I respond further to an undergraduate philosophy essay writing guide which tells readers that they are studying philosophy not creative writing. I note an obvious disadvantage of the claim.

A department where you study creative writing is a paradox, given the following assumption: creativity is something natural to creative people and they do not need to study it. I try to formulate the paradox more clearly and note a logical gap.

This paper proposes that Fodor has, or had, a personal reason to avoid the creative writing department, to do with his opposition to inferential role semantics.

The increasing use of Generative AI raises many ethical, philosophical, and legal issues. A key issue here is uncertainties about how different degrees of Generative AI assistance in the production of text impacts assessments of the human authorship of that text. To explore this issue, we developed an experimental mixed methods survey study (N = 602) asking participants to reflect on a scenario of a human author receiving assistance to write a short novel as part of a 3 (high, medium, (...) or low degrees of assistance) X 2 (human or AI assistant) factorial design. We found that, for a human author, the degree of assistance they receive matters for our assessments of their level of authorship, creatorship, and responsibility, but not what or who rendered that assistance, although it was more important to disclose human rather than AI assistance. However, in our assessments of the assisting agent, human assistants were viewed as warranting higher rates of authorship, creatorship, and responsibility, compared to AI assistants rendering the same level of support. These results help us to better understand emerging norms around collaborative human-AI generated text, with implications for other types of collaborative content creation. (shrink)

Creativity is often conceived in terms of insight, innovation, and invention realized through technical mastery and skill. Challenging this individualistic model are “inventions” like writing, something that surely gave no clue to the form it would ultimately take—script—or the ways in which it would reorganize behaviors and brains in the cognitive state known as literacy. Here writing is analyzed as a tool used collectively and collaboratively. Collective, collaborative use enabled the tool to become increasingly effective at eliciting specific (...) behavioral and psychological responses. Collective, collaborative use also subjected the tool to the combined force of the individual variability represented by different user and material combinations over time. Combined variability influenced tool form toward features reflecting both the average behavioral, physiological, and psychological capacities of the tool-using community and points of maximal usability. The result offers a new model of creativity, one based not on the individual but on collective, collaborative use and incremental change in behaviors and brains, materially accumulated and redistributed between generations. The model presents aspects of human innovation that escape the individualistic model by focusing on ordinary tool-using behaviors and sustained use within social groups as the critical elements. (shrink)

-/- Letter to a friend : Creative Thinking and Intuition Letter to a friend about creative thinking and intuition (art, writing, philosophy, science, etc ) .

The paper aims at identifying, explaining and illustrating the affordances of “creative nonfiction” as a style of writing social science. The first part introduces creative nonfiction as a method of writing which brings together empirical material and fiction. In the second part, based on illustrations from my ethnographic research of European “crisis reporters,” written in the form of a novel about a fictional journalist, but also based on a review of existing social science research that employs (...) a creative method of writing, I identify several main affordances of creative nonfiction in social-scientific research. In particular, I argue that creative nonfiction allows scientists to illustrate their findings, to express them in an allegorical way, to organize data into a narrative, to let their pieces of research act in the social world, and to permeate research accounts with self-reflexive moments. I also discuss some apparent negative affordances: challenges that creative nonfiction poses to readers and to the institutionalized academic discourse. Finally, I suggest that writing about sociological problems in the style of creative nonfiction can help to produce more engaging and engaged texts, and I discuss the ethical implications of the approach. (shrink)

Building on the writings of Wittgenstein on rule-following and deviance, Kristóf Nyíri advanced a theory of creativity as consisting in a fusion of conflicting rules or disciplines. Only such fusion can produce something that is both intrinsically new and yet capable of being apprehended by and passed on to a wider community. Creativity, on this view, involves not the breaking of rules, or the deliberate cultivation of deviant social habits, but rather the acceptance of enriched systems of rules, the adherence (...) to which presupposes simultaneous immersion in disciplines hitherto seen as being unrelated. The paper presents a demonstration of the fruitfulness of this theory by means of an account of some of the political, cultural and intellectual peculiarities of the Habsburg Monarchy. (shrink)

The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. The present study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure activities and with four categories of college majors. Data were collected from 251 university students, university graduates and young adults (156 women and 95 men). Art students and graduates (...) scored significantly higher on the ECI than other majors. Humanities scored significantly higher than technical/economic majors. Five creative leisure activities were significantly correlated with the ECI, specifically, writing, painting, composing music, performing drama, and do-it-yourself home improvement. Keywords: Creativity, Emotional Creativity, Emotions, Creativeness, Affect, Feelings, Leisure Activities, Creative Ability, Artistic Creativity, Creative Thinking, Creativeness, Aging, Cognitive Deficits, Performance. MeSH Headings: Emotions, Creativity, Leisure, Leisure Activities, Hobbies, Recreation, Affect Affective Symptoms, Creativeness. (shrink)

This paper 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 (...) imagination and creativity. (shrink)

It is believed to me 'Teaching is also learning'. So do on self-development across Creativity based on Syllabus of Class IX and X of ICSE Board, I go on with my students.

