Dynamic conceptual reframing represents a crucial mechanism employed by humans, and partially by other animal species, to generate novel knowledge used to solve complex goals. In this talk, I will present a reasoning framework for knowledge invention and creative problem solving exploiting TCL: a non-monotonic extension of a Description Logic (DL) of typicality able to combine prototypical (commonsense) descriptions of concepts in a human-like fashion [1]. The proposed approach has been tested both in the task of goal-driven concept (...) invention [2,3] and has additionally applied within the context of serendipity-based recommendation systems [4]. I will present the obtained results, the lessons learned, and the road ahead of this research path. -/- . (shrink)

The study aimed to identify the knowledge management processes and their role in achieving competitive advantage at Al-Quds Open University. The study was based on the descriptive analytical method, and the study population consists of academic and administrative staff in each of the branches of Al-Quds Open University in (Tulkarm, Nablus and Jenin). The researchers selected a sample of the study population by the intentional non-probability method, the size of (70) employees. A questionnaire was prepared and supervised by a (...) number of specialists in order to obtain the results of the study. The study concluded that there is a positive direct relationship, that is, the higher the degree of application of knowledge management processes, the greater the degree of competitive advantage. Knowledge Technology came first with a score of 80.02% on all items. Competitive advantage came second with 81.74%. In the third place came "knowledge generation" where the total score on all paragraphs in this area (78.24%). In the fourth place, "knowledge transfer" (77.21%). "Developing and storing knowledge" came in fifth place (77.13%). "Acquisition of knowledge" came in sixth place (76.45%). Knowledge Organization ranked seventh (74.26%). The study recommended that the university should enable the employees to benefit from the experiences and expertise available to help generate knowledge. The University encourages the creation of knowledge through the system of incentives and open the way for creators to apply their creations and spread and invest in excellence and creativity. The university should design work performance levels based on the integration of knowledge and organize it according to policies that support freedom of research. The need for Palestinian universities to adopt a knowledge management approach. The need to adopt a system of incentives that rewards cognitive efforts, and give workers enough freedom to enable them to apply their knowledge. (shrink)

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 automatic and creative re-framing, or re-formulation, of the available knowledge. We show how such mechanism can be obtained trough a framework of dynamic knowledge generation that is able to tackle the problem of commonsense concept combination. In addition, we show how such a framework can be employed in the field of cognitive architectures in order to overcome situations like the impasse in SOAR by extending the possible options of its subgoaling procedures. (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)

Scientists in anthropology, geography, and other fields within social sciences and humanities have long suggested that the environments in which people live deeply influence their cultural value systems and practices. Shota Shibasaki, Ryosuke Nakadai, and Yo Nakawake have built on this idea, demonstrating that local ecological characteristics shape the appearance of trickster animals in folklore. Based on their finding and the SM3D (Serendipity-Mindsponge-3D) knowledge management framework, we discuss how the individuals’ or groups’ ability to create cultural products depends on (...) the availability and accessibility of information from the surrounding environment. Due to biodiversity loss and climate change, such valuable resources for cultural creativity have been diminished. Thus, it is crucial to adopt biodiversity preservation and climate action as fundamental values of a progressive and humane culture. Only then can we continue to preserve and enhance the creative cultural capacity of society. (shrink)

The aim is to examine the multiple meanings of creativity in creative economy. The meanings which reinforce the individual aspect stress that personal characteristics may unlock the wealth that lies within people. The definitions that reinforce the organizational and social aspects understand creativity as a process, which requires knowledge, networks, and technologies that interconnect novel ideas and contexts. The perspectives which reinforce the political aspect see that creativity took the status of a doctrine to secure collaboration (...) between government and industry. However, these notions of creativity stress its instrumental utility and undermine fantasy, play, or uselessness. (shrink)

Since the outbreak of the Coronavirus disease 2019 (Covid-19), tremendous efforts have been made by scientists, health professionals, business people, politicians, and laypeople around the world. Covid-19 vaccines are one of the most crucial innovations that help fight against the virus. This paper attempts to revisit the Covid-19 vaccines production process by employing the serendipity-mindsponge-3D creativity management theory. Vaccine production can be considered an information process and classified into three main stages. The first stage involved the processes of absorbing (...) information (e.g., digital data and open science) and rejecting unhelpful information (e.g., misinformation and fake news) for effectively acquiring useful insights. Useful insights were later employed by experts, enterprises, governments, and international organizations through interdisciplinary coordinated efforts for developing vaccines within a short period. Finally, the appearance of multiple types of vaccines enabled more strategic options for vaccine distribution and administration. Findings from this vaccine creativity management process could be used as critical lessons for further improvements of vaccination programs. (shrink)

Inventing novel knowledge to solve problems is a crucial, creative, mechanism employed by humans, to extend their range of action. In this talk, I will show how commonsense reasoning plays a crucial role in this respect. In particular, I will present a cognitively inspired reasoning framework for knowledge invention and creative problem solving exploiting TCL: a non-monotonic extension of a Description Logic (DL) of typicality able to combine prototypical (commonsense) descriptions of concepts in a human-like fashion. The proposed (...) approach has been tested both in the task of goal-driven concept invention and has additionally applied within the context of serendipity-based recommendation systems. I will present the obtained results, the lessons learned, and the road ahead of this research path. (shrink)

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 (...) structure itself considered as a complex system. We demonstrate thus the application of this ultimate criterion of completeness of a system of knowledge (and viability of related intelligence) that should be able to derive consistent, provable, and practically relevant conclusions about its own purpose, sense, evolution, and current state. (shrink)

