Results for 'creativity'

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  1.  73
    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 (...)
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  2. 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 (...), because it confuses conceptual issues with explanation. I will close with some remarks on the status and differences in some explanations available in contemporary cognitive science. (shrink)
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  3.  90
    Selective Realism Vs. Individual Realism for Scientific Creativity.Seungbae Park - 2017 - Creativity Studies 10 (1):97-107.
    Individual realism asserts that our best scientific theories are (approximately) true. In contrast, selective realism asserts that only the stable posits of our best scientific theories are true. Hence, individual realism recommends that we accept more of what our best scientific theories say about the world than selective realism does. The more scientists believe what their theories say about the world, the more they are motivated to exercise their imaginations and think up new theories and experiments. Therefore, individual realism better (...)
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  4. Emotional Creativity and Real-Life Involvement in Different Types of Creative Leisure Activities.Radek Trnka, Martin Zahradnik & Martin Kuška - 2016 - Creativity Research Journal 28 (3):348-356.
    The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. The present study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure activities and with four categories of college majors. Data were collected from 251 university students, university graduates and young adults (156 women and 95 men). Art students and (...)
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  5. An Experiential Account of Creativity.Bence Nanay - 2014 - In Elliot Paul & Scott Barry Kaufman (eds.), The Philosophy of Creativity. Oxford University Press.
    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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  6. How to Foster Scientists' Creativity.Seungbae Park - 2016 - Creativity Studies 9 (2):117-126.
    Scientific progress can be credited to creative scientists, who constantly ideate new theories and experiments. I explore how the three central positions in philosophy of science – scientific realism, scientific pessimism, and instrumentalism – are related to the practical issue of how scientists’ creativity can be fostered. I argue that realism encourages scientists to entertain new theories and experiments, pessimism discourages them from doing so, and instrumentalism falls in between realism and pessimism in terms of its effects on scientists’ (...)
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  7. 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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  8. 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 (...)
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  9. Machine Predictability Versus Human Creativity.Richard McDonough - 1993 - In Terry Dartnall (ed.), Artificial Intelligence and Creativity. pp. 117-138.
    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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  10.  57
    Does Moral Leadership Enhance Employee Creativity? Employee Identification with Leader and Leader–Member Exchange in the Chinese Context.Qinxuan Gu, Thomas Li-Ping Tang & Wan Jiang - 2015 - Journal of Business Ethics 126 (3):513-529.
    In this article, drawing from a relational perspective, we explore the relationship between moral leadership and employee creativity, treat employee identification with leader and leader–member exchange as two mediators, and develop a new theoretical model of employee creativity. Our data collected from 160 supervisor–subordinate dyads in the People’s Republic of China demonstrate that moral leadership is positively related to both employee identification with leader and LMX. Further, employee identification with leader partially mediates the relationship between moral leadership and (...)
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  11.  85
    Creativity and the Machine. How Technology Reshapes Language.Fabio Fossa - 2017 - Odradek 3 (1-2):178-208.
    In scientific communications, journal articles, and philosophical aesthetic debates the words “art”, “creativity”, and “machine” are put together more and more frequently. Since some machines are designed to, or happens to, imitate human artistic creativity, it seems natural to use the same words to talk about human artists and machines which imitate them. However, the evolution of language in light of technology may conceal specific features of the phenomena it is supposed to describe. This makes it difficult to (...)
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  12.  63
    Corporate Ethical Values, Group Creativity, Job Satisfaction and Turnover Intention: The Impact of Work Context on Work Response. [REVIEW]Sean Valentine, Lynn Godkin, Gary M. Fleischman & Roland Kidwell - 2011 - Journal of Business Ethics 98 (3):353 - 372.
    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 (...)
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  13. The AHA! Experience: Creativity Through Emergent Binding in Neural Networks.Paul Thagard & Terrence C. Stewart - 2011 - Cognitive Science 35 (1):1-33.
    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 (...)
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  14. Intersemiotic Translation and Transformational Creativity.Daniella Aguiar, Pedro Ata & Joao Queiroz - 2015 - Punctum 1 (2):11-21.
    In this article we approach a case of intersemiotic translation as a paradigmatic example of Boden’s ‘transformational creativity’ category. To develop our argument, we consider Boden’s fundamental notion of ‘conceptual space’ as a regular pattern of semiotic action, or ‘habit’ (sensu Peirce). We exemplify with Gertrude Stein’s intersemiotic translation of Cézanne and Picasso’s proto-cubist and cubist paintings. The results of Stein’s IT transform the conceptual space of modern literature, constraining it towards new patterns of semiosis. Our association of Boden’s (...)
