Discussions on Creativity: Part 1. Programming ASI and the Creative Mind

Marie Curie

Marie Curie

With strides being made each year on the march towards Artificial Super Intelligence, we can’t help but wonder what the possibilities for the future are. Within our lifetimes, many computer scientists believe that we’ll see the advent of computers that can function on the level of the human brain and beyond.

With this new resource, will we be able to program machines to have creative thought to further our needs? Will it be the ASI that finds the cure for cancer,  discovers and develops how to travel at warp speed, slows or brings to a halt our aging process, interfaces with our minds to extend our lives, purifies the atmosphere and oceans?

How will we go about programming these incredible computers to think creatively to further assist our scientific efforts? Actually, some creativity can already be programmed into computers. When most of us think about programming, we think of a man inputting data and the processor collating and interpreting that data with qualifiers and quantifiers. Well, that is true, but computers can do much more. This article is addressing the potential capability of functioning with the laterality of the human brain.

In this series, I will introduce discussions or musings from decades of thought and investigation into creativity.  Let’s first begin with speaking about creativity closer to home.

Most Highly Creative People wouldn’t know what to say to a compliment about their having abilities to create, other than to thank the person who extended the compliment. It’s because this is the daily modus operandi a creative person functions. It’s nothing special or hocus pocus. It’s simply a natural state of existence, often taken for granted.

What does it mean to create? There are many connotations to the word, but let’s choose one that’s relevant to this discussion. The Macmillan online dictionary defines creativity as, “to make something new or original that did not exist before.”

A saxophonist improvising a jazz solo would ipso facto be creating, but if he were clearly parroting Charlie Parker’s previously recorded musical lines and reorganizing them, then we would conclude that this was less creative than Parker’s original improvisations. Therefore, the condition “newness” is an important factor of creativity. You can see from the previous example that there are various levels or degrees of creativity that creatives often frequent. (These levels will be discussed in further detail in another chapter.)

Charlie "Bird" Parker

Charlie “Bird” Parker

Creativeness, or creative-ready, could also be considered a state of being. It’s how one conducts oneself in each moment. I’m convinced that everyone has the potential to be creative if only they didn’t place conscious or unconscious filters on a natural brain function ability. Most people who say that they’re not creative, may not realize just how creative they already are or potentially could be.

Within socially acceptable conditions, the witty turn of phrase could be considered a moment of single-minded or single-purposed creativity. Other examples might be the writing of an acceptance speech, toast, eulogy, or love letter.

Creativity could exist on an elemental level of choosing between two or more options and then extending the choice selections onto a larger set: as in the case of an interior design, fashion, or even the planning and realization or execution of a menu.

These are all socially accepted applications that require a certain level of cleverness and inventiveness, but once the challenge to create moves beyond the ordinary or conventional, most persons’ creative abilities seem to stall out, become hindered, blocked. Why is this?

Salvador Dali

Salvador Dali

One compelling reason for this filter is the cultural and biologic need to fit in with the tribe or herd, for acceptance or survival. Look at your children. Most try to dress the same, talk the same and act the same as their friends, don’t they. It’s a part of social survival and acceptance. If a kid wore a polyester leisure suit with white shoes on the first day of school to P.S. 721 in Brooklyn, I’d bet that he might not be considered one of the “cool” kids. Let’s just say, like “My Cousin Vinny,” he wouldn’t blend.

Another reason for stifled creative abilities is because of a kind of tunnel-vision that’s self-created by the stress of survival, depression, anger, and fear. Over time, this can cause a sort of atrophy of the creative mind. I have seen this with some writers who are so obviously anxious to keeping their numbers elevated and their advertisers happy that they have lost their ability to say anything fresh. These writers desperately search the web for topics to write about and then paraphrase articles they find appealing.

Even though it’s the creative people who move our world forward, there has always been that “X” factor that makes those who would never veer from the herd or status quo trust or embrace creative individuals. Typically, it’s not until an HCP becomes a wealthy, powerful, and an influential leader in their respective field such as the likes of a Henry Ford, Warren Buffet, Salvador Dali, Paul McCartney, or Steven Speilberg, that HCP tend to become accepted by the general populace or multitude.

If you wanted to combine a cell phone with a computer, what would you have? …An iPhone, right? Steve Jobs said,” Creativity is just combining two things.” Oh, okay…it’s a little more complicated than that. But, for someone creative, it IS that simple.

In music composition, we can take a simple idea or motif and expound upon it. By using innumerable methods and processes of exploration, we discover metaphorically, that no matter how far we row from the shore, we can still see land, our point of origin. Regarding this origin or source, we can hear an entire exposition including layers upon layers relating, linking, associating, and correlating with our principle, our seed, or our given X.

Like a memory, the entire effort folds unto itself and engulfs the entire encounter, episode, or sonata form. We can nevertheless clearly appreciate and remember the feeling of the starting point and our perceptions and valuations of it. We can also perceive or understand it with many perspectives or viewpoints of the memories and adventures of numerous journeys away from it. The microcosm and the macrocosm blend and integrate, becoming interconnected, intertwined and unified.

Every question becomes a paradox onto itself. The problem is examined from a historical aspect; experience, knowledge or reference, but is also observed as a completely new and unfamiliar entity with spatial and psychical connections that travel from the given to beyond the absurd. It’s the willingness to go beyond reasonable limitations of thought that frees the creative mind to explore playfully with a non-linear sense of time and a flexible focal point or reference.

 

Nikola Tesla

Nikola Tesla

There are many ways or methodologies how an HCP might explore phenomena in order to achieve a different perspective on a problem. It’s often an engagement of whimsical delight without the hurried rush to a single conclusion, but an openness to many. It’s being employed in timeless fascination usually with a purpose or intent, but often without a predetermined goal. Remember President Reagan’s Strategic Defense Initiative (SDI)? Many inventions were discovered by setting out on one mission or intention, to create a satellite web or net in order to protect America from a surface-to-air missile attack. From this intention or aim, scientists employed by the project invented “X-ray lasers for biological imaging and the creation of 3D holograms of living organisms. Other spin-offs include research on advanced materials like SEAgel and Aerogel the Electron-Beam Ion Trap facility for physics research, and enhanced techniques for early detection of breast cancer.” *

Pablo Picasso

Pablo Picasso

Pablo Picasso said, “All children are artists. The problem is how to remain an artist once he grows up.”Picasso spoke of wanting to forget everything” and see the world and paint as if he were a child.” One might say,”Oh, that’s just ridiculous! After everything that he had done as a world famous artist, how could he go back to the beginning? How could he see the world as a child attending it for the first time?”

Experienced artists recognize this old and familiar friend! It is the first step to being or living in a creative state, or preferably functioning as a creative being.

The answer becomes explicit:

1. Look at this phenomena in a new and different way.

2. Disregard all rules or previous assumptions

3. Do not be concerned with the characteristics that this object has previously exhibited.

4. See the entity’s potential for infinite possibilities.

– End of Part One. Part Two

* Strategic Defense Initiative – -Wikipedia

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James Finn

Author: James Finn

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