One of the most influential ideas of twentieth-century art history and aesthetics is that vision has a history and it is the task of art history to trace how vision has changed. This claim has recently been attacked for both empirical and conceptual reasons. My aim is to argue for a new version of the history of vision claim: if visual attention has a history, then vision also has a history. And we have some reason to think that at least (...) in certain contexts, visual attention does have a history. (shrink)

This essay reviews the philosophical roots and the development of the concept of creativity in the West and East. In particular, two conceptions of creativity that originated in the West--divinely inspired creativity and individual creativity--are discussed and compared to the two Eastern conceptions of creativity that are rooted in ancient Chinese philosophical thought--natural and individual creativity. Both Western and Eastern conceptions of individual creativity come from a theistic or cosmic tradition of either divinely inspired or natural creativity. However, a defining (...) feature of the Western concept of creativity--novelty--is not necessarily embraced by ancient Chinese concepts of creativity, but does exist in both modern Eastern conceptions. Reasons for cultural differences are explored and discussed. 2012 APA, all rights reserved). (shrink)