Search results for 'Creativity*' (try it on Scholar)

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  1. Bence Nanay (2014). An Experiential Account of Creativity. In Elliot Paul & Scott Barry Kaufman (eds.), The Philosophy of Creativity. Oxford University Press.score: 27.0
    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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  2. Peter Carruthers & Elizabeth Picciuto (forthcoming). The Origins of Creativity. In E. Paul & S. Kaufman (eds.), The Philosophy of Creativity. Oxford University Press.score: 27.0
    The goal of this chapter is to provide an integrated evolutionary and developmental account of the emergence of distinctively-human creative capacities. Our main thesis is that childhood pretend play is a uniquely human adaptation that functions in part to enhance adult forms of creativity. We review evidence that is consistent with such an account, and contrast our proposal favorably with a number of alternatives.
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  3. Richard McDonough (1993). Machine Predictability Versus Human Creativity. In Terry Dartnall (ed.), Artificial Intelligence and Creativity. 117-138.score: 27.0
    The paper argues that machines cannot duplicate human linguistic creativity because linguistic meaning is context dependent in a way that eludes any machine.
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  4. Arthur I. Miller (2007). Unconscious Thought, Intuition, and Visual Imagery: A Critique of "Working Memory, Cerebellum, and Creativity". Creativity Research Journal 19 (1):47-48.score: 24.0
  5. Maria Kronfeldner (2007). Darwinism, Memes, and Creativity: A Critique of Darwinian Analogical Reasoning From Nature to Culture. Dissertation, University of Regensburgscore: 24.0
    The dissertation criticizes two analogical applications of Darwinism to the spheres of mind and culture: the Darwinian approach to creativity and memetics. These theories rely on three basic analogies: the ontological analogy states that the basic ontological units of culture are so-called memes, which are replicators like genes; the origination analogy states that novelty in human creativity emerges in a "blind" Darwinian manner; and the explanatory units of selection analogy states that memes are "egoistic" and that they can spread independently (...)
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  6. Paul Thagard & Terrence C. Stewart (2011). The AHA! Experience: Creativity Through Emergent Binding in Neural Networks. Cognitive Science 35 (1):1-33.score: 24.0
    Many kinds of creativity result from combination of mental representations. This paper provides a computational account of how creative thinking can arise from combining neural patterns into ones that are potentially novel and useful. We defend the hypothesis that such combinations arise from mechanisms that bind together neural activity by a process of convolution, a mathematical operation that interweaves structures. We describe computer simulations that show the feasibility of using convolution to produce emergent patterns of neural activity that can support (...)
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  7. Maria Kronfeldner (2011). Darwinian Creativity and Memetics. Acumen.score: 24.0
    The book examines how Darwinism has been used to explain novelty and change in culture through the Darwinian approach to creativity and the theory of memes. The first claims that creativity is based on a Darwinian process of blind variation and selection, while the latter claims that culture is based on and explained by units - memes - that are similar to genes. Both theories try to describe and explain mind and culture by applying Darwinism by way of analogies. Kronfeldner (...)
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  8. Graeme Ritchie (2007). Some Empirical Criteria for Attributing Creativity to a Computer Program. Minds and Machines 17 (1):67-99.score: 24.0
    Over recent decades there has been a growing interest in the question of whether computer programs are capable of genuinely creative activity. Although this notion can be explored as a purely philosophical debate, an alternative perspective is to consider what aspects of the behaviour of a program might be noted or measured in order to arrive at an empirically supported judgement that creativity has occurred. We sketch out, in general abstract terms, what goes on when a potentially creative program is (...)
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  9. Y. J. Erden (2010). Could a Created Being Ever Be Creative? Some Philosophical Remarks on Creativity and AI Development. Minds and Machines 20 (3):349-362.score: 24.0
    Creativity has a special role in enabling humans to develop beyond the fulfilment of simple primary functions. This factor is significant for Artificial Intelligence (AI) developers who take replication to be the primary goal, since moves toward creating autonomous artificial-beings beg questions about their potential for creativity. Using Wittgenstein’s remarks on rule-following and language-games, I argue that although some AI programs appear creative, to call these programmed acts creative in our terms is to misunderstand the use of this word in (...)
