The study aimed to identify creative behavior and its impact on achieving Lean strategy in Palestinian civil organizations. The study used the descriptive analytical approach and the questionnaire as a main tool for collecting data from employees of associations operating in the governorates of Gaza Strip. The cluster sample method was used and the sample size was (343) individuals. Retrieving (298) questionnaires, and the following results were reached: The relative weight of the measure of Lean strategy was 79.04 (...) (%), and the relative weight of the measure of creative behavior was 78.99 (%), and there was a statistically significant relationship between creative behavior and Lean strategy, and the presence of an effect of creative behavior on Achieving Lean strategy, the absence of statistically significant differences in creative behavior according to the gender variable, age group, educational qualification, specialization, and the presence of statistically significant differences in Lean strategy attributable to the gender variable in dimensions (strategic sensitivity, clarity of vision, choice of strategic goals, Response speed, action) and differences were in favor of females. While there were no statistically significant differences in my dimension (shared responsibility, core capabilities) due to the gender variable, there were no statistically significant differences between the mean dimensions of Lean strategy due to the age group variable, the educational qualification, and the study presented a set of recommendations, the most important of which are: the necessity of seeking civil organizations In Gaza Strip, by obtaining funding from external countries to provide self-income for associations to face crises and give them independence in order to preserve them to carry out their role in society, the need to work to follow up on the strategic plan for NGOs using electronic messages as they pave the way to reach excellence and creativity in the field of work, The necessity of holding meetings and workshops with the local community, and this helps them to define the community's needs. (shrink)

Abstract: The study aimed to identify the creative behavior in the Palestinian civil organizations between reality and expectations, and the study used the descriptive analytical approach and the questionnaire as a main tool for collecting data from employees of associations operating in the governorates of Gaza Strip, and the cluster sample method was used and the sample size was (343) individuals and has been recovered (298) Resolution. The following results were reached: The relative weight of the measure of (...) creative behavior was 78.99 (%), and there were no statistically significant differences in creative behavior according to the gender variable, age group, educational qualification, specialization, while the results indicated that there were differences according to the number of years of service. The study presented a set of recommendations, the most important of which are: the necessity of working to follow up the strategic plan for NGOs using electronic messages as it paves the way for achieving excellence and creativity in the field of work, the need to hold meetings and workshops with the local community and this helps them determine the needs of the community. (shrink)

The study aimed to identify the strategic sensitivity and its impact on enhancing the creative behavior of Palestinian NGOs in Gaza Strip, and the study used the descriptive analytical approach and the questionnaire as a main tool for collecting data from employees of associations working in Gaza Strip governorates, and the cluster sample method was used and the sample size reached (343) individuals (298) questionnaires were retrieved, and the following results were reached: The relative weight of strategic sensitivity (...) was 79.22 (%), and the relative weight of creative behavior was 78.99 (%), a statistically significant relationship between all strategic sensitivity and creative behavior, and the presence of a sensitivity effect The strategy’s strategy on creative behavior, there are statistically significant differences in the scale dimensions attributable to the gender variable and the differences were in favor of females, there are no statistically significant differences between the averages of strategic sensitivity due to the age variable, and the educational qualification, and there were no statistically significant differences in creative behavior according to The gender variable, age, educational qualification, specialization, and the study presented a set of recommendations, the most important of which are: the need for civil organizations in Gaza Strip to seek funding from external countries in order to provide self-income for associations to face crises and give them independence Mechanism in order to keep them to carry out their role in society, the need to follow up the strategic plan of civil organizations using e-mails as they pave the way to reach excellence and creativity in the field of work. (shrink)

Abstract: The study aimed to identify the procedures and speed of response and their role in improving the creative behavior of Palestinian NGOs. The study used the descriptive analytical approach and the questionnaire as a main tool for collecting data from employees of associations operating in Gaza Strip governorates, and the cluster sample method was used and the sample size reached (343) individuals. (298) questionnaires were retrieved, and the following results were reached: The relative weight of the field (...) of taking measures reached (77.33%), and the relative weight of the field of response speed reached (78.66%) and the relative weight of the creative behavior was 78.99 (%), and the results also showed a relationship Statistically significant of me For adopting the procedures and speed of response and creative behavior, and the presence of the effect for adopting procedures and speed of response to the creative behavior, and there are differences statistically significant in scale dimensions due to the variable gender in (response speed, take action) and the differences in favor of females. There were no statistically significant differences attributable to the variable of the age group and the educational qualification, and there were no statistically significant differences in the creative behavior according to the variable of gender, age group, educational qualification, specialization, and the study presented a set of recommendations the most important of them: the necessity of civil organizations in Gaza Strip to obtain Funding from foreign countries in order to provide associations with self-income to face crises and give them independence in order to preserve them in order to play their role in society. The necessity of holding meetings and workshops with the local community, and this helps them determine the needs of society. (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)

When it comes to the notion of creativity, both R. Dawkins and D. Dennett argue that creativity is a matter of random mutation, in the same way that genes randomly mutate. Neither Dennett nor Dawkins see anything else in the mimetic theory of creativity than a process of Darwinian evolution. However, this complete reliance upon the extension of evolution for understanding creativity needs to be supplemented by combining it with other ideas such as those of "schema theory," because creativity always (...) occurs within a structured context and is not simply a matter of random mutation of ideas. Schema theory comes largely from the works of E.H Gombrich, who argued that "schemas" play a crucial role in how it is that we are able to be creative. He defines schemas as structure and traditions in society that help to convey the meaning of our creative efforts. Just as semantics needs syntax within language in order to formulate and convey meaning, so by analogy memes need schemas for the creation and expression of new ideas. Rather than being the antithesis of creativity, existing forms of expression and traditions are important for the creation of new ideas. This needs to be factored into any theory of creativity in order to account for the effect of the social context on creative endeavours in addition to a Darwinian account of memes. The unconscious processes at work within the brain that are involved in the generation of ideas and other creative products can be understood using the notion of a "generator", as originally conceived by D. Dennett. This notion goes beyond mere concrete Skinnerian behavioural trial and error. Within this generator, there appear to be at work processes such as those of bisociation and association, as discussed by A. Koestler, as well as processes such as the role of language, memory, generate-and-test and intentionality that must be acknowledged in addition to the syntactic operations of schemas and the replicating contents of memes. The operation of all of these ingredients within the generator, when understood together, can be seen as responsible for our ability to be creative. (shrink)

