During the idea generation phase of the design process, designers often search for inspirations in external sources of information, such as photographs, written descriptions and physical examples. These sources have potential to enhance creative performance. However, they sometimes become too attached to particular ideas of external precedents or various examples. It refers to fixation which is identified as inadequate adoption of features from existing examples. Influence of the existing examples on creativity and fixation, specifically textual examples, have been discussed in (...) this research. -/- For the nature of design, researchers highlighted the restructuring process of design problem by new sources because the capabilities and boundaries of design problems are not defined very well. Further, the design problem is not knowable at any specific point. Design knowledge identifies itself by its ambiguity. Many models have been developed for design process. The various numbers of divided phases of the models can be seen as having two main areas: (1) idea generation phase (or “ideation”); (2) later phase for details. Idea generation plays an important role in the design process. It is the area of new and creative configurations on design. -/- Creativity is an integral part of the design process. Designers purpose to achieve original ideas to demonstrate their ability and unique designs. External stimuli or inspirational inputs play important roles to increase creativity. They can support moments of stimulation. Associations between information from memory and external stimuli can contribute to the creation of new meanings. Designers are widely influenced by their surroundings in daily lives. However, each stimulus may not be the part of a more creative result Even if designers want to utilize stimulus as an inspirational source, somehow it may fixate their mind to its surface features and they may lose potential creative contributions of the source. It is called fixation. There is much research that shows significant evidence of conformity effects across the design problems. -/- The given examples to designers may cause higher-level fixation and lower-level creativity or vice versa. Fixation may occur when example solutions are introduced, on the other hand, the designers may create more original ideas as well. There is a need for research to find ways to avoid fixation traps or reduce their adverse impact. Thus, this research focuses on variables of the given example. -/- The following claims show some research areas remained unclear: (1) Some researchers investigated textual examples as - one of the modalities of representation - but did not focus on forms of textual examples. (2) Much research has been conducted with examples which are selected by the researcher. Nevertheless, designers can also choose or produce their own stimuli. There is not much research on this possibility. In this context, my research focuses on the following two variables through two studies (Study 1 and 2): (1) forms of textual examples; (2) self-construction of textual examples. First, most of the studies in the literature have focused on visual presentation and there is not enough research on the content and form of the text. The study of textual examples has still not been awarded enough attention especially as various forms of text. Some forms of text are as follows: keyword, paragraph, sentence, poem. These observations lead me to the following research question: Which forms of textual example increase creativity and reduce fixation more? (Study 1). -/- Second, most of the studies regarding textual examples have used prose or keywords. The poems have been ignored. However, poems imply more meaning with fewer words. The structure of the poems enables more creative narratives than structure of prose. Because unusual organization of words stimulates the readers and draws their attention. This activates the creative performance of the reader. The surrealist poem is the extreme form of this activation. It is random assemblies with headlines and sentences which is cut from newspapers. Thus, novel meaning networks are formed. The method of creating a surrealist poem offers a new way of getting inspiration. It is termed as self-construction practice by this research. Through this method, designers create their own example from the given one. Reconstruction of the text may increase the creative process and prevent fixations from the given text. This suggestion led me to the following research question: If the designers write their own poem instead of a given poem (as a self-construction practice), can they internalize the textual example? In addition, does it produce more creative and less fixated designs? (Study 2). Two experimental studies were planned to partially answer the research questions, in which novice students of architecture were asked to solve two different design problems, under different conditions. All of the experimental sessions were conducted in a design education studio. The participants produced sketches and added a written explanation relating to their designs. Fluency, flexibility and repetition of key attributes were calculated by the researcher. -/- Originality, practicality, understanding of the task and quality were ranked by judges. Study 1 shows us tendencies of using various textual forms. Distinctions of keywords and of poems have appeared among them. This emphasizes the role of keyword and poem in the design process as inspirational sources and provides many tips for their potential use. The keyword also leads to a high degree of fixation. However, a low degree of fixation is observed when poems are presented as inspirational examples. -/- In Study 2, the self-constructed poem seems to support develop more successful design ideas from many perspectives. In the context of the surrealist poem, writing and reading the surrealist poem trigger the designers’ imagination. At first, the words and lines of poems seem unrelated to each other and designers try to relate them and solve the puzzle of meaning. Hence, novel meaning networks are formed. It indicates that surrealist poems are able to activate the creative performance of the designers. Writing their own surrealist poems ,as a self-construction practice, motivated designers to begin to produce by having fun. Motivated designers have stimulated themselves to produce creative ideas. In other words, the self-construction process may be added to the design process models in the earlier part of the idea generation phase which is called as pre-design and warm-up phase. This earlier phase makes designers highly motivated and they internalized the given examples. -/- Following the conclusions, several implications and recommendations for the design process and education are discussed. (shrink)

