How is it possible to think new thoughts? What is creativity and can science explain it? And just how did Coleridge dream up the creatures of The Ancient Mariner? When The Creative Mind: Myths and Mechanisms was first published, Margaret A. Boden's bold and provocative exploration of creativity broke new ground. Boden uses examples such as jazz improvisation, chess, story writing, physics, and the music of Mozart, together with computing models from the field of artificial intelligence to uncover the nature (...) of human creativity in the arts. The second edition of The Creative Mind has been updated to include recent developments in artificial intelligence, with a new preface, introduction and conclusion by the author. It is an essential work for anyone interested in the creativity of the human mind. (shrink)

Alfred Gell puts forward a new anthropological theory of visual art, seen as a form of instrumental action: the making of things as a means of influencing the thoughts and actions of others. He shows how art objects embody complex intentionalities and mediate social agency, and he explores the psychology of patterns and perceptions, art and personhood, the control of knowledge, and the interpretation of meaning, drawing upon a diversity of artistic traditions--European, Indian, Polynesian, Melanesian, and Australian. Art and Agency (...) was completed just before Alfred Gell's death at the age of 51 in January 1997. It embodies the intellectual bravura, lively wit, vigour, and erudition for which he was admired, and will stand as an enduring testament to one of the most gifted anthropologists of his generation. (shrink)

Anthropology is a disciplined inquiry into the conditions and potentials of human life. Generations of theorists, however, have expunged life from their accounts, treating it as the mere output of patterns, codes, structures or systems variously defined as genetic or cultural, natural or social. Building on his classic work The Perception of the Environment, Tim Ingold sets out to restore life to where it should belong, at the heart of anthropological concern. Being Alive ranges over such themes as the vitality (...) of materials, what it means to make things, the perception and formation of the ground, the mingling of earth and sky in the weather-world, the experiences of light, sound and feeling, the role of storytelling in the integration of knowledge, and the potential of drawing to unite observation and description. Our humanity, Ingold argues, does not come ready-made but is continually fashioned in our movements along ways of life. Starting from the idea of life as a process of wayfaring, Ingold presents a radically new understanding of movement, knowledge and description as dimensions not just of being in the world, but of being alive to what is going on there. (shrink)

Educating the gaze is easily understood as becoming conscious about what is 'really' happening in the world and becoming aware of the way our gaze is itself bound to a perspective and particular position. However, the paper explores a different idea. It understands educating the gaze not in the sense of 'educare' (teaching) but of 'e-ducere' as leading out, reaching out. E-ducating the gaze is not about getting at a liberated or critical view, but about liberating or displacing our view. (...) It is not about becoming conscious or aware , but about becoming attentive , about paying attention . E-ducating the gaze, then, is not depending on method, but relying on discipline; it does not require a rich methodology, but asks for a poor pedagogy, i.e. for practices which allow to expose ourselves. One example of such practice is that of walking. Consequently e-ducating the gaze could be about an invitation to go walking. This idea is explored b way of a comment on two quotations, one by Walter Benjamin and one by Michel Foucault. (shrink)

When it was first released in 1962, The Shape of Time presented a radically new approach to the study of art history. Drawing upon new insights in fields such as anthropology and linguistics, George Kubler replaced the notion of style as the basis for histories of art with the concept of historical sequence and continuous change across time. Kubler’s classic work is now made available in a freshly designed edition. “ The Shape of Time is as relevant now as it (...) was in 1962. This book, a sober, deeply introspective, and quietly thrilling meditation on the flow of time and space and the place of objects within a larger continuum, adumbrates so many of the critical and theoretical concerns of the late twentieth and early twenty-first century. It is both appropriate and necessary that it re-appear in our consciousness at this time.”—Edward J. Sullivan, New York University. (shrink)

Process and Reality, Whitehead’s magnum opus, is one of the major philosophical works of the modern world, and an extensive body of secondary literature has developed around it. Yet surely no significant philosophical book has appeared in the last two centuries in nearly so deplorable a condition as has this one, with its many hundreds of errors and with over three hundred discrepancies between the American and the English editions, which appeared in different formats with divergent paginations. The work itself (...) is highly technical and far from easy to understand, and in many passages the errors in those editions were such as to compound the difficulties. The need for a corrected edition has been keenly felt for many decades. (shrink)

Henri Bergson (1859-1941) is one of the truly great philosophers of the modernist period, and there is currently a major renaissance of interest in his unduly neglected texts and ideas amongst philosophers, literary theorists, and social theorists. Creative Evolution (1907) is the text that made Bergson world-famous in his own lifetime; in it Bergson responds to the challenge presented to our habits of thought by modern evolutionary theory, and attempts to show that the theory of knowledge must have its basis (...) in a theory of life. (shrink)

Suggests an open system of psychological exploration to cut through accepted norms of morality, language, and politics.

In opposition to traditional forms of dualism and monism, the author holds that our bodily self includes certain aspects of otherness. This is shown concerning the phenomenological issues of intentionality, of self-awareness and of intersubjectivity, by emphasizing the dimension of pathos. We are affected by what happens to us before being able to respond to it by acts or actions. Every sense, myself and others are born out of pathos. The original alienness of our own body, including neurological processes, creates (...) shifting degrees of nearness and remoteness, and allows for pathological deviations such as depersonalisation, paranoia or trauma. Such a phenomenology of body crosses the borderlines of different disciplines. (shrink)

This is a book about how we see: the environment around us (its surfaces, their layout, and their colors and textures); where we are in the environment; whether or not we are moving and, if we are, where we are going; what things are good for; how to do things (to thread a needle or drive an automobile); or why things look as they do.The basic assumption is that vision depends on the eye which is connected to the brain. The (...) author suggests that natural vision depends on the eyes in the head on a body supported by the ground, the brain being only the central organ of a complete visual system. When no constraints are put on the visual system, people look around, walk up to something interesting and move around it so as to see it from all sides, and go from one vista to another. That is natural vision—and what this book is about. (shrink)

There is no prepared script for social and cultural life. People work it out as they go along. Creativity and Cultural Improvisation casts fresh, anthropological eyes on the cultural sites of creativity that form part of our social matrix. The book explores the ways creative agency is attributed in the graphic and performing arts and in intellectual property law. It shows how the sources of creativity are embedded in social, political and religious institutions, examines the relation between creativity and the (...) perception and passage of time, and reviews the creativity and improvisational quality of anthropological scholarship itself. Individual essays examine how the concept of creativity has changed in the history of modern social theory, and question its applicability as a term of cross-cultural analysis. The contributors highlight the collaborative and political dimensions of creativity and thus challenge the idea that creativity arises only from individual talent and expression. (shrink)