In creative cognition research, the Romantic view about creative cognition is traditionally rejected in favor of the modern view. The modern view about creative cognition maintains that creativity is neither mysterious nor unintelligible and that it is indeed susceptible to analysis. The paradigmatic objects of analysis in creative cognition research have been creative output and the creative process. The degree of creativity of an output is assessed in accordance with certain (...) criterial definitions. The degree of creativity of a cognitive process is assessed in accordance with certain models of creative cognition, psychometric test measures, and neuroimaging studies that are grounded in certain criteria for assessment. The reliance on criterial definitions and criteria for assessment in analyzing either the creative output or the creative process suggests that creative cognition researchers remain under the sway of the classical, bundles-of-criteria theory of meaning. In this paper, I will critically evaluate the criterial problems that confront both criterial definitions and criteria for assessment before proposing an alternative theory of meaning. (shrink)

Introduction to the special issue in Pragmatics & Cognition focused on creativity, cognition, and material culture. With contributions from Maurice Bloch, Chris Gosden, Tim Ingold, John Kirsh, Carl Knappett & Sander van der Leeuw, Lambros Malafouris, Frédéric Vallée-Tourangeau, Kevin Warwick, and Tom Wynn and Frederick L. Coolidge.

This collection written by leading figures in cognitive science includes their lively debates with Dartnall about his call for a new epistemology, an alternative to the standard representational story in cognitive science. Dartnall aims to show that new epistemology is already with us in some leading-edge models of human creativity. Such an epistemology steers a middle road between the representationism of classical cognitive science and a radical anti-representationism that denies the existence or importance of representations.

This study examined the cognitive mechanism underlying acute stress in creative cognition among individuals with high and low trait anxiety. Specifically, cognitive inhibition was assessed using the flanker task during acute stress. Fifty-two participants (26 high trait anxiety, 26 low trait anxiety) (mean age = 18.94 years) underwent stress induction via the Trier Social Stress Test (TSST). They all completed the Alternative Uses Test (AUT) and the Remote Associates Test (RAT) before and after the TSST. Biochemical markers (salivary (...) cortisol and salivary alpha amylase) were recorded at regular intervals. The results showed that cognitive inhibition was influenced by trait anxiety and acute stress. Compared to before experiencing acute stress, there was a lack of cognitive inhibition in low trait anxious individuals and they performed better in AUT (fluency) after acute stress, whereas high trait anxious individuals showed a decreased interference effect and reduced performance in AUT (fluency, flexibility, and originality). In the RAT, there were shorter response times and increased accuracy after acute stress in both high and low trait anxiety groups. Thus, we suggest that cognitive control, which modulates changes in acute stress, influences creative cognition. These findings provide evidence that inhibition control mediates the effect of stress on the creativity of individuals with different trait anxiety. (shrink)

Contemporary choreography offers a window onto creative processes that rely on harnessing the power of sensory sys- tems. Dancers use their body as a thing to think with and their sensory systems as engines to simulate ideas non- propositionally. We report here on an initial analysis of data collected in a lengthy ethnographic study of the making of a dance by a major choreographer and show how translating between different sensory modalities can help dancers and choreographer to be more (...) creative. (shrink)

Contemporary choreography offers a window onto creative processes that rely on harnessing the power of sensory sys- tems. Dancers use their body as a thing to think with and their sensory systems as engines to simulate ideas non- propositionally. We report here on an initial analysis of data collected in a lengthy ethnographic study of the making of a dance by a major choreographer and show how translating between different sensory modalities can help dancers and choreographer to be more (...) creative. (shrink)

Influenced by recent neuroscientific research, the author proposes that the cognition underlying creativity should be seen as a sequential process requiring the appropriate interspersing of both intuitive and analytical modes of thought. Each of these modes may concern itself with either identifying the information that is the focus of potentially creative cognition or with the creative perspective from which to view the information. Here, perspective refers to the salience of various elements of the information set, of (...) which some elements might be seen as crucially important to a creative treatment of the situation, while other pieces of information may appear as merely contextually relevant. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized by two (...) stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized by two (...) stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

