Despite the recent upsurge of interest in the investigation of creativity, the question of how to measure creativity is arguably underdiscussed. The aim of this paper is to address this gap, proposing a multidimensional account of creativity which identifies problem-solving, evaluation, and naivety as measurable features that are common among creative processes. The benefits that result from the adoption of this model are twofold: integrating discussions on creativity in various domains and offering the tools to assess (...) creativity across systems of different kinds. By situating creativity within this framework, I aim to contribute to a non-anthropocentric, more comprehensive understanding of the notion, and to debates on natural and artificial creativity. (shrink)

In the current era, robots and artificial agents can do jobs that could only be achieved with human creativity in the past, therefore successfully stepped into the sacred territory that once considered exclusive to human. Given this situation, Mark Amerika made two significant contributions with his new book, “My life as an Artificial Creative Intelligence”. This book added to the emerging literary genre collaborated by human artists and AI, telling the story about the advanced ACI developed in (...) the project FATAL ERROR and its relationship with Amerika as its co-author and creator. Moreover, this book documented an in-depth investigation into the nature of creativity and its processes, asking whether creativity is exclusive to the human mind. (shrink)

This article discusses three dimensions of creativity: metaphorical thinking; social interaction; and going beyond extrapolation in predictions. An overview of applications of neural networks in these three areas is offered. It is argued that the current reliance on the apparatus of statistical regression limits the scope of possibilities for neural networks in general, and in moving towards artificial creativity in particular. Artificial creativity may require revising some foundational principles on which neural networks are currently built.

1. In the last decade, technological systems based on Artificial Intelligence (AI) architectures entered our lives at an increasingly fast pace. Virtual assistants facilitate our daily tasks, recom...

The tendency to idealise artificial intelligence as independent from human manipulators, combined with the growing ontological entanglement of humans and digital machines, has created an “anthrobotic” horizon, in which data analytics, statistics and probabilities throw our agential power into question. How can we avoid the consequences of a reified definition of intelligence as universal operation becoming imposed upon our destinies? It is here argued that the fantasised autonomy of automated intelligence presents a contradistinctive opportunity for philosophical consciousness to understand (...) itself anew as holistic and co-creative, beyond the recent “analytic” moment of the history of philosophy. Here we introduce the concept of “crealectic intelligence”, a meta-analytic and meta-dialectic aspect of consciousness. Intelligent behaviour may consist in distinguishing discrete familiar parts or reproducible functions in the midst of noise via an analytic process of segmentation; intelligence may also manifest itself in the constitution of larger wholes and dynamic unities through a dialectic process of association or assemblage. But, by contrast, crealectic intelligence co-creates realities in the image of an ideal or truth, taking into account the desiring agent imbued with a sense of possibility, in a relationship not only with the Real but also with the creative sublime or “Creal”. (shrink)

The rapid development of artificial intelligence has brought many opportunities and challenges to organization. Some studies have shown that AI can improve organizational creativity. However, the existing research lacks an effective transformation path. This paper makes an innovative approach from the perspective of knowledge sharing, establishes an integration model of artificial intelligence capability, knowledge sharing and organizational creativity. Based on 189 questionnaire data, we use multi-level regression analysis and bootstrap method to analyze the influence mechanism. The (...) results show that artificial intelligence has a positive effect on knowledge sharing, knowledge sharing has a positive effect on organizational creativity, knowledge sharing mediates the relationship between artificial intelligence and organizational creativity, and organizational cohesion has a positive moderating effect on the relationship between artificial intelligence and knowledge sharing. The results supplement the existing research on the relationship between artificial intelligence capability and organizational creativity, expand the theoretical boundary and application space from the perspective of knowledge sharing at the organizational level, and provide reference for organizations to improve creativity. (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)

