[Book review article for Creativity and Art: Three Roads to Surprise by Boden, Margaret A, no abstract is available.].

[Book review article for Creativity and Art: Three Roads to Surprise by Boden, Margaret A, no abstract is available.].

Review of: Margaret A. Boden, Mind as Machine: A History of Cognitive Science, 2 vols, Oxford: Oxford University Press, 2006, xlvii+1631, cloth $225, ISBN 0-19-924144-9. - Mind as Machine is Margaret Boden’s opus magnum. For one thing, it comes in two massive volumes of nearly 1700 pages, ... But it is not just the opus magnum in simple terms of size, but also a truly crowning achievement of half a century’s career in cognitive science.

It's an exciting story, no doubt, and I hate to be a spoilsport. But there are a few problems. One is that virtually every reference to me or to co-workers around the world, and to the areas in which we work, is fanciful, sometimes even bringing to mind Pauli 's famous observation "not even wrong." I'll review what seems to be a fair sample.

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be (...) creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

In the past years, food has found itself a central focus of creativity in contemporary culture and a pinnacle of this trend has been the kind of culinary creativity displayed at Noma in Copenhagen. But what is culinary creativity? And what is distinctive about the kind of culinary creativity displayed at places like Noma? In this paper, I attempt to answer these two questions. Building up on pioneering work on creativity by Margaret Boden, I argue that creativity is a (...) matter of adding new valuable things to the world. I then distinguish three different ways a recipe can be creative, building up on different culinary trends. I then focus on the specific case of Noma and argue that what is specific about the kind of culinary creativity displayed at Noma is that it emphasizes the role that recipes can play in mediating our relation to the environment. (shrink)

The Foundations of Cognitive Science is a set of thirteen new essays on key topics in this lively interdisciplinary field, by a stellar international line-up of authors. Philosophers, psychologists, and neurologists here come together to investigate such fascinating subjects as consciousness; vision; rationality; artificial life; the neural basis of language, cognition, and emotion; and the relations between mind and world, for instance our representation of numbers and space. The contributors are Ned Block, Margaret Boden, Susan Carey, Patricia Churchland, Paul (...) Churchland, Antonio Damasio, Hanna Damasio, Donald Davidson, Daniel Dennett, Ilya Farber, James Higginbotham, Christopher Peacocke, Will Peterman, Zenon Pylyshyn, John Searle. Anyone interested in the exploration of the human mind will enjoy this book. (shrink)

Creativity is one of the least understood aspects of intelligence and is often seen as intuitive' and not susceptible to rational enquiry. Recently, however, there has been a resurgence of interest in the area, principally in artificial intelligence and cognitive science, but also in psychology, philosophy, computer science, logic, mathematics, sociology, and architecture and design. This volume brings this work together and provides an overview of this rapidly developing field. It addresses a range of issues. Can computers be creative? Can (...) they help us to understand human creativity? How can artificial intelligence (AI) enhance human creativity? How, in particular, can it contribute to the sciences of the artificial', such as design? Does the new wave of AI (connectionism, geneticism and artificial life) offer more promise in these areas than classical, symbol-handling AI? What would the implications be for AI and cognitive science if computers could not be creative? These issues are explored in five interrelated parts, each of which is introducted and explained by a leading figure in the field. - Prologue (Margaret Boden) - Part I: Foundational Issues (Terry Dartnall) - Part II: Creativity and Cognition (Graeme S. Halford and Robert Levinson) - Part III: Creativity and Connectionism (Chris Thornton) - Part IV: Creativity and Design (John Gero) - Part V: Human Creativity Enhancement (Ernest Edmonds) - Epilogue (Douglas Hofstadter) For researchers in AI, cognitive science, computer science, philosophy, psychology, mathematics, logic, sociology, and architecture and design; and anyone interested in the rapidly growing field of artificial intelligence and creativity. (shrink)

