The American Philosophical Association suggests that studying philosophy can have an important impact on one's creative thinking ability. This paper abstracts from the empirical research on creativity a reasonable model of creative thinking, and discusses what the account implies about fostering creative thinking in philosophy courses. Given the empirical research on creativity and the nature of philosophy, studying philosophy can have an important impact on one's creative thinking ability, but faculty (...) need to focus on it in their courses. (shrink)

The article is dedicated to the problem of the crisis in traditional educational relations and to the development of progressive educational relations at the level of the philosophy of life and the pedagogy of common concerns. The connecting nature of the relationship between teachers and their pupils and the development of creative abilities of children in a social life is discussed. Thus the author’s conception of Doctor of Pedagogical Sciences Igor Petrovich Ivanov is brought out in the current (...) article. (shrink)

What is creativity and who exactly is creative? In this insightful and highly readable book, the author attempts to answer these questions by arguing that geographical millieux are hotbeds for creativity and renewal - places where pioneers in art, technology and science have gathered and developed their special abilities. In light of ongoing social and economic transformations, special attention is paid to the institutional settings in firms and universities. The goal is to identify those features which facilitate and those (...) which impede the creative process. Individual lives are illustrated through the autobiographies of hundreds of Nobel Laureates. Their life paths reveal the importance of geographic mobility and contact patterns for the development of creativity and international prestige. From these biographies we can also see how local millieux and schools have influenced many scientists"--Back cover. (shrink)

The introductory chapter places creativity in a historical context. It shows how objectivist and subjectivist research philosophies have emerged and how they relate to technical, practical and emancipatory knowledge interests which inform the study of organizational creativity. Based on a sensitizing concept of organizational creativity the chapter then suggests context, process and practice as the conceptual framing for the subsequent arguments of the book.

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 settled (...) phenomena. This exercise of creativity is important, but ultimately, it contributes principally to the stability and identity of a community and reinforces its most firmly established features. Imagination, on the other hand, is more difficult, for it strikes at the very heart of that which is settled. Changes to that which is settled may not only be resisted, but may also be violently opposed. And yet, it is precisely the very ability and willingness to be open to such changes that may be of the most ethical and political significance. These differences between creativity and imagination are illustrated in the context of the practice of philosophy. (shrink)

Your artistry involves you intimately with the world around and beyond you. So your artistry involves profound but simple philosophical matters. As a human person, you are artful and philosophical, at the core of your being. Doorway to Artistry offers a playful, everyday philosophical approach necessary for life, integration, healing, and thriving in artistry. It reflects on the real and how we are involved with it, especially in our creative effort. In short, the real hospitably welcomes us, and in (...) our artistry we reciprocate in noble courtesy. Human persons were made for this communion with the real. Find in this book a hospitable welcome to belong at home beyond where you are. (shrink)

The seventh Korea elementary school curriculum implies that it is possible to activate higher-order thinking by accepting constructivism as a paradigm. However, the absence of effective and concrete way to make it possible disturbs the goal of the new curriculum. I summarized the class contents of what I did for the last two years in the contest that is for improvement of instruction. As I got a bronze medal twice in Seoul teachers teaching contest, it can be a good example (...) for teaching. I hope that it offers concrete materials for general class instructions. I managed five parts of research flexibly for a year. 1. Making the environment for Community of Inquiry (COI) model: being considerate of others in the class. 2. Stressing the reading habit: extending background knowledge and cultivating self-centered learning ability. 3. Discussion: training thinking skill with games. 4. Assessment and Feedback: writing with activity papers, writing portfolio and art-book. 5. Generalization: sharing materials with others, teaching mixed grade students with COI model. As a result, I found out that thinking skill stimulates students' thinking ability as well as their behavior change. Also it proved the positive parts of COI model by showing that COI model improved the creative writing ability. (shrink)

