of argumentation. (shrink)

The study aims to analyze the importance of analogy in the writings of the Czech theologian, philosopher and educational reformer John Amos Comenius. Analogy is clearly invaluable for Comenius as it plays a key role in the introduction of a third, particularly reliable method – syncrisis that allows us to see an image of something invisible (uncreated) on visible (created) things. For Comenius, this method became an integral supplement to analysis and synthesis, with all three forming the basis of all (...) his studies. Syncrisis is principally applied to theological matters, for instance to the study of man, the living image of God that reflects the creator. The analogy of the micro- and macrocosm that Comenius uses is integral to both his epistemology and metaphysics. If a man (the microcosm) attains self-knowledge, he is able to know other humans, the entire material world (the macrocosm), and also his very archetype – God. For Comenius though, man is not only a microcosm but also a little God (mikrotheos), a faithful imprint of God's perfection. Man, created as the culmination of the material world, becomes God's partner in maintaining and completing the entire universe. Human creativity, analogous to God's creative power, plays a decisive role in the creation of other worlds – the World of Human Artifice, the Moral World and the Spiritual World. Ultimately, the collaboration of man and God is an inherent prerequisite to the culmination of creation – the last world, the Eternal World. (shrink)

In this paper, I try to accomplish two goals. The first is to provide a general characterization of a method of proofs called — in mathematics — the diagonal argument. The second is to establish that analogical thinking plays an important role also in mathematical creativity. Namely, mathematical research make use of analogies regarding general strategies of proof. Some of mathematicians, for example George Polya, argued that deductions is impotent without analogy. What I want to show is that there (...) exists a direct line leading from Cantor’s diagonal argument to constructions that underlies of the proofs of several important theorems of the mathematical logic (in particular, Church’s theorem concerning the undecidability of formal arithmetic, Gödel’s theorem concerning the incopleteness of formal arithmetic, Tarski’s theorem concerning truth, and Turing’s theorem concerning the Halting Problem), and that the line could be described as an analogical mapping. In other words, Cantor’s diagonal argument and the proofs of the limitative theorems are structurally the same. Hence they can be represented as instances (or special cases) of the same general scheme. (shrink)

According to the deliberative view of democracy, the legitimacy of democratic politics is closely tied to whether the use of political power is accompanied by a process of rational deliberation among the citizenry and their representatives. Critics have questioned whether this level of deliberative capacity is even possible among modern citizenries--due to limitations of time, energy, and differential backgrounds--which therefore calls into question the very possibility of this type of democracy. In my dissertation, I counter this line of criticism, arguing (...) that deliberative democrats and their critics have both idealized the wrong kind of citizen deliberation. Citizen deliberation should not be concerned with the indeterminate project of "translating" abstract democratic principles and values into everyday cases of political problem-solving. Instead, deliberation should take the form of analogy, just as we already find it in everyday politics and affairs. When ordinary citizens use analogies, they do not derive decisions from general principles or values, but they still reason nonetheless. Seen from this analogical perspective, deliberative democracy is already a practical reality to a large degree. When an election is on the horizon, a campaign season arises in which debates, forums, and "barstool" dialogues exponentially increase the amount of citizen deliberation. In these settings, citizens can readily be seen to be mapping analogous past candidates, elections, issues, and problems onto those currently on the ballot so as to reason about them. Consequently, analogical reasoning allows citizens to treat the majority rule mechanisms that proliferate in real politics as "deliberative outlets," which is to say, as catalysts of deliberation akin to the "creative outlets" that catalyze self-expression in the arts. While citizens may recognize majority rule mechanisms as catalysts of deliberation, many democratic theorists will hesitate to embrace this vision of the practical reality of deliberative politics. Isn't analogical reasoning too low in rigor to be placed at the heart of the deliberative ideal? I develop two arguments to explain the foundational role analogy plays in deliberation and to counter such critics. First, I draw on the explosion of research on analogical reasoning over the past two decades to show that it is far more rigorous and systematic than many suppose. Second, I argue that to the extent that citizen deliberation is concerned with rational planning, rather than just reasoning in general, analogical reasoning is logically superior. When we reason about what to do, we make plans that incorporate predictions about what is likely to ensue when a given course of action is selected. However, as soon as predictions enter into deliberation, its underlying logic changes as well. The reason for this change in logic is that as our probabilistic reasoning expands, the probability of its conclusions degenerates. Therefore, when assessing probabilities, we no longer should seek decisions derived from long, elegant chains of reasoning that connect our various options to generalities like values and principles. Instead, what we need is "short and sweet," or terse, humble lines of reasoning, which are more congruent with this form of deliberation. Thus, to the extent that democratic deliberation is involved in rational planning, it calls not for the elegant, deductive kind of reasoning idealized by proponents and critics of deliberative democracy alike. Instead, democratic deliberation calls for the "short and sweet," analogical kind of decision-making we associate with ordinary citizens already. After all, as research has shown, analogies are a much preferred and rigorous way by which even experts engage in probabilistic reasoning. By focusing on analogical reasoning, I therefore conclude that the practical reality of deliberative democracy should be recognized in ways that might ordinarily be dismissed. (shrink)

