Results for 'creativity'

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  1. 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 (...), because it confuses conceptual issues with explanation. I will close with some remarks on the status and differences in some explanations available in contemporary cognitive science. (shrink)
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  2. 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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  3. 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 interesting epistemological (...)
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  4. 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, (...)
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  5. 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 (...)
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  6. 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 (...)
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  7.  66
    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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  8.  58
    '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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  9. Incubated Cognition and Creativity.Dustin Stokes - 2007 - Journal of Consciousness Studies 14 (3):83-100.
    Many traditional theories of creativity put heavy emphasis on an incubation stage in creative cognitive processes. The basic phenomenon is a familiar one: we are working on a task or problem, we leave it aside for some period of time, and when we return attention to the task we have some new insight that services completion of the task. This feature, combined with other ostensibly mysterious features of creativity, has discouraged naturalists from theorizing creativity. This avoidance is (...)
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  10. 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 the functional/computational theories and (...)
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  11. A Metaphysics of Creativity.Dustin Stokes - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave-Macmillan. pp. 105--124.
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  12.  69
    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 (...)
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  13. How to Foster Scientists' Creativity.Seungbae Park - 2016 - Creativity Studies 9 (2):117-126.
    Scientific progress can be credited to creative scientists, who constantly ideate new theories and experiments. I explore how the three central positions in philosophy of science – scientific realism, scientific pessimism, and instrumentalism – are related to the practical issue of how scientists’ creativity can be fostered. I argue that realism encourages scientists to entertain new theories and experiments, pessimism discourages them from doing so, and instrumentalism falls in between realism and pessimism in terms of its effects on scientists’ (...)
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  14.  57
    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.
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  15.  94
    Selective Realism Vs. Individual Realism for Scientific Creativity.Seungbae Park - 2017 - Creativity Studies 10 (1):97-107.
    Individual realism asserts that our best scientific theories are (approximately) true. In contrast, selective realism asserts that only the stable posits of our best scientific theories are true. Hence, individual realism recommends that we accept more of what our best scientific theories say about the world than selective realism does. The more scientists believe what their theories say about the world, the more they are motivated to exercise their imaginations and think up new theories and experiments. Therefore, individual realism better (...)
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  16. 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 (...)
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  17. 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 (...)
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  18. Free Will Skepticism and the Question of Creativity: Creativity, Desert, and Self-Creation.D. Caruso Gregg - 2016 - Ergo: An Open Access Journal of Philosophy 3.
    Free will skepticism maintains that what we do, and the way we are, is ultimately the result of factors beyond our control and because of this we are never morally responsible for our actions in the basic desert sense—the sense that would make us truly deserving of praise and blame. In recent years, a number of contemporary philosophers have advanced and defended versions of free will skepticism, including Derk Pereboom (2001, 2014), Galen Strawson (2010), Neil Levy (2011), Bruce Waller (2011, (...)
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  19. Creativity: Progress and Potential.Calvin W. Taylor - 1964 - British Journal of Educational Studies 13 (1):115-115.
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  20. The Role of Imagination in Creativity.Dustin Stokes - 2014 - In E. Paul & S. B. Kaufman (eds.), The philosophy of creativity. Oxford University Press.
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  21. Creativity, Emergence of Novelty, and Spontaneous Symmetry Breaking.Radek Trnka, Martin Kuška & Inna Cabelkova - 2018 - In SGEM Conference Proceedings, Volume 5, Issue 2.1. pp. 203-210.
    The philosophy of mind concerns much about how novelty occurs in the world. The very recent progress in this field inspired by quantum mechanics indicates that symmetry restoration occurs in the mind at the moment when new creative thought arises. Symmetry restoration denotes the moment when one’s cognition leaves ordinary internalized mental schemes such as conceptual categories, heuristics, subjective theories, conventional thinking, or expectations. At this moment, fundamentally new, original thought may arise. We also predict that in older age, symmetry (...)
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  22. Situated Cognition, Dynamic Systems, and Art: On Artistic Creativity and Aesthetic Experience.Ingar Brinck - 2007 - Janus Head 9 (2):407-431.
    It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist’s work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global, socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the (...)
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  23. दर्शन, सृजनात्मकता और मानवीय सम्बन्ध (Philosophy, Creativity and Human Relations).Desh Raj Sirswal - 2017 - Milestone Education Review 8 (02):4-13.