Everything you have been told about creativity is wrong. From line managers, corporate CEOs, urban designers, teachers, politicians, mayors, advertisers and even our friends and family, the message is 'be creative'. Creativity is heralded as the driving force of our contemporary society; celebrated as agile, progressive and liberating. It is the spring of the knowledge economy and shapes the cities we inhabit. It even defines our politics. What could possibly be wrong with this? In this brilliant, counter intuitive blast (...) Oli Mould demands that we rethink the story we are being sold. Behind the novelty, he shows that creativity is a barely hidden form of neoliberal appropriation. It is a regime that prioritizes individual success over collective flourishing. It refuses to recognise anything - job, place, person - that is not profitable. And it impacts on everything around us: the places where we work, the way we are managed, how we spend our leisure time. Is there an alternative? Mould offers a radical redefinition of creativity, one embedded in the idea of collective flourishing, outside the tyranny of profit. Bold, passionate and refreshing, Against Creativity, is a timely correction to the doctrine of our times. (shrink)

A cross-cultural comparsion of creativity that introduces Neo-Confucian discourse as a sophisticated dialogue partner with modern western speculative philosophy and theology.

In this volume Henry Corbin emphasizes the differences between the exoteric and esoteric forms of Islam. He also reveals that whereas in the West philosophy and religion were at odds, they were inseparably linked, at least during this period, in the Islamic world. A valuable section of notes and appendices includes original translation of numerous Sufi treatises.

In this volume Henry Corbin emphasizes the differences between the exoteric and esoteric forms of Islam. He also reveals that whereas in the West philosophy and religion were at odds, they were inseparably linked, at least during this period, in the Islamic world. A valuable section of notes and appendices includes original translation of numerous Sufi treatises.

Creativity — A New Vocabulary proposes a novel approach to the way in which we talk and think about creativity. It covers a variety of topics not commonly associated with creativity that offer us valuable insights and open up new and exciting possibilities for creative action. This collection of essays challenges the 'traditional' vocabulary of creativity and its preference for individuals, brains, cognition, personality, divergent thinking, insight, and problem solving. Instead, the book proposes a more dynamic and relational perspective (...) that considers creativity as an embodied, social, material, and cultural process. This book will be useful for a wide range of specialists within the humanities and social sciences, as well as practitioners from applied fields who are looking for novel ways of thinking about and doing creative work. (shrink)

Explores the nature and relation of history and becoming in the work of Gilles Deleuze. How are we to understand the process of transformation, the creation of the new, and its relation to what has come before? In History and Becoming, Craig Lundy puts forward a series of fresh and provocative responses to this enduring problematic. Through an analysis of Gilles Deleuze's major solo works and his collaborations with Felix Guattari, he demonstrates how history and becoming work together in driving (...) novelty, transmutation and experimentation. What emerges from this exploration is a new way of thinking about history and the vital role it plays in bringing forth the future. (shrink)

Creative encounters, appreciating difference: an introduction -- Appreciating difference : encountering, moving, naming -- Moving beyond place -- Territory -- I don't want to be a mystic! : on self-moving and religious experience -- Not by any name -- Creations of encounter -- Mother earth and numbakulla -- Storytracking the arrernte through the academic bush -- Mother earth : an American myth -- Aesthetic of impossibles -- Myth and an aesthetic of impossibles -- Tomorrow's eve and the next gen (...) study of religion -- Gesture -- Gesture posture prosthesis -- They jump up of themselves -- As prayer goes so goes religion -- Play -- No place to stand : Jonathan Z. Smith as homo ludens, the academic study of religion sub specie ludi -- To risk meaning nothing : Charles Sanders Peirce & the logic of discovery -- Creative encounters -- Creative encounters. (shrink)

