Results for 'Creativity'

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  1. The creative aspect of language use and the implications for linguistic science.Eran Asoulin - 2013 - Biolinguistics 7:228-248.
    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 (...)
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  2. Explaining Creativity.Maria Kronfeldner - 2018 - In Berys Gaut & Matthew Kieran (eds.), Routledge Handbook on Creativity and Philosophy. Routledge. pp. 213-29.
    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 (...), 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)
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  3. What is Creativity?Lindsay Brainard - forthcoming - The Philosophical Quarterly.
    I argue for an account of creativity that unifies creative achievements in the arts, sciences, and other domains and identifies its characteristic value. This account draws upon case studies of creative work in both the arts and sciences to identify creativity as a kind of successful exploration. I argue that if creativity is properly understood in this way, then it is fundamentally a property of processes, something only agents can achieve, something that comes in degrees, subjectively novel, (...)
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  4. Minimally Creative Thought.Dustin Stokes - 2011 - Metaphilosophy 42 (5):658-681.
    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 (...)
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  5. Exploring factors contributing to creativity performance among entrepreneurs using the Bayesian Mindsponge Framework.Quan-Hoang Vuong, Tam-Tri Le, Tao Zhang, Viet-Phuong La, Quang-Loc Nguyen, Giang Hoang & Minh-Hoang Nguyen - manuscript
    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 (...)
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  6. Attributing Creativity.Elliot Samuel Paul & Dustin Stokes - 2018 - In Berys Nigel Gaut & Matthew Kieran (eds.), Creativity and Philosophy. New York: Routledge.
    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 (...)
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  7. Creativity.Peter Langland-Hassan - 2020 - In Explaining Imagination. Oxford: Oxford University Press. pp. 262-296.
    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 (...)
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  8. Common creativity.Karenleigh Anne Overmann - 2023 - In Linden J. Ball & Frédéric Vallée-Tourangeau (eds.), The Routledge International Handbook of Creative Cognition. Routledge. pp. 646-661.
    Creativity is often conceived in terms of insight, innovation, and invention realized through technical mastery and skill. Challenging this individualistic model are “inventions” like writing, something that surely gave no clue to the form it would ultimately take—script—or the ways in which it would reorganize behaviors and brains in the cognitive state known as literacy. Here writing is analyzed as a tool used collectively and collaboratively. Collective, collaborative use enabled the tool to become increasingly effective at eliciting specific behavioral (...)
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  9. Creative Thinking and Problem-Solving: Can Preservice Teachers Think Creatively and Solve Statistics Problems?Leslie B. Bacangallo, Roshell T. Buella, Kristine Y. Rentasan, Jupeth Pentang & Ronalyn Bautista - 2022 - Studies in Technology and Education 1 (1):14-27.
    Math prospective teachers must be able to think creatively and solve problems. The study looked into preservice teachers’ creative thinking and problem-solving abilities in statistics. The investigation was guided by a correlational design in a public university in the Philippines. Stratified random sampling was used to select the 103 study participants from two teacher education programs. Through google forms, data were collected using Torrance et al. (2008)’s tests of creative thinking and researcher-made statistics problem test. The findings revealed that preservice (...)
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  10. Needs, Creativity, and Care: Adorno and the Future of Work.Craig Reeves & Matthew Sinnicks - 2023 - Organization 30 (5):851–872.
    This paper attempts to show how Adorno’s thought can illuminate our reflections on the future of work. It does so by situating Adorno’s conception of genuine activity in relation to his negativist critical epistemology and his subtle account of the distinction between true and false needs. What emerges is an understanding of work that can guide our aspirations for the future of work, and one we illustrate via discussions of creative work and care work. These are types of work which (...)
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  11. Emotional Creativity: A Meta-analysis and Integrative Review.Martin Kuška, Radek Trnka, Josef Mana & Tomas Nikolai - 2020 - Creativity Research Journal 32.
    Emotional creativity (EC) is a pattern of cognitive abilities and personality traits related to originality and appropriateness in emotional experience. EC has been found to be related to various constructs across different fields of psychology during the past 30 years, but a comprehensive examination of previous research is still lacking. The goal of this review is to explore the reliability of use of the Emotional Creativity Inventory (ECI) across studies, to test gender differences and to compare levels of (...)