    सारांश -/- मानवीय-सम्बन्ध सदियों से दर्शन और साहित्य के अध्ययन का मुख्य विषय रहा है. जब भी हम मानवीय सम्बन्धों के विवेचन पर जाते है तब हम इनकी प्रकृति, व्यक्तिगत और सामाजिक सम्बन्धों की प्रमाणिकता के सम्बन्ध में बात करते हैं और हम केवल दार्शनिक विचारों तक ही सीमित नहीं रहते बल्कि हमें मनोविज्ञानिकों, समाजशास्त्रियों, राजनीतिक विचारकों के साथ-साथ साहित्यकारों द्वारा दी गयी व्याख्याओं का भी अध्ययन करना पड़ता है क्यूंकि यह अन्तर्रविषयी अध्ययन का विषय है. जब भी मानवीय सम्बन्धों (...)
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  24. 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 (...)
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  25.  28
    Creativity in Science and the ‘Anthropological Turn’ in Virtue Theory.Ian James Kidd - forthcoming - European Journal for Philosophy of Science.
    I argue that philosophical studies of the virtues of creativity should attend to the ways that our conceptions of human creativity may be grounded in conceptions of human nature or the nature of reality. I consider and reject claims in this direction made by David Bohm and Paul Feyerabend. The more compelling candidate is the account of science, creativity, and human nature developed by the early Marx. Its guiding claim is that the forms of creativity enabled (...)
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  26.  42
    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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  27.  46
    Creativity and Imagination in the Practice of Philosophy.Maksymilian Del Mar - 2008 - Swiss Philosophical Preprints.
    This paper argues that the exercise of the imagination requires us 1) to attempt to describe features of a certain practice that appear, at first blush, natural and obvious; 2) to understand that that which appears natural and obvious could be otherwise; and 3) to be open to the introduction of changes to that which appears natural and obvious. Imagination, in this sense, is quite different to creativity. The latter works on the basis of the introduction of variations to (...)
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  28. The Communality of Creativity and the Creativity of Community: A Comparison of the Ethics of Nikolai Berdyaev and Watsuji Tetsurō.Anton Luis Sevilla - 2010 - Kritika Kultura 15:226-253.
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  29. Metaphors of Creativity and Workplace Learning.Torill Strand - 2011 - Scandinavian Journal of Educational Research 55 (4):341 - 355.
    Taking a bird’s-eye-view of the philosophical discourses that metaphorize creativity as “expression,” “production,” and “reconstruction,” this article depicts their vital characteristics and distinct ways of portraying the relationships between creativity, educative experiences, and the epistemic cultures now occurring within and beyond the workplace. Illustrative examples are taken from an ongoing comparative and longitudinal study that explores the epistemic trajectories of Norwegian nurses, teachers, auditors, and computer engineers. The aim is to provide a better understanding of the contours of (...)
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  30. Understanding Creativity Through Memes and Schemata.Julie Hawthorne - unknown
    When it comes to the notion of creativity, both R. Dawkins and D. Dennett argue that creativity is a matter of random mutation, in the same way that genes randomly mutate. Neither Dennett nor Dawkins see anything else in the mimetic theory of creativity than a process of Darwinian evolution. However, this complete reliance upon the extension of evolution for understanding creativity needs to be supplemented by combining it with other ideas such as those of "schema (...)
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  31. Effects of Reward on Self-Regulation, Intrinsic Motivation and Creativity.Marcus Selart, Thomas Nordström, Bård Kuvaas & Kazuhisa Takemura - 2008 - Scandinavian Journal of Educational Research 52 (5):439-458.
    This article evaluates the effects of two types of rewards (performance-contingent versus engagement-contingent) on self-regulation, intrinsic motivation and creativity. Forty-two undergraduate students were randomly assigned to three conditions; i.e. a performance-contingent reward group, an engagement-contingent reward group and a control group. Results provide little support for the negative effects of performance rewards on motivational components. However, they do indicate that participants in the engagement-contingent reward group and the control group achieved higher rated creativity than participants in the performance-contingent (...)
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  32. AI, Situatedness, Creativity, and Intelligence; or the Evolution of the Little Hearing Bones.Eric Dietrich - 1996 - J. Of Experimental and Theoretical AI 8 (1):1-6.
    Good sciences have good metaphors. Indeed, good sciences are good because they have good metaphors. AI could use more good metaphors. In this editorial, I would like to propose a new metaphor to help us understand intelligence. Of course, whether the metaphor is any good or not depends on whether it actually does help us. (What I am going to propose is not something opposed to computationalism -- the hypothesis that cognition is computation. Noncomputational metaphors are in vogue these days, (...)