During the idea generation phase of the design process, designers often search for inspirations in external sources of information, such as photographs, written descriptions and physical examples. These sources have potential to enhance creative performance. However, they sometimes become too attached to particular ideas of external precedents or various examples. It refers to fixation which is identified as inadequate adoption of features from existing examples. Influence of the existing examples on creativity and fixation, specifically textual examples, have been discussed (...) in this research. -/- For the nature of design, researchers highlighted the restructuring process of design problem by new sources because the capabilities and boundaries of design problems are not defined very well. Further, the design problem is not knowable at any specific point. Design knowledge identifies itself by its ambiguity. Many models have been developed for design process. The various numbers of divided phases of the models can be seen as having two main areas: (1) idea generation phase (or “ideation”); (2) later phase for details. Idea generation plays an important role in the design process. It is the area of new and creative configurations on design. -/- Creativity is an integral part of the design process. Designers purpose to achieve original ideas to demonstrate their ability and unique designs. External stimuli or inspirational inputs play important roles to increase creativity. They can support moments of stimulation. Associations between information from memory and external stimuli can contribute to the creation of new meanings. Designers are widely influenced by their surroundings in daily lives. However, each stimulus may not be the part of a more creative result Even if designers want to utilize stimulus as an inspirational source, somehow it may fixate their mind to its surface features and they may lose potential creative contributions of the source. It is called fixation. There is much research that shows significant evidence of conformity effects across the design problems. -/- The given examples to designers may cause higher-level fixation and lower-level creativity or vice versa. Fixation may occur when example solutions are introduced, on the other hand, the designers may create more original ideas as well. There is a need for research to find ways to avoid fixation traps or reduce their adverse impact. Thus, this research focuses on variables of the given example. -/- The following claims show some research areas remained unclear: (1) Some researchers investigated textual examples as - one of the modalities of representation - but did not focus on forms of textual examples. (2) Much research has been conducted with examples which are selected by the researcher. Nevertheless, designers can also choose or produce their own stimuli. There is not much research on this possibility. In this context, my research focuses on the following two variables through two studies (Study 1 and 2): (1) forms of textual examples; (2) self-construction of textual examples. First, most of the studies in the literature have focused on visual presentation and there is not enough research on the content and form of the text. The study of textual examples has still not been awarded enough attention especially as various forms of text. Some forms of text are as follows: keyword, paragraph, sentence, poem. These observations lead me to the following research question: Which forms of textual example increase creativity and reduce fixation more? (Study 1). -/- Second, most of the studies regarding textual examples have used prose or keywords. The poems have been ignored. However, poems imply more meaning with fewer words. The structure of the poems enables more creative narratives than structure of prose. Because unusual organization of words stimulates the readers and draws their attention. This activates the creative performance of the reader. The surrealist poem is the extreme form of this activation. It is random assemblies with headlines and sentences which is cut from newspapers. Thus, novel meaning networks are formed. The method of creating a surrealist poem offers a new way of getting inspiration. It is termed as self-construction practice by this research. Through this method, designers create their own example from the given one. Reconstruction of the text may increase the creative process and prevent fixations from the given text. This suggestion led me to the following research question: If the designers write their own poem instead of a given poem (as a self-construction practice), can they internalize the textual example? In addition, does it produce more creative and less fixated designs? (Study 2). Two experimental studies were planned to partially answer the research questions, in which novice students of architecture were asked to solve two different design problems, under different conditions. All of the experimental sessions were conducted in a design education studio. The participants produced sketches and added a written explanation relating to their designs. Fluency, flexibility and repetition of key attributes were calculated by the researcher. -/- Originality, practicality, understanding of the task and quality were ranked by judges. Study 1 shows us tendencies of using various textual forms. Distinctions of keywords and of poems have appeared among them. This emphasizes the role of keyword and poem in the design process as inspirational sources and provides many tips for their potential use. The keyword also leads to a high degree of fixation. However, a low degree of fixation is observed when poems are presented as inspirational examples. -/- In Study 2, the self-constructed poem seems to support develop more successful design ideas from many perspectives. In the context of the surrealist poem, writing and reading the surrealist poem trigger the designers’ imagination. At first, the words and lines of poems seem unrelated to each other and designers try to relate them and solve the puzzle of meaning. Hence, novel meaning networks are formed. It indicates that surrealist poems are able to activate the creative performance of the designers. Writing their own surrealist poems ,as a self-construction practice, motivated designers to begin to produce by having fun. Motivated designers have stimulated themselves to produce creative ideas. In other words, the self-construction process may be added to the design process models in the earlier part of the idea generation phase which is called as pre-design and warm-up phase. This earlier phase makes designers highly motivated and they internalized the given examples. -/- Following the conclusions, several implications and recommendations for the design process and education are discussed. (shrink)

Intellectual property (IP) can internalize positive externalities associated with the creation and discovery of ideas, thereby increasing investment in efforts to create and discover ideas. However, IP law also causes negative externalities. Strict IP rights raise the transaction costs associated with consuming and building on existing ideas. This causes a tragedy of the anticommons, in which valuable resources are underused and underdeveloped. By disincentivizing creative projects that build on existing ideas, IP protection, even if it increases original innovation, can inadvertently (...) reduce the rate of iterative innovation. The net effect of IP law on innovation and welfare depends on the relative magnitude of these positive and negative externalities. We argue that the current regime probably suffers from excessive, and excessively rigid, IP protection. This motivates the search for institutional alternatives and complements. We suggest that a monocentric IP rights regime may not be the only, or the most efficient, way to internalize the positive externalities of innovation. The knowledge economy supports the emergence of diverse, polycentric forms of bottom-up self-governance, both market and community led, that entail the citizen coproduction of the norms and practices of intellectual creation and discovery. (shrink)

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

The article critically covers the current issues of "value-driven management" and the creative economy. Analyzing the concept of a "fragile and incomprehensible" (BANI) world, the author conclude that the widely proclaimed era of the knowledge economy is nothing more than utopia. A value-based transformation is possible if it is approached in a comprehensive and systemic way, which requires large-scale transformations initiated and supported by the power structures. The author believe that the creative economy is more extensive than the traditional (...) one, and its development potential is rather limited. The paradigm of "commercial creativity", in fact, is aimed at providing employment and meeting the needs of the population of the "golden billion" countries. Статья в критическом ключе освещает актуальные вопросы «ценностного менеджмента» и креативной экономики. Анализируя концепцию «хрупкого и непостижимого» (BANI) мира, автор приходит к выводу, что широко провозглашенная эра экономики знаний — не более чем утопия. Ценностная трансформация возможна, если подход к ней будет комплексным и системным, для чего требуются масштабные преобразования, инициируемые и поддерживаемые властными структурами. Креативная экономика, как полагает автор, в большей степени экстенсивна, чем традиционная, а потенциал ее развития весьма ограничен. Парадигма «коммерческого креатива», по сути, нацелена на обеспечение занятости и удовлетворение потребностей населения стран «золотого миллиарда». (shrink)

