This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the creative process is rational; whether it is teleological; the relation of creativity (...) to knowledge; whether creativity can be explained; computational and Darwinian theories of creativity; whether creativity is a virtue; the relation of creativity to tradition; the aesthetic value of creativity; and whether creative activity is different in science and art. (shrink)

This paper will present a negative result—an account of my failure to explain why belief is involuntary. When I announced my question a year or so ahead of time, I had a vague idea of how it might be answered, but I cannot make it work out. Necessity, this time, has not given birth to invention. Still, my tussle with the question may contribute either towards getting it answered or showing that it cannot be answered because belief can be voluntary (...) after all. Most of the paper was written while I expected to get the question answered, and I have chosen not to hide that fact by revising the tone. I offer the paper as an essay in the ‘analytic’ manner in Descartes’s sense of that term. It is the manner of the Meditations—a presentation in the order of discovery or, in my case, of non-discovery. (shrink)

In The Construction of Social Reality, John Searle argues that there are two kinds of facts--some that are independent of human observers, and some that require..

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)

Introduction As the title indicates, the chief focus of this book is epistemic justification. But just what is epistemic justification and what is its place ...

This is a welcome reprint of a book that continues to grow in importance.

The latest offering in the highly successful Oxford Readings in Philosophy series, The Philosophy of Action features contributions from twelve leading figures in the field, including: Robert Audi, Michael Bratman, Donald Davidson, Wayne Davis, Harry Frankfurt, Carl Ginet, Gilbert Harman, Jennifer Hornsby, Jaegwon Kim, Hugh McCann, Paul Moser, and Brian O'Shaughnessy. Alfred Mele provides an introductory essay on the topics chosen and the questions they deal with. Topics addressed include intention, reasons for action, and the nature and explanation of internal (...) action. A selective bibliography is included as a guide to further reading. Comprehensive and up-to-date, this collection provides an accessible and stimulating introduction for readers interested in the philosophy of action, the philosophy of mind, and moral philosophy. (shrink)

This paper defends two initial claims. First, it argues that essentially the same cognitive resources are shared by adult creative thinking and problem-solving, on the one hand, and by childhood pretend play, on the other—namely, capacities to generate and to reason with suppositions (or imagined possibilities). Second, it argues that the evolutionary function of childhood pretence is to practice and enhance adult forms of creativity. The paper goes on to show how these proposals can provide a smooth and evolutionarily-plausible explanation (...) of the gap between the first appearance of our species in Southern Africa some 100,000 years ago, and the ‘creative explosion’ of cultural, technological and artistic change which took place within dispersed human populations some 60,000 years later. The intention of the paper is to sketch a proposal which might serve as a guide for future interdisciplinary research. 1 Introduction 2 Creativity and Pretence 3 Language and Creativity 4 Language and Cultural Accretions 5 Language, Play and Model-Building 6 Creativity, Protean Cognition and Sexual Selection 7 The Evolution of Pretence 8 The Emergence of Supposing 9 Pretence and Motivation 10 Two Objections 11 Conclusion. (shrink)

"With an astonishing erudition... and in a direct no-nonsense style, Bennett expounds, compares, and criticizes Spinoza’s theses.... No one can fail to profit from it. Bennett has succeeded in making Spinoza a philosopher of our time." --W. N. A. Klever, _Studia Spinoza_.

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)

It is often noted that institutional objects and artifacts depend on human beliefs and intentions and so fail to meet the realist paradigm of mind-independent objects. In this paper I draw out exactly in what ways the thesis of mind-independence fails, and show that it has some surprising consequences. For the specific forms of mind-dependence involved entail that we have certain forms of epistemic privilege with regard to our own institutional and artifactual kinds, protecting us from certain possibilities of ignorance (...) and error; they also demonstrate that not all cases of reference to these kinds can proceed along a causal model. As a result, realist views in ontology, epistemology, and semantics that were developed with natural scientific kinds in mind cannot fully apply to the everyday world. In closing I consider some wider consequences of these results for social science and philosophy. (shrink)

Many traditional theories of creativity put heavy emphasis on an incubation stage in creative cognitive processes. The basic phenomenon is a familiar one: we are working on a task or problem, we leave it aside for some period of time, and when we return attention to the task we have some new insight that services completion of the task. This feature, combined with other ostensibly mysterious features of creativity, has discouraged naturalists from theorizing creativity. This avoidance is misguided: we can (...) maintain unconscious incubated cognition as (sometimes) part of the creative process and we can explain it in scientifically responsible ways. This paper, focusing on the effects of attention on the functional networking of the brain, attempts just such an explanation. It also serves to assuage the naturalist's scepticism about other features of creative cognition. The broad upshot, one would hope, is that philosophers of mind and cognitive scientists return some attention to the long neglected topic of creativity. (shrink)

First published in 1818, The World as Will and Representation contains Schopenhauer's entire philosophy, ranging through epistemology, metaphysics, philosophy of mind and action, aesthetics and philosophy of art, to ethics, the meaning of life and the philosophy of religion, in an attempt to account for the world in all its significant aspects. It gives a unique and influential account of what is and is not of value in existence, the striving and pain of the human condition and the possibility of (...) deliverance from it. This new translation of the first volume of what later became a two-volume work reflects the eloquence and power of Schopenhauer's prose and renders philosophical terms accurately and consistently. It offers an introduction, glossary of names and bibliography, and succinct editorial notes, including notes on the revisions of the text which Schopenhauer made in 1844 and 1859. (shrink)

CHAPTER ONE Introduction Twenty-five years ago it was pretty widely held among Anglo- American philosophers that it was sheer confusion to suppose that an ...

Creations of the Mind: Essays on Artifacts and their Representation, ed. Stephen Laurence and Eric Margolis, Oxford: Oxford University Press, 2007.

The event analysis of action sentences seems to be at odds with plausible (Davidsonian) views about how to count actions. If Booth pulled a certain trigger, and thereby shot Lincoln, there is good reason for identifying Booths' action of pulling the trigger with his action of shooting Lincoln; but given truth conditions of certain sentences involving adjuncts, the event analysis requires that the pulling and the shooting be distinct events. So I propose that event sortals like 'shooting' and 'pulling' are (...) true of complex events that have actions (and various effects of actions) as parts. Combining this view with some facts about so-called causative verbs, I then argue that paradigmatic actions are best viewed as tryings, where tryings are taken to be intentionally characterized events that typically cause peripheral bodily motions. The proposal turns on a certain conception of what it is to be the Agent of an event; and I conclude by elaborating this conception in the context of some recent discussions about the relation of thematic roles to grammatical categories. (shrink)

John Searle began to discuss his recently published book `The Construction of Social Reality' with Anthony Freeman, and they ended up talking about God. The book itself and part of their conversation are introduced and briefly reflected upon by Anthony Freeman. Many familiar social facts -- like money and marriage and monarchy -- are only facts by human agreement. They exist only because we believe them to exist. That is the thesis, at once startling yet obvious, that philosopher John Searle (...) explores in The Construction of Social Reality. (shrink)

Itself a pleasure to read, this book is full of inventive arguments and conveys Millgram's bold thesis with elegance and force.

I wish more books of philosophy were like this one. It is elegantly written. It is filled with provocative claims and ingenious arguments. It is a really good read, even while it forces us to rethink many of our assumptions about practical reason and practical reasoning, morality and agency.