By Margaret Boden (auth.), Terry Dartnall (eds.)
Creativity is among the least understood points of intelligence and is usually visible as `intuitive' and never liable to rational enquiry. lately, even though, there was a resurgence of curiosity within the region, largely in synthetic intelligence and cognitive technology, but in addition in psychology, philosophy, computing device technological know-how, good judgment, arithmetic, sociology, and structure and layout. This quantity brings this interact and gives an outline of this speedily constructing box. It addresses a variety of concerns. Can pcs be artistic? Can they assist us to appreciate human creativity? How can man made intelligence (AI) increase human creativity? How, particularly, can it give a contribution to the `sciences of the artificial', similar to layout? Does the recent wave of AI (connectionism, geneticism and synthetic lifestyles) provide extra promise in those components than classical, symbol-handling AI? What could the results be for AI and cognitive technological know-how if pcs may not be inventive?
those matters are explored in 5 interrelated components, every one of that is introducted and defined via 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 technological know-how, laptop technological know-how, philosophy, psychology, arithmetic, good judgment, sociology, and structure and layout; and an individual drawn to the quickly turning out to be box of synthetic intelligence and creativity.
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Extra info for Artificial Intelligence and Creativity: An Interdisciplinary Approach
2 This two stage model maps perfectly onto what is almost a standard account of creativity: Wall as (1926), taking his cue from Poincare and others, said that creativity proceeds in the four stages of preparation, incubation, illumination and verification. The account has been criticised, but mainly on the grounds that an incubation period may not be necessary (Weisberg, 1986). As far as I know there is no disagreement with the claim that creativity involves generation and evaluation. More recent research, in fact, addresses the generative-evaluative cycle, in which a product is generated, evaluated, new goals are set, and the cycle is repeated (see the sections on Design and the Enhancement of Human Creativity in this volume).
1993, Associative Engines: Connectionism, Concepts and Representatianal Change, MITlBradford. Dartnall, T. H. ): 1993a, ArtijiciallntelUgence &: Simulatian of Behaviour Quarterly, Special Issue on AI and Creativity, No. 85, Autumn. Dartnall, T. H: 1993b, AI, Creativity, Representational Redescription, Intentionality, Mental Life: An Emerging Picture", in Dartnall, T. , et. al. (1993). Dartnall, T. H: 1994a, Creativity, combination and cognition, peer review of Boden (1990/1992), Behavioural and Brain Sciences,17: 3.
The flight-path depends strictly on the approach-angle subtended by the target-fly, and it allows of no variation once it has begun. On discovering this simple trigger-effect, the sentimentalist will be cruelly disillusioned. The hoverfly's 'intelligence' has been demystified with a vengeance. This loss of respect for the hoverfly's intellectual powers is due to the discovery that the fly's 'mind' is much less complex than had been thought. But computational research shows that the human mind is much more rich than psychologists previously believed.