Artikel ini bertujuan untuk memaparkan bagaimana penyebaban sosial dapat terjadi dalam perspektif individualisme non-reduktif (Non-reductive Individualism/NRI) R. Keith Sawyer. NRI adalah perluasan argumen fisikalisme non-reduktif dari filsafat akal budi untuk memberikan bingkai (framework) baru dalam melihat debat ontologis dan metodologis filsafat ilmu sosial. Cara yang digunakan adalah membasiskan landasan ontologis ilmu sosial pada eksistensi individu (individualisme ontologis), sekaligus mengiyakan dua level analisis properti, yakni level individual (bawah) dan sosial (atas) (dualisme properti). Mengingat posisi non-reduktif selalu dibayangi problem overdeterminasi dan epifenomena (...) saat berbicara tentang daya kausal level atas, Sawyer mengkombinasikan argumen supervenien (supervenience), perealisasian berlipat (multiple realizability/mr), disjungsi tak beraturan (wild disjunction/wd), serta kemunculan kolaboratif (collaborative emergence), untuk memperkuat pandangan penyebaban supervenien (supervenient causation/sv) dalam domain sosial. (shrink)

Creativity is a relevant yet elusive concept, and consequently there is a large range of methods to assess creativity in many different contexts. Broadly speaking, we can differentiate between creativity measures on the level of the person (such as the Torrance tests), the level of the creative product (consensual assessment), and the level of the creative process. In the recent literature on children's creativity, 80% of the studies employed measures on either the person or the product level (Kupers et al., (...) submitted). However, for parents, teachers, and employers who wish to stimulate creativity, insight in the (often socially embedded) creative process is badly needed. This move from the inter-individual to the intra-individual level of assessment is furthermore in line with research in many other domains in psychology. Although there is some research focusing more on detailed descriptions of creative processes, the studies are usually purely qualitative and therefore highly context-specific, making generalization difficult. In this paper, we present a newly developed coding frame as a systematic, generic, micro-level measure of creativity. What is unique about this coding frame is that it can be applied to observations of creative processes in many different contexts, and for different kinds of creative tasks. The core of the instrument is that it allows us to assess the two core components of creativity - novelty and appropriateness on an ordinal 4-point scale, at each moment during the creative process. The coding frame can be applied in three steps. The first step is to determine the unit of analysis, that is, the level of detail in which the creative process is assessed. The second step and third steps are coding the units on two ordinal scales of novelty and appropriateness, respectively. In order to illustrate the versatility of our instrument, we apply it to two cases of very different creative processes: a musical composition task (open-ended) and a scientific reasoning task (closed- ended). Last, we demonstrate the possibilities for analyzing this type of dense intra-individual measurements of creativity (time series analysis and state space grids) and discuss the future research that is needed to fully validate the instrument. (shrink)

The greatest rhetorical challenge to developers of creative artificial intelligence systems is convincingly arguing that their software is more than just an extension of their own creativity. This paper suggests that “creative autonomy,” which exists when a system not only evaluates creations on its own, but also changes its standards without explicit direction, is a necessary condition for making this argument. Rather than requiring that the system be hermetically sealed to avoid perceptions of human influence, developing creative autonomy is argued (...) to be more plausible if the system is intimately embedded in a broader society of other creators and critics. Ideas are presented for constructing systems that might be able to achieve creative autonomy. (shrink)

Modern ideas of embodiment have been influential in cognitive science for the past several decades, yet there is minimal evidence of embodied cognition approaches in creativity research or pedagogical practices for teaching creativity skills. With creativity research in crisis due to conceptual, methodological, and theoretical issues, radical embodied cognitive science (RECS) may offer a framework to move the field forward. This conceptual analysis examines the current state of creativity research from the 4E (embodied, embedded, enactive, and extended) cognition and RECS (...) perspectives. Two streams are critiqued for their potential to further knowledge about the development of creative expertise and inform educational practices. Promising directions for future research is discussed, including ways dynamical systems approaches, such as those used in improvisational and musical creativity, might yield new insights about how people develop creative expertise and help address the “higher order thinking” criticisms of RECS. (shrink)

Theatre has been used in psychological intervention and as a metaphor for social life, tendencies that affect the self, highlighting how influential theatrical performance can be for individuals. Their limitations – in terms of the empowerment of the self and its authenticity, respectively - can be overcome by treating theatrical performance as a leisure experience, which considers that freedom and satisfaction play a central role in a more comprehensive understanding and development of the self. With this in mind, we present (...) the conceptual and empirical bases of the leisure experience as an alternative conception of theatrical performance. To do so, we organised a 20-hour theatre exercise workshop with 16 university students (15 women, one man), aged between 18 and 21 years old (M = 19.06 years; SD = 1.06). Qualitative instruments used were: the Time Budget Technique (questionnaire about the activities carried out in the workshop, valued in relation to two items: perceptions of freedom and satisfaction); the Twenty-Statement Test (where people list characteristics of themselves – self-descriptions – related in this case to the theatrical exercises); and, as a third instrument, a combination of the other two – specifying which exercises were more closely related to the self-descriptions. The results showed that group discussion was the activity with the highest perception of freedom, followed by obstacle exercises; as regards the perception of satisfaction, the highest value was observed in the relaxations. In the case of the self-descriptions, the acquisition of practical and intellectual skills was significant, as well as emotional outlook and the expression of self-esteem. In sum, this empirical support - using qualitative instruments that invite an exploration of the self - revealed, on the one hand, which specific characteristics of the self are manifested by doing theatrical exercises and, on the other hand, which exercises – when experienced as leisure – have a more decisive impact on the self. Thus, this paper shows what aspects must be taken into account when deciding which activities to include in a psychosocial intervention addressed to the development of the self from the standpoint of theatrical performance as a leisure activity. (shrink)

Research into group creativity with its dynamic, interpersonal, and multi-perspective character poses many challenges, among others, how to collect data and capture its shared nature. In this paper, we discuss the creative process of an ensemble in dance improvisation as an example of vivid and collaborative creative practice. To identify aspects of improvisational dance cognition, we designed and applied a video-stimulated recall approach to capturing the multiple perspectives of the shared creative process. We tested the method during an improvisational session (...) with dancers, showing how the recordings of dancers’ thought narratives and internal states might be used for studying group creativity. Finally, we presented an audiovisual installation Between Minds and Bodies that aimed to recreate the dancers’ experience and offered immersion into the creative process by accessing individual dancer’s thought processes in the improvised performance while watching the dance improvisation. (shrink)

From an ethnomethodological perspective, this article describes social actors’ everyday and virtual stances in terms of their practices of provisional doubt and belief for the purpose of fact-establishment. Facts are iterated, reinforced, elaborated, and transformed via phenomenal practices configuring relations of equipment, interpretation, and method organized as “other” than, but relevant to, the everyday. Such practices in scientific research involve forms of suspended belief; in other areas they can instead involve forms of suspended doubt. As an illuminating example of this (...) latter class of virtual fact-establishment practices, I offer an extended analysis of the “yes; and…” principle of information-establishment used in improvisational theatre to progressively develop the content of a performance. (shrink)