A serendipitious event in everyday life is common: it means unexpected information that yields some unintended information and potential value later on. Serendipity as a word has been around for hundreds of years. As a studied concept it is rather recent. Serendipity is not just the unexpected information or experience but rather the ability to recognize and do something with it. Serendipitious discovery of information is different from purposive or known item search as it is more complicated and lasts much (...) longer. The discovery of information by chance or accident is still looking it’s explicit place in models and frameworks of information behaviour. It is still not clear what constitutes the core of the research area of serendipity in information behaviour. The qualities of interaction among people, information, and objects differ in physical vs. digital environments. The bisociation, a creative association between different peaces of information may be computer supported. This article presents an overview of the research study of serendipity in information seeking behaviour. We explore serendipity mainly in the digital information environment. As a setting for our study we use six main drivers of serendipity research relating to digital enviroments presented in McCay-Peet and Toms (2017). The drivers are: 1. Theoretical understanding of the phenomena of serendipity, 2) physical vs digital, 3) information overload, 4) filter bubbles, 5) user experience, and 6) user strategies. A new refined temporal model of information encountering by Erdelez and Makri (2020) is also presented in this article. The model presents a framework for better understanding of the temporal dimension of the information acqusition. At a macro level the model positions information encountering within contextual factors related for user, information, task and environment related characteristics. (shrink)

(1) An introduction to the principles of conceptual modelling, combinatorial heuristics and epistemological history; (2) the examination of a number of perennial epistemological-methodological schemata: conceptual spaces and blending theory; ars inveniendi and ars demonstrandi; the two modes of analysis and synthesis and their relationship to ars inveniendi; taxonomies and typologies as two fundamental epistemic structures; extended cognition, cognitio symbolica and model-based reasoning; (3) Plato’s notions of conceptual spaces, conceptual blending and hypothetical-analogical models (paradeigmata); (4) Ramon Llull’s concept analysis and combinatoric (...) spaces; (5) Gottfried Leibniz’s development of compositional analysis and synthesis as a general modelling method and a paradigm for ars inveniendi; (6) Fritz Zwicky’s revival of the morphological method of analysis and construction, and its subsequent computerised applications. (shrink)

In this article we confront the ineffability of music to seek out a tenable conception of profound depths being plumbed in many such works. We take our initial bearings from the writings of the late Peter Kivy, who was a musically trained thinker and tackled the subject no less than four times. Our main interest lies in his outright dismissal of the idea. However, the scaffolding of his arguments reveals that he privileges the discursive metier without any evidence in his (...) support. Hence the bulk of the article is devoted to an analysis of the criteria relevant to this form of experience and to the construction of a more tenable perspective. It will be shown that the issue of profundity in music cannot be segregated from the implications of our reactions and responses to literature and, by extension, to the arts as a whole. (shrink)

This entry provides a substantive overview of research and debates concerning creativity in philosophy and related fields. Topics covered include definitions of creativity, whether creativity can be learned, whether it can be explained, attempts to explain creativity in cognitive science, and whether computer programs or AI systems can be creative.

The cognitive sciences tell us that the self is a construct. The visual arts illustrate this fact. Mathematics give it full expression, abstracting the self to a Grothendieck site. This self is a haecceity, an ephemeral this-ness and now-ness. We make up our minds and our histories. That our acts are public, that they communicate effectively, becomes a dialetheic paradox, a deep paradox for our times.

