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• Preface
• Acknowledgments
• 1. Introduction
• 2. Creativity in a Nutshell
• 3. Are Autodidacts Creative?
• 4. Crafts, Perception, and the Possibilities of the Body
• 5. Creativity and Conceptual Art
• 6. Personal Signatures in Art
• 7. What is Generative Art?
• 8. Agents and Creativity
• 9. Autonomy, Integrity, and Computer Art
• 10. Authenticity and Computer Art
• 11. Aesthetics and Interactive Art
• 12. Is Metabolism Necessary?
• Index.
• (source: Nielsen Book Data)

Margaret Boden presents a series of essays in which she explores the nature of creativity in a wide range of art forms. Creativity in general is the generation of novel, surprising, and valuable ideas (conceptual, theoretical, musical, literary, or visual). Boden identifies three forms of creativity: combinational, exploratory, and transformational. These elicit differing forms of surprise, and are defined by the different kinds of psychological process that generate the new ideas. Boden examines creativity not only in traditional fine art, but also in craftworks, and some less orthodox approaches-namely, conceptual art and several types of computer art. Her Introduction draws out the conceptual links between the various case-studies, showing how they express a coherent view of creativity in art.
(source: Nielsen Book Data)

• Preface
• Acknowledgments
• 1. Introduction
• 2. Creativity in a Nutshell
• 3. Are Autodidacts Creative?
• 4. Crafts, Perception, and the Possibilities of the Body
• 5. Creativity and Conceptual Art
• 6. Personal Signatures in Art
• 7. What is Generative Art?
• 8. Agents and Creativity
• 9. Autonomy, Integrity, and Computer Art
• 10. Authenticity and Computer Art
• 11. Aesthetics and Interactive Art
• 12. Is Metabolism Necessary?
• Index.
• (source: Nielsen Book Data)

Margaret Boden presents a series of essays in which she explores the nature of creativity in a wide range of art forms. Creativity in general is the generation of novel, surprising, and valuable ideas (conceptual, theoretical, musical, literary, or visual). Boden identifies three forms of creativity: combinational, exploratory, and transformational. These elicit differing forms of surprise, and are defined by the different kinds of psychological process that generate the new ideas. Boden examines creativity not only in traditional fine art, but also in craftworks, and some less orthodox approaches-namely, conceptual art and several types of computer art. Her Introduction draws out the conceptual links between the various case-studies, showing how they express a coherent view of creativity in art.
(source: Nielsen Book Data)

• 1. Setting the scene
• 2. Man as machine: origins of the idea
• 3. Anticipatory engines
• 4. Maybe minds are machines too
• 5. Movements beneath the mantle
• 6. Cognitive science comes together
• 7. The rise of computational psychology
• 8. The mystery of the missing discipline
• 9. Transforming linguistics
• 10. When GOFAI was NEWFAI
• 11. Of bombs and bombshells
• 12. Connectionism, its birth and renaissance
• 13. Swimming alongside the kraken
• 14. From neurophysiology to computational neuroscience
• 15. A-life in embryo
• 16. Philosophies of mind as machine
• 17. What next?
• (source: Nielsen Book Data)

Cognitive science is among the most fascinating intellectual achievements of the modern era. The quest to understand the mind is an ancient one. But modern science has offered new insights and techniques that have revolutionized this enquiry. Oxford University Press now presents a masterly history of the field, told by one of its most eminent practitioners. Psychology is the thematic heart of cognitive science, which aims to understand human (and animal) minds. But its core theoretical ideas are drawn from cybernetics and artificial intelligence, and many cognitive scientists try to build functioning models of how the mind works. In that sense, Margaret Boden suggests, its key insight is that mind is a (very special) machine. Because the mind has many different aspects, the field is highly interdisciplinary. It integrates psychology not only with cybernetics/AI, but also with neuroscience and clinical neurology; with the philosophy of mind, language, and logic; with linguistic work on grammar, semantics, and communication; with anthropological studies of cultures; and with biological (and A-Life) research on animal behaviour, evolution, and life itself. Each of these disciplines, in its own way, asks what the mind is, what it does, how it works, how it develops---and how it is even possible. Boden traces the key questions back to Descartes's revolutionary writings, and to the ideas of his followers--and his radical critics--through the eighteenth and nineteenth centuries. Her story shows how controversies in the development of experimental physiology, neurophysiology, psychology, evolutionary biology, embryology, and logic are still relevant today. Then she guides the reader through the complex interlinked paths along which the study of mind developed in the twentieth century. Cognitive science covers all mental phenomena: not just 'cognition' (knowledge), but also emotion, personality, psychopathology, social communication, religion, motor action, and consciousness. In each area, Boden introduces the key ideas and researchers and discusses those philosophical critics who see cognitive science as fundamentally misguided. And she sketches the waves of resistance and acceptance on the part of the media and general public, showing how these have affected the development of the field. No one else could tell this story as Boden can: she has been a member of the cognitive science community since the late-1950s, and has known many of its key figures personally. Her narrative is written in a lively, swift-moving style, enriched by the personal touch of someone who knows the story at first hand. Her history looks forward as well as back: besides asking how state-of-the-art research compares with the hopes of the early pioneers, she identifies the most promising current work. Mind as Machine will be a rich resource for anyone working on the mind, in any academic discipline, who wants to know how our understanding of mental capacities has advanced over the years.
(source: Nielsen Book Data)