Mental images, or envisioning things with your "mind's eye," are now studied via multiple levels of observation and involve computational neuroscience, robotics and many disciplines that complement philosophy and form integral parts of cognitive science. MENTAL IMAGERY AND CREATIVITY offers an historical analysis of the use of "mental images" in science. This book also gives many useful illustrations, depicting roles of imagery with 21st century technology, including the usage of imagery, fMRIs and internet connections, allowing people to control virtual avatars (...) or robots at remote distances. Imagery formations and brain imaging techniques allow non-communicative patients, who appear to be in vegetative states, to communicate effectively, despite brain damage. Notwithstanding many 21st century developments of imagery combined with technology and science, many speculative accounts of imagery arose in the 20th century. Philosophic developments, regarding the relation between mental imagery and creativity, are provided in order to compare and contrast speculative and rational foundations. Creativity is defined in relation to problem-solving, inventiveness, art, discovery and cognitive formations of ranges of possibilities, arising before and after realizations (i.e., when one recognizes real and unreal events or solutions), involving images of events, solutions and alternatives. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized by two (...) stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

The survival and success of organizations increasingly depend on creativity. A Supervisor Creative Feedback Environment is of special value in enhancing team creativity, but few studies have explored the relationship between the supervisor creative feedback environment and creativity and how it affects creativity. Based on feedback intervention theory and triadic reciprocal determinism, this paper explores the process mechanism and boundary conditions of the supervisor creative feedback environment affecting team creativity from the perspectives of ambidextrous learning and team (...) creative cognitive style. With 506 team members from 115 work teams in domestic enterprises as research samples, regression analysis was used to test the theoretical hypotheses. Feedback intervention, according to the feedback intervention theory, is a complicated process. There are various influencing factors, such as the feedback provider, means of feedback intervention, the content of the feedback information, situational factors, and the feedback recipients. The leading creative feedback loop includes important feedback receiver's factors which are not mentioned above. Triadic reciprocal determinism holds that individual behavior is formed by the interaction and interconnection of individual, environment, and behavior. The two above-mentioned theories can explain why the leadership creative feedback environment can affect team creativity by influencing ambidextrous learning. The results also show that the feedback environment of supervisor creativity has positive effects on team creativity. Ambidextrous learning mediates the relation between supervisor creative feedback environments and team creativity. Team creative cognitive style has a positive moderating effect on the indirect relationship between a supervisor creative feedback environment and team creativity through ambidextrous learning. This study validates feedback intervention theory and triadic reciprocal determinism, expands the application of feedback environment factors in the research field of team creativity, provides a theoretical framework for the influence of the creative feedback environment on team creativity, and also provides theoretical support for managers to apply the management tool of a supervisor creative feedback environment to organizational context to improve team creativity. Based on the research results, this paper puts forward corresponding management suggestions from the aspect of creating a supervisor creative feedback environment, attaching importance to team ambidextrous learning, and making good use of creative cognitive style. (shrink)

Many traditional theories of creativity put heavy emphasis on an incubation stage in creative cognitive processes. The basic phenomenon is a familiar one: we are working on a task or problem, we leave it aside for some period of time, and when we return attention to the task we have some new insight that services completion of the task. This feature, combined with other ostensibly mysterious features of creativity, has discouraged naturalists from theorizing creativity. This avoidance is misguided: we (...) can maintain unconscious incubated cognition as (sometimes) part of the creative process and we can explain it in scientifically responsible ways. This paper, focusing on the effects of attention on the functional networking of the brain, attempts just such an explanation. It also serves to assuage the naturalist's scepticism about other features of creative cognition. The broad upshot, one would hope, is that philosophers of mind and cognitive scientists return some attention to the long neglected topic of creativity. (shrink)

Campbell (1960) proposed a “blind-variation and selective retention” model of creative cognition. Subsequent researchers have developed this BVSR model into a comprehensive theory of human creativity, one that recognizes that human creativity operates by more than one cognitive process. The question is then raised of how the BVSR model can be accommodated within the Hull et al. selectionist system.

