arXiv subjects

Liane Gabora

Publications and source records attributed to Liane Gabora.

At least 19 recordsLinked to original sources

arXiv2024

Cumulative, Adaptive, Open-ended Change through Self-Other Reorganization: Reply to comment on 'An evolutionary process without variation and selection'

Self-Other Reorganization (SOR) is a theory of how interacting entities or individuals, each of which can be described as an autocatalytic network, collectively exhibit cumulative, adaptive, open-ended change, or evolution. Zachar et al.'s critique of SOR stems from misunderstandings; it does not weaken the arguments in (Gabora & Steel, 2021). The formal framework of Reflexively Autocatalytic and foodset-derived sets (RAFs) enables us to model the process whereby, through their interactions, a set of elements become a 'collective self.' SOR shows how the RAF setting provides a means of encompassing abiogenesis and cultural evolution under the same explanatory framework and provides a plausible explanation for the origins of both evolutionary processes. Although SOR allows for detrimental stimuli (and products), there is (naturally) limited opportunity for elements that do not contribute to or reinforce a RAF to become part of it. Replication and cumulative, adaptive change in RAFs is well-established in the literature. Contrary to Zachar et al., SOR is not a pure percolation model (such as SIR); it encompasses not only learning (modeled as assimilation of foodset elements) but also creative restructuring (modeled as generation of foodset-derived elements), as well as the emergence of new structures made possible by new foodset- and foodset-derived elements. Cultural SOR is robust to degradation, and imperfect replication. Zachar et al.'s simulation contains no RAFs, and does not model SOR.

q-bio.PE↗

arXiv2024

An evolutionary process without variation and selection

Natural selection successfully explains how organisms accumulate adaptive change despite that traits acquired over a lifetime are eliminated at the end of each generation. However, in some domains that exhibit cumulative, adaptive change -- e.g., cultural evolution, and earliest life -- acquired traits are retained; these domains do not face the problem that Darwin's theory was designed to solve. Lack of transmission of acquired traits occurs when germ cells are protected from environmental change, due to a self-assembly code used in two distinct ways: (i) actively interpreted during development to generate a soma, and (ii) passively copied without interpretation during reproduction to generate germ cells. Early life and cultural evolution appear not to involve a self-assembly code used in these two ways. We suggest that cumulative, adaptive change in these domains is due to a lower-fidelity evolutionary process, and model it using Reflexively Autocatalytic and Foodset-generated networks. We refer to this more primitive evolutionary process as Self-Other Reorganisation (SOR) because it involves internal self-organising and self-maintaining processes within entities, as well as interaction between entities. SOR encompasses learning but in general operates across groups. We discuss the relationship between SOR and Lamarckism, and illustrate a special case of SOR without variation.

q-bio.PE↗

arXiv2024

How Does Culture Evolve?

This chapter synthesizes evidence from cognitive science, evolutionary theory, anthropology, psychological studies, and computational models for a complex systems inspired theory of creativity, and its role in cultural evolution. Creativity is guided by the global shape of one's integrated network of memories, concepts, and beliefs: one's worldview. This integrated structure and its dynamical change over time are described using autocatalytic networks. Autocatalytic networks can interact with each other, and they can grow and evolve; through interactions between their components, they generate novel components. Thus, they are used to describe cultural change both within and between individuals, as well as across cultural lineages. The chapter outlines autocatalytic network models of the origin of culture, the cognitive developmental process by which each child becomes a participant in cultural evolution, and the role of imitation, leadership, and social media on cultural evolution, as well as the trade-off between creativity and continuity.

physics.soc-ph↗

arXiv2024

Building Artificial Intelligence with Creative Agency and Self-hood

This paper is an invited layperson summary for The Academic of the paper referenced on the last page. We summarize how the formal framework of autocatalytic networks offers a means of modeling the origins of self-organizing, self-sustaining structures that are sufficiently complex to reproduce and evolve, be they organisms undergoing biological evolution, novelty-generating minds driving cultural evolution, or artificial intelligence networks such as large language models. The approach can be used to analyze and detect phase transitions in vastly complex networks that have proven intractable with other approaches, and suggests a promising avenue to building an autonomous, agentic AI self. It seems reasonable to expect that such an autocatalytic AI would possess creative agency akin to that of humans, and undergo psychologically healing -- i.e., therapeutic -- internal transformation through engagement in creative tasks. Moreover, creative tasks would be expected to help such an AI solidify its self-identity.

