arXiv subjects

Liane Gabora

Publications and source records attributed to Liane Gabora.

At least 37 records · Page 2Linked to original sources

arXiv2019

Modeling Cultural Dynamics

EVOC (for EVOlution of Culture) is a computer model of culture that enables us to investigate how various factors such as barriers to cultural diffusion, the presence and choice of leaders, or changes in the ratio of innovation to imitation affect the diversity and effectiveness of ideas. It consists of neural network based agents that invent ideas for actions, and imitate neighbors' actions. The model is based on a theory of culture according to which what evolves through culture is not memes or artifacts, but the internal models of the world that give rise to them, and they evolve not through a Darwinian process of competitive exclusion but a Lamarckian process involving exchange of innovation protocols. EVOC shows an increase in mean fitness of actions over time, and an increase and then decrease in the diversity of actions. Diversity of actions is positively correlated with population size and density, and with barriers between populations. Slowly eroding borders increase fitness without sacrificing diversity by fostering specialization followed by sharing of fit actions. Introducing a leader that broadcasts its actions throughout the population increases the fitness of actions but reduces diversity of actions. Increasing the number of leaders reduces this effect. Efforts are underway to simulate the conditions under which an agent immigrating from one culture to another contributes new ideas while still fitting in.

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arXiv2019

An Agent-based Simulation of the Effectiveness of Creative Leadership

This paper investigates the effectiveness of creative versus uncreative leadership using EVOC, an agent-based model of cultural evolution. Each iteration, each agent in the artificial society invents a new action, or imitates a neighbor's action. Only the leader's actions can be imitated by all other agents, referred to as followers. Two measures of creativity were used: (1) invention-to-imitation ratio, iLeader, which measures how often an agent invents, and (2) rate of conceptual change, cLeader, which measures how creative an invention is. High iLeader increased mean fitness of ideas, but only when creativity of followers was low. High iLeader was associated with greater diversity of ideas in the early stage of idea generation only. High cLeader increased mean fitness of ideas in the early stage of idea generation; in the later stage it decreased idea fitness. Reasons for these findings and tentative implications for creative leadership in human society are discussed.

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arXiv2019

Recognizability of Individual Creative Style Within and Across Domains: Preliminary Studies

It is hypothesized that creativity arises from the self-mending capacity of an internal model of the world, or worldview. The uniquely honed worldview of a creative individual results in a distinctive style that is recognizable within and across domains. It is further hypothesized that creativity is domaingeneral in the sense that there exist multiple avenues by which the distinctiveness of one's worldview can be expressed. These hypotheses were tested using art students and creative writing students. Art students guessed significantly above chance both which painting was done by which of five famous artists, and which artwork was done by which of their peers. Similarly, creative writing students guessed significantly above chance both which passage was written by which of five famous writers, and which passage was written by which of their peers. These findings support the hypothesis that creative style is recognizable. Moreover, creative writing students guessed significantly above chance which of their peers produced particular works of art, supporting the hypothesis that creative style is recognizable not just within but across domains.

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arXiv2019

If Experts Converge on the Same Answer are they Less Creative than Beginners? Redefining Creativity in Terms of Adaptive Landscapes

The standard view that creativity entails both originality and appropriateness leads to the paradox that experts who converge on one optimal solution are rated as no more creative than beginners who give many original solutions. This paper asserts that there is no one-size-fits-all definition of creativity; creativity must be assessed relative to the constraints and affordances of the task. The flatter the adaptive landscape associated with the task, the greater the extent to which creativity is a function of originality only. For tasks with a single-peaked adaptive landscape, there is a tradeoff between originality and appropriateness. Only for tasks with rugged adaptive landscapes is creativity positively correlated with both originality and appropriateness. It is suggested that the adaptive landscapes associated with artistic and scientific pursuits are equally rugged, but for artistic pursuits their topologies reflect idiosyncratic experiences and emotions (the peaks and valleys are not aligned).

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arXiv2019

Evolutionary Approaches to Creativity

Many species engage in acts that could be called creative. However, human creativity is unique in that it has transformed our planet. Given that the anatomy of the human brain is not so different from that of the great apes, what enables us to be so creative? Recent collaborations at the frontier of anthropology, archaeology, psychology, and cognitive science are culminating in speculative but increasingly sophisticated efforts to answer to this question. Examining the skeletons of our ancestors gives cues as to anatomical constraints that hindered or made possible various kinds of creative expression. Relics of the past have much to tell us about the thoughts, beliefs, and creative abilities of the people who invented and used them. How the spectacular creativity of humans came about is the first topic addressed in this chapter. Studies at the intersection of creativity and evolution are not limited to investigations into the biological evolution of a highly creative species. Creative ideas themselves might be said to evolve through culture. Human creativity is distinctive because of the adaptive and open-ended manner in which change accumulates. Inventions build on previous ones in ways that enhance their utility or aesthetic appeal, or make them applicable in different situations. There is no a priori limit to how a creative idea might unfold. It is this proclivity to take an idea and make it our own, or 'put our own spin on it', that makes creative ideas evolve. The next section of this chapter investigates in what sense creative ideas evolve through culture. Finally, we address what forces supported the evolution of creativity. Does being creative help us live longer, or attract mates? Perhaps creative projects can sometimes interfere with survival and reproductive fitness; are there non-biological factors that compel us to create? This is a third topic addressed in this chapter.