This essay, published originally in 2002, is reprinted in “Contextualism—The Next Generation: Symposium on the Future of a Methodology,” because of its impact on the thinking that informs and has led to this new symposium. Burke's argument is that the term context has become “an intellectual slogan or shibboleth” and that “there is a price to pay” for its “more and more frequent use... in a number of disciplines—among them, anthropology, archaeology, art history, geography, intellectual history, law, linguistics, literary criticism, (...) philosophy, politics, psychology, sociology, and theology.” A brief history of the uses of the term and its cognates in these disciplines is provided, along with an examination of “recent interest in the phenomenology of recontextualism or ‘reframing,’” which “depends on agency, creativity, and the power to adapt” and which, indeed, almost defines what is meant by “originality, innovation, invention, or creativity.” The essay concludes that context ought to be used mainly in the plural to indicate that no topic is properly interpretable in any single framework. (shrink)

: Creativity, mostly ignored in Western philosophy due to its supposed mysteriousness, has recently become a respected research topic in psychology, neuroscience, and artificial intelligence. We discuss how in science the approach has mainly been to describe creativity as an information-based process, coherently with a computational view of the human mind started with the cognitive revolution. This view has produced progressively convincing models of creativity, up to current artificial neural network systems, vaguely inspired by biological neural processing, but already competing (...) with human creativity in several fields. These successes suggest that creativity might not be an exclusively human function, but actually a way of functioning of any natural or artificial system implementing the creative process. We conclude by acknowledging that the information-based view of creativity has tremendous explanatory and generative power, but we propose a thought experiment to start discussing how it actually leaves out the experiential side of being creative. Keywords: Creative Cognition; Cognitive Neuroscience; Computational Creativity; Generative Algorithms; Cognitive Science La creatività come processo basato sull’informazione Riassunto: La creatività, spesso ignorata dalla filosofia occidentale per la sua presunta oscurità, in tempi recenti è diventata un rispettabile oggetto di ricerca per la psicologia, la neuroscienza e l’intelligenza artificiale. Vogliamo illustrare il modo in cui lo sguardo scientifico sia rivolto prevalentemente a considerare la creatività come processo information-based, coerentemente con la prospettiva computazionale sulla mente umana aperta dalla rivoluzione cognitiva. Questa prospettiva ha prodotto modelli della creatività sempre più convincenti, fino agli attuali sistemi di reti neurali artificiali, vagamente inspirati al processamento biologico neurale, ma già competitivi rispetto alla creatività umana in molti ambiti. Questi successi suggeriscono che la creatività possa non essere una funzione esclusivamente umana ma in effetti un modo di funzionare di un sistema naturale o artificiale capace di implementare il processo creativo. In conclusione, pur riconoscendo come il considerare la creatività come processo information-based possieda grande potere esplicativo e generativo, proporremo un esperimento mentale per aprire una discussione sul come questa prospettiva non copra in effetti il lato esperienziale dell’essere creativo. Parole chiave: Cognizione creativa; Neuroscienza cognitiva; Creatività computazionale; Algoritmi generativi; Scienza cognitiva. (shrink)

This paper explores some aspects of the scientific study of creativity by focusing on intentional attempts to create instances of linguistic humour. We argue that this sort of creativity can be accounted for within an influential cognitive approach but that said framework is not a recipe for producing novel instances of humour and may even preclude them. We start by identifying three great puzzles that arise when trying to pin down the core traits of creativity, and some of the ways (...) taken by Cognitive Studies in this quest. We then consider what we call 'creative humour', which exhibits the core features of the aforesaid creativity. We then explore how a key cognitive approach to human communication can account for creative humour. We end by drawing lessons and highlighting limitations to cognitive approaches to creativity. (shrink)