Creativity is an emerging field of research for philosophy. A diachronic cultural value and fundamental human ability, creativity poses a host of questions that challenge us both on a theoretical and practical level. In this paper we explore creativity through the use of problem-solving lateral thinking techniques, as part of the C2Learn European Community research program. Lateral thinking is defined and then classified into three distinct kinds: conceptual, diagrammatic and emotive. Each kind is then explicated and its basic (...) principles examined, in an effort to shed light on the different ways the space of possible solutions is affected by each kind of lateral thought. It is this active engagement with the space of possibilities itself, that separates a mere problem-solver from an actual creator. (shrink)

Eitan Mechter's new book deals with theoretical-theoretical aspects of creativity through reading in modern thought. The educational act aimed at cultivating creativity requires theoretical clarification before formulating practical lines of action - philosophical study serves as a source for building pedagogical patterns. To create; replication and normalization - to cultivate originality and impart expression. This change requires a new philosophical basis. In man's attitude to himself and the world lies the root of the act of creation, as is renewable self-discovery. (...) The 21st century calls for a new definition of the educational act. Of the author is that the philosophical basis of education for creation rests on two axes: on the one hand the rational axis, the critical theory from the school of Adorno; on the other hand the axis of existential philosophy shaped by experience, passion The will and self-creation, from Nietzsche's seminary. This book seeks to show how the two perceptions complement each other when it comes to cultivating creativity; How they form part of the general heritage of humanistic education. This combination makes it possible to organize the experience intelligently, but also to release reason for inspiring and renewed emotional experiences. "- translated from the back cover. (shrink)

The Pedagogy of Creativity represents a groundbreaking study linking the pedagogy of classroom creativity with psychoanalytical theories.

How humans and technology evolve together in a creative partnership. In this book, Edward Ashford Lee makes a bold claim: that the creators of digital technology have an unsurpassed medium for creativity. Technology has advanced to the point where progress seems limited not by physical constraints but the human imagination. Writing for both literate technologists and numerate humanists, Lee makes a case for engineering—creating technology—as a deeply intellectual and fundamentally creative process. Explaining why digital technology has been so (...) transformative and so liberating, Lee argues that the real power of technology stems from its partnership with humans. Lee explores the ways that engineers use models and abstraction to build inventive artificial worlds and to give us things that we never dreamed of—for example, the ability to carry in our pockets everything humans have ever published. But he also attempts to counter the runaway enthusiasm of some technology boosters who claim everything in the physical world is a computation—that even such complex phenomena as human cognition are software operating on digital data. Lee argues that the evidence for this is weak, and the likelihood that nature has limited itself to processes that conform to today's notion of digital computation is remote. Lee goes on to argue that artificial intelligence's goal of reproducing human cognitive functions in computers vastly underestimates the potential of computers. In his view, technology is coevolving with humans. It augments our cognitive and physical capabilities while we nurture, develop, and propagate the technology itself. Complementarity is more likely than competition. (shrink)

Nicholas Allott considers Chomsky at ninety. [This is a short introduction to Chomsky's linguistic work, its implications for our knowledge about language and the mind, and its connections with the political philosophy that is implicit in his work on international relations and the media. I argue that Chomsky's contribution to linguistics, cognitive science and philosophy should not be controversial. He has been a major influence on the computational/representational view of the mind that is now taken for granted in (...) serious work in linguistics and cognitive psychology. His work in linguistics revolutionised the field, leading to the discovery of grammatical principles with considerable explanatory power, and has shifted the burden against those who oppose Universal Grammar: an innate, domain-specific system that underlies our linguistic abilities. Chomsky's political work includes detailed critiques of US and other Western policy, particularly foreign policy, and, with Edward Herman, a model that seeks to explain how radical opinions and inconvenient facts are excluded from the media. Chomsky also has a political philosophy, although he does not set it out in detail. He sees human beings as intrinsically creative and with an instinct for freedom, and he takes these features of human nature to favour a libertarian socialist society.]. (shrink)