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)

Abstract: Creativity and holistic education involves dynamic interplay between generating ideas and making judgment about them. Getting the balance right is critical and as Carl Jung (2009) explains, the creation of something new is not accomplished by the intellect alone but by the play instinct, the creative mind plays with the object and thoughts it loves. As mentioned earlier to be creative is a response to the inward thoughts and emotions of a human being, we encourage children in (...) the western world to make hand prints with paint, to colour in the lines and if we realise it or not we are using creativity as a holistic part of their development, by encouraging their creative intelligence; sadly, in the Middle East the idea of creativity is a poverty mindset that has been heavily removed from their culture and creative intelligence and it is this that has destroyed creativity from painting to writing. (shrink)

This volume is the first to focus on a particular complex of questions that have troubled Wittgenstein scholarship since its very beginnings. The authors re-examine Wittgenstein’s fundamental insights into the workings of human linguistic behaviour, its creative extensions and its philosophical capabilities, as well as his creative use of language. It offers insight into a variety of topics including painting, politics, literature, poetry, literary theory, mathematics, philosophy of language, aesthetics and philosophical methodology.

"Rather than bookish, it is much enjoyable to create and evaluate something from own centralizing the facts and thoughts of the contents only pervaded in the book.

This introductory chapter presents the reader with various ways of approaching the topic ‘Wittgenstein and the creativity of language’. It is argued that any serious account of the questions arising from this joint consideration of, on the one hand, this great genius of philosophy and, on the other, the varieties of speech, text, action and beauty which go under the heading ‘the creativity of language’ will have to appreciate the potential of both, in terms of breadth as well as depth. (...) First, the chapter points out a way of understanding Wittgenstein’s discussion of rules and rule-following in relation to meaning and normativity which, in virtue of respecting Wittgenstein’s own creativity as a writer, does not fall prey to a widespread source of misunderstanding. Next, Wittgenstein’s uses of language receive some additional attention (i.e. his use of analogies, metaphors, punctuation and other literary and rhetorical devices), before a glimpse is offered of an unravelling of the knot that is Wittgenstein and the creativity of language. The multiple interrelated threads here lead into areas of human concern ranging from the philosophy of language and logic through to ethics, aesthetics and politics. Finally, the chapter offers an overview of the contents of the book from the perspective of its editors. (shrink)

What is art? What is beauty? Why are we driven to create? People have been struggling with the answers to these questions for millenia. In this book Jay Friedenberg examines age old and contemporary responses to the perceptual and performative side of aesthetics. The work is wide-ranging in scope, addressing all forms of art including painting, photography, writing, film, music, theater, dance, and more. Issues are examined from multiple perspectives with separate chapters on history, philosophy, mathematics, physics, psychology, and (...) neuroscience. This beautifully illustrated book can be read by a general audience or used as an undergraduate or graduate textbook for courses in art history, aesthetics, or media studies. (shrink)

In 1804, when asked by the aspiring writer Clemens Brentano why she had chosen to publish her work, Karoline von Günderrode wrote that she longed “mein Leben in einer bleibenden Form auszusprechen, in einer Gestalt, die würdig sei, zu den Vortreflichsten hinzutreten, sie zu grüssen und Gemeinschaft mit ihnen zu haben.” In light of this kind of statement, it is perhaps not surprising if, despite some exceptions, much of the still relatively scant literature on Günderrode reads her works largely in (...) terms of how they articulate and manifest Günderrode’s desires, frustrations, and character, for the most part ignoring their imaginary, creative, and intellectual aspects. This interpretation of the author’s works as biography is, in Günderrode’s case, often accompanied by an interpretation of her biography, particularly her suicide, as literary work. This paper is not the first to question the conflation of Günderrode’s life, death, and writing, but it is one of only a handful that aim to address the autopoietic element of Günderrode’s work in a way that does not reduce her writings to biographical and psychological expressions, or Günderrode herself to an image – or a legend – encapsulated by her writings and her relationship to them. This paper argues that Günderrode’s own position on what the self is has been largely neglected as a result of this conflation, and that taking this position into account changes how we understand Günderrode’s articulations of self in her writings. Thus this paper has two goals: to address difficulties in articulating and even constituting oneself sincerely when one’s efforts are unrecognized, belittled, censored, and forced to conform to the conventions of a society in which one is marginalized; and to unearth a neglected and potentially rich account of the modern self. (shrink)

This paper is a response to Val Plumwoods call for writers to engage in ‘the struggle to think differently’. Specifically, she calls writers to engage in the task of opening up an experience of nature as powerful and as possessing agency. I argue that a critical component of opening up who or what can be understood as possessing agency involves challenging the conception of time as linear, externalised and absolute, particularly in as much as it has guided Western conceptions of (...) process, change and invention. I explore this through anthropologist Carol Greenhouse's claim that social conceptions of time can be read as theories of agency. Thus, in seeking to respond to Plumwood’s call to think differently, the question becomes: what kind of writing would enable a fundamental re-thinking of agency without, however, ignoring the way Western notions of agency have been shaped by linear accounts of time? I look to Jacques Derrida's work as one example. I first locate the possibility of re-writing time and agency in the experiential aspects of his writing, which I argue interrupt both the reader’s sense of agency and linear models of reading. But further, I connect Derrida’s work directly with Plumwood’s by examining how his deconstruction of the Western concept of invention may enable another account of creative change that could reshape what counts as ‘agency’ within the Anthropocene. (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)