This paper questions the efficacy of social adverts in promoting Nigeria’s democracy and proposes creative planning as a key strategy for designing effective media messages for effective democratic principles. Social advertising pleads a course through advocacy, social mobilization or behavior change communication. The business of democracy is to get the people involved in the business of leadership. Many media messages created to inform and educate the citizenry under democratic set-ups in Nigeria have been ineffective with regards to changing (...) behavior of the citizens towards a particular course. The creative planning strategy under consideration in this paper involves the steps in the creation of media messages with focus on variables such as discourse, dramatic logic or arguments, signs and significations and the audience. Basic questions in this paper include: Why are social adverts used as tools in promoting democratic values? Are the social adverts used in Nigeria predicated on the creative planning strategy? To what extent have the social adverts contributed to the promotion of democratic principles in Nigeria? The paper examines some advertising theories as applied to message development and questions the basis for creating or designing most media messages in promoting democratic values in Nigeria. The methodology adopted in this paper is analysis and recommendations will be based on the findings. (shrink)

Creativity has been associated with cognitive and behavioural disinhibitory processes (Martindale, 1999; Carson, 2014). Nevertheless, inhibitory mental processes are not only fundamental to rational behaviours but also socially adaptive practices. Hence, the promotion of creativity must overcome the limits imposed by socialization. An undue imbalance of both domains will tense both processes. This notion cannot be reviewed without considering ab initio our construction of the concept of ‘freedom’ or, more accurately, of our ‘degrees of freedom’ (Colombo, 2013) and our self-awareness (...) of the construction of inhibitory codes and rules in our socialization process. It is a process that this author finds too close to domestication and fencing creativeness. This book has been inspired by the multiple sources of evidence imposing on vast segments of our world community a cognitive deprivation on the construction of identity, the access to critical knowledge, and the construction and expression of the creative potential (Colombo, 2007, 2015). Also, it is dangerous to build up a segmented or balkanized humanity as opposed to a globalized one, based on limited or no access to fundamental human values and needs, as well as to critical knowledge and information. Cultural banalization, poverty/indigence/marginalization of vast populations, social prejudices and privileges, and a prevalence of financial, ideological, and religious fundamentalisms are at the base of such unethical and counter-evolutive, regressive engines (Colombo 2010, 2013, 2015). These represent the instruments for domestication and suffocation of the species’ creative potential, which pave the road towards the emergence of fundamentalisms and the surrender of identity. (shrink)

The tendency to idealise artificial intelligence as independent from human manipulators, combined with the growing ontological entanglement of humans and digital machines, has created an “anthrobotic” horizon, in which data analytics, statistics and probabilities throw our agential power into question. How can we avoid the consequences of a reified definition of intelligence as universal operation becoming imposed upon our destinies? It is here argued that the fantasised autonomy of automated intelligence presents a contradistinctive opportunity for philosophical consciousness to understand itself (...) anew as holistic and co-creative, beyond the recent “analytic” moment of the history of philosophy. Here we introduce the concept of “crealectic intelligence”, a meta-analytic and meta-dialectic aspect of consciousness. Intelligent behaviour may consist in distinguishing discrete familiar parts or reproducible functions in the midst of noise via an analytic process of segmentation; intelligence may also manifest itself in the constitution of larger wholes and dynamic unities through a dialectic process of association or assemblage. But, by contrast, crealectic intelligence co-creates realities in the image of an ideal or truth, taking into account the desiring agent imbued with a sense of possibility, in a relationship not only with the Real but also with the creative sublime or “Creal”. (shrink)

Free will skepticism maintains that what we do, and the way we are, is ultimately the result of factors beyond our control and because of this we are never morally responsible for our actions in the basic desert sense—the sense that would make us truly deserving of praise and blame. In recent years, a number of contemporary philosophers have advanced and defended versions of free will skepticism, including Derk Pereboom (2001, 2014), Galen Strawson (2010), Neil Levy (2011), Bruce Waller (2011, (...) 2015), and myself (Caruso 2012, 2013, forthcoming). Critics, however, often complain that adopting such views would have dire consequences for ourselves, society, morality, meaning, and the law. They fear, for instance, that relinquishing belief in free will and basic desert moral responsibility would leave us unable to adequately deal with criminal behavior, increase anti-social conduct, and undermine meaning in life. -/- In response, free will skeptics argue that life without free will and basic desert moral responsibility would not be as destructive as many people believe (see, e.g., Pereboom 2001, 2014; Waller 2011, 2015; Caruso 2016, forthcoming). According to optimistic skeptics, prospects of finding meaning in life or of sustaining good interpersonal relationships, for instance, would not be threatened. And although retributivism and severe punishment, such as the death penalty, would be ruled out, incapacitation and rehabilitation programs would still be justified (see Pereboom 2001, 2013, 2014; Levy 2012; Caruso 2016; Pereboom and Caruso, forthcoming). In this paper, I attempt to extend this general optimism about the practical implications of free will skepticism to the question of creativity. -/- In Section I, I spell out the question of creativity and explain why it’s relevant to the problem of free will. In Section II, I identify three different conceptions of creativity and explain the practical concerns critics have with free will skepticism. In Section III, I distinguish between three different conceptions of moral responsibility and argue that at least two of them are consistent with free will skepticism. I further contend that forward-looking accounts of moral responsibility, which are perfectly consistent with free will skepticism, can justify calling agents to account for immoral behavior as well as providing encouragement for creative activities since these are important for moral and creative formation and development. I conclude in Section IV by arguing that relinquishing belief in free will and basic desert would not mean the death of creativity or our sense of achievement since important and realistic conceptions of both remain in place. (shrink)

This volume is the first to focus on a particular complex of questions that have troubled Wittgenstein scholarship since its very beginnings. The authors re-examine Wittgenstein’s fundamental insights into the workings of human linguistic behaviour, its creative extensions and its philosophical capabilities, as well as his creative use of language. It offers insight into a variety of topics including painting, politics, literature, poetry, literary theory, mathematics, philosophy of language, aesthetics and philosophical methodology.

Since the beginning of the 21st century, technologies like neural networks, deep learning and “artificial intelligence” (AI) have gradually entered the artistic realm. We witness the development of systems that aim to assess, evaluate and appreciate artifacts according to artistic and aesthetic criteria or by observing people’s preferences. In addition to that, AI is now used to generate new synthetic artifacts. When a machine paints a Rembrandt, composes a Bach sonata, or completes a Beethoven symphony, we say that this is (...) neither original nor real art, but simply the complex imitation and reproduction of existing products of human culture. We face the old question concerning the nature of creativity: what kind of recombination of ideas, unusual analogies, and conceptual connections are considered the mark of originality? Can AI produce artworks? Could machines reach a point at which we consider them genuinely creative? We also need to investigate the challenges posed by AI-art to the notion of authoriality: Who is the author of an artificially generated artifact? An artificial system could be considered just an artist’s and a programmer’s tool. However, we are also fascinated by the idea of autonomous artificial creativity in the aesthetic domain, as a manifestation of highly intelligent behavior. This paper will try to define some key questions around what could it mean to consider a machine creative or even equipped with artistic intentionality. (shrink)

The use of protocol analysis in the traning of cognitive skills.

