By Margaret Boden (auth.), Terry Dartnall (eds.)
Creativity is without doubt one of the least understood points of intelligence and is frequently noticeable as `intuitive' and never liable to rational enquiry. lately, although, there was a resurgence of curiosity within the region, largely in man made 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 variety of concerns. Can pcs be artistic? Can they assist us to appreciate human creativity? How can man made intelligence (AI) improve human creativity? How, particularly, can it give a contribution to the `sciences of the artificial', equivalent to layout? Does the recent wave of AI (connectionism, geneticism and synthetic existence) provide extra promise in those parts than classical, symbol-handling AI? What may the results be for AI and cognitive technological know-how if pcs may not be inventive?
those concerns are explored in 5 interrelated components, every one of that is introducted and defined by means of 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, desktop technological know-how, philosophy, psychology, arithmetic, good judgment, sociology, and structure and layout; and a person attracted to the quickly growing to be box of man-made intelligence and creativity.
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Extra resources for Artificial Intelligence and Creativity: An Interdisciplinary Approach
Some philosophical puzzles What of the fourth Lovelace-question? Someone who agrees that a computer could mimic human creativity to a very high degree may nevertheless refuse to credit any computer with real creativity. No matter how impressive the performance, it must (on this view) be mere empty mimicry. '. The belief that no computer could really be creative can be defended in several different ways (Boden, 1990, ch. 11). Let us consider just two of them: the brainstuff argument and the non-human argument.
Whereas AM has heuristics for altering concepts, a successor-program (EURISKO) possesses heuristics for changing heuristics (Lenat, 1983). As a result, EURISKO can 20 MARGARET BODEN explore and transform not only its stock of concepts, but its own processing-style. For example, one heuristic asks whether a rule has ever led to any interesting result. If it has not (given that it has been used several times), it is marked as less valuable-which makes it less likely to be used in future. What if the rule has occasionally been helpful, though usually worthless?
That is, under certain conditions a true formula is not provable in a certain theory. Lucas maintains that computers are bound by this restriction, whereas people are not, so INTRODUCI10N: ON HAVING A MIND OF YOUR OWN 41 that computers, but not people, are limited to strictly rule-bound behaviour. Priest spells out Lucas' argument and shows that it can avoid a number of problems. But he also argues that both the original paper and subsequent discussions are flawed by confusions over the concept of what it is to give a proof-and he maintains that the argument fails when this concept is clarified.
Artificial Intelligence and Creativity: An Interdisciplinary Approach by Margaret Boden (auth.), Terry Dartnall (eds.)