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arXiv:1702.07734

Ambiguity invokes Creativity : looking through Quantum physics

Souparno Roy, Archi Banerjee, Ranjan Sengupta, Dipak C. Ghosh

Published Feb 23, 2017• 0 citations
arXivHTMLPDF

Abstract

Creativity, defined as the tendency to generate or recognize new ideas or alternatives and to make connections between seemingly unrelated phenomena, is too vast a horizon to be summed up in such a simple sentence. The extreme abstractness of creativity makes it harder to quantify in its entirety. Yet, a lot of efforts have been made both by psychologists and neurobiologists to identify its signature. A general conformity is expressed in the Free association theory, i.e. the more freely a persons conceptual nodes are connected, the more divergent thinker (also, creative) he or she is. Also, tolerance of ambiguity is found to be related to divergent thinking. In this study, we approach the problem of creativity from a theoretical physics standpoint. Theoretically, for the initial conceptual state, the next jump to any other node is equally probable and non-deterministic. Repeated intervention of external stimulus (analogous to a measurement) is responsible for such jumps. And to study such a non-deterministic system with continuous measurements, Quantum theory has been proven the most successful, time and again. We suggest that this collection of nodes form a system which is likely to be governed by quantum physics and specify the transformations which could help explain the conceptual jump between states. Our argument, from the point of view of physics is that the initial evolution of the creative process is identical, person or field independent. To answer the next obvious question about individual creativity, we hypothesize that the quantum system, under continuous measurements (in the form of external stimuli) evolves with chaotic dynamics, hence separating a painter from a musician. Possible experimental methodology of these effects has also been suggested using ambiguous figures.