In this article, I explore the music-in-becoming as a dialogue. The thesis of my inquiry is that during musical composition, the composer’s listening is marked by both activeness and receptiveness; actively structuring the sounding work, and receptively letting the work express itself as it takes its form. Composer and work merge in sudden moments of attunement, the sensation of coherence between the so-fare completed and the anticipation of the as-of-yet unformed work. Composition is all about balancing writing as a handicraft (...) with those rare, unexpected moments of attunement. I discuss the emerging work’s invitational character and the fact that during composition, the piece seems to request the composer’s attention. The audibility of the work’s voice depends on the composer’s ability to listen. Finally, the methodological considerations concerning sonic-artistic research show that researching sonic experiences requires competencies of being attentive, responsive, and reflective. Attentiveness is related to thorough listening experiences of the emerging music, responsiveness appears as a vital skill in a composer’s dialoguing with the music-in-becoming, and reflectiveness is associated with empirically documenting the processes. At the heart of this sonic research project, I place my lived experience of composing and the intimate relation between sound and listening. (shrink)

The aim is to examine the multiple meanings of creativity in creative economy. The meanings which reinforce the individual aspect stress that personal characteristics may unlock the wealth that lies within people. The definitions that reinforce the organizational and social aspects understand creativity as a process, which requires knowledge, networks, and technologies that interconnect novel ideas and contexts. The perspectives which reinforce the political aspect see that creativity took the status of a doctrine to secure collaboration between government and industry. (...) However, these notions of creativity stress its instrumental utility and undermine fantasy, play, or uselessness. (shrink)

The main purpose of this dissertation is to examine critically and discuss the role of imagination in science and religion, with particular emphasis on its possible epistemic, creative, and meaning-making functions. In order to answer my research questions, I apply theories and concepts from contemporary philosophy of mind on scientific and religious practices. This framework allows me to explore the mental state of imagination, not as an isolated phenomenon but, rather, as one of many mental states that co-exist and interplay (...) in our cogntive architecture. Based on the philosophical discourse of philosophy of mind, four types of imagination are indentified and conceptualized: sensory, propositional, experiential, and creative imagination. These categories are then employed on five phenomena that can be found in scientific and religious environments: metaphors, models, thought experiments, aspect perception, and - in the religious case - rituals. In relation to the concept of religious "seeing" I consider how imaginings may influence visionary experiences and visualization, and compare these phenomena with cases of scientific visualization and eureka experiences. In regard to scientific and religious models, a distinction is made between, on the one hand, two notions of truth and, on the other hand, truth-independent meaning-making. In light of these categories, I differentiate between, and critically discuss, the use of imagination in doxastic, non-doxastic and fictionalist accounts. In light of this investigation, I formulate and defend the position of interactivism, which acknowledges a constant interplay between different attitudes and mental states. In my examination of rituals and scientific and religious thought experiments, special attention is given to the mental capacity to recreate the experiences that are entailed in an imagined scenario. At the end of the investigation, I consider the possible impact that my study might have on how we view science and religion as well as the dialogue bewteen these two fields. (shrink)

Este trabajo examina algunos de los valores epistémicos que la metáfora adquiere en el discurso científico, así como la importancia que esta estrategia cognitiva asume dentro de cualquier programa de investigación que defienda el privilegio epistemológico de la ciencia moderna.

There is an emerging consensus that we are experiencing radical change in the way that science is organized and performed. Frequently described as a shift from Mode 1 to Mode 2, this view emphasizes application, transdisciplinarity, collaboration, and accountability. This article examines the ways in which U.K. public sector scientists make sense of scientific endeavor. The data reveal that the extent to which science is being constructed varied both across and between institutions. Data highlight how individual scientists weave their own (...) paths through the changing discourses of science, constructing new understandings that do not fit neatly into any binary framework for understanding. (shrink)

Invention is an important source of technology, and, to understand invention, one needs a model system or prototype. A candidate model system is the hand tool. Using the hand tool as an example, the authors present a systematic approach to invention, dealing with description, classification, and joining or integrating simpler forms. Heuristics for when to integrate are presented. Finally, the authors introduce a new way of thinking about hand tools: simple spatial transformations applied to an abstract element make possible the (...) re-creation of a large number of tools. (shrink)

