Pub Date : 2021-12-28DOI: 10.28939/iam.debats-en.2021-11
D. Casacuberta
Based on the reflections of super-chef Ferran Adrià and his team at el Bulli restaurant, thispaper explores how certain creative mechanisms, techniques and procedures surroundingavant-garde gastronomy can be analysed from an enactivist model of cognition in order to:(1) understand creativity in the kitchen; (2) characterise culinary innovation processes; (3)establish whether some of these processes are general enough to be re-used in other fieldsand so broaden our theoretical understanding of the processes and mechanisms involvedin creation and innovation. We present those features that are specific to gastronomy as acreative process to distinguish them from others that are generic enough to form part of alarger family of creative processes. The paper seeks to present new perspectives on bothsubject-specific and generic creation processes in haute cuisine.
{"title":"Cognitive Models for Gastronomic Creation and Innovation","authors":"D. Casacuberta","doi":"10.28939/iam.debats-en.2021-11","DOIUrl":"https://doi.org/10.28939/iam.debats-en.2021-11","url":null,"abstract":"Based on the reflections of super-chef Ferran Adrià and his team at el Bulli restaurant, thispaper explores how certain creative mechanisms, techniques and procedures surroundingavant-garde gastronomy can be analysed from an enactivist model of cognition in order to:(1) understand creativity in the kitchen; (2) characterise culinary innovation processes; (3)establish whether some of these processes are general enough to be re-used in other fieldsand so broaden our theoretical understanding of the processes and mechanisms involvedin creation and innovation. We present those features that are specific to gastronomy as acreative process to distinguish them from others that are generic enough to form part of alarger family of creative processes. The paper seeks to present new perspectives on bothsubject-specific and generic creation processes in haute cuisine.","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42225370","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-28DOI: 10.28939/iam.debats-en.2021-3
María Cascales Mira
The organisation of work, located in the post-Fordist paradigm, stresses the emotional aspects of employee-client interaction processes. This emphasis arises from the shift in the productive structure towards growth in service activities in which interpersonal relationships are key factors. In this "new culture", the organisation is conceived as a ‘sentient’ environment and emotional workcaptures the interest of researchers and social scientists who analyse the role played by emotionsin occupations and organisational culture (Zapf, 2002, Grandey 2000, 2015, Seymour and Sandiford2005, Bolton 2000, Wharton, 2009, Totterdell, and Holman, 2003). Most related research has focused on qualitative case studies of workers in the service sector (Steinberg and Figart, 1999) — an approach that limits the inferences one can make and hinders one in linking findings to the socialstructure. The aim of our research is to expand this field of analysis and explore the link between emotional management and social structure. That is why we used a quantitative methodology, for which purpose we built an Emotional Quality Index in the Workplace (EQIW), allowing us to measure the emotional quality of workers in Spain and analyse their relationship with the threekey structural variables: social class; occupation; gender. Here, we used data from the European Working Conditions Survey (2015). The results show that there are significant differences in the emotional management of work by occupation, social class and gender, verifying that there isindeed a link between the EQIW and the social structure.
{"title":"Emotional Management in the Workplace of the Spanish Population. Quantitative Analysis through the Construction of an Emotional Quality Index at Work and its Link to Social Structure","authors":"María Cascales Mira","doi":"10.28939/iam.debats-en.2021-3","DOIUrl":"https://doi.org/10.28939/iam.debats-en.2021-3","url":null,"abstract":"The organisation of work, located in the post-Fordist paradigm, stresses the emotional aspects of employee-client interaction processes. This emphasis arises from the shift in the productive structure towards growth in service activities in which interpersonal relationships are key factors. In this \"new culture\", the organisation is conceived as a ‘sentient’ environment and emotional workcaptures the interest of researchers and social scientists who analyse the role played by emotionsin occupations and organisational culture (Zapf, 2002, Grandey 2000, 2015, Seymour and Sandiford2005, Bolton 2000, Wharton, 2009, Totterdell, and Holman, 2003). Most related research has focused on qualitative case studies of workers in the service sector (Steinberg and Figart, 1999) — an approach that limits the inferences one can make and hinders one in linking findings to the socialstructure. The aim of our research is to expand this field of analysis and explore the link between emotional management and social structure. That is why we used a quantitative methodology, for which purpose we built an Emotional Quality Index in the Workplace (EQIW), allowing us to measure the emotional quality of workers in Spain and analyse their relationship with the threekey structural variables: social class; occupation; gender. Here, we used data from the European Working Conditions Survey (2015). The results show that there are significant differences in the emotional management of work by occupation, social class and gender, verifying that there isindeed a link between the EQIW and the social structure.","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44625764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-28DOI: 10.28939/iam.debats-en.2021-12
Aida Vizcaíno Estevan, Tono Vizcaíno Estevan
The declaration of València as the World Sustainable Food Capital in 2017, based on the market-gardening system of l’Horta — an area girding the city, has put key subjects such as sustainable production and healthy eating on the public agenda. The process leading up to the declaration (which is in part a heritage-based project) has been fraught with contradictions and conflicts stemming from the city’s political, economic and identity dimensions. Examining this process from a Social Sciences angle is of value not only indrawing lessons but also for spawning debating forums in which solutions can be proposed.