DOI
10.48550/arxiv.1702.07734

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Creativity, defined as the tendency to generate or recognize new ideas or alternatives and to make connections between seemingly unrelated phenomena, is too vast a horizon to be summed up in such a simple sentence. The extreme abstractness of creativity makes it harder to quantify in its entirety. Yet, a lot of efforts have been made both by psychologists and neurobiologists to identify its signature. A general conformity is expressed in the Free association theory, i.e. the more freely a persons conceptual nodes are connected, the more divergent thinker (also, creative) he or she is. Also, tolerance of ambiguity is found to be related to divergent thinking. In this study, we approach the problem of creativity from a theoretical physics standpoint. Theoretically, for the initial conceptual state, the next jump to any other node is equally probable and non-deterministic. Repeated intervention of external stimulus (analogous to a measurement) is responsible for such jumps. And to study such a non-deterministic system with continuous measurements, Quantum theory has been proven the most successful, time and again. We suggest that this collection of nodes form a system which is likely to be governed by quantum physics and specify the transformations which could help explain the conceptual jump between states. Our argument, from the point of view of physics is that the initial evolution of the creative process is identical, person or field independent. To answer the next obvious question about individual creativity, we hypothesize that the quantum system, under continuous measurements (in the form of external stimuli) evolves with chaotic dynamics, hence separating a painter from a musician. Possible experimental methodology of these effects has also been suggested using ambiguous figures.
This paper attempts to address the question that whether the present physical or mathematical theories are sufficient to understand the complexities of human brain when it interacts with the external environment in the form of an auditory stimulus.There have been efforts reporting that the introduction of ambiguity in visual stimuli causes effects which can't be explained classically.In this paper,it is investigated whether ambiguity in auditory stimuli can introduce any non-classical effects in human brain.Simple experiments were performed on normal subjects where they listened to an ambiguous auditory signal and responded to a question with 'yes' or 'no'.The outcome of the test showed that the classical formula of total probability does not hold true in this case.Results were interesting and indicate that there is a definite non-classicality in mental states in perception of ambiguous audio stimuli.
The quantum cognition approach draws upon a mathematical framework originally developed for quantum mechanics. One phenomenon that is particularly well captured by quantum models but not classical ones, known as the Question Order Effect, is that the order of questions can alter the answers given. This paper describes at a layperson level a study that uses this effect to ascertain whether creative thinking and the processing of unfamiliar stimuli both elicit cognitive states and processes that are best described by a quantum model. The rationale is that both involve key quantum features that the quantum formalism is particularly well-suited to capture: ambiguity and contextuality.
At the heart of creativity is the forging of new concept combinations and the adapting of existing ideas to new situations. However, these processes have resisted mathematical description; concepts violate the rules of classical logic when they interact, e.g., concept combinations can exhibit emergent features not possessed by their constituent concepts. These challenges can be addressed using the quantum cognition framework, wherein nonclassical behavior is described in terms of superposition, entanglement, and interference. While in classical probability theory events are drawn from a common sample space, in quantum models events are defined only with respect to a measurement, or (in quantum cognition) a context, and the probabilities reflect the underlying reality. The measurement (or context) causes collapse from a superposition state to a definite eigenstate. The paper explains how creativity can be modelled using quantum cognition approach with an illustrative example, and discuss how the approach could be implemented computationally. Quantum computing is widely expected to revolutionize many fields in the near future through immense increases in speed and computing power. The time may be ripe to explore the potential of quantum computational creativity.
Quantum mechanics is usually defined in terms of some loosely connected axioms and rules. Such a foundation is far from the beauty of, e.g., the `principles' underlying classical mechanics. Motivated, in addition, by notorious interpretation problems, there have been numerous attempts to modify or `complete' quantum mechanics. A first attempt was based on so-called hidden variables; its proponents essentially tried to expel the non-classical nature of quantum mechanics. More recent proposals intend to complete quantum mechanics not within mechanics proper but on a `higher (synthetic) level'; by means of a combination with gravitation theory (R Penrose), with quantum information theory (C M Caves, C A Fuchs) or with psychology and brain science (H P Stapp). I think it is fair to say that in each case the combination is with a subject that, per se , suffers from a very limited understanding that is even more severe than that of quantum mechanics. This was acceptable, though, if it could convincingly be argued that scientific progress desperately needs to join forces. Quantum mechanics of a closed system was a beautiful and well understood theory with its respective state being presented as a point on a deterministic trajectory in Liouville space---not unlike the motion of a classical N -particle system in its 6N -dimensional phase-space. Unfortunately, we need an inside and an outside view, we need an external reference frame, we need an observer. This unavoidable partition is the origin of most of the troubles we have with quantum mechanics. A pragmatic solution is introduced in the form of so-called measurement postulates: one of the various incompatible properties of the system under consideration is supposed to be realized (i.e. to become a fact, to be defined without fundamental dispersion) based on `instantaneous' projections within some externally selected measurement basis. As a result, the theory becomes essentially statistical rather than deterministic; furthermore there is an asymmetry between the observed and the observing. This is the point where consciousness may come in. Complemented by an introduction and several appendices, Henry Stapp's book consists essentially of three parts: theory, implications, and new developments. The theory part gives a very readable account of the Copenhagen interpretation, some aspects of a psychophysical theory, and, eventually, hints towards a quantum foundation of the brain--mind connection. The next part, `implications', summarizes some previous attempts to bridge the gap between the working rules of quantum mechanics and their possible consequences for our understanding of this world (Pauli, Everett, Bohm, Heisenberg). The last section, `new developments', dwells