Figure 1 An image analogy. Our problem is to compute a new “analogous ” image B ′ that relates to B in “the same way ” as A ′ relates to A. Here, A, A ′ , and B are inputs to our algorithm, and B ′ is the output. The full-size images are shown in Figures 10 and 11. This paper describes a new framework for processing images by example, called “image analogies. ” The framework involves two stages: a design phase, in which a pair of images, with one image purported to be a “filtered ” version of the other, is presented as “training data”; and an application phase, in which the learned filter is applied to some new target image in order to create an “analogous” filtered result. Image analogies are based on a simple multiscale autoregression, inspired primarily by recent results in texture synthesis. By choosing different types of source image pairs as input, the framework supports a wide variety of “image filter ” effects, including traditional image filters, such as blurring or embossing; improved texture synthesis, in which some textures are synthesized with higher quality than by previous approaches; super-resolution, in which a higher-resolution image is inferred from a low-resolution source; texture transfer, in which images are “texturized ” with some arbitrary source texture; artistic filters, in which various drawing and painting styles are synthesized based on scanned real-world examples; and texture-by-numbers, in which realistic scenes, composed of a variety of textures, are created using a simple painting interface.

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■ We investigated why self-produced tactile stimulation is perceived as less intense than the same stimulus produced externally. A tactile stimulus on the palm of the right hand was either externally produced, by a robot or self-produced by the subject. In the conditions in which the tactile stimulus was self-produced, subjects moved the arm of a robot with their left hand to produce the tactile stimulus on their right hand via a second robot. Subjects were asked to rate intensity of the tactile sensation and consistently rated self-produced tactile stimuli as less tickly, intense, and pleasant than externally produced tactile stimuli. Using this robotic setup we were able to manipulate the correspondence between the action of the subjects ’ left hand and the tactile stimulus on their right hand. First, we parametrically varied the delay between the movement of the left hand and the resultant movement of the tactile stimulus on the right hand. Second, we implemented varying degrees of trajectory perturbation and varied the direction of the tactile stimulus movement as a function of the direction of left-hand movement. The tickliness rating increased signiªcantly with increasing delay and trajectory perturbation. This suggests that self-produced movements attenuate the resultant tactile sensation and that a necessary requirement of this attenuation is that the tactile stimulus and its causal motor command correspond in time and space. We propose that the extent to which self-produced tactile sensation is attenuated (i.e., its tickliness) is proportional to the error between the sensory feedback predicted by an internal forward model of the motor system and the actual sensory feedback produced by the movement. ■

Galois lattices are introduced as a device to provide a general representation for two mode social network data. It is shown that Galois lattices yield a single visual image of such data in cases where most alternative models produce dual images. The inzage provided by the Galois lattice produces, moreover, an inzage that can suggest useful insights about the structuralprop-erties of the data. An example, based on data from Davis, Gardner, and Gardner (1 941), is used to spell out in detail the kinds of struc-tural insights that can be gained from this approach. In addi-tion, other potential applications are suggested. 1.

The role of unconscious and conscious thought in decision making was investigated in 5 experiments. Because of the low processing capacity of consciousness, conscious thought was hypothesized to be maladaptive when making complex decisions. Conversely, unconscious thought was expected to be highly effective. In Experiments 1–3, participants were presented with a complex decision problem in which they had to choose between various alternatives, each with multiple attributes. Some participants had to make a decision immediately after being presented with the options. In the conscious thought condition, participants could think about the decision for a few minutes. In the unconscious thought condition, participants were distracted for a few minutes and then indicated their decision. Throughout the experiments, unconscious thinkers made the best decisions. Additional evidence obtained in Experiments 4 and 5 suggests that unconscious thought leads to clearer, more polarized, and more integrated representations in memory. When making a decision of minor importance, I have always found it advantageous to consider all the pros and cons. In vital matters however... the decision should come from the unconscious, from somewhere within ourselves.

The Human-Computer Interaction community has long been concerned with design. Terms such as `creativity' and `innovation' are frequently used when referring to the design process and in this paper we examine what creativity is with respect to design. Design is often a collaborative and, therefore, a social activity. We review the evolution of definitions of creativity, leading to our proposal of a unified definition, we present a theoretical account of why social creativity should in principle be more productive than individual creativity. We explain findings to the contrary in terms of three social influences on creativity and suggest that research in supporting design should focus on mitigating the effects of these social influences on the creativity of design teams.

We have benefited from our discussions with Kristian Kreiner, Paul Hirsch and Roger Dunbar. We have also benefited from inputs that were offered by participants at the Path Dependence and Creation workshop,

. This paper commences by outlining notions of creativity before examining the role of emergence in creative design. Various process models of emergence are presented; these are based on notions of additive and substitutive variables resulting in additive and substitutive schemas. Frameworks for both representation and process for a computational model of creative design are presented. The representational framework is based on design prototypes whilst the process framework is based on an evolutionary model. The computational model brings both representation and process together. 1. Creativity in Design In order to develop and describe any model of creativity in design we need to have an acceptable conception of design. Design, in one sense, can be conceived of as a purposeful, constrained, decision making, exploration and learning activity. Decision making implies a set of variables, the values of which have to be decided. Search is the common process used in decision making. Explor...

Can theories of mental imagery, conscious mental contents, developed within cognitive science throw light on the obscure (but culturally very significant) concept of imagination? Three extant views of mental imagery are considered: quasi-pictorial, description, and perceptual activity theories. The first two face serious theoretical and empirical difficulties. The third is (for historically contingent reasons) little known, theoretically underdeveloped, and empirically untried, but has real explanatory potential. It rejects the “traditional ” symbolic computational view of mental contents, but is compatible with recent situated cognition and active vision approaches in robotics. This theory is developed and elucidated. Three related key aspects of imagination (non-discursiveness, creativity, and seeing as) raise difficulties for the other theories. Perceptual activity theory presents imagery as non-discursive and relates it closely to seeing as. It is thus well placed to be the basis for a general theory of imagination and its role in creative thought.

Creative conceptual change involves (a) the construction of new concepts and of coherent belief systems, or theories, relating these concepts, and (b) the modification and extrapolation of existing concepts and theories in novel situations. We discuss these and other types of conceptual change, and present computational models of constructive and extrapolative processes in creative conceptual change. The models have been implemented as computer programs in two very different task domains, autonomous robotic navigation and fictional story understanding. Contents 1 Introduction 1 2 Case studies in creative conceptual change 4 3 Constructive conceptual change 6 4 Technical details: The SINS system 9 4.1 Task: Autonomous robotic navigation : : : : : : : : : : : : : : : : : : : : : : : 9 4.2 Representation: Continuous prototypical cases : : : : : : : : : : : : : : : : : : 13 4.3 Process: Concept construction and modification : : : : : : : : : : : : : : : : : : 17 4.4 Discussion: Construc...