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  1. Attention, Technology, and Creativity.Carolyn Dicey Jennings & Shadab Tabatabaeian - manuscript
    An important topic in the ethics of technology is the extent to which recent digital technologies undermine user autonomy. Supporting evidence includes the fact that recent digital technologies are known to have an impact on attention, which balances "bottom-up" and "top-down" influences on cognition. As described in numerous papers, these technologies manipulate bottom-up influences through cognitive fluency, intermittent variable rewards, and other techniques, making them more attractive to the user. We further reason that recent digital technologies reduce the user’s ability (...)
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  2. Intentional Mind-Wandering as Intentional Omission: The Surrealist Method.Santiago Arango-Muñoz & Juan Pablo Bermúdez - forthcoming - Synthese 199 (3-4):7727-7748.
    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 of control over thoughts can be deployed towards creative endeavors.
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  3. 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.
  4. 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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  5. 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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  6. Oxford Handbook of Spontaneous Thought and Creativity.Kieran Fox & Kieran Christoff (eds.) - forthcoming - Oxford University Press.
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  7. Gesturing in Language: Merleau-Ponty and Mukařovský at the Phenomenological Limits of Structuralism.Jan Halák - forthcoming - Journal of the British Society for Phenomenology:1-25.
    This study aims to corroborate Merleau-Ponty’s interpretations of fundamental ideas from Saussure’s linguistics by linking them to works that were independently elaborated by Jan Mukařovský, Czech structuralist aesthetician and literary theorist. I provide a comparative analysis of the two authors’ theories of language and their interpretations of thought as fundamentally determined by language. On this basis, I investigate how they conceive linguistic innovation and its translation into changes in the constituted language and other social codes and institutions. I explain how (...)
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  8. 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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  9. Creativity, Spontaneity, and Merit.Antti Kauppinen - forthcoming - In Alex King & Christy Mag Uidhir (eds.), Philosophy and Art: New Essays at the Intersection. Oxford University Press.
    Common sense has it that some of the greatest achievements that are to our credit are creative, whether artistic or otherwise. But standard theories of achievement and merit struggle to explain them, since the praiseworthiness of creative achievements isn’t grounded in effort, quality of will, disclosing the agent’s values, or even reasons-responsiveness. I argue that it’s distinctive of artistic or quasi-artistic creative activity that it is guided by what I call aspirational aims, which are formulated in terms of evaluative predicates (...)
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  10. What Are the Benefits of Mind Wandering to Creativity?Samuel Murray, Nathan Liang, Nick Brosowsky & Paul Seli - forthcoming - Psychology of Creativity, Aesthetics, and the Arts.
    A primary aim of mind-wandering research has been to understand its influence on task performance. While this research has typically highlighted the costs of mind wandering, a handful of studies have suggested that mind wandering may be beneficial in certain situations. Perhaps the most-touted benefit is that mind wandering during a creative-incubation interval facilitates creative thinking. This finding has played a critical role in the development of accounts of the adaptive value of mind wandering and its functional role, as well (...)
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  11. 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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  12. Imagination and Creative Thinking.Amy Kind - 2022 - Cambridge University Press.
    In this Element, we’ll explore the nature of both imagination and creative thinking in an effort to understand the relation between them and also to understand their role in the vast array of activities in which they are typically implicated, from art, music, and literature to technology, medicine, and science. Focusing on the contemporary philosophical literature, we will take up several interrelated questions: What is imagination, and how does it fit into the cognitive architecture of the mind? What is creativity? (...)
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  13. Musical Agency and Collaboration in the Digital Age.Tom Roberts & Joel Krueger - 2022 - In Kath Bicknell & John Sutton (eds.), Collaborative Embodied Performance: Ecologies of Skill. New York: Bloomsbury. pp. 125-140.
  14. 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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  15. Creativity, Humour, and Cognition.Mario Gensollen & Marc Jiménez-Rolland - 2021 - Debats (6):107-119.
