discussion of the extent to which architects can float about history and the inevitable finitude of architectural possibilities from any historical standpoint.

This essay highlights a methodological weakness in Foucault’s genealogy of neoliberalism often mistaken for a biographical shift in his philosophy. Naissance de la biopolitique is sometimes interpreted as evidence for Foucault’s conversion to neoliberalism, whereas its lack of critical acuity stems rather from its methodological limitations. Through a discussion of the “neoliberal conversion”-thesis, I highlight those limitations. Though Foucault’s appreciative tone in his neoliberalism lectures is surprising, his aim is mainly to defamiliarize readers from the dominant mode of neoliberal rationality (...) so that they can affirm the creative potential to foster new conducts, new identities, and new rationalities. Foucault did not convert to neoliberalism, but sought to destabilise it by revealing its historical contingency. However, as Foucault’s surprisingly positive tone shows, this strategy is insufficient for combatting neoliberalism. There is an elective affinity between Foucault’s own politics of creative self-reinvention and neoliberalism’s promise of a non-invasive, post-disciplinary government by indirect economic incentives alone. Foucault’s libertine stance toward subjectivity hence seems easily integrated into a neoliberal conduct of conducts. I propose to supplement Foucault’s genealogical method as he deploys it in Naissance de la biopolitique with an immanent critique of neoliberalism from the perspective of the governed. Rather than investigating neoliberal rationality as a promising endeavour for the future, we can study the real-life implementations of neoliberalism and their effects on subjective conducts. Neoliberal rationality is involved in a permanent struggle to shape the conduct of conducts along entrepreneurial and competitive lines, but subjects are refractory living beings whose conducts are not so simply transformed. Neoliberalism has had to give up its post-disciplinary aspirations and turn to the power of discipline and abandonment to enforce neoliberal norms of conduct. Neoliberalism has transformed into a negative biopolitics that sacrifices the lives of unproductive subjects as collateral damage to the overall welfare of the population. Immanent critique thereby reveals how subjects are pushed beyond their limits until neoliberal norms of conduct become unbearable. This intolerability of neoliberalism cannot be directly deduced from the writings of Becker, Friedman, or Hayek.111 It becomes manifest in the confrontation between neoliberal rationality and the material living bodies of finite human beings unable to be stretched in the ways neoliberalism requires. (shrink)

In Part I we developed a model, called system P, for constructing the physical universe. In the present paper (Part II) we explore the hypothesis that something exists prior to the physical universe; i.e. we suppose that there exists a sequence of projections (and levels) that is prior to the sequence that constructs the physical universe itself. To avoid an infinite regress, this prior sequence must be finite, meaning that the whole chain of creative projections must begin at some (...) primal level which is itself uncreated. So, from this primal level emanates a primal sequence of projections, which yields a first-created system; by definition, there is no creation prior to this first system. Proceeding from this basis, we use the template of our previous work in constructing entities in the physical universe to outline the construction of entities in this first-created system. Next, we seek an interpretation of this first system and its entities. Since our "primal level" is an uncreated state of being from which all creation springs, it draws obvious allusions to the concept of "God". So at this point the model bumps head-on into theology, and we are forced to ask: Is there some metaphysically- or theologically-related work that can help us to interpret this first-created system and its entities? Indeed, such a work, and consequent interpretations, will be put forth --- from which much more then follows. (shrink)

For the sake of a respiratory philosophy, it makes sense to look to the East, since many Eastern traditions such as Sufism include breathwork in their somatic practices. In my paper, I aim to show how Rumi – a 13th century Muslim theologian and Sufi – used breath or nafas in his Persian poetry to outline how breathing is an originary phenomenon. My paper will take a few samples of his poetry to demonstrate how breath connotes a newness through the (...) “gift” of life that it endows upon us, and how the creative, endowing, and primal nature of breath is linked to an openness to the Divine Other and to others. Furthermore, for Rumi, every passing breath ushers in a new existence, annihilating its older form and thus creating an ontological sense in the reader of both the finiteness of existence through what has passed and the infinite possibilities it holds when the newness arrives. Bridging the finite and infinite through breath enables us to develop a respiratory ontology that aims to conceive of dualities through an interrelated perspective. This, I wish to argue, is the true promise of Rumi’s poetry for a philosophy of breathing. (shrink)