The book is addressed to all readers interested in cognitive science, and especially in research combining a logical analysis with psychological, linguistic and neurobiological approaches. The publication is the result of a collaboration between the Department of Cognitive Science at University of Lodz and the Department of Cognitive Science at Lund University. It is intended to provide a comprehensive presentation of the key research issues undertaken in both Departments, including considerations on meaning, natural language and reasoning, linguistic as well as (...) numerical competence, the theory of decision making, modelling of conceptual representations, cognitive and game theoretic approach to social interactions. (shrink)

Abstract‘Serendipity’ is a category used to describe discoveries in science that occur at the intersection of chance and wisdom. In this paper, I argue for understanding serendipity in science as an emergent property of scientific discovery, describing an oblique relationship between the outcome of a discovery process and the intentions that drove it forward. The recognition of serendipity is correlated with an acknowledgment of the limits of expectations about potential sources of knowledge. I provide an analysis of serendipity in science (...) as a defense of this definition and its implications, drawing from theoretical and empirical research on experiences of serendipity as they occur in science and elsewhere. I focus on three interrelated features of serendipity in science. First, there are variations of serendipity. The process of serendipitous discovery can be complex. Second, a valuable outcome must be obtained before reflection upon the significance of the unexpected observation or event in respect to that outcome can take place. Therefore, serendipity is retrospectively categorized. Third, the primacy of epistemic expectations is elucidated. Finally, I place this analysis within discussions in philosophy of science regarding the impact of interpersonal competition upon the number and significance of scientific discoveries. Thus, the analysis of serendipity offered in this paper contributes to discussions about the social-epistemological aspects of scientific discovery and has normative implications for the structure of epistemically effective scientific communities. (shrink)

This essay revisits the topic of how we should measure the things that matter, at a time when we continue to mismeasure our lives, as we hold fast to outworn myths of usefulness, popularity, and the desire to influence others. /// Three central, unquestioned presumptions have come to govern much of contemporary society, education, and the professions. They are: the high value placed on usefulness, on the passion to achieve popularity, and on the desire to influence others. In this essay, (...) the psychologist-philosopher author makes the case against these presumptions, presumptions which lead to exclusionary commitments that stand in the way of human cultural development. (shrink)

We are living in an increasingly complex world. How are we able to cope with this complexity and the difficulties that arise from it? Can philosophy and art, classified as the two utmost useless and pointless disciplines, have any (positive) influence on the urgent and pressing problems at hand? And, related to this, if the two have more than just their uselessness in common, how, then, are philosophy and art related? In this article, I will argue that although ‘useless’ disciplines (...) such as philosophy and art have no direct influence on our complex world, they are nonetheless the most important ones, because those working within them practice their insights in an indirect way. Indirect influence may take a little longer, but the impact is much stronger, affecting our thinking and our attitudes from within, as it were. This indirect approach has everything to do with the sort of questions philosophers and artists occupy themselves with. I will show how both address, albeit each in their own way, fundamental questions, and thereby make use of thought experiments. Intuition and imagination play a decisive part in the creative processes that are involved in thought experiments and thinking. It is argued that we all are able to learn a ‘delayed unconscious thinking’ that leads to an artistic attitude; one that will activate an artistic turn. (shrink)

Violence turns hope and expectation into guilt and shame. This publication discusses the outcome of a philosophical and artistic investigation into complex patterns of behaviour. Negative connotations and positive aspects of guilt and shame are connected convincingly to the artistic process which is used by the artist to produce new work. As a consequence, a different light is shed on the concepts of guilt and shame. The author shows in an intriguing way how adapting an artistic attitude can help us (...) think in a more peaceful and independent manner. Over Schuld en Schaamte (On Guilt and Shame) thus offers a new surprising insight how violence can be transformed into hope and more rewarding practices. (shrink)

Speakers of jokes are aware of the human cognitively rooted relevance-seeking inferential procedure and predict the interlocutor’s steps leading to a valid interpretation of the utterance in the joke. Specifically, speakers can predict the accessibility to certain information which builds up a proper scenario for understanding the joke, the inferential steps taken to turn the words uttered into contextualized meaningful propositions, and the awareness of cultural stereotypes regarding professions, nationalities, connoted places, sex roles, etc.. This inferred information is exploited to (...) generate humorous effects. In previous research, the Intersecting Circles Model was proposed. It comprises seven types of jokes depending on whether the joke only relies on one of or on combinations of them, which entails analyzing the extent to which play or do not play a role in the generation of humorous effects. In this paper, 1000 jokes are analyzed and fitted into a type or combinations of. Several interesting humor-generating patterns are also isolated inside the seven preliminary joke types covered by the Model. (shrink)