I argue that practical knowledge can be understood as constituted by a kind of imagining. In particular, it is the knowledge of what I am doing when that knowledge is represented via extramental imagination. Two results follow. First, on this account, we can do justice both to the cognitive character and the practical character of practical knowledge. And second, we can identify a condition under which imagination becomes factive, and thus a source of ob-jective evidence. I (...) develop this view by extracting an account of self-knowledge via extramental imagination from the writings of Ibn ‘Arabi (1165-1240). (shrink)

Academic freedom has often been defended in a progressivist manner: without academic freedom, creativity would be in peril, and with it the advancement of knowledge, i.e. the epistemic progress in science. In this paper, I want to critically discuss the limits of such a progressivist defense of academic freedom, also known under the label ‘argument from truth.’ The critique is offered, however, with a constructive goal in mind, namely to offer an alternative account that connects creativity and (...) academic freedom in a way that goes beyond mere reference to epistemic progress and involves reference to the freedom to think independently as the freedom we mean when we point to creativity and when we point to academic freedom. The resulting causal independence account is not only epistemologically stronger than a progressivist account, it also allows to counter the curbing of academic freedom in the name of progress. The latter becomes key, for instance, when authoritarian political regimes limit or negate academic freedom with reference to an epistemic progress suitably defined for that regime. (shrink)

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 (...) success of generated ideas are currently unknown. Here, we analyze a dataset of design problem-solving conversations in real-world settings by using 49 semantic measures based on WordNet 3.1 and demonstrate that a divergence of semantic similarity, an increased information content, and a decreased polysemy predict the success of generated ideas. The first feedback from clients also enhances information content and leads to a divergence of successful ideas in creative problem solving. These results advance cognitive science by identifying real-world processes in human problem solving that are relevant to the success of produced solutions and provide tools for real-time monitoring of problem solving, student training and skill acquisition. A selected subset of information content (IC Sánchez–Batet) and semantic similarity (Lin/Sánchez–Batet) measures, which are both statistically powerful and computationally fast, could support the development of technologies for computer-assisted enhancements of human creativity or for the implementation of creativity in machines endowed with general artificial intelligence. (shrink)

As a sort of intellectual provocation and as a lateral thinking strategy for creativity, this chapter seeks to determine what the study of the dynamics of biodiversity can offer linguists. In recent years, the analogical equation "language = biological species" has become more widespread as a metaphorical source for conceptual renovation, and, at the same time, as a justification for the defense of language diversity. Language diversity would be protected in a way similar to the mobilization that has taken (...) place to protect endangered species. Nevertheless, one must be careful when uncritically transferring conceptualizations and theoretical frameworks from one field to another, since obviously, these two phenomena are quite different in the real world. The dialogue with bioecologists starts by asking about the formation of diversity, i.e., about specialization. Here, one can observe the similarity between the processes of linguistic and genetic fragmentation, in the sense that both phenomena have a (socio)geographical basis for dispersion and consequently, for the loss of their original compact nature and their intercommunication. The self-organizing and creative properties of human beings favor the development of specific varieties for each subset, varieties that continue to evolve constantly, through the unceasing "languaging" of humanity. Regarding the continuity of species or languages, one can also observe the decisive role of intragroup relations. The staying power of linguistic varieties will increase in direct proportion to the intensity of the relationship among the components of the subset. On the other hand, if exotic elements are introduced, especially if these elements are aggressive in nature, the alteration of the ecological niche may turn out to be fatal for the continuity of the previously existing forms. This suggests to us the need to make an in-depth study of what the minimal contextual conditions would be so that a set linguistic group could be assured a sustainable continuity within a framework of linguistic contact. What type of minimum (socio-)ecological niche would a language have to have if we wished to ensure its habitual reproduction? A proposal is made here to explore the ideas of "exclusive functions" and "non-hierarchical functional distribution" for codes in situations where there is high contact and a danger of disuse. As regards change, this phenomenon is seen as an inherent element in the tendency of life to create new developments, which may or not be accompanied by an adaptation to changing environmental conditions. It is pointed out that, similar to what happens in biology, much of linguistic innovation stems from a systemically reorganized mixture of solutions from different codes. An important research question would be, however, to determine why some of these innovations disappear and others survive and extend throughout the community. The big question mark, as Mufwene points out, is, then how to manage to understand how "the evolution of language proceeds by naturally selecting from among the competing alternatives available through the idiolects of individual speakers". Extinction, whether it be of languages or of species, is caused in most cases "by a combination of demographic processes and environmental changes", as Brown points out. Thus, the environment plays a fundamental role in the direction of evolution, since the "the survival of the fittest is, in actuality, the survival of those who fit into the context (Allen and Hoekstra)". This allows us to see the great degree of importance of political-economic contexts in the case of languages. In the same way, migratory movements are also one of the major variables determining the extinction of biodiversity and language diversity. Species and habitat form the basic unit of existence, and this is the major point of departure for understanding the problem of the preservation and recovery of species or languages. Given the increase in the degree of linguistic contact, the continuity of language diversity depends on determining, as exactly as possible, as Prigogine, the physicist, would say, what precise conditions of imbalance may prove to be stable. The great challenge is not so much avoiding contact but managing it. And "restorative ecology" can also be of help to us here. Being able to reach sustainable solutions for language diversity implies a profound knowledge of the dynamics for determining the ways in which language is used in contact situations. The general conclusion is that linguistics is still terminologically and conceptually ill prepared to deal with the dynamic character of human languages. The world and our objects must be conceived of as elements in a state of flux, as changing systems in an unstable equilibrium. With respect to language policy, it would be necessary to make an effort to manage to establish some general principles regarding the linguistic organization of the human species that would make it possible for local linguistic diversity and communication on a planetary scale, which must necessarily take place, to be compatible with each other. To succeed, it will be necessary to continue promoting an autonomous socio-ecological perspective devoted to the comprehension of language phenomena. Such a perspective would be based on a paradigm of complexity, and would, at the same time, place human beings at the center of its theoretical underpinnings. (shrink)

