An analysis of the value of community vitality as it figures into the Royal Government of Bhutan's policy of Gross National Happiness.

An analysis of the nature of good governance as it figures into the Royal Government of Bhutan's policy of Gross National Happiness.

Csikszentmihalyi (1999: 314) argues that 'creativity is a process that can be observed only at the intersection where individuals, domains, and fields intersect'. This article discusses the relationship between creativity and interdisciplinarity in science. It is specifically concerned with interdisciplinary collaboration, interrogating the processes that contribute to the collaborative creation of original ideas and the practices that enable creative integration of diverse domains. It draws on results from a novel real-world experiment in which small interdisciplinary groups of graduate students were (...) tasked with producing an innovative scientific research problem and an integrative research proposal. Results show that while bisociative thinking assists in the creation of original research problems, both disciplinary skills and an interdisciplinary disposition are core to the integration of creative research proposals. Extrapolating from the results of this experiment, the article discusses the feasibility of preparing students for such work and the implications for universities and other intellectual centers. (shrink)

Counselors ask their clients to become creative in their personal lives and within their counseling process. The process of counseling is a creative process. Growth is necessary for effective improvement in the counseling process. This paper will examine creativity from the point of view of the affective experience of the creator, and the relationship of this experience to the client in counseling. The position here is that the process of counseling is both a creative process and one that involves tensions (...) and turbulence. Based on a model of nonlinear dynamics, and ideas about the creative process, this study draws a dynamical fractal movie of the counseling process in which the counselor serves as an attractor for the construction of opposites in the client behavior that allow for growth and the construction of a new state of psychosocial events. (shrink)

This essay is divided into two parts, deeply intermingled. Part I examines not only the origin of conscious experience but also how it is possible to ask of our own consciousness how it came to be. Part II examines the origin of experience itself, which soon reveals itself as the ontological question of Being. The chief premise of Part I is that symbolic communion and the categorizations of language have enabled human organisms to distinguish between themselves as actually existing entities (...) and their own immediate experience of themselves and their world. This enables them to reflect upon abstract concepts, including “self,” “experience,” and “world.” Symbolic communication and conceptualization grow out of identification, the act of first observing conscious experiencing and intimating what it is like, mimesis, a gestural protolanguage learned through imitation, and reflection, seeing oneself through the eyes of others. The step into actual intentional speech is made through self-assertion, narrative, and intersubjectivity. These three become the spiral of human cultural development that includes not only the adaptive satisfaction of our biological needs, but also the creativity of thought. With the mental-conceptual separation of subject and object – of self and world – the human ability to witness the universe (and each other) is the ground of our genuinely human quality. Consciousness gives human life its distinctively human reality. It is, therefore, one and the same ability that enables us to shape planet Earth by means of conceptual representations (rather than by means of our hands alone) while also awakening us to the significance of being. -/- Looking beyond human self-consciousness to investigate the origin and nature of awareness itself in Part 2, reductive objective materialism is found to be of little use. Direct experience also falls short in that, in order to be transformed into objective knowledge about itself, it must always be interpreted through and limited by the symbolic contexts of culture and the idiosyncratic conceptualizations of the individual. Awareness-in-itself must thus be considered ultimately unexplainable, but this may more indicate its inexpressible transcendence of all symbolic qualifiers than its nonexistence. It is suggested that awareness is not “self-aware” (as in deity) but is instead unknowing yet identical with the only true universal: the impetus of creative unfolding. Our human knowledge, as an expression of this unfolding, is seen to emerge from our conscious experiencing and, in turn, to have the power – and enormous responsibility – of directing that experience. Our underlying symbolic worldviews are found to be autopoietic: They limit or open our conscious experience, which, in turn, confirms those worldview expectations. As we explore a future of unforeseeable technological breakthroughs on an ailing planet who patiently copes with our “success,” truly vital decisions about the nature, meaning, extent, and future of conscious experience will have to be made. (shrink)

