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  1. Intentional Mind-Wandering as Intentional Omission: The Surrealist Method.Santiago Arango-Muñoz & Juan Pablo Bermúdez - forthcoming - Synthese:1-22.
    Mind-wandering seems to be paradigmatically unintentional. However, experimental findings have yielded the paradoxical result that mind-wandering can also be intentional. In this paper, we first present the paradox of intentional mind-wandering and then explain intentional mind-wandering as the intentional omission to control one’s own thoughts. Finally, we present the surrealist method for artistic production to illustrate how intentional omission to control thoughts can be deployed towards creative endeavours.
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  2. Menachem Fisch, Creatively Undecided: Toward a History and Philosophy of Scientific Agency. [REVIEW]Karim Bschir - forthcoming - Hopos: The Journal of the International Society for the History of Philosophy of Science.
  3. The Origins of Creativity.Peter Carruthers & Elizabeth Picciuto - forthcoming - In E. Paul & S. Kaufman (eds.), The Philosophy of Creativity. Oxford University Press.
    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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  4. Imagination Machines, Dartmouth-Based Turing Tests, & a Potted History of Responses.Melvin Chen - forthcoming - AI and Society:1-5.
    Mahadevan proposes that we are at the cusp of imagination science, one of whose primary concerns will be the design of imagination machines. Programs have been written that are capable of generating jokes, producing line-drawings that have been exhibited at such galleries as the Tate, composing music in several styles reminiscent of such greats as Vivaldi and Mozart, proving geometry theorems, and inducing quantitative laws from empirical data. In recent years, Dartmouth has been hosting Turing Tests in creativity in three (...)
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  5. Oxford Handbook of Spontaneous Thought and Creativity.Kieran Fox & Kieran Christoff (eds.) - forthcoming - Oxford University Press.
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  6. Creativity and Philosophy.Berys Gaut & Matthew Kieran (eds.) - forthcoming - Routledge.
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  7. The Neuroscience of Spontaneous Thought: An Evolving, Interdisciplinary Field.Andrews-Hanna Jessica, Irving Zachary C., Fox Kieran, Spreng Nathan R. & Christoff Kalina - forthcoming - In Fox Kieran & Christoff Kieran (eds.), Oxford Handbook of Spontaneous Thought and Creativity. Oxford University Press.
    An often-overlooked characteristic of the human mind is its propensity to wander. Despite growing interest in the science of mind-wandering, most studies operationalize mind-wandering by its task-unrelated contents. But these contents may be orthogonal to the processes that determine how thoughts unfold over time, remaining stable or wandering from one topic to another. In this chapter, we emphasize the importance of incorporating such processes into current definitions of mind-wandering, and propose that mind-wandering and other forms of spontaneous thought (such as (...)
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  8. Common Creativity.Karenleigh Anne Overmann - forthcoming - In Linden Ball & Frédéric Vallée-Tourangeau (eds.), Routledge International Handbook of Creative Cognition. London:
    Creativity is often conceived in terms of insight, innovation, and invention realized through technical mastery and skill. Challenging this individualistic model are “inventions” like writing, something that surely gave no clue to the form it would ultimately take—script—or the ways in which it would reorganize behaviors and brains in the cognitive state known as literacy. Here writing is analyzed as a tool used collectively and collaboratively. Collective, collaborative use enabled the tool to become increasingly effective at eliciting specific behavioral and (...)
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  9. Intelligence and Creativity Share a Common Cognitive and Neural Basis.Emily Frith, Daniel B. Elbich, Alexander P. Christensen, Monica D. Rosenberg, Qunlin Chen, Michael J. Kane, Paul J. Silvia, Paul Seli & Roger E. Beaty - 2021 - Journal of Experimental Psychology: General 150 (4):609-632.
