Results for 'philosophy of creativity'

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  1. 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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  2. 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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  3. 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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  4.  96
    Art, Philosophy, and Creativity.Said Mikki - manuscript
    We reflect on the nature of art, the creative process, and the connection between art and philosophy.
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  5. 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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  6. The Postcolonial Pedagogical Challenge of Creativity.Sabrina D. MisirHiralall - 2017 - Religion and Education 2 (44):1-18.
    Edward Said pointed to the problem of Orientalism that develops when the West creates a fictitious imagined version of Eastern religion and culture. Said’s notion of Orientalism focuses on the general distorted representation of Eastern religion and culture by the West. Homi Bhabha extends Said’s notion of Orientalism to reveal the tension of the inevitable hybridity between the East and the West. Here, cultural practices develop in the space of hybridity with the intention to promote a feeling of coherence as (...)
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  7. 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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  8. Whitehead & the Elusive Present: Process Philosophy's Creative Core.Gregory M. Nixon - 2010 - Journal of Consciousness Exploration and Research 1 (5):625-639.
    Time’s arrow is necessary for progress from a past that has already happened to a future that is only potential until creatively determined in the present. But time’s arrow is unnecessary in Einstein’s so-called block universe, so there is no creative unfolding in an actual present. How can there be an actual present when there is no universal moment of simultaneity? Events in various places will have different presents according to the position, velocity, and nature of the perceiver. Standing against (...)
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  9. 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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  10. Philosophy of Animal-Made Art | فرزانشِ هنرِ جانور-ساخت.Pouya Lotfi Yazdi - manuscript
    This work has been presented at the Research Center for Philosophy of Science of the Ferdowsi University of Mashhad (Iran) – Aug 2020. In this article, first of all, I (hereafter: the writer) have presented an interpretation of aesthetic universality (hereafter: φ) and it is argued that each definition of art has to admit φ and this is a Kantian, minimalist and subjective perspective (some others would incline objective interpretation of φ, but, it is beyond the purpose of this (...)
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  11. Is There an Ethics of Creativity?Brian G. Henning - 2006 - Chromatikon 2:161-173.
    Is there an ethics of creativity? Though this question appears innocent enough, it proves surprisingly difficult to answer. A survey of the literature on the topic reveals that process ethics has variously been categorized as or seen as compatible with: moral interest theory, ecological virtue ethics, utilitarianism, Confucian virtue ethics, and even deontology. What can account for such divergent and even contradictory conclusions? On one level we might blame Whitehead, whose sporadic comments on morality may appear to be more (...)
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  12. Naturalizing Peirce's Semiotics: Ecological Psychology's Solution to the Problem of Creative Abduction.Alex Kirlik & Peter Storkerson - 2010 - In W. Carnielli L. Magnani (ed.), Model-Based Reasoning in Science and Technology. pp. 31--50.
    "It is difficult not to notice a curious unrest in the philosophic atmosphere of the time, a loosening of old landmarks, a softening of oppositions, a mutual borrowing from one another on the part of systems anciently closed, and an interest in new suggestions, however vague, as if the one thing sure were the inadequacy of extant school-solutions. The dissatisfactions with these seems due for the most part to a feeling that they are too abstract and academic. Life is confused (...)
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  13.  85
    The Freedom We Mean: A Causal Independence Account of Creativity and Academic Freedom.Maria Kronfeldner - 2021 - European Journal for Philosophy of Science 11 (2):1-23.
    Academic freedom has often been defended in a progressivist manner: without academic freedom, creativity would be in peril, and with it the advancement of knowledge, i.e. the epistemic progress in science. In this paper, I want to critically discuss the limits of such a progressivist defense of academic freedom, also known under the label ‘argument from truth.’ The critique is offered, however, with a constructive goal in mind, namely to offer an alternative account that connects creativity and academic (...)
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  14. The Philosophy of Mind Wandering.Irving Zachary & Thompson Evan - forthcoming - In Fox Kieran & Christoff Kalina (eds.), Oxford Handbook of Spontaneous Thought and Creativity. Oxford University Press.
    Our paper serves as an introduction to a budding field: the philosophy of mind-wandering. We begin with a philosophical critique of the standard psychological definitions of mind-wandering as task-unrelated or stimulus-independent. Although these definitions have helped bring mind-wandering research onto centre stage in psychology and cognitive neuroscience, they have substantial limitations that researchers must overcome to move forward. Specifically, the standard definitions do not account for (i) the dynamics of mind wandering, (ii) task-unrelated thought that does not qualify as (...)