This collection by a distinguished group of philosophers, psychologists, and physiologists reflects an interdisciplinary approach to the central question of cognitive science: how do we model the mind? Among the topics explored are the relationships (theoretical, reductive, and explanatory) between philosophy, psychology, computer science, and physiology; what should be asked of models in science generally, and in cognitive science in particular; whether theoretical models must make essential reference to objects in the environment; whether there are human competences that are resistant, (...) in principle, to modelling; whether simulated thinking and intentionality are really thinking and intentionality; how semantics can be generated from syntactics; the meaning of the terms "representations" and "modelling;" whether the nature of the "hardware" matters; and whether computer models of humans are "dehumanizing." Contributors include Donald Davidson, Daniel C. Dennett, Margaret A. Boden, Adam Morton, Dennis Noble, T. Poggio, Colin Blakemore, K.V. Wilkes, P.N. Johnson-Laird, and Jonathan St. B.T. Evans. (shrink)

Beginning with the prevalent idea that creativity is the ability to make or do things having valuable novelty, the paper explores a variety of axiological and novelty conditions and defends an instrumental success condition. I discuss Robert K. Merton's distinction between 'originality' and 'priority', and Margaret Boden's similar distinction between historical and psychological creativity, as well as Thomas Reid's and Bruce Vermazen's remarks on relations between novelty and value.

The basic idea of the particular way of understanding mental phenomena that has inspired the "cognitive revolution" is that, as a result of certain relatively recent intellectual and technological innovations, informed theorists now possess a more powerfully insightful comparison or model for mind than was available to any thinkers in the past. The model in question is that of software, or the list of rules for input, output, and internal transformations by which we determine and control the workings of a (...) computing machine's hardware. Although this comparison and its many implications have dominated work in the philosophy, psychology, and neurobiology of mind since the end of the Second World War, it now shows increasing signs of losing its once virtually unquestioned preeminence. Thus we now face the question of whether it is possible to repair and save this model by means of relatively inessential "tinkering", or whether we must reconceive it fundamentally and replace it with something different. In this book, twenty-eight leading scholars from diverse fields of "cognitive science"-linguistics, psychology, neurophysiology, and philosophy- present their latest, carefully considered judgements about what they think will be the future course of this intellectual movement, that in many respects has been a watershed in our contemporary struggles to comprehend that which is crucially significant about human beings. Jerome Bruner, Noam Chomsky, Margaret Boden, Ulric Neisser, Rom Harre, Merlin Donald, among others, have all written chapters in a non-technical style that can be enjoyed and understood by an inter-disciplinary audience of psychologists, philosophers, anthropologists, linguists, and cognitive scientists alike. (shrink)

The central problem of social theory is 'structure and agency'. How do the objective features of society influence human agents? Determinism is not the answer, nor is conditioning as currently conceptualised. It accentuates the way structure and culture shape the social context in which individuals operate, but it neglects our personal capacity to define what we care about most and to establish a modus vivendi expressive of our concerns. Through inner dialogue, 'the internal conversation', individuals reflect upon their social situation (...) in the light of current concerns and projects. On the basis of a series of unique, in-depth interviews, Archer identifies three distinctive forms of internal conversation. These govern agents' responses to social conditioning, their individual patterns of social mobility and whether or not they contribute to social stability or change. Thus the internal conversation is seen as being the missing link between society and the individual, structure and agency. (shrink)

I reply to critical discussion of my work by Copthorne Macdonald, Steve Fuller, John Stewart, Joseph Agassi, Margaret Boden, Donald Gillies, Mathew Iredale, David Hodgson, Karl Rogers, and Leemon McHenry.