Creativity is something that everyone talks about but how did this concept originate? With roots in nineteenth century philosophy, our current idea of creativity has emerged largely from psychological theories since the early twentieth century. Michael Hanchett Hanson has woven together the history of the development of the psychological theories of creativity with social constructivist views of power dynamics and pragmatic insights into the use of this powerful concept. Worldmaking: Psychology and the Ideology of Creativity provides an engaging and (...) thought-provoking analysis of interest to anyone who uses the idea of creativity, from psychologists and philosophers to artists, educators and business leaders. (shrink)

This book looks closely at discourses of creativity in the lifelong learning sector from the perspective of a teacher educator. It reworks the idea of creativity for lifelong learning using an analysis of the cinema of Michelangelo Antonioni as a basis. The book argues that ethics and creativity are indissociable and that more relevant practices in teaching, learning and research can be developed from and with them. To do this, the book examines Deleuze's notion of counter-actualization as a form of (...) creative practice and establishes ethical and practical consequences for this diverse sector. (shrink)

Creativity is the linking point between all fields of human endeavor and thought, William Anderson writes in this inspiring and far-ranging inquiry into the nature of human invention, its impact on the contemporary world, and the self-imposed limitations that shackle our creative potential. Based on his concept of the Great Memory, a shared past from which we draw energies, ideas, and images that lead us to new creations, Anderson argues that creativity is an outpouring of the conscious psyche, not (...) the realization of unconscious impulses. A poet, philosopher, and historian, he provides support for his thesis in a fascinating world tour of anecdotes, events, and images: characters from Aztec literature, the windows of Chartres Cathedral, the siege at Masada, the choreography of Diaghilev's Ballets Russes. (shrink)

In the middle of the 19th century a new value began to appear in Western Europe - the belief that (in the words of Matthew Arnold) 'the exercise of a creative activity is the true function of man'. This book gives an account of the stages by which, and the reasons why, this development occurred at that time. In so doing it reveals a historical puzzle, for the main factors which can be seen to have given rise to the (...) new value - mainly scientific, technological, economic and political - were not reflected in the value itself, for that was applied almost exclusively to artistic and cultural activity. John Hope Mason sets out to explain this puzzle by showing how throughout European history there have been two radically different views of the creative attribute. An early example of one view was the character of Prometheus in Greek mythology; influential examples of the second were the figures of God the Creator in Judaeo-Christian theology and the neo-Platonic One in Hellenistic philosophy. The book shows how the contrast represented by those figures informed discussions of genius in the 18th century and indicates why the notion of creativity which came to prevail then assimilated it with purely aesthetic and moral concerns. Combining a broad perspective with a close analysis of key figures - from Adam Smith, Rousseau and Kant, to Arnold, Marx and Nietzsche - this book casts a new light on a central value of the modern world. (shrink)

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 theory of creativity in ancient Greek philosophy, and claim that their creative ability is inspired by divine being. After this, I will show people’s view on creativity has undergone a process of demystification. During this process, people gradually began to resist the divine source and explore the world individually and independently. Meanwhile, the meaning of the concept of creativity has become broader, since it is not limited to poem any more, but it can be applied to other fields, such as art, science, and education. In the third chapter, I will turn to the modern creativity theory, including the lateral thinking and emotional creativity, and explore how to be creative with lateral thinking techniques and how to improve creativity through emotion regulation. After the examination in the West, I will turn to the theory of creativity in Chinese philosophy, by focusing on classical works in Daoism and Confucianism. In the fourth chapter, I will explore the view of creativity in philosophy of Daoism. I will claim that the creativity in Daoism is natural and cosmological, and there is no external creative source, so I will claim it is self- creativity, which is distinct from the ancient Western creativity pushed by external divine power. In the fifth chapter, I will argue that the creativity in Confucianism is evolutionary, which is unlike the revolutionary creativity in the West, and I will propose the way to become creative in Confucianism based on its classics, Analects, and then will explore the creativity principle and how the agent cultivate their creative ability in Confucianism. In the conclusion, I will summarize the difference between the creativity in East and West, from the perspective of the source of creativity, nature of creativity. I will claim that the source of creativity in ancient Greek philosophy is divine being, whereas there is no divine source for creativity in Chinese philosophy, therefore, the creativity in the West traditionally is inspired creativity, while the creativity in the East traditionally is natural and cosmological creativity. In addition, the concept of creativity in the West is revolutionary, whereas the concept of creativity in the East is evolutionary and the moral function of creativity is also addressed in Chinese philosophy. (shrink)