In this book, well-known scholars describe new and exciting approaches to aesthetics, creativity, and psychology of the arts, approaching these topics from a point of view that is biological or related to biology and answering new questions with new methods and theories. All known societies produce and enjoy arts such as literature, music, and visual decoration or depiction. Judging from prehistoric archaeological evidence, this arose very early in human development. Furthermore, Darwin was explicit in attributing aesthetic sensitivity to lower animals. (...) These considerations lead us to wonder whether the arts might not be evolutionarily based. Although such an evolutionary basis is not obvious on the face of it, the idea has recently elicited considerable attention. The book begins with a consideration of ten theories on the evolutionary function of the arts, and this is followed by several chapters that consider the possible evolutionary function of specific arts such as music and literature. The theory of evolution was first drawn up in biology, but evolution is not confined to biology: genuinely evolutionary theories of sociocultural change can be formulated. That they need to be formulated is shown in several chapters that discuss regular trends in literature and scientific writings. Psychologists have recently rediscovered the obvious fact that thought and perception occur in the brain, so cognitive science moves ever closer to neuroscience. Several chapters give overviews of neurocognitive and neural network approaches to creativity and aesthetic appreciation. The book concludes with two exciting chapters describing brain-scan research on what happens in the brain during creativity and presenting a close examination of the relationship between genetically transmitted mental disorder and creativity. (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)

"Literature is Mirror of Society... my thoughts...my words....and, my teachings.''.

Instinct and Intelligence is an essay about creative writing. The two elements of the title are present in human thought in general, but the writing process - especially in philosophy - pushes them to extremes. Through this process we can notice and document the nature of each side, conceptualising them in order to create a structural description of thought's creation that may become operative within creation itself.

We are currently experiencing a planetary crisis that will lead, if worst comes to worst, to the end of the entire world as we know it. Several feminist scholars have suggested that if the Earth is to stay livable for humans and nonhumans alike, the ways in which many human beings – particularly in the wealthy parts of the world, infested with Eurocentrism, colonialism, neoliberalism, and capitalism – inhabit this planet requires radical, ethical, and political transformation. In this article, we (...) propose that feminist theory, particularly feminist posthumanities, and Black feminist and decolonial thought, together with creative practices such as writing, have much to contribute to transformative planetary activism that imagines different and other kinds of worlds and futures based on an ethical consideration of nonhuman others and collective caring for the planet. (shrink)

Writing for a better world, for better persons, on the street, the neighbourhood, the academy and the church.

Ashapurna Devi, a prominent Bengali woman novelist (1909–1995) focused on women’s creativity and enlightenment during the colonial and postcolonial period in Bengal, India. She herself displayed immense will power, tenacity and an indomitable spirit which enabled her to eke out a prominent place for herself in the world of creative writing. Her life spanned both colonial India and independent India and these diverse experiences shaped her mind and persona and helped her to portray the emerging face of the (...) enlightened Bengali middle-class woman. Her writings trace the evolution of the Bengali woman as an enlightened and empowered individual struggling against the shackles of discriminatory norms imposed upon her by society. She traces the extremely conservative upbringing that the female members of her generation were subjected to and goes on to show how different individuals responded to these structures in different ways. Some would comply unquestioningly, some would comply simply because they did not dare to protest, while others would break free and find their own niche in the outside world. These issues are addressed by Ashapurna Devi in many short stories as well, but a critical analysis of her trilogy Pratham Pratisruti (1964), Subarnalata (1967) and Bokulkatha (1974) enables us to experience this struggle against a gradually unfolding backdrop where India moves on from being a British colony to an independent country. The trilogy traces the life of three generations of a family — Satyabati, Subarna and finally Bokul and establishes Ashapurna Devi as a path-breaking champion of women’s emancipation in an era when such endeavours were few and far between. (shrink)

This paper examines Bohdan Boichuk’s poetry by looking into the role his childhood memories played in forming his poetic imagination. Displaced by World War II, the poet displays a unique capacity to transcend his traumatic experiences by engaging in creative writing. Eyewitnessing war atrocities perpetrated by the Nazis does not destroy his belief in the healing power of poetry; on the contrary, it makes him appreciate poetry as the only existentially worthy enterprise. Invoking Gaston Bachelard’s classic work The (...) Poetics of Reveries: Childhood, Language, and the Cosmos, I argue that Boichuk’s vivid childhood memories, however painful they might be, helped him poetically recreate and reimagine fateful moments of his migrant life. (shrink)

The giant strides to be taken in becoming an academic do not just entail acquiring knowledge through formal education but demand further steps to master, philosophize and profess knowledge. Apart from the credentials to show that quality conditions were fulfilled in a higher education, volumes of well researched publications in peer review academic journals are vital. In Nigeria, when this form of learning came through colonial education women were not as privileged as men to acquire it immediately. So, men become (...) educated first, hence were the first set of academics. Subsequently, women joined this league of educated men in the academic world. The utilization of this knowledge by both men and women in academic community encroached on culture, its administration and expression. In this instance, issues in various endeavours, including academics are expressed through culture of criticism and criticism of culture. This study examines women’s academic world and their efforts in criticizing Nigerian culture with a focus on Mabel Evwierhoma’s involvement using theatre scholarship. The theory of Cultural Studies as it relates to cultural criticism specifically feminist criticism will be adopted to explore cultural feminist thoughts of Nigerian women in the academics with Evwierhoma’s input as a focus. The study finds that since the inception of feminism in Nigeria, women have deployed its scholarship, to criticise culture. Women in the theatre have used every available tool including creative writing, critical writing, research, pedagogy and philosophy to highlight cultural values that favour women. Evwierhoma has made a robust impact in this regard. (shrink)