This study was conducted to explore the effects of cloud-based m- learning on students’ motivation and creative performance in computer illustration course. Variables of motivation, creative behavior, creative process and creative product were conducted to understand the situations, differences, and the predictive power cloud-based m-learning had in creative performance. A nonequivalent pretest–posttest design was adopted, and 123 university students from Taipei City, Taiwan,were recruited as research participants in the study during 10-weeks experiment. They were (...) asked to complete a motivation questionnaire. Creative concept form and students’ illustraion work were also collected for statistics analysing. Through the descriptive statistics, one-way ANCOVA, and multiple linear regression analysis, the findings are as follows: (1)cloud-based m- learning had a positive effect on students’ motivation in computer illustration course; (2) cloud-based m-learning had a positive effect on creative performance in computer illustration course; (3) students with higher motivation performed better on creative performance, and(4) motivation could partially mediate cloud-based m-learning and creative performance. (shrink)

This study aimed to identify the role of strategic leadership in activating time management strategies to enhance administrative creativity skills at Al-Azhar University. The sample of the study was random stratified sample from (245) administrative employees using questionnaire as a main tool for primary data collection. Total respondent were (112) questioners. Descriptive and quantitative approach used in this study. The general results of the study showed high levels of strategic leadership at Al-Azhar University, average level of application of time management (...) strategies and administrative creativity. This means there is acceptance approval that there is a statistically significant relationship between strategic leadership and time management strategies in Palestinian universities in Gaza Strip with a correlation level (0.724). Also, there is a statistically significant relationship between time management strategies and administrative creativity in Palestinian universities in Gaza Strip under study with a correlation level (0.848). According to static analysis, there is a statistically significant relationship between the dimensions of strategic leadership and administrative creativity in Palestinian universities in Gaza Strip under study, with a level of correlation (0.767%). This leases to high investment process for all available factors and elements in order to maximize and increase production and eliminate waste, wasted and unexploited employees' time and capabilities, which leads to achieving more effectiveness, positivity, productivity and increased organized effort. The study recommended necessity of having the elements of strategic academic leadership and activating time management strategies towards enhancing administrative creativity among workers in Palestinian universities in Gaza Strip. Also study recommended to encourage, support, and reward personal initiatives and creative ideas. Also study recommended available of wise and conscious strategic leadership to rationalize the behavior of individuals, mobilize their energies, mobilize their capabilities, coordinate their efforts, organize their affairs and direct them in the right direction towards achieving the desired goals and objectives. (shrink)

This paper develops a new structural psychology, and therein proposes a specific model for the scientific study of consciousness. The presented model uses Earth's geologic history of mass-extinction & recovery (evolutionary dynamics) in determining humanity’s adaptive response (conscious and non-conscious traits). It argues humanity adaptively mirrors Earth’s basic evolutionary dynamics, in a “mythologizing of natural adversity” as foundation for all human knowledge – a process that continues well into the modern era. The intellectual lineage used to develop this model includes: (...) • Evolutionary biology offers a context for this study – answering Chalmers’ “hard question,” • Paleoanthropology defines the circumstance of human emergence from Gaia, • Environmental forces on neurophysiology derive an ambiguous but instructive narrative logic (mythic sensibility), • Psychology tracks humanity’s shift from animal-self to modern creative-self, using work of Hegel > Freud > Jung > Rank > Joseph Campbell > Arnold Mindell as a new structural psychology, • Fractal geometry offers a holographic design for modeling consciousness, • Memetics presents a tool for measuring conscious traits, in a variation of the Hall-Tonna values inventory, • Finally, Structured Opportunistic Thinking, a hybrid of NTL’s T-group, and Pierce’s Power Equity Group Theory, suggests a developmental methodology. This work presents a “general hypothesizing model” of human consciousness, in attempting a science of consciousness. (shrink)

As art produced by autonomous machines becomes increasingly common, and as such machines grow increasingly sophisticated, we risk a confusion between art produced by a person but mediated by a machine, and art produced by what might be legitimately considered a machine artist. This distinction will be examined here. In particular, my argument seeks to close a gap between, on one hand, a philosophically grounded theory of art and, on the other hand, theories concerned with behavior, intentionality, expression, and (...) creativity in natural and artificial agents. This latter set of theories in some cases addresses creative behavior in relation to visual art, music, and literature, in the frequently overlapping contexts of philosophy of mind, artificial intelligence, and cognitive science. However, research in these areas does not typically address problems in the philosophy of art as a central line of inquiry. Similarly, the philosophy of art does not typically address issues pertaining to artificial agents. (shrink)

Guided by neuroscience, animal behavior, evolution, philosophy, and psychology, Asma burrows deep into the human psyche to look right at the enigmatic but powerful engine that is our improvisational creativity—the source, he argues, of our remarkable imaginational capacity. How is it, he asks, that a story can evoke a whole world inside of us? How are we able to rehearse a skill, a speech, or even an entire scenario simply by thinking about it? How does creativity go beyond experience (...) and help us make something completely new? And how does our moral imagination help us sculpt a better society? As he shows, we live in a world that is only partly happening in reality. Huge swaths of our cognitive experiences are made up by “what-ifs,” “almosts,” and “maybes,” an imagined terrain that churns out one of the most overlooked but necessary resources for our flourishing: possibilities. Considering everything from how imagination works in our physical bodies to the ways we make images, from the mechanics of language and our ability to tell stories to the creative composition of self-consciousness, Asma expands our personal and day-to-day forms of imagination into a grand scale: as one of the decisive evolutionary forces that has guided human development from the Paleolithic era to today. The result is an inspiring look at the rich relationships among improvisation, imagination, and culture, and a privileged glimpse into the unique nature of our evolved minds. (shrink)

The goal of Transhumanism is to change the human condition through radical enhancement of its positive traits and through AI (Artificial Intelligence). Among these traits the transhumanists highlight creativity. Here we first describe human creativity at more fundamental levels than those related to the arts and sciences when, for example, childhood is taken into account. We then admit that creativity is experienced on both its bright and dark sides. In a second moment we describe attempts to improve creativity both at (...) the bodily level and in the emulation of human behavior in AI. These developments are presented both as effective results in laboratories and as transhumanist proposals emerging from them. Third, we have introduced the work of some theologians and ethicists, who study such proposals through the lens of the "created co-creator" metaphor. Finally, we analyze these developments through a reflection on the nature of creativity. We identify three problems in the current ideas about enhancement: first, they are bound to Western standards of creativity; second, the tempo and mode of evolution (involving an extended childhood) are not taken into account; third, the enhancement of creativity develops both its healthy and the perverse side. Proponents of the created co-creator metaphor also have difficulties with the problems pointed out. Concerning AI, there is a promising perspective of approaching human creativity, but there are some intrinsic limits: Human emotions are ambiguous, contradictory and far from rational control; human creativity is iconoclastic, thus highlighting the importance of youth and new generations; we do not expect from AI beings to present the perverse side of creativity. Our conclusions are: First, procreation and the new generations are essential to human creativity; in the same way, the wheat does not grow without the chaff; and finally, that birth breaks with causal connections and allows us to act forgiving--at birth, God's creative act is re-enacted. (shrink)

Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving (...) patterns of inter-musician movement coordination as revealed by the mathematical tools of complex dynamical systems to provide a new understanding of what potentiates the novelty of spontaneous musical action. We demonstrate this approach through the application of cross wavelet spectral analysis, which isolates the strength and patterning of the behavioral coordination that occurs between improvising musicians across a range of nested time-scales. Revealing the sophistication of the previously unexplored dynamics of movement coordination between improvising musicians is an important step towards understanding how creative musical expressions emerge from the spontaneous coordination of multiple musical bodies. (shrink)

This thesis develops an account of ethics called the Linguistic Perspective, which is realist in a practical, non-theoretical sense, and is rooted Wittgenstein’s 'On Certainty'. On this account, normativity is intrinsic to human action and language; the norms of ethics are the logical limits of the most basic, unassailable concepts that practical reasoning requires for intelligibility. Part I lays the groundwork for this account by developing a Tractarian Reading of 'On Certainty'. Here, I contend that 'On Certainty' is primarily concerned (...) with the logical requirements and limits of language, and like the 'Tractatus' it develops these concerns in a realist direction. 'On Certainty', I argue, does so by advancing three key claims about logic: Everything descriptive of a language-game is part of logic; the boundary between logical and empirical propositions is not sharp; logic is founded on action. I investigate these claims, with particular emphasis on how natural human reactions provide logical conditions for the possibility of language. Hinge propositions, I argue, are rooted in these reactions; they point us to the limits of intelligibility of our concepts, though these limits are vague and inarticulable. In Part II, I discuss the practical syllogism and its validity. I argue that practical reasoning is distinct from theoretical reasoning and embodies a different standard of logical validity for inference. This standard is not strict and narrow, but creative and wide open; furthermore, it is an intrinsically ethical standard. Then, I advance my Linguistic Perspective on ethics, according to which human reactions provide the conditions for ethical normativity, just as they do for language. I argue that we can access ethical norms by reflecting on those linguistic concepts that are rooted in the most basic patterns of action, and by identifying the norms of behaviour that ensure the development of those concepts without contradiction. (shrink)

Abstract In Creative Evolution (1907/1911), a pivotal discussion is the extreme complexity of instinctual behavior. As one of many examples, a member of the Hymenoptera “knows” precisely the three locations of motor-neuron complexes at which to sting a cricket such that it is paralyzed, yet remains fully alive for the wasp’s larvae. Two points: a) This behavior is as much an “irreducible” complex of acts as the structural organization of the wasp’s body, and just as inexplicably formed (...) by natural selection, and, b) the instinctual behavior is actually at the same level as the vital processes of the organism. This is to say that any theory of evolution, be it selection, self-assembly or self-organization, is equally bound to address not only the origin-problem of an organism’s structure, but the correlated functional problem of instinct. Instinct, however, was Bergson’s prime source for holding, firstly, that we must see Consciousness as the impetus behind evolution and secondly, that it is only by utilizing the essence of instinct, conjoined with intellect – his “intuition” – that mind and science can penetrate these mysterious evolutionary processes. This double thesis of the role of Consciousness and the role of intuition likely helped to cause Bergson’s neglect in the biological world, but subsequently there has emerged the current sharp awareness of the “Hard Problem” of Consciousness (Chalmers, 1995). The ongoing failure on a solution to this problem – its very, very unresolved status – should give us pause. In fact, integral to the argument of Creative Evolution, though always only obliquely referenced, was Matter and Memory (1896/1912), and in this work was a remarkable solution to the Hard Problem – when understood, an amazing feat of “intuition.” This, we will see, casts Bergson’s view of the role of Consciousness in evolution, and the nature of instinct as one of evolution’s lines of development, in a new light. (shrink)

With rapid changes in urban living today, peoples’ behavioural patterns and spatial practices undergo a constant process of adaptation and negotiation. Using “house” as a laboratory and everyday life and spatial relations of residents as a framework of analysis, the paper examines the spatial planning concepts in traditional and contemporary Iranian architecture and the associated socio-cultural practices. Discussions are drawn upon from a pilot study conducted in the city of Kerman, to investigate ways in which contemporary housing solutions can better (...) cater to the continually changing socio-cultural lifestyles of residents. Data collection for the study involved a series of participatory workshops and employed creative visual research methods, participant observation and semi structured interviews to examine the interlacing of everyday socio-spatial relations and changing perception of identity, belonging, socio-cultural and religious values and conflict. The inferences from the study showcases the emerging social and cultural needs and practices of people manifested through the complex relationship between residents, the places in which they live, and its spatial planning and organisation. For a better understanding of this complex relationship, the paper argues the need for resituating spatiality as a socio-cultural paradigm. (shrink)

In two experiments (total N=693) we explored whether people are willing to consider paintings made by AI-driven robots as art, and robots as artists. Across the two experiments, we manipulated three factors: (i) agent type (AI-driven robot v. human agent), (ii) behavior type (intentional creation of a painting v. accidental creation), and (iii) object type (abstract v. representational painting). We found that people judge robot paintings and human painting as art to roughly the same extent. However, people are much (...) less willing to consider robots as artists than humans, which is partially explained by the fact that they are less disposed to attribute artistic intentions to robots. (shrink)

Although Foucault’s 1979 lectures on The Birth of Biopolitics promised to treat the theme of biopolitics, the course deals at length with neoliberalism while mentioning biopolitics hardly at all. Some scholars account for this elision by claiming that Foucault sympathized with neoliberalism; I argue on the contrary that Foucault develops a penetrating critique of the neoliberal claim to preserve individual liberty. Following Foucault, I show that the Chicago economist Gary Becker exemplifies what Foucault describes elsewhere as biopolitics: a form of (...) power applied to the behavior of a population through the normalizing use of statistics. Although Becker’s preference for indirect intervention might seem to preserve the independence of individuals, under biopolitics individual liberty is itself the means by which populations are governed indirectly. In my view, by describing the history and ambivalence of neoliberal biopolitics, Foucault fosters a critical vigilance that is the precondition for creative political resistance. (shrink)