The aim of this chapter is to show how the technological research activity called “artificial life” is shedding new light on human creativity. Artificial life aims to understanding the fundamental behavior of life-like systems by synthesizing that behavior in artificial systems (more on artificial life below). One of the most interesting behaviors of living systems is their creativity. Biological creativity can be found in both individual living organisms and in the whole biosphere—the entire (...) interconnected system comprised of all forms of life—but I will focus in this chapter on the biological creativity exhibited by the evolutionary process. This is the creativity that enabled the earliest simple life forms to spontaneously evolve into the incredibly rich and beautiful diversity of life that now surrounds us. This diversity of life includes the most complex adaptive and intelligent systems in the known universe. This is an amazingly powerful spontaneous creation process, indeed. I will refer to it as hyper-creativity to call attention to the way in which it produces qualitatively new and more complex kinds of adaptations. There is a similar quality in human creativity. I am thinking of the aesthetic and cultural creativity of artists, but also the intellectual creativity of scientists and scholars, as well as the commercial and practical creativity of craftsmen, businessmen, and entrepreneurs. And I want to focus especially on the hyper- creative aspects of human creativity—the way in which human activity can yield qualitatively new and more complex creations. (shrink)

The article analyzes the possibilities and limitations of artificial intelligence. The article considers the subjectivity of artificial intelligence, determines its necessity for solving intellectual problems depending on the possibility of representing the real world as a deterministic system. Methodological limitations of artificial intelligence, which is based on the use of big data technologies, are stated. These limitations cause the impossibility of forming a holistic representation of the objects of cognition and the world as a whole. As a (...) tool for deterministic description of the universe it is proposed to use empirical-metaphysical general theory of systems, which is an extension of existing general theories of systems due to ontological justification of the phenomenon of isomorphism and definition of a limited set of laws, rules, patterns and primitives of forms and relations of objects in the universe. The distinction of natural (human) and artificial intelligence is considered, including the realization of multisystem integration of intelligence in physical, biological, social and spiritual systems. A philosophically grounded approach to ensuring the evolutionary properties of artificial intelligence is formulated, based on the inclusion of non-equilibrium mechanisms through which stability is realized. (shrink)

The greatest rhetorical challenge to developers of creative artificial intelligence systems is convincingly arguing that their software is more than just an extension of their own creativity. This paper suggests that “creative autonomy,” which exists when a system not only evaluates creations on its own, but also changes its standards without explicit direction, is a necessary condition for making this argument. Rather than requiring that the system be hermetically sealed to avoid perceptions of human influence, developing creative autonomy (...) is argued to be more plausible if the system is intimately embedded in a broader society of other creators and critics. Ideas are presented for constructing systems that might be able to achieve creative autonomy. (shrink)

Biological evolution provides a creative fount of complex and subtle adaptations, often surprising the scientists who discover them. However, because evolution is an algorithmic process that transcends the substrate in which it occurs, evolution’s creativity is not limited to nature. Indeed, many researchers in the field of digital evolution have observed their evolving algorithms and organisms subverting their intentions, exposing unrecognized bugs in their code, producing unexpected adaptations, or exhibiting outcomes uncannily convergent with ones in nature. Such stories routinely (...) reveal creativity by evolution in these digital worlds, but they rarely fit into the standard scientific narrative. Instead they are often treated as mere obstacles to be overcome, rather than results that warrant study in their own right. The stories themselves are traded among researchers through oral tradition, but that mode of information transmission is inefficient and prone to error and outright loss. Moreover, the fact that these stories tend to be shared only among practitioners means that many natural scientists do not realize how interesting and lifelike digital organisms are and how natural their evolution can be. To our knowledge, no collection of such anecdotes has been published before. This paper is the crowd-sourced product of researchers in the fields of artificial life and evolutionary computation who have provided first-hand accounts of such cases. It thus serves as a written, fact-checked collection of scientifically important and even entertaining stories. In doing so we also present here substantial evidence that the existence and importance of evolutionary surprises extends beyond the natural world, and may indeed be a universal property of all complex evolving systems. (shrink)