Scientific discovery is often regarded as romantic and creative - and hence unanalyzable - whereas the everyday process of verifying discoveries is sober and more suited to analysis. Yet this fascinating exploration of how scientific work proceeds argues that however sudden the moment of discovery may seem, the discovery process can be described and modeled. Using the methods and concepts of contemporary information-processing psychology (or cognitive science) the authors develop a series of artificial-intelligence programs that can simulate the human (...) thought processes used to discover scientific laws. The programs - BACON, DALTON, GLAUBER, and STAHL - are all largely data-driven, that is, when presented with series of chemical or physical measurements they search for uniformities and linking elements, generating and checking hypotheses and creating new concepts as they go along. "Scientific Discovery examines the nature of scientific research and reviews the arguments for and against a normative theory of discovery; describes the evolution of the BACON programs, which discover quantitative empirical laws and invent new concepts; presents programs that discover laws in qualitative and quantitative data; and ties the results together, suggesting how a combined and extended program might find research problems, invent new instruments, and invent appropriate problem representations. Numerous prominent historical examples of discoveries from physics and chemistry are used as tests for the programs and anchor the discussion concretely in the history of science. Pat Langley is an Associate Professor in the Department of Information and Computer Science at the University of California, Irvine.Herbert Simon is a Professor in the Departments of Psychology, Computer Science, and Philosophy at Carnegie-Mellon University. Gary L. Bradshaw is an Assistant Professor in the Department of Psychology and Institute of Cognitive Science at the University of Colorado, Boulder. Jan M. Zytkow is an Associate Professor in the Computer Science Department at Wichita State University. (shrink)

This paper analyzes creative practice including virtual music composition by a human and sets of computer programs, improvisation of music and dance in human-robot ensembles, and drawings produced by a human and a robotic arm. In all of these examples, the paper argues that creativity arises from a process of human-robot collaboration. Human influences on the machines involved exist at many levels, from initial creation and programming, via processes of reprogramming and setup of underlying data and parameters, to engagement (...) throughout the process of creative production. The decision to value a machine as a creative other is supported most strongly when collaborating with the machine directly, while witnessing the creative team at work, as opposed simply to seeing the result, is more likely to bring an audience to a similar understanding. The creativity of the human-machine collaborations analyzed in this paper relies on close interaction, within which there is a continual recognition of the otherness of the machine and its nonhuman abilities. Such relations can be theorized by extending Emmanuel Levinas’ conception of the face-to-face encounter within which self and other are brought into proximity, but the alterity of the other is nonetheless retained. The paper’s analysis of creative interactions between humans and robots supports the idea that machines need not be regarded as challenging human artistic practice, but rather enable new ways for creativity to arise through human-machine collaborations within which human and nonhuman creative abilities are combined. (shrink)

Visions and derisions of utopia -- Ernst Bloch and utopian critical theory -- Homo aestheticus -- Case study: Navajo design, culture and theology -- Archetypes, the unconscious and psychoanalysis -- Roger Fry and the language of form -- From Genesis to Job -- Homo absconditus.