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  15. Imagination and Creativity.Dustin Stokes - 2016 - In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. Routledge.
    This paper surveys historical and recent philosophical discussions of the relations between imagination and creativity. In the first two sections, it covers two insufficiently studied analyses of the creative imagination, that of Kant and Sartre, respectively. The next section discusses imagination and its role in scientific discovery, with particular emphasis on the writings of Michael Polanyi, and on thought experiments and experimental design. The final section offers a brief discussion of some very recent work done on conceptual relations between (...)
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  16. The Role of Luck in Originality and Creativity.Peg Zeglin Brand Weiser - 2015 - Journal of Aesthetics and Art Criticism 73 (1):31-55.
    In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” (...)
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  17. The Determinants of Green Product Development Performance: Green Dynamic Capabilities, Green Transformational Leadership, and Green Creativity[REVIEW]Yu-Shan Chen & Ching-Hsun Chang - 2013 - Journal of Business Ethics 116 (1):107-119.
    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 (...)
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  18. Free Will Skepticism and the Question of Creativity: Creativity, Desert, and Self-Creation.D. Caruso Gregg - 2016 - Ergo: An Open Access Journal of Philosophy 3.
    Free will skepticism maintains that what we do, and the way we are, is ultimately the result of factors beyond our control and because of this we are never morally responsible for our actions in the basic desert sense—the sense that would make us truly deserving of praise and blame. In recent years, a number of contemporary philosophers have advanced and defended versions of free will skepticism, including Derk Pereboom (2001, 2014), Galen Strawson (2010), Neil Levy (2011), Bruce Waller (2011, (...)
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  19. Situated Cognition, Dynamic Systems, and Art: On Artistic Creativity and Aesthetic Experience.Ingar Brinck - 2007 - Janus Head 9 (2):407-431.
    It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist’s work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global, socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the (...)
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  20.  98
    Fostering Creativity and Innovation Without Encouraging Unethical Behavior.Sherrie E. Human, David A. Baucus, William I. Norton & Melissa S. Baucus - 2008 - Journal of Business Ethics 81 (1):97-115.
    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: breaking rules and standard operating procedures; challenging authority and avoiding tradition; creating conflict, competition and stress; and taking risks. We discuss each category, briefly identifying research supporting these prescriptions for fostering creativity and then we delve into (...)
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  21. Naturalistic Approaches to Creativity.Dustin Stokes & Elliot Samuel Paul - 2016 - In J. Sytsma W. Buckwalter (ed.), The Blackwell Companion to Experimental Philosophy.
    We offer a brief characterization of creativity, followed by a review of some of the reasons people have been skeptical about the possibility of explaining creativity. We then survey some of the recent work on creativity that is naturalistic in the sense that it presumes creativity is natural (as opposed to magical, occult, or supernatural) and is therefore amenable to scientific inquiry. This work is divided into two categories. The broader category is empirical philosophy, which draws (...)
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  22.  14
    Introducing THE PHILOSOPHY OF CREATIVITY.Elliot Samuel Paul & Scott Barry Kaufman - 2014 - In Elliot Samuel Paul & Scott Barry Kaufman (eds.), The Philosophy of Creativity: New Essays. New York, NY, USA: pp. 3-14.
  23.  33
    From Increasing Gas Efficiency to Enhancing Creativity: It Pays to Go Green. [REVIEW]Thomas Li-Ping Tang - 2010 - Journal of Business Ethics 94 (2):149 - 155.
    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, (...)
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  24.  71
    Darwinian Creativity and Memetics.Maria Kronfeldner - 2011 - Acumen Publishing.
    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 (...)
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  25. Investigating the Development of Creativity : The Sahlin Hypothesis.Ingar Brinck - 2015 - Against Boredom : 17 Essays.
    How should the development of creativity be approached? Many accounts of children’s creativity focus on the relation between creativity and pretend play, placing make-believe and the mental exploration of possible scenarios about the world at the fore. Often divergent thinking and story-telling are used to measure creativity with fluency, originality, and flexibility as indicators. I will argue that the strong focus on conceptual processes and higher-order thought leaves procedural forms of creativity in the dark and (...)
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  26. The Synergetic View of Human Creativity.Helena Knyazeva - 1998 - Evolution and Cognition 4 (2):145-155.
    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 (...)
