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Exploring the Renaissance from a cognitive perspective, this book
sheds light on the Renaissance as a cognitive and creative
phenomenon providing researchers and postgraduate students of
cognitive history with a new case study on which to apply their
tools and the apparatus to do so. This book views the Italian
Renaissance not only in the realms of art, architecture, and
literature but also in the physical sciences, medicine, craft
technology, engineering, and self-discovery. Allowing researchers
and postgraduate students to see how viewing the renaissance as a
creative phenomenon, through a cognitive approach, can broaden
their understanding of the Renaissance period.
Exploring the Renaissance from a cognitive perspective, this book
sheds light on the Renaissance as a cognitive and creative
phenomenon providing researchers and postgraduate students of
cognitive history with a new case study on which to apply their
tools and the apparatus to do so. This book views the Italian
Renaissance not only in the realms of art, architecture, and
literature but also in the physical sciences, medicine, craft
technology, engineering, and self-discovery. Allowing researchers
and postgraduate students to see how viewing the renaissance as a
creative phenomenon, through a cognitive approach, can broaden
their understanding of the Renaissance period.
Creativity is a topic that has traditionally interested
psychologists, historians, and biographers. In recent years,
developments in cognitive science and artificial intelligence have
provided a powerful computational framework in which creativity can
be studied and the creative process can be described and explained.
In this book, creativity in technology is discussed within such a
computational framework. Using an important historical episode in
computer technology as a case study, namely, the invention of
microprogramming by Maurice Wilkes in 1951, the author presents a
plausible explanation of the process by which Wilkes may have
arrived at his invention. Based on this case study, the author has
also proposed some very general hypotheses concerning creativity
that appear to corroborate the findings of some psychologists and
historians and then suggests that creative thinking is not
significantly different in nature from everyday thinking and
reasoning. This book should be of interest to all those interested
in creativity, including cognitive scientists, historians and
philosophers of science, historians and philosophers of technology,
and artificial intelligence researchers. It should also appeal to
the general reader.
At the heart of creativity is the practice of bringing something
new into existence, whether it be a material object or abstract
idea, thereby making history and enriching the creative tradition.
A Cognitive Historical Approach to Creativity explores the idea
that creativity is both a cognitive phenomenon and a historical
process. Blending insights and theories of cognitive science with
the skills, mentality and investigative tools of the historian,
this book considers diverse issues including: the role of the
unconscious in creativity, the creative process, creating history
with a new object or idea, and the relationship between creators
and consumers. Drawing on a plethora of real-life examples from the
eighteenth century through to the present day, and from distinct
fields including the arts, literature, science and engineering,
Subrata Dasgupta emphasizes historicity as a fundamental feature of
creativity. Providing a unified, integrative, interdisciplinary
treatment of cognitive history and its application to understanding
and explaining creativity in its multiple domains, A Cognitive
Historical Approach to Creativity is essential reading for all
researchers of creativity.
The logic and methodology of design is examined in this book from
the perspective of computer science. Computers provide the context
for this examination both by discussion of the design process for
hardware and software systems and by consideration of the role of
computers in design in general. The central question posed by the
author is whether or not we can construct a theory of design. This
book concentrates upon the relationship between design, mathematics
and science and thus its audience must include designers and
software designers as well as computer scientists.
Creativity is a topic that has traditionally interested
psychologists, historians, and biographers. In recent years,
developments in cognitive science and artificial intelligence have
provided a powerful computational framework in which creativity can
be studied and the creative process can be described and explained.
In this book, creativity in technology is discussed within such a
computational framework. Using an important historical episode in
computer technology as a case study, namely, the invention of
microprogramming by Maurice Wilkes in 1951, the author presents a
plausible explanation of the process by which Wilkes may have
arrived at his invention. Based on this case study, the author has
also proposed some very general hypotheses concerning creativity
that appear to corroborate the findings of some psychologists and
historians and then suggests that creative thinking is not
significantly different in nature from everyday thinking and
reasoning. This book should be of interest to all those interested
in creativity, including cognitive scientists, historians and
philosophers of science, historians and philosophers of technology,
and artificial intelligence researchers. It should also appeal to
the general reader.
