Margaret A. Boden – författare

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.

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.

Is `artificial intelligence' a contradiction in terms? Could computers (in principle) model every aspect of the mind, including logic, language, and emotion? What of the more brain-like, connectionist computers: could they really understand, even if digital computers cannot? This collection of classic and contemporary readings (which includes an editor's introduction and an up-to-date reading list) provides a clearly signposted pathway into hotly disputed philosophical issues at the heart of artificial intelligence.

The aim of this series is to bring together important recent writings in major areas of philosophical inquiry, selected from a variety of sources, mostly periodicals, which may not be conveniently available to the university student or the general reader. The editor of each volume contributes an introductory essay on the items chosen and on the questions with which they deal. A selective bibliography is appended as a guide to further reading.This volume 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 life (A-Life) research aims to synthesize the characteristics of life by artificial means, particularly employing computer technology. The essays chosen explore such fascinating themes as the nature of life, the relation between life and mind, and the limits of technology.The first two papers, one of which is the classic A-Life manifesto by Christopher Langton, provide a general overview of the subject and compare it with artificial intelligence (AI); in Part II, the contributors describe examples of A-Life research. Part III discusses various explanatory strategies in A-Life, and relates them to approaches in AI and cognitive science, while Part IV focuses on the concept of life in general. Finally, Part V explores A-Life's relation to functionalism and the feasibility of `strong' A-Life.

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. 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.

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.

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.

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.

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?