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arXiv2019

Creative Interference and States of Potentiality in Analogy Problem Solving

Creative processes are widely believed to involve the generation of multiple, discrete, well-defined possibilities followed by exploration and selection. An alternative, inspired by parallel distributed processing models of associative memory, is that creativity involves the merging and interference of memory items resulting in a single cognitive structure that is ill-defined, and can thus be said to exist in a state of potentiality. We tested this hypothesis in an experiment in which participants were interrupted midway through solving an analogy problem and asked what they were thinking in terms of a solution. Naive judges categorized their responses as AP if there was evidence of merging solution sources from memory resulting in an ill-defined idea, and SM if there was no evidence of this. Data from frequency counts and mean number of SM versus AP judgments supported the hypothesis that midway through creative processing an idea is in a potentiality state.

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arXiv2019

Evidence that Threatening Situations Enhance Creativity

We tested the hypothesis that threatening situations enhance creativity. 60 participants viewed a series of photographs and rated them on level of threat. They then wrote two short stories: one based on the photograph they rated as most threatening, and the other based on the photograph they rated as least threatening. The stories were rated for level of creativity. Paired samples t-tests revealed that stories based on threatening pictures produced a higher degree of creativity than those based on non-threatening pictures. Theoretical frameworks consistent with these findings are discussed.

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arXiv2019

The Cross-Domain Re-interpretation of Artistic Ideas

The goal of this study was to investigate the translation of creative works into other domains. We tested whether people were able to recognize which works of art were inspired by which pieces of music. Three expert painters created four paintings, each of which was the artist's interpretation of one of four different pieces of instrumental music. Participants were able to identify which paintings were inspired by which pieces of music at statistically significant above chance levels. The findings support the hypothesis that creative ideas can exist in an at least somewhat domain independent state of potentiality and become more well defined as they are actualized in accordance with the constraints of a particular domain.

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arXiv2019

The Recognizability of Authenticity

The goals of this research were to (1) determine if there is agreement both amongst viewers, and between viewers and the performer, about the extent to which performances are authentic, and (2) ascertain whether or not performers and/or viewers can distinguish between authenticity and skill. An authentic performance is one that is natural or genuine, while an inauthentic performance feels faked, forced, or imitative. Study participants were asked to rate the authenticity and skill level of a series of videotaped performances by dancers and stand-up comedians. Performers also rated their own performances. Authenticity ratings amongst viewers were significantly positively correlated. Ratings between viewers and performers were not significant but all positive. A higher correlation between ratings of both authenticity and skill of performances for viewers than for performers suggests that viewers make less of a distinction between authenticity and skill than performers. The relationship between authenticity and creativity is discussed.

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arXiv2019

How Did Humans Become So Creative? A Computational Approach

This paper summarizes efforts to computationally model two transitions in the evolution of human creativity: its origins about two million years ago, and the 'big bang' of creativity about 50,000 years ago. 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 human creativity began with onset of 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 diversity, open-ended novelty, no ceiling on the mean fitness of actions, and greater ability to make use of learning. Using a computational model of portrait painting, we tested the hypothesis that the explosion of creativity in the Middle/Upper Paleolithic was due to onset of con-textual focus: the capacity to shift between associative and analytic thought. This resulted in faster convergence on portraits that resembled the sitter, employed painterly techniques, and were rated as preferable. We conclude that recursive recall and contextual focus provide a computationally plausible explanation of how humans evolved the means to transform this planet.

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arXiv2019

Contextual Focus: A Cognitive Explanation for the Cultural Revolution of the Middle/Upper Paleolithic

Many elements of culture made their first appearance in the Upper Paleolithic. Previous hypotheses put forth to explain this unprecedented burst of creativity are found wanting. Examination of the psychological basis of creativity leads to the suggestion that it resulted from the onset of contextual focus: the capacity to focus or defocus attention in response to the situation, thereby shifting between analytic and associative modes of thought. New ideas germinate in a defocused state in which one is receptive to the possible relevance of many dimensions of a situation. They are refined in a focused state, conducive to filtering out irrelevant dimensions and condensing relevant ones.

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arXiv2019

A Non-Phylogenetic Conceptual Network Architecture for Organizing Classes of Material Artifacts into Cultural Lineages

The application of phylogenetic techniques to the documentation of cultural history can present a distorted picture due to horizontal transmission and blending. Moreover, the units of cultural transmission must be communicable concepts, rather than conveniently measurable attributes, and relatedness between elements of culture often resides at the conceptual level, something not captured by phylogenetic methods, which focus on measurable attributes. (For example, mortars and pestles are as related as two artifacts could be, despite little similarity at the attribute level.) This paper introduces a new, cognitively inspired framework for chronicling material cultural history, building on Lipo's (2005) network-based computational approach. We show that by incorporating not just superficial attributes of artifact samples (e.g. fluting) but also conceptual knowledge (e.g. information about function), a different pattern of cultural ancestry emerges.

