Subrata Dasgupta – författare

By the end of the 1960s, a new discipline named computer science had come into being. A new scientific paradigm--the 'computational paradigm'--was in place, suggesting that computer science had reached a certain level of maturity. Yet as a science it was still precociously young. New forces, some technological, some socio-economic, some cognitive impinged upon it, the outcome of which was that new kinds of computational problems arose over the next two decades. Indeed, by the beginning of the 1990's the structure of the computational paradigm looked markedly different in many important respects from how it was at the end of the 1960s. Author Subrata Dasgupta named the two decades from 1970 to 1990 as the second age of computer science to distinguish it from the preceding genesis of the science and the age of the Internet/World Wide Web that followed.This book describes the evolution of computer science in this second age in the form of seven overlapping, intermingling, parallel histories that unfold concurrently in the course of the two decades. Certain themes characteristic of this second age thread through this narrative: the desire for a genuine science of computing; the realization that computing is as much a human experience as it is a technological one; the search for a unified theory of intelligence spanning machines and mind; the desire to liberate the computational mind from the shackles of sequentiality; and, most ambitiously, a quest to subvert the very core of the computational paradigm itself. We see how the computer scientists of the second age address these desires and challenges, in what manner they succeed or fail and how, along the way, the shape of computational paradigm was altered.And to complete this history, the author asks and seeks to answer the question of how computer science shows evidence of progress over the course of its second age.

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.

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.

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.

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.

Creativity is a topic that has traditionally interested psychologists, historians and biographers. 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 using such a computational approach. 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.

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.

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. 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 using such a computational approach. 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.

By using the fresh investigative language of cognitive history, a symbiosis of the methods of cognitive science and historical inquiry, this book departs from almost all previous approaches to Renaissance studies.The Renaissance has attracted the attention of distinguished scholars from many different vantage points – political, social, economic, intellectual, and cultural. In this volume, Subrata Dasgupta sheds an alternative light on the Renaissance by considering it as a creative phenomenon. To be creative is to make history by producing material and/or abstract artifacts that are both new and consequential; to be creative also entails drawing on history and on the culture of the time. Most significantly, the creative process occurs in individual minds: it is a cognitive process of a very special kind. Beginning with a ‘prehistory’ set in classical Greece and medieval Islam, this book explores a variety of inventions and discoveries through the 14th–16th centuries, mainly in Italy, in humanities, painting, architecture, craft technology, anatomy, natural science, and engineering.This book will be of interest not only to Renaissance scholars but also to students interested in Renaissance history and the nature of the creative tradition.

By using the fresh investigative language of cognitive history, a symbiosis of the methods of cognitive science and historical inquiry, this book departs from almost all previous approaches to Renaissance studies.The Renaissance has attracted the attention of distinguished scholars from many different vantage points – political, social, economic, intellectual, and cultural. In this volume, Subrata Dasgupta sheds an alternative light on the Renaissance by considering it as a creative phenomenon. To be creative is to make history by producing material and/or abstract artifacts that are both new and consequential; to be creative also entails drawing on history and on the culture of the time. Most significantly, the creative process occurs in individual minds: it is a cognitive process of a very special kind. Beginning with a ‘prehistory’ set in classical Greece and medieval Islam, this book explores a variety of inventions and discoveries through the 14th–16th centuries, mainly in Italy, in humanities, painting, architecture, craft technology, anatomy, natural science, and engineering.This book will be of interest not only to Renaissance scholars but also to students interested in Renaissance history and the nature of the creative tradition.

This book examines two venerable cultures, art and technology, and uses the young "interdiscipline" of cognitive history combined with case studies of both ancient and modern artifacts to explore, and unveil, some of the bridges by which this reconciliation of two seemingly distant and oppositional cultures can be effected.Art and technology are commonly regarded as oppositional. While both are concerned with made things – artifacts – and both have their origins in pre-literate antiquity, the primary purposes they are intended for are quite distinct: the artifacts of technology serve utilitarian purposes while those of art serve affective needs. This opposition between art and technology, notably argued by such scholars as Lewis Mumford and George Kubler is challenged in this book. For, when we consider art and technology as creative phenomena, then many significant, interesting, and often subtle commonalities emerge whereby a reconciliation – a unity – of these two great cultures seems possible. This book utilizes case studies of both ancient and modern artifacts – ranging from the Nataraja sculpture of ancient India, a great astronomical clock of ancient China, and Japanese Samurai swordmaking, through Gothic cathedrals and Renaissance paintings of Europe to English Elizabethan machinery to the French Impressionists to modernist concrete structures and paintings in both East and West.This book will be of interest to students and professional scholars interested in the histories of art and technology, cultural history, and creativity studies.