Lucid dreaming (LD) is a fun and interesting activity, but most participants have difficulties in attaining lucidity, retaining it during the dream, concentrating on the needed task and remembering the results. This motivates to search for a new way to enhance lucid dreaming via different induction techniques, including chemicals and electric brain stimulation. However, results are still unstable. An alternative approach is to reach the lucid dreaming-like states via altered state of consciousness not related to dreaming. Several methods such as (...) guided visualization, internal dialog, creative writing, hypnosis, hypnagogia, daydreaming, DMT trips, voice dialog, shamanic journey, rebirthing, and “forcing” tulpas can help in attaining such states. One of the most promising of them is Jungian “active imagination” (AIM) technique, which allows unconscious content to build up inside some mental frames. This article explores the hypothesis of replacing lucid dreaming research with active imagination, and the conditions and ways to accomplish it. Method: An open label pilot experiment was performed in 2004-2005 in Moscow, Russia with 100 participants. Results: The results show that there are two groups of people: ones with “visual imagination screen” and others have “mental imagination screen”. AIM works perfectly as a replacement for lucid dreams only for the first group of people. For the second group, it created interesting content, but not visual or emotional intensity equal to enter lucid dreaming like state. No known instruments helped to move the person from one group to another. The first group consisted of young females, while the second mostly contained males with rational and mathematical type of personality. Conclusion: AIM partly works as a replacement for LD, as it works great only for half of people, and it requires a sitter. However, AIM outperforms LD in reliability and availability in any circumstance: it could be performed even by text chat or in a crowd. It is also better than LD in retaining concentration on topic and the easiness of memorizing the results (which could be recorded). Self-performed AIM is less effective. AIM can be improved by intelligent chat bots as sitters and weak brain stimulation that can increase the probability of attaining something like hypnogogic state. (shrink)

Internet increasingly serves not only to communication between it’s users. The emergence of Web 2.0 platforms which are peculiar to publication of various content allowed to release of activity and commitment of millions of people worldwide. Study contains sociological analysis of already existing visual materials dealing with old age, which were made by users of the deviantART.com. It’s one of the longest established online community bringing together artists from around the world. Article draws attention to the multiplicity of contemporary forms (...) of presentation of old age and difficulties and methodological guidelines related to the study of resources from new media. ** Sieć internet coraz czȩściej służy nie tylko komunikacji miȩdzy jej użytkownikami. Pojawienie siȩ serwisów Web 2.0 stanowi¸a}cych swoiste platformy do publikacji najrozmaitszych treści pozwoliło na uwolnienie pokładów aktywności i zaangażowania milionów ludzi na świecie. Praca traktuje o próbie socjologicznej analizy wizualnych materiałów zastanych traktuj¸a}cych o starości, które zostały udostȩpnione publicznie przez osoby korzystaj¸a}ce z witryny deviantART.com. Jest to jedna z najdłużej funkcjonuj¸a}cych społeczności internetowych zrzeszaj¸acych artystów z całego świata. Artykuł zwraca uwagȩ na wielość współczesnych form prezentacji starości oraz trudności i wskazówki metodologiczne zwi¸azane z badaniem zasobów nowych mediów. (shrink)

The present collection of translations arises from our work within Writing Urban Places, a network of researchers interested in the different ways citizens appropriate meaningful built environments through stories, and in doing so are also better able to integrate with others. A key locus in this respect is what our network has termed the ‘mid-sized’ [or ‘intermediate’] European city. Often afforded only cursory attention in the discussion of both culture and society, overlooked in favour of more usual suspects, such (...) urban places allow for a more de-centred, and on occasions regionally focused, view of urban practices, even as they play host to a significant element of contemporary European life and experience. The quest for meaningfulness and appropriation of the urban environment through co-creative, adaptive, and transformative processes (many of which have a textual quality) became central to the theoretical framework of this initiative. Between the individual places in which such processes could be observed and documented, we hypothesized, arises the problem of intermediation – the move from place to place, and its techniques. Translation, more than a textual practice among others, emerged as a structuring consideration of the project at a European scale. Other Destinations is the outcome of this collective process presented here, offering entry into this work to an English-language readership for the first time. We hope that, even as they bring their cities of origin somewhat closer to a new readership, those readers will be uprooted and moved some distance in the direction of these ‘other destinations.’ -/- The edited volume Other Destinations. Translating the Mid-sized European City thus features English translations of 15 21st century (mainly) literary texts published in different media (books, podcasts, journals, online/social media) originally written in languages other than English and that have not previously been translated into English. The selected texts cover the topic of mid-sized European cities, where mid-sized does not solely refer to the size in terms of geographical scope or the number of inhabitants, but also to their socio-historical context of urban identity where these cities are neither metropolises nor small towns, but “other”, lesser-known European cities. The texts selected to be translated in this edited volume cover cities like Volos, Canakkale, Varna, Plovdiv, Durres, Tirana, Porto, Den Haag, Osijek, Salzburg, Naples, Zrenjanin, Loule and others…. The publication intends to enhance the dissemination and accessibility to an international readership of texts about overlooked urban contexts, “other”, lesser-known European cities, their stories and signifying practices in order to develop a better awareness of these cities, their self-constructions, and their responses to the challenges of the present. (shrink)