The current literature in artificial intelligence and robotics awareness focused on the dark side of AIRA. Accordingly, this study sheds light on the positive effect of AIRA on employee creativity by exploring how and when hotel employees may take proactive behavior facing the threat of AI and robotics to further stimulate creativity. Based on the work adjustment theory and the locus of control theory, this study constructs a moderating multiple mediation model to explain the influence of AIRA (...) on employee creativity, in which active learning and task crafting are used as mediating variables, and locus of control is used as moderating variable. Data collected from 264 employees in a Chinese hotel are used for empirical analysis. Results show that AIRA indirectly positively affects employee creativity via active learning and task crafting and Locus of control not only moderates the mediating effect of active learning between the relationship of AIRA and employee creativity but also moderates the mediating effect of task crafting between the relationship of AIRA and employee creativity. The theoretical and practical implications are discussed. (shrink)

This article examines the relationship between artificial general intelligence and the image of God. After identifying various models that Christian theologians use to classify or define the imago Dei, particular attention will be given to the ‘created co-creator’ model. Scholars have interpreted this model in different ways, based on the nature of human creative action. This action is seen as either subordinate to divine creation action or the human creative action is truly cooperative with divine creative action. Whether AGI (...) would be made in the image of God in these models is then explored, highlighting the differences between humans as sub-creators versus humans as cooperative co-creators. If human creative action is cooperative, then the question arises as to whether AGI can be made in ‘the image of humanity’. Some elements of this image are explored, and then the discussion turns to whether AGI would be made in ‘the image of humanity’, and if so, could AGI still be made in the image of God?Contribution: The argument concludes by pointing to future work using the various models of imago Dei to help inform the relationship between humans and AGI by briefly mentioning two examples. (shrink)

. Interpreting children 's ideas: Creative thought or factual belief? A new look at Piaget's theory of childhood artificialism as related to religious education. British Journal of Educational Studies: Vol. 41, No. 2, pp. 164-173.

What does it mean to be human? Philosophers and theologians have been wrestling with this question for centuries. Recent advances in cognition, neuroscience, artificial intelligence and robotics have yielded insights that bring us even closer to an answer. There are now computer programs that can accurately recognize faces, engage in conversation, and even compose music. There are also robots that can walk up a flight of stairs, work cooperatively with each other and express emotion. If machines can do everything (...) we can, does that mean we are machines? -/- This book examines whether an artificial person can be constructed and if so, what that might tell us about our future and ourselves. Different human capacities such as perception, creativity, consciousness, social behavior, and free will are described in separate chapters. Technological advances in these areas are summarized and compared to our own abilities. The book adopts a multi-disciplinary approach, with a naturalistic perspective drawn from biology and psychology matched against a technological perspective based on computer science and robotics. (shrink)

Creativity: Theory, History, Practice offers important new perspectives on creativity in the light of contemporary critical theory and cultural history. Innovative in approach as well as argument, the book crosses disciplinary boundaries and builds new bridges between the critical and the creative. It is organized in four parts: · Why creativity now? offers much-needed alternatives to both the Romantic stereotype of the creator as individual genius and the tendency of the modern creative industries to treat everything as (...) a commodity. · Defining creativity, creating definitions traces the changing meaning of "create" from religious ideas of divine creation from nothing to advertising notions of concept creation. It also examines the complex history and extraordinary versatility of terms such as imagination, invention, inspiration and originality. · Creation as myth, story, metaphor begins with modern re-telling of early African, American and Australian creation myths and -picking up Biblical and evolutionary accounts along the way - works round to scientific visions of the Big Bang, bubble universes and cosmic soup. · Creative practices, cultural processes is a critical anthology of materials, chosen to promote fresh thinking about everything from changing constructions of "literature" and "design" to artificial intelligence and genetic engineering. Rob Pope takes significant steps forward in the process of rethinking a vexed yet vital concept, all the while encouraging and equipping readers to continue the process in their own creative or "re-creative" ways. Creativity: Theory, History, Practice is invaluable for anyone with a live interest in exploring what creativity has been, is currently, and yet may be. (shrink)

