How can we account for the sudden appearance of such dazzling artists and scientists as Mozart, Shakespeare, Darwin, or Einstein? How can we define such genius? What conditions or personality traits seem to produce exceptionally creative people? Is the association between genius and madness really just a myth? These and many other questions are brilliantly illuminated in The Origins of Genius. Dean Simonton convincingly argues that creativity can best be understood as a Darwinian process of variation and selection. (...) The artist or scientist generates a wealth of ideas, and then subjects these ideas to aesthetic or scientific judgment, selecting only those that have the best chance to survive and reproduce. Indeed, the true test of genius is the ability to bequeath an impressive and influential body of work to future generations. Simonton draws on the latest research into creativity and explores such topics as the personality type of the genius, whether genius is genetic or produced by environment and education, the links between genius and mental illness, the high incidence of childhood trauma, especially loss of a parent, amongst Nobel Prize winners, the importance of unconscious incubation in creative problem-solving, and much more. Simonton substantiates his theory by examining and quoting from the work of such eminent figures as Henri Poincare, W. H. Auden, Albert Einstein, Marie Curie, Charles Darwin, Niels Bohr, and many others. For anyone intrigued by the spectacular feats of the human mind, The Origins of Genius offers a revolutionary new way of understanding the very nature of creativity. (shrink)

The target article ignores the crucial role of correlational methods in the behavioral and social sciences. Yet such methods are often mandated by the greater complexity of the phenomena investigated. This necessity is especially conspicuous in psychological research where its position in the hierarchy of the sciences implies the need for both experimental and correlational investigations, each featuring distinct assets.

The Simonton (1991) study of 120 classical composers may provide evidence for the existence of innate talent. A weighted multiplicative model of talent development provides a basis for evaluating the adequacy of Howe et al.'s conclusions.

Campbell (1960) proposed a “blind-variation and selective retention” model of creative cognition. Subsequent researchers have developed this BVSR model into a comprehensive theory of human creativity, one that recognizes that human creativity operates by more than one cognitive process. The question is then raised of how the BVSR model can be accommodated within the Hull et al. selectionist system.

Cultural evolution may be even more prolific in the generation of new forms than is biological evolution – especially when it takes the form of creative genius. Yet evolutionary theories have tended to overlook the factors that might select for outstanding individual creativity. A recent dual-inheritance theory is outlined and then integrated with the niche-construction theory of Laland et al.

This is a book review of Dean Simonton's Creativity in Science.

Mayo Clinic is recognized as a worldwide leader in innovative, high-quality health care. However, the Catholic mission and ideals from which this organization was formed are not widely recognized or known. From partnership with the Sisters of St. Francis in 1883, through restructuring of the Sponsorship Agreement in 1986 and current advancements, this Catholic mission remains vital today at Saint Marys Hospital. This manuscript explores the evolution and growth of sponsorship at Mayo Clinic, defined as “a collaboration between the Sisters (...) of St. Francis and Mayo Clinic to preserve and promote key values that the founding Franciscan sisters and Mayo physicians embrace as basic to their mission, and to assure the Catholic identity of Saint Marys Hospital.” Historical context will be used to frame the evolution and preservation of Catholic identity at Saint Marys Hospital; and the shift from a “sponsorship-by-governance” to a “sponsorship-by-influence” model will be highlighted. Lastly, using the externally-developed Catholic Identity Matrix (developed by Ascension Health and the University of St. Thomas, Minnesota), specific examples of Catholic identity will be explored in this joint venture of Catholic health care institution and a secular, nonprofit corporation (Mayo Clinic). (shrink)

Keith Augustine’s critical evaluation of the essay contest sponsored by the Bigelow Institute of Consciousness Studies (BICS) is an interesting but problematic review. It mixes reasonable and detailed criticisms of the contest and many of the winning essays with a disappointing reliance on some of the most trite and superficial criticisms of parapsychological research. Ironically, Augustine criticizes the winning essays for using straw-man arguments and cherry-picked evidence even though many of his own arguments commit these same errors.

Keith Reader _Robert Bresson_ Manchester and New York: Manchester University Press, 2000 ISBN 0 7190 5365 X (hardback) 0 7190 5366 8 (paperback) 166 pp.

