- Page 2: THE CREATIVE MIND How is it possibl
- Page 5 and 6: First edition published 1990 by Geo
- Page 7 and 8: I am not forgetting beauty. It is b
- Page 9 and 10: CONTENTS 12 Epilogue 305 Notes 323
- Page 11: PREFACE TO THE SECOND EDITION Behav
- Page 16 and 17: IN A NUTSHELL Creativity and comput
- Page 18 and 19: IN A NUTSHELL may ‘fit’ into a
- Page 20 and 21: IN A NUTSHELL perhaps you end up in
- Page 22 and 23: IN A NUTSHELL Of course, there is a
- Page 24 and 25: IN A NUTSHELL composes music in man
- Page 26 and 27: 1 THE MYSTERY OF CREATIVITY Shakesp
- Page 28 and 29: THE MYSTERY OF CREATIVITY remark) o
- Page 30 and 31: THE MYSTERY OF CREATIVITY According
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- Page 34 and 35: THE MYSTERY OF CREATIVITY Literary
- Page 36 and 37: THE MYSTERY OF CREATIVITY The first
- Page 38 and 39: THE MYSTERY OF CREATIVITY opment of
- Page 40 and 41: 2 THE STORY SO FAR The bath, the be
- Page 42 and 43: my eyes. Whenever, hitherto, these
- Page 44 and 45: THE STORY SO FAR In Xamdu did Cubla
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- Page 48 and 49: THE STORY SO FAR Not necessarily, f
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- Page 54 and 55: THE STORY SO FAR elegance’). But
- Page 56 and 57: THINKING THE IMPOSSIBLE In general,
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THINKING THE IMPOSSIBLE person’s
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THINKING THE IMPOSSIBLE If you were
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THINKING THE IMPOSSIBLE chemistry o
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THINKING THE IMPOSSIBLE How did it
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MAPS OF THE MIND necklaces by using
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MAPS OF THE MIND Maybe she declares
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MAPS OF THE MIND ‘preparation’
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MAPS OF THE MIND we shall see, the
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MAPS OF THE MIND I turned my chair
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MAPS OF THE MIND relied on a genera
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MAPS OF THE MIND Kekule’s introsp
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A hoop-image might not have capture
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MAPS OF THE MIND By this explorator
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MAPS OF THE MIND chromatic scale. A
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MAPS OF THE MIND their critics with
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MAPS OF THE MIND and an animal foll
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MAPS OF THE MIND Figure 4.6 Deletio
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MAPS OF THE MIND Figure 4.8 Positio
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Figure 4.10 Figure 4.11 MAPS OF THE
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MAPS OF THE MIND only the developme
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MAPS OF THE MIND olds’ drawing-sk
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CONCEPTS OF COMPUTATION structured
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CONCEPTS OF COMPUTATION defined by
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CONCEPTS OF COMPUTATION four possib
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CONCEPTS OF COMPUTATION People ofte
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CONCEPTS OF COMPUTATION the previou
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dead-pan, so you need no marks of e
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Figure 5.2 If we mark, on this arra
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CONCEPTS OF COMPUTATION would be, i
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CONCEPTS OF COMPUTATION What do the
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CONCEPTS OF COMPUTATION Kekulé’s
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function of its place in the system
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CONCEPTS OF COMPUTATION making one
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CONCEPTS OF COMPUTATION property, n
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Figure 5.5 CONCEPTS OF COMPUTATION
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CONCEPTS OF COMPUTATION an expressi
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CONCEPTS OF COMPUTATION To transfor
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CONCEPTS OF COMPUTATION computer co
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CONCEPTS OF COMPUTATION of Pappus
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6 CREATIVE CONNECTIONS The splendid
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CREATIVE CONNECTIONS The key insigh
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CREATIVE CONNECTIONS Livingston low
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CREATIVE CONNECTIONS descendants. H
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CREATIVE CONNECTIONS systems have
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CREATIVE CONNECTIONS In many connec
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CREATIVE CONNECTIONS In more abstra
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system may enable it to generate th
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CREATIVE CONNECTIONS no more to be
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CREATIVE CONNECTIONS The intuitive
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CREATIVE CONNECTIONS monitored sequ
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7 UNROMANTIC ARTISTS Enough of map-
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as imaginative aids. ‘Computer mu
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UNROMANTIC ARTISTS my longstanding
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Figure 7.3
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Figure 7.5
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Figure 7.7 UNROMANTIC ARTISTS contr
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UNROMANTIC ARTISTS each individual
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Figure 7.9 UNROMANTIC ARTISTS To be
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UNROMANTIC ARTISTS - either with or
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UNROMANTIC ARTISTS And I’d like t
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UNROMANTIC ARTISTS some music-writi
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UNROMANTIC ARTISTS What about the m
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Hush, Pfftt, Whirr, and Look), whil
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UNROMANTIC ARTISTS morning. Marion
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UNROMANTIC ARTISTS generations (and
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UNROMANTIC ARTISTS If the story wer
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UNROMANTIC ARTISTS with scripts, wh