"Henry Corbin's works are the best guide to the visionary tradition.... Corbin, like Scholem and Jonas, is remembered as a scholar of genius. He was uniquely equipped not only to recover Iranian Sufism for the West, but also to defend the principal Western traditions of esoteric spirituality."--From the introduction by Harold Bloom Ibn 'Arabi (1165-1240) was one of the great mystics of all time. Through the richness of his personal experience and the constructive power of his intellect, he made a (...) unique contribution to Shi'ite Sufism. In this book, which features a powerful new preface by Harold Bloom, Henry Corbin brings us to the very core of this movement with a penetrating analysis of Ibn 'Arabi's life and doctrines. Corbin begins with a kind of spiritual topography of the twelfth century, emphasizing the differences between exoteric and esoteric forms of Islam. He also relates Islamic mysticism to mystical thought in the West. The remainder of the book is devoted to two complementary essays: on "Sympathy and Theosophy" and "Creative Imagination and Creative Prayer." A section of notes and appendices includes original translations of numerous Su fi treatises. Harold Bloom's preface links Sufi mysticism with Shakespeare's visionary dramas and high tragedies, such as The Tempest and Hamlet . These works, he writes, intermix the empirical world with a transcendent element. Bloom shows us that this Shakespearean cosmos is analogous to Corbin's "Imaginal Realm" of the Sufis, the place of soul or souls. (shrink)

Creativity may be a trait, a state or just a process defined by its products. It can be contrasted with certain cognitive activities that are not ordinarily creative, such as problem solving, deduction, induction, learning, imitation, trial and error, heuristics and "abduction," however, all of these can be done creatively too. There are four kinds of theories, attributing creativity respectively to (1) method, (2) "memory" (innate structure), (3) magic or (4) mutation. These theories variously emphasize the role of an (...) unconscious mind, innate constraints, analogy, aesthetics, anomalies, formal constraints, serendipity, mental analogs, heuristic strategies, improvisatory performance and cumulative collaboration. There is some virtue in each, but the best model is still the one implicit in Pasteur's dictum: "Chance favors the prepared mind." And because the exercise and even the definition of creativity requires constraints, it is unlikely that "creativity training" or an emphasis on freedom in education can play a productive role in this preparation. (shrink)

Speakers routinely rely on a vast store of fixed and semi-fixed institutionalized utterances. In our mother tongue, we know how to combine pre-patterned phrases, complete semi-fixed expressions, and produce deviant versions for humorous effect. There are analogies with the way traditional folk musicians embellish tunes with a largely fixed structure, and the way jazz musicians improvise, and also with oral traditions in which poets composed or improvised tales during performance by using fixed formulas and formulaic phrases (though without the (...) metrical requirements of Homeric poetry). In written literature, the use of ready-made language was long disparaged as the opposite of creativity, but Barthes describes both speech and literature in general as consisting entirely of transformations of words that have already been set in order, and describes individual style as essentially a citational process, and the transformation of earlier formulae. Formulaic language can be shown to underlie much linguistic creativity. (shrink)

The Cognitive Science era can be divided into two distinct periods with respect to the topic of innateness, at least from the viewpoint of the linguist. The first period, which began in the late 1950s and was characterized by the work of people like Chomsky and Fodor, argued for reviving a nativist position, in which a substantial amount of people’s knowledge of language was innate rather than learned by association or induction or analogy. This constituted a break with the empiricist/behaviorist/structuralist (...) tradition that had dominated the field before that. (shrink)

