Results for 'creative chaos'

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  1. Chaos as the Inchoate: The Early Chinese Aesthetic of Spontaneity.Brian Bruya - 2002 - In Grazia Marchianò (ed.), Aesthetics & Chaos: Investigating a Creative Complicity.
    Can we conceive of disorder in a positive sense? We organize our desks, we discipline our children, we govern our polities--all with the aim of reducing disorder, of temporarily reversing the entropy that inevitably asserts itself in our lives. Going all the way back to Hesiod, we see chaos as a cosmogonic state of utter confusion inevitably reigned in by laws of regularity, in a transition from fearful unpredictability to calm stability. In contrast to a similar early Chinese notion (...)
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  2.  59
    Creative Undecidability of Real-World Dynamics and the Emergent Time Hierarchy.Andrei P. Kirilyuk - 2020 - FQXi Essay Contest 2019-2020 “Undecidability, Uncomputability, and Unpredictability”.
    The unreduced solution to the arbitrary interaction problem, absent in the standard theory framework, reveals many equally real and mutually incompatible system configurations, or "realizations". This is the essence of universal dynamic undecidability, or multivaluedness, and the ensuing causal randomness (unpredictability), non-computability, irreversible time flow (evolution, emergence), and dynamic complexity of every real system, object, or process. This creative undecidability of real-world dynamics provides causal explanations for "quantum mysteries", relativity postulates, cosmological problems, and the huge efficiency of high-complexity phenomena, (...)
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  3.  56
    Creativity and the New Structure of Science.Andrei Kirilyuk - manuscript
    A qualitatively new, much more liberal and efficient organisation of science is proposed and justified in connection with emerging international science structures, such as the European Research Council, and growing debates about further role and development of fundamental science. Although the ideas are expressed in terms of "common sense" arguments accessible to a "general" audience, they are based on the rigorous analysis within the recently advanced "universal concept of complexity", which can be applied, due to its universality, also to science (...)
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  4. Created in the Image of a Violent God?: The Ethical Problem of the Conquest of Chaos in Biblical Creation Texts.J. Richard Middleton - 2004 - Interpretation: A Journal of Bible and Theology 58 (4):341-355.
    By its alternative depiction of God's non-violent creative power at the start of the biblical canon, Gen 1 signals the Creator's original intent for shalom and blessing at the outset of human history, prior to the rise of human (or divine) violence. Gen 1 constitutes a normative framework by which we may judge all the violence that pervades the rest of the Bible.
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  5. Bergson, Complexity and Creative Emergence.David Kreps - 2014 - Palgrave-Macmillan.
    This is a book about evolution from a post-Darwinian perspective. It recounts the core ideas of French philosopher Henri Bergson and his rediscovery and legacy in the poststructuralist critical philosophies of the 1960s, and explores the confluences of these ideas with those of complexity theory in environmental biology. The failings in the development of systems theory, many of which complex systems theory overcomes, are retold; with Bergson, this book proposes, some of the rest may be overcome too. It asserts that (...)
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  6. Editorial: Time & Experience: Twins of the Eternal Now?Gregory M. Nixon - 2010 - Journal of Consciousness Exploration and Research 1 (5):482-489.
    In what follows, I suggest that, against most theories of time, there really is an actual present, a now, but that such an eternal moment cannot be found before or after time. It may even be semantically incoherent to say that such an eternal present exists since “it” is changeless and formless (presumably a dynamic chaos without location or duration) yet with creative potential. Such a field of near-infinite potential energy could have had no beginning and will have (...)
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  7. The Complex Nonlinear Thinking: Edgar Morin's Demand of a Reform of Thinking and the Contribution of Synergetics.Helena Knyazeva - 2004 - World Futures 60 (5 & 6):389 – 405.