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  33.  37
    Textual Vs Creativity, Syllabus Prescribed on Indian Board (Class XI-XII, ISC).Rituparna Ray Chaudhuri - manuscript
    "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.
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  34. Drivers of Organizational Creativity.Mats Sundgren, Elof Dimenäs, Jan-Eric Gustafsson & Marcus Selart - 2005 - RandD Management 35:359-374.
    A path model of organizational creativity was presented; it conceptualized the influences of information sharing, learning culture, motivation, and networking on creative climate. A structural equation model was fitted to data from the pharmaceutical industry to test the proposed model. The model accounted for 86% of the variance in the creative climate dependent variable. Information sharing had a positive effect on learning culture, which in turn had a positive effect on creative climate, while there were negative direct effects of (...)
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  35.  11
    The Level of Creativity at the University of Palestine From the Employees Point of View.Nader H. Abusharekh, Mazen J. Al Shobaki, Samy S. Abu-Naser & Suliman A. El Talla - 2020 - International Journal of Academic Multidisciplinary Research (IJAMR) 4 (10):45-56.
    Abstract: This study aims to identify the level of creativity in the University of Palestine from the point of view of the employees, as the researchers used the descriptive and analytical method, through a questionnaire distributed to a sample of employees at the University of Palestine, where the size of the study population is (234) employees, and the size of the sample (117) employees, of which (90) employees responded. The study reached a set of results, the most important of (...)
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  36. Investigating the Development of Creativity : The Sahlin Hypothesis.Ingar Brinck - 2015 - Against Boredom : 17 Essays.
    How should the development of creativity be approached? Many accounts of children’s creativity focus on the relation between creativity and pretend play, placing make-believe and the mental exploration of possible scenarios about the world at the fore. Often divergent thinking and story-telling are used to measure creativity with fluency, originality, and flexibility as indicators. I will argue that the strong focus on conceptual processes and higher-order thought leaves procedural forms of creativity in the dark and (...)
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  37. The Architect's Brain: Neuroscience, Creativity, and Architecture.Harry Francis Mallgrave - 2010 - Wiley-Blackwell.
    Introduction -- Historical essays -- The humanist brain : Alberti, Vitruvius, and Leonardo -- The enlightened brain : Perrault, Laugier, and Le Roy -- The sensational brain : Burke, Price, and Knight -- The transcendental brain : Kant and Schopenhauer -- The animate brain : Schinkel, Bötticher, and Semper -- The empathetic brain : Vischer, Wölfflin, and Göller -- The gestalt brain : the dynamics of the sensory field -- The neurological brain : Hayek, Hebb, and Neutra -- The phenomenal (...)
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  38. Intersemiotic Translation and Transformational Creativity.Daniella Aguiar, Pedro Ata & Joao Queiroz - 2015 - Punctum 1 (2):11-21.
    In this article we approach a case of intersemiotic translation as a paradigmatic example of Boden’s ‘transformational creativity’ category. To develop our argument, we consider Boden’s fundamental notion of ‘conceptual space’ as a regular pattern of semiotic action, or ‘habit’ (sensu Peirce). We exemplify with Gertrude Stein’s intersemiotic translation of Cézanne and Picasso’s proto-cubist and cubist paintings. The results of Stein’s IT transform the conceptual space of modern literature, constraining it towards new patterns of semiosis. Our association of Boden’s (...)
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  39.  61
    Nineteen Fifty Eight: Information Technology and the Reconceptualization of Creativity.Christopher Mole - 2011 - The Cambridge Quarterly 40 (4):301-327.
    Nineteen fifty-eight was an extraordinary year for cultural innovation, especially in English literature. It was also a year in which several boldly revisionary positions were first articulated in analytic philosophy. And it was a crucial year for the establishment of structural linguistics, of structuralist anthropology, and of cognitive psychology. Taken together these developments had a radical effect on our conceptions of individual creativity and of the inheritance of tradition. The present essay attempts to illuminate the relationships among these developments, (...)
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  40. Nietzsche on Psychology, Creativity and History.Stefan Schindler - manuscript
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  41.  95
    Mental Imagery and Creativity: Cognition, Observation and Realization.William Brant - 2013 - Saarbrücken, Germany: Akademikerverlag.
    Mental images, or envisioning things with your "mind's eye," are now studied via multiple levels of observation and involve computational neuroscience, robotics and many disciplines that complement philosophy and form integral parts of cognitive science. MENTAL IMAGERY AND CREATIVITY offers an historical analysis of the use of "mental images" in science. This book also gives many useful illustrations, depicting roles of imagery with 21st century technology, including the usage of imagery, fMRIs and internet connections, allowing people to control virtual (...)
