Results for 'Creativity'

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  1. Explaining Creativity.Maria Kronfeldner - 2018 - In Berys Gaut & Matthew Kieran (eds.), Routledge Handbook on Creativity and Philosophy. New York: 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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  2. 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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  3. Attributing Creativity.Elliot Samuel Paul & Dustin Stokes - 2018 - In Berys Gaut & Matthew Kieran (eds.), Creativity and Philosophy. 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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  4. 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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  5. 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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  6.  62
    Creativity.Peter Langland-Hassan - 2020 - In Explaining Imagination. Oxford: 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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  7. 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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  8. 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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  9. 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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  10. 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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  11.  77
    'Explicating "Creativity".Paisley Livingston - 2018 - In Berys Gaut & Matthew Kieran (eds.), Routledge Handbook on Creativity and Philosophy. London: 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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  12. 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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  13. Imagination and Creativity.Dustin Stokes - 2016 - In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. 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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  14. 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. Rodopi. 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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  15. The Philosophy of Creativity.Elliot Samuel Paul & Scott Barry Kaufman (eds.) - 2014 - Oxford University Press.
    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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  16.  68
    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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  17. An Experiential Account of Creativity.Bence Nanay - 2014 - In Elliot Paul & Scott Barry Kaufman (eds.), The Philosophy of Creativity. 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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  18.  64
    Creative Reasoning.John Turri - 2014 - In John Turri & Peter Klein (eds.), Ad infinitum: new essays on epistemological infinitism. Oxford, England: Oxford University Press. pp. 210-226.
    I defend the unpopular view that inference can create justification. I call this view inferential creationism. Inferential creationism has been favored by infinitists, who think that it supports infinitism. But it doesn’t. Finitists can and should accept creationism.
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  19. Naturalistic Approaches to Creativity.Dustin Stokes & Elliot Samuel Paul - 2016 - In J. Sytsma 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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  20.  32
    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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  21. 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 Essays. New York, NY, USA: pp. 3-14.
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  22. Creativity: Progress and Potential.Calvin W. Taylor - 1964 - British Journal of Educational Studies 13 (1):115-115.
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  23. Incubated Cognition and Creativity.Dustin Stokes - 2007 - Journal of Consciousness Studies 14 (3):83-100.
    Many traditional theories of creativity put heavy emphasis on an incubation stage in creative cognitive processes. The basic phenomenon is a familiar one: we are working on a task or problem, we leave it aside for some period of time, and when we return attention to the task we have some new insight that services completion of the task. This feature, combined with other ostensibly mysterious features of creativity, has discouraged naturalists from theorizing creativity. This avoidance is (...)
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  24. How to Foster Scientists' Creativity.Seungbae Park - 2016 - Creativity Studies 9 (2):117-126.
    Scientific progress can be credited to creative scientists, who constantly ideate new theories and experiments. I explore how the three central positions in philosophy of science – scientific realism, scientific pessimism, and instrumentalism – are related to the practical issue of how scientists’ creativity can be fostered. I argue that realism encourages scientists to entertain new theories and experiments, pessimism discourages them from doing so, and instrumentalism falls in between realism and pessimism in terms of its effects on scientists’ (...)
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  25. Beyond Subgoaling: A Dynamic Knowledge Generation Framework for Creative Problem Solving in Cognitive Architectures.Antonio Lieto - 2019 - Cognitive Systems Research 58:305-316.
    In this paper we propose a computational framework aimed at extending the problem solving capabilities of cognitive artificial agents through the introduction of a novel, goal-directed, dynamic knowledge generation mechanism obtained via a non monotonic reasoning procedure. In particular, the proposed framework relies on the assumption that certain classes of problems cannot be solved by simply learning or injecting new external knowledge in the declarative memory of a cognitive artificial agent but, on the other hand, require a mechanism for the (...)
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  26. A Metaphysics of Creativity.Dustin Stokes - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave-Macmillan. pp. 105--124.
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  27. Artistic Objectivity: From Ruskin’s ‘Pathetic Fallacy’ to Creative Receptivity.Eli I. Lichtenstein - 2021 - British Journal of Aesthetics 61 (4):505-526.
    While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...)
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  28.  26
    Merging Biological Metaphors. Creativity, Darwinism and Biosemiotics.Carlos David Suárez Pascal - 2017 - Biosemiotics 10 (3):369-378.
    Evolutionary adaptation has been suggested as the hallmark of life that best accounts for life’s creativity. However, current evolutionary approaches still fail to give an adequate account of it, even if they are able to explain both the origin of novelties and the proliferation of certain traits in a population. Although modern-synthesis Darwinism is today usually appraised as too narrow a position to cope with all the complexities of developmental and structural biology—not to say biosemiotic phenomena—, Darwinism need not (...)
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  29. Selective Realism Vs. Individual Realism for Scientific Creativity.Seungbae Park - 2017 - Creativity Studies 10 (1):97-107.
    Individual realism asserts that our best scientific theories are (approximately) true. In contrast, selective realism asserts that only the stable posits of our best scientific theories are true. Hence, individual realism recommends that we accept more of what our best scientific theories say about the world than selective realism does. The more scientists believe what their theories say about the world, the more they are motivated to exercise their imaginations and think up new theories and experiments. Therefore, individual realism better (...)