on some ideas about the conscious brain and its possible foundation on quantum mechanics. The book is an interesting and, in part, fascinating contribution to a field that continues to be a companion to `practical' quantum mechanics since its very beginning. It is doubtful whether such types of `quantum ontologies' will ever become (empirically) testable; right now one can hardly expect more than to be offered some consistent `grand picture', which the reader may find more or less acceptable or even rewarding. Many practicing quantum physicists, though, will remain unimpressed. The shift from synthetic ontology to analytic ontology is the foundation of the present work. This means that fundamental wholes are being partitioned into their ontologically subordinate components by means of `events'. The actual event, in turn, is an abrupt change in the Heisenberg state describing the quantum universe. The new state then defines the tendencies associated with the next actual event. To avoid infinite regression in terms of going from one state of tendencies to the next, consciousness is there to give these events a special `feel', to provide a status of `intrinsic actuality'. The brain of an alert human observer is similar in an important way to a quantum detection device: it can amplify small signals to large macroscopic effects. On the other hand, actual events are not postulated to occur exclusively in brains. They are more generally associated with the formation of records. Records are necessarily part of the total state of the universe: it is obvious that the state of the universe cannot undergo a Schrödinger dynamics and at the same time record its own history. `The full universe consists therefore of an exceedingly thin veneer of relatively sluggish, directly observable properties resting on a vast ocean or rapidly fluctuating unobservable ones.' The present ideas also bear on how the world should be seen to develop. While conventional cosmology encounters problems as to how to define the intial conditions, which would enter the governing equations of motion, here `the boundary conditions are set not at some initial time, but gradually by a sequence of acts that imposes a sequence of constraints. After any sequence of acts there remains a collection of possible worlds, some of which will be eliminated by the next act.' Connected with those acts is `meaning': there has always been some speculation about the special significance of local properties in our understanding of the world. One could argue that correlations (even the quantum correlations found, e.g., in the EPR-experiments) were as real as anything else. But also Stapp stresses the special role of locality: the `local observable properties, or properties similar to them are the natural, and perhaps exclusive, carriers of meaning in the quantum universe. From this point of view the quantum universe tends to create meaning.' This sounds like an absolute concept: meaning not with respect to something else, but defined intrinsically---not easy to digest. The role of consciousness in the developing quantum universe requires more attention. `The causal irrelevance of our thoughts within classical physics constitutes a serious deficiency of that theory, construed as a description of reality.' This is taken to be entirely different within quantum mechanics. `The core idea of quantum mechanics is to describe our activities as knowledge-seeking and knowledge-using agents.' `21st century science does not reduce human beings to mechanical automata. Rather it elevates human beings to agents whose free choices can, according to the known laws, actually influence their behaviour.' An example with respect to perception is discussed: `Why, when we look at a triangle, do we experience three lines joined at three points and not some pattern of neuron firings?' The brain `does not convert an actual whole triangle into some jumbled set of particle motions; rather it converts a concatenation of separate external events into the actualization of some single integrated pattern of neural activity that is congruent to the perceived whole triangle.' How convincing is this proposal? It is hard to tell. I think Henry Stapp did a good job, but there are tight limitations to any such endeavour. Quantum mechanics is often strange indeed, but it also gives rise to our classical world around us. For the emergence of classicality jumps and measurement projections (the basic phenomena connected with those fundamental events of choice) are not needed. Therefore, I doubt whether the explanation of the evolution of our world really allows (or requires) that much free choice. On the other hand, most scientist will agree that empirical science was not possible without free will: we could not ask independent questions if this asking was part of a deterministic trajectory. The fact that the result of a quantum measurement is indeterminate (within given probabilities) does certainly not explain free will. How about the type of measurment? The experimentalist will have to assume that he can select the pertinent observable within some limits. But given a certain design the so-called pointer basis (producing stable measurement results) is no longer a matter of free choice. `The main theme of classical physics is that we live in a clocklike universe.' Today it is often assumed that the universe was a big (quantum-) computer or a cellular automaton. Many would be all too happy to leave that rather restrictive picture behind. But where to go? Stapp suggests giving consciousness a prominent role: `The most profound alteration of the fundamental principles was to bring consciousness of human beings into the basic structure of the physical theory.' How far we are able to go in this direction will depend on the amount of concrete research results becoming available to support this view.
Creative possibilities require imagination, intuition, vision, creativity, comprehension, and inventiveness, properties that are associated with human consciousness and free will. New developments in quantum information theory have allowed to recently postulate with high confidence that consciousness and free will are properties of quantum systems in pure quantum states. This new development allows saying that possibilities emerge from the quantum level of reality since a classical world is deterministic, that is, algorithmic and predictable, and thus incapable of real creativity. Only a creative agent like a human being could imagine real possibilities in a near-infinite combinatorial sea of patterns, and then figure out some intelligent way to realize them. Even if nature were aimlessly creating random patterns someone should have the comprehension to recognize a creative possibility among them. But comprehension is a non-algorithmic property that requires consciousness.
Processes undergoing quantum mechanics exhibit quantum interference effects. In this case, quantum probabilities result to be different from classical ones because they contain an additional so-called quantum interference term. We use ambiguous figures to analyse if during perception-cognition by human subjects we can observe violation of the classical probability field and the presence of quantum interference. The experiments, conducted on a group of 256 subjects, evidence that we indeed have such a quantum effect. Therefore, mental states, during perception and cognition of ambiguous figures, appear to follow quantum mechanics.