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

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)

We reflect on the nature of art, the creative process, and the connection between art and philosophy.

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 (...) the experiential account is compared and it is pointed out that if creativity is a natural kind, it is not a functional/computational, but an experiential natural kind. (shrink)

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 (...) opposed to with the objective to deform or distort religion and culture. Thus, the intention in a space of hybridity is often not to engage in Orientalism. Instead, the goal is to develop something new in a hybrid form. An opportunity arises in philosophy of education to adequately confront the problem of Orientalism that may develop in a space of hybridity. The author proposes a philosophical postcolonial framework that engages in a creative process that does not further Orientalism but rather develops something new with an ethic of hybrid responsibility for religion and culture. To illustrate this, the author uses Kuchipudi Indian Classical Hindu dance as an example. (shrink)

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 (...) creativity in relation to productive workplace learning. This article reveals how different ways of metaphorizing creativity carries distinct images, theoretical representations, and models of thought that provide openings and limitations for our ways of thinking about education and contemporary workplace learning. (shrink)

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 (...) this view is traditional common sense since we normally experience time’s arrow as reality and the present as our place in the stream of consciousness, but we err to imagine we are living in the actual present. The present of our daily experience is actually a specious present, according to E. Robert Kelly (later popularized by William James), or duration, according to Henri Bergson, an habitus, as elucidated by Kerby (1991), or, simply, the psychological present (Adams, 2010) – all terms indicating that our experienced present so consists of the past overlapping into the future that any potential for acting from the creative moment is crowded out. Yet, for philosophers of process from Herakleitos onward, it is the philosophies of change or process that treat time’s arrow and the creative fire of the actual present as realities. In this essay, I examine the most well known but possibly least understood process cosmology of Alfred North Whitehead to seek out this elusive but actual present. In doing so, I will also ask if process philosophy is itself an example of the creative imagination and if this relates to doing science. I conclude Whitehead's process philosophy falls short of allowing for the actual creative spontaneity of a dynamic (eternal) present. (shrink)

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, (...) 2015), and myself (Caruso 2012, 2013, forthcoming). Critics, however, often complain that adopting such views would have dire consequences for ourselves, society, morality, meaning, and the law. They fear, for instance, that relinquishing belief in free will and basic desert moral responsibility would leave us unable to adequately deal with criminal behavior, increase anti-social conduct, and undermine meaning in life. -/- In response, free will skeptics argue that life without free will and basic desert moral responsibility would not be as destructive as many people believe (see, e.g., Pereboom 2001, 2014; Waller 2011, 2015; Caruso 2016, forthcoming). According to optimistic skeptics, prospects of finding meaning in life or of sustaining good interpersonal relationships, for instance, would not be threatened. And although retributivism and severe punishment, such as the death penalty, would be ruled out, incapacitation and rehabilitation programs would still be justified (see Pereboom 2001, 2013, 2014; Levy 2012; Caruso 2016; Pereboom and Caruso, forthcoming). In this paper, I attempt to extend this general optimism about the practical implications of free will skepticism to the question of creativity. -/- In Section I, I spell out the question of creativity and explain why it’s relevant to the problem of free will. In Section II, I identify three different conceptions of creativity and explain the practical concerns critics have with free will skepticism. In Section III, I distinguish between three different conceptions of moral responsibility and argue that at least two of them are consistent with free will skepticism. I further contend that forward-looking accounts of moral responsibility, which are perfectly consistent with free will skepticism, can justify calling agents to account for immoral behavior as well as providing encouragement for creative activities since these are important for moral and creative formation and development. I conclude in Section IV by arguing that relinquishing belief in free will and basic desert would not mean the death of creativity or our sense of achievement since important and realistic conceptions of both remain in place. (shrink)

