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  1. Psychoanalysis as a Creative Process.Richard G. Abell - forthcoming - Humanitas. Journal of the Institute of Man.
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  2. Creativity and Education: Some Critical Remarks.Joseph Abinun - 1981 - Journal of Aesthetic Education 15 (1):17.
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  3. Imagination, Games, Pictures: A Critical Examination of Kendall Walton's "Mimesis as Make-Believe".Thomas Richards Vartan Adajian - 1993 - Dissertation, The University of North Carolina at Chapel Hill
    I critically examine Kendall Walton's Mimesis as Make-Believe, a systematic attempt to model the activities of appreciators of works of art on children's games of make-believe. I argue that crucial features of the games Walton takes as paradigms infect and distort his application of the model to aesthetic questions. Walton's account of pictorial depiction and his extension of the basic game model to dreams and daydreams are argued to be unsuccessful.
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  4. War in Melville's Imagination.Joyce Sparer Adler - 1982 - Science and Society 46 (2):240-244.
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  5. The Captive Mind and Creative Development1.Syed Hussein Alatas - 2004 - In Partha N. Mukherji & Chandan Sengupta (eds.), Indigeneity and Universality in Social Science: A South Asian Response. Sage Publications.
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  6. Representation and the Imagination: Beckett, Kafka, Nabokov, and Schoenberg.Daniel Albright - 1981 - University of Chicago Press.
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  7. Schooling for Creativity.Jan Aler - 1964 - Journal of Aesthetics and Art Criticism 23 (1):81-95.
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  8. The Origin of Creative Power in Children.Christopher Alexander - 1962 - British Journal of Aesthetics 2 (3):207-226.
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  9. Creativity and Intelligibility in le Corbusier's Chapel at Ronchamp.John Alford - 1958 - Journal of Aesthetics and Art Criticism 16 (3):293-305.
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  10. Changer de sens. Quelques effets du tournant iconique.Emmanuel Alloa - 2010 - Critique 758 (8):647-658.
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  11. Creativity in Art.Philip Alperson - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 249--50.
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  12. Canons and Consequences: Reflections on the Ethical Force of Imaginative Ideals.Charles Altieri - 1992 - Journal of Aesthetics and Art Criticism 50 (2):165-167.
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  13. Leave Me Out of It: De Re, but Not de Se, Imaginative Engagement with Fiction.Peter Alward - 2006 - Journal of Aesthetics and Art Criticism 64 (4):451–459.
    I have been dissatisfied with Walton’s make-believe model of appreciator engagement with fiction ever since my first encounter with it as a graduate student.1 What I have always objected to is not the suggestion that such engagement is broadly speaking imaginative; rather, it is the suggestion that it specifically involves de se imaginative activity on the part of appreciators. That is, while I concede that appreciators imagine (de re) of the fictional works they experience that they are thus and so, (...)
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  14. The Languages of Creativity Models, Problem-Solving, Discourse.Mark Amsler - 1986
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  15. The Creative Ubiquity of God.James F. Anderson - 1951 - New Scholasticism 25 (2):139-162.
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  16. Creativity, the Magic Synthesis.Silvano Arieti - 1977 - Journal of Aesthetics and Art Criticism 35 (3):368-370.
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  17. What It Means to Be Creative.R. Arnheim - 2001 - British Journal of Aesthetics 41 (1):24-25.
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  18. Creativity, Self-Expression, and Dance.Peter J. Arnold - 1986 - Journal of Aesthetic Education 20 (3):49.
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  19. Creative Receptivity.Karl Aschenbrenner - 1963 - Journal of Aesthetics and Art Criticism 22 (2):149-151.
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  20. The Poetics of Space.Gaston Bachelard - 1964 - Beacon Press.
    The classic book on how we experience intimate spaces. "A magical book. . . . A prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced--and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." --from the foreword by John R. Stilgoe 6473-4 / $15.00tx / paperback.
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  21. Tymieniecka’s Phenomenology of Life: The “Imaginatio Creatrix,” Subliminal Passions, and the Moral Sense.G. Backhaus - 2001 - Consciousness and Emotion 2 (1):103-134.
    Anna-Teresa Tymieniecka expands the phenomenological study of meanings (sense-bestowal) into an onto-genetic inquiry by grounding it in a phenomenology of life, including the emotional dimension. This phenomenology of life is informed by the empirical sciences and its doctrines parallel the new scientific paradigm of open dynamic systems. Embedded in the dynamics of the real individuation of life forms, human consciousness emerges at a unique station in the evolutionary process. Tymieniecka treats the constitution of sense as a function of life, and (...)