    Are intelligence and creativity distinct abilities, or do they rely on the same cognitive and neural systems? We sought to quantify the extent to which intelligence and creative cognition overlap in brain and behavior by combining machine learning of fMRI data and latent variable modeling of cognitive ability data in a sample of young adults (N = 186) who completed a battery of intelligence and creative thinking tasks. The study had 3 analytic goals: (a) to assess contributions of specific facets (...)
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  10. Mood and Risk-Taking as Momentum for Creativity.Tsutomu Harada - 2021 - Frontiers in Psychology 11.
    This study examined the effects of mood and risk-taking on divergent and convergent thinking using a Q-learning computation model. The results revealed that while mood was not significantly related to divergent or convergent thinking, risk-taking exerted positive effects on divergent thinking in the face of negative rewards. The results were consistent with the representational change theory in insight problem solving. Although this theory accounts directly for insight, the underlying idea of going beyond current contexts and implicit constrains could be applied (...)
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  11. The Creative Imagination: Indeterminacy and Embodiment in the Writings of Kant, Fichte, and Castoriadis.Jodie Lee Heap - 2021 - Rowman & Littlefield Publishers.
    By offering an original elucidation of the notion of the imagination in the writings of Immanuel Kant, Johann Fichte, and Cornelius Castoriadis, this book addresses and brings to the fore the significance of the imagination as the ontological source of human creation.
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  12. I Laugh Because It's Absurd: Humor as Error Detection.Chris A. Kramer - 2021 - In Jennifer Marra Henrigillis and Steven Gimbel (ed.), It's Funny 'Cause It's True: The Lighthearted Philosophers Society's Introduction to Philosophy through Humor. pp. 82-93.
    “ A man orders a whole pizza pie for himself and is asked whether he would like it cut into eight or four slices. He responds, ‘Four, I’m on a diet ”’ (Noël Carroll) -/- While not hilarious --so funny that it induces chortling punctuated with outrageous vomiting--this little gem is amusing. We recognize that something has gone wrong. On a first reading it might not compute, something doesn’t quite make sense. Then, aha! , we understand the hapless dieter has (...)
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  13. The Multifaceted Role of Imagination in Science and Religion. A Critical Examination of its Epistemic, Creative and Meaning-Making Functions.Ingrid Malm Lindberg - 2021 - Dissertation, Uppsala University
    The main purpose of this dissertation is to examine critically and discuss the role of imagination in science and religion, with particular emphasis on its possible epistemic, creative, and meaning-making functions. In order to answer my research questions, I apply theories and concepts from contemporary philosophy of mind on scientific and religious practices. This framework allows me to explore the mental state of imagination, not as an isolated phenomenon but, rather, as one of many mental states that co-exist and interplay (...)
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  14. Rethinking creative intelligence: comparative psychology and the concept of creativity.Henry Shevlin - 2021 - European Journal for Philosophy of Science 11 (1):1-21.
    The concept of creativity is a central one in folk psychological explanation and has long been prominent in philosophical debates about the nature of art, genius, and the imagination. The scientific investigation of creativity in humans is also well established, and there has been increasing interest in the question of whether the concept can be rigorously applied to non-human animals. In this paper, I argue that such applications face serious challenges of both a conceptual and methodological character, reflecting deep controversies (...)
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  15. Excessive Use of WeChat at Work Promotes Creativity: The Role of Knowledge Sharing, Psychological Strain.Huiqin Zhang, Meng Wang, Meng Li & Xudong Chen - 2021 - Frontiers in Psychology 12.
    The pervasive nature of social media can result in excessive use and addiction, but whether excessive use of social media is good or bad for individuals' creativity is unclear. This study explored the direct and indirect impact of excessive use of WeChat on individuals' creativity in workplace, focusing on how excessive use of WeChat promotes or restrains creativity through knowledge sharing and psychological strain. Based on the person–environment fit model and motivation theory, this study examined the three paths of excessive (...)
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  16. Grammars of Creativity.Robin Attfield - 2020 - Heythrop Journal 61 (3):381-392.
