Despite its strengths, Leech et al.'s model fails to address the important benefits that derive from self-explanation and task feedback in analogical reasoning development. These components encourage explicit, self-reflective processes that do not necessarily link to knowledge accretion. We wonder, therefore, what mechanisms can be included within a connectionist framework to model self-reflective involvement and its beneficial consequences.

This commentary questions the general assumptions concerning the cognitive value of analogical reasoning on which the argument developed by Leech et al. appears to rest. In order to better assess the findings of their meta-analysis, it shifts the perspective from development to evolution, and frames their concern within a broader issue.

Mind-wandering seems to be paradigmatically unintentional. However, experimental findings have yielded the paradoxical result that mind-wandering can also be intentional. In this paper, we first present the paradox of intentional mind-wandering and then explain intentional mind-wandering as the intentional omission to control one’s own thoughts. Finally, we present the surrealist method for artistic production to illustrate how intentional omission of control over thoughts can be deployed towards creative endeavors.

This paper calls into question the view typically attributed to Kant that aesthetic judgements are particularist, resisting all conceptual determination. Instead, it claims that Kant conceives of aesthetic judgements, particularly of art, as playing an important role in therevisionof concepts: one sense in which aesthetic judgements, as Kant defines them, ‘find a universal’ for a given particular. To understand the relation between artistic judgements and concepts requires that we consider what I call Kant’s diachronic account of aesthetic ideas, or how (...) such judgements unfold in the course of communication and reflection. My reading draws Kant much closer to debates in the philosophy of art on the semantic dimension of artworks. Here, illuminating the way in which aesthetic judgements about art can play a role in conceptual revision allows us to make sense of the way in which modern artworks contest concepts rather than merely presenting or expressing them. (shrink)

This article examines ways in which dancers, dancing and choreography came to embody ideas of American identity and power after the Second World War. It does this through a study of the work of ballet choreographer George Balanchine. I focus on an analysis of one particular ballet, The Four Temperaments(1946), which proved to be a defining work in Balanchine's career. Balanchine arrived in New York from Europe in 1934 and spent the next decade as an itinerant choreographer whose ballets were (...) viewed as part of a decadent Franco-Russian tradition. However, after the close of the war, Balanchine's reputation underwent an enormous shift. He came to be considered the creator of an American balletic style and was hailed by many as the country's greatest choreographer. Balanchine's rise coincided with America's assumption of world leadership and the development of the Cold War. I show how a combination of writing and dancing produced Balanchine's choreography, his dancers and, indeed, Balanchine himself, as the embodiment of uniquely American attributes. I argue that this corporeal politics helped meet American ideological goals at home and abroad. (shrink)

(1996). Photomechanical tendencies in Giorgio de Chirico's Melancholy vision. The European Legacy: Vol. 1, Fourth International Conference of the International Society for the Study of European Ideas, pp. 1310-1315.

Leech et al.'s model proposes representing relations as primed transformations rather than as structured representations (explicit representations of relations and their roles dynamically bound to fillers). However, this renders the model unable to explain several developmental trends (including relational integration and all changes not attributable to growth in relational knowledge). We suggest looking to an alternative computational model that learns structured representations from examples.

Can we fruitfully apply creative ecology practices in the world of industrial production? Enter the crealectic method for innovation and self-innovation, aiming at fostering creative long-term thinking and acting. The crealectic method proposes five steps: Step 1—Resetting (doing tabula rasa); Step 2—Crealing (reconnecting with the “Creal”); Step 3—Profusing (letting ideas pour out without censorship); Step 4—Compossibilizing (connecting compatible ideas); Step 5—Realizing (understanding and making real). I describe a pilot test of the method within the Research and Development unit of Vattenfall, (...) a Swedish power company dedicated to fossil-free energy production. (shrink)

This is the study of the creative potential of mediumship. It emphasizes a neglected and under-conceptualized form of creativity in the realm of personality development. Examples include the cases of mediums Pearl Curran, Hélѐne Smith, and Matthew Manning. Artists with mediumistic propensities are stressed, such as Keats, Rimbaud, Blake, Yeats, and James Merrill. There is discussion of Myers' theory of genius and how this bears on the concept of personal transformation. Myers' theory is used to shed light on Surrealism, outsider (...) art, and the lives of Socrates and Joan of Arc. All this is comprehended under the Keatsian rubric of "soulmaking." Keywords: mediumship--creativity--multiplicity. (shrink)

The final conception of my music marvel is to create a binary musical community center with auditorium and rooms for music therapy/school purposes but also creating a space for urban “flaneur” the wanderer of the city that can visit accidently and still have memorable experiences through seasonal exhibitions and pop up shows. The space will be divided into active and passive spaces, in which the active space will consist of an auditorium and acoustics insulated rooms for musical activities, and the (...) passive space with an amphitheater in an open space with possibilities to enclose or create exhibitions through ephemeral structures such as scaffolding. The two spaces will be “divided” through a sphere roof structure creating a “surreal” different experience both from the outside and in the inside. The dome will also help with the passive climate system making the center more sustainable. Although defined, the active spaces also can be flexible as they will have modular adaptable structures that can become the desired size. “Form does not follow function. Function follows vision. Vision follows reality.” As Huizinga states in his book Homo Ludens, it is essential for humanity to maintain the play element for the development of society. As a result, the Music Marvel initiative may benefit society by adding a layer of that playfulness to the urban environment. More than just playfulness, it will be a place where music will be boosted to reach the guests’ unconscious thoughts and assist them escape the stresses of everyday life. The structure will serve both as cultural hub and an artifact, with the goal of assisting in qualifying the city by inspiring discussions that go beyond the architecture but as a vehicle and instrument for change. A mental curating center through music. (shrink)