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  12. Creativity as an Artistic Merit.James Grant - 2018 - In Berys Nigel Gaut & Matthew Kieran (eds.), Creativity and Philosophy. New York: Routledge. pp. 333-349.
    The aim of this paper is to explain why creativity is an artistic merit. Artworks and non-artworks can both be creative. But creativity does not help make many other creative things good of their kind. A creative explanation is not a better explanation in virtue of being creative. Why, then, is a creative artwork a better artwork in virtue of being creative? Understanding this will give us a better understanding of the nature of artistic merit. The approach adopted (...)
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  13. Creativity and the Machine. How Technology Reshapes Language.Fabio Fossa - 2017 - Odradek 3 (1-2):178-208.
    In scientific communications, journal articles, and philosophical aesthetic debates the words “art”, “creativity”, and “machine” are put together more and more frequently. Since some machines are designed to, or happens to, imitate human artistic creativity, it seems natural to use the same words to talk about human artists and machines which imitate them. However, the evolution of language in light of technology may conceal specific features of the phenomena it is supposed to describe. This makes it difficult to (...)
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  14. Creativity in Science and the ‘Anthropological Turn’ in Virtue Theory.Ian James Kidd - 2020 - European Journal for Philosophy of Science 11 (1):1-16.
    I argue that philosophical studies of the virtues of creativity should attend to the ways that our conceptions of human creativity may be grounded in conceptions of human nature or the nature of reality. I consider and reject claims in this direction made by David Bohm and Paul Feyerabend. The more compelling candidate is the account of science, creativity, and human nature developed by the early Marx. Its guiding claim is that the forms of creativity enabled (...)
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  15. Emotional creativity and real-life involvement in different types of creative leisure activities.Radek Trnka, Martin Zahradnik & Martin Kuška - 2016 - Creativity Research Journal 28 (3):348-356.
    The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. The present study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure activities and with four categories of college majors. Data were collected from 251 university students, university graduates and young adults (156 women and 95 men). Art students and (...)
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  16. Field Creativity and Post-Anthropocentrism.Stanislav Roudavski - 2016 - Digital Creativity 27 (1):7-23.
    Can matter, things, nonhuman organisms, technologies, tools and machines, biota or institutions be seen as creative? How does such creativity reposition the visionary activities of humans? This article is an elaboration of such questions as well as an attempt at a partial response. It was written as an editorial for the special issue of the Digital Creativity journal that interrogates the conception of Post-Anthropocentric Creativity. However, the text below is a rather unconventional editorial. It does not attempt (...)
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  17. Creative Explorations for a Sustainable Future: Philosophy-Based Creative Drama Workshop Proposal for Children.Güliz Şahin - 2023 - Journal of Human and Social Sciences 6 (Special Issue):616-640.
    “The Sustainable Development Goals (SDGs)”, are a universal call for action, covering targets to be fulfilled by the end of 2030. Many global problems such as global climate change and drought, environmental pollution, depletion of natural resources and biodiversity, inclusive education have evolved into the greatest collective problem of all humanity. It is recognized that teachers, are also responsible for ensuring a sustainable life for future generations and contributing to its sustainability. At this point, there is a need for educational (...)
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  18. Fintech: Creative Innovation for Entrepreneurs.Youssef M. Abu Amuna, Samy S. Abu-Naser, Mazen J. Al Shobaki & Yasser A. Abu Mostafa - 2019 - International Journal of Academic Accounting, Finance and Management Research (IJAAFMR) 3 (3):8-15.
    The article studies the impact of Fintech on entrepreneurship in Arabic region by using Crowdfunding platforms as the field of study. The article focuses on Arabic Crowdfunding platforms. The population of (12) platforms consist of: individuals, entrepreneurs, investors, employees at Crowdfunding platforms. Descriptive and quantitative approach used in this article, and a questionnaire used as a tool to collect primary data. The results indicate an impact for Fintech on entrepreneurship in general and obvious obstacles to use it widely in Arabic (...)
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  19. On Creativity and the Philosophy of the Supranational State.Barry Smith & Wolfgang Grassl - 2004 - In Tamás Demeter (ed.), Essays on Wittgenstein and Austrian Philosophy: In Honour of J.C. Nyíri. BRILL. pp. 25-39.