The writings of Simone Weil support a feminist philosophy of education that locates freedom in self-determined creative work within contexts of necessity. In particular, Weil’s discussion of Force, the Good, Work, Method and Time provide criteria for a feminist philosophy of education, in terms of educational ends and means. Philosophy for Children is relevant to each of these themes, in various ways.

Academia is a competitive environment. Early Career Researchers (ECRs) are limited in experience and resources and especially need achievements to secure and expand their careers. To help with these issues, this book offers a new approach for conducting research using the combination of mindsponge innovative thinking and Bayesian analytics. This is not just another analytics book. 1. A new perspective on psychological processes: Mindsponge is a novel approach for examining the human mind’s information processing mechanism. This conceptual framework is used (...) to construct models in studies. The framework is highly flexible and widely applicable for many different types of information processes. The mindsponge approach can help researchers discover interesting ideas or even formulate their very own theories when investigating psychosocial phenomena. This approach brings a fresh wind to the current landscape of social sciences and humanities (SSH). 2. Easy-to-follow analysis protocol: The Bayesian Mindsponge Framework (BMF analytics) is useful in terms of computing and visualizing power but also easy to learn and apply. Contrary to being intimidating, the Bayesian analytics section of this book is presented in a reader-friendly manner with a detailed yet clear step-by-step procedure. Examples are from published BMF articles, allowing readers to immediately practice the method and quickly create their own applications. With educational purposes in mind, the book is very suitable for ECRs who are looking to innovate their research methods. 3. Advocating for low-cost, high-quality research: Doing science can be very costly. Mindsponge innovative thinking and BMF analytics help produce impactful studies using openly available data on online repositories. This is based on the authors’ previous works and experiences. The book presents examples of employing the open R package bayesvl on secondary data from different sources. With less financial constraints, researchers can have more freedom of thought to pursue their curiosity and creativity. ECRs in low- and middle-income countries may find this aspect crucial in their careers. 4. Support and collaboration: The authors share their insights from experiences in the academic publishing system to help readers get through the processes of manuscript writing and peer-reviewing more easily. The authors are also ready to support other researchers with further inquiries and collaboration opportunities at the following website, mindsponge(dot)info. This book is for: a) ECRs whose only abundant resources are their innovation capacity and strength of will; b) Researchers in SSH who want to explore a novel approach to thinking and study conducting; c) Low- and middle-income countries’ researchers looking for a cost-effective research protocol; and, d) Innovative thinkers who want to turn their interesting thoughts into good publications. (shrink)

This article analyzes the practice of making social theory in terms of the changing styles manifested in writing social theory texts. It is claimed that, taken generally, "writing" social theory has not moved beyond its most widespread form of being an exercise in the systematic treatment of the phenomena under study rather than being a genuine problem-solving activity. As demonstrated on selected historical examples of "writing" social theory, it seems evident that there is no standard form or (...) style of "making" social theory apart from commentary. And that social theory, unlike related styles of academic writing, uses "commentary" not as a part of the argument being elaborated, but as a standard and routine way of making knowledge claims. It is argued here that commentary is not the basic method only in the contemporary and largely educational and instructive forms of social theory, but also in the supposedly original achievements of the field's leading figures. The argument elaborated here suggests that the inability to arrive at a standard form of "making" social theory may be a consequence of individual, authentic, original, creative thinking drawing its inspiration from sources that are heavily derivative and sometimes permeated by very chaotic and strenuous efforts to demonstrate the coherence of the thinking that it some way refers to the social world. (shrink)

They say that argumentative writing skills are best learned through writing argumentative essays. I say that while this is excellent practice for argumentative writing, an important exercise to practice structuring such essays and build critical thinking skills simultaneously is what I call the four-sentence paper. The exercise has the template They say..., I say..., one might object..., I reply... One might object that the assignment oversimplifies argumentative writing, stifles creativity, promotes an adversarial attitude, or that students (...) can’t consider objections well anyway. I reply that a simplified form of argumentative writing is fine for beginners, especially since the template is ubiquitous in philosophy; that any assignment template has room for creativity; that considering objections is consistent with good manners; and that despite some pitfalls of trying to defend a thesis and consider objections, students are capable of considering objections well with proper instruction and practice. (shrink)