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  42.  44
    How Artistic Creativity is Possible for Cultural Agents.Aili Bresnahan - 2015 - In Nordic Studies in Pragmatism. Helsinki, Finland: pp. 197-216.
    Joseph Margolis holds that both artworks and selves are ”culturally emergent entities." Culturally emergent entities are distinct from and not reducible to natural or physical entities. Artworks are thus not reducible to their physical media; a painting is thus not paint on canvas and music is not sound. In a similar vein, selves or persons are not reducible to biology, and thought is not reducible to the physical brain. Both artworks and selves thus have two ongoing and inseparable ”evolutions”—one cultural (...)
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  43.  46
    Light Signifying Form: Peirce on Creativity, Responsiveness and Emergence in Quantum, Biological and Linguistic Systems.Timothy M. Rogers - manuscript
    Using Peirce as a guide, this paper explores the way in which light mediates finitude through the relational process of semiosis. Embodying the triadic logic of identity, difference and return, light creates space, time and matter. Attention is on simple bodily forms and the meta-physics of their relationality. The first section introduces the mathematical and metaphysical contours of Peirce’s approach. The second section motivates Peirce’s three categories as interwoven process. In the third section, Peirce’s formalism of the sign is presented (...)
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  44. Chung‐Ying Cheng: Creativity, Onto‐Generative Hermeneutics, and the Yijing.Eric Nelson - 2016 - Journal of Chinese Philosophy 43 (1-2):124-135.
    The hermeneutical dimensions of Chinese philosophy from the Changes of Zhou through its Confucian, Daoist, and contemporary developments have been a creative inspirational source and guiding intellectual thread in the thought of Chung-ying Cheng. Cheng's extensive engagement with the Classic of Changes, its role in the formation of the Chinese philosophical tradition and its comparative interconnections with occidental philosophies, has disclosed its deep hermeneutical orientation. The Yijing encompasses processes of empirical observation, empathetic feeling, and self-reflection in the generation of “images,” (...)
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  45. Performing the Unexpected Improvisation and Artistic Creativity.Alessandro Bertinetto - 2012 - Daimon: Revista Internacional de Filosofía 57:117-135.
    In this paper I suggest that we look to improvisation in order to understand artistic creativity. Indeed, instead of being anti-artistic in nature, due to its supposed unpreparedness, inaccuracy, and repetitive monotony, improvisation in art exemplifies and 'fuels' artistic creativity as such. I elucidate the relationship between improvisation and artistic creativity in four steps. I discuss the concept of creativity in general (I) and in reference to art (II). Then I focus on the properties and the (...)
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  46.  47
    Evolutionary And Neurocognitive Approaches to Aesthetics, Creativity And the Arts.Paul Locher - 2007 - Baywood Publishing Company.
    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 (...)
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  47.  63
    Ciencia y creatividad en Friedrich Nietzsche. Science and creativity in Friedrich Nietzsche.Osman Daniel Choque Aliaga, Osman Daniel Choque Aliaga & Osman Daniel Choque-Aliaga - 2018 - Sociales 19:20-31.
    Abstract Both the subject of science and the notion of creativity in Nietzsche have not been studied with the attention they deserve. The subject of science, however, can be considered a thread of research that is attracting the attention of a large number of philosophers. The notion of creativity, for its part, occupies, among other notions, a little known place within the interests that revolve around the figure of the thinker of Röcken. Therefore, we intend to develop a (...)
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  48. The Role of Luck in Originality and Creativity.Peg Zeglin Brand Weiser - 2015 - Journal of Aesthetics and Art Criticism 73 (1):31-55.
    In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” (...)
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  49. The Synergetic View of Human Creativity.Helena Knyazeva - 1998 - Evolution and Cognition 4 (2):145-155.
    The heuristic value of synergetic models of evolving and self-organizing complex systems as well as their application to epistemological problems is shown in this paper. Nonlinear synergetic models turn out to be fruitful in comprehending epistemological problems such as the nature of human creativity, the functioning of human intuition and imagination, the historical development of science and culture. In the light of synergetics creative thinking can be viewed as a selforganization and self-completion of images and thoughts, filling up gaps (...)
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  50.  54
    Review of Maria Kronfeldner, Darwinian Creativity and Memetics, Acumen, 2011. [REVIEW]Arran Gare - 2012 - Notre Dame Philosophical Reviews:1-3.
    Review of Maria Kronfeldner, Darwinian Creativity and Memetics, Acumen, 2011.
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