I argue that understanding why p involves a kind of intellectual know how and differsfrom both knowledge that p and knowledge why p (as they are standardly understood).I argue that understanding, in this sense, is valuable.

From antiquity to the end of the twentieth century, philosophical discussions of understanding remained undeveloped, guided by a 'received view' that takes understanding to be nothing more than knowledge of an explanation. More recently, however, this received view has been criticized, and bold new philosophical proposals about understanding have emerged in its place. In this book, Kareem Khalifa argues that the received view should be revised but not abandoned. In doing so, he clarifies and answers the most central questions in (...) this burgeoning field of philosophical research: what kinds of cognitive abilities are involved in understanding? What is the relationship between the understanding that explanations provide and the understanding that experts have of broader subject matters? Can there be understanding without explanation? How can one understand something on the basis of falsehoods? Is understanding a species of knowledge? What is the value of understanding? (shrink)

The philosophical interest in the nature, value, and varieties of human understanding has swelled in recent years. This article will provide an overview of new research in the epistemology of understanding, with a particular focus on the following questions: What is understanding and why should we care about it? Is understanding reducible to knowledge? Does it require truth, belief, or justification? Can there be lucky understanding? Does it require ‘grasping’ or some kind of ‘know-how’? This cluster of questions has largely (...) set the research agenda for the study of understanding in epistemology. This article will conclude by discussing some varieties of understanding and highlight directions for future research. (shrink)

This book offers a comprehensive virtue ethics that breaks from the tradition of eudaimonistic virtue ethics. In developing a pluralistic view, it shows how different ’modes of moral response’ such as love, respect, appreciation, and creativity are all central to the virtuous response and thereby to ethics. It offers virtue ethical accounts of the good life, objectivity, rightness, demandingness, and moral epistemology.

Scientific understanding, this paper argues, can be analyzed entirely in terms of a mental act of “grasping” and a notion of explanation. To understand why a phenomenon occurs is to grasp a correct explanation of the phenomenon. To understand a scientific theory is to be able to construct, or at least to grasp, a range of potential explanations in which that theory accounts for other phenomena. There is no route to scientific understanding, then, that does not go by way of (...) scientific explanation. (shrink)

Among philosophers of science there seems to be a general consensus that understanding represents a species of knowledge, but virtually every major epistemologist who has thought seriously about understanding has come to deny this claim. Against this prevailing tide in epistemology, I argue that understanding is, in fact, a species of knowledge: just like knowledge, for example, understanding is not transparent and can be Gettiered. I then consider how the psychological act of "grasping" that seems to be characteristic of understanding (...) differs from the sort of psychological act that often characterizes knowledge. Zagzebski's account Kvanvig's account Two problems Comanche cases Unreliable sources of information The upper-right quadrant So is understanding a species of knowledge? A false choice. (shrink)

What is scientific progress? On Alexander Bird’s epistemic account of scientific progress, an episode in science is progressive precisely when there is more scientific knowledge at the end of the episode than at the beginning. Using Bird’s epistemic account as a foil, this paper develops an alternative understanding-based account on which an episode in science is progressive precisely when scientists grasp how to correctly explain or predict more aspects of the world at the end of the episode than at the (...) beginning. This account is shown to be superior to the epistemic account by examining cases in which knowledge and understanding come apart. In these cases, it is argued that scientific progress matches increases in scientific understanding rather than accumulations of knowledge. In addition, considerations having to do with minimalist idealizations, pragmatic virtues, and epistemic value all favor this understanding-based account over its epistemic counterpart. (shrink)

This paper seeks to answer the question: Can contemporary forms of artificial intelligence be creative? To answer this question, I consider three conditions that are commonly taken to be necessary for creativity. These are novelty, value, and agency. I argue that while contemporary AI models may have a claim to novelty and value, they cannot satisfy the kind of agency condition required for creativity. From this discussion, a new condition for creativity emerges. Creativity requires curiosity, a motivation to pursue epistemic (...) goods. I argue that contemporary AI models do not satisfy this new condition. Because they lack both agency and curiosity, it is a mistake to attribute the same sort of creativity to AI that we prize in humans. Finally, I consider the question of whether these AI models stand to make human creativity in the arts and sciences obsolete, despite not being creative themselves. I argue, optimistically, that this is unlikely. (shrink)