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UNROMANTIC ARTISTS Moreover, the pl
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UNROMANTIC ARTISTS that the program
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Figure 7.11 UNROMANTIC ARTISTS thre
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UNROMANTIC ARTISTS word-store, and
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UNROMANTIC ARTISTS The general cons
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UNROMANTIC ARTISTS If analogies are
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UNROMANTIC ARTISTS gesting that pos
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UNROMANTIC ARTISTS Its initial desc
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UNROMANTIC ARTISTS Analogy is cruci
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8 COMPUTER-SCIENTISTS Let us begin
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Figure 8.1 COMPUTER-SCIENTISTS 201
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COMPUTER-SCIENTISTS ‘expert syste
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COMPUTER-SCIENTISTS Michelangelo sc
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COMPUTER-SCIENTISTS The motto of sc
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COMPUTER-SCIENTISTS compounds) cons
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COMPUTER-SCIENTISTS value by the ot
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COMPUTER-SCIENTISTS volume and dens
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COMPUTER-SCIENTISTS which deals wit
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COMPUTER-SCIENTISTS INFER-COMPONENT
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COMPUTER-SCIENTISTS such inconsiste
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COMPUTER-SCIENTISTS Meanwhile, they
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COMPUTER-SCIENTISTS can play around
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COMPUTER-SCIENTISTS by following un
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COMPUTER-SCIENTISTS these have been
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Moreover, EURISKO has won an offici
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COMPUTER-SCIENTISTS combinations of
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9 CHANCE, CHAOS, RANDOMNESS, UNPRED
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CHANCE, CHAOS, RANDOMNESS, UNPREDIC
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CHANCE, CHAOS, RANDOMNESS, UNPREDIC
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CHANCE, CHAOS, RANDOMNESS, UNPREDIC
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CHANCE, CHAOS, RANDOMNESS, UNPREDIC
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CHANCE, CHAOS, RANDOMNESS, UNPREDIC
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CHANCE, CHAOS, RANDOMNESS, UNPREDIC
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CHANCE, CHAOS, RANDOMNESS, UNPREDIC
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CHANCE, CHAOS, RANDOMNESS, UNPREDIC
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CHANCE, CHAOS, RANDOMNESS, UNPREDIC
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CHANCE, CHAOS, RANDOMNESS, UNPREDIC
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CHANCE, CHAOS, RANDOMNESS, UNPREDIC
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ELITE OR EVERYMAN? great artists an
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ELITE OR EVERYMAN? If this sort of
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ELITE OR EVERYMAN? rather than any
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ELITE OR EVERYMAN? significant segm
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ELITE OR EVERYMAN? and the cone’?
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ELITE OR EVERYMAN? H-creative peopl
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ELITE OR EVERYMAN? The word ‘geni
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ELITE OR EVERYMAN? Sometimes, the e
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ELITE OR EVERYMAN? creature with ma
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ELITE OR EVERYMAN? children can att
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11 OF HUMANS AND HOVERFLIES Holiday
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OF HUMANS AND HOVERFLIES for one -
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OF HUMANS AND HOVERFLIES new flight
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OF HUMANS AND HOVERFLIES As regards
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OF HUMANS AND HOVERFLIES and hierar
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OF HUMANS AND HOVERFLIES view) is a
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OF HUMANS AND HOVERFLIES neuroprote
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OF HUMANS AND HOVERFLIES attached t
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OF HUMANS AND HOVERFLIES characters
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OF HUMANS AND HOVERFLIES reflection
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OF HUMANS AND HOVERFLIES because we
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OF HUMANS AND HOVERFLIES My aim in
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OF HUMANS AND HOVERFLIES space, and
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aspects may count as relatively ‘
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12 EPILOGUE The world moves on. Sin
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EPILOGUE particular font, and how t
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EPILOGUE evidence. Many such judgme
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EPILOGUE C Sharp Minor’, he disco
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EPILOGUE is exploring rather than t
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EPILOGUE (what he’d known for yea
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EPILOGUE However, it’s not all pl
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EPILOGUE taste (a point to which I
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EPILOGUE them if (as often happens
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NOTES 1 THE MYSTERY OF CREATIVITY 1
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NOTES 7 UNROMANTIC ARTISTS 1 M. Sha
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NOTES 9 CHANCE, CHAOS, RANDOMNESS,
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NOTES and P. Husbands, ‘Explorati
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BIBLIOGRAPHY n.a. Harold Cohen, Dra
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BIBLIOGRAPHY Analogical Mapping is
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BIBLIOGRAPHY Kuhn, T.S. The Structu
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BIBLIOGRAPHY Rumelhart, D.E. and J.
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A-Life, see artificial life A-rando
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Emmy 8f, 311f, 320, 321 emotion 179
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music 52, 71-5, 90, 92-7 passim, 98