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  22. Creativity Through Interdependence.Archie J. Bahm - 1968 - Pacific Philosophical Quarterly 49 (4):523.
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  23. On Creativity as Making: A Reply to Götz.Sharon Bailin - 1983 - Journal of Aesthetics and Art Criticism 41 (4):437-442.
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  24. The Rediscovery of Meaning: And Other Essays.Owen Barfield - 1977 - Barfield Press.
    The rediscovery of meaning -- Dream, myth, and philosophical double vision -- The meaning of 'literal' -- Poetic diction and legal fiction -- The harp and the camera -- Where is fancy bred? -- The rediscovery of allegory (I) -- The rediscovery of allegory (II) -- Imagination and inspiration -- Language and discovery -- Matter, imagination, and spirit -- Self and reality -- Science and quality -- The coming trauma of materialism -- Participation and isolation: a fresh light on present (...)
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  25. Immaginazione E Linguaggio Fra Teoria E Storia.Giovanna Barlusconi (ed.) - 2005 - Bulzoni.
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  26. Heritage as a Basis for Creativity in Creative Industries: The Case of Taste Industries.Christian Barrère - 2013 - Mind and Society 12 (1):167-176.
    The aim of this paper is to focus on the specificities of the creative processes in taste industries: industries that have connected the artistic and industrial dimensions to supply goods and services—demand for which derives not from the logic of needs and necessity, but from the logic of pleasures, tastes, ethic preferences and hedonism. These taste industries belong to the creative industries but, unlike scientific and technological production, they work not on the basis of cumulative knowledge but through the creation (...)
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  27. The Limits of Imagination.R. W. Beardsmore - 1980 - British Journal of Aesthetics 20 (2):99-114.
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  28. Learning, Play, and Creativity: Asobi, Suzuki Harunobu, and the Creative Practice.David Raymond Bell - 2016 - Journal of Aesthetic Education 50 (4):86-113.
    How was creativity understood in the distinctive artistic practices of eighteenth-century Japan? How were its artists able to maintain consistently inventive creative pathways over extended periods? Artistic creativity is sometimes assumed to derive from chance, opportune, or accidental events. For early Western creativity theorists like Graham Wallas,1 Alex Osborn,2 or Robert Fritz 3 such fortunate moments of illumination engendered creative innovation. The invention of synthetic dyes,4 Japanese haboku “splashed ink painting,” or Jackson Pollock’s spatters of paint all involved elements of (...)
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  29. Intentionality in a Creative Art Curriculum.Dina Zoe Belluigi - 2011 - Journal of Aesthetic Education 45 (1):18.
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  30. "Creativity": P. E. Vernon. [REVIEW]John Beloff - 1971 - British Journal of Aesthetics 11 (2):196.
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  31. Creative Thinking in Art and in Science.John Beloff - 1970 - British Journal of Aesthetics 10 (1):58-70.
    Two questions are examined (a) the differences between creative and uncreative individuals and (b) the differences between artists and scientists. It is concluded that while divergent thinking is a necessary feature of the creative process alike in art and in science the scientific intellect exemplifies more the convergent type. Contrary to what most authorities have said it is here argued that creativity depends more upon the presence of a certain inborn flair than upon personality dynamics.
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  32. Depiction and Imagination.Jiri Benovsky - 2016 - SATS 17 (1):61-80.
    Depiction and imagination are intimately linked. In this article, I discuss the role imagination (as well as inference and knowledge/belief) plays in depiction, with a focus on photographic depiction. I partly embrace a broadly Waltonian view, but not always, and not always for Walton's own reasons. In Walton's view, imagination plays a crucial role in depiction. I consider the objection to his view that not all cases of depiction involve imagination – for instance, documentary photographs. From this discussion, two points (...)
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  33. Artistic Truth: Aesthetics, Discourse, and Imaginative Disclosure.B. E. Benson - 2007 - Philosophical Review 116 (1):118-121.
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  34. Futurism and the Technological Imagination.Günter Berghaus (ed.) - 2009 - Rodopi.
    This volume, Futurism and the Technological Imagination, results from a conference of the International Society for the Study of European Ideas in Helsinki.
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  35. The Process/Product Dichotomy and its Implications for Creative Dance.Sheryle Bergmann - forthcoming - Journal of Aesthetic Education.
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  36. Creative Thinking, Scientific Creativity and Cognitive Science.G. Berlucchi - 1990 - Nuova Civiltà Delle Macchine 8 (4):166-174.