In modern philosophy of nature the World is unified and holistic. Cosmic Universe and Human History, microcosm and macrocosm, inorganic and living matter coexist and form a unique unity manifested in multiple forms. The Physical and the Mental constitute the form and the content of the World. The world does not consist of subjects and objects, the “subject” and the “object” are metaphysical abstractions of the single and indivisible Wholeness. Man’s finite knowledge separates the Whole into parts and studies (...) fragmentarily the beings. The Wholeness is manifested in multiple forms and each form encapsulates the Wholeness. The rational explanation of the excerpts and the intuitive apprehension of the Wholeness are required to combine and create the open thought and the holistic knowledge. This means that the measurement should be defined by the ''measure'', but the responsibility for determining the ''measure'' depends on the man. This requires that man overcomes the anthropocentric arrogance and the narcissistic selfishness and he joins the Cosmic World in a friendly and creative manner. (shrink)

This study focuses on the essential difference between Kant’s and Husserl’s transcendental Idealism. In fact, Husserl describes in the «Cartesian Meditations» his own ontological thesis as a «transcendental idealism», in which all sorts of entities have to be constituted by an activity of the transcendental subjectivity, so that we have to regard pure consciousness as the ontological origin of all entities in the world. But this study is interested in the two opposite signications of the Kantian copernican inversion. On the (...) one hand, the Copernican inversion has the same sense as the phenomenological reduction, which implies that Husserl can’t agree with Kant’s presupposition of absolute things in themselves; on the second hand, it involves a relativistic and anthropologistic orientation, so that the aprioristic structures of given objects are founded on the universal structures of finite subjectivity, on pure forms and faculties of human consciousness. At the opposite, Husserl enounces a methodological prescription for any phenomenological elucidation: it is not allowed to presuppose in phenomenology any given faculty or given nature of transcendental subjectivity. This prescription has important consequences on which this study focuses. First the ontological difference between intuitus originarius and intuitus derivatus, in nite and nite type of intuition, doesn’t have any validity: the difference between factual and rational truths only depends on the essence of the truth itself, and doesn’t have its foundation on the ontological difference between creative and receptive sort of intuition. Secondly, this first thesis admits an immediate application on the level of subjective constitution of objects: the modality in which an object appears to the subjectivity doesn’t depend on the universal structure of finite subject, but is exclusively founded on the essence of the object itself, so that it is impossible to consider the aprioristic constitutive structure as a merely subjective structure. Thirdly, in this transcendental phenomenology everything has to be constituted by subjectivity: the aprioristic character of the pure forms of sensibility is not founded on the structure of finite subjectivity, but rather on the essential connection between sensual material and form; so that it is not allowed to presuppose any facticity of time and space; the pure forms of sensibility have to be constituted by a special type of synthesis that we have to elucidate in opposition to other types of higher levels. The profound signication of Husserl’s anticopernican inversion is that the field of transcendental phenomenology consists of the essential form of an eidos ego, which is «more objective than any objectivity», as Levinas said; and that transcendental phenomenology is completely dominated by the principium reddendae rationis. (shrink)

In modern philosophy of nature the World is unified and holistic. Cosmic Universe and Human History, microcosm and macrocosm, inorganic and living matter coexist and form a unique unity manifested in multiple forms. The Physical and the Mental constitute the form and the content of the World. The world does not consist of subjects and objects, the “subject” and the “object” are metaphysical abstractions of the single and indivisible Wholeness. Man’s finite knowledge separates the Whole into parts and studies (...) fragmentarily the beings. The Wholeness is manifested in multiple forms and each form encapsulates the Wholeness. The rational explanation of the excerpts and the intuitive apprehension of the Wholeness are required to combine and create the open thought and the holistic knowledge. This means that the measurement should be defined by the ''measure'', but the responsibility for determining the ''measure'' depends on the man. This requires that man overcomes the anthropocentric arrogance and the narcissistic selfishness and he joins the Cosmic World in a friendly and creative manner. (shrink)

