Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be (...) creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

It gives me great pleasure and honor to introduce myself as the incoming Editor-in-Chief of Polis: The Journal for Ancient Greek and Roman Political Thought. For the last decade I have served as an Associate Editor and the Book Review Editor of the journal. I am very excited about charting new paths for the journal, while continuing to publish first-rate scholarship in our area strengths. Although ‘polis’ is a Greek word that identifies a specific Greek historical political institution, in many (...) important ways the culture of Greek political thought interacted with the political culture of Regal, Republican, and Imperial Rome through Greek settlements in the Western Mediterranean, Roman military conquest, and cultural Hellenization. In the last year the editorial staff of Polis decided to expand the domain of our journal to include scholarship on Roman political thought and Greek-language political thought from the Hellenistic and Roman Imperial periods. Although Polis has been publishing reviews of books devoted to these new domains for several issues, it is quite gratifying to publish an entire special issue, edited by Grant Nelsestuen and Associate Editor Daniel Kapust, devoted to Roman political thought. Additional articles on Roman political thought are in the journal’s publication queue and we look forward to becoming an important venue for the publication of original scholarship and book reviews on Roman political thought and its subsequent reception, along with our original remit for Greek political thought and its reception. The editorial staff of Polis has undergone a number of changes in conjunction with my new role. First and foremost, my mentor and predecessor Kyriakos Demetriou has retired from the position of Editor-in-Chief and become a member of our Editorial Board. I have had the privilege of working with Kyriakos for over 15 years, during which time he transformed the newsletter of the Society for Ancient Greek Political Thought into a pre-eminent peer-reviewed academic journal. I may only hope 15 years from now, that Polis has continued to grow as a source for landmark scholarship on Greek and Roman political thought. During the editorial transition, Associate Editors Rosanna Lauriola and Essam Safty have left our editorial staff. We are grateful for their service to the journal and wish them well in their scholarly endeavors. Finally, I am pleased to announce several additions to our editorial staff. Dimitri El Murr, Professor of Ancient Philosophy at the Ecole Normale Supérieure (Université Paris Sciences et Lettres), has joined the journal as an Associate Editor responsible for the refereeing and editing of Francophone submissions to Polis. Demetra Kasimis, Assistant Professor of Political Science at the University of Chicago, has joined as an Associate Editor responsible for the refereeing of submissions on the political aspects of Greek literature (such as epic, tragedy, and comedy). Matthew Simonton, Associate Professor of History at Arizona State University, has joined the journal as an Associate Editor and Book Review Editor. Finally, Dr. Alexandra Wilding has joined our editorial staff as the journal’s copy-editor. Learn from and enjoy the scholarship of our current issue. Submit to Polis your scholarship on ancient Greek and Roman political thought. Be a part of the future of Polis. Thornton Lockwood Editor-in-Chief. (shrink)

Over the last four decades arguments for and against the claim that creative hypothesis formation is based on Darwinian ‘blind’ variation have been put forward. This paper offers a new and systematic route through this long-lasting debate. It distinguishes between undirected, random, and unjustified variation, to prevent widespread confusions regarding the meaning of undirected variation. These misunderstandings concern Lamarckism, equiprobability, developmental constraints, and creative hypothesis formation. The paper then introduces and develops the standard critique that creative hypothesis formation is guided (...) rather than blind, integrating developments from contemporary research on creativity. On that basis, I discuss three compatibility arguments that have been used to answer the critique. These arguments do not deny guided variation but insist that an important analogy exists nonetheless. These compatibility arguments all fail, even though they do so for different reasons: trivialisation, conceptual confusion, and lack of evidence respectively. Revisiting the debate in this manner not only allows us to see where exactly a ‘Darwinian’ account of creative hypothesis formation goes wrong, but also to see that the debate is not about factual issues, but about the interpretation of these factual issues in Darwinian terms. (shrink)