Identifying the Neurocognitive bases of creativity to increase human and computational creativity

En esta Tesis Doctoral se ha identificado la estructura neurocognitiva que sustenta la creatividad humana a partir del análisis conjunto de más de 800 referencias bibliográficas que muestran las investigaciones más importantes realizadas hasta la fecha. Sobre la base de esta estructura, se ha identificado un paradigma neurocognitivo de la creatividad humana y se ha propuesto un modelo neurocognitivo del proceso creativo. Finalmente, también se ha propuesto un paradigma creativo neurocognitivo computacional y se ha diseñado la estructura de un sistema computacional creativo, basado en una estructura multiagente. La investigación que se ha realizado sobre el tema hasta la fecha es muy especializada y se centra en aspectos muy concretos de la creatividad, y en muchos casos tienen poca relación entre sí. Por ello, y para tener una idea conjunta y holística de los procesos neurocognitivos de la creatividad humana, es necesario estudiar todas estas investigaciones de forma interconectada. Esta idea conjunta permitiría dirigir investigaciones más específicas para ser más efectivos. Por ello, lo primero que se ha hecho ha sido clasificar, agrupar, analizar, entrelazar y estructurar, de forma ordenada, las investigaciones más importantes que se han realizado hasta la fecha. Sin embargo, el trabajo realizado va mucho más allá, ya que estructurando y entrelazando las investigaciones existentes ha sido posible identificar ciertos patrones, correlaciones y paralelismos, y realizar ciertas deducciones, que en su conjunto, han permitido identificar los procesos neurocognitivos fundamentales. bases de la creatividad humana. La Tesis se estructura en los siguientes capítulos: Capitulo 2 Análisis de los principales métodos para estimular la creatividad Se analizan las principales definiciones de creatividad, y se ha decidido que el mejor enfoque para su análisis es estructurarla taxonómicamente, bajo el modelo 4P. Se ha realizado una recopilación y análisis de los métodos más efectivos que estimulan la creatividad humana, mostrando las ventajas y desventajas de cada uno. Capítulo 3 Estructura funcional del cerebro humano y su relación con el proceso creativo Se identifica la estructura neurocognitiva general del cerebro humano que permite generar los procesos fundamentales y básicos de su actividad creativa. Capítulo 4 El papel fundamental de la DMN en el proceso creativo Se ha observado que la red de modo predeterminado (DMN) tiene un papel principal en la creatividad. Por ello, se ha dedicado un capítulo a su estudio, y se han identificado varios factores que la involucran directamente en la actividad creativa del cerebro humano. Capítulo 5 Identificación y análisis de las bases neurocognitivas de la creatividad humana Se ha identificado el conjunto general de factores neurocognitivos que sustentan los procesos creativos en el cerebro humano. Capítulo 6 Paradigma neurocognitivo de la creatividad humana Se ha propuesto un modelo neurocognitivo del proceso creativo que reestructura, completa y detalla todos los modelos conceptuales propuestos hasta el momento. Capítulo 7 Paradigma computacional de la creatividad basado en la estructura neurocognitiva humana Analizando las diferentes bases neurocognitivas que sustentan la creatividad humana, se han establecido paralelismos computacionales y se han realizado diferentes sugerencias para el diseño de un sistema computacional creativo.In this Doctoral Thesis, the neurocognitive structure that supports human creativity has been identified based on the joint analysis of more than 800 bibliographical references that show the most important investigations carried out to date. Based on this structure, a neurocognitive paradigm of human creativity has been described, and a neurocognitive model of creative process has been proposed. Finally, a computational neurocognitive creative paradigm has been also proposed, and the structure of a creative computational multi-agent system has been designed. The research that has been carried out on the subject is very specialized and focuses on very specific aspects of creativity, and in many cases they have little relationship with each other. For this reason, and in order to have a joint and holistic idea of the neurocognitive processes of human creativity, it is necessary to study all these investigations in an interconnected way. This joint idea would allow directing more specific investigations in order to be more effective. For this reason, the first thing that has been done has been to classify, group, analyze, intertwine and structure, in an orderly manner, the most important investigations that have been carried out to date. However, the work carried out goes much further, since by structuring and intertwining the existing research it has been possible to identify certain patterns, correlations and parallelisms, and make certain deductions, which as a whole, have made it possible to identify the fundamental neurocognitive bases of human creativity. Chapter 2 Analysis of the main methods to stimulate creativity The main definitions of creativity are analyzed, and it has been decided that the best approach for its analysis is to structure it taxonomically, under the 4P model. A compilation and analysis of the most effective methods that stimulate human creativity has been carried out, showing the advantages and disadvantages of each one. Chapter 3 Functional structure of the human brain and its relationship with the creative process The general neurocognitive structure of the human brain that allows the generation of the fundamental and basic processes of its creative activity are identified. Chapter 4 The fundamental role of the DMN in the creative process It has been observed that the Default mode network (DMN) has a main role in creativity. For this reason, a chapter has been dedicated to its study, and several factors have been identified that directly involve it in the creative activity of the human brain. Chapter 5 Identification and analysis of the neurocognitive bases of human creativity The general set of neurocognitive factors that underpin creative processes in the human brain has been identified. Chapter 6 Neurocognitive paradigm of human creativity A neurocognitive model of the creative process has been proposed, which restructures, completes and details all the conceptual models proposed so far. Chapter 7 Computational paradigm of creativity based on the human neurocognitive structure Analyzing the different neurocognitive bases that support human creativity, computational parallels have been established and different suggestions have been made for the design of a creative computational system