    Main principles of the complex nonlinear thinking which are based on the notions of the modern theory of evolution and self-organization of complex systems called also synergetics are under discussion in this article. The principles are transdisciplinary, holistic, and oriented to a human being. The notions of system complexity, nonlinearity of evolution, creative chaos, space-time definiteness of structure-attractors of evolution, resonant influences, nonlinear and soft management are here of great importance. In this connection, a prominent contribution made to (...)
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  8. Conflicting Process Theodicies.Rem B. Edwards - 2019 - Process Studies 48 (1):19-39.
    This article examines the process theodicies of David Ray Griffin and Philip Clayton. It explains their differences on such issues as God’s primordial power and voluntary self-limitation, creativity as an independent metaphysical principle that limits God, creation out of nothing or out of chaos, and God’s voluntary causal naturalism. Difficulties with their positions are discussed. The Clayton-Knapp “no-not-once” principle is explained, and a more comprehensive process theodicy is outlined.
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  9. “Time: A Kaleidoscopic Image of Bermuda’s Sacred Financial Phenomenon and the Wealth of Social-Environmental Diversity”.Michelle St Jane - 2016 - Dissertation, Waikato
    Michelle’s thesis explores the extent to which a researcher could contribute to change by engaging leaders in conversations that might intensify commitment to or the direction of their actions around socio-environmental decline in Bermuda as a country historically organised in the tradition of an entrepreneurial for-profit enterprise. The framing of a space to reflect on highlighted the significance of time that led to the bricolage design of a heuristic device called a moon gate. Time, the keystone of the moon gate, (...)
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  10. Time & Consciousness: Two Faces of One Mystery.Gregory Nixon (ed.) - 2010 - QuantumDream.
    In what follows, I suggest that, against most theories of time, there really is an actual present, a now, but that such an eternal moment cannot be found before or after time. It may even be semantically incoherent to say that such an eternal present exists since “it” is changeless and formless (presumably a dynamic chaos without location or duration) yet with creative potential. Such a field of near-infinite potential energy could have had no beginning and will have (...)
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  11.  72
    Probable General Intelligence Algorithm.Anton Venglovskiy - manuscript
    Contains a description of a generalized and constructive formal model for the processes of subjective and creative thinking. According to the author, the algorithm presented in the article is capable of real and arbitrarily complex thinking and is potentially able to report on the presence of consciousness.
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  12. Chaos, Add Infinitum.Hayden Wilkinson - manuscript
    Our universe is both chaotic and (most likely) infinite in space and time. But it is within this setting that we must make moral decisions. This presents problems. The first: due to our universe's chaotic nature, our actions often have long-lasting, unpredictable effects; and this means we typically cannot say which of two actions will turn out best in the long run. The second problem: due to the universe's infinite dimensions, and infinite population therein, we cannot compare outcomes by simply (...)
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  13. Structural Chaos.Conor Mayo-Wilson - 2015 - Philosophy of Science 82 (5):1236-1247.
    A dynamical system is called chaotic if small changes to its initial conditions can create large changes in its behavior. By analogy, we call a dynamical system structurally chaotic if small changes to the equations describing the evolution of the system produce large changes in its behavior. Although there are many definitions of “chaos,” there are few mathematically precise candidate definitions of “structural chaos.” I propose a definition, and I explain two new theorems that show that a set (...)
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  14. Explaining Creativity.Maria Kronfeldner - 2018 - In Berys Gaut & Matthew Kieran (eds.), Routledge Handbook on Creativity and Philosophy. New York: Routledge. pp. 213-29.
    Creativity has often been declared, especially by philosophers, as the last frontier of science. The assumption is that it will defy explanation forever. I will defend two claims in order to oppose this assumption and to demystify creativity: (1) the perspective that creativity cannot be explained wrongly identifies creativity with what I shall call metaphysical freedom; (2) the Darwinian approach to creativity, a prominent naturalistic account of creativity, fails to give an explanation of creativity, because it confuses conceptual issues with (...)