cs.AI↗

arXiv2020

Modeling a Cognitive Transition at the Origin of Cultural Evolution using Autocatalytic Networks

Autocatalytic networks have been used to model the emergence of self-organizing structure capable of sustaining life and undergoing biological evolution. Here, we model the emergence of cognitive structure capable of undergoing cultural evolution. Mental representations of knowledge and experiences play the role of catalytic molecules, and interactions amongst them (e.g., the forging of new associations) play the role of reactions, and result in representational redescription. The approach tags mental representations with their source, i.e., whether they were acquired through social learning, individual learning (of pre-existing information), or creative thought (resulting in the generation of new information). This makes it possible to model how cognitive structure emerges, and to trace lineages of cumulative culture step by step. We develop a formal representation of the cultural transition from Oldowan to Acheulean tool technology using Reflexively Autocatalytifc and Food set generated (RAF) networks. Unlike more primitive Oldowan stone tools, the Acheulean hand axe required not only the capacity to envision and bring into being something that did not yet exist, but hierarchically structured thought and action, and the generation of new mental representations: the concepts EDGING, THINNING, SHAPING, and a meta-concept, HAND AXE. We show how this constituted a key transition towards the emergence of semantic networks that were self-organizing, self-sustaining, and autocatalytic, and discuss how such networks replicated through social interaction. The model provides a promising approach to unraveling one of the greatest anthropological mysteries: that of why development of the Acheulean hand axe was followed by over a million years of cultural stasis.

physics.soc-ph↗

arXiv2019

Creativity

Creativity is perhaps what most differentiates humans from other species. It involves the capacity to shift between divergent and convergent modes of thought in response to task demands. Divergent thought has been characterized as the kind of thinking needed to generate multiple solutions, while convergent thought has been characterized as the kind of thinking needed for tasks in with one solution. Divergent thought has been conceived of as reflecting on the task from unconventional perspectives, while convergent thought has been conceived of as reflecting on it from conventional perspectives. Personality traits correlated with creativity include openness to experience, tolerance of ambiguity, and self-confidence. Evidence that creativity is linked with affective disorders is mixed. Neuroscientific research using electroencephalography (EEG) or functional magnetic resonance imaging (fMRI) suggests that creativity is associated with a loosening of cognitive control and decreased arousal. The distributed, content-addressable structure of associative memory is conducive to bringing task-relevant items to mind without the need for explicit search. Human creativity dates back to the earliest stone tools over three million years ago, with the Paleolithic marking the onset of art, science, and religion. Areas of controversy concern the relative contributions of expertise, chance, and intuition, the importance of process versus product, whether creativity is domain-specific versus domain-general, the extent to which creativity is correlated with affective disorders, and whether divergent thought entails the generation of multiple ideas or the honing of a single initially ambiguous mental representation that may manifest as different external outputs. Areas for further research include computational modeling, the biological basis of creativity, and studies that track ideation processes over time.

q-bio.NC↗

arXiv2019

The Form of a Half-baked Creative Idea: Empirical Explorations into the Structure of Ill-defined Mental Representations

Creative thought is conventionally believed to involve searching memory and generating multiple independent candidate ideas followed by selection and refinement of the most promising. Honing theory, which grew out of the quantum approach to describing how concepts interact, posits that what appears to be discrete, separate ideas are actually different projections of the same underlying mental representation, which can be described as a superposition state, and which may take different outward forms when reflected upon from different perspectives. As creative thought proceeds, this representation loses potentiality to be viewed from different perspectives and manifest as different outcomes. Honing theory yields different predictions from conventional theories about the mental representation of an idea midway through the creative process. These predictions were pitted against one another in two studies: one closed-ended and one open-ended. In the first study, participants were interrupted midway through solving an analogy problem and wrote down what they were thinking in terms of a solution. In the second, participants were instructed to create a painting that expressed their true essence and describe how they conceived of the painting. For both studies, naïve judges categorized these responses as supportive of either the conventional view or the honing theory view. The results of both studies were significantly more consistent with the predictions of honing theory. Some implications for creative cognition, and cognition in general, are discussed.

q-bio.NC↗

arXiv2019

An Agent-based Model of the Cognitive Mechanisms Underlying the Origins of Creative Cultural Evolution

