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This diverse set of essays traces Epstein's experimental and theoretical work over a 15 year period. Four of the essays were coauthored by the eminent psychologist B.F. Skinner. The book demonstrates how the scientific study of behavior can increase our understanding and effectiveness in many domains: creativity and innovation, parenting, artificial intelligence, self-improvement, and even world peace. Reviewers have praised the volume as an impressive effort by one of America's most notable psychologists. Epstein's goals in writing this book were (a) to present some relatively interesting papers that can stand alone and (b) to organize and edit them so that sections have some integrity and so that the overall volume paints a fairly consistent picture of his evolving views on cognition, creativity, and behavior. Parts I and II focus on generativity research and theory and on some Columban (pigeon) simulations of human behavior, and Part III includes some related laboratory studies. Part IV is concerned with efforts to create a comprehensive science of behavior, and Part V includes essays about Skinner, one of the principle architects of behaviorism. Part VI includes forays into artifical intelligence, child rearing, categorization research, and other topics, and Part VII takes the volume to some uncertain reflections on growing older, and to a modest proposal for a day of world peace.
This edited volume focuses on the hypothesis that performativity is not a property confined to certain specific human skills, or to certain specific acts of language, nor an accidental enrichment due to creative intelligence. Instead, the executive and motor component of cognitive behavior should be considered an intrinsic part of the physiological functioning of the mind, and as endowed with self-generative power. Performativity, in this theoretical context, can be defined as a constituent component of cognitive processes. The material action allowing us to interact with reality is both the means by which the subject knows the surrounding world and one through which he experiments with the possibilities of his body. This proposal is rooted in models now widely accepted in the philosophy of mind and language; in fact, it focuses on a space of awareness that is not in the individual, or outside it, but is determined by the species-specific ways in which the body acts on the world. This theoretical hypothesis will be pursued through the latest interdisciplinary methodology typical of cognitive science, that coincide with the five sections in which the book is organized: Embodied, enactivist, philosophical approaches; Aesthetics approaches; Naturalistic and evolutionary approaches; Neuroscientific approaches; Linguistics approaches. This book is intended for: linguists, philosophers, psychologists, cognitive scientists, scholars of art and aesthetics, performing artists, researchers in embodied cognition, especially enactivists and students of the extended mind.
The eureka moment is a myth. It is an altogether naïve and fanciful account of human progress. Innovations emerge from a much less mysterious combination of historical, circumstantial, and accidental influences. This book explores the origin and evolution of several important behavioral innovations including the high five, the Heimlich maneuver, the butterfly stroke, the moonwalk, and the Iowa caucus. Such creations' striking suitability to the situation and the moment appear ingeniously designed with foresight. However, more often than not, they actually arise 'as if by design.' Based on investigations into the histories of a wide range of innovations, Edward A. Wasserman reveals the nature of behavioral creativity. What surfaces is a fascinating web of causation involving three main factors: context, consequence, and coincidence. Focusing on the process rather than the product of innovation elevates behavior to the very center of the creative human endeavor.
To what extent do creativity and imagination decline in childhood? What factors might influence a decline? Theories of cognitive development show only uni-directional progress (although theorists may disagree whether such progress occurs steadily in small continuous improvements or comes in stages separated by plateaus during which developmental gains are consolidated). Declines in levels of skill are quite uncommon, yet many have observed just such an unusual pattern with regard to the development of creativity and of the imagination. Is there something about the development of one kind of thinking that undermines imaginative and creative thinking? Is it perhaps the process of schooling itself, with its focus on the acquisition of knowledge and the production of correct (rather than imaginative) answers, which promotes this decline? This book explores these questions from a variety of perspectives. Essays from psychologists and educators from diverse backgrounds discuss the relationships among creativity, reason, and knowledge.