Finding things funny is a pervasive aspect of human mental and social life, but humor has been neglected in the philosophy of mind and cognitive science. Recently, however, there has been a swell of interest in the topic. This essay critically introduces and evaluates contemporary developments in the field, and generates an associated list of questions that a successful theory of humor should be able to answer.

This article focuses on the social structure of domestic cat colonies, and on the various ways these are represented in ethological literature. Our analysis begins with detailed accounts of different forms of cat societies from the works of Leyhausen, Tabor, and Alger and Alger, and then puts these descriptions into a broader epistemological perspective. The analysis is inspired by the bi-constructivist approach to ethological studies formulated by Lestel, which highlights the position of the ethologist in the constitution of particular animal (...) activities. We propose a third layer should be added to post hoc analyses of ethological enterprises: i.e., the ontological commitments shaping the conceptual framework of a given research. It is through these commitments we find a hierarchical structure in a caged colony of cats, different territorial patterns in the case of urban cats, and egalitarian friendly bonds within the society of a cat shelter. Our critical tri-constructivist approach can be utilized for contemporary biosemiotics as it is centered on a multi-level process of interpretation. (shrink)

_An exploration of philosophical and religious ideas about humor in modern philosophy and their secular implications._.

This paper surveys historical and recent philosophical discussions of the relations between imagination and creativity. In the first two sections, it covers two insufficiently studied analyses of the creative imagination, that of Kant and Sartre, respectively. The next section discusses imagination and its role in scientific discovery, with particular emphasis on the writings of Michael Polanyi, and on thought experiments and experimental design. The final section offers a brief discussion of some very recent work done on conceptual relations between imagination (...) and creativity. (shrink)

Disgust, the emotion of rotting carcasses and slimy animalitos, finds itself at the center of several critical questions about human culture and cognition. This article summarizes recent developments, identify active points of debate, and provide an account of where the field is heading next.

In this article, I reply to a critical notice of my book, Meaning in Life: An Analytic Study, that Stephen Kershnar has published elsewhere in this issue of Science, Religion & Culture. Beyond expounding the central conclusions of the book, Kershnar advances two major criticisms of it, namely, first, that I did not provide enough evidence that meaning in life is a genuine value-theoretic category as something distinct from and competing with, say, objective well-being, and, second, that, even if there (...) were a value of meaning in life, my fundamentality theory of it would not capture it well. Here I respond to both of these criticisms, aiming to probe these underexplored issues still more deeply. I also contend that these two criticisms are in tension with each other; in order to contend that my theory of meaning is incorrect, Kershnar must draw on intuitions about the existence of meaning that undercut his suggestion that there is no such thing. (shrink)

The aims of this study were to present themes in nursing motifs as depicted in tattoos and to describe how it reflects upon nursing in popular culture as well as within professional nursing culture. An archival and cross‐sectional observational study was conducted online to search for images of nursing tattoos that were freely available, by utilizing the netnographic methodology. The 400 images were analyzed in a process that consisted of four analytical steps focusing on metaphors and meanings in the tattoos. (...) The findings present four themes: angels of mercy and domination; hegemonic nursing technology; embodying the corps; and nurses within the belly of the monster. The tattoos serve as a mirror of popular culture and the professional culture of nurses and nursing practice within the context of body art. Body art policy statements have been included in nursing personnel dress code policies. Usually these policies prohibit tattoos that are sexist, symbolize sex or could contribute and reproduce racial oppression. The results show that the tattoos can be interpreted according to several layers of meanings in relation to such policies. We therefore stress that this is an area highly relevant for further analyses in nursing research. (shrink)