We investigated the impact of psychological capital (PsyCap) on supervisory-rated innovative performance and job stress. Data collected from a diverse sample (N = 237 paired responses) of employees from various organizations in Pakistan provided good support for the hypotheses. The results indicate that PsyCap is positively related to innovative job performance and negatively related to job stress. High PsyCap individuals were rated as exhibiting more innovative behaviours by their supervisors than low PsyCap individuals. Particularly, we found that high PsyCap individuals (...) were more likely to generate, acquire support for, and implement novel ideas in their workplace. Similarly, individuals with high PsyCap reported lower levels of job stress as compared to their low PsyCap counterparts. (shrink)

Social networking technologies have become a ubiquitous framework for social interaction, serving to organise much of the individual’s social life. Such technological structuring affects not merely the individual’s psyche (as a psychotechnics), it also affects broader aspects of society (as a socio-technics). While social networking technologies may serve to transform society in positive ways, such technologies also have the potential to significantly encroach upon and (re) construct individual and cultural meaning in ways that must be investigated. Erich Fromm, who psychoanalytically (...) describes humans as a product of their society and the economic systems within that society, may provide insight into the influence of social networking technologies in contemporary society. He sees the relationship between the individual and society as being in a constant state of dynamic change. Utilising Fromm’s psycho-societal insight, social networking technologies are shown to conflate and confuse the relation between Thanatos and Eros – the Thanatos of a lifeless and consumerist agenda-filled mechanisation, and the Eros associated with social engagement. Thanatos and Eros are tied together via social networking technologies. This results in, firstly, social networking technologies functioning predominantly to further capitalist agendas through the monetisation of these technologies – particularly in terms of linking commodity fetishism and the foundational social drive of the individual. Secondly, social networking technologies mechanise human action according to predictable behavioural paths through the use of these technologies, especially in terms of how socialisation is possible via these technologies (shaping how platonic and romantic relationships may take place in the contemporary world). Such a mechanisation of interpersonal engagement contrasts with Erich Fromm’s assertion that interpersonal relations (vis-à-vis love) are not “mere emotion”, but rather represent an interpersonal creative capacity and interplay. Fromm’s psycho-societal insights will show how contemporary individuals may take independent and responsible rational action to establish accountable and psychologically beneficial ways of engaging with others through social networking technologies. (shrink)

The Language of Thought program has a suicidal edge. Jerry Fodor, of all people, has argued that although LOT will likely succeed in explaining modular processes, it will fail to explain the central system, a subsystem in the brain in which information from the different sense modalities is integrated, conscious deliberation occurs, and behavior is planned. A fundamental characteristic of the central system is that it is “informationally unencapsulated” -- its operations can draw from information from any cognitive domain. (...) The domain general nature of the central system is key to human reasoning; our ability to connect apparently unrelated concepts enables the creativity and flexibility of human thought, as does our ability to integrate material across sensory divides. The central system is the holy grail of cognitive science: understanding higher cognitive function is crucial to grasping how humans reach their highest intellectual achievements. But according to Fodor, the founding father of the LOT program and the related Computational Theory of Mind (CTM), the holy grail is out of reach: the central system is likely to be non-computational (Fodor 1983, 2000, 2008). Cognitive scientists working on higher cognitive function should abandon their efforts. Research should be limited to the modules, which for Fodor rest at the sensory periphery (2000).1 Cognitive scientists who work in the symbol processing tradition outside of philosophy would reject this pessimism, but ironically, within philosophy itself, this pessimistic streak has been very influential, most likely because it comes from the most well-known proponent of LOT and CTM. Indeed, pessimism about centrality has become assimilated into the mainstream conception of LOT. (Herein, I refer to a LOT that appeals to pessimism about centrality as the “standard LOT”). I imagine this makes the standard LOT unattractive to those philosophers with a more optimistic approach to what cognitive science can achieve.. (shrink)

The present essay argues that Bergson’s account of the comic can only be fully appreciated when read in conjunction with his later metaphysical exposition of the élan vital in Creative Evolution and then by the account of fabulation that Bergson only elaborates fully three decades later in The Two Sources of Morality and Religion. The more substantive account of the élan vital ultimately shows that, in Laughter, Bergson misses his own point: laughter does not simply serve as a means (...) for correcting human behavior but is rather the élan vital’s vital summons, the demand of life itself, that human beings challenge their obligations, question their societal forms, and thereby create new and, for Bergson, more ideal forms of life and community. (shrink)

The extent of confusion between symbols and that which is symbolised is examined across five institutional spheres. Religion is the institution most marked by confusion of this type; indeed in some respects the symbolic mes- sage of religion may be the extent of the substantive reality. On the other hand, the very existence of the nation state may be judged to depend upon the exercise of the human imagination; hence providing a source of instability which may lead to the excesses (...) of nationalism. In regard to social status, the main problematical element is a certain circularity: it is necessary to get peo- ple to exhibit differences in behaviour which are then used to justify or con- stitute the status differences themselves. In politics, the symbolism of left and right threatens to strangle creative thinking, while in education the tendency on all sides to orient towards public systems of measurement and grading undermines the claim that what is really important is pupil and student learn- ing. A social cost is being paid for the failure to recognise and, where possible, address the issues identified. (shrink)

The central thesis defended here is that modernity can best be understood as a struggle between two main traditions of thought: the Radical or “True” Enlightenment celebrating the world and life as creative and promoting the freedom of people to control their own destinies, and the Moderate or “Fake” Enlightenment which developed to oppose the democratic republicanism and nature enthusiasm of the Radical Enlightenment. While the Radical Enlightenment has promoted democracy, the central concern of the Moderate Enlightenment has been (...) to promote “possessive individualism” and the control of nature and people by discovering their laws of behaviour. While it has on occasion promoted religious tolerance and freedom of expression, the greater concern of the Moderate Enlightenment has always been defence of property rights and the power of those with property. It is argued here that process philosophy is the highest development of the philosophy of the Radical Enlightenment and needs to be appreciated as such if the Radical Enlightenment is to be revived and process philosophy advanced. (shrink)