Description: Since its inception, the discussion surrounding Open Theism has been dominated by polemics. On crucial philosophical issues, Openness proponents have largely been devoted to explicating the underlying framework and logical arguments supporting their perspective against competing theological and philosophical perspectives. As a result, very little constructive work has been done on the interconnections between Open Theism and the natural sciences. Given the central place of sciences in today's world, any perspective that hopes to have a broad impact must necessarily (...) address such disciplines in a sustained and constructive manner. To date such engagements from the Openness perspective have been rare. God in an Open Universe addresses this deficiency. This book demonstrates that Open Theism makes a distinctive and highly fruitful contribution to the conversation and constructive work occurring between philosophy, theology, and the sciences. The various essays explore subjects ranging from physics to prayer, from special relativity to divine providence, from metaphysics to evolution, and from space-time to God. All who work at the intersection of theology and the sciences will benefit greatly from these essays that break new ground in this important conversation. Endorsements: ""These essays present what is, in my view, the most promising development in theological thinking in our time, and they do so in a way that is both scholarly and accessible. The book is a must for anyone interested in Christian faith and in science."" -Keith Ward University of Oxford ""Open theists affirm the same openness of the future that religious believers assume when they pray and almost all humans assume when they act. The open future is intuitive; but can it be rigorously defended? God in an Open Universe shows that it can. Open theism has always been an attractive view of God; now it becomes a philosophically rigorous one as well. -Philip Clayton Claremont School of Theology About the Contributor(s): William Hasker is Profesor Emeritus of Philosophy at Huntington University. He is the author of numerous articles and five books, including The Emergent Self and The Triumph of God Over Evil. Thomas Jay Oord is Professor of Theology and Philosophy at Northwest Nazarene University. He is the author or editor of more than a dozen books, including Defining Love and Creation Made Free. Dean Zimmerman is Professor in the philosophy department at Rutgers, The State University of New Jersey. He is editor or co-editor of several books, including (with Peter van Inwagen) Persons: Human and Divine. (shrink)

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)

This essay develops a theological naturalism using Gordon Kaufman's nonpersonal idea of God as serendipitous creativity in contrast to the personal metaphorical theology of Sallie McFague. It then develops a Christian theological naturalism by using Kaufman's idea of historical trajectories, specifically Jesus trajectory1 and Jesus trajectory2. The first is the trajectory in the early Christian church assuming a personal God in the framework of Greek philosophy that results in the Trinity. The second is the naturalistic-humanistic trajectory of creativity (God) that (...) evolves from nonpersonal interactions in the universe and life to creativity in persons and is manifested in Jesus as love. This is elaborated further with Dean Keith Simonton's Darwinian understanding of genius and Marcus Borg's analysis of Jesus as Jewish mystic, teacher of alternative wisdom, and nonviolent resister to the domination system of the Roman Empire. What makes Jesus a religious genius is his exemplifying unconditional, universal love—a new mode of creativity (God) that has evolved from nonhuman to a human form. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 181-196 [Access article in PDF] Bookmarks What is Genius? Denis Dutton There's a school of thought which holds that there's nothing much of interest that can be said about genius. The root idea is older than Kant, but it was well summarized by him: genius is a natural endowment, deep, strange, and mysterious, at least with respect to putative explanations. Schubert can get up (...) in the morning and before lunch knock off five songs that captivate us hundreds of years later. There's no way for us to account for this, and we ought not to expect, Kant claims, that genius can explain itself either: Schubert doesn't have a clue how he does it.Yet trying to figure out how creative geniuses do it remains a permanent source of fascination, most of it fairly naïve. When the ingénue reporter is sent out by the City Editor to interview the famous, crusty old novelist, the first question is normally, "Where do you get your ideas?" Of course, if the novelist knew that, he'd not be likely to blab it in the press. Kant's point is that he cannot really know; no one can. Monroe Beardsley relays a story about Picasso, who claimed to suffer from "an indigestion of greenness" from walking in the woods on a summer's day: "I must empty this sensation into a picture," Picasso said. "Green dominates it. The painter paints as if in urgent need to discharge himself of his sensations and his visions." Beardsley observes that green indigestion could have been even more plausibly used to "explain" a red painting ("I needed an antidote to all that green"), or a pen-and-ink drawing ("I needed to get away from color"), or anything else. There is in this a general point about why we are so often disappointed by interviews with artists. The artist can do; the artist can't explain how. [End Page 181]It does not follow, however, that nothing of interest can be learned, at least at a descriptive level, about genius. Dean Keith Simonton has spent most of a career looking at the subject as a psychologist, and his Origins of Genius: Darwinian Perspectives on Creativity (Oxford University Press, $27.50) ties together much of his research and that of others in a way that extends thinking on genius far beyond armchair meditations or mere platitudes. At the heart of Simonton's project are two very different ideas: first, he argues that evolution and processes of natural selection provide illuminating models to explain the existence and operation of creative genius in the sciences and the arts. Second, he propounds a rather more dubious thesis, that the process of natural selection itself is an adequate model for understanding genius at work, that the history of human ideas demonstrates a kind of secondary evolution. To these hypotheses, Simonton adds a further Darwinian overlay: he returns repeatedly to the personality and biography of Charles Darwin himself as the paradigm of a life of creative genius. While this has the advantage of anchoring the discussion, giving it a kind of ostinato ground, it diverts Simonton from the manifestations of genius, especially artistic genius, which do not resemble Darwin's personal example.Creative genius is defined by Simonton as the capacity to originate scientific discoveries, artistic works, technical inventions, or engage in political leadership, in a manner that achieves what is conventionally termed eminence. The eminent person creates, discovers, or invents something that passes the test of time and, like the similar test devised by Hume to mark out artistic greatness, appeals to cultures beyond that of the original act of creation. It is not hard for the philosophically trained reader to devise counter-examples to Simonton's general theses, but the value of his book does not require a rigorous definition at the outset. Whatever genius is, and however we might dispute it, there is no doubting that Leonardo Da Vinci, Shakespeare, Newton, and Einstein count as creative geniuses in Simonton's sense. High raw IQ is frequently associated with genius... (shrink)