    Wonder can be found in human creativity as well as in nature. While one version of belief in inspiration precludes human creativity, another presupposes it. Margaret Boden, however, suggests that creativity is continuous with generic human powers, and arises through breaking recognised rules. Problems are raised for this latter view. It needs to be added that creativity commonly involves participation in a tradition of skill or craftsmanship, and in a creative community. Further, the continuity approach is argued to be consistent (...)
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  17. The Logic of Creativity.Carlos Blanco‐Pérez - 2020 - Heythrop Journal 61 (3):393-411.
  18. Creativity Anxiety: Evidence for Anxiety That is Specific to Creative Thinking, From STEM to the Arts.Richard J. Daker, Robert A. Cortes, Ian M. Lyons & Adam E. Green - 2020 - Journal of Experimental Psychology: General 149 (1):42-57.
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  19. Individual Differences in Creative Cognition.Sarah K. C. Dygert & Andrew F. Jarosz - 2020 - Journal of Experimental Psychology: General 149 (7):1249-1274.
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  20. Recipes and Culinary Creativity. The Noma Legacy.Patrik Engisch - 2020 - Humana Mente 13 (38).
    In the past years, food has found itself a central focus of creativity in contemporary culture and a pinnacle of this trend has been the kind of culinary creativity displayed at Noma in Copenhagen. But what is culinary creativity? And what is distinctive about the kind of culinary creativity displayed at places like Noma? In this paper, I attempt to answer these two questions. Building up on pioneering work on creativity by Margaret Boden, I argue that creativity is a matter (...)
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  21. The Productive Mind: Creativity as a Source of Abstract Mental Representations.Mark Fedyk & Fei Xu - 2020 - Behavioral and Brain Sciences 43.
    Explanations of how the brain makes successful predictions should refer to abstracta. But, the mind/brain system is for more than prediction alone. Creativity also plays an important role in supply the mind/brain system with abstracta that serve a number of valuable ends over and above prediction.
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  22. Review of Marcus du Sautoy's The Creativity Code: Art and Innovation in the Age of AI. [REVIEW]Scott H. Hawley - 2020 - Perspectives on Science and Christian Faith 72 (1):52-54.
    A review of Marcus du Sautoy's 2019 book, THE CREATIVITY CODE: Art and Innovation in the Age of AI, Cambridge, MA: Belknap (Harvard) Press, 2019. ISBN: 9780674988132.
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  23. Time Course of Creativity in Dance.David Kirsh, Catherine J. Stevens & Daniel W. Piepers - 2020 - Frontiers in Psychology 11.
    Time-motion studies revolutionized the design and efficiency of repetitive work last century. Would time-idea studies revolutionize the rules of intellectual/creative work this century? Collaborating with seven professional dancers, we set out to discover if there were any significant temporal patterns to be found in a timeline coded to show when dancers come up with ideas and when they modify or reject them. On each of 3 days, the dancers were given a choreographic problem to help them generate a novel, high (...)
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  24. Emotional Creativity: A Meta-Analysis and Integrative Review.Martin Kuška, Radek Trnka, Josef Mana & Tomas Nikolai - 2020 - Creativity Research Journal 32.
    Emotional creativity (EC) is a pattern of cognitive abilities and personality traits related to originality and appropriateness in emotional experience. EC has been found to be related to various constructs across different fields of psychology during the past 30 years, but a comprehensive examination of previous research is still lacking. The goal of this review is to explore the reliability of use of the Emotional Creativity Inventory (ECI) across studies, to test gender differences and to compare levels of EC in (...)
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  25. Creativity.Peter Langland-Hassan - 2020 - In Explaining Imagination. Oxford: pp. 262-296.
    Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a recent example of (...)
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  26. Explaining Imagination.Peter Langland-Hassan - 2020 - Oxford: Oxford University Press.
    ​Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process—one with (...)