The article presents an epistemological and partially methodological analysis of cognitive science as a scientific discipline, created as a result of the transformations that took place in the philosophical and psychological concepts of the mind and cognition, which were carried out with the aid of tools and methods of modelling as well as through simulating human cognitive processes and consciousness. In order to describe this interdisciplinary science, and its positions, as well as the stages and directions of its development, it (...) makes use of the epistemological model formulated by Michel Foucault, in which he draws attention to social, ideological and technological conditions of scientific knowledge. The opinions of the leading creators and critics of cognitive science, such as George A. Miller, Howard Gardner, Margaret Boden and José Luis Bermúdez are referenced to and analyzed with the use of this model. The article shows the epistemologically and methodologically divergent status of cognitive science, as well as its cognitive and institutional conditions and challenges, which stand before it after half a century of intensive development. (shrink)

Searle (1980) constructed the Chinese Room (CR) to argue against what he called \Strong AI": the claim that a computer can understand by virtue of running a program of the right sort. Margaret Boden (1990), in giving the English Reply to the Chinese Room argument, has pointed out that there isunderstanding in the Chinese Room: the understanding required to recognize the symbols, the understanding of English required to read the rulebook, etc. I elaborate on and defend this response to (...) Searle. In particular, I use the insight of the English Reply to contend that Searle's Chinese Room cannot argue against what I call the claim of \Weak Strong AI": there are some cases of understanding that a computer can achieve solely by virtue of that computer running a program. I refute several objections to my defense of the Weak Strong AI thesis. (shrink)

Mit Beiträgen von Heiner Hastedt, Peter Schefe, Michael Heidelberger, Wolfgang Coy, Peter Janich, Sybille Krämer, Heinz Zemanek, Rafael Capurro, Ekkehard Martens, Yvonne Dittrich, Holm Tetens, Geert Keil, John R. Searle, Margaret A. Boden, Godela Unseld, Ulrike Teubner, Rüdiger Weingarten, Florian Rötzer und Simone Dietz.

Since the publication of Roy Bhaskar's A Realist Theory of Science in 1975, critical realism has emerged as one of the most powerful new directions in the philosophy of science and social science, offering a real alternative to both positivism and postmodernism. This reader makes accessible in one volume key readings to stimulate debate about and within critical realism, including: the transcendental realist philosophy of science elaborated in A Realist Theory of Science ; Bhaskar's critical naturalist philosophy of social science; (...) the theory of explanatory critique, which is central to critical realism; and the theme of dialectic, which is central to Bhaskar's most recent writings. The volume includes extracts from Bhaskar's most important books, as well as selections from all of the other most important contributors to the critical realist program. It also includes both a general introduction and original introductions to each section. (shrink)

Artificial life (ALife) is the attempt to create artificial instances of life in a variety of media, but primarily within the digital computer. As such, the field brings together computationally-minded biologists and biologically-minded computer scientists. I argue that this new field is filled with interesting philosophical issues. However, there is a dearth of philosophers actively conducting research in this area. I discuss two books on the new field: Margaret A. Boden's The philosophy of artificial life and Christopher G. Langton's (...) Artificial life: an overview. They cover three areas of philosophical interest: the definition of life, the relationship between life and mind, and the possibility of creating life within a computational environment. This discussion allows me to critique past work in the philosophy of ALife that tends to see the field as a proving ground for traditional arguments from the philosophy of artificial intelligence. Instead, I suggest, what is interesting about ALife is how it differs from artificial intelligence and that the most interesting philosophical issues in the area are those derived from biology, not psychology. I recommend that these two books taken together constitute an interesting introduction to ALife and the wealth of philosophical issues found therein. (shrink)

"What Is Cognitive Access?" PDF. Behavioral and Brain Sciences 30 (2007 [published 2008]): 505. Brief comments on a paper of Ned Block's. "Mechanical Mind," a review of Mind as Machine: A History of Cognitive Science by Margaret Boden. Online Published Version . From American Scientist (2008): 76-81.