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  10. Tomas Georg Hellström (2011). Aesthetic Creativity: Insights From Classical Literary Theory on Creative Learning. Educational Philosophy and Theory 43 (4):321-335.score: 24.0
    This paper addresses the subject of textual creativity by drawing on work done in classical literary theory and criticism, specifically new criticism, structuralism and early poststructuralism. The question of how readers and writers engage creatively with the text is closely related to educational concerns, though they are often thought of as separate disciplines. Modern literary theory in many ways collapses this distinction in its concern for how literariness is achieved and, specifically, how ‘literary quality’ is accomplished in the textual and (...)
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  11. Melissa S. Baucus, William I. Norton, David A. Baucus & Sherrie E. Human (2008). Fostering Creativity and Innovation Without Encouraging Unethical Behavior. Journal of Business Ethics 81 (1):97 - 115.score: 24.0
    Many prescriptions offered in the literature for enhancing creativity and innovation in organizations raise ethical concerns, yet creativity researchers rarely discuss ethics. We identify four categories of behavior proffered as a means for fostering creativity that raise serious ethical issues: (1) breaking rules and standard operating procedures; (2) challenging authority and avoiding tradition; (3) creating conflict, competition and stress; and (4) taking risks. We discuss each category, briefly identifying research supporting these prescriptions for fostering creativity and then we delve (...)
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  12. Kyle Jennings (2010). Developing Creativity: Artificial Barriers in Artificial Intelligence. [REVIEW] Minds and Machines 20 (4):489-501.score: 24.0
    The greatest rhetorical challenge to developers of creative artificial intelligence systems is convincingly arguing that their software is more than just an extension of their own creativity. This paper suggests that “creative autonomy,” which exists when a system not only evaluates creations on its own, but also changes its standards without explicit direction, is a necessary condition for making this argument. Rather than requiring that the system be hermetically sealed to avoid perceptions of human influence, developing creative autonomy is argued (...)
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  13. Anna Craft (2003). The Limits to Creativity in Education: Dilemmas for the Educator. British Journal of Educational Studies 51 (2):113 - 127.score: 24.0
    Since the end of the 1990s, creativity has become a growing area of interest once more within education and wider society. In England creativity is now named within the school curriculum and in the curriculum for children aged 3-5. There are numerous government and other initiatives to foster individual and collective creativity, some of this through partnership activity bringing together the arts, technology, science and the social sciences. As far as education is concerned, this growth in emphasis and value placed (...)
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  14. Howard Gibson (2005). What Creativity Isn't: The Presumptions of Instrumental and Individual Justifications for Creativity in Education. British Journal of Educational Studies 53 (2):148 - 167.score: 24.0
    Creativity is a popular but heterogeneous word in educational parlance these days. By looking at a selection of recent discourses that refer to creativity to sustain their positions, the paper suggests that two key themes emerge, both with questionable assumptions. Romantic individualists would return us to a naïve bygone age of authentic self-expression, while politicians and economists would use the term instrumentally by binding it to the future needs of the workforce without questioning substantive issues. Cultural theories of creativity indicate (...)
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  15. Helena Knyazeva (1998). The Synergetic View of Human Creativity. Evolution and Cognition 4 (2):145-155.score: 24.0
    The heuristic value of synergetic models of evolving and self-organizing complex systems as well as their application to epistemological problems is shown in this paper. Nonlinear synergetic models turn out to be fruitful in comprehending epistemological problems such as the nature of human creativity, the functioning of human intuition and imagination, the historical development of science and culture. In the light of synergetics creative thinking can be viewed as a selforganization and self-completion of images and thoughts, filling up gaps in (...)