Artificial Intelligence and Music Ecosystem highlights the opportunities and rewards associated with the application of AI in the creative arts. Featuring an array of voices, including interviews with Jacques Attali, Holly Herndon and Scott Cohen, this book offers interdisciplinary approaches to pressing ethical and technical questions associated with AI. Considering the perspectives of developers, students and artists, as well as the wider themes of law, ethics and philosophy, Artificial Intelligence and Music Ecosystem is an essential introduction for anyone (...) interested in the impact of AI on music, including those studying and working in the creative arts. (shrink)

Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI (...) into artistic creation marks a new chapter in the narrative, which seems to have reached its end, or if it represents a significant rupture with past artistic traditions. (shrink)

In March 2016, DeepMind's computer programme AlphaGo surprised the world by defeating the world‐champion Go player, Lee Sedol. AlphaGo exhibits a novel, surprising and valuable style of play and has been recognised as “creative” by the artificial intelligence (AI) and Go communities. This article examines whether AlphaGo engages in creative problem solving according to the standards of comparative psychology. I argue that AlphaGo displays one important aspect of creative problem solving (namely mental scenario building in the form of Monte (...) Carlo tree search), while lacking another (domain generality). This analysis has consequences for how we think about creativity in humans and AI. (shrink)

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)

Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are (...) a recent example of how a system’s ability to generate novel products can both be finely tuned by prior experience and grounded in strategies that cannot be articulated by the system itself. Further, the kinds of processes exploited by GANs need not be seen as incorporating something akin to sui generis imaginative states. The chapter concludes with reflection on the added relevance of personal character to explanations of creativity. [This is Chapter 12 of the book Explaining Imagination.]. (shrink)

How is it possible to think new thoughts? What is creativity and can science explain it? And just how did Coleridge dream up the creatures of The Ancient Mariner? When The Creative Mind: Myths and Mechanisms was first published, Margaret A. Boden's bold and provocative exploration of creativity broke new ground. Boden uses examples such as jazz improvisation, chess, story writing, physics, and the music of Mozart, together with computing models from the field of artificial intelligence to (...) uncover the nature of human creativity in the arts. The second edition of The Creative Mind has been updated to include recent developments in artificial intelligence, with a new preface, introduction and conclusion by the author. It is an essential work for anyone interested in the creativity of the human mind. (shrink)

An essential work for anyone interested in the creativity of the human mind, "The Creative Mind" has been updated to include recent developments in artificial ...

In two experiments (total N=693) we explored whether people are willing to consider paintings made by AI-driven robots as art, and robots as artists. Across the two experiments, we manipulated three factors: (i) agent type (AI-driven robot v. human agent), (ii) behavior type (intentional creation of a painting v. accidental creation), and (iii) object type (abstract v. representational painting). We found that people judge robot paintings and human painting as art to roughly the same extent. However, people are much less (...) willing to consider robots as artists than humans, which is partially explained by the fact that they are less disposed to attribute artistic intentions to robots. (shrink)

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

Computer programs are generating artworks of astonishing novelty and aesthetic value. By the standard definition of creativity, these programs would count as being creative. But if you still hesitate to call a program creative, that's for good reason, we argue. It's because real creativity requires AGENTS who are responsible for what they make, and it's not at all clear that these programs are agents. -/- (The title was imposed by the editor. It was supposed to be called, "ARE (...) COMPUTERS CREATIVE?"). (shrink)

Can matter, things, nonhuman organisms, technologies, tools and machines, biota or institutions be seen as creative? How does such creativity reposition the visionary activities of humans? This article is an elaboration of such questions as well as an attempt at a partial response. It was written as an editorial for the special issue of the Digital Creativity journal that interrogates the conception of Post-Anthropocentric Creativity. However, the text below is a rather unconventional editorial. It does not attempt (...) to provide an overview of the issue’s theme but, instead, samples it via a particular example. The idea of the issue was to think about post-anthropocentricism by considering (1) agents, recipients and processes of creativity alongside with its (2) purpose, value, ethics and politics. This article addresses the first subtheme by puzzling at the paradoxes of “field learning” and picks at the second by considering the texture of “automated beauty”. Both of these parts use chess for an example. The narrative on chess is intermitted by a section “on creativity” that attempts to contextualize the case-based discussion in the wider context and to consider motivations and implications. (shrink)