The guiding premise of this chapter is that we, as teachers in higher education, must consider how the content and form of our teaching can foster inclusivity through a responsiveness to neurodiverse learning styles. A narrow pedagogical focus on lectures, textual engagement, and essay-writing threatens to exclude neurodivergent students whose ways of learning and making sense of the world may not be best supported through these traditional forms of pedagogy. As we discuss in this chapter, we, as engineering ethics (...) educators, designed and implemented a new engineering ethics exercise with which we aimed to promote inclusivity at the levels of form and content. At the content level, students were invited to critically engage with inclusivity-undermining ableist assumptions in technology development. This took shape, at the form level, through a hands-on ‘material tinkering’ workshop in which students collaboratively and creatively altered (or ‘hacked’) artifacts used in contexts of disability and healthcare, so as to operationalize values of inclusivity and accessibility. Our hunch was that this hands-on tinkering workshop would simultaneously encourage a meaningful way of engagement with these ethical issues and values, while also enacting a more inclusive learning environment by enriching the range of pedagogical activities and learning formats available to our students.As we aim to show in this chapter, we believe this hunch largely panned out – though there are clear areas for future improvement pertaining to the pilot exercise itself and the research we conducted on the exercise. We begin by offering a description of our tinkering exercise. We discuss the exercise’s source of inspiration (Sect. 16.2.1) and its implementation (Sect. 16.2.2), which is visually captured via photographic documentation. We then discuss (Sect. 16.3) how we utilized a triangulated research method to assess the pedagogical value of the exercise. After we discuss our findings, we conclude by identifying areas for future improvement (Sect. 16.4). (shrink)

There is a general impression among Kant scholars that he has no robust theory of work. Most of his references to the topic appear in his historical and anthropological writings, where he tells us that work is burdensome, and valuable only for the sake of whatever we produce. In this paper, I argue that Kant has an under-explored theory of work in the third Critique. This theory bears little resemblance to his depiction of work in the historical and anthropological writings. (...) The third Critique will depict work as self-expressive, creative, and free, features Kant will go on to associate with art. Kant’s contention is that when work resembles art, it is both agreeable and something we enjoy for its own sake. However, when work fails to resemble art — when it is, in Kant’s words, natural, scientific, and mercenary — it is both disagreeable and constrained, and begins to sound like his description of work from the historical and anthropological writings. Kant’s theory of work in the third Critique has a number of important implications. The first is that it provides a new foundation for a contemporary philosophy of work that places freedom and creativity at the center of the labor process. My analysis also engages a part of Kant scholarship that has, until recently, been largely neglected. It is only in the last decade that the English-language Kant literature has taken up the question of how to make sense of Kant’s remarks about work. However the focus is rarely on Kant’s aesthetic theory of work, but rather on the place of work in his moral and political philosophy. I discuss the implications of Kant’s third Critique theory of work for these other debates, as well as for our understanding of the third Critique as a whole. (shrink)

Jeremy Waldron has recently raised the question of whether there is anything approximating the creative self-authorship of personal autonomy in the writings of Immanuel Kant. After considering the possibility that Kantian prudential reasoning might serve as a conception of personal autonomy, I argue that the elements of a more suitable conception can be found in Kant’s Tugendlehre, or “Doctrine of Virtue”—specifically, in the imperfect duties of self-perfection and the practical love of others. This discovery is important for at least (...) three reasons: first, it elucidates the relationship among the various conceptions of autonomy employed by personal-autonomy theorists and contemporary Kantians; second, it brings to the surface previously unnoticed or undernoticed features of Kant’s moral theory; and third, it provides an essential line of defense against certain critiques of contemporary Kantian theories, especially that of John Rawls. (shrink)

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

Stuart Kauffman has, in recent writings, developed a thought-provoking and influential argument for strong emergence. The outcome is his Theory of the Adjacent Possible (TAP). According to TAP, the biosphere constitutes a non-physical domain qualitatively distinct from the physical domain. The biosphere exhibits strongly emergent properties such as agency, meaning, value and creativity that cannot, in principle, be reduced to the physical. In this paper, I argue that TAP includes various (explicit or implicit) metaphysical commitments: commitments to (1) scientific realism, (...) (2) downward causation and teleology, and (3) modal realism. If TAP is to hang together as the kind of robust philosophical thesis it evidently aspires to be, it needs an account – an account that is currently absent – of its metaphysical commitments. It is however unclear how such an account can be developed since various dilemmas present themselves when one explores how subscribers to TAP might do so. (shrink)

Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical acculturation, the perils (...) of modernity, and the challenge, which was very personal to Wittgenstein, of philosophizing amidst what he believed was a dissolution of the resemblances which unite his culture’s ways of life. In particular, Denkbewegungen contains unique remarks on modern music, the problem of Gustav Mahler’s music, and the music of the future. Also, it contains, among other things, some unusually forward-looking remarks on the differences between Brahms and Bruckner, which both probe deeply into the nature of musical creativity and anticipate his later philosophical move beyond the inner/outer divide in his last writings. I shall offer a close reading of Wittgenstein’s remarks on music in Denkbewegungen, which situates them in the broader context of his philosophical development in his middle-period and beyond. I aim to show the deep integration of Wittgenstein’s thinking about music with his philosophical development, his deep sense of cultural lamentation, and his development as a person and as a philosophical expositor. (shrink)