Human culture is uniquely cumulative and open-ended. Using a computational model of cultural evolution in which neural network based agents evolve ideas for actions through invention and imitation, we tested the hypothesis that this is due to the capacity for recursive recall. We compared runs in which agents were limited to single-step actions to runs in which they used recursive recall to chain simple actions into complex ones. Chaining resulted in higher cultural diversity, open-ended generation of novelty, and no ceiling on the mean fitness of actions. Both chaining and no-chaining runs exhibited convergence on optimal actions, but without chaining this set was static while with chaining it was ever-changing. Chaining increased the ability to capitalize on the capacity for learning. These findings show that the recursive recall hypothesis provides a computationally plausible explanation of why humans alone have evolved the cultural means to transform this planet.

cs.MA↗

arXiv2019

A Tentative Role for FOXP2 in the Evolution of Dual Processing Modes and Generative Abilities

It has been suggested that the origins of cognitive modernity in the Middle/Upper Paleolithic following the appearance of anatomically modern humans was due to the onset of dual processing or contextual focus (CF), the ability to shift between different modes of thought: an explicit mode conducive to logical problem solving, and an implicit mode conducive to free-association and breaking out of a rut. Mathematical and computational models of CF supported this hypothesis, showing that CF is conducive to making creative connections by placing concepts in new contexts. This paper proposes that CF was made possible by mutation of the FOXP2 gene in the Paleolithic. FOXP2, once thought to be the 'language gene', turned out not to be uniquely associated with language. In its modern form FOXP2 enabled fine-tuning of the neurological mechanisms underlying the capacity to shift between processing modes by varying the size of the activated region of memory.

q-bio.NC↗

arXiv2019

Can Sol's Explanation for the Evolution of Animal Innovation Account for Human Innovation?

Sol argues that innovation propensity is not a specialized adaptation resulting from targeted selection but an instance of exaptation because selection cannot act on situations that are only encountered once. In exaptation, a trait that originally evolved to solve one problem is co-opted to solve a new problem; thus the trait or traits in question must be necessary and sufficient to solve the new problem. Sol claims that traits such as persistence and neophilia, are necessary and sufficient for animal innovation, which is a matter of trial and error. We suggest that this explanation does not extend to human innovation, which involves strategy, logic, intuition, and insight, and requires traits that evolved, not as a byproduct of some other function, but for the purpose of coming up with adaptive responses to environmental variability itself. We point to an agent based model that indicates the feasibility of two such proposed traits: (1) chaining, the ability to construct complex thoughts from simple ones, and (2) contextual focus, the ability to shift between convergent and divergent modes of thought. We agree that there is a sense in which innovation is exaptation--it occurs when an existing object or behaviour is adapted to new needs or tastes--and refer to a mathematical model of biological and cultural exaltation. We conclude that much is gained by comparing and contrasting animal and human innovation.

q-bio.NC↗

arXiv2019

A Study and Preliminary Model of Cross-Domain Influences on Creativity

This paper takes a two-pronged approach to investigate the phenomenon of cross-domain influence on creativity. We present a study in which creative individuals were asked to list influences on their creative work. More than half the listed influences were unrelated to their creative domain, thus demonstrating empirically that cross-domain influence is widespread. We then present a preliminary model of exaptation, a form of cross-domain influence on creativity in which a different context suggests a new use for an existing item, using an example from the study.

q-bio.NC↗

arXiv2019

Mental Wormholes and the Inner Workings of Creative Thought

Most creative outputs are readily classified as belonging to a particular domain such as art, music, or technology. But does that mean the creative thinking that goes into creative projects respects these conventional domain boundaries? This question provides the departure point for this chapter. It is an important question because the answer has implications for how the creative process works, as well as for computational models of creativity, and thus it provides the departure point for this chapter. Next we look at how the creator sifts out from its vast contents those items to incorporate into a creative project, and converts these raw materials into a form that "gels" with the project. We then explore the hypothesis that the creative mind forges "mental wormholes" that connect concepts and percepts, often from seemingly disparate domains. Finally, we take a brief look at the strangely non-compositional interactions that take place in these mental wormholes, and techniques being advanced to model and understand these interactions.

q-bio.NC↗

arXiv2019

A Music-generating System Inspired by the Science of Complex Adaptive Systems

This paper presents NetWorks (NW), an interactive music generation system that uses a hierarchically clustered scale free network to generate music that ranges from orderly to chaotic. NW was inspired by the Honing Theory of creativity, according to which human-like creativity hinges on (1) the ability to self-organize and maintain dynamics at the 'edge of chaos' using something akin to 'psychological entropy', and (2) the capacity to shift between analytic and associative processing modes. At the 'edge of chaos', NW generates patterns that exhibit emergent complexity through coherent development at low, mid, and high levels of musical organization, and often suggests goal seeking behaviour. The architecture consists of four 16-node modules: one each for pitch, velocity, duration, and entry delay. The Core allows users to define how nodes are connected, and rules that determine when and how nodes respond to their inputs. The Mapping Layer allows users to map node output values to MIDI data that is routed to software instruments in a digital audio workstation. By shifting between bottom-up and top-down NW shifts between analytic and associative processing modes.