Architecture and the Senses: A Sensory Musing Park

This thesis studies the relationship of architecture and the senses. The first part of the document explores sensory characteristics and how they work. It defines their importance in allowing humans to navigate complex environments. The second part of the thesis looks directly at environmental stimuli. It seeks to qualify and associate physical variables with particular sensory responses. The goal of the research is to create a set of standards by which architecture can design "for the senses". The design project will put to test the principles organized from research through a series of architectural installations that harness both natural and man-made stimuli. The methodology with which stimuli are engaged will highlight time, place, and the awareness of being. Each installation is part of a greater constellation that can be sequenced in a variety of ways, experienced uniquely each time, and even added to by visitors and artists

Musical linguistics: How music and artistic creativity when delivered as a linguistic practice, help students master academic skills in English language arts

This Masters project consists of two elements: 1) an integrated after-school program to improve student English language reading and academic outcomes for third graders\u27 vocabulary development by incorporating music, artistic creativity and linguistics; 2) a pilot sample curriculum that demonstrates the approach for building student comprehension through musical theater and Science, Technology, Engineering, and Mathematics (STEM) content experiences. Called Water Buddy , this is an after-school program uses singing, dancing, writing, and play to build reading and vocabulary skills. The goal is to improve learner academic outcomes by mastering the elemental building blocks of words, letters, symbols by making memorable the sound units, idioms, print conventions, and concepts that they were previously lacking

Factors influencing reading difficulties of advanced learners of English as a Foreign Language when reading authentic texts

A thesis submitted to the University of Luton in partial fulfilment of the requirements for the degree of Doctor of PhilosophyThis thesis investigates factors influencing the reading difficulties of advanced learners of English as a foreign language. It proposes a new approach to reading research and pedagogy in which neuroscientific insights on human verbal and non-verbal cognition are incorporated into the theoretical conceptualisation. This thesis explores the neurosdentific literature for the purpose of identifying basic principles governing human perception, emotion and cognition. The mechanisms of learning and memory are also studied. It examines how the verbal systems of the brain interact with the non-verbal systems. Making use of neural perspectives, a critical review of historical and of current reading models is conducted. Attempts are made to provide alternative interpretations for the phenomena recognised in empirical studies based on observations of reading behaviours, on computer-based studies and on the introspective data of experts and of learners. This thesis reports two experiments which were designed to investigate the Ll and L2 reading processes through Think Aloud, Immediate Retrospection, Questionnaires and Interviews. The results indicate that advanced learners, despite their established reading ability in their native languages, often rely heavily on cognitive and studial styles of L2 reading which inhibit fluent and effective reading. Neural accounts are offered which suggest that the ineffective reading styles are due to weakness in the degree of neural developments. This thesis evaluates the reading sections of current and typical coursebooks according to neural-based criteria and concludes that learners are not being given the opportunities to develop the neural networks required in fluent and enjoyable reading. Finally suggestions are made for future reading research and pedagogy

USING INTERACTIVE SOFTWARE AS A CONCEPTUAL TOOL: AN EXAMINATION OF COGNITION IN IMPROVISED MUSICAL PERFORMANCE

Viewing musical improvisation in the light of psychology and cognitive science, this thesis will explicate the rationale behind the development of a software based audiovisual interface for use in improvised solo instrumental performance. The evolution of the performance environment is presented along with the theories and concepts that have shaped its progress. The opening chapter will review the terms of reference used throughout the work and will set a boundary around the area of examination. Chapter two will place musical improvisation within the context of human behaviour and in so doing will draw upon theoretical discourse from the fields of evolutionary psychology and cognitive science. This chapter will explore the nature of volition and its relationship with subconscious processing, drawing upon anecdotal evidence from improvising musicians as linkage between theory and practice. Chapter 3 augments the study of the inner world of the improvising musician by encompassing the communicative functions of this activity. The boundary of this study does not embrace musical interactions between musicians in a dialogic sense, my remit here is to explore behavioural response to sensory information and the mechanism by which this may or may not manifest itself in conscious thought. Chapter 4 sees the development of a theoretical model with which to contextualise the practice of musical improvisation and to provide the foundation from which to evolve the architecture for an experimental performance environment. This leads in Chapter 5 to a discussion around the function and nature of tools as problem solving devices looking at conceptual and physical tools and the mapping of functionality. The discourse in this chapter is aimed at providing a rationale for the development of a software based tool to address some of the issues raised previously in the study. The concluding chapter will document the evolution of a software based audio-visual performance environment, mapping its various incarnations and its relationship to the theoretical model developed over the course of the pervious chapters. This chapter will refer to documentation and audio visual material on CD Rom and DVD found in Appendix l