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  15. The Creative Aspect of Language Use and the Implications for Linguistic Science.Eran Asoulin - 2013 - Biolinguistics 7:228-248.
    The creative aspect of language use provides a set of phenomena that a science of language must explain. It is the “central fact to which any signi- ficant linguistic theory must address itself” and thus “a theory of language that neglects this ‘creative’ aspect is of only marginal interest” (Chomsky 1964: 7–8). Therefore, the form and explanatory depth of linguistic science is restricted in accordance with this aspect of language. In this paper, the implications of the creative (...)
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  16. Creativity.Peter Langland-Hassan - 2020 - In Explaining Imagination. Oxford: pp. 262-296.
    Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a recent example (...)
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  17.  18
    The Role of Human Creativity in Human-Technology Relations.Vincent Blok - 2022 - Philosophy and Technology 1 (3):1-19.
    One of the pressing issues in philosophy of technology is the role of human creativity in human-technology relations. We first observe that a techno-centric orientation of philosophy of technology leaves open the role and contribution of human creativity in technological evolution, while an anthropocentric orientation leaves open the role of the technical milieu in technological evolution. Subsequently, we develop a concept of creation as deviation and responsiveness in response to affordances in the environment, inspired by the affordance theory by James (...)
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  18. Minimally Creative Thought.Dustin Stokes - 2011 - Metaphilosophy 42 (5):658-681.
    Creativity has received, and continues to receive, comparatively little analysis in philosophy and the brain and behavioural sciences. This is in spite of the importance of creative thought and action, and the many and varied resources of theories of mind. Here an alternative approach to analyzing creativity is suggested: start from the bottom up with minimally creative thought. Minimally creative thought depends non-accidentally upon agency, is novel relative to the acting agent, and could not have been tokened (...)
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  19. Chaos and Constraints.Howard Nye - 2014 - In David Boersema (ed.), Dimensions of Moral Agency. Cambridge Scholars Press. pp. 14-29.
    Agent-centered constraints on harming hold that some harmful upshots of our conduct cannot be justified by its generating equal or somewhat greater benefits. In this paper I argue that all plausible theories of agent-centered constraints on harming are undermined by the likelihood that our actions will have butterfly effects, or cause cascades of changes that make the world dramatically different than it would have been. Theories that impose constraints against only intended harming or proximally caused harm have unacceptable implications for (...)
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  20. Attributing Creativity.Elliot Samuel Paul & Dustin Stokes - 2018 - In Berys Gaut & Matthew Kieran (eds.), Creativity and Philosophy. Routledge.
    Three kinds of things may be creative: persons, processes, and products. The standard definition of creativity, used nearly by consensus in psychological research, focuses specifically on products and says that a product is creative if and only if it is new and valuable. We argue that at least one further condition is necessary for a product to be creative: it must have been produced by the right kind of process. We argue furthermore that this point has an (...)
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  21. Fintech: Creative Innovation for Entrepreneurs.Youssef M. Abu Amuna, Samy S. Abu-Naser, Mazen J. Al Shobaki & Yasser A. Abu Mostafa - 2019 - International Journal of Academic Accounting, Finance and Management Research (IJAAFMR) 3 (3):8-15.
    The article studies the impact of Fintech on entrepreneurship in Arabic region by using Crowdfunding platforms as the field of study. The article focuses on Arabic Crowdfunding platforms. The population of (12) platforms consist of: individuals, entrepreneurs, investors, employees at Crowdfunding platforms. Descriptive and quantitative approach used in this article, and a questionnaire used as a tool to collect primary data. The results indicate an impact for Fintech on entrepreneurship in general and obvious obstacles to use it widely in Arabic (...)
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  22. Indeterminism in Physics, Classical Chaos and Bohmian Mechanics: Are Real Numbers Really Real?Nicolas Gisin - 2019 - Erkenntnis:1-13.