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  37. Performing the Unexpected Improvisation and Artistic Creativity.Alessandro Bertinetto - 2012 - Daimon: Revista Internacional de Filosofía 57:117-135.
    In this paper I suggest that we look to improvisation in order to understand artistic creativity. Indeed, instead of being anti-artistic in nature, due to its supposed unpreparedness, inaccuracy, and repetitive monotony, improvisation in art exemplifies and 'fuels' artistic creativity as such. I elucidate the relationship between improvisation and artistic creativity in four steps. I discuss the concept of creativity in general (I) and in reference to art (II). Then I focus on the properties and the phenomenology of improvisation (III). (...)
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  38. Promising Monsters: Pregnant Bodies, Artistic Subjectivity, and Maternal Imagination.Rosemary Betterton - 2006 - Hypatia 21 (1):80-100.
    : This paper engages with theories of the monstrous maternal in feminist philosophy to explore how examples of visual art practice by Susan Hiller, Marc Quinn, Alison Lapper, Tracey Emin, and Cindy Sherman disrupt maternal ideals in visual culture through differently imagined body schema. By examining instances of the pregnant body represented in relation to maternal subjectivity, disability, abortion, and "prosthetic" pregnancy, it asks whether the "monstrous" can offer different kinds of figurations of the maternal that acknowledge the agency and (...)
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  39. Collaborative Theater/Collective Artist: An Evolving Systems Case Study in Social Creativity.Jimmy Bickerstaff - 2008 - World Futures 64 (4):276 – 291.
    Theater production is a collaborative creative activity. Social creativity recognizes the relationships between creative groups and the contexts in which creativity emerges. It also suggests that the interactive processes between the collaborators and their work form a center, which in turn becomes a kind of creative entity itself. An evolving systems case study of production practices at the Oregon Shakespeare Festival illuminates this process and illustrates the differences between seeing an aggregate creative activity and the more holistic view, in which (...)
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  40. Tradition and Creativity in Tribal Art.Daniel P. Biebuyck - 1975 - Journal of Aesthetics and Art Criticism 33 (3):367-368.
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  41. Another Look at Aesthetic Imagination.H. Gene Blocker - 1972 - Journal of Aesthetics and Art Criticism 30 (4):529-536.
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  42. Kant's Theory of the Relation of Imagination and Understanding in Aesthetic Judgements of Taste.Harry Blocker - 1965 - British Journal of Aesthetics 5 (1):37-45.
  43. Creativity and Reason in Cognitive Development.M. Boden - 2007 - British Journal of Aesthetics 47 (2):219-221.
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  44. Creativity and Conceptual Art.Margaret A. Boden - 2007 - In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press.
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  45. Creativity in a Nutshell.Margaret A. Boden - 2007 - Think 5 (15):83-96.
    Clarifying what creativity is the first step towards answering the question: could a computer be creative?
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  46. Creativity.Margaret A. Boden - 1995 - In P. C. W. Davies & Jill Gready (eds.), God, Cosmos, Nature, and Creativity. Scottish Academic Press.
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  47. On Creativity.David Bohm - 1996 - Routledge.
    Creativity is fundamental to human experience. In On Creativity David Bohm, the world-renowned scientist, investigates the phenomenon from all sides. This is a remarkable and life-affirming book by one of the most far-sighted thinkers of modern.
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  48. Science, Order and Creativity.David Bohm & F. David Peat - 2010 - Routledge.
    One of the foremost scientists and thinkers of our time, David Bohm worked alongside Oppenheimer and Einstein. In Science, Order and Creativity he and physicist F. David Peat propose a return to greater creativity and communication in the sciences. They ask for a renewed emphasis on ideas rather than formulae, on the whole rather than fragments, and on meaning rather than mere mechanics. Tracing the history of science from Aristotle to Einstein, from the Pythagorean theorem to quantum mechanics, the authors (...)
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  49. Après Coup, l'Invention de L'Origine: Création Et Temporalités.Pascale Borrel & Sandrine Ferret (eds.) - 2006 - Lettre Volée.
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  50. Fictional Emotion, Belief and Imagination.Bijoy Hati Boruah - 1984 - Dissertation, University of Guelph (Canada)
    The upshot of this thesis is that our emotional response to fiction can be explained rationally and, therefore, that Radford's allegation that such responses are puzzling is false. To provide a rational explanation of an emotion proper is to show that there is a suitable belief which constitutes both the reason for and the cause of the emotion. Radford's allegation, that an emotional response to a fictional character is not founded on such a belief and hence occurs without any identifiable (...)
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