The logic and methodology of design is examined in this book from
the perspective of computer science. Computers provide the context
for this examination both by discussion of the design process for
hardware and software systems and by consideration of the role of
computers in design in general. The central question posed by the
author is whether or not we can construct a theory of design. This
book concentrates upon the relationship between design, mathematics
and science and thus its audience must include designers and
software designers as well as computer scientists.
At the heart of creativity is the practice of bringing something
new into existence, whether it be a material object or abstract
idea, thereby making history and enriching the creative tradition.
A Cognitive Historical Approach to Creativity explores the idea
that creativity is both a cognitive phenomenon and a historical
process. Blending insights and theories of cognitive science with
the skills, mentality and investigative tools of the historian,
this book considers diverse issues including: the role of the
unconscious in creativity, the creative process, creating history
with a new object or idea, and the relationship between creators
and consumers. Drawing on a plethora of real-life examples from the
eighteenth century through to the present day, and from distinct
fields including the arts, literature, science and engineering,
Subrata Dasgupta emphasizes historicity as a fundamental feature of
creativity. Providing a unified, integrative, interdisciplinary
treatment of cognitive history and its application to understanding
and explaining creativity in its multiple domains, A Cognitive
Historical Approach to Creativity is essential reading for all
researchers of creativity.
Over the past sixty years, the spectacular growth of the
technologies associated with the computer is visible for all to see
and experience. Yet, the science underpinning this technology is
less visible and little understood outside the professional
computer science community. As a scientific discipline, computer
science stands alongside the likes of molecular biology and
cognitive science as one of the most significant new sciences of
the post Second World War era. In this Very Short Introduction,
Subrata Dasgupta sheds light on these lesser known areas and
considers the conceptual basis of computer science. Discussing
algorithms, programming, and sequential and parallel processing, he
considers emerging modern ideas such as biological computing and
cognitive modelling, challenging the idea of computer science as a
science of the artificial. 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.
Creativity- a quality which each and every individual wants to
acquire in order to be different from others. There is an intense
desire within humans to do things innovatively so that they "stand
out in a crowd." But possessing this quality does not only involve
practice or deep-thinking. It demands more than what we actually
think it requires to be creative. One such important factor in the
context of creativity is Parent-Adolescent Relationship. All of us
know that child rearing practice is very important for the healthy
development of an adolescent but it also helps in the development
of creativity. The way in which an adolescent is treated during the
dynamic years of development leaves a strong impact on the minds
which shapes her personality and innate abilities. Therefore, this
book deals with varied aspects of relationships and how those
affect creativity. The analysis done in the book will help shed
some light on the correct ways of dealing with an adolescent and
so, the book will be especially useful to parents and anyone else
who may be interested to know about the complexities of
relationship and its effect on creativity.
As a field, computer science occupies a unique scientific space, in
that its subject matter can exist in both physical and abstract
realms. An artifact such as software is both tangible and not, and
must be classified as something in between, or "liminal." The study
and production of liminal artifacts allows for creative
possibilities that are, and have been, possible only in computer
science. In It Began With Babbage, Subrata Dasgupta examines the
unique history of computer science in terms of its creative
innovations, spanning back to Charles Babbage in 1819. Since all
artifacts of computer science are conceived with a use in mind, the
computer scientist is not concerned with the natural laws that
govern disciplines like physics or chemistry; the computer
scientist is more concerned with the concept of purpose. This
requirement lends itself to a type of creative thinking that, as
Dasgupta shows us, has exhibited itself throughout the history of
computer science. From Babbage's Difference Engine, through the
Second World War, to the establishment of the term "Computer
Science" in 1956, It Began With Babbage traces a lively and
complete history of computer science.
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