This essay explores the nature and neurological basis of creativity in technical production. After presenting a model of expert technical cognition based in cognitive anthropology and cognitive psychology, the authors propose that craft production has three inherent sources of novelty — procedural drift, serendipitous error and fiddling. However, these are quite limited in their creative potential, which may help explain the virtual absence of innovation over the long millennia of the Palaeolithic. Innovation can be far more rapid and (...) effective via invention, which requires folk theories of causation and adequate working memory capacity, all fairly recent evolutionary developments. The neurological basis of expert technical cognition lies in well-known cortical and sub-cortical structures, but recent research has established a provocative role for the cerebellum in the formulation of novel arrangements. (shrink)

Humans, like all organisms, have evolved to survive in specific environments, while some elect or are forced to live and work in extreme environments. Understanding cognition as it relates to environmental conditions, we use 4E cognition as a framework to explore creativity in extreme environments. Our paper examines space arts as a case study through the history, present practices, and future possible arts in the context of humans beyond the Kármán boundary of the Earth’s atmosphere. We develop a (...) proposed taxonomy of space arts, based on prior taxonomies, and provide specific exemplars of space art developed by artists in space or for use by astronauts in space. Using examples of space art since the birth of the space age, we discuss 1) how human survival in extreme environments requires investment in the space arts, driven by consideration of all biopsychosocial factors and 2) how new scientific and engineering discoveries could be consequences or examples of creative thinking driven by artists in the various types of space art. We conclude by discussing possible benefits of space art, future research applications, and advocate that all space actors, government or private, involve artists in all projects beyond the Kármán Boundary of the Earth’s atmosphere. (shrink)

Cognitive dimensions of creativity: What makes the difference between creative and non-creative university students? This paper analyses the contribution of specific cognitive functions on creative performance. The main question was which cognitive variables differentiate extreme levels of creative performance and therefore can characterize highly creative college students. A sample of Portuguese university students of Fine Arts and Literature took part in this study. A battery of verbal and figural cognitive tasks, as well as two kinds (...) of creative tasks have been considered. Results showed that there were mostly the same cognitive dimensions, which differentiate extreme levels of creative performance in both text and poster productions. These results are discussed considering the relevance of the cognitive approach to explain creativity. Some practical ideas, possible to put into the educational context, are also discussed. (shrink)

Digital cognitive games (DCGs) are games whose primary purpose is to mediate (i.e., support, develop, and enhance) cognitive activities such as problem solving, decision making, planning, and critical reasoning. As these games increase in popularity and usage, more attention should be paid to their design. Currently, there is a lack of design processes that provide both structure and room for creative development of such games. This article presents a preliminary process for design of DCGs. The design process involves the (...) application of cognitive toys and isomorphism. Using this process, designers will use a cognitive toy to be inspired to develop DCGs, and isomorphism is intended to help them produce a diverse set of DCGs based on the same cognitive toy. The resulting DCGs will have deep similarity with the original cognitive toy but are unique in terms of their surface features. (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)

The Cognitive Reserve (CR) hypothesis suggests that the brain actively attempts to cope with neural damages by using pre-existing cognitive processing approaches or by enlisting compensatory approaches. This would allow an individual with high CR to better cope with aging than an individual with lower CR. Many of the proxies used to assess CR indirectly refer to the flexibility of thought. The present paper aims at directly exploring the relationships between CR and creativity, a skill that includes flexible thinking. We (...) tested a sample of 72 adults (aged between 45 and 78) assessing both their level of CR and their creativity. To evaluate CR we used the proxies commonly used in literature, namely, three subtests from the WAIS (vocabulary, similarities, and digit span) and the years of education. We also used an ad-hoc test asking people to report how frequently they tend to perform activities that are believed to increase CR. We used verbal creativity tasks (alternative uses and generation of acronyms) to assess individual levels of creativity. We asked participants to describe their main occupation (present or past) and coded each occupation as creative or not creative. Results (controlling for age-related differences) showed that scores from the WAIS correlated positively with creativity performance, even though correlations varied across the subtests. Focusing on the frequency and type of activities that people perform, and comparing individuals who have or had a creative job to those with a routine job, a clear relationship between creativity and CR emerged. This effect was more relevant than the level of job complexity. Implications for the study of CR and aging are discussed. (shrink)