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  15.  57
    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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  16.  27
    Adapting: A Chinese Philosophy of Action.Mercedes Valmisa - 2021 - New York, NY, USA: Oxford University Press.
    Philosophy of action in the context of Classical China is radically different from its counterpart in the contemporary Western philosophical narrative. Classical Chinese philosophers began from the assumption that relations are primary to the constitution of the person, hence acting in the early Chinese context necessarily is interacting and co-acting along with others –human and nonhuman actors. This book is the first monograph dedicated to the exploration and rigorous reconstruction of an extraordinary strategy for efficacious relational action devised by (...)
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  17.  79
    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 (...)
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  18. 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, (...)
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  19.  74
    The Human Vocation and the Question of the Earth: Karoline von Günderrode's Philosophy of Nature.Dalia Nassar - forthcoming - Archiv für Geschichte der Philosophie 104.
    Contra widespread readings of Karoline von Günderrode’s 1805 “Idea of the Earth (Idee der Erde)” as a creative adaptation of Schelling’s philosophy of nature, this article proposes that “Idea of the Earth” furnishes a moral account of the human relation to the natural world, one which does not map onto any of the more well-known romantic or idealist accounts of the human-nature relation. Specifically, I argue that “Idea of the Earth” responds to the great Enlightenment question concerning the human (...)
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  20. Anthropocene: The philosophy of Biotechnology.Valentin Cheshko, Glazko Valery & Ivanitskaya Lida - 2018 - Moscow, Russia: Kurs INFRA-M.
    The theory of evolution of complex, including the humans system and algorithm for its constructing are a synthesis of evolutionary epistemology, philosophical anthropology and concrete scientific empirical basis in modern science,. In other words, natural philosophy is regaining the status bar element theoretical science in the era of technology-driven evolution. The co-evolutionary concept of 3-modal stable evolutionary strategy of Homo sapiens is developed. The concept based on the principle of evolutionary complementarity of anthropogenesis: value of evolutionary risk and evolutionary (...)
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  21. Analogical Cognition: Applications in Epistemology and the Philosophy of Mind and Language.Theodore Bach - 2012 - Philosophy Compass 7 (5):348-360.
    Analogical cognition refers to the ability to detect, process, and learn from relational similarities. The study of analogical and similarity cognition is widely considered one of the ‘success stories’ of cognitive science, exhibiting convergence across many disciplines on foundational questions. Given the centrality of analogy to mind and knowledge, it would benefit philosophers investigating topics in epistemology and the philosophies of mind and language to become familiar with empirical models of analogical cognition. The goal of this essay is to describe (...)
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  22. 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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  23. Afterword to The Philosophy of Aristotle.Susanne Bobzien - 2011 - In Renford Bambrough & Susanne Bobzien (eds.), The Philosophy of Aristotle. Signet Classics.
    ABSTRACT: This is a little piece directed at the newcomer to Aristotle, making some general remarks about reading Aristotle at the beginning and end, with sandwiched in between, a brief and much simplified discussion of some common misunderstandings of Aristotle's philosophy, concerning spontaneity, causal indeterminism, freedom-to-do-otherwise, free choice, agent causation, logical determinism, teleological determinism, artistic creativity and freedom (eleutheria).
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  24. Hegel’s Idealistic Approach to Philosophy of History.Mudasir A. Tantray - 2018 - International Journal of Creative Research Thoughts 6 (1):103-106.
    Philosophy of history is the conceptual and technical study of the relation which exists between philosophy and history. This paper tries to analyze and examine the nature of philosophy of history, its methodology and ideal development. In this I have tried to set the limits of knowledge to know the special account of Hegel’s idealistic view about philosophy of history. In this paper I have also used the philosophical methodology and philosophy inquiry, quest and hypothesis (...)
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  25. The Multifaceted Role of Imagination in Science and Religion. A Critical Examination of its Epistemic, Creative and Meaning-Making Functions.Ingrid Malm Lindberg - 2021 - Dissertation, Uppsala University
    The main purpose of this dissertation is to examine critically and discuss the role of imagination in science and religion, with particular emphasis on its possible epistemic, creative, and meaning-making functions. In order to answer my research questions, I apply theories and concepts from contemporary philosophy of mind on scientific and religious practices. This framework allows me to explore the mental state of imagination, not as an isolated phenomenon but, rather, as one of many mental states that co-exist and (...)
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  26. The Systematic Import of Merleau-Ponty’s Philosophy of Literature.Dimitris Apostolopoulos - 2018 - Journal of the British Society for Phenomenology 49 (1):1-17.
