By Margaret Boden (auth.), Terry Dartnall (eds.)
Creativity is likely one of the least understood features of intelligence and is frequently visible as `intuitive' and never prone to rational enquiry. lately, even though, there was a resurgence of curiosity within the sector, largely in synthetic intelligence and cognitive technology, but in addition in psychology, philosophy, laptop technology, good judgment, arithmetic, sociology, and structure and layout. This quantity brings this interact and gives an outline of this quickly constructing box. It addresses a number of matters. Can pcs be inventive? Can they assist us to appreciate human creativity? How can man made intelligence (AI) improve human creativity? How, specifically, can it give a contribution to the `sciences of the artificial', similar to layout? Does the hot wave of AI (connectionism, geneticism and synthetic lifestyles) supply extra promise in those parts than classical, symbol-handling AI? What may the results be for AI and cognitive technology if desktops may possibly not be inventive?
those matters are explored in 5 interrelated components, every one of that is introducted and defined through a number one determine within the box.
- Prologue (Margaret Boden)
- half I: Foundational concerns (Terry Dartnall)
- half II: Creativity and Cognition (Graeme S. Halford and Robert Levinson)
- half III: Creativity and Connectionism (Chris Thornton)
- half IV: Creativity and layout (John Gero)
- half V: Human Creativity Enhancement (Ernest Edmonds)
- Epilogue (Douglas Hofstadter)
For researchers in AI, cognitive technology, laptop technological know-how, philosophy, psychology, arithmetic, common sense, sociology, and structure and layout; and someone drawn to the swiftly becoming box of man-made intelligence and creativity.
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Extra info for Artificial Intelligence and Creativity: An Interdisciplinary Approach
They might assume that it can decide where it wants to get to, and purposefully weave and duck on its way, much as a person can intercept a friend in a crowded square. But this would be a sentimental illusion. It turns out that the explanation of the fly's behaviour is a mechanism hardwired in the brain, which connects a specific visual signal with a specific muscular re- CREATIVITY AND COMPUTERS 25 sponse. The flight-path depends strictly on the approach-angle subtended by the target-fly, and it allows of no variation once it has begun.
There is a "consideration-generator whose output is to some degree undetermined" (p. 295). This produces a series of considerations that are either rejected as irrelevant by the agent, or selected as having bearing on the reasoning process. He quotes Valery as saying: It takes two to invent anything. one chooses, recognises what he wishes and what is important to him in the mass of things which the former has imparted to him. What we call genius is much less the work of the first one than the readiness of the second one to grasp the value of what has been laid before him and to choose it.
Even Freud, whose writings were informed by a subtle 'literary' intuition, did not fully realize its complexity. In sum, a computational science of creativity is not dehumanizing. It does not threaten our self-respect by showing us to be mere machines, for some machines are much less 'mere' than others. It can allow that creativity is a marvel, despite denying that it is a mystery. Originally published in the Proceedings of the Royal Institution (vol. 63). ed. S. T. Nash. London: Science Reviews.