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  16. Mike W. Martin (2006). Moral Creativity in Science and Engineering. Science and Engineering Ethics 12 (3):421-433.score: 24.0
    Creativity in science and engineering has moral significance and deserves attention within professional ethics, in at least three areas. First, much scientific and technological creativity constitutes moral creativity because it generates moral benefits, is motivated by moral concern, and manifests virtues such as beneficence, courage, and perseverance. Second, creativity contributes to the meaning that scientists and engineers derive from their work, thereby connecting with virtues such as authenticity and also faults arising from Faustian trade-offs. Third, morally creative leadership is important (...)
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  17. Elizabeth Grierson (2011). Art and Creativity in the Global Economies of Education. Educational Philosophy and Theory 43 (4):336-350.score: 24.0
    Creativity: what might this mean for art and art educators in the creative economies of globalisation? The task of this discussion is to look at the state of creativity and its role in education, in particular art education, and to seek some understanding of the register of creativity, how it is shaped, and how legitimated in the globalised world dominated by input-output, means-end, economically driven thinking, expectations and demands. With the help of Heidegger some crucial questions are raised, such as: (...)
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  18. N. C. Andreasen (2011). A Journey Into Chaos: Creativity and the Unconscious. Mens Sana Monographs 9 (1):42.score: 24.0
    The capacity to be creative, to produce new concepts, ideas, inventions, objects or art, is perhaps the most important attribute of the human brain. We know very little, however, about the nature of creativity or its neural basis. Some important questions include how should we define creativity? How is it related (or unrelated) to high intelligence? What psychological processes or environmental circumstance cause creative insights to occur? How is it related to conscious and unconscious processes? What is happening at the (...)
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  19. Alessandro Bertinetto (2012). Performing the Unexpected Improvisation and Artistic Creativity. Daimon 57:117-135.score: 24.0
    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). (...)
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  20. Jane Collier & Rafael Esteban (1999). Governance in the Participative Organisation: Freedom, Creativity and Ethics. [REVIEW] Journal of Business Ethics 21 (2-3):173 - 188.score: 24.0
    Organizations in changing environments need to become flexible, responsive and participative. We develop an understanding of governance in these organizations by drawing analogies between organization theory and theories of non-linear dynamics. We identify freedom and creativity as driving principles in 'chaotic' participative organizations, and explore the ethics of their exercise within organizational communities of practice, communities of discernment and communities of commitment.
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  21. Jinglin Li (2009). On the Creativity and Innateness of the “Strong, Moving Vital Force”: A Discussion of Feng Youlan's “Explanation of Mencius' Chapter on the 'Strong, Moving Vital Force'”. Frontiers of Philosophy in China 4 (2):198-210.score: 24.0
    Feng Youlan emphasizes the concept of “creativity” in his article “Explanation of Mencius’ Chapter on Strong, Moving Vital Force”, in particular highlighting the problem whether the “strong, moving vital force” is “innate” or “acquired”. Cheng Hao and Zhu Xi believed the “strong, moving vital force” was endowed by Heaven, so was therefore innate; “nourishment” cleared fog and allowed one to “recover one’s original nature”. Mencius’ theory on “the good of human nature” is illustrated in the concept of (...)
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  22. Thomas Li-Ping Tang (2010). From Increasing Gas Efficiency to Enhancing Creativity: It Pays to Go Green. [REVIEW] Journal of Business Ethics 94 (2):149 - 155.score: 24.0
    What are the common denominators for success when we consider increasing gas efficiency and enhancing creativity in organizations? As an analogy, the principles of increasing gas efficiency are applicable to enhancing creativity in organizations: Plan activities in advance, allocate sufficient time, resources, and set a SMART goal with clear priority and focus. Identify talent in ourselves and others and do not fall into the temptation of following others. Big ideas take time. Maintain momentum, avoid interruptions, incorporate new technologies, information, and (...)
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  23. Yu-Shan Chen & Ching-Hsun Chang (2013). The Determinants of Green Product Development Performance: Green Dynamic Capabilities, Green Transformational Leadership, and Green Creativity. [REVIEW] Journal of Business Ethics 116 (1):107-119.score: 24.0
    Because no previous literature discusses the determinants of green product development performance, this study develops an original framework to fill the research gap. This study explores the influences of green dynamic capabilities and green transformational leadership on green product development performance and investigates the mediation role of green creativity. The results demonstrate that green dynamic capabilities and green transformational leadership positively influence green creativity and green product development performance. Besides, this study indicates that the positive relationships between green product development (...)