Introduction -- Historical essays -- The humanist brain : Alberti, Vitruvius, and Leonardo -- The enlightened brain : Perrault, Laugier, and Le Roy -- The sensational brain : Burke, Price, and Knight -- The transcendental brain : Kant and Schopenhauer -- The animate brain : Schinkel, Bötticher, and Semper -- The empathetic brain : Vischer, Wölfflin, and Göller -- The gestalt brain : the dynamics of the sensory field -- The neurological brain : Hayek, Hebb, and Neutra -- The phenomenal (...) brain : Merleau-Ponty, Rasmussen, and Pallasmaa -- Neuroscience and architecture -- Anatomy : architecture of the brain -- Ambiguity : architecture of vision -- Metaphor : architecture of embodiment -- Hapticity : architecture of the senses -- Epilogue: The architect's brain. (shrink)

Joaquín M. Fuster is an eminent cognitive neuroscientist whose research over the last five decades has made fundamental contributions to our understanding of the neural structures underlying cognition and behaviour. This book provides his view on the eternal question of whether we have free will. Based on his seminal work on the functions of the prefrontal cortex in decision-making, planning, creativity, working memory, and language, Professor Fuster argues that the liberty or freedom to choose between alternatives is a function of (...) the cerebral cortex, under prefrontal control, in its reciprocal interaction with the environment. Freedom is therefore inseparable from that circular relationship. The Neuroscience of Freedom and Creativity is a fascinating inquiry into the cerebral foundation of our ability to choose between alternative actions and to freely lead creative plans to their goal. (shrink)

Beginning with the prevalent idea that creativity is the ability to make or do things having valuable novelty, the paper explores a variety of axiological and novelty conditions and defends an instrumental success condition. I discuss Robert K. Merton's distinction between 'originality' and 'priority', and Margaret Boden's similar distinction between historical and psychological creativity, as well as Thomas Reid's and Bruce Vermazen's remarks on relations between novelty and value.

Here I seek to define creative teaching in Philosophy. I argue that creative teaching must be distinguished from efforts that are merely novel, offering no gains in student learning or that offer faculty no gain as alternatives to standard methods. I discuss efficiency and productivity in teaching Philosophy and our ability to adopt creative methods.

The human spark -- Catch a fire -- The idea of you -- The idea of I -- Forbidden ideas -- Artful ideas -- Vast ideas -- Tight ideas -- Recurring ideas -- Future ideas.

The notion of creativeness is widely used in a number of sciences. The same time meaning of this word is not so obvious as it may seem at first sight. In most cases the notion definitions contain only one of it's meaning features unchangeable: creativeness is a kind of ability to create something new. There are several sometimes absolutely different points of view regarding to the following questions: who is a bearer of this ability, what are the main (...) peculiarities of it’s appearance, not to mention its formation possibility and methods. We analyze these points of view to approach to the comprehension of the nature of creativeness. Demands of modern world to person increase. Creativeness is one of these aspects. Besides this one is foundation of human’s nature. Sodeciding this problem we make a base for solving many other problems. Probably the decision of this problem lies in dividing of creativeness types. (shrink)

Discover the tools you need to get (and keep) your creative juices flowing! Tangerine has developed a series of exercises to help you develop a positive mindset, prioritize your time, and keep you creating day after day.

In the article I refer to the philosophy of William Hasker and his proposal to reconcile respect for the basic dogmas of Christianity with the contemporary standards of knowledge and the needs of people today. In the first part I analyse Hasker’s view on the idea of Christian philosophy. Since he assumes the truthfulness of the main doctrines of Christianity, he is not opposed to being referred to as a Christian philosopher, but neither is he enthusiastic about this (...) name. This attitude is the result of his conviction that the state of absolute neutrality is not possible in philosophy and that regardless of the views accepted as true by a given thinker the requirement for good philosophy is fairness and evaluating all perspectives and beliefs for their internal coherence and their correspondence with the evidence. Therefore, Hasker first tries very carefully to reconstruct positions different from his own and to track down various difficulties in them, especially contradictions. In my opinion, however, the objection of self-contradiction is ineffective when applied to philosophical positions which, as a rule, use vague concepts. The same applies to the claim that these positions are contradictory to evidence, because one of such vague notions is also the notion of evidence. That is why philosophical claims have the extraordinary ability to persist in life or unexpectedly revive after being considered definitively dead. It does not follow from this that one cannot convincingly justify one’s position using less formal criteria. In the second part I focus on the rhetorical device used by Hasker to make his concept of God more attractive. He suggests that we should shape our concept of God based on our idea of a great man, i.e. one who educates children to live independently and is able to effectively and fairly manage large groups of people. Leaving aside the accusation of anthropomorphism, the question arises about the epistemic value of this image, which is not universal, changes over time and depends on the conditions in which people live. The content of this image proposed by Hasker isn’t also consistent with the idea of the God of Christian orthodoxy, which is dominated by traditional rather than open theism. This is where the problem of linking creative thinking and respect for Christian identity arises. Regardless of the opinion that open theism has among traditional theists, Hasker supports the concept of a strong Christian identity determined by a universally recognized creed. I propose to treat this identity a little more flexibly. (shrink)