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arXiv2019

Dynamical Disequilibrium, Transformation, and the Evolution and Development of Sustainable Worldviews

This chapter begins by outlining a promising, new theoretical framework for the process by which human culture evolves inspired by the views of complexity theorists on the problem of how life began. Elements of culture, like species, evolve over time; that is, they exhibit cumulative change that is adaptive in nature. By studying how biological evolution got started, we gain insight into not just the specifics of biological evolution, but also general insights into the initiation of any evolutionary process that may be applicable to culture. We then explore the implications of this new framework for culture on the transformative processes of individuals. Specifically, we will address what this emerging perspective on cultural evolution implies for to go about attaining a sustainable worldview; that is, a web of habits, understandings, and ways of approaching situations that is conducive to the development of a sustainable world.

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arXiv2019

Modeling the Role of Context Dependency in the Recognition and Manifestation of Entrepreneurial Opportunity

The paper uses the SCOP theory of concepts to model the role of environmental context on three levels of entrepreneurial opportunity: idea generation, idea development, and entrepreneurial decision. The role of contextual-fit in the generation and development of ideas is modeled as the collapse of their superposition state into one of the potential states that composes this superposition. The projection of this collapsed state on the socio-economic basis results in interference of the developed idea with the perceptions of the supporting community, undergoing an eventual collapse for an entrepreneurial decision that reflects the shared vision of its stakeholders. The developed idea may continue to evolve due to continuous or discontinuous changes in the environment. The model offers unique insights into the effects of external influences on entrepreneurial decisions.

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arXiv2019

Should I Stay or Should I Go: Coordinating Biological Needs with Continuously-updated Assessments of the Environment

This paper presents Wanderer, a model of how autonomous adaptive systems coordinate internal biological needs with moment-by-moment assessments of the probabilities of events in the external world. The extent to which Wanderer moves about or explores its environment reflects the relative activations of two competing motivational sub-systems: one represents the need to acquire energy and it excites exploration, and the other represents the need to avoid predators and it inhibits exploration. The environment contains food, predators, and neutral stimuli. Wanderer responds to these events in a way that is adaptive in the short turn, and reassesses the probabilities of these events so that it can modify its long term behaviour appropriately. When food appears, Wanderer be-comes satiated and exploration temporarily decreases. When a predator appears, Wanderer both decreases exploration in the short term, and becomes more "cautious" about exploring in the future. Wanderer also forms associations between neutral features and salient ones (food and predators) when they are present at the same time, and uses these associations to guide its behaviour.

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arXiv2019

Mind: An Archaeological Perspective

What can relics of the past tell us about the thoughts and beliefs of the people who invented and used them? Recent collaborations at the frontier of archaeology, anthropology, and cognitive science are culminating in speculative but nevertheless increasingly sophisticated efforts to unravel how modern human cognition came about. By considering objects within their archaeological context, we have begun to piece together something of the way of life of people who inhabited particular locales, which in turn reflects their underlying thought processes.

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arXiv2019

A Model of the Mechanisms Underlying Exploratory Behaviour

A model of the mechanisms underlying exploratory behaviour, based on empirical research and refined using a computer simulation, is presented. The behaviour of killifish from two lakes, one with killifish predators and one without, was compared in the laboratory. Plotting average activity in a novel environment versus time resulted in an inverted-U-shaped curve for both groups; however, the curve for killifish from the lake without predators was (1) steeper, (2) reached a peak value earlier, (S) reached a higher peak value, and (4) subsumed less area than the curve for killifish from the lake with predators. We hypothesize that the shape of the exploration curve reflects a competition between motivational subsystems that excite and inhibit exploratory behaviour in a way that is tuned to match the affordance probabilities of the animal's environment. A computer implementation of this model produced curves which differed along the same four dimensions as differentiate the two killifish curves. All four differences were reproduced in the model by tuning a single parameter: the time-dependent component of the decay-rate of the exploration-inhibiting subsystem.

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arXiv2019

Concept Combination and the Origins of Complex Cognition

At the core of our uniquely human cognitive abilities is the capacity to see things from different perspectives, or to place them in a new context. We propose that this was made possible by two cognitive transitions. First, the large brain of Homo erectus facilitated the onset of recursive recall: the ability to string thoughts together into a stream of potentially abstract or imaginative thought. This hypothesis is supported by a set of computational models where an artificial society of agents evolved to generate more diverse and valuable cultural outputs under conditions of recursive recall. We propose that the capacity to see things in context arose much later, following the appearance of anatomically modern humans. This second transition was brought on by the onset of contextual focus: the capacity to shift between a minimally contextual analytic mode of thought, and a highly contextual associative mode of thought, conducive to combining concepts in new ways and 'breaking out of a rut'. When contextual focus is implemented in an art-generating computer program, the resulting artworks are seen as more creative and appealing. We summarize how both transitions can be modeled using a theory of concepts which highlights the manner in which different contexts can lead to modern humans attributing very different meanings to the interpretation of one concept.

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