Today, humanity is trying to turn the artificial intelligence that it produces into natural intelligence. Although this effort is technologically exciting, it often raises ethical concerns. Therefore, the intellectual ability of artificial intelligence will always bring new questions. Although there have been significant developments in the consciousness of artificial intelligence, the issue of consciousness must be fully explained in order to complete this development. When consciousness is fully understood by human beings, the subject of “free will” will (...) be explained. Therefore, human consciousness should be re-examined and perceptions that we are not aware of from a philosophical point of view should be examined. The relevance of the perceptions we do not realize to the unconscious, and finally the impact on consciousness goes back to the sources of philosophy. Hegel, in particular, we may find information about these perceptions unusual. Consciousness cannot be separated from the unconscious. Consciousness should be rethought in the context of memory models and unconscious in this sense. Seeing how Hegel's human cognition acts, especially in Hegel's perception, raises the unconscious question again. If we expect something different from an artificial intelligence, we need to rethink the artificial cognitive model. This paper argues that without the unconscious component of artificial intelligence, it cannot approach human cognition. -/- Key Words: Artificial Intelligence, Creativity, Memory, perception . (shrink)

In scientific communications, journal articles, and philosophical aesthetic debates the words “art”, “creativity”, and “machine” are put together more and more frequently. Since some machines are designed to, or happens to, imitate human artistic creativity, it seems natural to use the same words to talk about human artists and machines which imitate them. However, the evolution of language in light of technology may conceal specific features of the phenomena it is supposed to describe. This makes it difficult to (...) understand what machine creativity actually is and how it is connected to human creativity. The aim of the paper is to investigate why, and in what sense, the functioning of some machines may be described in terms of artistic creativity and what is the relation between machine creativity and its human archetype. I start (§1) by introducing some general ideas concerning how language evolves alongside new technologies and focusing on the case of machine creativity. In §2 I review how some creative machines have been presented to the public, thus showing that a linguistic habit which connects machines to artistic creativity has already formed. In §3 I survey the debate on machine aesthetics and I highlight the main traits of the issue. In §4 I submit a primary scheme of machine creativity which draws on the concept of functional autonomy. Finally (§5), I argue that machine creativity cannot be mistaken for a substitute of the human kind, despite the fact that the word is the same. Creative machines are technological mediums by which new forms of human aesthetic experience can be explored. The kind of creativity machines enjoy displays a functional nature. (shrink)

An argument with roots in ancient Greek philosophy claims that only humans are capable of a certain class of thought termed conceptual, as opposed to perceptual thought, which is common to humans, the higher animals, and some machines. We outline the most detailed modern version of this argument due to Mortimer Adler, who in the 1960s argued for the uniqueness of the human power of conceptual thought. He also admitted that if conceptual thought were ever manifested by machines, such an (...) achievement would contradict his conclusion. We revisit Adler’s criterion in the light of the past five decades of artificial-intelligence research, and refine it in view of the classical definitions of perceptual and conceptual thought. We then examine two well-publicized examples of creative works produced by AI systems and show that evidence for conceptual thought appears to be lacking in them. Although clearer evidence for conceptual thought on the part of AI systems may arise in the near future, especially if the global neuronal workspace theory of consciousness prevails over its rival, integrated information theory, the question of whether AI systems can engage in conceptual thought appears to be still open. (shrink)