Despite confident assertions by science and religion, no one can be absolutely certain what is going on in this drama we call existence. We are haunted by the realization that we are finite, vulnerable, mortal, and perhaps meaningless creatures. The ambiguity in all experience leaves us in a state of fundamental uncertainty, with a buried anxiety underlined by fear of mortality. However, the ability to consider consciousness as a personal creation enables us to appreciate experience for its own sake, (...) despite uncertainty and anxiety. It is the basis of art, and also of tolerance, epistemic responsibility, and the creative ability to think, perceive, and act outside the box. (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 (...) class='Hi'>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)

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)

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)

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)

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 (...) and psychological responses. Collective, collaborative use also subjected the tool to the combined force of the individual variability represented by different user and material combinations over time. Combined variability influenced tool form toward features reflecting both the average behavioral, physiological, and psychological capacities of the tool-using community and points of maximal usability. The result offers a new model of creativity, one based not on the individual but on collective, collaborative use and incremental change in behaviors and brains, materially accumulated and redistributed between generations. The model presents aspects of human innovation that escape the individualistic model by focusing on ordinary tool-using behaviors and sustained use within social groups as the critical elements. (shrink)

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 (...) EC in different countries. Thirty-five empirical studies focused on EC were retrieved and the coefficients required for the meta-analysis extracted. The meta-analysis revealed that women showed significantly higher EC than men (total N = 3,555). The same gender differences were also found when testing scores from three ECI subscales, i.e. emotional novelty, emotional preparedness and emotional effectiveness/authenticity. When comparing EC in 10 different countries (total N = 4,375), several cross-cultural differences were revealed. The Chinese sample showed a significantly lower average ECI total score than all the other countries. Based on the integration of results, the avenues for future research on EC and the breadth of influence of the concept of EC across different fields of psychology are discussed. Keywords: Emotional Creativity, Review, Meta-Analyses, Meta-Analysis, Definition, Emotional Creativity Inventory, ECI, Reliability, Gender Differences, Cross-cultural, Cross-culture, Personality Traits, NEO Personality Inventory, Big Five, Extraversion, Agreeableness, Openness to Experience, Introversion, Neuroticism, Emotions, Creativity, Cognition, Cognitive Abilities, Affect, Fantasy, Coping, Alexithymia, Anhedonia, Self-understanding, Motivation, Creativeness, Innovative Performance, Creative Ability, Artistic Creativity, Creative Thinking. MeSH Headings: Emotions, Creativity, Affect, Affective Symptoms, Gender, Sex, Gender Identity, Cross-Cultural Comparison, Transcultural Studies, Temperament, Extraversion, Neuroticism, Anhedonia, Creativeness, Cognition, Cognitive Function, Artistic Creativity, Creative Ability, Creative Thinking. (shrink)

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 (...) by the sciences are ultimately valuable insofar as they advance our emancipation from a state of existential alienation. I end by encouraging future investigations of such vertical explanations of the significance of certain virtues in the context of scientific enquiry. (shrink)

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 (...) graduates scored significantly higher on the ECI than other majors. Humanities scored significantly higher than technical/economic majors. Five creative leisure activities were significantly correlated with the ECI, specifically, writing, painting, composing music, performing drama, and do-it-yourself home improvement. Keywords: Creativity, Emotional Creativity, Emotions, Creativeness, Affect, Feelings, Leisure Activities, Creative Ability, Artistic Creativity, Creative Thinking, Creativeness, Aging, Cognitive Deficits, Performance. MeSH Headings: Emotions, Creativity, Leisure, Leisure Activities, Hobbies, Recreation, Affect Affective Symptoms, Creativeness. (shrink)

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 (...) cater to persistent human needs, albeit ones that are distorted under present social conditions. Adorno’s thought helps us to understand why this is the case. (shrink)

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, (...) the adherence to which presupposes simultaneous immersion in disciplines hitherto seen as being unrelated. The paper presents a demonstration of the fruitfulness of this theory by means of an account of some of the political, cultural and intellectual peculiarities of the Habsburg Monarchy. (shrink)

