The most famous sentence in Igor Stravinsky’s autobiography reads: “Music is by its very nature powerless to express anything at all.” When it appeared, this sentence surprised his audience. After all, Stravinsky had composed some of the most expressive music of the twentieth century, from the lyrical Petrouchka to the dramatic Le sacre du printemps to the elegaic Symphony of Psalms. But ever the polemicist, Stravinsky was in actuality blasting those whom he regarded as his aesthetic opponents, such as the (...) followers of Richard Wagner; such “impurists” were always marshaling music in the service of extramusical ends, from national solidarity to religious freedom. Seeking to repair a perceived imbalance, Stravinsky portrayed the musician as a craftsman whose materials of pitch and rhythm in themselves harbor no more expression than the carpenter’s beams or the jeweler’s stone. (shrink)

The dissertation criticizes two analogical applications of Darwinism to the spheres of mind and culture: the Darwinian approach to creativity and memetics. These theories rely on three basic analogies: the ontological analogy states that the basic ontological units of culture are so-called memes, which are replicators like genes; the origination analogy states that novelty in human creativity emerges in a "blind" Darwinian manner; and the explanatory units of selection analogy states that memes are "egoistic" and that they can spread independently (...) of our mind. The detailed philosophical analysis offered in the dissertation shows that these three analogies rely on either wrong or trivial statements: they provide either wrong or no new descriptions or explanations of the phenomena at hand. In Chapter One, I introduce the diverse ways, in which contemporary Darwinism is used today outside of evolutionary biology. Chapter Two explains what it means to claim that something evolves in a Darwinian manner. Chapter Three to Five address each of the three analogies separately. Darwinism applied to culture and mind, at least in the way discussed in this study, is not a dangerous idea. It leads either to wrong claims or to a re-telling in Darwinian terms of what we have already known. (shrink)

Although much creativity research has suggested that creativity is influenced by cultural and social factors, these have been minimally explored in the context of mathematics and mathematics learning. This problematically limits who is seen as mathematically creative and who can enter the discipline of mathematics. This paper proposes a framework of creativity that is based in what it means to know or do mathematics and accepts that creativity is something that can be nurtured in all students. Prominent mathematical epistemologies held (...) since the beginning of the twentieth century in the Western mathematics tradition have different implications for promoting creativity in the mathematics classroom, with fallibilist and social constructivist perspectives arguably being most conducive for conceiving of creativity as a type of action for all students. Thus, this paper proposes a framework of creative mathematical action that is based in these epistemologies and explains key aspects of the framework by drawing connections between it and research in the field of creativity. (shrink)

Creativity has often been declared, especially by philosophers, as the last frontier of science. The assumption is that it will defy explanation forever. I will defend two claims in order to oppose this assumption and to demystify creativity: (1) the perspective that creativity cannot be explained wrongly identifies creativity with what I shall call metaphysical freedom; (2) the Darwinian approach to creativity, a prominent naturalistic account of creativity, fails to give an explanation of creativity, because it confuses conceptual issues with (...) explanation. I will close with some remarks on the status and differences in some explanations available in contemporary cognitive science. (shrink)

In this paper, I offer a detailed reconstruction and a critical analysis of Abraham Maslow’s neglected psychological reading of Thomas Kuhn’s famous dichotomy between ‘normal’ and ‘revolutionary’ science, which Maslow briefly expounded four years after the first edition of Kuhn’s The Structure of Scientific Revolutions, in his small book The Psychology of Science: A Reconnaissance, and which relies heavily on his extensive earlier general writing in the motivational and personality psychology. Maslow’s Kuhnian ideas, put forward as part of a larger (...) program for the psychology of science, outlined already in his 1954 magnum opus Motivation and Personality, are analyzed not only in the context of Kuhn’s original ‘psychologizing’ attitude toward understanding the nature and development of science, but also in a broader historical, intellectual and social context. (shrink)

What is creativity? One new idea may be creative, whereas another is merely new: What's the difference? And how is creativity possible? These questions about human creativity can be answered, at least in outline, using computational concepts. There are two broad types of creativity, improbabilist and impossibilist. Improbabilist creativity involves novel combinations of familiar ideas. A deeper type involves METCS: the mapping, exploration, and transformation of conceptual spaces. It is impossibilist, in that ideas may be generated which – with respect (...) to the particular conceptual space concerned – could not have been generated before. The more clearly conceptual spaces can be defined, the better we can identify creative ideas. Defining conceptual spaces is done by musicologists, literary critics, and historians of art and science. Humanist studies, rich in intuitive subtleties, can be complemented by the comparative rigour of a computational approach. Computational modelling can help to define a space, and to show how it may be mapped, explored, and transformed. Impossibilist creativity can be thought of in “classical” Al terms, whereas connectionism illuminates improbabilist creativity. Most Al models of creativity can only explore spaces, not transform them, because they have no self-reflexive maps enabling them to change their own rules. A few, however, can do so. A scientific understanding of creativity does not destroy our wonder at it, nor does it make creative ideas predictable. Demystification does not imply dehumanization. (shrink)

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 (...) become activated by happenstance in an unrelated context. The other relies on selection processes that leverage stochastic fluctuations in neural activity. At the same time, I will address a central puzzle, which is to understand how the outputs of stochastic processes can nevertheless generally fall within task constraints. While the components appealed to in the accounts that I offer are well established, the ways in which I combine them together are new. (shrink)

The relationship between Legal Realism and Legal Positivism has been a recurrent source of debate. The question has been further complicated by the related difficulty of assessing the internal relationship between the two main original strands of Legal Realism: American and Scandinavian. This paper suggests considering American and Scandinavian Realism as instantiations of forward-looking and backward-looking rule skepticism respectively. This distinction brings into sharp relief not only the fundamentally different relationship between each of these two Realist schools and Legal Positivism (...) but also their equally different potentials as starting points for naturalizing jurisprudence. (shrink)

This piece is a commentary on a precis of Maggie Boden's book "The creative mind" published in Behavioral and Brain Sciences.

David Hume's famous riddle of induction implies a second problem related to the question of whether the laws and principles of nature might change in the course of time. Claims have been made that modern developments in physics and astrophysics corroborate the translational invariance of the laws of physics in time. However, the appearance of a new general principle of nature, which might not be derivable from the known laws of physics, or that might actually be a non-physical one (this (...) means completely independent of physical science) supports the notion that the course of nature can change in time. Here it is argued that natural selection satisfies the criteria that identify a general principle of nature which so far, appears to be non-derivable from the known laws of physics and therefore, it is likely that it arose in the course of time, thus leaving open again the quest for a true solution to Hume's second problem. (shrink)