The Turing Test is claimed by many to be a way to test for the presence, in computers, of such ``deep'' phenomena as thought and consciousness. Unfortunately, attempts to build computational systems able to pass TT have devolved into shallow symbol manipulation designed to, by hook or by crook, trick. The human creators of such systems know all too well that they have merely tried to fool those people who interact with their systems into believing that these systems really have (...) minds. And the problem is fundamental: the structure of the TT is such as to cultivate tricksters. A better test is one that insists on a certain restrictive epistemic relation between an artificial agent A, its output o, and the human architect H of A – a relation which, roughly speaking, obtains when H cannot account for how A produced o. We call this test the ``Lovelace Test'' in honor of Lady Lovelace, who believed that only when computers originate things should they be believed to have minds. (shrink)

This book is a collection of all the papers published in the special issue “Artificial Intelligence, Robots, and Philosophy,” Journal of Philosophy of Life, Vol.13, No.1, 2023, pp.1-146. The authors discuss a variety of topics such as science fiction and space ethics, the philosophy of artificial intelligence, the ethics of autonomous agents, and virtuous robots. Through their discussions, readers are able to think deeply about the essence of modern technology and the future of humanity. All papers were invited (...) and completed in spring 2020, though because of the Covid-19 pandemic and other problems, the publication was delayed until this year. I apologize to the authors and potential readers for the delay. I hope that readers will enjoy these arguments on digital technology and its relationship with philosophy. *** -/- Contents*** -/- Introduction : Descartes and Artificial Intelligence; Masahiro Morioka*** -/- Isaac Asimov and the Current State of Space Science Fiction : In the Light of Space Ethics; Shin-ichiro Inaba*** -/- Artificial Intelligence and Contemporary Philosophy : Heidegger, Jonas, and Slime Mold; Masahiro Morioka*** -/- Implications of Automating Science : The Possibility of Artificial Creativity and the Future of Science; Makoto Kureha*** -/- Why Autonomous Agents Should Not Be Built for War; István Zoltán Zárdai*** -/- Wheat and Pepper : Interactions Between Technology and Humans; Minao Kukita*** -/- Clockwork Courage : A Defense of Virtuous Robots; Shimpei Okamoto*** -/- Reconstructing Agency from Choice; Yuko Murakami*** -/- Gushing Prose : Will Machines Ever be Able to Translate as Badly as Humans?; Rossa Ó Muireartaigh***. (shrink)

In the twentieth century, no person epitomized more dramatically the “Renaissance mind” than Herbert A. Simon (1916–2001). In aworking life spanning over 60 years, Simon made seminal contributions to administrative theory, axiomatic foundations of physics, economics, sociology, econometrics, cognitive psychology, logic of scientific discovery, and artificial intelligence. Simon's life of the mind, thus, affords nothing less than a “laboratory” in which to observe and examine at close quarters the phenomenon ofmultidisciplinary creativity. In this paper, we attempt to shed (...) some light on the nature of Simon's creativity and the nature of his particular Renaissance mind. In particular, we have attempted here to articulate thecognitive styleunderlying Simon's multidisciplinary creativity. (shrink)

Artificial intelligency can bring speed and reliability to drug discovery process. It represents an additional intelligence, which in any case can replace the strategic and logic creative insight of the medicinal chemist who remains the architect and molecule master designer. In terms of drug design, artificial intelligency, deep learning machines, and other revolutionary technologies will match with the medicinal chemist’s natural intelligency, but for sure never go beyond. This manuscript tries to assess the impact of the artificial (...) intelligency on drug discovery today. (shrink)

