Several works published in the last decades defend the claim that the concept of creativity should be demystified. With the aim of showing that creativity is not an obscure power owned by only few individuals and free from constraints, authors working at the intersection field between philosophy and cognitive science have notably focused on the structure and evolution of cognitive mechanisms underlying our creative capacities. While taking up the suggestion that we should try not to mystify creativity, this article argues (...) that what is required for such demystification is primarily a transcendental and phenomenological inquiry. Kant’s and Merleau-Ponty’s works are here discussed in order to develop such a transcendental inquiry into creativity. Both Kant and Merleau-Ponty bring to the fore the conditions of possibility for creative acts, and highlight fundamental role of creativity itself in the formation of meaningfulness. The keystone of both philosophers’ inquiries is the emphasis on the interdependence between creativity and rules. Yet, due to the different approaches to the transcendental, Kant’s and Merleau-Ponty’s accounts do not fully converge, but should rather be considered as complementary. (shrink)

A critique of algorithmic rationalisation offers at best some initial reasons and preliminary ideas. Critique is understood as a reflection on validity. It is limited to an “epistemological investigation” of the limits of the calculable or of what appears “knowable” in the mode of the algorithmic. The argumentation aims at the mathematical foundations of computer science and goes back to the so-called “foundational crisis of mathematics” at the beginning of the 20th century with the attempt to formalise concepts such as (...) calculability, decidability and provability. The Gödel theorems and Turing’s halting problem prove to be essential for any critical approach to “algorithmic rationalisation”. Both, however, do not provide unambiguous results, at best they run towards what later became known as “Gödel’s disjunction”. The chosen path here, however, suggests the opposite way, insofar as, on the one hand, the topos of creativity appear constitutive for what can be regarded as cognitive “algorithmic rationalisation” and which encounters systematic difficulties in the evaluation of non-trivial results. On the other hand, the investigations lead to a comparison between the “mediality” of formally generated structures, which have to distinguish between object-and metalanguages, and the “volatile” differentiality of human thought, which calls for syntactically non-simulatable sense structures. (shrink)