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Cognition and Neuroscience > Creativity- Lecture 10 > Flashcards

Creativity- Lecture 10 Flashcards

1
Q

What is creativity?

A

Difficult to define-
subjective
culturally bound

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2
Q

Sternberg (1999)

A

Creativity involves element of:

  • Novelty
  • Surprise
  • Success
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3
Q

3 levels of Creativity ( P’s )

A

Product
Process
Person

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4
Q 
Understanding creativity (importance)
-Implications
A

Impact for education and training

Development of computer programs showing creativity

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5
Q

Guilford (1950)

A 
Divergent- operation tasks
Many answers are possible
Want many answers produced
Devised several creativity tests with divergent operations:
-production of semantic units
-alternative relations
 -production of systems
BUT- tests only weakly relate to other ratings of creativity
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6
Q

Mednick (1962)

Remote Associate Test

A
  • trio of terms is proposed, and the common remote associate is required
  • evidence that it correlates with creativity
  • high correlation with verbal intelligence and with g
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7
Q

Jamison (1993)

A

Mad Genius Hypothesis
Very creative individuals tend to be diagnosed as manic-depressive or schizophrenic
Ability to build unusual associations between concepts

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8
Q

Simonton (1999)

A

major creators with:

  • Schizophrenia-(Newton etc.)
  • Bipolar disorder-(Van Gogh etc.)
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9
Q

Post (1994)

A 
Severe psychopathology (DSM III):
Politicians        17%
Scientists        18%
Thinkers		26%
Composers	31%
Artists		38%
Writers 		46%
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10
Q

Jamison (1989)

A

Interviews with 47 English writers and artists
>38% received treatment for mental disorders
>30% severe and durable mood swings
>most described presence of highly productive episodes that correspond with manic phases of BPD

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11
Q

Direction of Causality

A 
Not sure if:
Psychopathology> Creativity
Creativity> Psychopathology
Possible that there is a common factor:
Common Factor > Creativity & Psychopathology
E.g. stress, psychoticism
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12
Q

Wallas (1926)

4 Stages of Creativity

A

/ >Preparation
1st 3 >Incubation
\ >Illumination
>Verification

1st 3 based on Poincare (1913)
-There is an emphasis on unconscious processing
»support from reports of creative scientists&artists

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13
Q

Newell & Simon (1972)

A

Problem Space approach
(problem solving seen as a search through a ‘problem space’)
>creativity is a type of problem solving
Problems >displayed as a set of states
Begin at start state and have a goal state
Create new states in solving problem
Tracking problem solving by describing the different stages and states in the process

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14
Q

Simon (1966)

problem space explanation of incubation

A

Problem solving involves
>Control info
(information about sub-goals)
>Factual info(properties of the problem)

During incubation control info decays>making factual info less context sensitive
>Increases likelihood of finding solution

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15
Q

Experimental studies of Creativity

Qin and Simon (1990|)

A

Replicated Keplers discovery of 3rd Law of Planetary motion
>Undergraduate students received the same data as Kepler
>The context was changed
»>almost 1/3 students found equation in 1 hour or less
CREATIVITY not always novel or remarkable- moving through space
(heuristics)

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16
Q

Experimental studies of Creativity

Langley ey al (1987)

A

Pro mathematicians and physicists
>Same data as Max Planck to develop theory of blackbody radiation
»>Almost all ptps found solution within 3 mins
CREATIVITY not always novel or remarkable- moving through space
(heuristics)

17
Q

Experimental studies of Creativity

Dunbar (1993)

A

> laboratory simulation of Monod and Jacob’s discovery of genetic control
students and even school children were able to replicate the discoveries
CREATIVITY not always novel or remarkable- moving through space
(heuristics)

18
Q

A.I. & Creativity

Possible?

A

If Newell and Simon’s problem space approach is correct, programs using search should show creativity

19
Q

A.I. vs Computational modelling

A

> Artificial Intelligence: uses computer to produce intelligent or creative behaviour, not necessarily in the same way as humans

> Computational modelling: uses computers to develop theories of human behaviour
sometimes overlap

20
Q

A.I. and Visual arts

AARON (Cohen, 1981)

A

Simple mathematical and artificial-intelligence techniques produce amazing outputs

Draws pictures following rules and constraints
>Highly aesthetic results
>Limited in its style, but creative inside it
>Can be used as tool to explore a conceptual space

21
Q

Scientific doscovery of AI and Creativity

A

The Logic Theorist (Newell, Shaw & Simon, 1958

22
Q

Kulkarni & Simon (1988)

A

KEKADA
Detailed simulation of a scientific discovery
Makes theoretical inferences
Assesses the acceptability of its theoretical knowledge
Models experimental tests

Problem space solving»>gradual process guided by problem-solving heuristics similar to those used in other intelligent human attempts

23
Q

Knowledge and Creativity

A

Creativity= Novel Sternberg (1999) then it must be unrelated to knowledge

24
Q

Knowledge and Creativity
Frensch and Sternberg (1989)

Weisberg (1999)

A

Knowledge is necessary for creativity, but too much of it can be harmful

However, knowledge and experience seem to help creativity
e.g. Mozart (15 yrs experience), The Beatles (beein in music ind. 10 yrs)

25
Q

Creativity and quantity of Output

A

Creating successful creative products may be trial and error, and be a product of making many variations until final is achieved
Distributions are not normal- J shaped

26
Q

Campbell,(1960); Simonton, (1999)

A

Generate many and then let the field select creative piece

‘Blind variation and selective retention’

27
Q

Price’s (1963) Law

A

1/2 of all scientific contributions are made by the square root of the total number of scientific contributors

e.g. with 10,000 scientists in a given discipline, just 100 of them will account for 50% of all publications
ALSO APPLIES TO ART

28
Q

Strategies for creativity

A 
Creators tend to show typical strategies, consciously or unconsciously
-Problem finding
   >variations of 
    solution
   >change direction
   >Redefine problems
-Set breaking set
   >Tendency to think in 
    negations, contraries and 
    opposites
-Brainstorming and curiosity
   >Readiness to play with 
    one’s knowledge
-Analogical thinking
29
Q

Values applied across a variety of domains in relation to solving creative problems

A

> Tendency to search for originality as such
Strong tendency toward autonomy and independence
Taste for challenging the boundaries
Taste for consistency, parsimony and generality, in sciences
High tolerance for ambiguity and uncertainty
Strong intrinsic motivation

30
Q

Langley (2004)

Herbert Simon’s Heuristics

A 
>Be audacious
>Study important problems
>Ignore discipline boundaries
>Use a secret weapon
>Balance theory and data
>Satisfice
   -Anything worth doing is 
    worth doing badly
>Persevere
31
Q

McGuire (1997)

49 Creative Heuristics in Psychology

A

McGuire identified 49 Creative Heuristics used to form psychological hypotheses
e.g.
>Recognising and accounting for the oddity of occurrances
>Introspective self-analysis

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