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 (...) work). What's more, this view could be applied by all of definitions of art e.g. Functionalism, Conventionalism or Hybrid Theories. Additionally, the writer has replied some objections, those ones would promote definitions of art without φ, it seems that they could not be successful to refuse φ, since, it appears that φ is a premise in every aesthetic judgment. Next, the writer has written some primary notes on creativity, those are come from contemporary literature of it, and it is argued that there is a relation between creativity and φ. It is also claimed that the relation is the same φ by the creative processes, creative products, and creative persons, both scientifically and philosophically; and so, the relation represents that φ is true. Besides that, the writer has presented two potential objections to the writer's aspect of creative products and the writer also tries to reply to those objections. Few writers have an attention to animal aesthetics. For instance, some have argued that animal aesthetics is possible. This means that animals could create arts, because, animals have sensation and pleasure is based on sensation, besides that, pleasure has a connection to aesthetic judgment, therefore, developed animals has aesthetic pleasure. On the other hand, some others have objected against this evolutionary perspective on animal-made art and have claimed that it is not possible. Those objections have twofold: epistemic aspect and conceptual aspect. The epistemic objection is that we do not access to neither the animal's mind nor their language's ability, also, it is not only true that there is no conceptual definition of the animal's aesthetic pleasure, but also, there is an intentional problem between aesthetic pleasure and aesthetic emotions. The writer has applied the φ by creativity to the philosophy of animal-made art, the writer revolutionarily illustrates that first of all, the normativity of the philosophy of animal-made art is prior to the descriptive one. Second of all, φ is principally the criterion to know that animal-made art is impossible. The writer's position recognises those works is marginally second order of animal aesthtics. It is owing to fact that the question, whether animal-made art is possible or not, is a normative question. If one does not concern normativity of the question, then the one could not get answer on the nature of it. Besides that, the one could not distinguish between on the one side, the pleasure of drinking water when the one's thirst may cause death, on the other side, the one's listening to music and pleasure's the listening when there is no urgent necessity of it. Also, the one need to identify of normativity of animal-made art, because, the one could generalize aesthetic judgments, if the one sets φ as the basis of it, and then, the one identifies that φ is one of the most fundamental basis in Aesthetics. The writer's argument to the priority and criterion of φ is that imagine the one argues that spiders could create art, but, there are some sorts of objections to this claim. First of all, spiders not only could not express their aesthetic judgments, hence, spiders do not possess φ. But also, suppose they have this ability, how they could save their semantic language of aesthetic judgment if they do not believe φ or if they believe not-φ how could it has not to be arbitrarily. Thereafter, we do not know φ of spiders, but also, normatively they could not have φ based on their mindful-cognitive-linguistic capacities. In the last part of this work, the writer argues that it is possible to make the human-made animal art through transplantation or chimera. Even though, it is clear that that would not be animal-made art, but, it could be named as human-made animal art. This new phenomenon has to fulfil the definitions of art and φ, consequently, they conceivably become alike human kind or more developed. (shrink)

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 (...) suggestive than systematic. While, as I argue elsewhere,3 there is a greater coherence to Whitehead’s statements about morality than is initially apparent, it is undeniable that he never attempted to develop a theory of morality. Yet it is unlikely that the state of the texts should shoulder all of the blame for the lack of consensus on the basic nature of process ethics. It would seem that there is a more fundamental problem lurking beneath the surface. Indeed, I suggest that there are at least five basic confusions — four substantive and one methodological — that have vitiated attempts to understand and develop a process approach to morality. Until these confusions are recognized and resolved, we will have no hope of understanding the promise or realizing the potential of the ethics of creativity. (shrink)

"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 (...) and superabundant, and what the younger generation appears to crave is more of the temperament of life in its philosophy, even though it were at some cost of logical rigor and formal purity." - William James (1904). -/- Abstract: The study of model-based reasoning (MBR) is one of the most interesting recent developments at the intersection of psychology and the philosophy of science. Although a broad and eclectic area of inquiry, one central axis by which MBR connects these disciplines is anchored at one end in theories of internal reasoning (in cognitive science), and at the other, in C.S. Peirce’s semiotics (in philosophy). In this paper, we attempt to show that Peirce’s semiotics actually has more natural affinity on the psychological side with ecological psychology, as originated by James J. Gibson and especially Egon Brunswik, than it does with non-interactionist approaches to cognitive science. In particular, we highlight the strong ties we believe to exist between the triarchic structure of semiotics as conceived by Peirce, and the similar triarchic stucture of Brunswik’s lens model of organismic achievement in irreducibly uncertain ecologies. The lens model, considered as a theory of creative abduction, provides a concrete instantiation of at least one, albeit limited, interpretation of Peirce’s semiotics, one that we believe could be quite fruitful in future theoretical and empirical investigations of MBR in both science an philosophy. (shrink)