Rational reconstructions of cognition, outgoing from the results of cognitive activity, often introduce incorrect or imaginary cognitive procedures. Cognition needs to be examined as the open creative process directed to the unknown future. In the process of cognition a theoretical language, perceptive structures, methods of empiric researches and ontological phenomena are mutually constructed. The contents of the results of cognition are encoded in the language of theory and becomes objective in its ontology. It is the (...) same information represented in different forms. The classic theory of truth is faithful, always used for the estimation of our assertations, but the terms of its use are constructed in the process of cognition. The only mode to show that the theory is not truthful and the ontological phenomena are not real is to construct a successful alternative theory. (shrink)

This paper defends two initial claims. First, it argues that essentially the same cognitive resources are shared by adult creative thinking and problem-solving, on the one hand, and by childhood pretend play, on the other—namely, capacities to generate and to reason with suppositions (or imagined possibilities). Second, it argues that the evolutionary function of childhood pretence is to practice and enhance adult forms of creativity. The paper goes on to show how these proposals can provide a smooth and evolutionarily-plausible (...) explanation of the gap between the first appearance of our species in Southern Africa some 100,000 years ago, and the ‘creative explosion’ of cultural, technological and artistic change which took place within dispersed human populations some 60,000 years later. The intention of the paper is to sketch a proposal which might serve as a guide for future interdisciplinary research. 1 Introduction 2 Creativity and Pretence 3 Language and Creativity 4 Language and Cultural Accretions 5 Language, Play and Model-Building 6 Creativity, Protean Cognition and Sexual Selection 7 The Evolution of Pretence 8 The Emergence of Supposing 9 Pretence and Motivation 10 Two Objections 11 Conclusion. (shrink)

This thesis constructs an Interactive Theory of Beauty to change the way we think about beauty and aesthetic form, in order to resolve the conceptual discrepancies between the features that characterize the traditional concept of beauty and the features of the phenomenology of beauty. The assumptions that underlie these discrepancies are identified. I hypothesize an alternative assumption that would need to be the case to resolve the tensions between the traditional concept and the phenomenology. This involves rejecting the idea that (...) beauty is an objective property of the object, and instead considering the possibility that beauty is an awareness of a certain aspect of the perceptual processing of the object. As such, beauty would be neither purely subjective nor purely objective; but a relational property. This hypothesis is mapped out in terms of a computational model of perception. The argument relies on the explanatory power of this conception of beauty. I employ my central hypothesis to explain how beauty can be both universal and subjective; an experience of the aesthetic form of the object which can, in some cases, supervene on representational content; and a property which is experienced as inferred from more basic properties, yet ineffable. While I focus mainly on visual beauty, I suggest applications for musical beauty and haptic beauty, particularly in non-sighted persons. This Interactive Theory of Beauty also accounts for the instrumentality of beauty, which is a feature of scientific and mathematical beauty. If my central hypothesis is correct, then the experience of beauty may offer insights into the nature of creativity in all fields of enquiry. (shrink)

Noam Chomsky has failed to provide a satisfactory explanation of the "creativity of language" that he maintains is an essential part of the mental representation that makes the acquisition of languages possible. I argue that Chomsky's problems in articulating an acceptable concept of creativity is symptomatic of greater problems embedded in his idea of an "innateness hypothesis." An examination of the historical development of Chomsky's views on the nature of language shows that conclusions with regard to the creativity of language (...) remain either quite speculative or else untenable. This result establishes some agreement with Chomsky on the idea that cognitive capacities are largely structure determined. However, I argue against his idea that creativity is itself a part of those structures. In conclusion, I argue that creativity is an aspect of autonomy. In view of the integrative role of autonomy with respect cognitive capacities in general, we must conclude that creativity does not belong to the biological domain that Chomsky has characterized. (shrink)