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  24. James Evans, Ian Cook & Helen Griffiths (2008). Creativity, Group Pedagogy and Social Action: A Departure From Gough. Educational Philosophy and Theory 40 (2):330–345.score: 24.0
    The following paper continues discussions within this journal about how the work of Delueze and Guattari can inform radical pedagogy. Building primarily on Noel Gough's 2004 paper, we take up the challenge to move towards a more creative form of 'becoming cyborg' in our teaching. In contrast to work that has focused on Deleuzian theories of the rhizome, we deploy Guattari's work on institutional schizoanalysis to explore the role of group creativity in radical pedagogy. The institutional therapies of Felix Guattari's (...)
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  25. Joke Meheus (1999). Deductive and Ampliative Adaptive Logics as Tools in the Study of Creativity. Foundations of Science 4 (3):325-336.score: 24.0
    In this paper, I argue that logic hasan important role to play in the methodological studyof creativity. I also argue, however, that onlyspecial kinds of logic enable one to understand thereasoning involved in creative processes. I show thatdeductive and ampliative adaptive logics areappropriate tools in this respect.
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  26. Robert Cummings Neville (2007). Special Topic: Creativity in Christianity and Confucianism. [REVIEW] Dao: A Journal of Comparative Philosophy 6 (2):125-130.score: 24.0
    In order respectfully and adequately to compare Confucian and Christian conceptions of creativity, it is necessary to have proper comparative categories. Put roughly, we need to know what creativity is in order to see how Confucianism and Christianity have various versions of it. In respect of what do they agree or differ? So the first order of business is to put forward, however briefly, a theory of creativity in light of which comparisons can be made. Creativity, of course, is a (...)
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  27. Mark Riedl (2010). Story Planning: Creativity Through Exploration, Retrieval, and Analogical Transformation. [REVIEW] Minds and Machines 20 (4):589-614.score: 24.0
    Storytelling is a pervasive part of our daily lives and culture. The task of creating stories for the purposes of entertaining, educating, and training has traditionally been the purview of humans. This sets up the conditions for a creative authoring bottleneck where the consumption of stories outpaces the production of stories by human professional creators. The automation of story creation may scale up the ability to produce and deliver novel, meaningful story artifacts. From this practical perspective, story generation systems replicate (...)
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  28. Barry Smith (2004). On Creativity and the Philosophy of the Supranational State. In Tamás Demeter (ed.), Essays on Wittgenstein and Austrian Philosophy. Rodopi. 25--39.score: 24.0
    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 (...)
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  29. Marc Steen (2013). Virtues in Participatory Design: Cooperation, Curiosity, Creativity, Empowerment and Reflexivity. [REVIEW] Science and Engineering Ethics 19 (3):945-962.score: 24.0
    In this essay several virtues are discussed that are needed in people who work in participatory design (PD). The term PD is used here to refer specifically to an approach in designing information systems with its roots in Scandinavia in the 1970s and 1980s. Through the lens of virtue ethics and based on key texts in PD, the virtues of cooperation, curiosity, creativity, empowerment and reflexivity are discussed. Cooperation helps people in PD projects to engage in cooperative curiosity and cooperative (...)
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  30. Robert Cummings Neville (2007). Special Topic: Creativity in Christianity and Confucianism. [REVIEW] Dao: A Journal of Comparative Philosophy 6 (2):125-130.score: 24.0
    In order respectfully and adequately to compare Confucian and Christian conceptions of creativity, it is necessary to have proper comparative categories. Put roughly, we need to know what creativity is in order to see how Confucianism and Christianity have various versions of it. In respect of what do they agree or differ? So the first order of business is to put forward, however briefly, a theory of creativity in light of which comparisons can be made. Creativity, of course, is a (...)