    Building on the writings of Wittgenstein on rule-following and deviance, Kristóf Nyíri advanced a theory of creativity as consisting in a fusion of conflicting rules or disciplines. Only such fusion can produce something that is both intrinsically new and yet capable of being apprehended by and passed on to a wider community. Creativity, on this view, involves not the breaking of rules, or the deliberate cultivation of deviant social habits, but rather the acceptance of enriched systems of rules, (...)
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  20. Creative Behavior and Impact on Achieving Lean Strategy in Organizations.K. Hamdan Muhammad, A. El Talla Suliman, Shobaki Mazen & Samy S. Abu-Naser - 2020 - International Journal of Academic Accounting, Finance and Management Research (IJAAFMR) 4 (6):66-88.
    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 (...)
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  21. Creative Behavior in Palestinian NGOs between Reality and Expectations.K. Hamdan Muhammad, A. El Talla Suliman, J. Al Shobaki Mazen & Samy S. Abu-Naser - 2020 - International Journal of Academic Multidisciplinary Research (IJAMR) 4 (3):91-107.
    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 (...)
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  22. An experiential account of creativity.Bence Nanay - 2014 - In Elliot Samuel Paul & Scott Barry Kaufman (eds.), The Philosophy of Creativity. New York: Oxford University Press.
    The aim of the paper is to argue that the difference between creative and non-creative mental processes is not a functional/computational, but an experiential one. In other words, what is distinctive about creative mental processes is not the functional/computational mechanism that leads to the emergence of a creative idea, be it the recombination of old ideas or the transformation of one’s conceptual space, but the way in which this mental process is experienced. The explanatory power of the functional/computational theories and (...)
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  23. Creativity, cognition and material culture: An introduction.Lambros Malafouris, Chris Gosden & Karenleigh A. Overmann - 2014 - Pragmatics and Cognition 22 (1):1-4.
    Introduction to the special issue in Pragmatics & Cognition focused on creativity, cognition, and material culture. With contributions from Maurice Bloch, Chris Gosden, Tim Ingold, John Kirsh, Carl Knappett & Sander van der Leeuw, Lambros Malafouris, Frédéric Vallée-Tourangeau, Kevin Warwick, and Tom Wynn and Frederick L. Coolidge.
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  24. Stimulating Creativity in Groups through Mental Simulation.Keith Markman, Elaine Wong, Laura Kray & Adam Galinsky - 2009 - In E. A. Mannix (ed.), Creativity in Groups (Research on Managing Groups and Teams, Vol. 12). Emerald Group Publishing. pp. 111-134.
    A growing literature has recognized the importance of mental simulation (e.g., imagining alternatives to reality) in sparking creativity. In this chapter, we examine how counterfactual thinking, or imagining alternatives to past outcomes, affects group creativity. We explore these effects by articulating a model that considers the influence of counterfactual thinking on both the cognitive and social processes known to impact group creative performance. With this framework, we aim to stimulate research on group creativity from a counterfactual perspective.
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  25. Enhancing user creativity: semantic measures for idea generation.Georgi V. Georgiev & Danko D. Georgiev - 2018 - Knowledge-Based Systems 151:1-15.
    Human creativity generates novel ideas to solve real-world problems. This thereby grants us the power to transform the surrounding world and extend our human attributes beyond what is currently possible. Creative ideas are not just new and unexpected, but are also successful in providing solutions that are useful, efficient and valuable. Thus, creativity optimizes the use of available resources and increases wealth. The origin of human creativity, however, is poorly understood, and semantic measures that could predict the (...)
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  26. A (Creative) Portrait of the Uncertain Individual: Self-Uncertainty and Individualism Enhance Creative Generation.Keith Markman, Kimberly Rios, Juliana Schroeder & Elizabeth Dyczewski - 2014 - Personality and Social Psychology Bulletin 40 (8):1050-1062.
    Building on findings that self-uncertainty motivates attempts to restore certainty about the self, particularly in ways that highlight one’s distinctiveness from others, we show that self-uncertainty, relative to uncertainty in general, increases creative generation among individualists. In Studies 1 to 3, high (but not low) individualists performed better on a creative generation task after being primed with self-uncertainty as opposed to general uncertainty. In Study 4, this effect emerged only among those who were told that the task measured creative as (...)