It is important for the theory of knowledge to understand the factors involved in the generation of the capacities of knowledge. In the history of modern philosophy, knowledge is generally held to originate in either one or two sources, and the debates about these sources between philosophers have concerned their existence, or legitimacy. Furthermore, some philosophers have advocated scepticism about the human capacity to understand the origins of knowledge altogether. However, the developmental aspects of knowledge (...) have received relatively little attention both by past philosophers and in current philosophical discussions. This dissertation provides a historical approach to this developmental problem of knowledge by interpreting the developmental theories of knowledge of Maine de Biran (1766–1824) and Henri Bergson (18591941) from the perspective of a theory of the ‘generative factors of knowledge.’ It first studies the philosophies of Maine de Biran and Bergson separately and then brings together and compares the metaphilosophical aims drawn from these philosophers. The dissertation’s novel analysis, provided by its theory and structure, has far-reaching consequences. From a wide point of view, it fills in considerable scholarly gaps and provides great opportunities for future research in the study of the history of philosophy. From more specific points of view, it provides its most decisive contributions in such metaphysical and epistemological topics as the nature of causality, self-generated activity, the role of effort in knowing and learning, the complementary relationship between philosophy and science, and the non-conceptual basis of knowledge. (shrink)

Metacognition-related studies do often give focus on the regulation or experience components but little on the knowledge component. In particular and especially within the Philippine context, not much focus is given with regards to a clear and coherent academic framework that fortifies the metacognitive strategy knowledge in mathematical problem solving amongst students. Using an evolved grounded theory, the purpose of this study is to look closely into the metacognitive strategy knowledge of preservice teacher education students. Twenty-three students (...) participated and initial data were collected using the prepared problem solving test. Subsequently, interviews were conducted to supplement the initial data. Pandit’s grounded theory methodology and the constant comparison method were used to analyze the data collected. Findings revealed an emerging three-phased categorization of metacognitive strategy knowledge thru problem solving: preparatory, production, and evaluation. The multi-distinct yet related categorization were neither linear nor just cyclic in nature but is experienced and underwent by problem solvers with varying degree of creativity and flexibility depending on the problem at hand, beliefs, attitudes, and learning style. The findings shed some light on the distinct role of metacognitive strategy knowledge and some ensuing factors during authentic problem solving. (shrink)

Artificial intelligence (AI) technologies are used in various domains of human activities, and one of these domains is scientific research. Now, researchers in many scientific areas try to apply AI technologies to their research and automate it. These researchers claim that the ‘automation of science’ will liberate people from non-creative tasks in scientific research, and radically change the overall state of science and technology so that large-scale innovation results. As I see it, the automation of science is remarkable in another (...) respect: since science is one of the most distinctive human activities, the tendency of automating it prompts us to reconsider the aspects of our humanity itself. One of these aspects is concerned with human creativity, on which this article focuses. In this article, I address two questions concerning the automation of science: first, ‘Can AI makes creative discovery?’; second, ‘What implications may the automation of science have on science and society?’. Scientific discovery is said to be one of the most creative phases of scientific research. I show that, though there are no reasons in principle why AI could not make creative discovery, we do not at present have enough knowledge how to realize it. If the automation of science nevertheless proceeds, the cultural values science as a creative activity has might be reduced, and it might alter the state of scientific community and its relationship with society in some undesirable way. Therefore, I conclude, we need to specify desirable ways of introducing AI technologies into science and devise measures against demerits of automating science. (shrink)

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

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)

A summary is provided of Ruyer's important contribution, also a reversal from some conclusions held in his secondary doctoral dissertation, about the limits inherent in technological progress, and an attempt is made to show the coherence of this position to Ruyer's metaphysics. Simondon's response is also presented, and subsequently analyzed especially as it culminates in a concept of concretizations. As Simondon indicated, and with a displacement in Ruyer's limitating framework on unconditional growth, we end up searching for what represents the (...) category of the ultimate for those two philosophers of the cyberworld. (shrink)

ABSTRACT "Why can’t I decide to be happy?" This is the question that encapsulates the meaning behind Gabriele’s story, the main character of the novel Il film delle emozioni (The Movie of Emotions; Calabretta 2007a, in Italian). Gabriele is a victim of his negative emotions, and is completely in the power of his self-blame and self-devaluative thinking, which he learns to change only at the end of the novel, thanks to creativity and to the artistic expression of his own (...) traumatic experiences (see Sparrow and Wegner 2006). The novel tells of Gabriele’s several attempts at writing, first, the script of an autobiographical "educational" movie on emotion regulation; and then at transforming it into a novel. In reality, it reveals itself as a book popularizing the most recent scientific knowledge on psychology of emotions; as a dramatization of a scientist’s life—of his interior, interpersonal, and social conflicts (as well as political ones); and as a dramatization of the creative process of writing. As we will see in this article, The Movie of Emotions is a very particular novel that has much to do with creativity viewed in three different aspects—creativity in the novel’s structure, creativity in the process of the novel’s creation, and proposed techniques to increase creativity. (shrink)

The expression ‘a university without research is a dignified high school’ is becoming a both local and global concern in the academia. The purpose of this paper is to assess the extent to which collaborative research methodologies can enhance integration of faculties of arts and humanities in the universities in Malawi for knowledge development and transfer. It has been argued over and over that universities are spotlighted by their outstanding work in research, developing and sharing ideas, new inventions and (...) creativity within the spectrum of partnership development. While striving for partnership through collaborative research approaches, research activities still remain an area of concern in institutions that offer diverse tertiary education in Malawi. The question of how can these institutions or faculties engage each other in collaborative research methodologies in the quest of knowledge development and transfer remains crucial and relevant The study analyzed strengths, weaknesses, threats and opportunities of the existing research methods in Arts and Humanities and how the two disciplines can create a space for amalgamation so that research findings can benefit both disciplines. The study reveals that collaboration in various disciplines is a challenge owing to variations of conceptual analyses and the deficiency of technical no-how of both teaching staff and students as well as tools for data collection and analysis as may be emphasized in each of the areas of study; Arts and Humanities. Furthermore, while other institutions of higher learning have research ethics committees for checks and balances as a collaborative tool, some institutions do not know that this committee plays a crucial role in the field of research. Within this backdrop, there is need to develop research collaborations within an institution or with other institutions of higher learning that have a well-defined research profile for mutual benefits as far as collaborative research methodologies are concerned. (shrink)