Contents: PART I. PHILOSOPHICAL EXPLANATIONS OF CREATIVITY AND CONSCIOUSNESS. Krystyna ZAMIARA: The psychological approach to creativity. A critical appraisal. Rick L. FRANKLIN: Creativity and depth in understanding. Zdzis??l??awa PIATEK: Creativity of life and F.W. Nietzsche's idea of Superman. Jaromír JANOUSEK: Dialogue and joint activity: A psychological approach. Krystyna ZAMIARA: Some remarks on Piaget's notion of "consciousness" and its importance for the studies of culture. Anna GA??L??DOWA, and Aleksander NELICKI: Attitudes towards values as a factor determining creativity. PART II. THE ROLE (...) OF CREATIVITY IN THE THEORY-BUILDING. Leszek NOWAK: On creativity in theory-building. Izabella NOWAK: Discovery and correspondence. A contribution to the idealizational approach to science. Jerzy BRZEZI??N??SKI: Research process in psychology in the context of the researcher's methodological consciousness. Andrzej FALKOWSKI: Cognitive similarity in scientific discovery: An ecological approach. PART III: CONSCIOUSNESS IN HISTORICAL PERSPECTIVE. Kathleen V. WILKES: Inside insight. Franco DI MARIA, and Gioacchino LAVANCO: History and epistemology of the unconscious. Franco DI MARIA, and Gioacchino LAVANCO: Conscious/unconscious and group-analysis. Banjamin WALLACE, Andrzej KOKOSZKA, and Deanna D. TUROSKY: Historical and contemporary thoughts on consciousness and its altered states. PART IV. BETWEEN EXPRESSION AND PROJECTION. Micha??l?? STASIAKIEWICZ: Creativity and projection: Paradigm opposition and implicit correspondence. Anna BRZEZI??N??SKA: Creative expression versus projection. PART V. THE ROLE OF PSYCHOPHYSIOLOGICAL COMPONENTS IN EXPLANATION OF PHENOMENA OF CONSCIOUSNESS AND CREATIVITY. Mario BUNGE: Explaining creativity. Piotr WOLSKI: Hemispheric asymmetry and consciousness. Is there any relationship? Andrzej KOKOSZKA: A rationale for psychology of consciousness. PSYCHOLOGICAL EXPLANATIONS OF CREATIVITY AND CONSCIOUSNESS. Santo DI NUOVO: Consciousness and attention. Tomasz MARUSZEWSKI: Two looks on consciousness. Is there any interface between philosophy of science and psychology? Marek KOWALCZYK: On the question of the functions of consciousness. Dean Keith SIMONTON: From childhood giftedness to creative genius. Magdalena FAFROWICZ, Tadeusz MAREK, and Czes??l??aw NOWOROL: Effectiveness of innovation as a function of creative style of behavior and type of leadership. Mark A. RUNCO, and Joni RADIO GAYNOR: Creativity and optimal development. (shrink)