Computer science only became established as a field in the 1950s, growing out of theoretical and practical research begun in the previous two decades. The field has exhibited immense creativity, ranging from innovative hardware such as the early mainframes to software breakthroughs such as programming languages and the Internet. Martin Gardner worried that "it would be a sad day if human beings, adjusting to the Computer Revolution, became so intellectually lazy that they lost their power of creative thinking" (Gardner, (...) 1978, p. vi-viii). On the contrary, computers and the theory of computation have provided great opportunities for creative work. This chapter examines several key aspects of creativity in computer science, beginning with the question of how problems arise in computer science. We then discuss the use of analogies in solving key problems in the history of computer science. Our discussion in these sections is based on historical examples, but the following sections discuss the nature of creativity using information from a contemporary source, a set of interviews with practicing computer scientists collected by the Association of Computing Machinery’s on-line student magazine, Crossroads. We then provide a general comparison of creativity in computer science and in the natural sciences. (shrink)

When Johann and Daniel Bernoulli founded fluid dynamics they encountered several problems. To go beyond the vision of Newtonian particles, a new set of images was needed in order to deal with the spatial extensibility and lack of form of fluids. I point to evidence that analogy was an essential abductive strategy in the creation of this imagery. But its heuristic behavior is complex: analogy can provide an initial model or proto-model that establishes the starting point of a theoretical process, (...) but it can play other roles as well. The historical genesis analyzed here shows that the participation of analogy in physicists’ creativity is not so restricted and that its richness opens up the field for very different roles and strategies in model-based discovery processes. Analogies can crop up intermittently in the evolution of a theory; and they can cooperate with images, extreme case reasoning and thought experiments, and even activate these processes at origin. Although it may seem that the contributions of analogy are generative in the sense of helping to discover new aspects of reality, we must stress the evaluative function that sometimes is performed by analogical reasoning in order to gain confidence. The study of the Bernoulli’s genesis of the foundations of fluid dynamics generates interesting hypotheses about the multiple roles that analogy can play in scientific model-based reasoning. (shrink)

In this reply to the article by A.M. Dorozhkin and S.V. Shibarshina, the question of the creative nature of the randomization technique is considered, which is understood as a rejection of logically obvious ways to solve scientific problems, and involves the inclusion of an element of randomness, or uncertainty, in the scientific search procedure. Some doubt is expressed about the consequences of introducing the technique of epistemological randomization into the tactics of solving scientific problems. The author of the article (...) emphasizes the fact that an attempt to solve scientific problems by an inclusion of other, non-scientific elements in the area of science may be a case of randomization. The author determines the areas which are subject to an uncertainty factor. Art and culture are regarded as such non-science areas. However, the appeal to uncertainty is an indication of a fundamental inability to describe in quantitative terms the origin of creativity. This position can be characterized as “misterianism” in the interpretation of creativity, by analogy with misterianism in the understanding of consciousness by K. McGinn. In this case, the randomization technique is nothing more than one of the possible conditions for creativity, which cannot guarantee the appearance of an original result. (shrink)

When it comes to the notion of creativity, both R. Dawkins and D. Dennett argue that creativity is a matter of random mutation, in the same way that genes randomly mutate. Neither Dennett nor Dawkins see anything else in the mimetic theory of creativity than a process of Darwinian evolution. However, this complete reliance upon the extension of evolution for understanding creativity needs to be supplemented by combining it with other ideas such as those of "schema theory," because creativity always (...) occurs within a structured context and is not simply a matter of random mutation of ideas. Schema theory comes largely from the works of E.H Gombrich, who argued that "schemas" play a crucial role in how it is that we are able to be creative. He defines schemas as structure and traditions in society that help to convey the meaning of our creative efforts. Just as semantics needs syntax within language in order to formulate and convey meaning, so by analogy memes need schemas for the creation and expression of new ideas. Rather than being the antithesis of creativity, existing forms of expression and traditions are important for the creation of new ideas. This needs to be factored into any theory of creativity in order to account for the effect of the social context on creative endeavours in addition to a Darwinian account of memes. The unconscious processes at work within the brain that are involved in the generation of ideas and other creative products can be understood using the notion of a "generator", as originally conceived by D. Dennett. This notion goes beyond mere concrete Skinnerian behavioural trial and error. Within this generator, there appear to be at work processes such as those of bisociation and association, as discussed by A. Koestler, as well as processes such as the role of language, memory, generate-and-test and intentionality that must be acknowledged in addition to the syntactic operations of schemas and the replicating contents of memes. The operation of all of these ingredients within the generator, when understood together, can be seen as responsible for our ability to be creative. (shrink)

