This article, through Schrödinger's cat theory, points to a conflict between individuality and universality in the creative process that would appear to be an inconsistency of cognition. We chose the axiomatic-logical concept of language as a system of oppositions of places and values for this discussion, understood as a complex phenomenon mediating between the human mind and the environment. Creativity involves language and cognition and is of interest to artificial intelligence, AI, thus, an in-depth look at creative aspects of the human mind helps to better understand the structure of natural language and gives wagers for new AI challenges. There is an interdisciplinary approach, highlighting aspects of language that leave room for creativity and differentiation, paving the way for them to be adopted by artificial intelligence. We found that the broad concept of language reveals the 'way of thinking' that unveils how creation occurs in its statu nascendi, facing the choice between opposite states to establish the new, the creative: The origin of creation is not in the elements that are part of it, but it is in the path taken by the creative process. Schrödinger's cat experiment illustrates how the creative process takes place: Either the supposed creation will reveal a tendency to take 'probable knowledge' as 'fact of knowledge', or real creation breaks this perspective and settles in the subjectivity of the subject. These considerations lead us to place bets on processes that would serve to replicate creativity in artificial intelligence, making it more intuitive, removing its curse of dimensionality, and reducing the need for human intervention in machine learning.Monte-Serrat or Monte Serrat, Dionéia & Caetano, Brenno & Cattani, Carlo. (2020). The Schrödinger's Cat Paradox in the Mind Creative Process. Information Sciences Letters. 1-10. 10.12785/isl/paper.
Mathematically speaking, space is not just rational and Euclidean. There is also non-Euclidean geometry that goes beyond mathematics, as it houses different sets of axioms [17, p.16] serving as a paradigm for working mathematics on real objects. Stiny [22,23] claims that space has grammar, has its elements organized according to its own syntax and semantics that will characterize a style. Creative work is not Opposing the conguration of a given space by the grammar of the form [22,23] there is the spatial syntax, which allows the conguration of a given space understood as a dynamic and non-static entity. The form is static, but the connections between spaces introduce dynamism in space [24, p.10]. This dynamism provides the emergence of new values, new meanings to a space that at rst was considered static: Form (style) and meaning (functionality) constitute a set that gives corporeality to space .
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We look for a way to link this excess concerning the mark of thinking about bodies (confusing knowledge according to Ranci`ere) the logically stabilized knowledge of human cognition. For this purpose, is necessary to start from a prospective perspective, which makes use of the dynamic context of the subject that produces the creative work. This stance makes our investigation complex. Finding a route that works both perspectives axiomatic (biological) and logic of the human mind in the creative process can help us understand that human language has a perfectly satisfying and clear sequence of implications, as well as an implicit sequence of what is given, the latter having its origin covered by the former. to the part of it
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7 Breaking language The concept of language in this topic differs from the previous one. Instead of working with language as a system of oppositions of places and values, we start from the concept language is a system that mediates between the human mind and the environment, allowing man to interpret the world that surrounds him and, therefore, is part of the creative process in which there is unpredictability. that Language is a structure with a system of oppositions of places and values, an oriented structure [19, p.309] It is through language that man expresses himself through any work of signs, producing repetition in an always intelligible and ideal space; an irreducibly oriented space in which there is a prevalence of one direction in the other in the movement [19, pp. 408,409]. It is in this sense that Pecheux [20, p.194] afrms the work of the thoughtless
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7.1 The order of word representation: Between the sayable and the invisible According to Lacan , the subject, when constituting itself in language, undergoes an alienation. The author states that if the subject chooses to be, he loses his own meaning; if one opts for meaning, he loses being, because meaning is constituted in the eld of the Other. c(cid:13) 2020 NSP Natural Sciences Publishing Cor. 5 6 The individual, immersed in culture and under the inuence of a symbolic system, is subject to the logic of language to express himself: The signier plays and wins, so to speak, before the subject realizes this, to the point of, in the game of Witz, from the joke, for example, he surprises the subject. With his ash, what he illuminates is the division between the subject and himself. [25, p. 854]
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