The article analyses the history of the Einfühlung concept. Theories of ‘feeling into’ Nature, works of art or feelings and behaviours of other persons by German philosophers of the second half of the nineteenth century Robert and Friedrich Vischer and Theodor Lipps are evoked, as well as similar theory of understanding (Verstehen) by Wilhelm Dilthey and Friedrich Schleiermacher, to which Dilthey refers. The meaning of the term Einfühlung within Edith Stein’s thought is also analysed. Both Einfühlung and Verstehen were criticized (...) as non-objective and naive methods consisting only in the identification of the subject with the object or the projection of feelings onto the object. The article refers to criticism by Georg Gadamer and Bertolt Brecht and proposes ways to restitute the concept of Einfühlung after this criticism, recalling the theory of empathy by Dominick Lacapra, in terms of its advantages for the historical enquiry, or the myth of Narcissus analyzed in the spirit of psychoanalysis by Julia Kristeva. The article proposes a reformulation of the concept of mimesis, connected to the Einfühlung, understood as the identification, analogy, imitation of feelings (as it was described by Lipss and Vischer). Mimesis does not necessarily mean a passive repetition and reconstruction of the feelings of the object, but serves only as a starting point for the interest of the subject for the outside world or for experiences of historical protagonists. Then there is no identification or projection of feelings, but the creative, active and critical reformulation of knowledge. It is stated that empathy is not a passive, uncritical process, but that it deals with the critical choice of the object of empathy and with an active approach to the perceived feelings and appearances. In addition to this cognitive aspect, empathy may also contribute to the analytical and valuable introspection. Furthermore empathy allows us to connect the analysis of the facts with a personal narrative and understanding of individual identity in historical knowledge. (shrink)

ABSTRACT: Decision-theoretic approach and a nonlinguistic theory of norms are applied in the paper in an attempt to explain the nature of scientific rationality. It is considered as a normative system accepted by scientific community. When we say that a certain action is rational, we express a speaker’s acceptance of some norms concerning a definite action. Scientists can choose according to epistemic utility or other rules and values, which themselves have a variable nature. Rationality can be identified with a decision (...) to accept a norm. This type of decision cannot be reduced only to its linguistic formulation; it is an act of evolvement of the normative regulation of human behavior. Norms are treated as decisions of a normative authority: a specific scientific community is the normative authority in science. These norms form a system and they are absolutely objective in the context of individual scientists. There exists an invariant core in all the norms of rationality, accounting for their not being liable to change, as compared with the flexibility of legal norms. The acceptance of and abidance by these norms is of social importance – it affects the aims of the community. A norm only defines the common framework and principles of scientific problem-solving; its application is a matter of professional skills and creative approach to a particular problem. It is of no importance at all, if an agent’s cognitive abilities do not live up to the requirements of a norm. Such discrepancy can be compensated for by the fact that a scientist carries out work in a conceptual and normative framework established by a respective scientific community. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

The monograph is an English, expanded and revised version of the book Cheshko, V. T., Ivanitskaya, L.V., & Glazko, V.I. (2018). Anthropocene. Philosophy of Biotechnology. Moscow, Course. The manuscript was completed by me on November 15, 2019. It is a study devoted to the development of the concept of a stable evolutionary human strategy as a unique phenomenon of global evolution. The name “An Evolutionary Metaphysics (Cheshko, 2012; Glazko et al., 2016). With equal rights, this study could be entitled “Biotechnology (...) as a result and factor of the evolutionary processˮ. The choice in favor of used “The Evolutionary Metaphysics of Human Enhancement Technologiesˮ was made in accordance with the basic principle of modern post-academician and human-sized science, a classic example of which is biotechnology. The “Metaphysics of Evolution” and “Evolutionary Metaphysics” concepts are used in several ways in modern philosophical discourse. In any case, the values contain a logical or associative reference to the teleological nature of the evolutionary process (Hull, 1967, 1989; Apel, 1995; Faye, 2016; Dupre, 2017; Rose, 2018, etc). In our study, the “evolutionary metaphysics” serves to denote the thesis of the rationalization and technologization of global evolution and anthropogenesis, in particular. At the same time, the postulate of an open future remains relevant in relation to the results of the evolutionary process. The theory of evolution of complex, including the humans system and algorithm for its constructing are а synthesis of evolutionary epistemology, philosophical anthropology and concrete scientific empirical basis in modern science. ln other words, natural philosophy is regaining the status bar element theoretical science in the era of technology-driven evolution. The co-evolutionary concept of 3-modal stable evolutionary strategy of Homo sapiens is developed. The concept based оn the principle of evolutionary complementarity of anthropogenesis: value of evolutionary risk and evolutionary path of human evolution are defined bу descriptive (evolutionary efficiency) and creative-teleological (evolutionary correctness) parameters simultaneously, that cannot bе instrumental reduced to others ones. Resulting volume of both parameters define the vectors of blological, social, cultural and techno-rationalistic human evolution Ьу two gear mechanism genetic and cultural co-evolution and techno-humanitarian balance. The resultant each of them сап estimated Ьу the ratio of socio-psychological predispositions of humanization / dehumanization in mentality. Explanatory model and methodology of evaluation of creatively teleological evolutionary risk component of NBIC technological complex is proposed. Integral part of the model is evolutionary semantics (time-varying semantic code, the compliance of the blological, socio-cultural and techno-rationalist adaptive modules of human stable evolutionary strategy). It is seem necessary to make three clarifications. First, logical construct, “evolutionary metaphysics” contains an internal contradiction, because it unites two alternative explanatory models. “Metaphysics”, as a subject, implies deducibility of the process from the initial general abstract principle, and, consequently, the outcome of the development of the object is uniquely determined by the initial conditions. Predicate, “evolutionary”, means stochastic mechanism of realizing the same principle by memorizing and replicating random choices in all variants of the post-Darwin paradigm. In philosophy, random choice corresponds to the category of “free will” of a reasonable agent. In evolutionary theory, the same phenomenon is reflected in the concept of “covariant replication”. Authors will attempt to synthesize both of these models in a single transdisciplinary theoretical framework. Secondly, the interpretation of the term “evolutionary (adaptive) strategyˮ is different from the classical definition. The difference is that the adaptive strategy in this context is equivalent to the survival, i.e. it includes the adaptation to the environment and the transformation (construction) of the medium in accordance with the objectives of survival. To emphasize this difference authors used verbal construction “adaptiveˮ (rather than “evolutionaryˮ) strategy as more adequate. In all other cases, the two terms may be regarded as synonymous. Thirdly, the initial two essays of this series were published in one book in 2012. Their main goal was the development of the logically consistent methodological concept of stable adaptive (evolutionary) strategy of hominines and the argumentation of its heuristic possibilities as a transdisciplinary scientific paradigm of modern anthropology. The task was to demonstrate the possibilities of the SESH concept in describing and explaining the evolutionary prospects for the interaction of social organization and technology (techno-humanitarian balance) and the associated biological and cultural mechanisms of the genesis of religion (gene-cultural co-evolution). In other words, it was related to the sphere of cultural and philosophical anthropology, i.e. to the axiological component of any theoretical constructions describing the behavior of self-organizing systems with human participation. In contrast, the present work is an attempt to introduce this concept into the sphere of biological anthropology and, consequently, its main goal is to demonstrate the possibility of verification of its main provisions by means of procedures developed by natural science, i.e. refers to the descriptive component of the same theoretical constructions. The result of this in the future should be methods for assessing, calculating and predicting the risk of loss of biological and cultural identity of a person, associated with a permanent and continuously deepening process of development of science and technology. (shrink)