: Creativity, mostly ignored in Western philosophy due to its supposed mysteriousness, has recently become a respected research topic in psychology, neuroscience, and artificial intelligence. We discuss how in science the approach has mainly been to describe creativity as an information-based process, coherently with a computational view of the human mind started with the cognitive revolution. This view has produced progressively convincing models of creativity, up to current artificial neural network systems, vaguely inspired by biological (...) neural processing, but already competing with human creativity in several fields. These successes suggest that creativity might not be an exclusively human function, but actually a way of functioning of any natural or artificial system implementing the creative process. We conclude by acknowledging that the information-based view of creativity has tremendous explanatory and generative power, but we propose a thought experiment to start discussing how it actually leaves out the experiential side of being creative. Keywords: Creative Cognition; Cognitive Neuroscience; Computational Creativity; Generative Algorithms; Cognitive Science La creatività come processo basato sull’informazione Riassunto: La creatività, spesso ignorata dalla filosofia occidentale per la sua presunta oscurità, in tempi recenti è diventata un rispettabile oggetto di ricerca per la psicologia, la neuroscienza e l’intelligenza artificiale. Vogliamo illustrare il modo in cui lo sguardo scientifico sia rivolto prevalentemente a considerare la creatività come processo information-based, coerentemente con la prospettiva computazionale sulla mente umana aperta dalla rivoluzione cognitiva. Questa prospettiva ha prodotto modelli della creatività sempre più convincenti, fino agli attuali sistemi di reti neurali artificiali, vagamente inspirati al processamento biologico neurale, ma già competitivi rispetto alla creatività umana in molti ambiti. Questi successi suggeriscono che la creatività possa non essere una funzione esclusivamente umana ma in effetti un modo di funzionare di un sistema naturale o artificiale capace di implementare il processo creativo. In conclusione, pur riconoscendo come il considerare la creatività come processo information-based possieda grande potere esplicativo e generativo, proporremo un esperimento mentale per aprire una discussione sul come questa prospettiva non copra in effetti il lato esperienziale dell’essere creativo. Parole chiave: Cognizione creativa; Neuroscienza cognitiva; Creatività computazionale; Algoritmi generativi; Scienza cognitiva. (shrink)

The overriding question discussed in this Element can be stated simply as: Can computers create art? This Element presents an overview of the controversies raised by various answers to this question. A major difficulty is that the technology is developing rapidly, and there are still many uncertainties and knowledge gaps as to what is possible today and in the near future. But a number of controversial issues are identified and discussed. The position taken on controversial issues will depend on assumptions (...) made about the technology, about the nature and location of consciousness, about art and creativity. Therefore, a number of hypothetical answers are outlined, related to the assumptions made. (shrink)

Human creativity generates novel ideas to solve real-world problems. This thereby grants us the power to transform the surrounding world and extend our human attributes beyond what is currently possible. Creative ideas are not just new and unexpected, but are also successful in providing solutions that are useful, efficient and valuable. Thus, creativity optimizes the use of available resources and increases wealth. The origin of human creativity, however, is poorly understood, and semantic measures that could predict the (...) success of generated ideas are currently unknown. Here, we analyze a dataset of design problem-solving conversations in real-world settings by using 49 semantic measures based on WordNet 3.1 and demonstrate that a divergence of semantic similarity, an increased information content, and a decreased polysemy predict the success of generated ideas. The first feedback from clients also enhances information content and leads to a divergence of successful ideas in creative problem solving. These results advance cognitive science by identifying real-world processes in human problem solving that are relevant to the success of produced solutions and provide tools for real-time monitoring of problem solving, student training and skill acquisition. A selected subset of information content (IC Sánchez–Batet) and semantic similarity (Lin/Sánchez–Batet) measures, which are both statistically powerful and computationally fast, could support the development of technologies for computer-assisted enhancements of human creativity or for the implementation of creativity in machines endowed with general artificial intelligence. (shrink)

In 2021, 193 Member States at UNESCO’s General Conference adopted the Recommendation on the Ethics of Artificial Intelligence as the first important step towards a future global standard-setting instrument on the subject. The text reflects an emerging consensus among the international community about the growing ethical concerns with artificial intelligence (AI). Among these concerns are also serious risks and dangers attributed to the manipulative effects of AI, which can be further exacerbated by the creative combination of AI with (...) other innovative technologies or applications, such as brain–computer interfaces (BCIs), functional magnetic resonance imaging (fMRI), robotics, and big data. The risks for individuals and society as a whole caused by manipulation through AI are already well known and have recently also been addressed by the European Union having released a proposal for an Artificial Intelligence Act (AIA). Among multiple risks related to AI, the AIA singles out the specific dangers related to AI systems that deploy “subliminal techniques beyond a person’s consciousness to materially distort a person’s behaviour in a manner that causes or is likely to cause that person or another person physical or psychological harm”. The present article thus aims to highlight the known and potential dangers related to AI systems manipulating human thoughts and behaviour through subliminal and supraliminal means and methods. To this end, it advocates the joint study of law and the senses captured by the concept of legal synaesthesia to correspond to the need for an interdisciplinary debate covering the complexity of the links between AI, related technologies, human perception based on the senses and the mind, as well as the role and instruments of law in the future organization of societies in this world. (shrink)