Imagination seems to play an epistemic role in philosophical and scientific thought experiments, mindreading, and ordinary practical deliberations insofar as it generates new knowledge of contingent facts about the world. However, it also seems that imagination is limited to creative generation of ideas. Sometimes we imagine fanciful ideas that depart freely from reality. The conjunction of these claims is what I call the puzzle of knowledge through imagination. This chapter aims to resolve this puzzle. I argue that imagination (...) has an epistemic role to play, but it is limited to the context of discovery. Imagination generates ideas, but other cognitive capacities must be employed to evaluate these ideas in order for them to count as knowledge. Consideration of the Simulation Theory's so-called "threat of collapse” provides further evidence that imagination does not, on its own, yield new knowledge of contingent facts, and it suggests a way to supplement imagination in order to get such knowledge. (shrink)

I argue that Azerbaijani universities are a façade masking an ulterior motive. I examine the difficult relationship between authoritarian power and the university in Azerbaijan through the study of coercive policies put in place by university administrators preventing free thought and hampering the freedom of academics. My central thesis is that the university is a place where researchers should be able to teach and conduct their research freely, without any hindrance from their administrators. However, in authoritarian countries, such as Azerbaijan, (...) academic freedom suffers from regular interference and restrictions on the part of those administrators who, arguably due to the nature of the regime, assume that academics are not supposed to criticize the society, politics or universities in which they work. These administrators, who are often academics themselves, mistakenly believe that university priorities should be at the service of the regime at the expense of knowledge. I submit that the rigid discipline of Azerbaijani universities and the unfree relationship between high-ranking administrators and scholars – a relationship based on the domination of the former over the latter – do not only stymie academic discussions and development, but also squelch the liberty and creativity of scholars. (shrink)

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 or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

Inventing novel knowledge to solve problems is a crucial, creative, mechanism employed by humans, to extend their range of action. In this paper, we present TCL (typicality-based compositional logic): a probabilistic, non monotonic extension of standard Description Logics of typicality, and will show how this framework is able to endow artificial systems of a human-like, commonsense based, concept composition procedure that allows its employment in a number of applications (ranging from computational creativity to goal-based reasoning to recommender systems (...) and affective computing). -/- The framework relies on 3 main ingredients: a non monotonic extension of standard Description Logics (allowing to reason on exceptions to inheritance in standard knowledge bases) a probabilistic extension coming from the field of logic programming (the DISPONTE semantics) a cognitive heuristics known ad HEAD-Modifier determining preference rules for the inheritance mechanisms of the novel concepts to be generated via commonsense rules. -/- We report the obtained results and the lessons learned of this research path in the context of model-based AI applications. -/- . (shrink)

Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role the artistic (...) metaphor plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist’s style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists’ knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto’s notion of style, based on Sartre’s notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem. (shrink)

The heuristic value of synergetic models of evolving and self-organizing complex systems as well as their application to epistemological problems is shown in this paper. Nonlinear synergetic models turn out to be fruitful in comprehending epistemological problems such as the nature of human creativity, the functioning of human intuition and imagination, the historical development of science and culture. In the light of synergetics creative thinking can be viewed as a selforganization and self-completion of images and thoughts, filling up gaps (...) in the nets of knowledge. Insight, fast and sudden solutions of scientific problems, instabilities when “an idea is in the air” are considered as examples of blow-up regimes in the cognitive field. (shrink)

The article analyzes the concept of serendipity as a property and state of personality. The approach chosen by the author is aesthetic; the problem is covered from the perspectives of pedagogy and didactics. The object of the study is the phenomenon of "intuitive serendipity", the subject is the methods of creativity development. Comparison of different types of thinking (inductive, deductive, paradoxical) allowed us to make a number of generalizing judgments. In particular, the superiority of "paradox logic" over formal logic (...) and the role of intuition and "sense of truth" in the process of cognition. On the basis of the conclusions it is proposed to discuss the author's hypothesis of the trigger principle of learning based on cultivating a craving for knowledge, ideological immunity and the ability to independently search for and analyze information, as well as to implement it in the creative process. В статье приводится анализ понятия серендипности как свойства и состояния личности. Выбранный автором подход — эстетический; освещение проблемы в ракурсах педагогики и дидактики. Объект исследования — феномен "интуитивной прозорливости", предмет — методики развития творческого потенциала. Сравнение различных типов мышления (индуктивное, дедуктивное, парадоксальное) позволило выйти на ряд суждений обобщающего характера. В частности — о превосходстве "логики парадокса" над логикой формальной и о роли интуиции и "чувства истины" в процессе познания. На основании выводов предлагается обсудить авторскую гипотезу триггерного принципа обучения, основанного на культивировании тяги к знаниям, идеологического иммунитета и способности самостоятельно искать и анализировать информацию, а также реализовывать ее в творческом процессе. (shrink)

Even while progressive educators and feminist standpoint theorists defend the value of marginalized perspectives, many marginal-voice texts continue to be deprecated in academic contexts due to their seemingly "unprofessional," engaged, and creative styles. Thus, scholars who seek to defend a feminist and multicultural curriculum need a theory of knowledge that goes beyond current standpoint theory and accounts for the unorthodox format in which many maringal standpoints appear. In response to this challenge, this essay draws on feminist and postcolonial critics (...) of objectivity, including Dorothy Smith, Chandra Mohanty, Barrios de Chungara, and Arhundati Roy to theorize the epistemic value of texts that respond with passion and creativity to marginalized people's struggles. In conclusion, the author distinguishes ethically oriented engagement with such texts from mere "politicized teaching," and she suggests ways to teach such texts that cultivate their critical potential. (shrink)

Local and global dependencies and interactions between individuals, groups and institutions are becoming increasingly opaque and risky. This is due to increased importance of highly complex abstract systems created and supported in order to maintain of transport, communications, finance, energy, media, security infrastructure, as well as social and cultural institutions. These systems require the knowledge and skills of experts. Professionals that not only satisfy identified needs, but also create new thereby contribute the development of cultural narcissism phenomenon. The aim (...) of the book is to discuss relations of experts and mass narcissism, on the background of shaping the knowledge societies and knowledge-based economies, and moreover their transformations towards the societies and economies based on creativity and wisdom. Undertaken analysis is contribute to sociology of expertise and intervention by indicating four selected contemporary issues: dilemmas of the knowledge society development; selection between trust substitutes and its reconstruction methods; transformations of social stratification; and the choice of pathways to socio-economic development. (shrink)