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  31. Boris DeWiel (2010). Freedom as Creativity: On the Origin of the Positive Concept of Liberty. Journal for the Study of Religions and Ideologies 2 (4):42-57.score: 24.0
    The concept of positive liberty includes both the regulative autonomy to do what we will and the constitutive autonomy to become what we will. However, the latter represents the full meaning of the idea. Liberty in this meaning is a creative power: we are most free in the positive sense when we give our defining constitutive rules to ourselves. The original conceptual model for liberty as creativity did not belong to classical Greek tradition but came to us from Judaism. The (...)
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  32. Paul E. Bierly Iii, Robert W. Kolodinsky & Brian J. Charette (2009). Understanding the Complex Relationship Between Creativity and Ethical Ideologies. Journal of Business Ethics 86 (1):101 - 112.score: 24.0
    The relationship between individuals' creativity and their ethical ideologies appears to be complex. Applying Forsyth's (1980, 1992) personal moral philosophy model which consists of two independent ethical ideology dimensions, idealism and relativism, we hypothesized and found support for a positive relationship between creativity and relativism. It appears that creative people are less likely than non-creative people to follow universal rules in their moral decision making. However, contrary to our hypothesis and the general stereotype that creative people are less caring about (...)
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  33. James Oliver (2009). Creativity as Openness: Improvising Health and Care 'Situations'. [REVIEW] Health Care Analysis 17 (4):318-330.score: 24.0
    Creativity has become an oft-used word in UK public policy, but perhaps it is also under-imagined. This paper contends that there is an instrumental tendency to narrowly frame creativity as innovation, implying a reproducible product, instead of more openly as improvisation, a situational, embodied and temporal process. This is not a simple dichotomy (innovation and improvisation, product and process, can be mutually informing concepts), nor is it specifically a question of definition; rather, it relates to an ontological orientation, and related (...)
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  34. Kenneth R. Blochowiak (1993). The Example of the Unicorn: A Knowledge-Based Approach to Scientific Creativity and the Growth of Knowledge. [REVIEW] AI and Society 7 (1):52-61.score: 24.0
    In the course of researching the question ‘What does it mean for knowledge to grow?’, the author has developed a large and unique compendium of components, some of which are knowledge systems that serve as research and creativity support systems. The self-modifying, self-effecting creative process and the results of developing and working with these systems, using novel methods and drawing on eclectic sources, is discussed.
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  35. Deborah Munt & Janet Hargreaves (2009). Aesthetic, Emotion and Empathetic Imagination: Beyond Innovation to Creativity in the Health and Social Care Workforce. [REVIEW] Health Care Analysis 17 (4):285-295.score: 24.0
    The Creativity in Health and Care Workshops programme was a series of investigative workshops aimed at interrogating the subject of creativity with an over-arching objective of extending the understanding of the problems and possibilities of applying creativity within the health and care sector workforce. Included in the workshops was a concept analysis, which attempted to gain clearer understanding of creativity and innovation within this context. The analysis led to emergent theory regarding the central importance of aesthetics, emotion and empathetic imagination (...)
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  36. [deleted]Emmanuelle Volle Gil Gonen-Yaacovi, Leonardo Cruz de Souza, Richard Levy, Marika Urbanski, Goulven Josse (2013). Rostral and Caudal Prefrontal Contribution to Creativity: A Meta-Analysis of Functional Imaging Data. Frontiers in Human Neuroscience 7.score: 24.0
    Creativity is of central importance for human civilization, yet its neurocognitive bases are poorly understood. The aim of the present study was to integrate existing functional imaging data by using the meta-analysis approach. We reviewed 34 functional imaging studies that reported activation foci during tasks assumed to engage creative thinking in healthy adults. A coordinate-based meta-analysis using Activation Likelihood Estimation (ALE) first showed a set of predominantly left-hemispheric regions shared by the various creativity tasks examined. These regions included the caudal (...)