A central issue in epistemology concerns the connection between truth and justification. The burden of our paper is to explain this connection. Reliabilism, defended by Goldman, assumes that the connection is one of reliability. We argue that this assumption is too strong. We argue that foundational theories, such as those articulated by Pollock and Chisholm fail to elucidate the connection. We consider the potentiality of coherence theories to explain the truth connection by means of higher level convictions about probabilities, which (...) we call doxastic ascent, and defend such a theory. Our defense appeals to the work of Reid and contemporary cognitive psychology in order to account for the psychological reality of higher level evaluations. (shrink)

Property dualism is enjoying a slight resurgence in popularity, these days; substance dualism, not so much. But it is not as easy as one might think to be a property dualist and a substance materialist. The reasons for being a property dualist support the idea that some phenomenal properties (or qualia) are as fundamental as the most basic physical properties; but what material objects could be the bearers of the qualia? If even some qualia require an adverbial construal (if they (...) are modifications of the thing that is conscious because of them, not properties of something else to which the subject of consciousness is related), then the property dualist can be driven to speculative forms of materialism none of which, at this point, looks more likely to be true than the more modest versions of emergent dualism defended by contemporary substance dualists. (shrink)

Bringing together leading international scholars within the fields of social and political theory and philosophy, this book explores how we should understand work and its role(s) in our lives and wider society. -/- What challenges are posed by work in our changing economy and the new economic forms that are beginning to emerge, and how can we best address these challenges? In what ways do patterns of working, as well as work technologies, shape people’s lives within and outside work, in (...) particular their life opportunities and their social and natural environment? How might we organize—or seek to reorganize—workplaces so that the experience of work better reflects our shared ethical ideals and normative principles? This volume examines these vital questions in a comprehensive and systematic manner in order to provide much needed theoretical insight and practical guidance in reflecting on the nature, problems, and possibilities of work currently. -/- This book will be of interest to undergraduate and postgraduate students and established academics in the areas of contemporary political theory and philosophy, social theory, legal philosophy, labour studies, the sociology of work, practical ethics, critical theory, and political activism. (shrink)

When Wet’suwet’en matriarch Freda Huson declared that ‘reconciliation is dead’ and called on supporters to ‘Shut Down Canada’, activists responded with a nationwide series of blockades and occupations. Many commenters, even those sympathetic to the Wet’suwet’en, rushed to defend the idea of reconciliation. Such responses fail to take the contributions this movement offers to decolonial thought seriously. Drawing on interviews with movement participants, I explore what participants mean by reconciliation and what they intend by declaring it dead, showing how participants (...) reject forms of decolonization that center the needs of the settler state. I also explore Land Back as an emerging, grassroots alternative to reconciliation that centers the resurgence of Indigenous governance systems in place of the settler state. Finally I explore settlers’ place within this project and considers its relation to the resurgence school of thought. (shrink)

Psychological-epistemic accounts take scientific progress to consist in the development of some psychological-epistemic attitude. Disagreements over what the relevant attitude is – true belief, knowledge, or understanding – divide proponents of thesemantic,epistemic,andnoeticaccounts of scientific progress, respectively. Proponents of all such accounts face a common challenge. On the face of it, only individuals have psychological attitudes. However, as I argue in what follows, increases in individual true belief, knowledge, and understanding are neither necessary nor sufficient for scientific progress. Rather than being (...) fatal to the semantic, epistemic, and noetic accounts, this objection shows that these accounts are most plausible when they take the psychological states relevant to scientific progress to be states of communities, rather than individuals. I draw on recent work in social epistemology to develop two ways in which communities can be the bearers of irreducible psychological-epistemic states. Each way yields a strategy by which proponents of one of the psychological-epistemic accounts might attempt to account for the social dimensions of scientific progress. While I present serious reasons for concern about the first strategy, I argue that the second strategy, at least, offers a promising path forward for a psychological-epistemic account of scientific progress. (shrink)