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  30. Free Will Skepticism and the Question of Creativity: Creativity, Desert, and Self-Creation.D. Caruso Gregg - 2016 - Ergo: An Open Access Journal of Philosophy 3.
    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, (...)
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  31. “Tabula Rasa” Planning: Creative Destruction and Building a New Urban Identity in Tehran.Asma Mehan - 2017 - Journal of Architecture and Urbanism 41 (3):210-220.
    The concept of Tabula Rasa, as a desire for sweeping renewal and creating a potential site for the construction of utopian dreams, is presupposition of Modern Architecture. Starting from the middle of the 19th century to the first half of the 20th century, Iranian urban and architectural history has been integrated with modernization, and western-influenced modernity. The case of Tehran as the Middle Eastern political capital is the main scene for the manifestation of modernity within it’s urban projects that was (...)
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  32. Situated Cognition, Dynamic Systems, and Art: On Artistic Creativity and Aesthetic Experience.Ingar Brinck - 2007 - Janus Head 9 (2):407-431.
    It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist’s work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global, socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the (...)
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  33. 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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  34. Mental Imagery and Creativity: Cognition, Observation and Realization.William Brant - 2013 - Saarbrücken, Germany: Akademikerverlag.
    Mental images, or envisioning things with your "mind's eye," are now studied via multiple levels of observation and involve computational neuroscience, robotics and many disciplines that complement philosophy and form integral parts of cognitive science. MENTAL IMAGERY AND CREATIVITY offers an historical analysis of the use of "mental images" in science. This book also gives many useful illustrations, depicting roles of imagery with 21st century technology, including the usage of imagery, fMRIs and internet connections, allowing people to control virtual (...)
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  35.  31
    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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  36. 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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    The Creative Planning Strategy and the Question of Social Advertising in Nigeria’s Democracy.Stanislaus Iyorza - 2014 - GLOBAL JOURNAL OF HUMAN-SOCIAL SCIENCE: A ARTS and HUMANITIES - PSYCHOLOGY 14 (9).
    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 (...)
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  38.  18
    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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  39.  55
    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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  40.  44
    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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  41. Creativity, Emergence of Novelty, and Spontaneous Symmetry Breaking.Radek Trnka, Martin Kuška & Inna Cabelkova - 2018 - In 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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  42. 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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  43.  49
    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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  44.  19
    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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  45. On the Concept of Creal: The Politico-Ethical Horizon of a Creative Absolute.Luis De Miranda - 2017 - In The Dark Precursor: Deleuze and Artistic Research. Leuven University Press. pp. 510-516.
    Process philosophies tend to emphasise the value of continuous creation as the core of their discourse. For Bergson, Whitehead, Deleuze, and others the real is ultimately a creative becoming. Critics have argued that there is an irreducible element of (almost religious) belief in this re-evaluation of immanent creation. While I don’t think belief is necessarily a sign of philosophical and existential weakness, in this paper I will examine the possibility for the concept of universal creation to be a political and (...)
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  46. Artistic Creativity and Suffering.Jennifer Hawkins - 2018 - In Berys Gaut & Matthew Kieran (eds.), Creativity and Philosophy. New York, NY, USA:
    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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  47. On Creatively Destructing.Konstantina Kalfa - 2014 - Rethinking Marxism 26 (4):581-591.
    Capitalism—as Marx has shown and Schumpeter has reminded us—has always promoted creative destruction practices. What in fact helps capitalism survive is the constant renewal of its products, modes of production, and needs through its own self-destructiveness. Capitalist destruction is a clearing out, a maneuver, a revaluation, and the presupposition for creation, all at once. It is a unification, the embracing of multiple and seemingly incompatible activities whose common component mainly consists in positivity: in their ability to reverse, to beautify destruction (...)
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  48. Decision Making: Social and Creative Dimensions.Carl Martin Allwood & Marcus Selart - 2010 - In Carl Martin Allwood & Marcus Selart (eds.), Decision making: Social and creative dimensions. Springer Media.
    This volume presents research that integrates decision making and creativity within the social contexts in which these processes occur. The volume is an essential addition to and expansion of recent approaches to decision making. Such approaches attempt to incorporate more of the psychological and socio-cultural context in which human decision making takes place. The authors come from different disciplines and also belong to a broad spectrum of research traditions. They present innovative chapters dealing with both theoretical and empirical aspects (...)
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  49. Social and Creative Decision Making.Carl Martin Allwood & Marcus Selart - 2010 - In Carl Martin Allwood & Marcus Selart (eds.), Decision making: Social and creative dimensions. Springer Media.
    Research on human decision making is at the present time undergoing rapid changes. From previously being much focused on models and approaches with an origin in economy, much of the present day research finds its inspiration from disciplinary approaches concerned with incorporating more of the context that the decision making takes place in. This context includes psychological aspects of the decision maker and social-cultural aspects of the situation he or she acts in. All human decision making occurs in dynamically changing (...)
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  50.  47
    Creativity and the New Structure of Science.Andrei Kirilyuk - manuscript
    A qualitatively new, much more liberal and efficient organisation of science is proposed and justified in connection with emerging international science structures, such as the European Research Council, and growing debates about further role and development of fundamental science. Although the ideas are expressed in terms of "common sense" arguments accessible to a "general" audience, they are based on the rigorous analysis within the recently advanced "universal concept of complexity", which can be applied, due to its universality, also to science (...)
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