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  37. Niels Lynöe & Niklas Juth (2013). Does Proficiency Creativity Solve Legal Dilemmas? Experimental Study of Medical Students' Ideas About Death-Causes. Medicine, Health Care and Philosophy 16 (4):789-793.score: 24.0
    The aim of the present study was to compare and examine how medical students on term one and nine understand and adopt ideas and reasoning when estimating death-causes. Our hypothesis was that compared to students in the beginning of their medical curriculum, term nine students would be more inclined to adopt ideas about causality that allows physicians to alleviate an imminently dying patient, without being suspected for manslaughter—a practice referred to as proficiency creativity. We used a questionnaire containing two similar (...)
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  38. Robert C. Muller (1993). Enhancing Creativity, Innovation and Cooperation. AI and Society 7 (1):4-39.score: 24.0
    The paper explores the creative thinking process and throws light on creativity enhancement. From the perspective of possible creativity enhancement both the characteristics of creativity and the creative thinking process are discussed, together with an analysis of the process and its common factors. Constraints on innovation (as a special type of creativity), innovation management and the acceptance of change are discussed; creativity between cooperating individuals is also examined. Some possible computer-based tools to enhance creativity, including innovation, are discussed. A framework (...)
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  39. Emma Brodzinski & Deborah Munt (2009). Examining Creativity in Health and Care. Health Care Analysis 17 (4):277-284.score: 24.0
    This paper is drafted as an overview of the process of the Creativity in Health and Care workshop programme the themes arising from the project. It is intended as an introduction to the special edition and the notion of creativity that is being explored.
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  40. O. Olugbile & M. P. Zachariah (2011). The Relationship Between Creativity and Mental Disorder in an African Setting. Mens Sana Monographs 9 (1):225.score: 24.0
    Background: There has for some time now been recognition that there was a relationship between exceptional creative talent and mental disorder. The works of Andreasen (2008) and others in this area have been very significant. However, most of the research has been carried out in USA and Europe. Very little has come out of Africa on the subject. Aim : To survey the beliefs of different groups within an African society, concerning the possibility of a relationship between creative talent and (...)
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  41. [deleted]Todd Lael Siler (2012). Neuro-Impressions: Interpreting the Nature of Human Creativity. Frontiers in Human Neuroscience 6:282-282.score: 24.0
    Understanding the creative process is essential for realizing human potential. Over the past four decades, the author has explored this subject through his brain-inspired drawings, paintings, symbolic sculptures, and experimental art installations that present myriad impressions of human creativity. These impressionistic artworks interpret rather than illustrate the complexities of the creative process. They draw insights from empirical studies that correlate how human beings create, learn, remember, innovate, and communicate. In addition to offering fresh aesthetic experiences, this metaphorical art raises fundamental (...)
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  42. Sean Valentine, Lynn Godkin, Gary M. Fleischman & Roland Kidwell (2011). Corporate Ethical Values, Group Creativity, Job Satisfaction and Turnover Intention: The Impact of Work Context on Work Response. [REVIEW] Journal of Business Ethics 98 (3):353 - 372.score: 24.0
    A corporate culture strengthened by ethical values and other positive business practices likely yields more favorable employee work responses. Thus, the purpose of this study was to assess the degree to which perceived corporate ethical values work in concert with group creativity to influence both job satisfaction and turnover intention. Using a self-report questionnaire, information was collected from 781 healthcare and administrative employees working at a multi-campus education-based healthcare organization. Additional survey data was collected from a comparative convenience sample of (...)
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  43. [deleted]Susan A. Reedijk, Anne Bolders & Bernhard Hommel (2013). The Impact of Binaural Beats on Creativity. Frontiers in Human Neuroscience 7:786.score: 24.0
    Human creativity relies on a multitude of cognitive processes, some of which are influenced by the neurotransmitter dopamine. This suggests that creativity could be enhanced by interventions that either modulate the production or transmission of dopamine directly, or affect dopamine-driven processes. In the current study we hypothesized that creativity can be influenced by means of binaural beats, an auditory illusion that is considered a form of cognitive entrainment that operates through stimulating neuronal phase locking. We aimed to investigate whether binaural (...)
