Yukio Pegio Gunji

The slime mould Physarum polycephalum has been used in developing unconventional computing devices for in which the slime mould played a role of a sensing, actuating, and computing device. These devices treated the slime mould as an active living substrate, yet it is a self-consistent living creature which evolved over millions of years and occupied most parts of the world, but in any case, that living entity did not own true cognition, just automated biochemical mechanisms. To “rehabilitate” slime mould from the rank of a purely living electronics element to a “creature of thoughts” we are analyzing the cognitive potential of P. polycephalum. We base our theory of minimal cognition of the slime mould on a bottom-up approach, from the biological and biophysical nature of the slime mould and its regulatory systems using frameworks such as Lyon’s biogenic cognition, Muller, di Primio-Lengelerś modifiable pathways, Bateson's “patterns that connect” framework, Maturana's autopoietic network, or proto-consciousness and Morgan's Canon.

While entanglement is a phenomenon discussed in quantum theory, it can also be found in art. We propose to connect entanglement to art’s most fundamental question: what is creativity? For example, Marcel Duchamp found the essence of the creative act in the “art coefficient,” the difference and/or gap between the artist’s intention and realization which is created. This paper locates the common sense understanding of entanglement in an inseparable whole that ensures difference between the intention and realization. Seeing the artistic act as actively designing entanglement within artistic production, we present examples of this from the work of the Japanese-style painter Nakamura, and present a concrete vision for an answer regarding the question of the nature of creativity.