William James advocated a form of finite theism, motivated by epistemological and moral concerns with scholastic theism and pantheism. In this article, I elaborate James’s case for finite theism and his strategy for dealing with these concerns, which I dub the problems of suffering. I contend that James is at the very least implicitly aware that the problem of suffering is not so much one generic problem but a family of related problems. I argue that one of James’s (...) great contributions to philosophical theism is his advocacy for the view that adequate theistic philosophizing is not so much about cracking this family of problems, but finding a version of the problem to embrace. (shrink)

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 (...) teachers have commendable creative thinking, particularly fluency, flexibility, and elaboration skills. Still, they lack problem-solving skills in statistics, specifically with central tendency, dispersion, and position measures. The correlational analysis revealed no link between creative thinking and problem-solving. Still, creative thinking and problem-solving courses are recommended to help preservice teachers develop their fundamental skills as mathematics educators. (shrink)

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 (...) to provide an overview of the issue’s theme but, instead, samples it via a particular example. The idea of the issue was to think about post-anthropocentricism by considering (1) agents, recipients and processes of creativity alongside with its (2) purpose, value, ethics and politics. This article addresses the first subtheme by puzzling at the paradoxes of “field learning” and picks at the second by considering the texture of “automated beauty”. Both of these parts use chess for an example. The narrative on chess is intermitted by a section “on creativity” that attempts to contextualize the case-based discussion in the wider context and to consider motivations and implications. (shrink)

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 (...) understand what machine creativity actually is and how it is connected to human creativity. The aim of the paper is to investigate why, and in what sense, the functioning of some machines may be described in terms of artistic creativity and what is the relation between machine creativity and its human archetype. I start (§1) by introducing some general ideas concerning how language evolves alongside new technologies and focusing on the case of machine creativity. In §2 I review how some creative machines have been presented to the public, thus showing that a linguistic habit which connects machines to artistic creativity has already formed. In §3 I survey the debate on machine aesthetics and I highlight the main traits of the issue. In §4 I submit a primary scheme of machine creativity which draws on the concept of functional autonomy. Finally (§5), I argue that machine creativity cannot be mistaken for a substitute of the human kind, despite the fact that the word is the same. Creative machines are technological mediums by which new forms of human aesthetic experience can be explored. The kind of creativity machines enjoy displays a functional nature. (shrink)

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.

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 (...) in this paper is as follows. First, I say what creativity is and what an artistic merit is. Second, I identify reasons to doubt that creativity is an artistic merit. A good explanation of the merit of creativity should address these doubts. Third, I develop a theory of artistic merit that appeals to the final value of acting excellently – for example, virtuously or skilfully. Finally, I argue that this enables us to explain why creativity is an artistic merit. This account also enables us to argue that artistic merits give some things final value, and not merely instrumental value. It also provides reason to believe that ethical qualities of artworks enhance their artistic merit for the same reason creativity does. (shrink)

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 (...) research on creativity has much to offer to the cognitive science of skill and expertise. Experts are able to bring their intelligence to bear in controlling fast and seemingly automatic actions by utilizing a form of control often called ‘intelligent automaticity.’ In this spirit, I argue that the environment of intelligently automatic action control curates a similarly ideal environment for the processes of creativity. Moreover, insofar as creativity is ideally operative within the environment of expert action control, I argue further that creativity functions as one representative form of ‘intelligence’ embedded within otherwise fluid, and automatic expert actions. Creativity is able to do so even without conscious representation through the powers of incubated cognition. (shrink)

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, (...) and non-formulaic. As I develop the account, I show how it avoids challenges faced by other accounts of creativity, especially concerning creativity’s value. Hills and Bird (2018, 2019) have together argued that creativity is not necessarily valuable. My account challenges this view. If I am right that creativity is a kind of successful exploration, then creativity does have a characteristic value, specifically epistemic value. (shrink)

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.