A large portion of mathematics education centers heavily around imitative reasoning and rote learning, raising concerns about students’ lack of deeper and conceptual understanding of mathematics. To address these concerns, there has been a growing focus on students learning and teachers teaching methods that aim to enhance conceptual understanding and problem-solving skills. One suggestion is allowing students to construct their own solution methods using creative mathematical reasoning, a method that in previous studies has been contrasted against algorithmic reasoning with (...) positive effects on test tasks. Although previous studies have evaluated the effects of CMR, they have ignored if and to what extent intrinsic cognitive motivation play a role. This study investigated the effects of intrinsic cognitive motivation to engage in cognitive strenuous mathematical tasks, operationalized through Need for Cognition, and working memory capacity. Two independent groups, consisting of upper secondary students, practiced non-routine mathematical problem solving with CMR and AR tasks and were tested 1 week later. An initial t-test confirmed that the CMR group outperformed the AR group. Structural equation modeling revealed that NFC was a significant predictor of math performance for the CMR group but not for the AR group. The results also showed that WMC was a strong predictor of math performance independent of group. These results are discussed in terms of allowing for time and opportunities for struggle with constructing own solution methods using CMR, thereby enhancing students conceptual understanding. (shrink)

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

If artificial neural networks are ever to form the foundation for higher level cognitive behaviors in machines or to realize their full potential as explanatory devices for human cognition, they must show signs of autonomy, multifunction operation, and intersystem integration that are absent in most existing models. This model begins to address these issues by integrating predictive learning, sequence interleaving, and sequence creation components to simulate a spectrum of higher-order cognitive behaviors which have eluded the grasp of simpler systems. (...) Its capabilities are described based on simulations calling for increasing levels of functionality and are used to show how the model can progress from fundamental sequence learning and recall tasks to sophisticated behaviors such as an ability to solve simple mathematical expressions and a creative capacity for the formation and application of inductive rules. (shrink)

This entry provides a substantive overview of research and debates concerning creativity in philosophy and related fields. Topics covered include definitions of creativity, whether creativity can be learned, whether it can be explained, attempts to explain creativity in cognitive science, and whether computer programs or AI systems can be creative.

The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able to spontaneously invent stylistically idiomatic compositions on the spot. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? In 'The Improvising Mind' (...) these questions are explored through an interdisciplinary approach that draws on cognitive neuroscience, study of historical pedagogical treatises on improvisation, interviews with improvisers, and musical analysis of improvised performances. Findings from these treatises and interviews are discussed from the perspective of cognitive psychological theories of learning, memory, and expertise. Musical improvisation has often been compared to 'speaking a musical language.' While past research has focussed on comparisons of music and language perception, few have dealt with this comparison in the performance domain. In this book, learning to improvise is compared with language acquisition, and improvised performance is compared with spontaneous speech from both theoretical and neurobiological perspectives. (shrink)

In this paper we propose a computational framework aimed at extending the problem solving capabilities of cognitive artificial agents through the introduction of a novel, goal-directed, dynamic knowledge generation mechanism obtained via a non monotonic reasoning procedure. In particular, the proposed framework relies on the assumption that certain classes of problems cannot be solved by simply learning or injecting new external knowledge in the declarative memory of a cognitive artificial agent but, on the other hand, require a mechanism for the (...) automatic and creative re-framing, or re-formulation, of the available knowledge. We show how such mechanism can be obtained trough a framework of dynamic knowledge generation that is able to tackle the problem of commonsense concept combination. In addition, we show how such a framework can be employed in the field of cognitive architectures in order to overcome situations like the impasse in SOAR by extending the possible options of its subgoaling procedures. (shrink)

All normal human beings alive in the last fifty thousand years appear to have possessed, in Mark Turner's phrase, 'impressively atful minds'. Cognitively modern minds produced a staggering list of behavioural singularities - science, religion, mathematics, language, advanced tool use, decorative dress, dance, culture, art - that seems to indicate a mysterious and unexplained discontinuity between us and all other living things. This brute fact gives rise to some tantalizing questions: How did the artful mind emerge? What are the basic (...) mental operations that make art possible for us now, and how do they operate? These are the questions that occupy the distinguished contributors to this book, which emerged from a year-long Getty-funded research project hosted by the Centre for Advanced Study in the Behavioural Sciences at Stanford. (shrink)

