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The Philosophy of Creativity

Oxford University Press (2014)

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  1. Creativity in Science and the ‘Anthropological Turn’ in Virtue Theory.Ian James Kidd - 2020 - European Journal for Philosophy of Science 11 (1):1-16.
    I argue that philosophical studies of the virtues of creativity should attend to the ways that our conceptions of human creativity may be grounded in conceptions of human nature or the nature of reality. I consider and reject claims in this direction made by David Bohm and Paul Feyerabend. The more compelling candidate is the account of science, creativity, and human nature developed by the early Marx. Its guiding claim is that the forms of creativity enabled by the sciences are (...)
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  • Novel & worthy: creativity as a thick epistemic concept.Julia Sánchez-Dorado - 2020 - European Journal for Philosophy of Science 10 (3):1-23.
    The standard view in current philosophy of creativity says that being creative has two requirements: being novel and being valuable. The standard view on creativity has recently become an object of critical scrutiny. Hills and Bird have specifically proposed to remove the value requirement from the definition, as it is not clear that creative objects are necessarily valuable or creative people necessarily praiseworthy. In this paper, I argue against Hills and Bird, since eliminating the element of value from the explanation (...)
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  • Rethinking creative intelligence: comparative psychology and the concept of creativity.Henry Shevlin - 2021 - European Journal for Philosophy of Science 11 (1):1-21.
    The concept of creativity is a central one in folk psychological explanation and has long been prominent in philosophical debates about the nature of art, genius, and the imagination. The scientific investigation of creativity in humans is also well established, and there has been increasing interest in the question of whether the concept can be rigorously applied to non-human animals. In this paper, I argue that such applications face serious challenges of both a conceptual and methodological character, reflecting deep controversies (...)
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  • Mechanisms for constrained stochasticity.Peter Carruthers - 2020 - Synthese 197 (10):4455-4473.
    Creativity is generally thought to be the production of things that are novel and valuable. Humans are unique in the extent of their creativity, which plays a central role in innovation and problem solving, as well as in the arts. But what are the cognitive sources of novelty? More particularly, what are the cognitive sources of stochasticity in creative production? I will argue that they belong to two broad categories. One is associative, enabling the selection of goal-relevant ideas that have (...)
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  • Toward a Transcendental Account of Creativity. Kant and Merleau-Ponty on the Creative Power of Judgment and Creativity as Institution.Michela Summa - 2017 - Continental Philosophy Review 50 (1):105-126.
    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 (...)
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  • Imagination and Creativity.Dustin Stokes - 2016 - In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. Routledge.
    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 (...)
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  • Imagination.Shen-yi Liao & Tamar Gendler - 2019 - Stanford Encyclopedia of Philosophy.
    To imagine is to form a mental representation that does not aim at things as they actually, presently, and subjectively are. One can use imagination to represent possibilities other than the actual, to represent times other than the present, and to represent perspectives other than one’s own. Unlike perceiving and believing, imagining something does not require one to consider that something to be the case. Unlike desiring or anticipating, imagining something does not require one to wish or expect that something (...)
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  • Imagination.Tamar Szabó Gendler - 2011 - In Edward N. Zalta (ed.), Stanford Encyclopedia of Philosophy. Center for the Study of Language and Information, Stanford University.
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  • Review of Mohan Matthen-Seeing, Doing, and Knowing: A Philosophical Theory of Sense Perception. [REVIEW]Dustin Stokes - 2006 - British Journal of Aesthetics 46 (3):323-325.
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  • Existential Risk, Creativity & Well-Adapted Science.Adrian Currie - forthcoming - Studies in the History and Philosophy of Science.
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