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  27. The Level of Creativity at the University of Palestine from the Employees Point of View.Nader H. Abusharekh, Mazen J. Al Shobaki, Samy S. Abu-Naser & Suliman A. El Talla - 2020 - International Journal of Academic Multidisciplinary Research (IJAMR) 4 (10):45-56.
    Abstract: This study aims to identify the level of creativity in the University of Palestine from the point of view of the employees, as the researchers used the descriptive and analytical method, through a questionnaire distributed to a sample of employees at the University of Palestine, where the size of the study population is (234) employees, and the size of the sample (117) employees, of which (90) employees responded. The study reached a set of results, the most important of (...)
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  28. Creativity, emergence of novelty, and spontaneous symmetry breaking.Radek Trnka, Martin Kuška & Inna Cabelkova - 2018 - In Radek Trnka, Martin Kuška & Inna Cabelkova (eds.), SGEM Conference Proceedings, Volume 5, Issue 2.1. pp. 203-210.
    The philosophy of mind concerns much about how novelty occurs in the world. The very recent progress in this field inspired by quantum mechanics indicates that symmetry restoration occurs in the mind at the moment when new creative thought arises. Symmetry restoration denotes the moment when one’s cognition leaves ordinary internalized mental schemes such as conceptual categories, heuristics, subjective theories, conventional thinking, or expectations. At this moment, fundamentally new, original thought may arise. We also predict that in older age, symmetry (...)
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  29. Introducing THE PHILOSOPHY OF CREATIVITY.Elliot Samuel Paul & Scott Barry Kaufman - 2014 - In Elliot Samuel Paul & Scott Barry Kaufman (eds.), The Philosophy of Creativity. New York: Oxford University Press. pp. 3-14.
    Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program (...)
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  30. Artistic Creativity and Suffering.Jennifer Hawkins - 2018 - In Berys Nigel Gaut & Matthew Kieran (eds.), Creativity and Philosophy. New York: Routledge.
    What is the relationship between negative experience, artistic production, and prudential value? If it were true that (for some people) artistic creativity must be purchased at the price of negative experience (to be clear: currently no one knows whether this is true), what should we conclude about the value of such experiences? Are they worth it for the sake of art? The first part of this essay considers general questions about how to establish the positive extrinsic value of something (...)
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  31. Understanding Creativity: Affect Decision and Inference.Avijit Lahiri - manuscript
    In this essay we collect and put together a number of ideas relevant to the under- standing of the phenomenon of creativity, confining our considerations mostly to the domain of cognitive psychology while we will, on a few occasions, hint at neuropsy- chological underpinnings as well. In this, we will mostly focus on creativity in science, since creativity in other domains of human endeavor have common links with scientific creativity while differing in numerous other specific respects. (...)
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  32. Creative Aging: Drawing on the Arts to Enhance Healthy Aging.Andrzej Klimczuk - 2016 - In Nancy A. Pachana (ed.), Encyclopedia of Geropsychology. Springer Singapore. pp. 1--5.
    The term "creative aging," in the broadest sense, describes an aging policy idea that focuses on highlighting the creativity of older adults in order to prepare individuals and communities to manage old age. Programs focus on the evolution of creativity over the lifespan and aim to provide meaningful participatory engagement, especially through the arts.
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  33. Creative Destruction Theory Space as the Ultimate End for post-COVID-19 Recovery in Sub-Saharan Africa.Emerson Abraham Jackson - 2021 - Economic Insights - Trends and Challenges 11 (2):9-21.
    The emergence of COVID-19 has made it ever more onerous for the world economy to rethink the way things are done and to be done. The need and almost compulsory way of services being catered for will never have been made so practically obvious without the influence of a pandemic like COVID-19. The world at some point in time was almost brought to a standstill, with services pertaining to supply-chain deliverables, education / professional development and many more almost brought to (...)
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  34. Creative Nonfiction in Social Science: Towards More Engaging and Engaged Research.Johana Kotišová - 2019 - Teorie Vědy / Theory of Science 41 (2):283-305.