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  27. Creativity East and West.Yuanyuan Liu - 2020 - Dissertation, University of Edinburgh
    This thesis is about the creativity in the East and the West, but I will mainly focus on the view of creativity in ancient Greek philosophy and Chinese philosophy. In the first chapter, I will explore the concept of creativity, the history of creativity, and the research on creativity, including the creativity research in psychology and philosophy, which will set the stage for further disscusion. Then in the second chapter, I will start from Plato’s dialogue, Ion, and explore the traditional (...)
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  28. Implications of Creativity: A New Experiential Paradigm for an Aesthetics of the Extended Mind?Giovanni Matteucci - 2020 - In Antonino Pennisi & Alessandra Falzone (eds.), The Extended Theory of Cognitive Creativity: Interdisciplinary Approaches to Performativity. Springer Verlag. pp. 163-181.
    This essay is divided into two parts. In the first one it aims at showing the relationship that exists between narrative mind, performativity and creativity. The core issues are: in what sense and how does the literary mind express its own creativity, that is, what does it mean for a literary mind to be creative? When is it possible to maintain that a literary mind is creative in a sense that is considered as positive? Usually, when attempting to answer these (...)
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  29. Motivational Factors in the Typical Display of Humor and Creative Potential: The Case of Malevolent Creativity.Corinna M. Perchtold-Stefan, Andreas Fink, Christian Rominger & Ilona Papousek - 2020 - Frontiers in Psychology 11.
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  30. On One Case of Condensation.Andrej Poleev - 2020 - Enzymes 18.
  31. The Abductive Structure of Scientific Creativity: An Essay on the Ecology of Cognition. By Lorenzo Magnani.Glenn Statile - 2020 - International Philosophical Quarterly 60 (4):489-492.
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  32. Perceived Work Uncertainty and Creativity During the COVID-19 Pandemic: The Roles of Zhongyong and Creative Self-Efficacy.Chaoying Tang, Huijuan Ma, Stefanie E. Naumann & Ziwei Xing - 2020 - Frontiers in Psychology 11.
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  33. Ars Informatica.Tommaso Castiglione Ferrari - 2019 - Dissertation, N/A
    Dalla sua nascita, l’informatica è considerabile come una disciplina apolide. Le sue caratteristiche la rendono una materia che non rientra totalmente in nessuno dei domini tradizionali ufficialmente riconosciuti. Svariate discussioni si sono sollevate nel corso della sua breve storia, affermando come questa facesse integralmente parte a questo o quel dominio. Eppure nessuno è riuscito finora a convincere il mondo accademico dell’assoluta associazione dell’informatica ad una di esse. L’unico punto di apparente concordo riguarda l’affermazione della non appartenenza dell’informatica al dominio dell’arte. (...)
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  34. Can We Teach Creativity? Extending Socrates's Criteria to Modern Education.Natasha Chatzidaki & Christos-Thomas Kechagias - 2019 - Journal of Aesthetic Education 53 (4):86-98.
    Creativity is an imperative need of the twenty-first century, and it seems to be a skill that will monopolize interest for many years. It is, in substance, a newly established scientific field and despite attempts to encroach on the science of psychology, its origin and functions have not been probed yet. Still, it continues to be researched, with ever-increasing vigor, almost in every area of science and action, with the main scope of potential exploitation being education. The philosophical foundation of (...)
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  35. Aesthetics, Creativity, and Mysticism: An Investigation of Three Modes of Consciousness.Michael Frishkopf - 2019 - Zygon 54 (4):857-879.
    his essay explores the universal nature of aesthetic, creative, and mystical experience, tracing some essential interrelations among the three. Enlarging upon the work of anthropologist Jacques Maquet, I speculate that “sensory fixedness” is both necessary and sufficient to achieve aesthetic experience, and that the unification of mind engendered by sensory fixedness is the essential source of aesthetic power. Therefore, the role of the aesthetic object (construed broadly) is either as an arbitrary sensory focusing mechanism, or as the physical embodiment of (...)