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 (...) freedom in a way that goes beyond mere reference to epistemic progress and involves reference to the freedom to think independently as the freedom we mean when we point to creativity and when we point to academic freedom. The resulting causal independence account is not only epistemologically stronger than a progressivist account, it also allows to counter the curbing of academic freedom in the name of progress. The latter becomes key, for instance, when authoritarian political regimes limit or negate academic freedom with reference to an epistemic progress suitably defined for that regime. (shrink)

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 (...) mind-wandering, and (iii) the ways that mind-wandering can be task-related. We then survey three philosophical accounts that improve upon the current psychological definitions. We first present our account of mind-wandering as “unguided thinking”. Next we review Thomas Metzinger’s view that mind-wandering can be defined as thought lacking meta-awareness and cognitive agency, as well as Peter Carruthers’s and Fabian Dorsch’s definitions of mind-wandering as disunified thinking. We argue that these latter views are inadequate, and we show that our definition of mind-wandering as unguided thinking is not only conceptually and phenomenologically precise but also can be operationalized in a principled way for empirical research. (shrink)

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 (...) settled phenomena. This exercise of creativity is important, but ultimately, it contributes principally to the stability and identity of a community and reinforces its most firmly established features. Imagination, on the other hand, is more difficult, for it strikes at the very heart of that which is settled. Changes to that which is settled may not only be resisted, but may also be violently opposed. And yet, it is precisely the very ability and willingness to be open to such changes that may be of the most ethical and political significance. These differences between creativity and imagination are illustrated in the context of the practice of philosophy. (shrink)

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 (...) Classical Chinese philosophers in order to account for the interdependent and embedded character of human agency –what the author has denominated “adapting” or “adaptive agency” (yin 因). As opposed to more unilateral approaches to action also conceptualized in the Classical Chinese corpus, such as forceful and prescriptive agency, adapting requires great capacity of self and other-awareness, equanimity, flexibility, creativity, and response, which allows the agent to co-raise courses of action ad-hoc: unique and temporary solutions to specific, non-permanent, and non-generalizable life problems. Adapting is one of the world’s oldest philosophies of action, and yet it is shockingly new for contemporary audiences, who will find in it an unlikely source of inspiration to deal with our current global problems. This book explores the core conception of adapting both on autochthonous terms and by cross-cultural comparison, drawing on the European and Analytic philosophical traditions as well as on scholarship from other disciplines, opening a brand-new topic in Chinese and comparative philosophy. (shrink)

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, and to explain the foundational role played by mathematical, logical and information theory in all of them. (shrink)

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 restoration is less likely to occur as internalized mental schemes become more rigid in the elderly. Furthermore, the present study demonstrates that symmetry restoration may occur not only individually, in one’s mind, but also collectively, during collaborative creative activities, e.g. during small-group brainstorming sessions or creative improvisational performances. The possibility of collective symmetry restoration interacts well with the ideas in the field of relational ontology. Relational ontology highlights an important ontological role of relations. The ontological primacy is not given to individual entities, as in traditional metaphysics, but to relational structures and transformative relational processes (interactions). When accepting this assumption, we cannot imagine the situation when the actor’s mind could act absolutely independently and leave all of its relations as assumed in the compatibilist theory of free will. We argue that creative free action can be performed even in the case when the actor is entangled within their material, environmental, and social relational structures. (shrink)