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  44. Emma von AllenBrodzinski (2009). Deconstructing the Toolkit: Creativity and Risk in the NHS Workforce. [REVIEW] Health Care Analysis 17 (4):309-317.score: 24.0
    Deconstructing the Toolkit explores the current desire for toolkits that promise failsafe structures to facilitate creative success. The paper examines this cultural phenomenon within the context of the risk-averse workplace—with particular focus on the NHS. The writers draw on Derrida and deconstructionism to reflect upon the principles of creativity and the possibilities for being creative within the workplace. Through reference to The Extra Mile project facilitated by Open Art, the paper examines the importance of engaging with an aesthetic of creativity (...)
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  45. Allan Combs & Stanley Krippner (2007). Structures of Consciousness and Creativity: Opening the Doors of Perception. In Ruth Richards (ed.), Everyday Creativity and New Views of Human Nature: Psychological, Social, and Spiritual Perspectives. American Psychological Association. 131-149.score: 24.0
     
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  46. Vlad Petre Glăveanu (2014). On Units of Analysis and Creativity Theory: Towards a “Molecular” Perspective. Journal for the Theory of Social Behaviour 44 (3).score: 24.0
    This article addresses the issue of units of analysis and atomistic models in psychology taking creativity research as a case study. A classic typology in this area, initially proposed by Rhodes (1961), distinguishes between the four P's of creativity: person, process, product, and press (environment). Continuing an effort to rewrite this basic language of the discipline from a cultural psychological perspective in the form of five A's (actor, audience, action, artefact, affordances), the discussion here focuses on bringing relationships to the (...)
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  47. Richard McDonough (2002). Emergence and Creativity: Five Degrees of Freedom. In Terry Dartnall (ed.), Creativity, Cognition and Knowledge. 283-302, 314-320.score: 24.0
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  48. [deleted]Simone G. Shamay-Tsoory Naama Mayseless, Florina Uzefovsky, Idan Shalev, Richard P. Ebstein (2013). The Association Between Creativity and 7R Polymorphism in the Dopamine Receptor D4 Gene (DRD4). Frontiers in Human Neuroscience 7.score: 24.0
    Creativity can be defined as the ability to produce responses that are both novel and appropriate. One way to assess creativity is to measure divergent thinking (DT) abilities that involve generating multiple novel and meaningful responses to open-ended questions. DT abilities have been shown to be associated with dopaminergic activity, and impaired DT has been reported in populations with dopaminergic dysfunctions. Given the strong association between DT and the dopaminergic system, the current study examined a group of healthy individuals (N=185) (...)
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  49. [deleted]Hikaru Takeuchi, Yasuyuki Taki, Atsushi Sekiguchi, Rui Nouchi, Yuka Kotozaki, Seishu Nakagawa, Carlos Makoto Miyauchi, Kunio Iizuka, Ryoichi Yokoyama & Takamitsu Shinada (2013). Association of Hair Iron Levels with Creativity and Psychological Variables Related to Creativity. Frontiers in Human Neuroscience 7:875.score: 24.0
    Creativity generally involves the conception of original and valuable ideas. Previous studies have suggested an association between creativity and the dopaminergic system, and that physical activity facilitates creativity. Iron plays a key role in the dopaminergic system and physical activity. Here, we newly investigated the associations between hair iron levels and creativity, dopamine-related traits and states [novelty seeking, extraversion, and vigor (motivational state)], as well as the physical activity level. In the present study, we addressed this issue by performing a (...)
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  50. V. Tsyganov (forthcoming). Limits of Global Growth, Stagnation, Creativity and International Stability. AI and Society:1-8.score: 24.0
    Arising restrictions of global economic growth due to limited natural resources and capacity of the biosphere adversely affect on people level of life and future expectation. That leads to mass depression and social instability. To consider this problem, psycho-physiological model of onward hedonist in consumer society is developed and investigated. This model is based on the fact that human nature generates a growing desire, needs to progress. After reaching the limits of growth, member of consumer society feel persistent negative emotions (...)
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