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  36. How Artificial Intelligence Can Help Us Understand Human Creativity.Fernand Gobet & Giovanni Sala - 2019 - Frontiers in Psychology 10.
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  37. The Thought Experimenting Qualities of Kierkegaard's Fear and Trembling.Ingrid Malm Lindberg - 2019 - Religions 10 (6).
    In this article, I examine the possible thought experimenting qualities of Soren Kierkegaard's novel Fear and Trembling and in which way it can be explanatory. Kierkegaard's preference for pseudonyms, indirect communication, Socratic interrogation, and performativity are identified as features that provide the narrative with its thought experimenting quality. It is also proposed that this literary fiction functions as a Socratic-theological thought experiment due to its influences from both philosophy and theology. In addition, I suggest three functional levels of the fictional (...)
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  38. About Russian Version of Historical Progress / О Русской Версии Исторического Прогресса.Pavel Simashenkov - 2019 - Modern European Researches 2:52-58.
    The article provides an analysis of the views of Russian thinkers on historical progress; the concepts of freedom-opportunity, freedom-necessity, time and space are explored. Comparing the western and domestic approaches to the formation of the so-called "national idea", the author formulates his own hypothesis of progress, based on the creativity of the Person as conciliar unity.
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  39. The Predictive Creative Mind: A First Look at Spontaneous Predictions and Evaluations During Idea Generation.Jacopo Valtulina & Alwin de Rooij - 2019 - Frontiers in Psychology 10.
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  40. Unity and Diversity of Executive Functions in Creativity.Darya L. Zabelina, Naomi P. Friedman & Jessica Andrews-Hanna - 2019 - Consciousness and Cognition 68:47-56.
  41. Criterial Problems in Creative Cognition Research.Melvin Chen - 2018 - Philosophical Psychology 31 (3):368-382.
    In creative cognition research, the Romantic view about creative cognition is traditionally rejected in favor of the modern view. The modern view about creative cognition maintains that creativity is neither mysterious nor unintelligible and that it is indeed susceptible to analysis. The paradigmatic objects of analysis in creative cognition research have been creative output and the creative process. The degree of creativity of an output is assessed in accordance with certain criterial definitions. The degree of creativity of a cognitive process (...)
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  42. Wittgenstein, Seeing-As, and Novelty.William Child - 2018 - In Michael Beaney, Dominic Shaw & Brendan Harrington (eds.), Aspect Perception After Wittgenstein: Seeing-As and Novelty. Abingdon: Routledge. pp. 29-48.
    It is natural to say that when we acquire a new concept or concepts, or grasp a new theory, or master a new practice, we come to see things in a new way: we perceive phenomena that we were not previously aware of; we come to see patterns or connections that we did not previously see. That natural idea has been applied in many areas, including the philosophy of science, the philosophy of religion, and the philosophy of language. And, in (...)
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  43. The Paper Topic Machine: Creativity, Credit and the Unconscious.Mike Dacey - 2018 - Analysis 78 (4):614-622.
    It is commonly thought that unconscious processes cannot produce actions deserving praise or blame. I present a thought experiment designed to generate a contradicting intuition: at least in this case, we do give credit for the product of an unconscious process. The target is creativity. Many instances of creative thought begin with a step that unconsciously generates a new idea by combining existing ideas. The resulting ideas are selected and developed by later processing. This first step could be replaced with (...)
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  44. Beliefs About Creativity Influence Creative Performance: The Mediation Effects of Flexibility and Positive Affect.Nujaree Intasao & Ning Hao - 2018 - Frontiers in Psychology 9.
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  45. Explaining Creativity.Maria Kronfeldner - 2018 - In Berys Gaut & Matthew Kieran (eds.), Routledge Handbook on Creativity and Philosophy. New York: Routledge. pp. 213-29.