Work on analogy has been done from a number of disciplinary perspectives throughout the history of Western thought. This work is a multidisciplinary guide to theorizing about analogy. It contains 1,406 references, primarily to journal articles and monographs, and primarily to English language material. classical through to contemporary sources are included. The work is classified into eight different sections (with a number of subsections). A brief introduction to each section is provided. Keywords and key expressions of importance to research on (...) analogy are discussed in the introductory material. Electronic resources for conducting research on analogy are listed as well. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized by two (...) stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

Conceptual integration—“blending”—is a general cognitive operation on a par with analogy, recursion, mental modeling, conceptual categorization, and framing. It serves a variety of cognitive purposes. It is dynamic, supple, and active in the moment of thinking. It yields products that frequently become entrenched in conceptual structure and grammar, and it often performs new work on its previously entrenched products as inputs. Blending is easy to detect in spectacular cases but it is for the most part a routine, workaday process that (...) escapes detection except on technical analysis. It is not reserved for special purposes, and is not costly.In blending, structure from input mental spaces is projected to a separate, “blended” mental space. The projection is selective. Through completion and elaboration, the blend develops structure not provided by the inputs. Inferences, arguments, and ideas developed in the blend can have effect in cognition, leading us to modify the initial inputs and to change our view of the corresponding situations.Blending operates according to a set of uniform structural and dynamic principles. It additionally observes a set of optimality principles. (shrink)

Bissell offers a new interpretation and clarification of Rand's definition of art, maintaining that an artwork, like language, functions as a "tool of cognition," and that it does so more specifically as a special kind of microcosm which presents an imaginary world. In particular, he argues that architecture and music are aesthetic microcosms and tools of cognition that re-create reality and embody fundamental abstractions and, thus, contrary to assertions by certain Objectivist writers, are forms of art consistent with Rand's definition (...) and concept. (shrink)

According to David Chalmers, the hard problem of consciousness consists of explaining how and why qualitative experience arises from physical states. Moreover, Chalmers argues that materialist and reductive explanations of mentality are incapable of addressing the hard problem. In this chapter, I suggest that Chalmers’ hard problem can be usefully distinguished into a ‘how question’ and ‘why question,’ and I argue that evolutionary biology has the resources to address the question of why qualitative experience arises from brain states. From this (...) perspective, I discuss the different kinds of evolutionary explanations (e.g., adaptationist, exaptationist, spandrel) that can explain the origins of the qualitative aspects of various conscious states. This argument is intended to clarify which parts of Chalmers’ hard problem are amenable to scientific analysis. (shrink)

(1997). The topological inventions of life: From the specialization of multicellular colonies to the functioning of the vertebrate brain. World Futures: Vol. 50, No. 1-4, pp. 617-631.

Professor Rahn takes the approach to the analysis of Western art music developed recently by theorists such as Benjamin Boretz and extends it to address non-Western forms. In the process, he rejects recent ethnomusicological formulations based on mentalism, cultural determinism, and the psychology of perception as potentially fruitful bases for analysing music in general. Instead he stresses the desirability of formulating a theory to deal with all music, rather than merely Western forms, and emphasizes the need to evaluate an analysis (...) and compare it with other interpretations, and demonstrates how this may be done. The theoretical concepts which form the basis of Rahn's approach are discussed and applied: first to individual pieces of non-Western music which have enjoyed a fairly high profile in ethnomusicological literature, and second to repertoires or groups of pieces. The author also discusses the fields of anthropology and psychology, showing how his approach serves as a starting point for studies of perception and the concepts, norms, and values found in specific music cultures. In conclusion, he lists what he considers to be musical universals and takes up the more controversial issues implicit in his discussion. (shrink)

Humor is a surprisingly understudied topic in philosophy. However, there has been a flurry of interest in the subject over the past few decades. This article outlines the major theories of humor. It argues for the need for more publications on humor by philosophers. More specifically, it suggests that humor may not be a well-understood phenomenon by questioning a widespread consensus in recent publications – namely, that humor can be detached from laughter. It is argued that this consensus relies on (...) a cognitivist account of emotion, one that is open to debate, and that it becomes unclear what sorts of phenomena a theory of humor is supposed to explain when one questions this assumption. (shrink)