Formal Frameworks for Circular Phenomena. Possibilities of Modeling Pathological Expressions in Formal and Natural Languages

This dissertation has four parts. The first one is a general introduction into the topic of the work separated in a chapter that explains the used notation, a chapter that discusses typical examples, and a chapter that gives an overview of the three main parts. An important aspect of this first part is the attempt of a conceptual clarification of circularity, in particular in relation to the non-well-foundedness of a phenomenon. This clarification represents the philosophical core of the primarily formal dissertation. In the second part, Kripke's fixed point approach concerning partially defined truth predicates is examined: the algebraic foundations are introduced and problems of the construction are discussed. The main results of this second part are three characterization theorems of subclasses of interlaced bilattices and their applications. In the third part, revision theories are introduced. Their adequacy for the representation of circularity is discussed. Additionally, the complexity of these theories, the relation of revision theories to a wider thematic context, and their empirical properties are examined. In the last part of this dissertation, circularity is introduced on the level of set theory. The crucial idea is the concept of a coalgebraic modeling. In particular, the modeling of truth and the representation of the difference between private and common knowledge is emphasized. A comparison of the different accounts is provided in the last chapter.This dissertation has four parts. The first one is a general introduction into the topic of the work separated in a chapter that explains the used notation, a chapter that discusses typical examples, and a chapter that gives an overview of the three main parts. An important aspect of this first part is the attempt of a conceptual clarification of circularity, in particular in relation to the non-well-foundedness of a phenomenon. This clarification represents the philosophical core of the primarily formal dissertation. In the second part, Kripke's fixed point approach concerning partially defined truth predicates is examined: the algebraic foundations are introduced and problems of the construction are discussed. The main results of this second part are three characterization theorems of subclasses of interlaced bilattices and their applications. In the third part, revision theories are introduced. Their adequacy for the representation of circularity is discussed. Additionally, the complexity of these theories, the relation of revision theories to a wider thematic context, and their empirical properties are examined. In the last part of this dissertation, circularity is introduced on the level of set theory. The crucial idea is the concept of a coalgebraic modeling. In particular, the modeling of truth and the representation of the difference between private and common knowledge is emphasized. A comparison of the different accounts is provided in the last chapter

Concepts in Action

This open access book is a timely contribution in presenting recent issues, approaches, and results that are not only central to the highly interdisciplinary field of concept research but also particularly important to newly emergent paradigms and challenges. The contributors present a unique, holistic picture for the understanding and use of concepts from a wide range of fields including cognitive science, linguistics, philosophy, psychology, artificial intelligence, and computer science. The chapters focus on three distinct points of view that lie at the core of concept research: representation, learning, and application. The contributions present a combination of theoretical, experimental, computational, and applied methods that appeal to students and researchers working in these fields

Analogy, Amalgams, and Concept Blending

Concept blending — a cognitive process which allows for the combination of certain elements (and their relations) from originally distinct conceptual spaces into a new unified space combining these previously separate elements, and enables reasoning and inference over the combination — is taken as a key element of creative thought and combinatorial creativity. In this paper, we provide an intermediate report on work towards the development of a computational-level and algorithmic-level account of concept blending. We present the theoretical background as well as an algorithmic proposal combining techniques from computational analogy-making and case-based reasoning, and exemplify the feasibility of the approach in two case studies.. © 2015 Cognitive Systems Foundation.The authors acknowledge the financial support of the Future and Emerging Technologies programme within the Seventh Framework Programme for Research of the European Commission, under FET-Open grant number: 611553 (COINVENT)Peer Reviewe

Visual Hallucination For Computational Creation

Abstract Research on computational painters usually focuses on simulating rational parts of the generative process. From an art-historic perspective it is plausible to assume that also an arational process, namely visual hallucination, played an important role in modern fine art movements like Surrealism. The present work investigates this connection between creativity and hallucination. Using psychological findings, a three-step process of perception-based creativity is derived to connect the two phenomena. Insights on the neurological correlates of hallucination are used to define properties necessary for modelling them. Based on these properties a recent technique for feature visualisation in Convolutional Neural Networks is identified as a computational model of hallucination. Contrasting the thus enabled perception-based approach with the Painting Fool allows to introduce a distinction between two distinct creative acts, sketch composition and rendering. The contribution of this work is threefold: First, a computational model of hallucination is presented and discussed in the context of a computational painter. Second, a theoretic distinction is introduced that aligns research on different strands of computational creativity and captures the differences to current computational painters. Third, the case is made that computational methods can be used to simulate abnormal mental patterns, thus investigating the role that "madness" might play in creativity -instead of simply renouncing the myth of the mad artist

editorial computational creativity concept invention and general intelligence

Abstract Over the last decade, computational creativity as a field of scientific investigation and computational systems engineering has seen growing popularity. Still, the levels of development between projects aiming at systems for artistic production or performance and endeavours addressing creative problem-solving or models of creative cognitive capacities is diverging. While the former have already seen several great successes, the latter still remain in their infancy. This volume collects reports on work trying to close the accrued gap