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 (...) restoration is less likely to occur as internalized mental schemes become more rigid in the elderly. Furthermore, the present study demonstrates that symmetry restoration may occur not only individually, in one’s mind, but also collectively, during collaborative creative activities, e.g. during small-group brainstorming sessions or creative improvisational performances. The possibility of collective symmetry restoration interacts well with the ideas in the field of relational ontology. Relational ontology highlights an important ontological role of relations. The ontological primacy is not given to individual entities, as in traditional metaphysics, but to relational structures and transformative relational processes (interactions). When accepting this assumption, we cannot imagine the situation when the actor’s mind could act absolutely independently and leave all of its relations as assumed in the compatibilist theory of free will. We argue that creative free action can be performed even in the case when the actor is entangled within their material, environmental, and social relational structures. (shrink)

A general class of labeled sequent calculi is investigated, and necessary and sufficient conditions are given for when such a calculus is sound and complete for a finite -valued logic if the labels are interpreted as sets of truth values. Furthermore, it is shown that any finite -valued logic can be given an axiomatization by such a labeled calculus using arbitrary "systems of signs," i.e., of sets of truth values, as labels. The number of labels needed is logarithmic (...) in the number of truth values, and it is shown that this bound is tight. (shrink)

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.

Discusses Frege's formal definitions and characterizations of infinite and finite sets. Speculates that Frege might have discovered the "oddity" in Dedekind's famous proof that all infinite sets are Dedekind infinite and, in doing so, stumbled across an axiom of countable choice.

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 (...) by James Gibson. With this concept of creation as deviative responsiveness, we articulate the human contribution to human-technology creation, namely, our intentional deviation of the inhibiting forces of the currently dominant niche or meaningful world of human-technology relations, in order to become responsive to new affordances in human-technology creation that constitute a new niche or world of human-technology relations. (shrink)

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 (...) opposed to analytical thinking, suggesting that the positive effects of self-uncertainty on performance are specific to tasks that bolster perceptions of uniqueness. In Study 5, self-uncertain individualists experienced a restoration of self-clarity after being induced to think about themselves as more (vs. less) creative. Implications for compensatory responses to self-uncertainty and factors that influence creativity are discussed. (shrink)

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 (...) which may be the subject of further in-depth research. These examples exist in: documents and strategic programs, the activities of network organizations and the activities of urban cultural and artistic institutions. (shrink)

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 (...) the experiential account is compared and it is pointed out that if creativity is a natural kind, it is not a functional/computational, but an experiential natural kind. (shrink)

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 (...) intrinsically negative. The second part emphasizes the importance of various distinctions within the realm of the negative. We must distinguish between adversity (which is non-mental) and negative mental states, and between negative thoughts (or attitudes) and negative affect. Within the realm of negative affect, we must distinguish between negative emotions and moods, on the one hand, and negative affective perspectives on the other, and then between mildly negative affective perspectives and severely negative ones (for which I reserve the term ‘suffering’). These distinctions matter greatly, since different types of negative experience have very different degrees of prudential disvalue. Although many types of negative experience may be “worth it”—because their positive extrinsic value outweighs their negative value—this is rarely true of severe suffering. (shrink)

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 (...) region cause of legislations or e-payments. The article recommended more awareness for innovative products and services such as Fintech, Crowdfunding and adopting the culture of e-business models. Also the article promoting the process of developing regulations that organize e-business models, especially Fintech and Crowdfunding, the use of modern communication technology to serve the development of society, more interest to innovation and creativity as a key factor for entrepreneurial success. (shrink)

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)

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 (...) really be creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (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 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 (...) writing, I identify several main affordances of creative nonfiction in social-scientific research. In particular, I argue that creative nonfiction allows scientists to illustrate their findings, to express them in an allegorical way, to organize data into a narrative, to let their pieces of research act in the social world, and to permeate research accounts with self-reflexive moments. I also discuss some apparent negative affordances: challenges that creative nonfiction poses to readers and to the institutionalized academic discourse. Finally, I suggest that writing about sociological problems in the style of creative nonfiction can help to produce more engaging and engaged texts, and I discuss the ethical implications of the approach. (shrink)