I argue for an account of grasping, or understanding that, on which we grasp via a higher‐order mental act of Husserlian fulfillment. Fulfillment is the act of matching up the objects of our phenomenally presentational experiences with those of our phenomenally representational thought. Grasping‐by‐fulfilling is importantly different from standard epistemic aims, in part because it is phenomenal rather than inferential. (I endorse Bourget's (2017) arguments to that effect.) I show that grasping‐by‐fulfilling cannot be a species of propositional knowledge or belief, (...) and that it is not essentially connected to justification. I motivate a revisionary epistemology on which achieving propositional knowledge and coming to grasp are dual epistemic aims. My account makes sense of a common occurrence—that we are often unmoved to act on our beliefs until we come to phenomenally experience them in some way. It also explains puzzling features of human inquiry. (shrink)

Creativity is typically defined as a disposition to produce valuable ideas. We argue that this is a mistake and defend a new definition of creativity in terms of the imagination. It follows that creativity has instrumental value at most and then only in the right circumstances. We consider the role of tradition and judgment in worthwhile creativity and argue that there is frequently a tension between greater creativity and the production of value.

In March 2016, DeepMind's computer programme AlphaGo surprised the world by defeating the world‐champion Go player, Lee Sedol. AlphaGo exhibits a novel, surprising and valuable style of play and has been recognised as “creative” by the artificial intelligence (AI) and Go communities. This article examines whether AlphaGo engages in creative problem solving according to the standards of comparative psychology. I argue that AlphaGo displays one important aspect of creative problem solving (namely mental scenario building in the form of Monte Carlo (...) tree search), while lacking another (domain generality). This analysis has consequences for how we think about creativity in humans and AI. (shrink)

The relationship between aesthetics and science has begun to generate substantial interest. However, for the most part, the focus has been on the beauty of theories, and other aspects of scientific practice have been neglected. This book offers a novel perspective on aesthetics in experimentation via ten original essays from an interdisciplinary group comprised of philosophers, historians of science and art, and artists. -/- The collection provides an analysis of the concept of beauty in the evaluation of experiments. What properties (...) do practising experimenters value? How have the aesthetic properties of scientific experiments changed over the years? Secondly, the volume looks at the role that aesthetic factors, including negative values such as ugliness, as well as experiences of the sublime and the profound, play in the construction of an experiment and its reception. Thirdly, the chapters provide in-depth historical case studies from the Royal Society, which also allows for a study of the depiction of scientific experiment in artworks, as well as contemporary examples from the Large Hadron Collider and cases of experiments designed by artificial intelligence. Finally, it offers an exploration of the commonalities between how we learn from experiments on the one hand and the cognitive value of artworks on the other. -/- The Aesthetics of Scientific Experiments will be of interest to researchers and advanced students working in philosophy and history of science, philosophy and history of art, as well as practising scientists and science communicators. (shrink)

This volume builds on two recent developments in philosophy on the relationship between art and science: the notion of representation and the role of values in theory choice and the development of scientific theories. Its aim is to address questions regarding scientific creativity and imagination, the status of scientific performances--such as thought experiments and visual aids--and the role of aesthetic considerations in the context of discovery and justification of scientific theories. Several contributions focus on the concept of beauty as employed (...) by practising scientists, the aesthetic factors at play in science and their role in decision making. Other essays address the question of scientific creativity and how aesthetic judgment resolves the problem of theory choice by employing aesthetic criteria and incorporating insights from both objectivism and subjectivism. The volume also features original perspectives on the role of the sublime in science and sheds light on the empirical work studying the experience of the sublime in science and its relation to the experience of understanding. The Aesthetics of Science tackles these topics from a variety of novel and thought-provoking angles. It will be of interest to researchers and advanced students in philosophy of science and aesthetics, as well as other subdisciplines such as epistemology and philosophy of mathematics. (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)