This article examines the ethnographic case study in education in the context of policy making with particular emphasis on the practice of research and policy making. The central claim of the article is that it is impossible to establish a transcendental epistemology of the case study on instrumental rationality. Instead it argues for the notion of situated judgement that needs to be made by practitioners in context, practitioners being both researchers and policy makers. In other words, questions about the level (...) of confidence or warrant that can be placed in different sorts of research evidence and findings cannot be answered independently of forming a view about the appropriateness of the policy culture that shapes political decision-making. The article draws a distinction between the general, which is internal to the data as construed by a particular discipline, and the universal, which is the result of embedded human deliberation. This applies to all research findings and not only to case study, although since case study has long had to defend itself against accusations of the lack of generality, it can be a useful starting point for the discussion. This article is not meant to be yet another defence of the case study research genre, although a summary of other defences is offered. Rather it focuses on how use of the case study points to the limits of epistemology as rationality and offers a view of epistemology as ethics. (shrink)

This article aims to deepen the understanding of courage through a theoretical analysis of classical philosophers’ work and a review of published and unpublished empirical research on courage in nursing. The authors sought answers to questions regarding how courage is understood from a philosophical viewpoint and how it is expressed in nursing actions. Four aspects were identified as relevant to a deeper understanding of courage in nursing practice: courage as an ontological concept, a moral virtue, a property of an ethical (...) act, and a creative capacity. The literature review shed light on the complexity of the concept of courage and revealed some lack of clarity in its use. Consequently, if courage is to be used consciously to influence nurses’ ethical actions it seems important to recognize its specific features. The results suggest it is imperative to foster courage among nurses and student nurses to prepare them for ethical, creative action and further the development of professional nursing practices. (shrink)

A general definition of consciousness that accommodates most views (Vimal, 2010b) is: “ ‘consciousness is a mental aspect of a system or a process, which is a conscious experience, a conscious function, or both depending on the context and particular bias (e.g. metaphysical assumptions)’, where experiences can be conscious experiences and/or non-conscious experiences and functions can be conscious functions and/or non-conscious functions that include qualities of objects. These are a posteriori definitions because they are based on observations and the categorization.” (...) Non-conscious experiences are equivalent to relevant proto-experiences and nonconscious functions are equivalent to related proto-functions at various levels as these terms are precursors of respective conscious subjective experiences and conscious functions aspect of consciousness. The non-conscious experiences and non-conscious functions may be considered as a part of the definition of mind and/or awareness. (shrink)

Everyday artistic creativity is downplayed in our schools, our lives, our culture. Yet here is an essential language of our lives, opening us to important ways of knowing, truth, beauty, and means for creative coping, as individuals and as cultures. Views of John Dewey and Suzanne Langer are each considered. A devaluation of artistic creativity may also reflect unacknowledged biases related to emotional "versus" intellectual knowing, gender stereotyping, science "versus" art, individualism "versus" interdependence, false stereotypes of creative "unhealth," and eminent (...) "versus" everyday creativity. Addressing these holds promise for our personal well-being and development, and our greater health as cultures. (shrink)

This paper examines the psychology of existential guilt with Martin Heidegger and Rollo May’s conceptualizations as the point of departure. The concept of existential guilt describes preconditions for responsibility and accountability in life choices and the relationship to the potential given in the life of a human. It might also be used as a starting point to examine an individual’s relationship to the potential offered in their life and life context and, in this way, the hitherto unlived life of an (...) individual. The following questions are discussed in contexts of identity development, perfectionism, and current cultural shifts in conceptualizations of selfhood: How can humans relate to the fact that only limited parts of who they might be can ever be actualized? Moreover, how can they relate to the fundamental ambiguity and “groundlessness” in the contexts of life where choices are made? There are striking parallels between the role of exploration in the Eriksonian approaches to healthy identity development and the ontological groundlessness that stands out as a premise for existential guilt. There are also parallels between identity fore-closure and normative identity styles and “falling” into das Man in the existential framework. Perfectionistic ideals easily become an objectivization – and closure – of possible alternatives and choices. In contemporary theories of constructions of selfhood, the dangers of alienation from the community on the one hand and escape into what might become totalitarian collectivism on the other is pointed out. The contextualization of personal responsibility offered through the concept of existential guilt might address both dangers. It provides a perspective on how personal responsibility is embedded in contexts of human relationships, relationships to nature, and the finitude, freedom, uncertainties, and suffering that is given through human existence. Existential guilt can wake sorrow and regret over opportunities overlooked and lost. However, most of all, it can be seen as a drive toward repair in the relationship toward both oneself and the other. It takes the form of receptivity, an openness to a life not yet lived, and creative use of imagination. (shrink)