The book Theory and Practice of Contrast completes, corrects and integrates the foundations of science and humanities, which include: theory of art, philosophy (aesthetics, epistemology, ontology, axiology), cognitive science, theory of information, theory of complexity and physics. Through the integration of these distant disciplines, many unresolved issues in contemporary science have been clarified or better understood, among others: defining impact (contrast) and using this definition in different fields of knowledge; understanding what beauty/art is and what our aesthetic preferences depend (...) on; deeper understanding of what complexity and information are in essence, and providing their general definitions. Complexity means integration, value and goodness - concepts that seem to be neglected today. The book also has a high degree of integration/complexity, although each chapter introduces a new issue. The last chapter: "Binary Model of the Universe" draws attention to the need for including in physics the analysis of our mind and the resulting new possibilities, which include the mentioned (digital) model of the universe. Despite the difficult issues raised here, this study is written in accessible language and may be interesting not only for scientists and academics. (shrink)

The book, which constitutes part of the current feminist research as broadly understood, deals in particular with issues related to the philosophical approach to women’s experience. The main thrust of the research is to ask questions such as: What is women’s experience? Is it generally possible to speak of women’s typical experiences? Does it influence knowledge, and if so, how? Does it influence women’s perception and interpretation of art, and if so, how? And finally, taking a broader perspective: can (...) women’s experience serve as a basis for distinguishing philosophical theories specific to women? Within the framework of feminist philosophy developed since the 1960s and 70s, researchers have employed the concept of women’s experience, but this concept has not yet been comprehensively elaborated and defined. Importantly, women’s experience also plays an essential role in the project of feminist esthetics, whose isolation from traditional esthetic reflection has been proposed by certain feminist authors. Therefore, the book also discusses the problem of the relationship of women’s experience in the feminist approach to the feminist esthetics postulated by researchers both male and female. The book takes the position that feminist philosophy is an integral part of traditional philosophical research, a part in which the feminist perspective is applied. This perspective is understood as a theoretical research tool, applied in the humanities and social sciences, in order to unmask the gender-related elements in traditional discourses and to determine their impact on the results of the conducted research, i.e., the knowledge obtained thereby. In this sense, the feminist perspective is of an evaluative and critical but also transformative nature, because the purpose of its application is to appreciate and highlight women and the phenomenon of womanhood as well as to incorporate gender-related categories within philosophical reflection and academic research. This goal is expressed in the practical demand for a transformation of sociopolitical practice and theory that takes women’s ways of experiencing reality into account. In this approach, the feminist perspective paradoxically brings us closer to the attainment of more universal, holistic, and gender-transcending knowledge. The order of the considerations presented in the book was dictated by their main objective: a philosophical approach to and description of women’s esthetic experiences. The first part comprises a reconstruction of the historical development of feminism, in which three waves of feminism―which, from the perspective of a contemporary researcher, constitute a historically complete field of research―are discussed in a synthetic manner. The first part of these considerations concludes the introduction to feminist philosophy, specifically through the reconstruction of selected critical arguments advanced by feminist researchers regarding the traditional theory of cognition. The second part of the book covers issues in the field of feminist philosophy. The considerations presented here are focused on the concept of women’s cognitive experience, of which women’s experience of an esthetic character constitutes a particular type. Hence, studies of feminist epistemology are presented first, followed by studies of feminist esthetics. Analysis of the esthetic experiences of women is carried out in two stages: first, through reference to a philosophical approach to women’s cognitive experiences, and second, on this basis, through indicating fundamental differences between feminist and androcentric understandings of esthetic experiences. Although critical references to feminist ideas and solutions appear in many places in the book, on the most general level the considerations presented here are consistent with the feminist ideal of merging theory and practice. Feminism, in essence, has grown from socio-political practice and evolved toward detailed philosophical and scientific theories. Importantly, these theories are continually being revised and creatively developed. Feminist researchers refer to women’s life practices because it is the latter that determines whether a given theory adequately addresses problems affecting women. Therefore, the research presented in the book is focused on women’s experiences, which, in the author’s opinion, constitute the reference point for any and all reflections taking the feminist perspective into account. -/- . (shrink)

Science, technology, and professions form a system with strong interactions. Yet, these activities attack different kinds of problems which require different kinds of solutions. The problems that trigger scientific and technological research remain insufficiently solved or unsolved, therefore their possible solutions must be invented (i. e. they are partially or totally original) and, consequently, they should be tested against reality by researchers before considering them as true or useful. On the contrary, the problems that trigger professional inquiry are already solved, (...) or have at least some partial solution at hand that is available in the form of a technical protocol. This solution is applied with caution but without testing (i. e. the professional assumes that the solution works because it was already challenged by researchers). Moreover, science and technology tackle unsolved inverse problems, which allow the radical advancement of knowledge, and genuine innovation. A science policy based on a clear distinction between creative and routine activities (i. e. a cre- atively friendly policy) offers an opportunity for societies to reach value-added innovative economic and integral development. (shrink)

Analogical cognition refers to the ability to detect, process, and learn from relational similarities. The study of analogical and similarity cognition is widely considered one of the ‘success stories’ of cognitive science, exhibiting convergence across many disciplines on foundational questions. Given the centrality of analogy to mind and knowledge, it would benefit philosophers investigating topics in epistemology and the philosophies of mind and language to become familiar with empirical models of analogical cognition. The goal of this essay is to (...) describe recent empirical work on analogical cognition as well as model applications to philosophical topics. Topics to be discussed include the epistemological distinction between implicit knowledge and explicit knowledge, the debate between empiricists and nativists, the frame problem, expertise, creativity and autism, cognitive architecture, and relational knowledge. Particular attention is given to Dedre Gentner and colleague’s structure-mapping theory – the most developed and widely accepted model of analogical cognition. (shrink)

In this paper I describe a novel application of contemplative techniques to software engineering with the goal of augmenting the intellectual capabilities of knowledge workers within the field in four areas: flexibility, attention, creativity, and trust. The augmentation of software engineers’ intellectual capabilities is proposed as a third complement to the traditional focus of methodologies on the process and environmental factors of the software development endeavor. I argue that these capabilities have been shown to be open to improvement (...) through the practices traditionally used in spiritual traditions, but now used increasingly in other fields of knowledge work, such as in the medical profession and the education field. Historically, the intellectual capabilities of software engineers have been treated as a given within any particular software development effort. This is argued to be an aspect ripe for inclusion within software development methodologies. (shrink)