Acknowledgements ix Contributors xi How to Use This Book xv Introduction xix 1 Problems, Questions and Concepts in the Philosophy of Mind 1 Ian Ravenscroft 2 Consciousness 35 Daniel D. Hutto 3 The Mark of the Mental 54 Fred Adams and Steve Beighley 4 Substance Dualism 73 T. J. Mawson 5 Physicalism 92 Barbara Montero 6 Folk Psychology and Scientific Psychology 102 Barry C. Smith 7 Internalism and Externalism in Mind 133 Sarah Sawyer 8 The Philosophies of Cognitive Science 151 (...) Margaret A. Boden 9 Representation 171 Georges Rey 10 Mental Causation 190 Neil Campbell 11 Personal Identity 203 E. J. Lowe 12 Embodied Cognition and the Extended Mind 220 Michael Wheeler 13 Current Issues in the Philosophy of Mind 239 Paul Noordhof Glossary 280 Chronology 319 Research Resources 327 Notes 330 Bibliography 341 Index 375. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 53-64 [Access article in PDF] Emotion and Creativity Mike Radford Introduction Creativity may be seen as a complex process of informational processing within a given framework, or, as Margaret Boden has termed it, "conceptual space." 1 It is in the context of such frameworks that the process of managing information makes sense. The framework offers the possibilities within which information can (...) be combined and separated, grouped and regrouped,and may be seen to define the boundaries of that which makes sense both within the space and at its parameters. Boden suggests that we can, by playing around with the variables within a "conceptual space," be creative. We can generate multiple possibilities in terms of meaningful articulations.We can also aspire to a more fundamental level of creative thought oraction by engaging in the high-risk process of challenging the very rules that support the coherence of the space itself. In other words we can think, hypothesize or "play" at the boundaries of sense. Such explorations might result in changing those boundaries, thus transforming the conceptual space. Such changes might be minor but at other times dramatic, constituting major transitions in human thought and expression. This account seems to explain both the gradual process of creative development in the arts and sciences as well as the dramatic transformations that we observe in the history of intellectual and cultural development. Some conceptual spaces may be clearly defined with relatively closely controlled parameters. Others might be more open, more accommodating both within and at their boundariesA number of questions arise in the context, two of which are of particularinterest. First, how do novel combinations or reorganizations of information within the conceptual space come to be made and how they are recognized as sensible and of value within the system? Second and more fundamentally, how are new and original articulations that stand at the parameters or boundaries of the sense-making system constructed? How are we guided [End Page 53] when we seek to make sense at its very boundaries? It may be that few are called to such profound levels of creative articulation but for the rest of us, how do we recognize these creative articulations when they are made? How do we make sense of an activity, a new scientific theory, or work of art when it challenges the very principles that govern its sense in the first place?It is important to give full cognizance to the complexity of the information-processing task being performed and it is highly doubtful if all elements, all items of information, and the relationships between them, are before the conscious mind of the individual creative intelligence at any one time. There may be a sense of consonance or harmony within this system that enables us to recognize its sense or coherence. In this way much of the information contained within it is simply not noticed. Only when some item of information or process is out of place, dissonant with the organization, do we perceive difficulties. All systems contain dissonances either obvious or manufactured. In science for example there are items of evidence that do not fit within the theoretical frameworks or the paradigms that it has to offer. There are also substantial areas of human experience that might seem to fall outside the paradigm altogether. For many years scientists have been able to predict the exact day, time, and locality within which we may observe an eclipse of the sun. What they have been unable to do, even within a few hours of the event, is predict whether the weather conditions will be such that we can actually observe it. In time it may be that there is the development of a new paradigm that promises accuracy in weather predictions or newly discovered evidence that warrants a review of particular theories within a paradigm.Sometimes it may seem that there is a perversity in human intelligence, particularly in the arts, that seeks out or deliberately manufactures such dissonances in order to challenge us in the way that we are thinking, to shake complacency... (shrink)

Atheism as a belief does not have to present intellectual credentials within academia. Yet to hold beliefs means giving reasons for doing so, ones which may be found wanting. Instead, atheism is the automatic default setting within the academic world. Conversely, religious belief confronts a double standard. Religious believers are not permitted to make truth claims but are instead forced to present their beliefs as part of one language game amongst many. Religious truth claims are expected to satisfy empiricist criteria (...) of evidence but when they fail, as they must, religious belief becomes subject to the hermeneutics of suspicion. This book explores religious experience as a justifiable reason for religious belief. It uniquely demonstrates that the three pillars of critical realism --ontological intransitivity, epistemic relativity and judgemental rationality -- can be applied to religion as to any other beliefs or theories. The three authors are critical realists by philosophical position. They seek to establish a level playing field between religion and secular ideas, which has not existed in the academic world for some generations, in order for reasoned debate to be conducted. (shrink)

At least some of these commentators have then, rather naturally, taken a step which it will be the business of this essay to criticize. They have suggested that Leibniz’s "counter-part theory" can be understood as providing an interpretation of counter-factuals and certain forms of modal discourse within his system. For example, Mondadori writes.