{"title":"València — Sustainable Food World Capital. A Social Sciences Vision","authors":"Aida Vizcaíno Estevan, Tono Vizcaíno Estevan","doi":"10.28939/iam.debats-en.2021-12","DOIUrl":"https://doi.org/10.28939/iam.debats-en.2021-12","url":null,"abstract":"The declaration of València as the World Sustainable Food Capital in 2017, based on the market-gardening system of l’Horta — an area girding the city, has put key subjects such as sustainable production and healthy eating on the public agenda. The process leading up to the declaration (which is in part a heritage-based project) has been fraught with contradictions and conflicts stemming from the city’s political, economic and identity dimensions. Examining this process from a Social Sciences angle is of value not only indrawing lessons but also for spawning debating forums in which solutions can be proposed.","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45054012","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-28DOI: 10.28939/iam.debats-en.2021-9
Alger Sans Pinillos, Jordi Vallverdú
Creativity is The Holy Grail of the Cognitive Sciences and it is very important for researchers in the Computer Sciences and AI fields. Although all attempts to explain and replicate intelligence have so far failed, the quest remains a key part of their research. This paper takes two innovative approaches. First, we see cognitive processes as involving rule-followingand as flexible, even chaotic, heuristics. This first concept uses a multi-heuristic concept without any complexes as mixed-cognition. Second, we propose abduction which, though seldom employed in this specific debate, is nonetheless a good way to explore creativity. Using both strategies, along with analysis of specific human creativity cases, we suggesta new cognitive paradigm that is both more realistic and truthful than hitherto. The idea is to offer a new way to achieve more powerful, complex artificial reasoning systems.
{"title":"What the #®¥§≠$@ is Creativity?","authors":"Alger Sans Pinillos, Jordi Vallverdú","doi":"10.28939/iam.debats-en.2021-9","DOIUrl":"https://doi.org/10.28939/iam.debats-en.2021-9","url":null,"abstract":"Creativity is The Holy Grail of the Cognitive Sciences and it is very important for researchers in the Computer Sciences and AI fields. Although all attempts to explain and replicate intelligence have so far failed, the quest remains a key part of their research. This paper takes two innovative approaches. First, we see cognitive processes as involving rule-followingand as flexible, even chaotic, heuristics. This first concept uses a multi-heuristic concept without any complexes as mixed-cognition. Second, we propose abduction which, though seldom employed in this specific debate, is nonetheless a good way to explore creativity. Using both strategies, along with analysis of specific human creativity cases, we suggesta new cognitive paradigm that is both more realistic and truthful than hitherto. The idea is to offer a new way to achieve more powerful, complex artificial reasoning systems.","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47031082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-28DOI: 10.28939/iam.debats-en.2021-5
Vanesa Saiz Echezarreta, Cristina Peñamarín
In this paper, we address affective and motivational aspects in relation to the controversy, which can be articulated around a mediatised public issue. We are interested in how emotions are a part of the experience and definition of a phenomenon that is seen as intolerable and forwhich intervention is demanded and the strategic appeal to an affective repertoire in reaching aposition on the issue. We analyse the systems of meaning and emotions mobilised in the currentcontroversy about prostitution and trafficking of persons for the purpose of sexual exploitation. The goal here is to grasp how the perspectives involved employ emotional strategies in which basic affective dispositions and transitory emotions intersect, and how this affects deliberation on the issue. Discourses and stories, as well as defining and framing the emotions of the actors in the controversy furnish emotional experiences to their publics, encouraging them to incorporatecertain rules of feeling that form part of the moral and ideological perspectives promoted. Methodologically, we use an ethnographic approach to follow the conflict and a socio-semioticdiscourse analysis. Our case study covers two linked viral campaigns in social networks (Hola Putero and Hola Abolicionista). The goal is to reflect on the way in which setting and affectivestrategies hinder resolution of the issue.