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 (...) a halt. This paper has the platform for critically assessing the pathway SSA economies (SSA) should follow, notably creativity in new technologies, while adopting a stance on ISI approach in order to reduce its reliance on the importation of essential commodities, which seem to have been a worrying concern throughout the crisis of COVID-19. Suggestions for SSA economies to embrace the notion of creative destruction is the focal point in this paper for the realization of growth and development, while at the same time harnessing the power of human integrity to champion competitive innovation. (shrink)

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. (...) We begin by briefly introducing a few basic notions relating to cognition, among which the notion of ‘concepts’ is of basic relevance. The myriads of concepts lodged in our mind constitute a ‘conceptual space’ of an enormously complex structure, where con- cepts are correlated by beliefs that are themselves made up of concepts and are as- sociated with emotions. The conceptual space, moreover, is perpetually in a state of dynamic evolution that is once again of a complex nature. A major component of the dynamic evolution is made up of incessant acts of inference, where an inference occurs essentially by means of a succession of correlations among concepts set up with beliefs and heuristics, the latter being beliefs of a special kind, namely, ones relatively free of emotional associations and possessed of a relatively greater degree of justification. Beliefs, along with heuristics, have been described as the ‘mind’s software’, and con- stitute important cognitive components of the self-linked psychological resources of an individual. The self is the psychological engine driving all our mental and physical activity, and is in a state of ceaseless dynamics resulting from one’s most intimate ex- periences of the world accumulating in the course of one’s journey through life. Many of our psychological resources are of a dual character, having both a self-linked and a shared character, the latter being held in common with larger groups of people and imbibed from cultural inputs. We focus on the privately held self-linked beliefs of an individual, since these are presumably of central relevance in making possible inductive inferences – ones in which there arises a fundamental need of adopting a choice or making a decision. Beliefs, decisions, and inferences, all have the common link to the self of an individual and, in this, are fundamentally analogous to free will, where all of these have an aspect of non-determinism inherent in them. 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 crucially on de- cisions at critical junctures of the inferential chain, it becomes necessary to examine the basic mechanism underlying the making of decisions. In the framework that we attempt to build up for the understanding of scientific creativity, this role of decision making in the inferential process assumes central relevance. With this background in place, we briefly sketch the affect theory of decisions. Affect is an innate system of response to perceptual inputs received either from the exter- nal world or from the internal physiological and psychological environment whereby a positive or negative valence gets associated with a perceptual input. Almost every sit- uation faced by an individual, even one experienced tacitly, i.e., without overt aware-ness, elicits an affective response from him, carrying a positive or negative valence that underlies all sorts of decision making, including ones carried out unconsciously in inferential processes. Referring to the process of inferential exploration of the conceptual space that gener- ates the possibility of correlations being established between remote conceptual do- mains, such exploration is guided and steered at every stage by the affect system, analogous to the way a complex computer program proceeds through junctures where the program ascertains whether specified conditions are met with by way of generating appropriate numerical values – for instance, the program takes different routes, depending on whether some particular numerical value turns out to be positive or negative. The valence generated by the affect system in the process of adoption of a choice plays a similar role which therefore is of crucial relevance in inferential processes, especially in the exploration of the conceptual space where remote domains need to be linked up – the affect system produces a response along a single value dimension, resembling a number with a sign and a magnitude. While the affect system plays a guiding role in the exploration of the conceptual space, the process of exploration itself consists of the establishment of correlations between concepts by means of beliefs and heuristics, the self-linked ones among the latter having a special role in making possible the inferential journey along alternative routes whenever the shared rules of inference become inadequate. A successful access to a remote conceptual domain, necessary for the creative solution of a standing problem or anomaly – one that could not be solved within the limited domain hitherto accessed – requires a phase of relatively slow cumulative search and then, at some stage, a rapid cascading process when a solution is in sight. Representing the conceptual space in the form of a complex network, the overall process can be likened to one of self-organized criticality commonly observed in the dynamical evolution of complex systems. In order that inferential access to remote domains may actually be possible, it is necessary that restrictions on the exploration process – necessary for setting the context in ordinary instances of inductive inference – be relaxed and a relatively free exploration in a larger conceptual terrain be made possible. This is achieved by the mind going into the default mode, where external constraints – ones imposed by shared beliefs and modes of exploration – are made inoperative. While explaining all these various aspects of the creative process, we underline the supremely important role that analogy plays in it. Broadly speaking, analogy is in the nature of a heuristic, establishing correlations between concepts. However, analo- gies are very special in that these are particularly effective in establishing correlations among remote concepts, since analogy works without regard to the contiguity of the concepts in the conceptual space. In establishing links between concepts, analogies have the power to light up entire terrains in the conceptual space when a rapid cas- cading of fresh correlations becomes possible. The creative process occurs within the mind of a single individual or of a few closely collaborating individuals, but is then continued by an entire epistemic community, eventually resulting in a conceptual revolution. Such conceptual revolutions make pos- sible the radical revision of scientific theories whereby the scope of an extant theory is broadened and a new theoretical framework makes its appearance. The emerging theory is characterized by a certain degree of incommensurability when compared with the earlier one – a feature that may appear strange at first sight. But incommen- surability does not mean incompatibility and the apparently contrary features of the relation between the successive theories may be traced to the multi-layered structureof the conceptual space where concepts are correlated not by means of single links but by multiple ones, thereby generating multiple layers of correlation, among which some are retained and some created afresh in a conceptual restructuring. We conclude with the observation that creativity occurs on all scales. Analogous to correlations being set up across domains in the conceptual space and new domains being generated, processes with similar features can occur within the confines of a domain where a new layer of inferential links may be generated, connecting up sub- domains. In this context, insight can be looked upon as an instance of creativity within the confines of a domain of a relatively limited extent. (shrink)