    Creativity has often been declared, especially by philosophers, as the last frontier of science. The assumption is that it will defy explanation forever. I will defend two claims in order to oppose this assumption and to demystify creativity: (1) the perspective that creativity cannot be explained wrongly identifies creativity with what I shall call metaphysical freedom; (2) the Darwinian approach to creativity, a prominent naturalistic account of creativity, fails to give an explanation of creativity, because it confuses conceptual issues with (...)
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  46. Creative Brain, Creative Mind, Creative Person.Serena Mastria, Sergio Agnoli, Marco Zanon, Todd Lubart & Giovanni Emanuele Corazza - 2018 - In Zoï Kapoula, Emmanuelle Volle, Julien Renoult & Moreno Andreatta (eds.), Exploring Transdisciplinarity in Art and Sciences. Springer Verlag. pp. 3-29.
    Recent research on creative person has been enriched with a new perspective that brings together the study of brain functioning with the analysis of creative mind and creative behaviour. This chapter attempts to contribute to this effort, by reviewing the literature on brain activity and creativity, within the theoretical framework offered by the multivariate approach. According to this approach the multidimensional creative process is conceptualized as the interaction between person-centred factors, such as cognitive abilities, motivational drives, and personality traits, and (...)
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  47. Attributing Creativity.Elliot Samuel Paul & Dustin Stokes - 2018 - In Berys Gaut & Matthew Kieran (eds.), Creativity and Philosophy. Routledge.
    Three kinds of things may be creative: persons, processes, and products. The standard definition of creativity, used nearly by consensus in psychological research, focuses specifically on products and says that a product is creative if and only if it is new and valuable. We argue that at least one further condition is necessary for a product to be creative: it must have been produced by the right kind of process. We argue furthermore that this point has an interesting epistemological implication: (...)
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  48. The Neuropsychological Aspects of Musical Creativity.Ana Luísa Pinho - 2018 - In Zoï Kapoula, Emmanuelle Volle, Julien Renoult & Moreno Andreatta (eds.), Exploring Transdisciplinarity in Art and Sciences. Springer Verlag. pp. 77-103.
    Creativity emerges from the individual or collective intellect, in order to unfold the conundrum of life and give rise to meaningful deliberations for the attainment of a flourishing life. More specifically, creativity is commonly defined, within the framework of psychology, as an act or product that shall fulfill three main criteria: originality, unexpectedness, and usefulness. The cognitive science approach to creativity investigates the intellectual processes and representations concerned with the creative thinking. The methodologies of cognitive science, derived from the technological (...)
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  49. Anomalous Experiences, Mental Health, and Creativity: Is Psi the Missing Link?T. Rabeyron, C. Rowe, M. -C. Mousseau & A. Deledalle - 2018 - Journal of Consciousness Studies 25 (3-4):207-232.
    This study explores the complex relationships between anomalous experiences, mental health, creativity, and psi within a sample of 113 visual artists in three art schools. The main objective was to assess whether psi could play a role in the emergence of anomalous experiences and their association with mental health and creativity. Participants took part in a retro-priming task, already used by Bem to assess unconscious precognitive abilities. They then completed three questionnaires evaluating anomalous experiences, mental health, and creativity. The results (...)
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  50. Creativity, Emergence of Novelty, and Spontaneous Symmetry Breaking.Radek Trnka, Martin Kuška & Inna Cabelkova - 2018 - In SGEM Conference Proceedings, Volume 5, Issue 2.1. pp. 203-210.
    The philosophy of mind concerns much about how novelty occurs in the world. The very recent progress in this field inspired by quantum mechanics indicates that symmetry restoration occurs in the mind at the moment when new creative thought arises. Symmetry restoration denotes the moment when one’s cognition leaves ordinary internalized mental schemes such as conceptual categories, heuristics, subjective theories, conventional thinking, or expectations. At this moment, fundamentally new, original thought may arise. We also predict that in older age, symmetry (...)
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