• In a Nutshell
• 1. The Mystery of Creativity
• 2. The Story So Far
• 3. Thinking the Impossible
• 4. Maps of the Mind
• 5. Concepts of Communication
• 6. Creative Connections
• 7. Unromantic Artists
• 8. Computer-Scientists
• 9. Chance, Chaos, Randomness, Unpredictability
• 10. Elite or Everyman?
• 11. Of Humans and Hoverflies
• 12. Epilogue.
• (source: Nielsen Book Data)

How is it possible to think new thoughts? What is creativity and can science explain it? And just how did Coleridge dream up the creatures of The Ancient Mariner? When The Creative Mind: Myths and Mechanisms was first published, Margaret A. Boden's bold and provocative exploration of creativity broke new ground. Boden uses examples such as jazz improvisation, chess, story writing, physics, and the music of Mozart together with computing models from the field of artificial intelligence to uncover the nature of human creativity in the arts, science and everyday life. The second edition of The Creative Mind has been updated to include recent developments in artificial intelligence, with a new preface, introduction and conclusion by the author. It is an essential work for anyone interested in the creativity of the human mind.
(source: Nielsen Book Data)

• Preface
• Acknowledgments
• 1. Introduction
• 2. Patterns, polyhedra, imagery
• 3. Connectionist models of vision
• 4. Parsing natural language
• 5. Meaning and messages
• 6. Reasoning and rationality
• 7. Learning and development
• 8. Is computational psychology possible? 9. Conclusion
• References
• Index of names
• Index of subjects.
• (source: Nielsen Book Data)

What is the mind? How does it work? How does it influence behavior? Some psychologists hope to answer such questions in terms of concepts drawn from computer science and artificial intelligence. They test their theories by modeling mental processes in computers. This book shows how computer models are used to study many psychological phenomena - including vision, language, reasoning, and learning. It also shows that computer modeling involves differing theoretical approaches. Computational psychologists disagree about some basic questions. For instance, should the mind be modeled by digital computers, or by parallel-processing systems more like brains? Do computer programs consist of meaningless patterns, or do they embody (and explain) genuine meaning?
(source: Nielsen Book Data)

• Introduction, Margaret A. Boden
• Making Up Discovery, Simon Schaffer
• Where Do New Ideas Come From? Or, How Psychological Measurement Creates Psychological Theory, Gerd Gigerenzer
• What Is Creativity?, Margaret A. Boden
• Creativity - Beyond the Darwinian Paradigm, David N. Perkins
• The Creators' Patterns, Howard Gardner
• How Can We Measure a Society's Creativity?, Colin Martindale
• The Measurement of Creativity, Hans J. Eysenck.
• (source: Nielsen Book Data)

Dimensions of Creativity brings together original articles that draw on a range of discipline-from the history and sociology of science, psychology, philosophy, and artificial intelligence-to ask how creative ideas arise, and whether creativity can be objectively defined and measured. Dimensions of Creativity brings together original articles that draw on a range of disciplines-from the history and sociology of science, psychology, philosophy, and artificial intelligence-to ask how creative ideas arise, and whether creativity can be objectively defined and measured. Margaret Boden and her colleagues Simon Schaffer, Gerd Gigerenzer, David N. Perkins, Howard Gardner, Colin Martindale, and Hans J. Eysenck demonstrate that creativity requires not only challenging new ideas but their acceptance by some relevant social group. Although some new ideas can arise as novel associations, others are generated by exploiting structural features of an existing conceptual space. Strong motivations often drive the creators and those who evaluate and perpetuate their work. The seven essays-although very different-are complementary. The book can serve as an up-to-date introduction to the study of creativity in various disciplines. The many references provide a way into the relevant literature. A Bradford Book.
(source: Nielsen Book Data)
Dimensions of Creativity brings together original articles that draw on a range of disciplines -- from the history and sociology of science, psychology, philosophy, and artificial intelligence -- to ask how creative ideas arise, and whether creativity can be objectively defined and measured. Margaret Boden and her colleagues Simon Schaffer, Gerd Gigerenzer, David N. Perkins, Howard Gardner, Colin Martindale, and Hans J. Eysenck demonstrate that creativity requires not only challenging new ideas but their acceptance by some relevant social group. Although some new ideas can arise as novel associations, others are generated by exploiting structural features of an existing conceptual space. Strong motivations often drive the creators and those who evaluate and perpetuate their work. The seven essays -- although very different -- are complementary. The book can serve as an up-to-date introduction to the study of creativity in various disciplines. The many references provide a way into the relevant literature. Contents: Introduction, Margaret A. BodenMaking Up Discovery, Simon SchafferWhere Do New Ideas Come From? Or, How Psychological Measurement Creates Psychological Theory, Gerd GigerenzerWhat Is Creativity? Margaret A. BodenCreativity: Beyond the Darwinian Paradigm, David N. PerkinsThe Creators' Patterns, Howard GardnerHow Can We Measure a Society's Creativity? Colin MartindaleThe Measurement of Creativity, Hans J. Eysenck "A Bradford Book".
(source: Nielsen Book Data)