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 (...) diarist, Jonathan Edwards, and it helps to explain the intense self-inspection and valiant response to life to which other Puritan diarists (including Emerson's aunt, Mary Moody Emerson) testify. Continuous creation was an important ingredient in the idealism of Edwards and, once translated, it became an important ingredient in the idealism of Emerson. My primary aim to describe Emerson’s creative translation of the doctrine as Edwards understood it, but I also discuss Emerson's relation to the Puritan diary, considered as a literary form. I close by suggesting that for us, a version of the doctrine of continuous creation can perhaps be a source of optimism and an incentive to action, as I believe it was for Emerson. I also comment briefly on Emerson's grateful reliance on text-to-text translations. When Emerson studied translations of sacred texts from around the world, what he heard was not difference and dissent, but agreement: agreement on the very points that united him with Edwards, different as they were in other ways. (shrink)

Discusses Frege's formal definitions and characterizations of infinite and finite sets. Speculates that Frege might have discovered the "oddity" in Dedekind's famous proof that all infinite sets are Dedekind infinite and, in doing so, stumbled across an axiom of countable choice.

[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 (...) crucially on decisions at critical junctures of the inferential chain, it becomes necessary to examine the basic mechanism underlying the making of decisions. In the framework that we attempt to build up for the understanding of scientific creativity, this role of decision making in the inferential process assumes central relevance. -/- Referring to the process of inferential exploration of the conceptual space that generates the possibility of correlations being established between remote conceptual domains, such exploration is guided and steered at every stage by the affect system, -/- While the affect system plays a guiding role in the exploration of the conceptual space, the process of exploration itself consists of the establishment of correlations between concepts by means of beliefs and heuristics, the self-linked ones among the latter having a special role in making possible the inferential journey along alternative routes whenever the shared rules of inference become inadequate. -/- Representing the conceptual space in the form of a complex network, the overall process can be likened to one of self-organised criticality commonly observed in the dynamical evolution of complex systems. An instance of self-organised criticality is found in the avalanche set up in a slowly growing sand-pile. (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 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 (...) of the ways taken by Cognitive Studies in this quest. We then consider what we call 'creative humour', which exhibits the core features of the aforesaid creativity. We then explore how a key cognitive approach to human communication can account for creative humour. We end by drawing lessons and highlighting limitations to cognitive approaches to creativity. (shrink)