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their work, yet they can be extremely objective
about it as well…Creative people's openness
and sensitivity often exposes them to suffering
and pain, yet also to a great deal of enjoyment…
Being alone at the forefront of a discipline also
leaves them exposed and vulnerable. Eminence
invites criticism and often vicious attacks…Di-
vergent thinking is often perceived as deviant by
the majority, and so the creative person may feel
isolated and misunderstood…Perhaps the most
difficult thing for creative individuals to bear is
the sense of loss and emptiness they experience
when, for some reason, they cannot work…Yet
when a person is working in the area of his of her
expertise, worries and cares fall away, replaced
by a sense of bliss. Perhaps the most important
quality, the one that is most consistently present
in all creative individuals, is the ability to enjoy
the process of creation for its own sake.
artistic creativity and achievement. Zeki (2001)
started with the elementary perceptual process.
He associated perception of the great works of art
with the working principles of the brain. Artists,
acting like instinctive neuroscientists, capture in
their art works the essence of things in a similar
way as the brain acts when it captures the essen-
tial information about the world from a stream of
sensory input. Neuroesthetics explores the visual
brain using anatomical, electro-physiological,
psychological methods, and imaging techniques.
Semir Zeki (2009) believes that without under-
standing how the brain acquires knowledge it is
difficult to understand its productive and creative
actions. He states, beauty isn't in the eye of the be-
holder - it's in the brain (Lebwohl, 2011). Research
on computational creativity, based on methods
practiced in artificial intelligence, philosophy,
and cognitive science, is aimed at constructing
creative machines, programs, or systems; gain-
ing a fuller, more formal description of human
creativity; and design tools for making human
endeavors more creative. International conferences
on computational creativity (ICCC 2012) occur
annually. A great part of computational creativ-
ity involves a combinatorial approach including
evolutionary algorithms (that mimic processes
existing in natural evolution such as inheritance,
mutation, selection, and crossover) and artificial
neural networks (that mimic the properties of
biological neurons). Maybe for this reason many
authors describing computational creativity tend
to exaggerate the role of combinational creativ-
ity (which produces unfamiliar combinations of
familiar ideas by making associations between
them) and training in human creativity. As stated
by Edmonds, Bilda, and Muller (2009), the evalu-
ation of interactive art works in a public space is
a part of the creative process. al-Rifaie, Aber, &
Bishop (2012) discuss whether the hybrid swarm
algorithms have the potential to exhibit 'computa-
tional creativity' in what they draw. The authors
conclude that the combinatorial creativity of the
hybrid swarm system, for example exhibited in the
There is no one generally accepted definition
of creativity; one could possibly gather from the
professional literature almost one hundred vari-
ous definitions, especially when in addition to the
established works in this field such as written by
Robert J. Sternberg (Sternberg & Lubart, 1995,
1999; Sternberg, 2006, 2007), Joy Paul Guilford
(1950, 1967), Howard Gardner (1984, 1994, 1997),
and Michael Csikszentmihalyi (1996, 1997), cre-
ativity has been referred also to animals. Individual
creativity in animals was manifested, for example
in elephant paintings (Komar, Melamid, Fineman,
Schmidt, & Eggers, 2000) or the mate selection in
birds: the taste of the individual male bowerbird
is visible when these birds gather collections of
feathers, berries, and shells (Borgia, 1995; Dorin
& Korb, 2012). Collective creativity, displayed
for instance by swarms (Gloor, 2006) has been
studied both in the animal kingdom (Miller, 2010)
and in the domain of computing (al-Rifaie, Aber,
& Bishop, 2012).
Semir Zeki (1993, 1999), professor of neuro-
aesthetics at London University College proposed
a study of neuroesthetics, the neural basis of
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