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  1. Descartes’s Clarity First Epistemology.Elliot Samuel Paul - forthcoming - In Kurt Sylvan, Ernest Sosa, Jonathan Dancy & Matthias Steup (eds.), The Blackwell Companion to Epistemology, 3rd edition. Wiley Blackwell.
    Descartes has a Clarity First epistemology: (i) Clarity is a primitive (indefinable) phenomenal quality: the appearance of truth. (ii) Clarity is prior to other qualities: obscurity, confusion, distinctness – are defined in terms of clarity; epistemic goods – reason to assent, rational inclination to assent, reliability, and knowledge – are explained by clarity. (This is the first of two companion entries; the sequel is called, "Descartes's Method for Achieving Knowledge.").
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  • Empirical treatments of imagination and creativity.Dustin Stokes - 2024 - In Amy Kind & Julia Langkau (eds.), Oxford Handbook of Philosophy of Imagination and Creativity. Oxford University Press.
    This paper offers a critical survey and analysis of empirical studies on creativity, with emphasis on how imagination plays a role in the creative process. It takes as a foil the romantic view that, given features like novelty, incubation, and insight, we should be skeptical about the prospects for naturalistic explanation of creativity. It rebuts this skepticism by first distinguishing stages or operations in the creative process. It then works through various behavioral and neural studies, and corresponding philosophical theorizing, that (...)
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  • Intelligence Socialism.Carlotta Pavese - forthcoming - Oxford Studies in Philosophy of Mind.
    From artistic performances in the visual arts and in music to motor control in gymnastics, from tool use to chess and language, humans excel in a variety of skills. On the plausible assumption that skillful behavior is a visible manifestation of intelligence, a theory of intelligence—whether human or not—should be informed by a theory of skills. More controversial is the question as to whether, in order to theorize about intelligence, we should study certain skills in particular. My target is the (...)
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  • Creativity.Elliot Samuel Paul & Dustin Stokes - 2023 - Stanford Encyclopedia of Philosophy.
    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.
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  • Creativity, Humour, and Cognition.Mario Gensollen & Marc Jiménez-Rolland - 2021 - Debats (6):107-119.
    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 (...)
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  • The multifaceted role of imagination in science and religion. A critical examination of its epistemic, creative and meaning-making functions.Ingrid Malm Lindberg - 2021 - Dissertation, Uppsala University
    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 (...)
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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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  • Imagination and Creativity.Dustin Stokes - 2016 - In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. New York: 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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  • Minimally Creative Thought.Dustin Stokes - 2011 - Metaphilosophy 42 (5):658-681.
    Creativity has received, and continues to receive, comparatively little analysis in philosophy and the brain and behavioural sciences. This is in spite of the importance of creative thought and action, and the many and varied resources of theories of mind. Here an alternative approach to analyzing creativity is suggested: start from the bottom up with minimally creative thought. Minimally creative thought depends non-accidentally upon agency, is novel relative to the acting agent, and could not have been tokened before the time (...)
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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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  • The Philosophy of Creativity.Elliot Samuel Paul & Scott Barry Kaufman (eds.) - 2014 - New York: Oxford University Press.
    Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions. The Philosophy of Creativity takes up these questions and, in doing so, illustrates the value of interdisciplinary exchange.
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  • A Metaphysics of Creativity.Dustin Stokes - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New waves in aesthetics. New York: Palgrave-Macmillan. pp. 105--124.
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  • Aesthetics and cognitive science.Dustin Stokes - 2009 - Philosophy Compass 4 (5):715-733.
    Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general (...)
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  • The Role of Creativity in Expertise and Skilled Action.Spencer Ivy - 2022 - Synthese 200 (456):1-22.
    Perhaps a part of what makes expertise so inspiring to the curious researcher is the possibility of appropriating the structural components of skilled action to draw a roadmap towards their achievement that anyone might be able to follow. Accordingly, the purpose of this essay is to shed light upon the role that creativity plays in the production and environment of skilled action to that foregoing end. In doing so, I suggest that the lessons to be learned from recent empirical research (...)
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  • (1 other version)Creativitat, humor i cognició.Mario Gensollen & Marc Jiménez-Rolland - 2021 - Debats 135 (2):11-24.
    [Both this and the Castilian versions are translations of the editor from a paper originally written in English that will appear in the Anual Review 6]. Aquest article explora alguns aspectes de l'estudi científic de la creativitat centrant-se en la creació d'humor lingüístic intencionat. Sostenim que aquest tipus de creativitat pot explicar-se dins d'un enfocament cognitiu influent, però que aquest marc no és una recepta per a produir exemples nous d'humor i fins i tot pot evitar-los. Començarem identificant tres grans (...)
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  • (1 other version)Creatividad, humor y cognición.Mario Gensollen & Marc Jiménez-Rolland - 2021 - Debats 135 (2):11-24.
    [Both this and the Valencian versions are translations of the editor from a paper originally written in English that will appear in the Anual Review 6]. Este artículo explora algunos aspectos del estudio científico de la creatividad centrándose en la creación de humor lingüístico intencionado. Sostenemos que este tipo de creatividad puede explicarse dentro de un enfoque cognitivo influyente, pero que dicho marco no es una receta para producir ejemplos novedosos de humor, e incluso puede excluirlos. Comenzaremos identificando tres grandes (...)
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  • Crossing the invisible line: De-differentiation of wake, sleep and dreaming may engender both creative insight and psychopathology.Sue Llewellyn - 2016 - Consciousness and Cognition 46:127-147.
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