In his landmark article for this journal, Francis Mechner (2018) presents a novel analysis of the confluence of unique combinations of variables accounting for aesthetic experiences, a phenomenon he calls synergetics. He proposes that artists, musicians, and writers use novel devices to capitalize on those effects. In my response to Mechner's fascinating article, I question the generality of such synergetic experiences to a wide array of audience members. I also question whether the evolutionary basis for aesthetic creativity accounts for the (...) ubiquity of aesthetic activity, as Mechner suggests. I do share Mechner’s emphasis on the importance of culturally nesting aesthetic contributions. But I suggest understanding aesthetic activities across cultures and subcultures requires additional mechanisms serving important bridging functions. I explore dispositional analysis, drawing on both Wittgenstein’s aesthetic language games and derived stimulus relationships. The behavioral functions of aesthetic experiences are those playing roles in cultural contingencies: motivational events, antecedent stimulus events, and consequences of aesthetic activities. Two kinds of aesthetic responses are discussed: 1) aesthetic creative responses by artists, writers or musicians, and 2) responses of audience members to those creations. These resulting aesthetic stimuli may play critical roles in cultural metacontingencies. (shrink)

A serendipitious event in everyday life is common: it means unexpected information that yields some unintended information and potential value later on. Serendipity as a word has been around for hundreds of years. As a studied concept it is rather recent. Serendipity is not just the unexpected information or experience but rather the ability to recognize and do something with it. Serendipitious discovery of information is different from purposive or known item search as it is more complicated and lasts much (...) longer. The discovery of information by chance or accident is still looking it’s explicit place in models and frameworks of information behaviour. It is still not clear what constitutes the core of the research area of serendipity in information behaviour. The qualities of interaction among people, information, and objects differ in physical vs. digital environments. The bisociation, a creative association between different peaces of information may be computer supported. This article presents an overview of the research study of serendipity in information seeking behaviour. We explore serendipity mainly in the digital information environment. As a setting for our study we use six main drivers of serendipity research relating to digital enviroments presented in McCay-Peet and Toms (2017). The drivers are: 1. Theoretical understanding of the phenomena of serendipity, 2) physical vs digital, 3) information overload, 4) filter bubbles, 5) user experience, and 6) user strategies. A new refined temporal model of information encountering by Erdelez and Makri (2020) is also presented in this article. The model presents a framework for better understanding of the temporal dimension of the information acqusition. At a macro level the model positions information encountering within contextual factors related for user, information, task and environment related characteristics. (shrink)

By observing the mediating role of Pomarańczowa Alternatywa [Orange Alternative], the Polish artistic-activist formation of the 80s and 90s, this paper aims to determine the properties, values and ideals that make a piece of art a public act that can engage people from different social groups in play, and can allow them to reveal their self-determining agency in light of social change. Within the system of varying degrees of social permission, art should allow for the transition from the realm of (...) the “unofficial” to the realm of the “forbidden,” and should facilitate a transformation from the realm of thought to the realm of action. Art introduces an element of play into the sphere of collective behavior, and is a bridge over dichotomous social and political forces. (shrink)

Today, the world is facing many global crises and challenges. In order to limit negative environmental and social impacts, human being had put forward the concept of sustainable development, set goals and taken actions to advance the process of sustainable development. However, scholars’ research on sustainable development mainly focuses on the three major aspects: economy, society and environment/ecology. Only a few articles talked about culture and sustainable development. In order to further promote the development of human high-quality life and the (...) construction of sustainable development, it must consider the relationship between culture and sustainable development. Therefore, the thesis raises two research questions: 1. What is the connection and contribution of culture to the sustainable development according to the scholars’ research on sustainable development in the past? 2. How can culture contribute to sustainable development? The first part of this thesis introduced the background, significance, and the objectives of the research. Then, the second part defined the concept of “culture” discussed in this research, which referred to all the spiritual activities of mankind and its products. Culture explains the core problems of kinds of issues being produced, sent, communicated, accepted, understood, and mutated to people, and all kinds of cultural forms are the basic methods of providing human communication and studying things. viii These products and activities were divided into two kinds, the material culture and non-material culture. Material culture was an entity that existed, it presented culture in a physical, perceptible and measurable form while non-material culture included symbols, values, cultural norms and people’s way of life, it was abstract and constantly inherited. The third part was to introduce the process of culture development through Sichuan cuisine’s development. Culture itself had the characteristics of development and inheritance, but to achieve the sustainable development of culture, it required planning and strategy. Consequently, the author combed the milestone of culture development in the process of sustainable development, sorting out the characteristics of sustainable development culture, that required sustainable development culture were: people-based, participation-based, systematic, pluralistic, dynamic, integrated, confident and responsible. The third part used two methods to analyze the literature that met the search criteria in Web of Science from 1900 to 2020. The first was Occurrence, resulted in 11463 results, finding that the most studied areas of sustainable development were environmental science, green sustainable science technology and environmental studies, which meant research on culture and sustainable development was a weak subject compared to other areas. The second was Co-occurrence, resulted in 52 review articles, then used the method of the systematic literature review to analysis. Lastly, these 52 articles were analyzed by the systematic literature review (SLR) approach, and then ix divided into four categories and were the focus of this article. The first category directly discussed the relationship between culture and sustainable development; the second category discussed of the single culture in sustainable development; the third category was the development of culture in specific circumstance in the context of sustainable development; and in the fourth category, “culture” meaning cultivation, not related to the culture this paper discussed about. From the above analysis for 52 articles, the following findings and discussing are discovered: in sustainable development, the definition of culture is too broad and then requires a concept of “culture”, which can be adapted to various disciplines and applied to sustainability research. Culture needs to be and should be a pillar of sustainable development. Culture can be in, for, as sustainable development. Culture is not only an artistic and creative activity, but also concerned with the relationship with nature and a broader social issue. The power of culture in sustainable development cannot be ignored, it can not only play in the other pillars of sustainable development, but also can eventually form a sustainable development culture, to change people’s way of life, behavior and mind, so that human beings can be better and more sustainable development. (shrink)

Two of the most important ideas in the philosophy of law are the “Coase Theorem” and the “Prisoner’s Dilemma.” In this paper, the authors explore the relation between these two influential models through a creative thought-experiment. Specifically, the paper presents a pure Coasean version of the Prisoner’s Dilemma, one in which property rights are well-defined and transactions costs are zero (i.e. the prisoners are allowed to openly communicate and bargain with each other), in order to test the truth value (...) of the Coase Theorem. In addition, the paper explores what effect (a) uncertainty, (b) exponential discounting, (c) and elasticity have on the behavior of the prisoners in the Coasean version of the dilemma. Lastly, the paper considers the role of the prosecutor (and third-parties generally) in the Prisoner’s Dilemma and closes with some parting thoughts about the complexity of the dilemma. The authors then conclude by identifying the conditions under which the Prisoner’s Dilemma refutes the Coase Theorem. (shrink)