This book is about the basic principles that underlie critical thinking and creativity. The majority of the content is on critical thinking since more topics are naturally involved and since they can be discussed readily and systematically. The last few chapters are devoted to creativity and research methodology, not typical the book's plethora of competition. Each chapter introduces a specific topic, usually by introducing the relevant theories in conjunction with realistic examples that show how the theories can be applied. Each (...) chapter concludes with a set of exercises whose solutions are detailed at the rear of the book. While the writing style is purposefully informal, the presentation is complete, at least with respect to the intended introductory level. (shrink)

The article offers a socio-historical approach to the problem of creative personality in polemic with the article by A.M. Dorozhkin and S.V. Shibarshina. Creative activity is considered not as a psychological process or an expression of cognitive abilities, but as a result evaluated by the professional scientific community and even by the entire society. The distinction between the psychological, historical and historical-epistemological interpretation of creativity is discussed. The authors argue that although the proposed approach has an explanatory potential (...) for creativity as a socio-historical phenomenon, it reduces the nature of individual personalities and their role in scientific research to a public response to a new result. The personality of an author is getting vanished in this result, becoming only a label of some social achievement. Using the terminology of J.-P. Sartre, the essence of the author as a unique individual is reduced to his social existence as a scientist. The purpose of this existence is not the fulfillment of a vocation, but the implementation of a professional mission to promote science as a public good, which consists, among other things, in creating a field of intellectual tension. The scientist ensures the objective increase of public awareness of the painful points of history and modernity; critically analyzes global risks from ecology to security; and presents images of a possible and required future. Thus, creative science acts as a source for development through problematization, a factor of cognitive dissonance, a troublemaker, a potential violator of social stability. (shrink)

The philosophical understanding of scientific creativity cannot be limited to the analysis of cognitive abilities or ways of solving problems. It is always anthropologically-laden, based on a historically specific image image of a human being that acquires knowledge. The problem of creativity also articulates a well-known paradox of novelty: the new does not arise from the old, since it is significantly different from it, but it cannot arise from nothing, because then it remains incomprehensible. Paul Feyerabend criticizes such a “mysterianic” (...) concept of scientific creativity, which emphasizes its emergent character, i.e. its suddenness and inexplicability. The distance between subject and object, man and nature, knowledge and reality in this case remains insurmountable. To solve this problem, it is necessary to place creativity in the space between the uniqueness of the creative personality and the mechanisms of social recognition. This, in turn, requires rethinking of the ontological content of creativity, as well as the concept of “labor” with reference to its treatment by Karl Marx’ rethinking of it as the production of not only material goods, but also of the person itself. Moreover, creativity does not just form a person: it is a way of cultivating the entire social space. An unexpected move is provided by an appeal to a new social group – the precariat, which in science gives a lesson in openness to novelty and theoretical freedom. As a result, a deeper understanding of the social base of creativity arises, and a new strategy for the interaction of the scientific community with extra-paradigm groups and marginal individuals is being built. (shrink)