It was a precious opportunity as a teacher and researcher that I had completed two research method classes with the peers of Laureate Education Inc. Since the generation of creative knowledge and meaningful contribution to the field is charged on the professional researcher, the classes are foundational, but unfortunately with less an attention by the scholars, and, if more problematically, even lack of courses for some graduate or training programs. Within this paper, I can be gladly reminiscent of the (...) course learning, and can present a work of demonstration by employing the issues of global college rankings. In this article, my purpose is gone with three basic aims; (i) present the brief summary of my experience on the two method classes (ii) suggest a new perspective and mindset within the changing technology and post-modern transformation of society (iii) finally show two examples of mixed method involved with the global college rankings and provide a view for the students situated within the temporal boundary I had set forth. (shrink)

Nietzsche has been accused by Habermas of abandoning the pursuit of emancipation and truth. Ironically, this pursuit is at the core of Nietzsche’s works, though radically transformed. The pursuit of knowledge requires emancipated sovereign individuality, a severe honesty, and the courage to follow one's most rigorous use of reason and creative insight wherever they may lead, including the most disturbing insights about truth, language and reason themselves. The first part of this paper discusses Nietzsche’s ideas of individual sovereignty and (...) the associated ideas of emancipation and transformation necessary to this. The next section entitled The Question of Truth: Beyond Universalism and the Quest for Foundations and Certainty deals with how knowledge and truth are intelligible notions in the absence of certainty and absolute standards of truth. The following section, Nietzsche, Habermas and Social Solidarity shows how Habermas’s attempt to ground morality in his discourse ethics cannot succeed once the Nietzchean insight into truth is understood. In the final part, The Irony of Sovereign Individuality, I argue that morality is inconsistent with the individuality that it is supposed to uphold. Nietzsche’s ethical ideal provides a model for concrete individuality that offers the most powerful ethical contribution to social solidarity, given the failure of any grounded morality. (shrink)

Thepaperaimstoexplorethepotentialofresearchbydesigninarchi- tecture and visual arts. The main objective of the paper is to analyze the different models and epistemological positions advanced in the academic milieus as far as doctoral research by design is concerned, to explore the differences and similar- ities between research by design in the field of architecture and in the field of visual arts. Even though the research by design in the fields of architecture and visual arts is focused on the production of knowledge through visual, (...) associative, and experimental research, the models of research by design in visual arts differ from those prevailing in architectural programs. The paper focuses on a corpus of models of doctoral research by design carried out within different university pro- grams in schools of architecture and visual arts, and various multi-university and supra-disciplinary programs (architecture and visual arts) which share the inten- tion to develop their research projects through creative practice. Two questions to which this paper aims to respond are the following: Under which circumstances and conditions a work in the field of architecture (drawn, graphic, or con-structed) or its formulation (verbal or written) can be recognized as active in the constitution of knowledge? What are the modes of inquiry specific to architectural and artistic practices that make it possible to build knowledge that can be transmitted and shared? (shrink)

This chapter attends to somaesthetic expressions occurring irrespective of knowledge of the movement, using Mandalay’s Water Festival and Cairo’s Arab Spring as case studies. These celebrations and protests feature bodies creatively gravitating around urban structures and according to emotional, cultural concerns, all of this together defining city spaces for a time. Bodies also become venues for artistic refashioning, for example, through creative conversion of injuries into celebratory badges of dissent. Geared almost therapeutically towards life-improvement—albeit sometimes implicitly—these celebrations and protests (...) also have meliorative aspects that mark the somaesthetic movement. Moreover, they have a shared, public character stressed by Shusterman, but arguably lost on many because of his interest in self-focused meditation and the popular appeal of such exercises among those interested in body practices. (shrink)

This paper discusses the notion of disimagination a translation of the German word Entbildung, which was devised by Meister Eckhart as a reinterpretation of the Neoplatonic categories of abstraction (aphairesis) and negation (apophasis)in connection with Nishitani Keiji's standpoint of emptiness. Nishitani proposes a nonsubjective, nonrepresentational, and nonconceptual type of knowledge to avoid the problem of representation implied in the modern subjective self-consciousness that prevents our access to the reality of things. It is argued that what he calls a knowing (...) of non-knowing can be understood as a transposition of the problematics of aphairesis to a new context, that of the formless form. The ontology of images in the creative process, both cosmic and artistic, is examined from Nishitani's identification of likeness and suchness on the field of emptiness. It is suggested that the resulting denial of the traditional distinction between being and appearance approaches a critique closer to postfoundational metaphysics and, like disimagination, aims at an ascetic movement of self-negation and detachment from words and images that leads, in turn, to a creative and playful use of language free of representation. (shrink)

Frederick Douglass, the abolitionist, the civil rights advocate and the great rhetorician, has been the focus of much academic research. Only more recently is Douglass work on aesthetics beginning to receive its due, and even then its philosophical scope is rarely appreciated. Douglass’ aesthetic interest was notably not so much in art itself, but in understanding aesthetic presentation as an epistemological and psychological aspect of the human condition and thereby as a social and political tool. He was fascinated by the (...) power of images, and took particular interest in the emerging technologies of photography. He often returned to the themes of art, pictures and aesthetic perception in his speeches. He saw himself, also after the end of slavery, as first and foremost a human rights advocate, and he suggests that his work and thoughts as a public intellectual always in some way related to this end. In this regard, his interest in the power of photographic images to impact the human soul was a lifelong concern. His reflections accordingly center on the psychological and political potentials of images and the relationship between art, culture, and human dignity. In this chapter we discuss Douglass views and practical use of photography and other forms of imagery, and tease out his view about their transformational potential particularly in respect to combating racist attitudes. We propose that his views and actions suggest that he intuitively if not explicitly anticipated many later philosophical, pragmatist and ecological insights regarding the generative habits of mind and affordance perception : I.e. that we perceive the world through our values and habitual ways of engaging with it and thus that our perception is active and creative, not passive and objective. Our understanding of the world is simultaneously shaped by and shaping our perceptions. Douglass saw that in a racist and bigoted society this means that change through facts and rational arguments will be hard. A distorted lens distorts - and accordingly re-produces and perceives its own distortion. His interest in aesthetics is intimately connected to this conundrum of knowledge and change, perception and action. To some extent precisely due to his understanding of how stereotypical categories and dominant relations work on our minds, he sees a radical transformational potential in certain art and imagery. We see in his work a profound understanding of the value-laden and action-oriented nature of perception and what we today call the perception of affordances (that is, what our environment permits/invites us to do). Douglass is particularly interested in the social environment and the social affordances of how we perceive other humans, and he thinks that photographs can impact on the human intellect in a transformative manner. In terms of the very process of aesthetic perception his views interestingly cohere and supplement a recent theory about the conditions and consequences of being an aesthetic beholder. The main idea being that artworks typically invite an asymmetric engagement where one can behold them without being the object of reciprocal attention. This might allow for a kind of vulnerability and openness that holds transformational potentials not typically available in more strategic and goal-directed modes of perception. As mentioned, Douglass main interest is in social change and specifically in combating racist social structures and negative stereotypes of black people. He is fascinated by the potential of photography in particular as a means of correcting fallacious stereotypes, as it allows a more direct and less distorted image of the individuality and multidimensionality of black people. We end with a discussion of how, given this interpretation of aesthetic perception, we can understand the specific imagery used by Douglass himself. How he tried to use aesthetic modes to subvert and change the racist habitus in the individual and collective mind of his society. We suggest that Frederick Douglass, the human rights activist, had a sophisticated philosophy of aesthetics, mind, epistemology and particularly of the transformative and political power of images. His works in many ways anticipate and sometimes go beyond later scholars in these and other fields such as psychology & critical theory. Overall, we propose that our world could benefit from revisiting Douglass’ art and thought. (shrink)