    Scholarly discussions of Merleau-Ponty’s aesthetics tend to focus on his philosophy of painting. By contrast, comparatively little attention has been paid to his philosophy of literature. However, he also draws significant conclusions from his work on literary expression. As I will argue, these reflections inform at least two important positions of his later thought. First, Merleau-Ponty’s account of “indirect” literary language led him to develop a hybrid view of phenomenological expression, on which expression is both creative and descriptive. (...)
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  27. On the Concept of Creal: The Politico-Ethical Horizon of a Creative Absolute.Luis De Miranda - 2017 - In The Dark Precursor: Deleuze and Artistic Research. Leuven University Press. pp. 510-516.
    Process philosophies tend to emphasise the value of continuous creation as the core of their discourse. For Bergson, Whitehead, Deleuze, and others the real is ultimately a creative becoming. Critics have argued that there is an irreducible element of (almost religious) belief in this re-evaluation of immanent creation. While I don’t think belief is necessarily a sign of philosophical and existential weakness, in this paper I will examine the possibility for the concept of universal creation to be a political and (...)
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  28. 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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  29. Minimally Creative Thought.Dustin Stokes - 2011 - Metaphilosophy 42 (5):658-681.
    Creativity has received, and continues to receive, comparatively little analysis in philosophy and the brain and behavioural sciences. This is in spite of the importance of creative thought and action, and the many and varied resources of theories of mind. Here an alternative approach to analyzing creativity is suggested: start from the bottom up with minimally creative thought. Minimally creative thought depends non-accidentally upon agency, is novel relative to the acting agent, and could not have been tokened (...)
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  30. 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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  31. 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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  32. Philosophy and Theory of Artificial Intelligence 2017.Vincent C. Müller (ed.) - 2017 - Berlin: Springer.
    This book reports on the results of the third edition of the premier conference in the field of philosophy of artificial intelligence, PT-AI 2017, held on November 4 - 5, 2017 at the University of Leeds, UK. It covers: advanced knowledge on key AI concepts, including complexity, computation, creativity, embodiment, representation and superintelligence; cutting-edge ethical issues, such as the AI impact on human dignity and society, responsibilities and rights of machines, as well as AI threats to humanity and (...)
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  33.  70
    The Educational Implications of Otherness and Responsibility in the Philosophy of Emmanuel Levinas in Work with People with Special Needs.Arie Kizel - 2010 - Ma’Agalei Nefesh: Journal for Psychology, Psychotherapy, Emotional Development and Creative Education 3:3-11.
    Otherness was at the center of the Levinese project, and in his ethics theory. In doing so, Levinas moved his project away from ontology, epistemology, and reason, to a point where the others are confronted in all its "nudes," to the point where it is recognizable that it cannot be reduced. In this article, I will examine the concepts of responsibility and the connection of the other person's humanism from his major books.
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  34. Introduction to Routledge Handbook of Philosophy of Skill and Expertise.Carlotta Pavese - forthcoming - In Routledge Handbook of Philosophy of Skill and Expertise. Oxford, UK:
    The diverse and breathtaking intelligence of the human animal is often embodied in skills. People, throughout their lifetimes, acquire and refine a vast number of skills. And there seems to be no upper limit to the creativity and beauty expressed by them. Think, for instance, of Olympic gymnastics: the amount of strength, flexibility, and control required to perform even a simple beam routine amazes, startles, and delights. In addition to the sheer beauty of skill, performances at the pinnacle of (...)
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  35. 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 (...)
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  36. Loving Criticism: A Spiritual Philosophy of Social Change.Sharon Doetsch-Kidder - 2012 - Feminist Studies 38 (2):444-473.
    This essay examines antiracist feminist writing and activist oral histories, finding in these scholars' and organizers' attention to the role of spirit in their work an approach it names “loving criticism.” Loving criticism seeks knowledge that does something besides expose the truth of oppression. It seeks to amplify kindness, creativity, love, and joy wherever it can find it, so that the critic, activist, and the world can draw on these resources. Love leads us to bring old knowledges into our (...)
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  37. Letter to a Friend on Creative Thinking and Intuiiton (Art, Writing, Philosophy, Science).Ulrich de Balbian - manuscript
    -/- Letter to a friend : Creative Thinking and Intuition Letter to a friend about creative thinking and intuition (art, writing, philosophy, science, etc ) .
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  38.  88
    Bergson’s Philosophy of Self-Overcoming: Thinking Without Negativity or Time as Striving.Messay Kebede - 2019 - Switzerland: Palgrave Macmillan.
