Ken and John begin the conversation by questioning whether creativity can be understood scientifically. Creativity begins in the brain, so if we study the brain scientifically, can’t we study creativity scientifically? But creativity seems to be more than a matter of brain waves. Ken and John look forward to talking to Margaret Boden, a world-renowned expert on creativity.

Ken and John discuss with Margaret why she became interested in creativity. She tells them that, next to consciousness, she sees creativity as one of the most challenging phenomena to make sense of in a materialistic framework. Ken and John then ask Margaret how she defines creativity, and they discuss the difference between novelty and progress. Margaret tells them why it is that, if they want to keep this distinction, that they have to relent on the search for a science of creativity in the full sense of ‘science’.

在接下来的章节中，玛格丽特、肯和约翰继续他们离开的地方:为什么计算机不能完全具有创造性——即使它们可以像“创造性的”人类一样想出旧材料的新组合?玛格丽特、肯和约翰继续探索“有创造力”的人类能做什么和计算机能做什么之间的异同:谁更擅长什么，为什么，以及对此可以做些什么。玛格丽特提醒他们，计算机现在所做的事情和将来某一天它们可能做的事情之间的差距是巨大的。为了响应来电者的催促，他们想知道人类创造性努力和计算机活动之间的相似结果是否能告诉我们这些结果是如何实现的相似性:创造力的本质是在产品中还是在推出产品的方式中?

在最后一部分中，肯、约翰和玛格丽特讨论了鼓励创造力的方法。许多有创造力的天才都是反社会的、不友好的、令人讨厌的人。有没有什么办法既能富有创造力又能让人愉快呢?玛格丽特提醒他们，创造性的想法很大程度上来自于将旧的想法以新的方式组合在一起，这意味着有创造力的人需要接触一些来自普通人的“旧”想法，这意味着他们需要与普通人进行一些体面的互动。玛格丽特、肯和约翰最后讨论了创造性天才的种类和要求，并重新审视了他们早期对新创意和真正有价值的创意的区别。

• Roving Philosophical Report(下午5点30分):朱莉·那不勒斯(Julie Napolin)冒险来到新媒体与艺术数字中心(Digital Center for New Media and Art)，这是伯克利的一个工程实验室，在这里，科学家和艺术家们将地球运动中微小的、感觉不到的变化转化为音乐。朱莉研究了科技、地球和人类创造力是如何结合起来形成美丽的艺术的。

• 60-Second Philosopher(seek to 49:40): Ian Shoales explores the divergent social responses to seemingly similar phenomena: forgery and plagiarism. The former often gets cut slack, the latter does not. Does this have to with the different creative requirements of these two activities?