    It is usual to identify initial conditions of classical dynamical systems with mathematical real numbers. However, almost all real numbers contain an infinite amount of information. I argue that a finite volume of space can’t contain more than a finite amount of information, hence that the mathematical real numbers are not physically relevant. Moreover, a better terminology for the so-called real numbers is “random numbers”, as their series of bits are truly random. I propose an alternative classical mechanics, which is (...)
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  23.  24
    AI’s Role in Creative Processes: A Functionalist Approach.Leonardo Arriagada & Gabriela Arriagada-Bruneau - 2022 - Odradek. Studies in Philosophy of Literature, Aesthetics, and New Media Theories 8 (1):77-110.
    From 1950 onwards, the study of creativity has not stopped. Today, AI has revitalised debates on the subject. That is especially controversial in the artworld, as the 21st century already features AI-generated artworks. Without discussing issues about AI agency, this article argues for AI’s creativity. For this, we first present a new functionalist understanding of Margaret Boden’s definition of creativity. This is followed by an analysis of empirical evidence on anthropocentric barriers in the perception of AI’s creative capabilities, which (...)
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  24.  37
    Indeterminism in Physics, Classical Chaos and Bohmian Mechanics: Are Real Numbers Really Real?Nicolas Gisin - 2021 - Erkenntnis 86 (6):1469-1481.
    It is usual to identify initial conditions of classical dynamical systems with mathematical real numbers. However, almost all real numbers contain an infinite amount of information. I argue that a finite volume of space can’t contain more than a finite amount of information, hence that the mathematical real numbers are not physically relevant. Moreover, a better terminology for the so-called real numbers is “random numbers”, as their series of bits are truly random. I propose an alternative classical mechanics, which is (...)
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  25. Field Creativity and Post-Anthropocentrism.Stanislav Roudavski - 2016 - Digital Creativity 27 (1):7-23.
    Can matter, things, nonhuman organisms, technologies, tools and machines, biota or institutions be seen as creative? How does such creativity reposition the visionary activities of humans? This article is an elaboration of such questions as well as an attempt at a partial response. It was written as an editorial for the special issue of the Digital Creativity journal that interrogates the conception of Post-Anthropocentric Creativity. However, the text below is a rather unconventional editorial. It does not attempt to provide (...)
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  26.  79
    Creativity.Elliot Samuel Paul & Dustin Stokes - forthcoming - Stanford Encyclopedia of Philosophy.
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  27. Creativity, Spontaneity, and Merit.Antti Kauppinen - forthcoming - In Alex King & Christy Mag Uidhir (eds.), Philosophy and Art: New Essays at the Intersection. Oxford University Press.
    Common sense has it that some of the greatest achievements that are to our credit are creative, whether artistic or otherwise. But standard theories of achievement and merit struggle to explain them, since the praiseworthiness of creative achievements isn’t grounded in effort, quality of will, disclosing the agent’s values, or even reasons-responsiveness. I argue that it’s distinctive of artistic or quasi-artistic creative activity that it is guided by what I call aspirational aims, which are formulated in terms (...)
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  28.  45
    Creativity as an Artistic Merit.James Grant - 2018 - In Berys Gaut & Matthew Kieran (eds.), Creativity and Philosophy. London: pp. 333-349.
    The aim of this paper is to explain why creativity is an artistic merit. Artworks and non-artworks can both be creative. But creativity does not help make many other creative things good of their kind. A creative explanation is not a better explanation in virtue of being creative. Why, then, is a creative artwork a better artwork in virtue of being creative? Understanding this will give us a better understanding of the nature of artistic (...)
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  29. Emotional Creativity and Real-Life Involvement in Different Types of Creative Leisure Activities.Radek Trnka, Martin Zahradnik & Martin Kuška - 2016 - Creativity Research Journal 28 (3):348-356.
    The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. The present study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure activities and with four categories of college majors. Data were collected from 251 university students, university graduates and young adults (156 women and 95 men). Art students and graduates (...)