In what follows, I will provide some elements for constructing Mariátegui’s plural spatiotemporal conception of history. I will do so by focusing on the two books he published in his lifetime: The contemporary scene and Seven Interpretive Essays on Peruvian Reality. In a footnote in the Seven Essays, the reader encounters a concept that opens up the problem of plural temporality in Latin American Marxism: relativismo histórico (historical relativism). This will be the keystone concept upon which certain fragments of Mariátegui’s (...) writings will be put together to construct the concept of plural temporality. This involves taking a detour through what Mariátegui understood by relativismo (relativism). In that detour, we find that Mariátegui’s use of relativismo consists in translating and assimilating the insights of one of the pillars of contemporary physics: Einstein’s theory of relativity. For Mariátegui, the relativistic theory of spacetime undermined the old “absolutes” of the positivist unilinear philosophy of history. I then argue that Mariátegui, through his friend and comrade Hugo Pesce, assimilates and translates the “revolutionary” theory of spacetime as a weapon against the unilinear philosophy of history and as a resource to construct a concept of plural spatiotemporal concept of history. Re-situating Mariátegui’s work along this axis puts some pressure on certain Bergsonian and Sorelian readings that overemphasize the importance of Myth and Humanity as a “metaphysical animal” and thereby tend to underemphasize or outright suppress his creative assimilation and translation of the sciences of his time. (shrink)

The historical avant-gardes showed that it is in the syntactic space where the mutations of art occur, where the creative potentialities in contemporary art are played. Hence the need to accentuate the syntactic creation registers in the works of the Estridentistas. There is no creation of images, rhythms, words, atmospheres, sound orientations, planes or political-literary postures that are valid apart from the syntax effects in which the poems of Manuel Maples Arce, Germán List, Salvador Gallardo and Kyn-Taniya take place, (...) the paintings, engravings and sculptures by Fermín Revueltas, Ramón Alva de la Canal, Germán Cueto and Leopoldo Méndez, the novels and essays by Arqueles Vela, the pieces from the Estridentista period by Silvestre Revueltas, the plays by Salvador Gallardo and Germán Cueto. The syntax is the tracing of indirect paths created in each poem, installation, plastic or musical work, to show life in things; those forces, paths and paths that, when going from life to language, create a work. It is, therefore, a speed. I don't use "speed" as a metaphor. It is the speeds that interdigitate events, images, objects; those that relate and stress semantic, sound, semiotic and social forces, paths and trajectories. Velocity is the gradient of the syntax, the relationship between phenomena, the variation of the elements according to a certain direction, the trajectory medium, the semantic loads and the systems of signs: it is not necessary to think that the syntactic effects are something like general mechanisms that precede poems, plastic and musical works. A new syntactic speed detaches itself as much as it can from what is constituted and seeks to bring poetic, pictorial, musical language to its threshold of meaning, informational or communication, to its referential, rhythmic, constructive threshold. Therefore, it should not be confused with acceleration. Slowness is a speed, as in Handke's writing or in some sections of Tarr's films. (shrink)

The relation between body and mind is one of the oldest riddles that has puzzled mankind. That material and mental events may interact is accepted even by the law: our mental capacity to concentrate on the task can be seriously reduced by drugs. Physical and chemical processes may act upon the mind; and when we are writing a difficult letter, our mind acts upon our body and, through a chain of physical events, upon the mind of the recipient of (...) the letter. This is what the authors of this book call the 'interaction of mental and physical events'. We know very little about this interaction; and according to recent philosophical fashions this is explained by the alleged fact that we have brains but no thoughts. The authors of this book stress that they cannot solve the body mind problem; but they hope that they have been able to shed new light on it. Eccles especially with his theory that the brain is a detector and amplifier; a theory that has given rise to important new developments, including new and exciting experiments; and Popper with his highly controversial theory of 'World 3'. They show that certain fashionable solutions which have been offered fail to understand the seriousness of the problems of the emergence of life, or consciousness and of the creativity of our minds. In Part I, Popper discusses the philosophical issue between dualist or even pluralist interaction on the one side, and materialism and parallelism on the other. There is also a historical review of these issues. In Part II, Eccles examines the mind from the neurological standpoint: the structure of the brain and its functional performance under normal as well as abnormal circumstances. The result is a radical and intriguing hypothesis on the interaction between mental events and detailed neurological occurrences in the cerebral cortex. Part III, based on twelve recorded conversations, reflects the exciting exchange between the authors as they attempt to come to terms with their opinions. (shrink)

The historical roots of despotism in Russia are long, the tradition of arbitrariness seems to be unbreakable. But this status quo can't persist endless: Growing mass protests indicate that the time nears when Russia will unhorse the self-constituted disposers and will demonstrate again its re-invention potential. -/- This expected and hoped egression from despotism into a new phase of Russian history needs to be carefully elaborated and arranged. Starting with the writing and publishing of my essays following mass political (...) protests in the former Soviet Union, namely, in the Russian Federation in fall and winter of the year 2012, I work permanently on redesigning political system. One year later, i.e. 2013, I released a book dedicated those events, and in the same year I wrote the draft of a new constitution, now revised and adopted by the community Rus’ whose member I am since 12.12.2018. -/- 2017 I registered an internet domain reserved for the Foundation intended to promote the constitutional order in Russia. Since that time, I designed the site of the Foundation, fashioned the identity card, and published several documents related to promotion and establishing of the constitutional order (CO). -/- All skilled designers and creative thinkers are invited to take part in this process as co-workers and creators of a new political system. (shrink)