    The paper aims at identifying, explaining and illustrating the affordances of “creative nonfiction” as a style of writing social science. The first part introduces creative nonfiction as a method of writing which brings together empirical material and fiction. In the second part, based on illustrations from my ethnographic research of European “crisis reporters,” written in the form of a novel about a fictional journalist, but also based on a review of existing social science research that employs a creative method of (...)
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  35. Creativity and Imagination in the Practice of Philosophy.Maksymilian Del Mar - 2008 - Swiss Philosophical Preprints.
    This paper argues that the exercise of the imagination requires us 1) to attempt to describe features of a certain practice that appear, at first blush, natural and obvious; 2) to understand that that which appears natural and obvious could be otherwise; and 3) to be open to the introduction of changes to that which appears natural and obvious. Imagination, in this sense, is quite different to creativity. The latter works on the basis of the introduction of variations to (...)
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  36. Creative Ageing Policy in Regional Development.Andrzej Klimczuk - 2012 - In Štefan Hittmár (ed.), Regional Management. Theory, Practice and Development. Edis, Faculty of Management Science and Informatics, University of Žilina. pp. 100--104.
    The shaping of creative economy is particularly important for development of cities and regions. This process can be analyzed in conjunction with changes in work and leisure time and their place in the human life cycle. This article aims to approximate the main features of: contemporary position of elderly people, creative ageing policy, benefits from seniors creativity and controversies linked to this concept. This essay also indicates the patterns of recommendations and activities in development of services for older people (...)
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  37. Emotional creativity: Emotional experience as creative product.Radek Trnka - 2023 - In: Cambridge Handbook of Creativity and Emotions (pp. 321-339). Cambridge: Cambridge University Press. Edited by Z. Ivcevic, J. D. Hoffmann & J. C. Kaufman.
    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, (...)
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  38. Creativity: Avalanche in the Sand-pile.Avijit Lahiri - 2024 - Bengaluru, India: Self-published.
    [A revised and updated version of an earlier article 'Understanding Creativity: Affect Decision and Inference' (unpublished), posted at PhilArchive in 2021.] -/- This book looks at the creative process in the human mind. -/- Creativity involves a major restructuring of the conceptual space where a sustained inferential process eventually links remote conceptual domains, thereby opening up the possibility of a large number of new correlations between remote concepts by a cascading process. Since the process of inductive inference depends (...)
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  39.  65
    The Aesthetics of Creative Activism: Introduction.Nicholas Holm & Elspeth Tilley - 2023 - Journal of Aesthetics and Art Criticism 81 (2):131-140.
    In this introduction to The Journal of Aesthetics and Art Criticism special issue on the aesthetics of creative activism, we canvas influential scholarship of political aesthetics to sculpt a broad typology of six interconnected mechanisms by which art might intervene in the world. We label these: Documentation, Disruption, Recognition, Participation, Imagination, and Beauty. Each has a compelling tradition of theory and application, augmented, extended, and sometimes challenged by the thirteen fresh and provocative contributions in the special issue. Yet, we ask, (...)
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  40. Attention, Technology, and Creativity.Carolyn Dicey Jennings & Shadab Tabatabaeian - 2023 - In D. Graham Burnett & Justin E. H. Smith (eds.), Scenes of Attention: An Interdisciplinary Inquiry. Columbia University Press.
    An important topic in the ethics of technology is the extent to which recent digital technologies undermine user autonomy. Supporting evidence includes the fact that recent digital technologies are known to have an impact on attention, which balances "bottom-up" and "top-down" influences on cognition. As described in numerous papers, these technologies manipulate bottom-up influences through cognitive fluency, intermittent variable rewards, and other techniques, making them more attractive to the user. We further reason that recent digital technologies reduce the user’s ability (...)
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  41. Imagination and Creativity.Dustin Stokes - 2016 - In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. New York: Routledge.
    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 (...)
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  42. Creativity and Entrepreneurial Efforts in an Emerging Economy.Quan-Hoang Vuong, Nancy K. Napier, Thu-Hang Do & Thu-Trang Vuong - 2016 - BUSINESS CREATIVITY AND THE CREATIVE ECONOMY 2 (1):39-50.