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  27.  65
    Exploring Creativity in the Design Process: A Systems-Semiotic Perspective.Argyris Arnellos, Thomas Spyrou & Ioannis Darzentas - 2007 - Cybernetics and Human Knowing 14 (1):37-64.
    This paper attempts to establish a systems-semiotic framework explaining creativity in the design process, where the design process is considered to have as its basis the cognitive process. The design process is considered as the interaction between two or more cognitive systems resulting in a purposeful and ongoing transformation of their already complex representational structures and the production of newer ones, in order to fulfill an ill-defined goal. Creativity is considered as the result of an emergence of organizational (...)
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  28.  7
    Creative Practices Embodied, Embedded, and Enacted in Architectural Settings: Toward an Ecological Model of Creativity.Laura H. Malinin - 2016 - Frontiers in Psychology 6.
    Memoires by eminently creative people often describe architectural spaces and qualities they believe instrumental for their creativity. However, places designed to encourage creativity have had mixed results, with some found to decrease creative productivity for users. This may be due, in part, to lack of suitable empirical theory or model to guide design strategies. Relationships between creative cognition and features of the physical environment remain largely uninvestigated in the scientific literature, despite general agreement among researchers that human cognition (...)
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  29.  46
    Its Own Reward: A Phenomenological Study of Artistic Creativity.David Rawlings & Barnaby Nelson - 2007 - Journal of Phenomenological Psychology 38 (2):217-255.
    The phenomenology of the creative process has been a neglected area of creativity research. The current study investigated the phenomenology of artistic creativity through semi-structured interviews with 11 artists. The findings consisted of 19 interlinked constituents, with 3 dynamics operating within these constituents: an intuition-analysis dynamic, a union-division dynamic, and a freedom-constraint dynamic. The findings are discussed in relation to the issues of creativity and spirituality, intuition and analysis, the creative synthesis, affective components, and flow. The findings (...)
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  30.  45
    Governance in the Participative Organisation: Freedom, Creativity and Ethics. [REVIEW]Jane Collier & Rafael Esteban - 1999 - Journal of Business Ethics 21 (2-3):173 - 188.
    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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  31. On Creativity and the Philosophy of the Supranational State.Barry Smith & Wolfgang Grassl - 2004 - In Tamás Demeter (ed.), Essays on Wittgenstein and Austrian Philosophy: In Honour of J.C. Nyíri. Rodopi. pp. 25-39.
    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, (...)
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  32. The Philosophical Roots of Western and Eastern Conceptions of Creativity.Weihua Niu & Robert J. Sternberg - 2006 - Journal of Theoretical and Philosophical Psychology 26 (1-2):18-38.
    This essay reviews the philosophical roots and the development of the concept of creativity in the West and East. In particular, two conceptions of creativity that originated in the West--divinely inspired creativity and individual creativity--are discussed and compared to the two Eastern conceptions of creativity that are rooted in ancient Chinese philosophical thought--natural and individual creativity. Both Western and Eastern conceptions of individual creativity come from a theistic or cosmic tradition of either divinely (...)
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  33.  58
    Moral Creativity in Science and Engineering.Mike W. Martin - 2006 - Science and Engineering Ethics 12 (3):421-433.
    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 (...)
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  34.  48
    Art and Creativity in the Global Economies of Education.Elizabeth Grierson - 2011 - Educational Philosophy and Theory 43 (4):336-350.
    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 (...)
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  35. Some Empirical Criteria for Attributing Creativity to a Computer Program.Graeme Ritchie - 2007 - Minds and Machines 17 (1):67-99.
    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 (...)
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  36.  71
    The Limits To Creativity In Education: Dilemmas For The Educator.Anna Craft - 2003 - British Journal of Educational Studies 51 (2):113-127.
    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 (...)
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  37.  21
    Virtues in Participatory Design: Cooperation, Curiosity, Creativity, Empowerment and Reflexivity. [REVIEW]Marc Steen - 2013 - Science and Engineering Ethics 19 (3):945-962.
    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 (...)
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  38. What Creativity Isn't: The Presumptions of Instrumental and Individual Justifications for Creativity in Education.Howard Gibson - 2005 - British Journal of Educational Studies 53 (2):148 - 167.
    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 (...)
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  39.  15
    Linguistic Creativity.Eugen Fischer - 2000 - Kluwer Academic Publishers.