The guiding premise of this chapter is that we, as teachers in higher education, must consider how the content and form of our teaching can foster inclusivity through a responsiveness to neurodiverse learning styles. A narrow pedagogical focus on lectures, textual engagement, and essay-writing threatens to exclude neurodivergent students whose ways of learning and making sense of the world may not be best supported through these traditional forms of pedagogy. As we discuss in this chapter, we, as engineering ethics (...) educators, designed and implemented a new engineering ethics exercise with which we aimed to promote inclusivity at the levels of form and content. At the content level, students were invited to critically engage with inclusivity-undermining ableist assumptions in technology development. This took shape, at the formal level, through a hands-on ‘material tinkering’ workshop in which students collaboratively and creatively altered (or ‘hacked’) artifacts used in contexts of disability and healthcare, so as to operationalize values of inclusivity and accessibility. Our hunch was that this hands-on tinkering workshop would simultaneously encourage a meaningful way of engagement with these ethical issues and values, while also enacting a more inclusive learning environment by enriching the range of pedagogical activities and learning formats available to our students. As we aim to show in this chapter, we believe this hunch largely panned out - though there are clear areas for future improvement pertaining to the pilot exercise itself and the research we conducted on the exercise. We begin by offering a description of our tinkering exercise. We discuss the exercise’s source of inspiration (2.1) and its implementation (2.2), which is visually captured via photographic documentation. We then discuss (3) how we utilized a triangulated research method to assess the pedagogical value of the exercise. After we discuss our findings, we conclude by identifying areas for future improvement (4). (shrink)

The purpose of this article is to explore the close link between technology and death in the philosophical writings of Lewis Mumford. Mumford famously argued that throughout the history of western civilization we find intertwined two competing forms of technics; the democratic biotechnic form and the authoritarian monotechnic form. The former technics were said to be strongly compatible with an organic form of life while the latter were said to be allied to a mechanical power complex. What is perhaps less (...) well known is the extent to which Mumford characterizes the authoritarian technical form as being a technics of death. This article will argue that the connection between death and technics is a key theme in Mumford’s philosophy of technology. In addition to elaborating this theme and detailing how it informs Mumford’s other positions on the nature of technology, this article will also argue that Mumford’s theory of a technics of death bears witness, both implicitly and explicitly, to the influence of Sigmund Freud’s theory of the death instinct. Freud’s account of the death instinct will be outlined briefly and its influence on Mumford’s writings will be explained. Death, in Mumford’s technological writings, has a generally negative function and serves to warn humanity of the perilous course that its technological civilization is set upon. However it also has a positive function in that it encourages man to transcend its biological existence in acts of creativity and purpose. Death, in this positive sense, serves the purpose of life whereas, in the negative sense, it hinders it. The role of death, in both aspects, will be explored and related to Mumford’s overall perspective on technics and life. It is argued that Mumford’s philosophy of technology cannot be fully understood without an awareness of his views on death and its role in the life of technological society. (shrink)

This article engages Richard Rorty’s controversial concept of ethnocentrism with the help of Randolf (Randy) S. David’s writings. The first section defines Rorty’s concept of ethnocentrism and responds to the general criticisms of relativism and divisiveness that have been made against it. The second section suggests a conceptual replacement for Rorty’s notion of a vicious ethnocentrism: egotism. Egotism is a kind of cultural ethnocentrism that is resistant to openness, creativity, and social transformation. Inspired by David’s work, the third and final (...) section suggests how the concepts of ethnocentrism and egotism might be of some use as conceptual tools for articulating contemporary social issues in the Philippines. (shrink)

In the year 1900, the German philosopher Carl Stumpf made one of the earliest phonograph recordings to document an example of traditional music. The ensemble he recorded was the Siamese Court Orchestra which was performing in Germany at that time. This led to the establishment of the Berlin Phonogramm-Archiv and the beginning of the extensive recording of world traditional music. While written scores have begun to break traditional music away from its dependence on initiation and apprenticeship, the recording of music (...) has had an even more powerful impact on the role of memory in traditional music. No longer is one required to attend a performance, one can simply listen to a recording. Likewise, one can use recordings and videos to learn a piece without the presence of a teacher and can learn the music of another tradition. To consider the future of traditional music, the transformations created by the externalization of memory needs to be examined. This paper hopes to take a step in this direction. It will first consider the psychology of music developed by Stumpf himself. Especially the opposition between the phenomenological reception of music and it’s tempering by the consciousness which allows for aesthetic experience. It will extend this by considering Alain Daniélou’s reflections on the impact of writing and recording on musical creativity. The externalization of memory and the recording of traditional music, leads to may benefits - we have historical records of beautiful musical performances and traditions, many of which have already been lost - but simultaneously this externalization of memory threatens the very essence of traditional and religious music. Finally, the paper will address these paradoxes by applying Jacques Derrida and Bernard Stiegler’s idea of the ‘pharmacon’, and ‘positive pharmacology’ to understand how to navigate these contradictions which face this externalization of musical memory. (shrink)