_Purpose._ The study aims to understand artificial intelligence as a socio-cultural phenomenon and its impact on education, where the spiritual sphere of humanity, moral norms, values, and human cognitive abilities are preserved, transferred as well as reproduced. A new discourse on the interaction of artificial and authentic human intelligence becomes inevitable, which has led to a situation of uncertainty. Changes in the socio-cultural environment under the influence of artificial intelligence increase potential threats to the educational space, which (...) stimulates to find the ways to eliminate them. _Theoretical basis._ Various approaches of classical and postmodern philosophical heritage were taken as a theoretical basis for the research. _The originality_ of the study is in the interpretation of artificial intelligence as a modern form of alienation of essential human characteristics in the socio-cultural context of information technology. The expansion of artificial intelligence raises awareness of the existential threat to the basic socio-cultural, moral and ethical principles of humanism. It is proved that various forms of alienation in the current existing socio-cultural space are typical of our reality, which changes the system of values, moral principles, and social organization of the community. _Conclusions._ In conclusion, it is proved that AI is a natural stage of scientific and technological progress, which reflects its secondary, derivative nature from human (authentic) intelligence. Human intelligence will always have advantages over AI due to its ability to create, communicate socially and culturally, and be emotional. The dilemma of the counterbalance between human and artificial intelligence is perceived mainly at the emotional level of people. The millennial understanding of the primacy of the creator over his creation can traditionally overcome this contradiction. The universality of human thinking is an undeniable advantage of human intelligence and a guarantee of its, i.e. our, priority. (shrink)

Recently, heated discussions about artificial intelligence, creativity, and work have re-emerged. Despite the dominant focus on the novelty of this entanglement, it is rich with history. In this paper, I will first introduce creativity as a historical and socio-culturally embedded concept, looking at how and why we have invented creativity in the guises we have. The focus will mostly be on the political and ideological backdrop of these historical processes–for instance how creativity was repeatedly cast (...) as the positive counterimage of (industrial and bureaucratic) alienated labour, and hence stood in a complex relationship to automation, robotization, and so on. Based on this I will then discuss a series of scenarios that are related to the (perhaps) forthcoming automation of creativity, more specifically four ways in which automation might in different ways impact (the fields of) creative practices and labour. (shrink)

In this Element, we’ll explore the nature of both imagination and creative thinking in an effort to understand the relation between them and also to understand their role in the vast array of activities in which they are typically implicated, from art, music, and literature to technology, medicine, and science. Focusing on the contemporary philosophical literature, we will take up several interrelated questions: What is imagination, and how does it fit into the cognitive architecture of the mind? What is (...) class='Hi'>creativity? Is imagination required for creativity? Is creativity required for imagination? Is a person simply born either imaginative or not (and likewise, either creative or not), or are imagination and creativity skills that can be cultivated? And finally, are imagination and creativity uniquely human capacities, or can they be had by nonbiological entities such as AI systems? (shrink)

This paper presents a critical reflection on insights into the ongoing endeavours for community engagement by Ayara and MAL; two urban grassroot organisations in Bogota, Colombia, where a long history of internal conflicts has resulted in diverse human right violations. The paper presents examples of the grassroots organisations’ unique methods of engagement that promotes building collective intelligence from the bottom–up through creative collaboration and design processes, leading to rebuilding social fabrics that support the common good for the people of Bogota.