The thesis investigates the connection between deconstruction and creativity with regard to three aesthetic fields, namely jazz music, photography, and architecture. The thesis consists of three chapters. Chapter 1 focuses on deconstruction and jazz music. First, the analysis draws a comparison between the linguistic sign and the musical sign in the light of Derrida's analysis of signifier and signified. This supports an investigation of the supplementary character of writing in the specific case of jazz music. Second, the analysis draws an (...) analogy between the deconstructive reading of texts and jazz improvisation to show the relevance that creativity has for both. This is followed by an examination of the similarities between Derrida's notion of différance and the musical figure of syncopation. The analysis is completed by an argument that the jazz event of the jam session is an encounter and creative 'dialogue', with features similar to Derrida's conception of hospitality. Chapter 2 focuses on deconstruction and photography. First, the discussion explores the correlation between truth and photography. It will be argued that deconstruction challenges the logocentric organisation of photographs based on the prominence of what is immediately visible in images and fosters a more creative interpretation, which is based on the play between concealment and unconcealment within photographs. Second, it investigates the implications of Derrida's analysis of temporality for photography. This supports an investigation into how Derrida's notion of responsibility and the future to come can be applied to photography. Chapter 3 focuses on deconstruction and architecture. First, the analysis establishes the links between architecture and language by outlining the creative and transformative outcome that the correlation between function and meaning in the light of deconstruction produces. Second, the investigation examines Bernard Tschumi's idea of architecture as event in Parc de La Villette. Tschumi's work is an example of how the deconstructive approach adopted by architects fosters creativity in users. Finally, the analysis focuses on the transformative and creative character of portable architecture by investigating the correlation between the creative character of deconstructive concepts such as freeplay, parergon, and the axiom of incompleteness, and the transformative features of tents. (shrink)

The modernizing global world with new sociocultural practices actualizes the study of creativity as a constitutive phenomenon of human personality in the context of the challenges of modern era. The object of this research is creativity as a cultural phenomenon. The subject is creativity in the S. Freud's concept of psychoanalysis. In the era of change and uncertainty, when the role of creativity is increasing, the ideas of S. Freud acquire special significance. The article considers the unconscious in the context (...) of the social, in correlation with social factors and as a key position in creativity. The theoretical and methodological framework of the study includes cultural-historical and comparative methods. The systemic approach allowed viewing the phenomenon of creativity as a system in combibation of elements. The author also used the methods of analogy, analysis, comparison, and generalization. The discovered by Freud mechanism of sublimation is considered through the lens of creativity, as a way of redirecting energy displaced into the field of the unconscious by social factors, the sphere of creativity. The psychoanalytic concept serves as the methodological basis for explaining creativity as a complex process in combination of the conscious and unconscious. (shrink)

This article draws on the ethnography of Aboriginal Australia to argue that perceptual openness, extending from waking life into dreaming experience, provides an important cognitive framework for the apprehension of dreamt experience in these contexts. I argue that this perceptual openness is analogous to the “openness to experience” described as a personality trait that had been linked with dream recall frequency. An implication of identifying perceptual openness at a cultural rather than at an individual level is two-fold. It provides an (...) example of the ways in which cultural differences affect perception, indicative of cognitive diversity; and, given the relationship between dreams and creativity suggested anecdotally and through research, a cultural orientation toward perceptual openness is also likely to have implications for the realization of creativity that occurs through dreams. Such creativity though cannot be separated from the relational context in which such dreamt material is elaborated and understood. (shrink)

Understanding the role of simulation in conceptualization has become a priority for cognitive science. Barsalou makes a valuable contribution in that direction. The present commentary points to theoretical issues that need to be refined and elaborated in order to account for key aspects of meaning construction, such as negation, counterfactuals, quantification or analogy. Backstage cognition, with its elaborate bindings, blendings, and mappings, is more complex than Barsalou's discussion might suggest. Language does not directly carry meaning, but rather serves, along with (...) countless other situational elements, as a powerful instrument for prompting its construction. (shrink)

This chapter focuses on a novel class of models used in frontier research in the bioengineering sciences – in vitro simulation models – that provide the basis for biological experimentation. These bioengineered models are hybrid constructions, composed of living tissues or cells and engineered materials. Specifically, it discusses the processes through which in vitro models were built, experimented with, and justified in a tissue engineering lab. It examines processes of design, construction, experimentation, evaluation, and redesign of in vitro simulation models, (...) in general, as instances of building the source analogy (as distinguished from retrieving an analogy), which figures prominently in creative frontier scientific research. Building the analogical source is a bootstrapping process, which furthers the articulation, as well as the solution of the problem. -/- . (shrink)