{"title":"Emotional Confrontation and Public Deliberation on Paid Sex. The Struggle between Disgust and Shame.","authors":"Vanesa Saiz Echezarreta, Cristina Peñamarín","doi":"10.28939/iam.debats-en.2021-5","DOIUrl":"https://doi.org/10.28939/iam.debats-en.2021-5","url":null,"abstract":"In this paper, we address affective and motivational aspects in relation to the controversy, which can be articulated around a mediatised public issue. We are interested in how emotions are a part of the experience and definition of a phenomenon that is seen as intolerable and forwhich intervention is demanded and the strategic appeal to an affective repertoire in reaching aposition on the issue. We analyse the systems of meaning and emotions mobilised in the currentcontroversy about prostitution and trafficking of persons for the purpose of sexual exploitation. The goal here is to grasp how the perspectives involved employ emotional strategies in which basic affective dispositions and transitory emotions intersect, and how this affects deliberation on the issue. Discourses and stories, as well as defining and framing the emotions of the actors in the controversy furnish emotional experiences to their publics, encouraging them to incorporatecertain rules of feeling that form part of the moral and ideological perspectives promoted. Methodologically, we use an ethnographic approach to follow the conflict and a socio-semioticdiscourse analysis. Our case study covers two linked viral campaigns in social networks (Hola Putero and Hola Abolicionista). The goal is to reflect on the way in which setting and affectivestrategies hinder resolution of the issue.","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46208171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-29DOI: 10.28939/iam.debats-135-2.4
Anna Estany, Rosa M. Herrera
HHi ha paraules que, en un moment determinat, emergeixen com a catalitzadores d'idees que prèviament havien tingut altres sentits. Entre elles estan «innovació» i «disseny». La innovació ha estat tradicionalment associada a la ciència aplicada, especialment a la tecnologia, mentre que els canvis en les ciències pures se solien catalogar com a descobriments, invencions o creacions sense més ni més. No obstant això, des de fa unes dècades, la innovació s'ha endinsat en tots els àmbits del coneixement científic, tant en les ciències pures com en les aplicades. També el disseny ha eixit del nínxol on havia romàs durant dècadesi fins i tot centúries, almenys pel que fa a la història de la filosofia i de la ciència. De fet, a mesura que s'ha anat introduint en el món acadèmic ha estat molt lligat a l'art i aplicat a entorns de la nostra vida quotidiana. L'objectiu d'aquest article és analitzar els processos d'innovació en les ciències pures i aplicades, veient fins a quin punt les teories de disseny sorgides en les últimes dècades han influït en la innovació de camps com l'epistemologia i la tecnologia. Ens centrarem en l'epistemologia de disseny i en la innovació metodològica, en concret en la simulació i els models metodològics de disseny. Prendrem com a referència tant les ciències pures o descriptives com les aplicades o de disseny, a més de la tecnologia subjacent a ambdóscamps i amb un paper molt rellevant en els processos d'innovació.
{"title":"La funció del disseny en els processos d'innovació","authors":"Anna Estany, Rosa M. Herrera","doi":"10.28939/iam.debats-135-2.4","DOIUrl":"https://doi.org/10.28939/iam.debats-135-2.4","url":null,"abstract":"HHi ha paraules que, en un moment determinat, emergeixen com a catalitzadores d'idees que prèviament havien tingut altres sentits. Entre elles estan «innovació» i «disseny». La innovació ha estat tradicionalment associada a la ciència aplicada, especialment a la tecnologia, mentre que els canvis en les ciències pures se solien catalogar com a descobriments, invencions o creacions sense més ni més. No obstant això, des de fa unes dècades, la innovació s'ha endinsat en tots els àmbits del coneixement científic, tant en les ciències pures com en les aplicades. També el disseny ha eixit del nínxol on havia romàs durant dècadesi fins i tot centúries, almenys pel que fa a la història de la filosofia i de la ciència. De fet, a mesura que s'ha anat introduint en el món acadèmic ha estat molt lligat a l'art i aplicat a entorns de la nostra vida quotidiana. L'objectiu d'aquest article és analitzar els processos d'innovació en les ciències pures i aplicades, veient fins a quin punt les teories de disseny sorgides en les últimes dècades han influït en la innovació de camps com l'epistemologia i la tecnologia. Ens centrarem en l'epistemologia de disseny i en la innovació metodològica, en concret en la simulació i els models metodològics de disseny. Prendrem com a referència tant les ciències pures o descriptives com les aplicades o de disseny, a més de la tecnologia subjacent a ambdóscamps i amb un paper molt rellevant en els processos d'innovació.","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42958139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-29DOI: 10.28939/iam.debats-135-2.2