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  30. Chaos in Heinrich Rickert’s Philosophy.Oleksandr Kulyk - 2019 - Granì 22 (8):37–46.
    The purpose of this paper is to analyze what neo-Kantian Heinrich Rickert designates by the term ‘chaos’. I argue that using this term Rickert means infinite manifolds of human life experiences, that philosophers have to convert into ‘cosmos’ of theories by using concept formation. Rickert thinks that cognition orders chaos. I show that Rickert’s version of ‘chaos’ is different from the ones that were expressed by I. Kant, J. G. Herder, F. W. von Schelling, F. von Schlegel, (...)
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  31. Creativity and the Machine. How Technology Reshapes Language.Fabio Fossa - 2017 - Odradek 3 (1-2):178-208.
    In scientific communications, journal articles, and philosophical aesthetic debates the words “art”, “creativity”, and “machine” are put together more and more frequently. Since some machines are designed to, or happens to, imitate human artistic creativity, it seems natural to use the same words to talk about human artists and machines which imitate them. However, the evolution of language in light of technology may conceal specific features of the phenomena it is supposed to describe. This makes it difficult to understand what (...)
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  32. Artistic Creativity and Suffering.Jennifer Hawkins - 2018 - In Berys Gaut & Matthew Kieran (eds.), Creativity and Philosophy. New York, NY, USA:
    What is the relationship between negative experience, artistic production, and prudential value? If it were true that (for some people) artistic creativity must be purchased at the price of negative experience (to be clear: currently no one knows whether this is true), what should we conclude about the value of such experiences? Are they worth it for the sake of art? The first part of this essay considers general questions about how to establish the positive extrinsic value of something intrinsically (...)
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  33. Creativity, Cognition and Material Culture: An Introduction.Lambros Malafouris, Chris Gosden & Karenleigh A. Overmann - 2014 - Pragmatics and Cognition 22 (1):1-4.
    Introduction to the special issue in Pragmatics & Cognition focused on creativity, cognition, and material culture. With contributions from Maurice Bloch, Chris Gosden, Tim Ingold, John Kirsh, Carl Knappett & Sander van der Leeuw, Lambros Malafouris, Frédéric Vallée-Tourangeau, Kevin Warwick, and Tom Wynn and Frederick L. Coolidge.
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  34. Imagination and Creativity.Dustin Stokes - 2016 - In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. Routledge.
    This paper surveys historical and recent philosophical discussions of the relations between imagination and creativity. In the first two sections, it covers two insufficiently studied analyses of the creative imagination, that of Kant and Sartre, respectively. The next section discusses imagination and its role in scientific discovery, with particular emphasis on the writings of Michael Polanyi, and on thought experiments and experimental design. The final section offers a brief discussion of some very recent work done on conceptual relations between (...)
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  35.  32
    Understanding Creativity: Affect Decision and Inference.Avijit Lahiri - manuscript
    In this essay we collect and put together a number of ideas relevant to the under- standing of the phenomenon of creativity, confining our considerations mostly to the domain of cognitive psychology while we will, on a few occasions, hint at neuropsy- chological underpinnings as well. In this, we will mostly focus on creativity in science, since creativity in other domains of human endeavor have common links with scientific creativity while differing in numerous other specific respects. We begin by briefly (...)
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  36. Introducing THE PHILOSOPHY OF CREATIVITY.Elliot Samuel Paul & Scott Barry Kaufman - 2014 - In Elliot Samuel Paul & Scott Barry Kaufman (eds.), The Philosophy of Creativity: New Essays. New York, NY, USA: pp. 3-14.
    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 (...)
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  37. Girl Talk: Understanding Negative Reactions to Female Vocal Fry.Monika Chao & Julia R. S. Bursten - 2021 - Hypatia 36 (1):42-59.