The Nexus between Artificial Intelligence and Economics

This book is organized as follows. Section 2 introduces the notion of the Singularity, a stage in development in which technological progress and economic growth increase at a near-infinite rate. Section 3 describes what artificial intelligence is and how it has been applied. Section 4 considers artificial happiness and the likelihood that artificial intelligence might increase human happiness. Section 5 discusses some prominent related concepts and issues. Section 6 describes the use of artificial agents in economic modeling, and section 7 considers some ways in which economic analysis can offer some hints about what the advent of artificial intelligence might bring. Chapter 8 presents some thoughts about the current state of AI and its future prospects.

Embodied Creativity in the Era of AI: a Comparative Study involving Neural Style Transfer Technologies

The emergence of artificial intelligence (AI) significantly impacted the creative world, not only in terms of providing new resources and platforms for artistic expression but also in transforming the way people experience creativity. As new technologies and applications are being developed, embodied creativity and AI are two concepts that are becoming increasingly intertwined in contemporary discourse on creativity. However, within the framework of embodied cognition, the precise impact of physical participation in an of AI-based intervention on creativity is still an area of ongoing research with limited amount of empirical research conducted on this particular topic. Our study aims to provide insights into pre- and post-changes in the creativity level between eighteen high school students who participated in an interactive art project that uses Neural Style Transfer technology (NST) and nineteen high school students who passively observed art. Students' level of creativity was assessed using the Torrance Test of Creative Thinking (TTCT) – Figural version. For the group that participated in an AI installation, we found an increase in scores for Resistance to Premature Closure in the scores by age-based norm and decrease in measure for Elaboration in the scores by grade-based norm. Additionally, in the measures of Fluency, Originality, Creative Strengths Checklist scores assessed by grade-based norm, and Fluency, Originality, and Elaboration evaluated on the basis of age-based norms level there were significant differences in scores between the pre-test and post-test for all participants, regardless of whether they were in the Passive Art Observation or Interactive AI Installation group. Our results demonstrate how the emergence of AI-based interventions can have both positive and negative effects on different aspects of creativity. Specifically, our findings indicate that active participation in the installation had a positive impact on participants' resistance to premature closure, enhancing their ability to remain open-minded and generate original ideas. However, it also had a negative impact on their elaboration skills, reducing their ability to delve deeply into concepts and provide intricate and detailed perspectives. The results obtained from this study provide valuable insights into how physical experiences can shape an individual's creativity in the context of embodied cognition. More specifically, by examining the effect of participation in an interactive AI-powered activity, we can better understand how engaging with AI creativity tools can enhance a person's creative thinking abilities. We anticipate that the findings from this study will serve as a foundation for further research on the topic for professionals in various fields

A theoretical interdisciplinary analysis for a new cognitive and emotional neuroscience of appreciation and artistic creation

Text in EnglishThis work is organised around two main objectives: a) the formulation of a new conceptual framework as the basis for a new scientific aesthetic; and (b) an attempt to explain the possibilities and current limitations of neuroscience in aesthetics. The first part of the work is devoted to the conceptual foundations of aesthetics. In the first chapter, I analyse the philosophical assumptions reflected in neuroaesthetics. In particular, I would like to show that the concept of art on which neuroaesthetics is based is both conceptually and empirically untenable. In the second chapter, I propose a new conceptual framework for a theory of aesthetics; in particular, I present new definitions of key concepts in aesthetics, such as 'art', 'artistic system', 'artistic movement', 'artwork', and so forth. Furthermore, in the second chapter, I advance the view that—even though the neurosciences are an essential part of aesthetics—not every aesthetic problem requires a neuroscientific solution. In other words, there are aesthetic problems that cannot be answered satisfactorily by neuroscience using only its special concepts and terminology. Some questions may require additional sociological, physical and/or semiotic concepts, and explanatory devices. The second part of this thesis deals with the experimental aspects of the neuroscience of artistic appreciation. First, I argue that the conceptual foundations underlying much of the current approaches to neuroaesthetics are still problematic and that the experimental approach cannot be applied in any straightforward manner to conduct neuroaesthetic research. I then review some of the most important results of experimental aesthetics and cognitive neurosciences with regard to the mechanisms of aesthetic appreciation before proposing a new neurocognitive model of artistic appreciation based on the notion of an artistic 'task-set' Finally, I end the second part with a theoretical postulate and a neurocognitive framework pertaining to the interactions between mental images and emotions and their possible role in the process of appreciating literary artworks. In the third and final part of the work, I briefly discuss the central ontological preconditions of the neurocognitive studies of art, namely, the neural hypothesis of identity, ‘mind = brain’, and compare it to other approaches of the mind-brain relationship. I also offer a hierarchical model of mental functions based on both the anatomical and the functional aspects of the brain.PsychologyPh. D. (Psychology