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Creative Cognition combines original experiments with existing work in cognitive psychology to provide the first explicit account of the cognitive processes and structures that contribute to creative thinking and discovery. Creative Cognition combines original experiments with existing work in cognitive psychology to provide the first explicit account of the cognitive processes and structures that contribute to creative thinking and discovery. In separate chapters, the authors take up visualization, concept formation, categorization, memory retrieval, and problem solving. They describe novel experimental methods for studying creative cognitive processes under controlled laboratory conditions, along with techniques that can be used to generate many different types of inventions and concepts. Unlike traditional approaches, Creative Cognition considers creativity as a product of numerous cognitive processes, each of which helps to set the stage for insight and discovery. It identifies many of these processes as well as general principles of creative cognition that can be applied across a variety of different domains, with examples in artificial intelligence, engineering design, product development, architecture, education, and the visual arts. Following a summary of previous approaches to creativity, the authors present a theoretical model of the creative process. They review research involving an innovative imagery recombination technique, developed by Finke, that clearly demonstrates that creative inventions can be induced in the laboratory. They then describe experiments in category learning that support the provocative claim that the factors constraining category formation similarly constrain imagination and illustrate the role of various memory processes and other strategies in creative problem solving.
Annotation Surveys the studies and theoretical views of prominent researchers in the areas of problem solving, concept formation, and thinking. Contributors cover a wide range of approaches that play a role in creative cognition, from associationism, to Gestalt, to computational approaches. Topics include dreams, intuition, the use of prior knowledge in creative thinking, insight versus analytic problem solving, and visual and computational processes in creative cognition. Annotation c. by Book News, Inc., Portland, Or.
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 would you assemble a machine that can be creative, what would its cogs be? Starting from how humans do creative problem solving, the author has developed a framework to explore whether a diverse set of creative problem-solving tasks can be solved computationally using a unified set of principles. In this book she describes the implementation of related prototype AI systems, and the computational and empirical experiments conducted. The book will be of interest to researchers, graduate students, and laypeople engaged with ideas in artificial intelligence, cognitive science, and creativity.
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
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 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.
The ability to improvise represents one of the highest levels of musical achievement. Yet what musical knowledge is 3equired for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? These are some of the questions explored in this unique and fascinating new book.
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.
Discover how the creative brain works across musical, literary, visual artistic, kinesthetic and scientific spheres, and how to study it.