    Vocal fry is a phonation, or voicing, in which an individual drops their voice below its natural register and consequently emits a low, growly, creaky tone of voice. Media outlets have widely acknowledged it as a generational vocal style characteristic of millennial women. Critics of vocal fry often claim that it is an exclusively female vocal pattern, and some say that the voicing is so distracting that they cannot understand what is being said under the phonation. Claiming that a phonation (...)
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  38. 'Explicating "Creativity".Paisley Livingston - 2018 - In Berys Gaut & Matthew Kieran (eds.), Routledge Handbook on Creativity and Philosophy. London: Routledge. pp. 108-123.
    Beginning with the prevalent idea that creativity is the ability to make or do things having valuable novelty, the paper explores a variety of axiological and novelty conditions and defends an instrumental success condition. I discuss Robert K. Merton's distinction between 'originality' and 'priority', and Margaret Boden's similar distinction between historical and psychological creativity, as well as Thomas Reid's and Bruce Vermazen's remarks on relations between novelty and value.
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  39. On Creativity and the Philosophy of the Supranational State.Barry Smith & Wolfgang Grassl - 2004 - In Tamás Demeter (ed.), Essays on Wittgenstein and Austrian Philosophy: In Honour of J.C. Nyíri. Rodopi. pp. 25-39.
    Building on the writings of Wittgenstein on rule-following and deviance, Kristóf Nyíri advanced a theory of creativity as consisting in a fusion of conflicting rules or disciplines. Only such fusion can produce something that is both intrinsically new and yet capable of being apprehended by and passed on to a wider community. Creativity, on this view, involves not the breaking of rules, or the deliberate cultivation of deviant social habits, but rather the acceptance of enriched systems of rules, the adherence (...)
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  40. Emotional Creativity: A Meta-Analysis and Integrative Review.Martin Kuška, Radek Trnka, Josef Mana & Tomas Nikolai - 2020 - Creativity Research Journal 32.
    Emotional creativity (EC) is a pattern of cognitive abilities and personality traits related to originality and appropriateness in emotional experience. EC has been found to be related to various constructs across different fields of psychology during the past 30 years, but a comprehensive examination of previous research is still lacking. The goal of this review is to explore the reliability of use of the Emotional Creativity Inventory (ECI) across studies, to test gender differences and to compare levels of EC in (...)
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  41. From Chaos to Cosmos: Sacred Space in Genesis.Don Michael Hudson - 1996 - Zeitschrift Für Die Alttestamentliche Wissenschaft:88-97.
    With the appearance of Mircea Eliade's The Sacred and the Profane came the inauguration of theologians and philosophers questioning the preeminence of scholarly attention given to time to the virtual exclusion of space.
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  42.  56
    Creative Destruction Theory Space as the Ultimate End for Post-COVID-19 Recovery in Sub-Saharan Africa.Emerson Abraham Jackson - 2021 - Economic Insights - Trends and Challenges 11 (2):9-21.
    The emergence of COVID-19 has made it ever more onerous for the world economy to rethink the way things are done and to be done. The need and almost compulsory way of services being catered for will never have been made so practically obvious without the influence of a pandemic like COVID-19. The world at some point in time was almost brought to a standstill, with services pertaining to supply-chain deliverables, education / professional development and many more almost brought to (...)
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  43. Creative Cognition in Choreography.David Kirsh - 2011 - Proceedings of the 2nd International Conference on Computational Creatifity.
    Contemporary choreography offers a window onto creative processes that rely on harnessing the power of sensory sys- tems. Dancers use their body as a thing to think with and their sensory systems as engines to simulate ideas non- propositionally. We report here on an initial analysis of data collected in a lengthy ethnographic study of the making of a dance by a major choreographer and show how translating between different sensory modalities can help dancers and choreographer to be more (...)
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  44. The Philosophy of Creativity.Elliot Samuel Paul & Scott Barry Kaufman (eds.) - 2014 - Oxford University Press.
    Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really (...)
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  45. An Experiential Account of Creativity.Bence Nanay - 2014 - In Elliot Paul & Scott Barry Kaufman (eds.), The Philosophy of Creativity. Oxford University Press.
    The aim of the paper is to argue that the difference between creative and non-creative mental processes is not a functional/computational, but an experiential one. In other words, what is distinctive about creative mental processes is not the functional/computational mechanism that leads to the emergence of a creative idea, be it the recombination of old ideas or the transformation of one’s conceptual space, but the way in which this mental process is experienced. The explanatory power of (...)
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  46.  16
    Chaos, Krieg und Kontrafakten. Ein erkenntnistheoretischer Versuch gegen die humanitären Kriege.Olaf L. Müller - 2006 - In Barbara Bleisch & Jean-Daniel Strub (eds.), Pazifismus. Ideengeschichte, Theorie und Praxis. Bern, Schweiz: Haupt Verlag. pp. 223-263.
    Wer humanitäre Kriege moralisch beurteilen will, muss sich in einem chaotischen Meer der Möglichkeiten auskennen; er muss (z.B. in der Rückschau) wissen, was geschehen wäre, hätten sich die Akteure anders entschieden. Solche Fragen betreffen keine Fakten, sondern Kontrafakten; mit kühlem Realitätssinn alleine ist diesen Fragen nicht beizukommen. Im Herzstück dieses Aufsatzes steht eine erkenntnistheoretische Analyse kontrafaktischer Sätze (VI-XIII). Wenn ich recht liege, müssen wir uns bei der Beurteilung solcher Sätze nicht nur an die harten Fakten halten; zusätzlich brauchen wir weichere (...)
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  47. Naturalistic Approaches to Creativity.Dustin Stokes & Elliot Samuel Paul - 2016 - In J. Sytsma W. Buckwalter (ed.), The Blackwell Companion to Experimental Philosophy.
    We offer a brief characterization of creativity, followed by a review of some of the reasons people have been skeptical about the possibility of explaining creativity. We then survey some of the recent work on creativity that is naturalistic in the sense that it presumes creativity is natural (as opposed to magical, occult, or supernatural) and is therefore amenable to scientific inquiry. This work is divided into two categories. The broader category is empirical philosophy, which draws on empirical research while (...)
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  48.  80
    Creative Ageing Policy in Regional Development.Andrzej Klimczuk - 2012 - In Štefan Hittmár (ed.), Regional Management. Theory, Practice and Development. Edis, Faculty of Management Science and Informatics, University of Žilina. pp. 100--104.
    The shaping of creative economy is particularly important for development of cities and regions. This process can be analyzed in conjunction with changes in work and leisure time and their place in the human life cycle. This article aims to approximate the main features of: contemporary position of elderly people, creative ageing policy, benefits from seniors creativity and controversies linked to this concept. This essay also indicates the patterns of recommendations and activities in development of services for older (...)
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  49.  10
    The Problem of Musical Creativity and its Relevance for Ethical and Legal Decisions Towards Musical AI.Ivano Zanzarella - manuscript
    Because of its non-representational nature, music has always had familiarity with computational and algorithmic methodologies for automatic composition and performance. Today, AI and computer technology are transforming systems of automatic music production from passive means within musical creative processes into ever more autonomous active collaborators of human musicians. This raises a large number of interrelated questions both about the theoretical problems of artificial musical creativity and about its ethical consequences. Considering two of the most urgent ethical problems of Musical (...)
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  50.  95
    The Theory of Chaos[REVIEW]Steven James Bartlett - 1988 - Methodology and Science: Interdisciplinary Journal for the Empirical Study of the Foundations of Science and Their Methodology 21 (4):300-303.
    A review of James Glieck's _Chaos: Making a New Science_, noting how nonmonotonic functions self-referentially take on their own values and lead to complexity without randomness.
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