Clockwork Muse

For anyone who has blanched at the uphill prospect of finishing a thesis, dissertation, or book, this piece holds out something more practical than hope: a plan.

Computational creativity is an emerging field of research within AI that focuses on the capacity of machines to both generate and evaluate novel outputs that would, if produced by a human, be considered creative. This book is intended to be a canonical text for this new discipline, through which researchers and students can absorb the philosophy of the field and learn its methods. After a comprehensive introduction to the idea of systematizing creativity the contributions address topics such as autonomous intentionality, conceptual blending, literature mining, computational design, models of novelty, evaluating progress in related research, computer-supported human creativity and human-supported computer creativity, common-sense knowledge, and models of social creativity. Products of this research will have real consequences for the worlds of entertainment, culture, science, education, design, and art, in addition to artificial intelligence, and the book will be of value to practitioners and students in all these domains.

What determines the evolution of styles in poetry, painting, music, and architecture? Are there universal laws of art history to which even Shakespeare, Beethoven, and Picasso were subject? In this highly original and provocative book, cognitive psychologist Colin Martindale challenges conventional theories that seek to explain changes in the arts as the result of political, religious, or social forces. "Social forces do not cause change in art; they distort it," he writes. Martindale argues that it is the pressure for novelty that shapes individual artistic careers and trends, whether in literature, music, or the visual arts....Through the use of computer models and experimental simulations, Martindale explores the psychological factors involved in producing novel responses and he traces the stylistic changes that derive from this need for novelty.--Book jacket.

"Psyche and the Literary Muses "focuses on the psychology of literature from an empirical point of view, rather than the more typical psychoanalytic position, and concentrates on literary content rather than readers or writers. The book centers on the author s quantitative studies of brief literary and quasi-literary forms, ranging from titles of short stories and names of literary characters to cliches and quotations from literary sources, in demonstrating their contribution to the topics of learning, perception, thinking, emotions, creativity, and especially person perception and aging. More broadly, "Psyche" bears on literary studies, art, and psychology in general, as well as interdisciplinarity. This book deepens the understanding and appreciation of literature for scholars, academics and the general reader."

The Social and Applied Psychology of Music is the successor to the bestselling and influential The Social Psychology of Music. It considers the value of music in everyday life, answering some of the perennial questions about music. It is required reading for anyone seeking to understand the role of music in our daily lives.

This concise introductory work explores the essentials of doing theological research and writing. It is a handy companion to assist persons as they begin and pursue theological education. It provides an overview of expectations that both various professors have shared and students have reported over many years as basic wisdom to foster quality theological work. It is a time-tested resource to guide those called to seminary study.

How can we understand and analyze the primarily unconscious process of writing? In this groundbreaking work of neuro-cognitive literary theory, Ian Lancashire maps the interplay of self-conscious critique and unconscious creativity. Forgetful Muses shows how a writer's own 'anonymous,' that part of the mind that creates language up to the point of consciousness, is the genesis of thought. Those thoughts are then articulated by an author's inner voice and become subject to critique by the mind's 'reader-editor.' The 'reader-editor' engages with the 'anonymous,' which uses this information to formulate new ideas. Drawing on author testimony, cybernetics, cognitive psychology, corpus linguistics, text analysis, the neurobiology of mental aging, and his own experiences, Lancashire's close readings of twelve authors, including Caedmon, Chaucer, Coleridge, Joyce, Christie, and Atwood, serve to illuminate a mystery we all share.

This is a textbook that has been needed for decades. It should be required reading for every student (and professor) in literary studies and, for that matter, in any humanistic discipline. Humanistic methods of inquiry certainly have their place, but all too often humanistic scholars present entire theories and have no idea how to test them or even realize that they should be tested in a scientific manner. Such scholars can only try to convince readers that they are right. It is absurd to use rhetoric when there are perfectly good empirical methods of testing such theories. If they are not so tested, they are quite likely to lead us astray. In a very engaging way, the authors almost seduce readers into wanting to learn about empirical methods and statistics. The book is full of suggested projects for students. Students are led through how to search sources such as PsycInfo in order to get ideas and then gradually introduced to basic statistics and shown in detail how to analyze data that they themselves may have gathered. By focusing on practical matters and not bothering much with formulas that will soon be forgotten, readers are given a good intuitive grasp of not just simple statistics but also statistics at an intermediate level.