    This book proposes a new reading of Bergsonism based on the admission that time, conceived as duration, stretches instead of passes. This swelling time is full and so excludes the negative. Yet, swelling requires some resistance, but such that it is more of a stimulant than a contrariety. The notion of élan vital fulfills this requirement: it states the immanence of life to matter, thereby deriving the swelling from an internal effort and allowing its conceptualization as self-overcoming. With self-overcoming as (...)
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  39. Cultivating Creativity and Self-Reflective Thinking Through Dialogic Teacher Education.Arie Kizel - 2012 - US-China Education Review 2 (2):237 – 249.
    A new program of teacher training in a dialogical spirit in order to prepare them towards working in the field of philosophy with children combines cultivating creativity and self-reflective thinking had been operated as a part of cooperation between the academia and the education system in Israel. This article describes the program that is a part of their practice towards co-operation between academia and schools as a part of PDS (Professional Development Schools) partnership. The program fosters creativity (...)
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  40.  57
    Creativity, Spontaneity, and Merit.Antti Kauppinen - forthcoming - In Alex King & Christy Mag Uidhir (eds.), Philosophy and Art: New Essays at the Intersection. Oxford University Press.
    Common sense has it that some of the greatest achievements that are to our credit are creative, whether artistic or otherwise. But standard theories of achievement and merit struggle to explain them, since the praiseworthiness of creative achievements isn’t grounded in effort, quality of will, disclosing the agent’s values, or even reasons-responsiveness. I argue that it’s distinctive of artistic or quasi-artistic creative activity that it is guided by what I call aspirational aims, which are formulated in terms of evaluative predicates (...)
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  41. Artistic Creativity and Suffering.Jennifer Hawkins - 2018 - In Berys Gaut & Matthew Kieran (eds.), Creativity and Philosophy. New York, NY, USA:
    What is the relationship between negative experience, artistic production, and prudential value? If it were true that (for some people) artistic creativity must be purchased at the price of negative experience (to be clear: currently no one knows whether this is true), what should we conclude about the value of such experiences? Are they worth it for the sake of art? The first part of this essay considers general questions about how to establish the positive extrinsic value of something (...)
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  42.  36
    Trouble-Shooting Creativity: A Critical Appraisal of David Bohm and F. David Peat's "Science Order & Creativity".Menachem Fisch - 1994 - History and Philosophy of the Life Sciences 16 (1):141 - 153.
    The problems divulged, analyzed and allegedly solved in Science, Order & Creativity are not scientific problems. They attest to a fundamental failure of science but not to scientific failure per se. Bohm and Peat's meta-scientific undertaking cannot afford, therefore, to remain negative. However, neither science itself nor current professional philosophy are capable of the radical positive rethinking required, in their view, in order to restore and ensure scientific creativity.
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  43.  13
    Asian Philosophies and the Idea of Religion: Beyond Faith and Reason.Sonia Sikka & Ashwani Kumar Peetush (eds.) - 2021 - Oxon, UK: Routledge.
    With a focus on Asian traditions, this book examines varieties of thought and self-transformative practice that do not fit neatly on one side or another of the standard Western division between philosophy and religion. -/- It contains chapters by experts on Buddhist, Confucian, Taoist, Hindu and Jain philosophies, as well as ancient Greek philosophy and recent contemplative and spiritual movements. The volume also problematizes the notion of a Western philosophical canon distinguished by rationality in contrast to a religious (...)
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  44. 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 (...)
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  45. Creativity in Science and the ‘Anthropological Turn’ in Virtue Theory.Ian James Kidd - 2020 - European Journal for Philosophy of Science 11 (1):1-16.
    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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  46. Philosophy for Children Meets the Art of Living: A Holistic Approach to an Education for Life.L. D'Olimpio & C. Teschers - 2016 - Philosophical Inquiry in Education 23 (2):114-124.
    This article explores the meeting of two approaches towards philosophy and education: the philosophy for children approach advocated by Lipman and others, and Schmid’s philosophical concept of Lebenskunst. Schmid explores the concept of the beautiful or good life by asking what is necessary for each individual to be able to develop their own art of living and which aspects of life are significant when shaping a good and beautiful life. One element of Schmid’s theory is the practical application (...)
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  47.  81
    '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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  48. 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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  49. Creative Imagining as Practical Knowing: An Akbariyya Account.Reza Hadisi - 2021 - Res Philosophica 98 (s):181-204.
    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 (...)
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  50. 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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