MATRIX THINKING: AN ADAPTATION AT THE FOUNDATION OF HUMAN SCIENCE,RELIGION, AND ART

Intrigued by Robinson and Southgate's 2010 work on “entering a semiotic matrix,” we expand their model to include the juxtaposition of all signs, symbols, and mental categories, and to explore the underpinnings of creativity in science, religion, and art. We rely on an interdisciplinary review of human sentience in archaeology, evolutionary biology, the cognitive science of religion, and literature, and speculate on the development of sentience in response to strong selection pressure on the hominin evolutionary line, leaving us the “lone survivors” of complex, multiple lines of physical and cultural evolution. What we call Matrix Thinking—the creative driver of human sentience—has important cognitive and intellectual features, but also equally important characteristics traced to our intense sociability and use of emotionality in vetting rational models. Scientist, theologian, and artist create new cultural knowledge within a social context even if alone. They are rewarded by emotional validation from group members, and guided by the ever present question, “Does it feel right?”     

老子之道及其创生因子探究

"道"是老子哲学体系中的核心,老子不仅提出虚空的道是宇宙的本体,是无法用语言来描述的,而且说明道是混成之物,即道是有精妙的内部结构属性的,并从不同的侧面说明了认识"道"是混成之物的路径。道是由无限创生因子混融而成的系统,宇宙在创生及万物演化的过程中,道或无限的创生因子始终起着根本性的作用,即宇宙间的一切事物现象都是道所为。道是由创生因子混融而成的思想观点,可为现代宇宙论的发展提供新的思维维度,为科学探索真空世界的奥秘提供新的研究途径,推进现代宇宙学的进步。     

Dev E-R: A computational model of early cognitive development as a creative process

This paper describes a computational model named Dev E-R (Developmental Engagement-Reflection) that, inspired by Piaget’s theory, simulates the assimilation-accommodation adaptation process. It is implemented with a new extended version of the computational model of creativity known as Engagement-Reflection. That is, this model simulates adaptation as a creative activity. We introduce here the implementation of our model on an agent that is initialized with basic reflex conducts and that through the interaction with a 3D virtual world, it is able to build new behaviors autonomously. The new acquired skills, according to Piaget’s theory, are typically observed in children that have reached the second substage of the sensorimotor period.     

Do People Use Their Implicit Theories of Creativity as General Theories?

This study examines whether people use the general implicit theories of creativity or not when applying them to themselves and others. On the basis of the actor–observer asymmetry theory, the authors propose that conception of creativity would be differently constructed depending on the targets of attention: general, self, and other. Three studies attempted to examine this hypothesis. In the preliminary study, a measure was developed to assess the characteristics that describe general creativity. In Study 1, exploratory and confirmatory factor analyses found the conceptual factors of general creativity. In Study 2, the common and specific factors of general, self, and others’ creativity concepts were compared through invariance tests. As a result, it was revealed that the invariance test failed, which means that the general conception of creativity may not be applicable to monitor self and others’ creativity in a consistent way. Implications and limitations of this study are discussed at the end of the study.     

Scholarly productivity,impact, and quality among Academic Psychologists at Group of Eight Universities

Scholarly research among academics in Schools and Departments of Psychology in the Group of Eight Australian universities was assessed for each academic level (Lecturer to Professor) on productivity (number of articles), impact (number of citations to those articles), and quality (journal rankings). Publications were determined over an 8‐year period, 2001–2008. Citations to these works over the same period were also measured. Quality was determined using the Excellence in Research for Australia draft journal rankings. Scholarly productivity was a function of academic level: as academic level increased (Lecturer through Professor) so too did number of publications. Research impact (citations) was also greatest among established Staff (Professors). Research quality was independent of academic level and largely independent of gender. Normative research profiles are provided for each academic level.     

Finding Creativity in an Artificial Artist

Creativity is an important component of human intelligence, and imbuing artificially intelligent systems with creativity is an interesting challenge. In particular, it is difficult to quantify (or even qualify) creativity. Recently, it has been suggested that conditions for attributing creativity to a system include: appreciation, imagination, and skill. We demonstrate and describe an original computer system (called DARCI) that is designed to produce images through creative means. We present methods for evaluating DARCI and other artificially creative systems with respect to appreciation, imagination, and skill, and use these methods to show that DARCI is arguably a creative system.     

The Interactive Effects of Self‐Perceptions and Job Requirements on Creative Problem Solving

Over the years, researchers have focused on ways to facilitate creativity in the workplace by looking at individual factors and organizational factors that affect employee creativity (Woodman, Sawyer, & Griffin, 1993 ). In many cases, the factors that affect creativity are examined independently. In other words, it is uncommon for researchers to look at the interaction among individual and organizational factors. In this study, it is argued that to get a true understanding of how to maximize creativity in the workplace, organizational researchers must look at the interaction between organizational factors and individual factors that affect employee creativity. More specifically, the current study looked at an individual's perceptions about his or her ability to be creative (i.e., individual factor) and perceptions of requirements for creativity in the workplace (i.e., an organizational factor). The results indicated that individuals who have a high belief about their ability to be creative (an individual factor) were most creative when they also perceived requirements for creativity in the workplace (an organizational factor). Furthermore, individuals who had low perceptions of creative ability were still able to perform creatively when they had high perceptions of requirements for creativity. This suggests that, to maximize creativity, organizations should focus on both individual and organizational factors that affect employee creativity.     

Perceptions of Age and Creativity in the Workforce

As the workforce ages it becomes important to examine if there is misperception of creativity and age in work contexts. A laboratory experiment examined perceptions of the creativity of a team with both young and old workers and of a team composed entirely of young workers. Scripted videos portrayed such teams engaged in designing an outdoor advertising campaign. Altogether, 220 participants were randomly assigned to watch one of the video clips and complete a structured questionnaire. No significant differences were observed in the perceptions of the two teams' performance or of the quality of the resulting advertising proposal. In general, there was also no significant difference in the individual characteristics attributed to the four characters on the teams. However, participants aged 35 or above evaluated both teams and all four characters more favorably than participants aged 20–34.