This paper surveys historical and recent philosophical discussions of the relations between imagination and creativity. In the first two sections, it covers two insufficiently studied analyses of the creative imagination, that of Kant and Sartre, respectively. The next section discusses imagination and its role in scientific discovery, with particular emphasis on the writings of Michael Polanyi, and on thought experiments and experimental design. The final section offers a brief discussion of some very recent work done on conceptual relations between (...) imagination and creativity. (shrink)

We offer a brief characterization of creativity, followed by a review of some of the reasons people have been skeptical about the possibility of explaining creativity. We then survey some of the recent work on creativity that is naturalistic in the sense that it presumes creativity is natural (as opposed to magical, occult, or supernatural) and is therefore amenable to scientific inquiry. This work is divided into two categories. The broader category is empirical philosophy, which draws on empirical research while (...) addressing questions that have traditionally been regarded as philosophical. The second category is experimental philosophy, a special branch of empirical philosophy in which experiments are designed (by philosophers) with the explicit purpose of addressing philosophical questions. All of this highlights the relative theoretical neglect of creativity, while at the same time suggesting ample opportunity for experimentally minded philosophers to break new ground. (shrink)

This chapter summarizes the conceptual foundations and research on emotional creativity. Emotional creativity is defined as a pattern of cognitive abilities and personality traits related to originality and appropriateness in emotional experience. This construct pervades human creative performance and represents an important link between emotional experience and cognitive processes. Empirical research in this field has revealed various links of emotional creativity to personality variables (e.g., openness to experience), positive affect, fantasy proneness, coping strategies, post-traumatic growth, better self-understanding, and one’s (...) engagement in practicing creative leisure activities. In the applied settings, emotional creativity has been found to be positively related to the intrinsic motivation of employees, the innovative performance of employees, teaching efficacy, and an increased awareness of professional roles. Interestingly, the available meta-analysis of past studies revealed that women showed significantly higher emotional creativity than men. Emotional creativity has also been found to be lower in older adulthood compared to younger age. Because the levels of emotional creativity were found to be sensitive to the decline of cognitive functions in older adults, their decrease can be considered as one of the indicators of cognitive aging. Recent research in clinical neuropsychology has also revealed that older adults in the early stages of Parkinson’s disease showed decreased emotional creativity compared to healthy older adults. (shrink)

This study focused on the significant relationship between Creative Thinking Skills and Problem-Solving Skills in Mathematics among Grade 6 pupils. The study's respondents were thirty (30) Grade 6 pupils from one of the elementary schools in the District of Sta. Ana, Pampanga. The respondents were selected using simple random sampling techniques. The study used a survey questionnaire comprising the Creative Thinking Skills Test (Pentang et al., 2022) and a researcher-made word problem-solving written test and rubrics. The researchers found (...) a high level of Creative Thinking Skills among the Grade 6 pupils, while the respondents' problem-solving skills were categorized as competent. The study revealed that the Creative Thinking Skills and Problem-Solving Skills in Mathematics of the Grade 6 pupils were very lowly correlated. Still, creative thinking and problem-solving in the applied subject are recommended to help students acquire the 21st-century skills that empower them to develop holistically and career ready. (shrink)

The purpose of this article is to compare several street typologies (distributed from center to suburb) in Tirana, Albania while taking into consideration pedestrian behavior on these pathways. The streets "Myslym Shyri," "Bllok," "Kombinat" (an extension of Kavaja's Street), and "Ana Komnena" (formerly "Fusha e Aviacionit") will be the primary focus of this study. The following variables will be taken into account such as pedestrian behaviors, street identity, dissatisfaction, walking distance when shifting to another zone, effects of greenery on (...) pedestrians, time spent, points of interest, frequency, pavement quality, preferred walking periods, gathering places, utilization of benches, ambulant sellers, impact of vegetation and greenery, water basins, preference for public transportation, and road signs. Direct observations and a questionnaire will be used to determine the accurate information. The study should provide recommendations as guidance for municipalities and stakeholders to better understand the behavior of pedestrians in Tirana’s context. The streets that pedestrians frequent the most include the "Bllok" area and "Myslym Shyri" Street. The pedestrian resident population on "Myslym Shyri" street, which is dominated by people of all ages, including children, youth, and the elderly, has a slight advantage over the "Bllok" neighborhood. Furthermore, there is a wide variety of urban elements on Ana Komnena Street (formerly known as "Fusha e Aviacionit"). Meanwhile, the pedestrians on Kombinati’s street suffer a little bit more because of the traffic congestion and vehicle pollution. (shrink)

The creative aspect of language use provides a set of phenomena that a science of language must explain. It is the “central fact to which any signi- ficant linguistic theory must address itself” and thus “a theory of language that neglects this ‘creative’ aspect is of only marginal interest” (Chomsky 1964: 7–8). Therefore, the form and explanatory depth of linguistic science is restricted in accordance with this aspect of language. In this paper, the implications of the creative (...) aspect of language use for a scientific theory of language will be discussed, noting the possible further implications for a science of the mind. It will be argued that a corollary of the creative aspect of language use is that a science of language can study the mechanisms that make language use possible, but that such a science cannot explain how these mechanisms enter into human action in the form of language use. (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)

Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a recent example (...) of how a system’s ability to generate novel products can both be finely tuned by prior experience and grounded in strategies that cannot be articulated by the system itself. Further, the kinds of processes exploited by GANs need not be seen as incorporating something akin to sui generis imaginative states. The chapter concludes with reflection on the added relevance of personal character to explanations of creativity. [This is Chapter 12 of the book Explaining Imagination.]. (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)

Creativity is a crucial aspect of entrepreneurship. However, research on the information processing mechanism of creativity in relation to entrepreneurship is still very limited. To explore factors contributing to creativity performance among entrepreneurs in terms of information processing, we applied the Bayesian Mindsponge Framework. We used the Serendipity-Mindsponge-3D (SM3D) knowledge management theory to construct models and conducted Bayesian analysis on the most comprehensive and well-designed dataset of 3071 Vietnamese entrepreneurs up to date. We found that entrepreneurs who give more time (...) to their startup attempts are likely to have lower levels of creativity. Both factors of higher levels of knowledge within one’s discipline and better connections to out-of-discipline knowledge are positively associated with more creativity. While the effect of openmindedness on the relationship between within-discipline knowledge and creativity is unclear, openmindedness was found to have a positive moderating effect on the association between out-of-discipline knowledge and creativity. These findings support entrepreneurs in understanding the information processing mechanisms behind creativity for creating more effective knowledge management strategies. (shrink)