The editors have provided him with special introductory sections as a ing guide to a thorough understand of the reports.

The introduction to this paper discusses the notion of human creativity, and raises the question of designing a "creative" computer program. Creativity is assumed not to imply the possession of special mental equipment: a theory of creativity should be a theory of intellect which accounts for normal performance and enhanced performance in the same terms. Art-making is described as a form of creative behavior which demonstrates the importance of non-rational features. It is argued that the central feature of "enhanced" intellectual performance is the individual's ability to modify, by the manipulation of internal representations, his/her own mental structures. The processes of representation constrain the actions of the representer, and thus what he/she is capable of representing. Part Two examines the anatomy of Representations in technological terms: the means, the skills, and the theory of operation (of the representation process) which the individual may bring to bear, and the constraints which result. It is proposed that representations represent lower-order representations (internal models), not the external world, and that the making of external objects plays a role in "checking" internal representations of explicit information, is shown as a culturallymodulated phenomenon distinct from evocation, which draws upon more inherently human capacities. Part Three describes a program designed to investigate the interaction of a primitive internal model of world objects with a "representational technology"--the technology by means of which the -ivinternal

Hershman and Lieb, 1988) However, Ward et al. (Ward et al. 1999) have convincingly argued an alternative While it is relatively easy to recognize a creative deed, it is view that "[…] creative capacity is an essential property of extremely difficult (as demonstrated by creativity research normative human cognition and […] the relevant processes so far) to define what creativity is. The past (almost 70) are open to investigation". In support of this view, I would years of research definitely shed some light on different like to mention the research of Picciuto and Carruthers aspects of creativity, but we are still far from a commonly (Picciuto and Carruthers, 2012) that put forward the agreed upon definition of it and consequently a deep hypothesis that pretense play might be the key factor in understanding of this phenomenon. For an extended understanding creativity. Pretense play occurs typically in historical overview of creativity research, please refer to children at about the age of 18 months and is universal (Stojanov, 2013). Here are four branches which can be across all human cultures.

In this summary report I give an account of research conducted over the last two years, showing the suitability and the advantages of applying computational analogy-engines in the analysis and design of analogy-based methods and tools in teaching and education. This overview constitutes the conclusion of the first phase of a multi-stage effort trying to introduce computational models of analogy also to education and the learning sciences, thus opening up these fields to computational tools and methods not only on an instrumental level, but also in analytical, conceptual, and design-oriented studies. I locate the "analogy-engines in the classroom" research program within the bigger schemes of studying human creativity and computational creativity, provide an introduction to the theoretical underpinnings of the endeavor, and revisit three worked out case studies serving as proofs of the feasibility of the overall approach.

The generation of plausible hypotheses from observations is a creative process.  Scientists looking to explain phenomena must invent hypothetical relationships between their dependent and independent variables and then design methods to verify or falsify them. Data-driven science is expanding both the role of artificial intelligence in this process and the scale of the observations from which hypotheses must be abduced. We adopt methods from the field of computational creativity -- which seeks to model and understand creative behaviour -- to the generation of scientific hypotheses.  We argue that the generation of new insights from data is a creative process, and that a search for new hypotheses can be guided by evaluating those insights as creative artefacts. We present a framework for data-driven hypothesis discovery that is based on a computational model of creativity evaluation.

Building on recent research in musical creativity and the composition process, this paper presents a specific practical application of our theory and software to sound design. The BigBang rubette module that brings gestural music composition methods to the Rubato Composer software was recently generalized in order to work with any kinds of musical and non-musical objects. Here, we focus on time-independent sound objects to illustrate several levels of metacreativity. On the one hand, we show a sample process of designing the sound objects themselves by defining appropriate datatypes, which can be done at runtime. On the other hand, we demonstrate how the creative process itself, recorded by the software once the composer starts working with these sound objects, can be used for both improvisation with and automation of any defined operations and transformations.

In recent years, the computerization of society has opened the door to the automation of information processes. Artificial intelligence, a subfield of computer sciences, has been tremendously successful at endowing machines with autonomous and proactive behaviors to achieve tasks that rely on intelligence when done by humans. As a result, machines are everywhere: omnipresent and unavoidable. Computational creativity is a new and fast growing field that is exploring the automation of creative processes. It investigates creativity as it is (striving to understand and simulate human creativity) as well as creativity as it could be (processes that we know humans to be incapable of, at least without machines).

We present a fractal technique for addressing geometric analogy problems from the Raven's Standard Progressive Matrices test of general intelligence. In this method, an image is represented fractally, capturing its inherent self-similarity. We apply these fractal representations to problems from the Raven's test, and show how these representations afford a new method for solving complex geometric analogy problems. We present results using the fractal algorithm on all 60 problems from the Standard Progressive Matrices version of the Raven's test.

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.

This paper presents results of an ongoing interdisciplinary study to develop a computational theory of creativity for engineering design. Human design activities are surveyed, and popular computer-aided design methodologies are examined. It is argued that semiotics has the potential to merge and unite various design approaches into one fundamental theory that is naturally interpretable and so comprehensible in terms of computer use. Reviewing related work in philosophy, psychology, and cognitive science provides a general and encompassing vision of the creativity phenomenon. Basic notions of algebraic semiotics are given and explained in terms of design. This is to define a model of the design creative process, which is seen as a process of semiosis, where concepts and their attributes represented as signs organized into systems are evolved, blended, and analyzed, resulting in the development of new concepts. The model allows us to formally describe and investigate essential properties of the design process, namely its dynamics and non-determinism inherent in creative thinking. A stable pattern of creative thought - analogical and metaphorical reasoning - is specified to demonstrate the expressive power of the modeling approach; illustrative examples are given. The developed theory is applied to clarify the nature of emergence in design: it is shown that while emergent properties of a product may influence its creative value, emergence can simply be seen as a by-product of the creative process. Concluding remarks summarize the research, point to some unresolved issues, and outline directions for future work.