    How is it that speakers can get to know the meaning of any of indefinitely many sentences they have never encountered before? - the 'problem of linguistic creativity' posed by this question is a core problem of both philosophy of language and theoretical linguistics, and has sparked off a considerable amount of work in the philosophy of mind. The book establishes the failure of the familiar - compositional - approach to this problem, and then takes a radically new start: (...)
  40.  6
    Technical Creativity, Material Engagement and the (Controversial) Role of Language.Pietro Montani - 2019 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 12 (2):27-37.
    For several hundred thousand years, the genus homo deployed a characteristic technical creativity, communicating and transmitting its outcomes, together with its operative protocols, without the available recourse to articulated language. The thesis proposed here is that the aforementioned functions should be attributed to a complex intertwining of embodied abilities, which can in turn be ascribed to the classic philosophical concept of imagination. It is through imagination that the human becomes involved in material engagement, by virtue of which its extended (...)
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  41.  76
    Aesthetic Creativity: Insights From Classical Literary Theory on Creative Learning.Tomas Georg Hellström - 2011 - Educational Philosophy and Theory 43 (4):321-335.
    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 (...)
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  42.  3
    The Value of Malevolent Creativity.James S. Pearson - 2020 - Journal of Value Inquiry 1 (1):1-18.
    Until recently theorists of creativity have consistently maintained that two necessary conditions must be satisfied in order for us to legitimately ascribe creativity to a given phenomenon: a) that it exhibit novelty, and b) that it possess value. However, researchers investigating malevolent forms of creativity have claimed that the value condition is problematic insofar as we often ascribe creativity to products that are of entirely negative value for us. This has given rise to a number of (...)
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  43.  73
    Developing Creativity: Artificial Barriers in Artificial Intelligence. [REVIEW]Kyle E. Jennings - 2010 - Minds and Machines 20 (4):489-501.
    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 (...)
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  44.  42
    Creativity and Imagination in the Practice of Philosophy.Maksymilian Del Mar - 2008 - Swiss Philosophical Preprints.
    This paper argues that the exercise of the imagination requires us 1) to attempt to describe features of a certain practice that appear, at first blush, natural and obvious; 2) to understand that that which appears natural and obvious could be otherwise; and 3) to be open to the introduction of changes to that which appears natural and obvious. Imagination, in this sense, is quite different to creativity. The latter works on the basis of the introduction of variations to (...)
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  45.  65
    Improvisation, Creativity, and Formulaic Language.Ian MacKenzie - 2000 - Journal of Aesthetics and Art Criticism 58 (2):173-179.
    Speakers routinely rely on a vast store of fixed and semi-fixed institutionalized utterances. In our mother tongue, we know how to combine pre-patterned phrases, complete semi-fixed expressions, and produce deviant versions for humorous effect. There are analogies with the way traditional folk musicians embellish tunes with a largely fixed structure, and the way jazz musicians improvise, and also with oral traditions in which poets composed or improvised tales during performance by using fixed formulas and formulaic phrases (though without the metrical (...)
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  46.  7
    A Connoisseur of Magical Coincidences: Chance, Creativity and Poiesis From a Biosemiotic Perspective.Wendy Wheeler - 2014 - Biosemiotics 7 (3):389-404.
    Semiotics, in the guise of the limited Saussurean semiology, has been widely used in the humanities and in cultural studies for the past 20 to 30 years at least. With the advent, nearly 20 years ago, of the environmental humanities, including the new field of humanities animal studies, the weaknesses of this mode of analysis became increasingly clear. This essay forms part of a larger attempt to develop a Peirce-informed biosemiotic theory capable of affording conceptual tools for the broad-based study (...)
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  47.  33
    Deductive and Ampliative Adaptive Logics as Tools in the Study of Creativity.Joke Meheus - 1999 - Foundations of Science 4 (3):325-336.
    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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  48.  95
    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 (...)
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    Does Proficiency Creativity Solve Legal Dilemmas? Experimental Study of Medical Students' Ideas About Death-Causes.Niels Lynöe & Niklas Juth - 2013 - Medicine, Health Care and Philosophy 16 (4):789-793.
    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 (...)
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  50.  10
    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 (...). The results show no significant effect on the retro-priming task, but the number of anomalous experiences reported by each participant was significantly correlated with their retro-priming performance. Creativity did not correlate with retro-priming, except for one subscale, the use of analogies. Anomalous experiences as a whole were correlated with mental health and creativity, in keeping with the high rate of unusual experiences previously reported in artistic populations. The theoretical implication of these findings and possible directions for future studies are discussed. (shrink)
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