Dafne Muntanyola
En el context canviant dels consensos bàsics que constitueixen la cultura legítima i les definicions de creativitat, la sociologia dela cultura hi juga un paper important. Nombrosos estudis en ciències socials i cognitives ho demostren empíricament (Bourdieu,1979; Becker, 1982; 2002; Sennett, 2012; Muntanyola-Saura, 2012; 2014; 2016). La creativitat com a forma de cognició socialforma part d'un context institucional. No obstant això, la influent branca culturalista de la sociologia cognitiva (CCS) redueix lacreativitat a un nivell psicològic cognitivista (Lizardo i Strand, 2010). Partim aquí de la conjectura que és possible per a la sociologiade la cultura aprofitar el paradigma naturalista de la cognició per explicar la creativitat sense caure en postures reduccionistesni atomistes. Per tant, el cos de l'article és una revisió bibliogràfica que sense tenir la ambició de ser exhaustiva sí que ofereixuna mirada completa sobre uns models pragmàtics i integrats de creativitat. Es té en compte la diversitat de propostes teòricoempíriques que existeixen, per tal d'identificar els postulats de partida dels autors que centralitzen el debat tant a nivell macrocom a nivell micro. Els estudis analitzats presenten processos intersubjectius de creació i transmissió de criteris més o menyslegítims de consum cultural, com ara categoritzacions, avaluacions i judicis estètics. La conclusió és que la perspectiva sociològicapot reforçar críticament la creativitat
{"title":"Mètodes naturalistes de la sociologia de la creativitat: Contra el reduccionisme","authors":"Dafne Muntanyola","doi":"10.28939/iam.debats-135-2.2","DOIUrl":"https://doi.org/10.28939/iam.debats-135-2.2","url":null,"abstract":"En el context canviant dels consensos bàsics que constitueixen la cultura legítima i les definicions de creativitat, la sociologia dela cultura hi juga un paper important. Nombrosos estudis en ciències socials i cognitives ho demostren empíricament (Bourdieu,1979; Becker, 1982; 2002; Sennett, 2012; Muntanyola-Saura, 2012; 2014; 2016). La creativitat com a forma de cognició socialforma part d'un context institucional. No obstant això, la influent branca culturalista de la sociologia cognitiva (CCS) redueix lacreativitat a un nivell psicològic cognitivista (Lizardo i Strand, 2010). Partim aquí de la conjectura que és possible per a la sociologiade la cultura aprofitar el paradigma naturalista de la cognició per explicar la creativitat sense caure en postures reduccionistesni atomistes. Per tant, el cos de l'article és una revisió bibliogràfica que sense tenir la ambició de ser exhaustiva sí que ofereixuna mirada completa sobre uns models pragmàtics i integrats de creativitat. Es té en compte la diversitat de propostes teòricoempíriques que existeixen, per tal d'identificar els postulats de partida dels autors que centralitzen el debat tant a nivell macrocom a nivell micro. Els estudis analitzats presenten processos intersubjectius de creació i transmissió de criteris més o menyslegítims de consum cultural, com ara categoritzacions, avaluacions i judicis estètics. La conclusió és que la perspectiva sociològicapot reforçar críticament la creativitat","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48608519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-29DOI: 10.28939/iam.debats-135-2.1
Mario Gensollen, Marc Jiménez-Rolland
In this paper we explore some aspects of the scientific study of creativity, by focusing on intentional attempts to create instances of linguistic humor. We argue that this sort of creativity can be accounted for within the framework of an influential cognitive approach, but this framework does not provide a recipe for producing novel instances of humor; in fact, it may even preclude humoristic effects. We start by identifying three great puzzles that arise in attempting to naturalize some core traits of creativity, and some ways they have been addressed by cognitive studies. We then consider what we call ‘creative humor’, which exhibits the core features of creativity previously identified. We then explore how an important (class of) cognitive approach(es) to human communication can account for creative humor. We conclude by drawing some morals and pointing out some limitations for cognitive approaches to creativity.