    This paper explores some aspects of the scientific study of creativity by focusing on intentional attempts to create instances of linguistic humour. We argue that this sort of creativity can be accounted for within an influential cognitive approach but that said framework is not a recipe for producing novel instances of humour and may even preclude them. We start by identifying three great puzzles that arise when trying to pin down the core traits of creativity, and some of the ways (...)
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  16. 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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  17. 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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  18. The Freedom We Mean: A Causal Independence Account of Creativity and Academic Freedom.Maria Kronfeldner - 2021 - European Journal for Philosophy of Science 11 (2):1-23.
    Academic freedom has often been defended in a progressivist manner: without academic freedom, creativity would be in peril, and with it the advancement of knowledge, i.e. the epistemic progress in science. In this paper, I want to critically discuss the limits of such a progressivist defense of academic freedom, also known under the label ‘argument from truth.’ The critique is offered, however, with a constructive goal in mind, namely to offer an alternative account that connects creativity and academic freedom in (...)
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  19. 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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  20. 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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  21. Abduction, the Logic of Scientific Creativity, and Scientific Realism.John R. Shook - 2021 - In John R. Shook & Sami Paavola (eds.), Abduction in Cognition and Action: Logical Reasoning, Scientific Inquiry, and Social Practice. Springer Verlag. pp. 207-227.
    A fundamental question for philosophy of science asks, How is knowledge of the world created? A pragmatist approach is constructed to show how discovery and justification are tightly related during the creation of scientific knowledge. Procedural abduction, at the scientific level of Strict Abduction and higher, integrates the learnable and the logical quite thoroughly. Discovery and justification are functionally fused together within the organized process of procedural abduction by scientific communities. Four questions posed at the start are answered by this (...)
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  22. 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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  23. 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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  24. The Logic of Creativity.Carlos Blanco‐Pérez - 2020 - Heythrop Journal 61 (3):393-411.
  25. 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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  26. 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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  27. 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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  28. 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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  29. 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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  30. 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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  31. 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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  32. 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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  33. 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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  34. 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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  35. Kreativität und Präzision. Eine Neubestimmung kreativen Denkens und Handelns.Simone Mahrenholz - 2020 - Imago 13:13-23.
    IMAGO TEXT 2020 ABSTRACTS -/- (German abstract below) The text presents a structural analysis and a logical theory of creativity. It argues that creativity emerges from the translation between two forms of precision, thus from the ubiquitous transformation between incompatible forms of thought and articulation. This transformation allows for unexpected surpluses and innovations, in conjunction with fallacies, waste and noise. Common myths and misconceptions – i.e. about creativity as a force in dire supply - are debunked, as are mistaken strategies (...)
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  36. 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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  37. 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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  38. On One Case of Condensation.Andrej Poleev - 2020 - Enzymes 18.
  39. 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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  40. 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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  41. 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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  42. 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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  43. 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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  44. How Artificial Intelligence Can Help Us Understand Human Creativity.Fernand Gobet & Giovanni Sala - 2019 - Frontiers in Psychology 10.
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  45. Berys Gaut & Matthew Kieran, , "Creativity and Philosophy." Reviewed By.Amy Kind - 2019 - Philosophy in Review 39 (3):129-131.
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  46. 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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  47. 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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  48. Unity and Diversity of Executive Functions in Creativity.Darya L. Zabelina, Naomi P. Friedman & Jessica Andrews-Hanna - 2019 - Consciousness and Cognition 68:47-56.
  49. La créativité.Constant Bonard & Jerrold Levinson - 2018 - In Emma Tieffenbach & Julien Deonna (eds.), Dictionnaire des valeurs.
    La créativité est une valeur aujourd’hui abondamment conférée à des objets fort divers. Ainsi, bien qu’elle soit principalement discutée dans le domaine de l’art, on en parle souvent à propos des sciences, du sport, de l’entrepreneuriat, de la politique, de la pédagogie ou encore de situations plus ordinaires, telles que la créativité culinaire ou humoristique. En quoi ces diverses formes de créativité se ressemblent-elles ? Qu’est-ce qui fait leur valeur et en quoi se distinguent-elles de proches parentes comme l’originalité, l’inventivité (...)
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  50. 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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