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 (...) vocation, but from a distinctive romantic-idealist angle. I begin by demonstrating the influence of Fichte’s 1800 Vocation of Humanity on Günderrode’s thinking, which involves an investigation of both Fichte’s text and Günderrode’s critical response to it. I then turn to “Idea of the Earth” where I analyse Günderrode’s understanding of nature and the self in light of her critique of Fichte, and thereby distinguish her position from Fichte’s and from the position espoused by her fellow romantics and idealists. By reading “Idea of the Earth” alongside Fichte’s text and Günderrode’s remarks on it, this article sheds new light on both Günderrode’s understanding and defence of Naturphilosophie – against Fichte’s critique of it – and her distinctive contribution to romantic philosophies of nature. (shrink)

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 (...) path of human evolution are defined by descriptive (evolutionary efficiency) and creative-teleological (evolutionary correctly) parameters simultaneously, that cannot be instrumental reduced to others ones. Resulting volume of both parameters define the vectors of biological, social, cultural and techno-rationalistic human evolution by two gear mechanism ˗ genetic and cultural co-evolution and techno-humanitarian balance. The resultant each of them can estimated by the ratio of socio-psychological predispositions of humanization/dehumanization in mentality. Explanatory model and methodology of evaluation of creatively teleological evolutionary risk component of NBIC technological complex is proposed. Integral part of the model is evolutionary semantics (time-varying semantic code, the compliance of the biological, socio-cultural and techno-rationalist adaptive modules of human stable evolutionary strategy). (shrink)

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 (...) recent empirical work on analogical cognition as well as model applications to philosophical topics. Topics to be discussed include the epistemological distinction between implicit knowledge and explicit knowledge, the debate between empiricists and nativists, the frame problem, expertise, creativity and autism, cognitive architecture, and relational knowledge. Particular attention is given to Dedre Gentner and colleague’s structure-mapping theory – the most developed and widely accepted model of analogical cognition. (shrink)

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 (...) का दार्शनिक अध्ययन करते हैं तो हमें मानवीय प्रकृति, नैतिक मूल्यों, ज्ञान का क्षेत्र, राजनीतिक-स्वतन्त्रता और अनिवार्यता इत्यादि दर्शन के विभिन्न पहलुओं को भी समझना पड़ता है. प्रेम की प्रकृति (the nature of love), मित्रता (friendship), आत्माभिरुचि एवम अन्य (self-interest and others) , दूसरों से सम्बन्ध (relationships with strangers) और सामाजिक-सहभागिता (social participation) इत्यादि इस अध्ययन की विषयवस्तु में सम्मिलित है. इस शोध-पत्र का मुख्य उद्देश्य दर्शन और सृजनात्मकता में सम्बन्ध और मानवीय सम्बन्धों में इनकी उपयोगिता का अध्ययन करना है. (shrink)

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).

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 (...) to discuss the Hegel’s idealistic concept of philosophy of history. It also examines and demonstrates the views of other idealist philosophers like, Socrates, Plato and Aristotle. It also shows the how history of mathematics is a complementary of idealism as most of philosophers who were idealists are also great mathematicians. In this paper we are investigation the epistemological approach, logical and metaphysical approach to study the nature of history, meaning of history and structure of history. (shrink)

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 (...) interplay in our cogntive architecture. Based on the philosophical discourse of philosophy of mind, four types of imagination are indentified and conceptualized: sensory, propositional, experiential, and creative imagination. These categories are then employed on five phenomena that can be found in scientific and religious environments: metaphors, models, thought experiments, aspect perception, and - in the religious case - rituals. In relation to the concept of religious "seeing" I consider how imaginings may influence visionary experiences and visualization, and compare these phenomena with cases of scientific visualization and eureka experiences. In regard to scientific and religious models, a distinction is made between, on the one hand, two notions of truth and, on the other hand, truth-independent meaning-making. In light of these categories, I differentiate between, and critically discuss, the use of imagination in doxastic, non-doxastic and fictionalist accounts. In light of this investigation, I formulate and defend the position of interactivism, which acknowledges a constant interplay between different attitudes and mental states. In my examination of rituals and scientific and religious thought experiments, special attention is given to the mental capacity to recreate the experiences that are entailed in an imagined scenario. At the end of the investigation, I consider the possible impact that my study might have on how we view science and religion as well as the dialogue bewteen these two fields. (shrink)