his essay explores the universal nature of aesthetic, creative, and mystical experience, tracing some essential interrelations among the three. Enlarging upon the work of anthropologist Jacques Maquet, I speculate that “sensory fixedness” is both necessary and sufficient to achieve aesthetic experience, and that the unification of mind engendered by sensory fixedness is the essential source of aesthetic power. Therefore, the role of the aesthetic object (construed broadly) is either as an arbitrary sensory focusing mechanism, or as the physical embodiment of (...) a gestalt facilitating fixedness; the first category is merely attractive, while the second contains all that is truly great in art (visual and auditory). I suggest further that as both creative inspiration and mystical experience result from fixedness, both are related to aesthetic experience. However, while aesthetic experience is rooted in sensation, mystical and creative experience, though often prepared by sensory fixedness, may transcend the sensory domain altogether toward more abstract forms of mental fixedness. (shrink)

The phenomenology of the creative process has been a neglected area of creativity research. The current study investigated the phenomenology of artistic creativity through semi-structured interviews with 11 artists. The findings consisted of 19 interlinked constituents, with 3 dynamics operating within these constituents: an intuition-analysis dynamic, a union-division dynamic, and a freedom-constraint dynamic. The findings are discussed in relation to the issues of creativity and spirituality, intuition and analysis, the creative synthesis, affective components, and flow. The findings display considerable overlap (...) with previous research into the phenomenology of the artistic creative process, yet place particular emphasis on the shift in sense of self associated with creative experience and the energising effect of a synthesis of disparate elements. (shrink)

The purpose of this study is to investigate a series of issues around the primary theme of value constructions and the ways that these influence the construction of interior spaces and impact on its occupants. The ways in which knowledge is disseminated currently in our society and the noticeable absence of the female voice in that knowledge construction is perpetuated in social relations. Spatial designs create an envelope that formalizes these relations and create symbols of' status, hierarchy and power at (...) the expense of voices of collaboration and experience. Secondary issues about the absence of female voice in the underlying values that shape space are also studied, as they have evolved historically and as these exist in today's social and economic climate. Theoretical themes are woven around examples of situations in pedagogy and the practice of interior design and architecture. (shrink)

The doctoral dissertation is defined as an original contribution to a field. By definition, this makes the dissertation a creative product, and the result of a creative process. The creative process of doctoral work has historically not been highlighted. The same is true for education as a whole. While there is an increasing call for greater creativity in education, they remain aspirational. In this article we describe the underlying premises and some of the practices of a doctoral degree that has (...) been designed with the intention of foregrounding the creative process. (shrink)

The literature in education is conspicuously lacking in any meaningful or sustained discussion of the body's role in education. This thesis suggests that body and mind do not mutually exclude one another but rather, they are the two aspects that, together, form the whole person. Paradox is a key concept here because it offers a vision of reality that brings together "apparent opposites" into a tensed relationship thereby creating a framework that allows for the integration of body and mind into (...) a cohesive whole. This thesis argues that myth is an expression of humankind's paradoxical nature, and that the hero myth, in particular, points to a path that leads to the embodiment of paradox, and thus to wholeness. This, however, requires a journey into the depths of the body in order to get in touch with the body and the entire range of its feelings. It is further argued that this process reconnects us to our body. To embody paradox, therefore, signifies the integration of body and mind into a unified whole. (shrink)