The aim of the paper is to argue that the difference between creative and non-creative mental processes is not a functional/computational, but an experiential one. In other words, what is distinctive about creative mental processes is not the functional/computational mechanism that leads to the emergence of a creative idea, be it the recombination of old ideas or the transformation of one’s conceptual space, but the way in which this mental process is experienced. The explanatory power of the functional/computational theories and (...) the experiential account is compared and it is pointed out that if creativity is a natural kind, it is not a functional/computational, but an experiential natural kind. (shrink)

Three kinds of things may be creative: persons, processes, and products. The standard definition of creativity, used nearly by consensus in psychological research, focuses specifically on products and says that a product is creative if and only if it is new and valuable. We argue that at least one further condition is necessary for a product to be creative: it must have been produced by the right kind of process. We argue furthermore that this point has an interesting epistemological implication: (...) when you judge a product to be creative--attributing creativity--you are not just judging it to be new and valuable. Even if you did not witness how it was produced, you are also making a judgement about how it was produced. (shrink)

I argue that creativity is compatible with determinism and therefore with naturalistic explanation. I explore different kinds of novelty, corresponding with four distinct concepts of creativity – anthropological, historical, psychological and metaphysical. Psychological creativity incorporates originality and spontaneity. Taken together, these point to the independence of the creative mind from social learning, experience and previously acquired knowledge. This independence is nevertheless compatible with determinism. Creativity is opposed to specific causal factors, but it does not exclude causal determination as such. So (...) creativity can be naturalized. (shrink)

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 (...) it is in fact tokened, relative to the agent in question. Thoughts that meet these three conditions—agency, psychological novelty, and modal—are what may be called cognitive breakthroughs. Even if such breakthroughs are not necessary to or definitive of richer creativity, they are indeed central to much of creativity. The minimal analysis provides a more workable explanandum for theories of creativity of varied motivation and method. (shrink)

Might traditional Chinese thought regarding creativity not just influence, but also enrich, contemporary European thought about the same? Moreover, is it possible that traditional Chinese thought regarding creativity might enrich contemporary thought both in a more broad, holistic sense, and more specifically regarding the nature and role of creativity as it pertains to scientific inquiry? In this paper, I elucidate why the answer to these questions is: yes. I explain in detail a classical Chinese conception of creativity rooted in Zhuangist (...) philosophy and which centrally involves spontaneity engendered by embracing yóu遊, or “wandering”, rather than novelty or originality. I then illustrate how this conception of creativity can be used to enrich contemporary thought regarding the nature and role of creativity both in general and as it pertains to scientific inquiry in particular, as well as how to engender creativity, by arguing that it might allow us to: i) more easily remove what is frequently an obstacle to creativity, and; ii) better understand creative agents as being more intimately connected with, and as processes within and products of, their environments. Finally, I conclude by briefly remarking on how exploring various cultural perspectives on creativity promises to help us to better comprehend and promote creativity, by encouraging us to become more creative about creativity itself. (shrink)

Explaining how something is possible is a familiar and epistemically important achievement in both science and ordinary life. But a satisfactory general account of how-possibly explanation has not yet been given. A crucial desideratum for a successful account is that it must differentiate a demonstration that something is possible from an explanation of how it is possible. In this paper, I offer an account of how-possibly explanation that fully captures this distinction. I motivate my account using two cases, one from (...) ordinary life and one from ornithology. On my account, a how-possibly explanation is a greater achievement than a mere description of how a state of affairs might possibly obtain. In addition to being a potential explanation of why some state of affairs actually obtains, a how-possibly explanation must involve the relief of an imaginative frustration on the part of its recipient. When a recipient’s imaginative frustration is relieved, she does not just know that the state of affairs in question is possible, but is also able to imagine how it could possibly obtain. (shrink)

The case for massively modular models of mind -- The architecture of animal minds -- Modules of the human mind -- Modularity and flexibility : the first steps -- Creative cognition in a modular mind -- The cognitive basis of science -- Distinctively human practical reason.