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. (...) Second, a study of literature furnished him with the resources to develop a novel account of phenomenological “essences”, which holds that essences are revisable explanations of first-order experience. Both results have been overlooked by commentators. They demonstrate the systematic import of Merleau-Ponty’s philosophy of literature and language, and amount to a qualified extension of a basic Husserlian position. (shrink)

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 (...) ethical axiom, the result of a global social contract rather than of a new spirituality. I argue here that a coherent way to fight against potentially totalitarian absolutes is to replace them with a virtual absolute that cannot territorialise without deterritorialising at the same time: the Creal principle. (shrink)

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 (...) class='Hi'>creativity, 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)

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 (...) before the time it is in fact tokened, relative to the agent in question. Thoughts that meet these three conditions—agency, psychological novelty, and modal—are what may be called cognitive breakthroughs. Even if such breakthroughs are not necessary to or definitive of richer creativity, they are indeed central to much of creativity. The minimal analysis provides a more workable explanandum for theories of creativity of varied motivation and method. (shrink)

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 (...) implication: when you judge a product to be creative--attributing creativity--you are not just judging it to be new and valuable. Even if you did not witness how it was produced, you are also making a judgement about how it was produced. (shrink)

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 (...) AI safety; and cutting-edge developments in techniques to achieve AI, including machine learning, neural networks, dynamical systems. The book also discusses important applications of AI, including big data analytics, expert systems, cognitive architectures, and robotics. It offers a timely, yet very comprehensive snapshot of what is going on in the field of AI, especially at the interfaces between philosophy, cognitive science, ethics and computing. (shrink)

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.

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 (...) expertise often display a kind of brilliance or genius. We observe an intelligence that saturates the body. The unity of physicality and intellect, mind and body, meshed and melded. Apart from sports, people develop a host of other skills, including musical and artistic skills, linguistic and social skills, scientific and medical skills, military and political skills, engineering skills, computer skills, business skills, etc. What's more, skill acquisition and refinement occurs throughout the human lifespan. In the Introduction to the Routledge Handbook of Skill and Expertise, we introduce and contextualize the various chapters that compose the Handbook. Before providing substantive overviews of each chapter, we also discuss the topic of skill in general and its importance for various areas of philosophy. Chapters are organized into six sections: 1. Skill in the history of philosophy (East & West), 2. Skill in Epistemology, 3. Skill, Intelligence, and Agency, 4. Skill in Perception, Imagination, and Emotion, 5. Skill, Language, and Social Cognition, and 6. Skill and Expertise in Normative Philosophy. (shrink)

We offer a brief characterization of creativity, followed by a review of some of the reasons people have been skeptical about the possibility of explaining creativity. We then survey some of the recent work on creativity that is naturalistic in the sense that it presumes creativity is natural (as opposed to magical, occult, or supernatural) and is therefore amenable to scientific inquiry. This work is divided into two categories. The broader category is empirical philosophy, which (...) draws on empirical research while addressing questions that have traditionally been regarded as philosophical. The second category is experimental philosophy, a special branch of empirical philosophy in which experiments are designed (by philosophers) with the explicit purpose of addressing philosophical questions. All of this highlights the relative theoretical neglect of creativity, while at the same time suggesting ample opportunity for experimentally minded philosophers to break new ground. (shrink)

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 (...) work and to find common ground with those whom we protest and criticize. Through loving criticism, we look for and encourage the best in others and ourselves, trusting that nourishing our creative parts is intrinsically good. Love helps us find alternatives to oppositional thinking and violence so that we can create deep, lasting change. (shrink)

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

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 (...) the inner dynamics of reality, Bergson dismisses all forms of dualism and reductionist monism because both the absence of negativity and the swelling nature of time posit a creative process yielding a qualitatively diverse world. This graded oneness is how the lower level activates intensification by turning into limitation, making possible higher levels of achievement, in particular through the union of mind and body and the integration of openness and closed sociability. (shrink)