Findlay and Lumsden have proposed a model of creative potential which accounts for divergent thinking but not for convergent thinking. This limitation impedes the applicability of the model to scientific creativity, where competence and thus convergent thinking play a fundamental role since the early stages of creation. This limitation is a natural consequence of the fact that Findlay and Lumsden's model is purely intrapsychic. This paper proposes a model of scientists' creative potential which accounts for both divergent and (...) convergent processes. First, drawing from Csikszentmihalyi's and Kuhn's theories, scientists' creative potential is defined as a matching between the cognitive structure and the epistemic and social structure of the domain. Second, based on this sociopsychological definition, an extension of Findlay and Lumsden's model is proposed. The model states that the highest creative potential is achieved by those scientists who deeply understand the core of the domain and still have cognitive power to access, and experiment on many ideas that are not presently included in the domain. The new model is shown to have greater explanatory power than Findlay and Lumsden's model and to include the latter as a limiting case. (shrink)

Bilingualism has been shown to be associated with creativity, but the mechanisms of this association are not very well understood. One possibility is that the skills that bilinguals use in switching back and forth between languages also promote the cognitive processes associated with creativity. We hypothesized that high-proficient Chinese-English bilinguals would show higher convergent and divergent thinking than low-proficient bilinguals, with the differences being mediated by cognitive inhibition and cognitive flexibility, respectively. Chinese university students were classified as high-proficient and low-proficient (...) bilinguals based on their performance on the National English Test for College Students. As expected, group comparisons showed that the high-proficient group had higher scores on the Remote Associates Test and the Torrance Test of Creative Thinking. Also as expected, the association between bilingualism and convergent thinking was mediated by scores on a Stroop task, and the association between bilingualism and divergent thinking was mediated by scores on a More-odd shifting task. These findings suggest that bilingual learning can promote the development of different components of creativity through stronger cognitive inhibition and cognitive flexibility. The results provide empirical evidence for the relationship and mechanism between bilingual learning and creativity. (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)

This book employs a new eco-cognitive model of abduction to underline the distributed and embodied nature of scientific cognition. Its main focus is on the knowledge-enhancing virtues of abduction and on the productive role of scientific models. What are the distinctive features that define the kind of knowledge produced by science? To provide an answer to this question, the book first addresses the ideas of Aristotle, who stressed the essential inferential and distributed role of external cognitive tools and epistemic (...) mediators in abductive cognition. This is analyzed in depth from both a naturalized logic and an ecology of cognition perspective. It is shown how the maximization of cognition, and of abducibility – two typical goals of science – are related to a number of fundamental aspects: the optimization of the eco-cognitive situatedness; the maximization of changeability for both the input and the output of the inferences involved; a high degree of information-sensitiveness; and the need to record the “past life” of abductive inferential practices. Lastly, the book explains how some impoverished epistemological niches – the result of a growing epistemic irresponsibility associated with the commodification and commercialization of science – are now seriously jeopardizing the flourishing development of human creative abduction. (shrink)

Creativity has often been declared, especially by philosophers, as the last frontier of science. The assumption is that it will defy explanation forever. I will defend two claims in order to oppose this assumption and to demystify creativity: (1) the perspective that creativity cannot be explained wrongly identifies creativity with what I shall call metaphysical freedom; (2) the Darwinian approach to creativity, a prominent naturalistic account of creativity, fails to give an explanation of creativity, because it confuses conceptual issues with (...) explanation. I will close with some remarks on the status and differences in some explanations available in contemporary cognitive science. (shrink)

"In the 12 case studies in this treasure of a book, various authors examine the critical, direction-finding moments in the work of such individuals as Charles Darwin, Jean Piaget, Robert Burns Woodward, William James, Anais Nin, and others." --Virginia Quarterly Review.