In lieu of an abstract, here is a brief excerpt of the content:The Aesthetics of Representation:Dramatic Texts and Dramatic EngagementKathleen Gallagher (bio)Staking the TerritoryThere are several ways in which aesthetic discourses might be positioned in the field of drama education. While some might locate "aesthetics" in the cognitive or interpretive realm of learning, and others the affective or philosophical realm, I have chosen to speak of the discourses of aesthetics as they relate to both cognitive and embodied responses to the (...) (extra)ordinary events of a drama classroom. I am already unsatisfied with the recognizable distinctions implied in this binary, but I persist in the hope that the relationship between these learning functions will become clear as I proceed with what I have termed the sociology of aesthetics in drama practice. In drama, we attempt—collectively—to represent our lives through art as we come to know the world and our sensuous responses to it.Fenner's brief history of aesthetic experience and aesthetic analysis will further help stake the territory about which we are speaking in a drama classroom.1 Calling aesthetic experiences the "raw data" that aesthetics is meant to explain, he helpfully distinguishes between Kantian understandings of the conditions of aesthetic judgment and the emergence of those thinkers in the seventeenth and eighteenth centuries who began to focus on the psychology of aesthetic experience. Following these thinkers and further developments in the early part of the twentieth century, the work of John Dewey explored the psychological nature of what he called "an experience" in the field of education more generally.2 This article will also privilege the notion of aesthetic experience but will, more specifically, focus on an exploration of ideas borne out of aesthetic experiences that cultivate sociological questions about representation and the nature of cognitive and embodied engagement in classroom drama. Key to my view of dramatic representation is the notion of a provoked imagination. [End Page 82]In the nineteenth century, Archibald Allison claimed that it was the imagination that was responsible for what we term "aesthetic experiences."3 Earlier philosophers of aesthetics had determined that the mere presence of beauty could create an aesthetic experience, but Allison insisted upon the "exercises of the imagination" in his understanding of aesthetic experiences. Contemporary writers in the field of arts education have also favored this more active conception of aesthetic responses, such as the formidable Madeleine Grumet and Maxine Greene. They and others will be cited here in support of a conception of "aesthetic experiences" in the drama classroom as active, selective, and highly framed experiences.Dramatic Texts and Aesthetic Knowing: Framing the ExperiencesOne can hardly discuss the idea of aesthetic exploration without first engaging with the rather unwieldy idea of "creativity." Radford, citing Margaret Boden, puts forward a very helpful notion of creativity as "conceptual space."4 This "conceptual space" is what I will refer to as "the frame" carefully placed around dramatic learning, usually by a highly skilled teacher. Frequently because of this frame, something entirely forgettable to students is shaped into something worth considering. The "frame," therefore, consists of both careful pedagogical planning and, in many cases, a piece of text that ignites the conceptual space and inspires a deliberate probing. This deliberate probing, or what Radford might call creative thought, invites co-creators to "play at the boundaries of sense."5 Bruner speaks about the "creative act" as bringing about a "shock of recognition,"6 or what Radford equally describes as something speaking to something "within us." This idea is particularly helpful in deconstructing what is often at work in a collaborative piece of improvised drama activity in a classroom of young people.To this end, I would like to offer three brief episodes as examples of textual and improvised drama engagement that speak to Bruner's and Radford's ideas of "recognition," or resonance with "something within us," and to my own understanding of how ideas of representation or mimesis are operating in moments of aesthetic knowing for young people. The other principle at work, seemingly at odds with these ideas, is the notion of distance or alienation from an event, in effect a dis-identification. What I would especially hope to demonstrate in the following brief, empirical... (shrink)