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.

Do our lives have meaning? Should we create more people? Is death bad? Should we commit suicide? Would it be better to be immortal? Should we be optimistic or pessimistic? Since Life, Death, and Meaning: Key Philosophical Readings on the Big Questions first appeared, David Benatar's distinctive anthology designed to introduce students to the key existential questions of philosophy has won a devoted following among users in a variety of upper-level and even introductory courses. While many philosophers in the "continental tradition"-those known as "existentialists"-have engaged these issues at length and often with great popular appeal, English-speaking philosophers have had relatively little to say on these important questions. Yet, the methodology they bring to philosophical questions can, and occasionally has, been applied usefully to "existential" questions. This volume draws together a representative sample of primarily English-speaking philosophers' reflections on life's big questions, divided into six sections, covering (1) the meaning of life, (2) creating people, (3) death, (4) suicide, (5) immortality, and (6) optimism and pessimism. These key readings are supplemented with helpful introductions, study questions, and suggestions for further reading, making the material accessible and interesting for students. In short, the book provides a singular introduction to the way that philosophy has dealt with the big questions of life that we are all tempted to ask.

Do our lives have meaning? Should we create more people? Is death bad? Should we commit suicide? Would it be better to be immortal? Should we be optimistic or pessimistic? Since Life, Death, and Meaning: Key Philosophical Readings on the Big Questions first appeared, David Benatar's distinctive anthology designed to introduce students to the key existential questions of philosophy has won a devoted following among users in a variety of upper-level and even introductory courses. While many philosophers in the "continental tradition"-those known as "existentialists"-have engaged these issues at length and often with great popular appeal, English-speaking philosophers have had relatively little to say on these important questions. Yet, the methodology they bring to philosophical questions can, and occasionally has, been applied usefully to "existential" questions. This volume draws together a representative sample of primarily English-speaking philosophers' reflections on life's big questions, divided into six sections, covering (1) the meaning of life, (2) creating people, (3) death, (4) suicide, (5) immortality, and (6) optimism and pessimism. These key readings are supplemented with helpful introductions, study questions, and suggestions for further reading, making the material accessible and interesting for students. In short, the book provides a singular introduction to the way that philosophy has dealt with the big questions of life that we are all tempted to ask.

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.

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.

Ever since Darwin, scholars have noted that cultural entities such as languages, laws, firms and theories seem to 'evolve' through sequences of variation, selection and replication, in many ways just like living organisms. These essays consider whether this comparison is 'just a metaphor', or whether modern evolutionary theory can help us to understand the dynamics of different cultural domains.

The 'evolutionary paradigm of rationality' has a significant role to play throughout the human sciences, but raises complex issues in every cultural context where it is applied. By fostering discussion between scholars from a wide range of research traditions, this volume aims to influence the evolution of all of them.

Thought the science of the future was all hoverboards and space travel? Think again.

Every day, scientists come up with the ingenious solutions and surprising discoveries that will define our future. So here, Jim Al-Khalili and his crack team of experts bin the crystal ball and use cutting-edge science to get a glimpse of what's in store.

From whether teleportation is really possible (spoiler: it is), to what we'll do if artificial intelligence takes over, What's Next? takes on the big questions. And along the way, it'll answer questions like: Will we find a cure to all diseases? An answer to climate change? Will bionics make us into superheroes?

Touching on everything from genetics to transport, and nanotechnology to teleportation, What's Next? is a fascinating, fun and informative look at what's in store for the human race.

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.

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.

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.

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?

The applications of Artificial Intelligence lie all around us; in our homes, schools and offices, in our cinemas, in art galleries and - not least - on the Internet. The results of Artificial Intelligence have been invaluable to biologists, psychologists, and linguists in helping to understand the processes of memory, learning, and language from a fresh angle. As a concept, Artificial Intelligence has fuelled and sharpened the philosophical debates concerning the nature of the mind, intelligence, and the uniqueness of human beings. In this Very Short Introduction , Margaret A. Boden reviews the philosophical and technological challenges raised by Artificial Intelligence, considering whether programs could ever be really intelligent, creative or even conscious, and shows how the pursuit of Artificial Intelligence has helped us to appreciate how human and animal minds are possible. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

This new volume in the long-running and successful Oxford Readings in Philosophy series offers a selection of the most important philosophical work in the new and fast-growing interdisciplinary area of artificial life. It will set the agenda for future study and research.

Artificial intelligence is currently the subject of intense debate. This is a collection of classical and contemporary readings, with an editor's introduction and an up to date reading list, which provides the reader with some guidelines for considering this topic. It disputes whether `artificial' intelligence is a contradiction in terms, and asks how far it is possible for a computer to imitate the human mind.

Essays on computer art and its relation to more traditional art, by a pioneering practitioner and a philosopher of artificial intelligence. In From Fingers to Digits, a practicing artist and a philosopher examine computer art and how it has been both accepted and rejected by the mainstream art world. In a series of essays, Margaret Boden, a philosopher and expert in artificial intelligence, and Ernest Edmonds, a pioneering and internationally recognized computer artist, grapple with key questions about the aesthetics of computer art. Other modern technologies-photography and film-have been accepted by critics as ways of doing art. Does the use of computers compromise computer art's aesthetic credentials in ways that the use of cameras does not? Is writing a computer program equivalent to painting with a brush? Essays by Boden identify types of computer art, describe the study of creativity in AI, and explore links between computer art and traditional views in philosophical aesthetics. Essays by Edmonds offer a practitioner's perspective, considering, among other things, how the experience of creating computer art compares to that of traditional art making. Finally, the book presents interviews in which contemporary computer artists offer a wide range of comments on the issues raised in Boden's and Edmonds's essays.

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