{"title":"Creativity, humor and cognition","authors":"Mario Gensollen, Marc Jiménez-Rolland","doi":"10.28939/iam.debats-135-2.1","DOIUrl":"https://doi.org/10.28939/iam.debats-135-2.1","url":null,"abstract":"In this paper we explore some aspects of the scientific study of creativity, by focusing on intentional attempts to create instances of linguistic humor. We argue that this sort of creativity can be accounted for within the framework of an influential cognitive approach, but this framework does not provide a recipe for producing novel instances of humor; in fact, it may even preclude humoristic effects. We start by identifying three great puzzles that arise in attempting to naturalize some core traits of creativity, and some ways they have been addressed by cognitive studies. We then consider what we call ‘creative humor’, which exhibits the core features of creativity previously identified. We then explore how an important (class of) cognitive approach(es) to human communication can account for creative humor. We conclude by drawing some morals and pointing out some limitations for cognitive approaches to creativity.","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47354141","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-29DOI: 10.28939/iam.debats-135-2.3
Alger Sans Pinillos, J. Vallverdú
La creativitat és el sant grial de les ciències cognitives i té especial importància per als investigadors de les ciències de la computació i la intel·ligència artificial. És obvi que la creativitat forma part essencial de la intel·ligència, tot i que la majoria d’estudis que intenten explicar-la o fins i tot replicar-la han fallit. En el present article proposem dues aproximacions innovadores: d’una banda, entendre els processos cognitius com a seguidors de regles o heurístiques, tot i que d’una manera flexible o fins i tot contradictòria o caòtica, però que ens mena en qualsevol dels casos a un context d’ús desacomplexat de multiheurístiques, que és el que hem denominat la «cognició mixta»; d’altra banda, proposem un mecanisme poc explorat de forma general en la literatura acadèmica cognitiva per tal de servir de punt de fulcre entre els models antics i una visió alternativa: l’abducció. Mitjançant aquestes dues estratègies, alhora que analitzant casos específics relacionats amb la capacitat creativa dels éssers humans, podem albirar un nou paradigmacognitiu més realista i sincer amb les capacitats humanes, fet que permetrà en un futur no gaire llunyà el disseny de sistemes de raonament artificials més potents i complexos.
{"title":"Què #®¥§≠$@ és la creativitat?","authors":"Alger Sans Pinillos, J. Vallverdú","doi":"10.28939/iam.debats-135-2.3","DOIUrl":"https://doi.org/10.28939/iam.debats-135-2.3","url":null,"abstract":"La creativitat és el sant grial de les ciències cognitives i té especial importància per als investigadors de les ciències de la computació i la intel·ligència artificial. És obvi que la creativitat forma part essencial de la intel·ligència, tot i que la majoria d’estudis que intenten explicar-la o fins i tot replicar-la han fallit. En el present article proposem dues aproximacions innovadores: d’una banda, entendre els processos cognitius com a seguidors de regles o heurístiques, tot i que d’una manera flexible o fins i tot contradictòria o caòtica, però que ens mena en qualsevol dels casos a un context d’ús desacomplexat de multiheurístiques, que és el que hem denominat la «cognició mixta»; d’altra banda, proposem un mecanisme poc explorat de forma general en la literatura acadèmica cognitiva per tal de servir de punt de fulcre entre els models antics i una visió alternativa: l’abducció. Mitjançant aquestes dues estratègies, alhora que analitzant casos específics relacionats amb la capacitat creativa dels éssers humans, podem albirar un nou paradigmacognitiu més realista i sincer amb les capacitats humanes, fet que permetrà en un futur no gaire llunyà el disseny de sistemes de raonament artificials més potents i complexos.","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47521937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-29DOI: 10.28939/iam.debats-135-2.5
David Casacuberta Sevilla
A partir de la reflexió feta per Ferran Adrià i el seu equip d'El Bulli, aquest article explora de quina forma certs mecanismes, tècniques i procediments creatius entorn de l’anomenada «gastronomia d’avantguarda» poden analitzar-se des d’un modelenactivista de la cognició per tal d’entendre la creativitat en la cuina i caracteritzar els processos d’innovació. També s'intentarà establir si alguns d’aquests processos són suficientment generals com per a reutilitzar-los en altres disciplines i afavoriraixí la nostra comprensió teòrica dels processos i mecanismes de creació i innovació. Presentem així aquells trets que són específics de la gastronomia com a procés creatiu per destriar aquells fenòmens que són prou genèrics com per considerarlosconstituents de la gran família dels processos creatius. D’aquesta manera l’article cerca presentar noves perspectives pera entendre el fet genèric de crear versus la creació específica en processos gastronòmics.
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