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  43. Creative Cognition in Choreography.David Kirsh - 2011 - Proceedings of the 2nd International Conference on Computational Creatifity.
    Contemporary choreography offers a window onto creative processes that rely on harnessing the power of sensory sys- tems. Dancers use their body as a thing to think with and their sensory systems as engines to simulate ideas non- propositionally. We report here on an initial analysis of data collected in a lengthy ethnographic study of the making of a dance by a major choreographer and show how translating between different sensory modalities can help dancers and choreographer to be more creative.
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  44. 'Explicating "Creativity".Paisley Livingston - 2018 - In Berys Gaut & Matthew Kieran (eds.), Routledge Handbook on Creativity and Philosophy. Routledge. pp. 108-123.
    Beginning with the prevalent idea that creativity is the ability to make or do things having valuable novelty, the paper explores a variety of axiological and novelty conditions and defends an instrumental success condition. I discuss Robert K. Merton's distinction between 'originality' and 'priority', and Margaret Boden's similar distinction between historical and psychological creativity, as well as Thomas Reid's and Bruce Vermazen's remarks on relations between novelty and value.
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  45. The Role of Creativity in Expertise and Skilled Action.Spencer Ivy - 2022 - Synthese 200 (456):1-22.
    Perhaps a part of what makes expertise so inspiring to the curious researcher is the possibility of appropriating the structural components of skilled action to draw a roadmap towards their achievement that anyone might be able to follow. Accordingly, the purpose of this essay is to shed light upon the role that creativity plays in the production and environment of skilled action to that foregoing end. In doing so, I suggest that the lessons to be learned from recent empirical (...)
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  46. "Creative Translation in Emerson's Idealism".Kenneth P. Winkler - 2023 - In Thomas Nolden (ed.), In the Face of Adversity: Translating Difference and Dissent. London: UCL Press. pp. 237-253.
    I consider Ralph Waldo Emerson’s creative appropriation of a philosophical doctrine that helps to make sense of an attitude towards life, its gifts and its burdens, that is often expressed in Puritan diaries. The doctrine, now known as the doctrine of continuous creation, holds that in conserving the world, God re-creates it at every moment, making the same creative effort at each ever-advancing now that God made at the very beginning. Continuous creation was explicitly endorsed by at least one Puritan (...)
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  47. Naturalistic approaches to creativity.Dustin Stokes & Elliot Samuel Paul - 2016 - In J. Systma W. Buckwalter (ed.), The Blackwell Companion to Experimental Philosophy.
    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 (...)
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  48. Creativity, Humour, and Cognition.Mario Gensollen & Marc Jiménez-Rolland - 2021 - Debats (6):107-119.
    This paper explores some aspects of the scientific study of creativity by focusing on intentional attempts to create instances of linguistic humour. We argue that this sort of creativity can be accounted for within an influential cognitive approach but that said framework is not a recipe for producing novel instances of humour and may even preclude them. We start by identifying three great puzzles that arise when trying to pin down the core traits of creativity, and some (...)
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  49. Creativity, Spontaneity, and Merit.Antti Kauppinen - forthcoming - In Alex King & Christy Mag Uidhir (eds.), Philosophy and Art: New Essays at the Intersection. Oxford University Press.
    Common sense has it that some of the greatest achievements that are to our credit are creative, whether artistic or otherwise. But standard theories of achievement and merit struggle to explain them, since the praiseworthiness of creative achievements isn’t grounded in effort, quality of will, disclosing the agent’s values, or even reasons-responsiveness. I argue that it’s distinctive of artistic or quasi-artistic creative activity that it is guided by what I call aspirational aims, which are formulated in terms of evaluative predicates (...)
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  50. The Role of Human Creativity in Human-Technology Relations.Vincent Blok - 2022 - Philosophy and Technology 1 (3):1-19.
    One of the pressing issues in philosophy of technology is the role of human creativity in human-technology relations. We first observe that a techno-centric orientation of philosophy of technology leaves open the role and contribution of human creativity in technological evolution, while an anthropocentric orientation leaves open the role of the technical milieu in technological evolution. Subsequently, we develop a concept of creation as deviation and responsiveness in response to affordances in the environment, inspired by the affordance theory (...)
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