From memory to creativity—a complete and current presentation of the field of cognition The process of cognition allows us to function in life; it translates inputs from the world so we can recognize the sound of the alarm clock, remember the day of the week, and decide which clothes to wear. Cognition: From Memory to Creativity provides readers with a clear, research-based, and well-illustrated presentation of the field, starting with memory—the most accessible starting point—to more complex functions and research in information processing. Authors Robert Weisberg and Lauretta Reeves include the newest neurological findings that help us understand the human processes that allow for cognition. Unique in its organization, Cognition incorporates both classical and modern research and provides demonstration experiments for students to conduct with simple materials. Cognition explores: Models of memory and memory systems Encoding and retrieval Forgetting vs. false memory Visual cognition Attention and imagery Sounds, words, and meaning Logical thinking and decision making Problem solving and creative thinking
How cognitive psychology explains human creativity Conventional wisdom holds that creativity is a mysterious quality present in a select few individuals. The rest of us, the common view goes, can only stand in awe of great creative achievements: we could never paint Guernica or devise the structure of the DNA molecule because we lack access to the rarified thoughts and inspirations that bless geniuses like Picasso or Watson and Crick. Presented with this view, today's cognitive psychologists largely differ finding instead that "ordinary" people employ the same creative thought processes as the greats. Though used and developed differently by different people, creativity can and should be studied as a positive psychological feature shared by all humans. Creativity: Understanding Innovation in Problem Solving, Science, Invention, and the Arts presents the major psychological theories of creativity and illustrates important concepts with vibrant and detailed case studies that exemplify how to study creative acts with scientific rigor. Creativity includes: * Two in-depth case studies--Watson and Crick's modeling of the DNA structure and Picasso's painting of Guernica-- serve as examples throughout the text * Methods used by psychologists to study the multiple facets of creativity * The "ordinary thinking" or cognitive view of creativity and its challengers * How problem-solving and experience relate to creative thinking * Genius and madness and the relationship between creativity and psychopathology * The possible role of the unconscious in creativity * Psychometrics--testing for creativity and how personality factors affect creativity * Confluence theories that use cognitive, personality, environmental, and other components to describe creativity Clearly and engagingly written by noted creativity expert Robert Weisberg, Creativity: Understanding Innovation in Problem Solving, Science, Invention, and the Arts takes both students and lay readers on an in-depth journey through contemporary cognitive psychology, showing how the discipline understands one of the most fundamental and fascinating human abilities. "This book will be a hit. It fills a large gap in the literature. It is a well-written, scholarly, balanced, and engaging book that will be enjoyed by students and faculty alike." --David Goldstein, University of Toronto
Discover how the creative brain works across musical, literary, visual artistic, kinesthetic and scientific spheres, and how to study it.
This collection weitten 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. Dartnall, who debates contributors at each chapter's end, believes that creativity inheres—not only in big ticket items such as plays, poems, or sonatas—but in our ability to produce cognitive content at all, so that representations are the creative products of our knowledge, rather than its passive carriers.
Creativity and the Wandering Mind: Spontaneous and Controlled Cognition summarizes research on the impact of mind wandering and cognitive control on creativity, including imagination, fantasy and play. Most coverage in this area has either focused on the negative consequences of mind wandering on focused problem solving or the positive effect of mindfulness, but not on the positive consequences of mind wandering. This volume bridges that gap. Research indicates that most people experience mind wandering during a large percentage of their waking time, and that it is a baseline default mode of brain function during the awake but resting state. This volume explores the different kinds of mind wandering and its positive impact on imagination, play, problem-solving, and creative production. Discusses spontaneous and controlled processes in creativity Examines the relationship between mind wandering, consciousness, and imagination Reviews research on problem-solving, imagination, play, and learning Highlights the positive impact of mind wandering on creative thought and output
The goal of the Handbook of Creativity is to provide the most comprehensive, definitive, and authoritative single-volume review available in the field of creativity. To this end, the book contains 22 chapters covering a wide range of issues and topics in the field of creativity, all written by distinguished leaders in the field. The chapters have been written to be accessible to all educated readers with an interest in creative thinking. Although the authors are leading behavioral scientists, people in all disciplines will find the coverage of creativity divided in the arts and sciences to be of interest. The volume is divided into six parts. Part I, the Introduction, sets out the major themes and reviews the history of thinking about creativity. Subsequent parts deal with methods, origins, self and environment, special topics and conclusions.