"I am delighted to offer my highest praise to Dean Cocking and Jeroen van den Hoven's brilliant new book, Evil Online. The confrontation between good and evil occupies a central place in the challenges facing our human nature, and this creative investigation into the spread of evil by means of all-powerful new technologies raises fundamental questions about our morality and values. Cocking and Van den Hoven's account of the moral fog of evil forces us to face both the demons (...) within each of us as well as the demons all around us. In the end, we are all enriched by their perceptive analyses." —Phil Zimbardo, Professor Emeritus of Psychology, Stanford University Principal Investigator, Stanford Prison Experiment "The internet offers new and deeply concerning opportunities for immorality, much of it shocking and extreme. This volume explains with great insight and clarity the corrupting nature of the internet and the moral confusion it has produced. It will play a vital role in the growing debate about how to balance the benefits of the internet against the risks it poses to all of us. Evil Online is an excellent book." —Roger Crisp, Professor of Moral Philosophy, University of Oxford We now live in an era defined by the ubiquity of the internet. From our everyday engagement with social media to trolls on forums and the emergence of the dark web, the internet is a space characterized by unreality, isolation, anonymity, objectification, and rampant self-obsession—the perfect breeding ground for new, unprecedented manifestations of evil. Evil Online is the first comprehensive analysis of evil and moral character in relation to our increasingly online lives. Chapters consider traditional ideas around the phenomenon of evil in moral philosophy and explore how the dawn of the internet has presented unprecedented challenges to older theoretical approaches. Cocking and Van den Hoven propose that a growing sense of moral confusion—moral fog—pushes otherwise ordinary, normal people toward evildoing, and that values basic to moral life such as autonomy, intimacy, trust, and privacy are put at risk by online platforms and new technologies. This new theory of evildoing offers fresh insight into the moral character of the individual, and opens the way for a burgeoning new area of social thought. A comprehensive analysis of an emerging and disturbing social phenomenon, Evil Online examines the morally troubling aspects of the internet in our society. Written not only for academics in the fields of philosophy, psychology, information science, and social science, Evil Online is accessible and compelling reading for anyone interested in understanding the emergence of evil in our digitally-dominated world. (shrink)

The ‘friends of temporal parts’ and their opponents disagree about how things persist through time. The former, who hold what is sometimes called a ‘4D’ theory of persistence, typically claim that all objects that last for any period of time are spread out through time in the same way that spatially extended objects are spread out through space — a different part for each region that the object fills. David Lewis calls this manner of persisting ‘perdurance’. The opposing, ‘3D’ theory (...) has it that at least some objects do not persist in this manner; they ‘endure’ through time by ‘being wholly present at more than one time’.1 A related dispute pits ‘presentists’ against ‘non-presentists’. Presentists hold that the only things that really exist are those that exist now, at the present moment; and nonpresentists believe in something like a ‘block-universe’ in which non-simultaneous objects and events nevertheless co-exist (in a tenseless or non-temporal sense). Of late, the relations between these four positions have come under considerable scrutiny.2 As Ned Markosian has pointed out, it would be surprising if commitment to a perdurance or endurance theory of persistence automatically foreclosed one’s options in the presentism—non-presentism debate. But, says Markosian, that is just what the standard formulations of the perdurance and endurance theories imply.3 David Lewis has set the terms of the debate; in his usage, someone who thinks that all persisting objects endure would be said to hold the following. (shrink)

We cannot escape Indiana Jones! (Not that we would want to, of course.) Harrison Ford deserves credit for the character's popularity. His ability to subtly play up Indy's foibles while playing down the character's heroism, makes Indiana Jones relatable. Of course, Lucas and the screenwriters are also responsible, as they magnificently depict Indy battling antagonists seeking to possess mystical objects for world domination. But Indy is no mere action hero. He also struggles with unrequited love that lingers for decades, an (...) estrangement from his over-bearing father that lasts just as long, and a life-long obsession with regaining an important object unfairly taken from him. As we know, Indy doesn't always choose wisely, and if the Young Indiana Jones Chronicles are to be trusted, he made many missteps in his youth on the way to becoming the hero we know and love. Indy loses a fight as often as he wins, and when he wins, he doesn't always fight fairly. In fact, he stumbles so often, one might wonder why he persists decade after decade toward his goals. He's not getting any younger. What's the point? And, as he inexplicably trudges on, he-in the four films and various graphic novels-has many alleged encounters with the supernatural. He's not a religious person (at all), so what should he make of those? Should he take the leap of faith and become a believer? While we often see him conducting his highly unconventional fieldwork, spending an unusual amount of time in caves, he cannot completely ignore his "day job" teaching undergraduates and aiding their pursuit of knowledge. But why should archaeologists strive to put artifacts in a museum, or search for "fact," but not "truth" (and who is Dr. Tyree, anyway)? The Indiana Jones character is expressive of the human condition, vividly illuminating our struggles and issues on the big screen. True, we don't have John Williams's orchestra filling us with pride when we manage to do the right thing or play the part of the hero. Still, no one would blame you if you imagined Indy's theme blaring in the background while rising to meet a challenge! (shrink)