When introduced around 1925, interdisciplinarity, grounded in the notion of the unity of knowledge, was meant to reconnect the fragmented and specialized disciplines of academia. However, interdisciplinary research became more and more challenging as the plurality and heterogeneity of disciplinary perspectives and insights increased. Insisting on this divergence and diversity, Julie Thompson Klein has nonetheless contributed in important ways to convergence in interdisciplinarity with her work on the process of integration as interdisciplinarity's defining feature. Of course, she is aware (...) that the increasing inclusion of extra-academic stakeholders in transdisciplinary research constitutes a fundamental challenge to integrative interdisciplinarity. This challenge implies that next to academic contributions, experiential knowledge, interests, and norms must be recognized as valuable to the process, and stakeholder expectations of applicable results must be met. Exploring the future by extending this crucial development further, this article focuses on the actionability of knowledge as an additional criterion for effective interdisciplinarity and transdisciplinarity, as it is in Action Research. With action options for stakeholders being an important goal for such research, it is argued that joint deliberation about these options must be part of the process, aiming for reflective equilibrium. At the same time, an important role for imagination is defended, enabling adequate consideration of action options with their ramifications and implications. The future of interdisciplinarity, it is concluded, will entail an important role for the actionability criterion and for the related role of imagination of potential outcomes, much greater roles than these now have. (shrink)

Creativity and innovation is very part of human nature (fitrah) which makes human beings different from other beings that are so far found on the planet. The outcome of creativity can be both harmful and beneficial. And most of it depends on the moral standing of those to whom end products of such creativity are available. Islam gives high importance to health and the Muslim civilization that flourished in Bagdad and Spain during the medieval period made original (...) contributions to medical science. The contributions of the scholars of the age were led by religious ethics and spirit in pursuing, using, and creating knowledge. On the other hand, with the advent of modernity, science has received freedom to a greater extent to be ethics-free, neutral, and value- free. This approach has produced new important innovations in medical science and ways of their applications. Some of these innovations and their applications are beneficial and some others are beneficial too if guarded by appropriate ethics, yet some of the applications are questionable. After discussing the ethical repercussions of these innovations and applications, a general ethical framework on the subject is formulated on Islamic guidelines. (shrink)

The Notion of ‘civilisation’ in European and post-Enlightenment writings has recently been reassessed. Critics have especially reread the works of Immanuel Kant by highlighting his racial categories. However, this Paper argues that something is missing in this contemporary literature: namely, the role of the European legal culture in the development of a racial and ethnic hierarchy of societies. The clue to this missing element rests in how ‘civilisation’ has been understood. This Paper examines how one of the leading jurists of (...) the 19th and 20th centuries, George W. Hegel (1770-1831), took for granted a sense of a legal culture that excluded indigenous inhabitants of the Americas as legal persons worthy of legal protection. -/- Such an exclusionary legal culture represented a crucial feature of ‘civilisation’ according to Hegel. This Paper identifies a series of factors which Hegel highlighted as instrumental in constituting a civilised society: Bildung, an ethos, a written legal culture, a self-creative author (the state), territorial knowledge, and a hierarchy of societies. Hegel emphasized the need of jurists to analytically “leap” from a traditional society to a legal culture before the jurist could identify a law. The traditional societies of the Americas, according to Hegel, were considered lawless because they lacked a European sense of a legal culture. Why Hegel characterised traditional communities as lacking a legal culture is then explained. The Paper ends by suggesting that the features of a legal culture that Hegel highlights remain with us today. (shrink)

The Ramayana and the Mahabharata written in Sanskrit are considered to be the standard texts in India. During the medieval period, the poets have composed these two epics in regional languages incorporating their social elements. While the regional poets maintained the characters of the standard texts constant, the events and functions were variable in their cultural context. The reinterpretation of standard Sanskrit texts in different and diverse contexts was maintained in the vernacular languages and cultures during the medieval period was (...) embedded with many local imaginations connected to these epics. Surdamuni Sarala Das was the first composer of Odia Mahabharata during the 15th Century .His writing was the first of its kind to compose a complete eighteen parvas of the Mahabharata. The Sarala Mahabharata is the foundation of Odia language and has shaped the Odia identity. Surdamuni Sarala Das was an epic singer who mastered the text in his mind through his experience, knowledge, and creativity, and then he wrote the epic poetry in Odia. (shrink)

Many philosophers take understanding to be a distinctive kind of knowledge that involves grasping dependency relations; moreover, they hold it to be particularly valuable. This paper aims to investigate and address two well-known puzzles that arise from this conception: (1) the nature of understanding itself—in particular, the nature of “grasping”; (2) the source of understanding’s distinctive value. In what follows, I’ll argue that we can shed light on both puzzles by recognizing first, the importance of the distinction between the (...) act of coming to understand and the state of understanding; and second, that coming to understand is a creative act. (shrink)