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 (...) and self-reflective thinking in schools and teacher training, and offers dialogical methods through the philosophy of Martin Buber, Emanuel Levinas and Paulo Freire. The program encourages adopting principles proposed by Martin Buber (1947, 1957, 1959), who perceived education as a dialogue among people whose humanity is fully manifested in its reciprocity. This is an unequivocal stance, maintaining that neither skillful technique nor exciting contents can replace the experience of the spontaneous, authentic concrete presence of the educator’s personality. The dialogic dimension of the program draws its significance from the principle of responsibility, as expressed by Emanuel Levinas (2003). It is based on the idea that the human being, as a speaking subject, does not place himself/herself in the center, but turns to the other. This committed attitude of the other must be expressed in education action, in clothing the naked and feeding the hungry as expressed by Paulo Freire (1973). These principles implemented in teacher education and teacher training requires active listening, a capacity to be response-able to environment in which teachers are situated and it seeks to uncover assumptions, reflect on concepts in use and assist the new teacher to be involve on a philosophical inquiry, as well as situating self-understanding in the context of philosophy of education. (shrink)

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 (...) (like painting something “moving” or engineering something “nifty”) whose descriptive realizers are not known in advance. Aesthetic creativity itself fundamentally consists in perceiving or conceiving of some modification of raw material or a medium as promoting or constituting a novel way of realizing the aspirational aim. Creative achievements like poems and paintings are then to our credit in virtue of being exercises of spontaneity that disclose a deep layer of our selves that is manifest in active perception of affordances, showing that there is something beautiful about the way we experience the world, as a Sally Rooney character puts it. As with other creditworthy achievements, what makes them difficult is that simply trying won’t suffice to make success likely – but unlike in many other cases, neither will trying hard, since we have no direct volitional or rational control over perceptual spontaneity. (shrink)

What is the relationship between negative experience, artistic production, and prudential value? If it were true that (for some people) artistic creativity must be purchased at the price of negative experience (to be clear: currently no one knows whether this is true), what should we conclude about the value of such experiences? Are they worth it for the sake of art? The first part of this essay considers general questions about how to establish the positive extrinsic value of something (...) intrinsically negative. The second part emphasizes the importance of various distinctions within the realm of the negative. We must distinguish between adversity (which is non-mental) and negative mental states, and between negative thoughts (or attitudes) and negative affect. Within the realm of negative affect, we must distinguish between negative emotions and moods, on the one hand, and negative affective perspectives on the other, and then between mildly negative affective perspectives and severely negative ones (for which I reserve the term ‘suffering’). These distinctions matter greatly, since different types of negative experience have very different degrees of prudential disvalue. Although many types of negative experience may be “worth it”—because their positive extrinsic value outweighs their negative value—this is rarely true of severe suffering. (shrink)

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.

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 (...) Eastern "other". These original essays creatively lay the groundwork needed to rethink dominant historical and conceptual categories from a wider perspective to arrive at a deeper, more plural and global understanding of the diverse nature of both philosophy and religion. -/- The volume will be of keen interest to scholars and students in the Philosophy of Religion, Asian and Comparative Philosophy and Religious Studies. (shrink)

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’ creativity. Therefore, scientists should accept realism and reject both pessimism and instrumentalism for the sake of scientific creativity and progress. (shrink)

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 (...) by the sciences are ultimately valuable insofar as they advance our emancipation from a state of existential alienation. I end by encouraging future investigations of such vertical explanations of the significance of certain virtues in the context of scientific enquiry. (shrink)

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 (...) of philosophy through the notions of Bildung, reflection, prudence and practical wisdom, as well as the requirement for each individual to take responsibility for actively shaping their life as an artwork. In this sense, each person is the artist responsible for living their own beautiful life. We argue that there are useful parallels between Schmid’s concept of the art of living and P4C, such as the ideal of a holistic philosophy that is “lived.” The pragmatic approach of P4C focuses on the embodied learner who practices critical, caring and creative thinking. Both P4C and Schmid’s theory are reminiscent of the Aristotelian notion of practical wisdom, which allows for an approach to an education for life that prepares students to develop their own art of living. (shrink)

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.

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)

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)

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 (...) phenomenology of improvisation (III). Finally, I explain why improvisation can be understood as an exemplifying instance of art creativity (IV). (shrink)