cs.SD↗

arXiv2019

Deep Convolutional Networks as Models of Generalization and Blending Within Visual Creativity

We examine two recent artificial intelligence (AI) based deep learning algorithms for visual blending in convolutional neural networks (Mordvintsev et al. 2015, Gatys et al. 2015). To investigate the potential value of these algorithms as tools for computational creativity research, we explain and schematize the essential aspects of the algorithms' operation and give visual examples of their output. We discuss the relationship of the two algorithms to human cognitive science theories of creativity such as conceptual blending theory and honing theory, and characterize the algorithms with respect to generation of novelty and aesthetic quality.

cs.NE↗

arXiv2019

Honing Theory: A Complex Systems Framework for Creativity

This paper proposes a theory of creativity, referred to as honing theory, which posits that creativity fuels the process by which culture evolves through communal exchange amongst minds that are self-organizing, self-maintaining, and self-reproducing. According to honing theory, minds, like other selforganizing systems, modify their contents and adapt to their environments to minimize entropy. Creativity begins with detection of high psychological entropy material, which provokes uncertainty and is arousalinducing. The creative process involves recursively considering this material from new contexts until it is sufficiently restructured that arousal dissipates. Restructuring involves neural synchrony and dynamic binding, and may be facilitated by temporarily shifting to a more associative mode of thought. A creative work may similarly induce restructuring in others, and thereby contribute to the cultural evolution of more nuanced worldviews. Since lines of cultural descent connecting creative outputs may exhibit little continuity, it is proposed that cultural evolution occurs at the level of self-organizing minds, outputs reflect their evolutionary state. Honing theory addresses challenges not addressed by other theories of creativity, such as the factors that guide restructuring, and in what sense creative works evolve. Evidence comes from empirical studies, an agent-based computational model of cultural evolution, and a model of concept combination.

q-bio.NC↗

arXiv2019

The Extended Evolutionary Synthesis Facilitates Evolutionary Models of Culture Change

The Extended Evolutionary Synthesis (EES) is beginning to fulfill the whole promise of Darwinian insight through its extension of evolutionary understanding from the biological domain to include cultural information evolution. Several decades of important foundation-laying work took a social Darwinist approach and exhibited and ecologically-deterministic elements. This is not the case with more recent developments to the evolutionary study of culture, which emphasize non-Darwinian processes such as self-organization, potentiality, and epigenetic change.

q-bio.PE↗

arXiv2019

Why Blind-Variation Selective-Retention is an Inappropriate Explanatory Framework for Creativity

Simonton is attempting to salvage the Blind Variation Selective Retention theory of creativity (often referred to as the Darwinian theory of creativity) by dissociating it from Darwinism. This is a necessary move for complex reasons outlined in detail elsewhere. However, whether or not one calls BVSR a Darwinian theory, it is still a variation-and-selection theory. Variation-and-selection was put forward to solve a certain kind of paradox, that of how biological change accumulates (that is, over generations, species become more adapted to their environment) despite being discarded at the end of each generation (that is, parents don't transmit to offspring knowledge or bodily changes acquired during their lifetimes, e.g., you don't inherit your mother's ear piercings). This paradox does not exist with respect to creative thought. There is no discarding of acquired change when ideas are transmitted amongst individuals; we share with others modified versions of the ideas we were exposed to on a regular basis.

q-bio.NC↗

arXiv2019

The Shifting Sands of Creative Thinking: Connections to Dual Process Theory

Dual process models of cognition suggest there are two kinds of thought: rapid, automatic Type 1 processes, and effortful, controlled Type 2 processes. Models of creative thinking also distinguish between two sets of processes: those involved in the generation of ideas, and those involved with their refinement, evaluation and/or selection. Here we review dual process models in both these literatures and delineate the similarities and differences. Both generative and evaluative creative processing modes involve elements that have been attributed to each of the dual processes of cognition. We explore the notion that creative thinking may rest upon the nature of a shifting process between generative and evaluative modes of thought. We suggest that through a synthesis application of the evidence bases on dual process models of cognition and from neuroimaging, together with developing chronometric approaches to explore the shifting process, could assist the development of interventions to facilitate creativity.

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