Doubt is often considered to be an enemy of creativity. But, might it be its friend, too? We see, in the Zhuangzi, a number of explorations that point toward an interesting affirmative answer to this question. To explain how the text can be interpreted as suggesting such an answer, this paper proceeds in two parts. First, in section one, I clarify what is meant by “doubt” for the purposes of this paper, as well as several ways in which it can (...) be directed toward its relevant target: entire perspectives. Following that, in section two, I outline a conception of creativity suggested by aspects of the Zhuangzi, and explain how doubt can engender creativity, as well as a few reasons that this matters. I then close by briefly discussing two caveats. (shrink)

The goal of this article is to display the attractiveness of a novel account of the place of creativity in the human mind. This is designed to supplement (and perhaps replace) the widespread assumption that creativity is thought-based, involving novel combinations of concepts to form creative thoughts, with the creativity of action being parasitic upon prior creative thinking. According to the proposed account, an additional (or perhaps alternative) locus of creativity lies in the assembly and activation of action-schemata, with creative (...) thoughts arising subsequently from the mental rehearsal of those actions, normally resulting in either visual imagery or inner speech. (shrink)

Recent work examining and expanding traditional accounts of a virtue has been used as the foundation for a virtue-based approach to epistemology. A similar approach to aesthetics yields some striking features, which coincide with contemporary philosophical concerns about the nature and definition of art. Those writing on virtue-based epistemology have offered epistemic theories based on intellectual virtues, defining knowledge from the nature of such virtues. This basic program can be applied to aesthetics so that art is defined using a virtue (...) theory of aesthetics. I will propose and examine the nature and structure of one such theory. I argue here that an approach to aesthetics, which defines art according to aesthetic virtues, would have characteristics that fit well with the value and interests we have about art. (shrink)

Examining the complex role that motivation plays in creativity foregrounds the role of intrinsic motivation in paradigmatic cases of creative achievement. This is significant given the neglect of the role of motivation in the philosophical literature. Furthermore, given the way in which intrinsic motivation typically grounds and enables the cultivation of creativity for creatures like us, it pays to think of creativity in virtue-theoretic terms. As suggested by both empirical and conceptual considerations, intrinsic motivation insulates agents from pressures against or (...) inhibitors of creativity. It helps to explain robustness across different situations and influences. Conceiving of creativity as a virtue of character also makes best sense of how and why we praise or criticize as we do and shows us how to cultivate creativity. (shrink)

The thought that creativity is a kind of virtue is an attractive one. Virtues are valuable traits that are praised and admired, and creativity is a widely celebrated trait in our society. In philosophical ethics, epistemology, and increasingly aesthetics, virtue-theoretical approaches are influential, so an account of creativity as a virtue can draw on well-established theories. Several philosophers, including Linda Zagzebski, Christine Swanton and Matthew Kieran, have argued for the claim that creativity is a virtue, locating this claim within a (...) broader picture of intellectual, ethical and aesthetic virtues respectively. Moreover, a prominent research programme in psychology, led by Teresa Amabile, holds that people have an intrinsic motivation when they are creative, and this seems seamlessly to fit with the view that creativity is a virtue, for it is often held that a requirement for a trait to be a virtue is that the virtuous agent acts from an intrinsic motivation. (shrink)

The aim of this paper is to explain why imaginativeness is valuable. Recent discussions of imaginativeness or creativity (which I regard as the same property) have paid relatively little attention to this important question. My discussion has three parts. First, I elucidate the concept of imaginativeness by providing three conditions a product or act must satisfy in order to be imaginative. This account enables us to explain, among other things, why imaginativeness is associated with inspiration, why it is associated with (...) the faculty of imagination, and why it is relative to persons and to contexts. Second, in the light of this account, I say what the imaginativeness of persons is. Philosophical discussions of the imaginativeness of persons usually treat it as a capacity. In fact, it is a tendency or disposition of a certain kind. Third, I give reasons why the imaginativeness of persons has the value it does. I begin by saying what the basic facts about its value are. When a person's imaginativeness is valuable, it is either (i) a good thing about a person, (ii) good for the person, or (iii) good for others. I provide explanations of each of these facts. I conclude by addressing the difficult question of whether a person's imaginativeness is non-instrumentally good for her. On Romantic and Romantic-inspired views, imaginativeness is non-instrumentally good for a person because of its connection with self-realization. I reject this claim. However, I argue that, often, imaginativeness is indeed non-instrumentally good for the imaginative person. (shrink)