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: (...) It develops core elements of the later Wittgenstein's conception of philosophy, and puts them to work to 'dissolve' the problem to prove it ill-framed by clarifying the questions posing it and breaking the spell of mistaken analogies informing it. This sharply focused monograph thus copes with a crucial problem that turns out to be a lot tougher than generally thought, and presents a precise and rigorous demonstration of an unfamiliar and exciting philosophical approach. (shrink)

Medical educators recognize the value of reflection for medical students and the role creative writing can play in fostering this. However, direct creative writing tasks can be challenging for many students, particularly those with limited experience in the arts and humanities. An alternative strategy is to utilize an indirect approach, engaging students with structured tasks that obliquely encourage reflection. This paper reports one such approach. We refer to this approach as in-verse reflection, playing on both the structure of the writing (...) and its novel approach to reflection. Students were invited to write, in verse-like structures, about their personal and clinical experiences as medical students. Thematic analysis of their creative outputs and reactions identified four principal themes: the challenges of life as a medical student, the emotional demands of the medical course, a sense of connectedness and solidarity with fellow students, and a sense of marginality within the hospital system. Students generally found the tasks highly engaging and conducive to reflection, producing texts representing significant insights into their experiences as medical students. The reported method offers a relatively simple, structured, and guided approach to reflective writing, adding to the repertoire of methods available to educators in the medical humanities. (shrink)

Preparers of financial statements are in a position to manipulate the view of economic reality presented in those statements to interested parties. This paper examines two principal categories of manipulative behaviour. The term macro-manipulation is used to describe the lobbying of regulators to persuade them to produce regulation that is more favourable to the interests of preparers. Micro-manipulation describes the management of accounting figures to produce a biased view at the entity level. Both categories of manipulation can be viewed as (...) attempts at creativity by financial statement preparers. The paper analyses two cases of manipulation. First, it describes a recent case of significant and successful lobbying against the accounting regulator in the USA. The second case examines some recent Spanish earnings manipulation to demonstrate the effects of biased reporting at the entity level. Both types of creativity are considered in an ethical context. The paper concludes that the manipulations described in it can be regarded as morally reprehensible. They are not fair to users, they involve an unjust exercise of power, and they tend to weaken the authority of accounting regulators. (shrink)

Visual artists and scientists frequently employ the labour of assistants and technicians, however these workers generally receive little recognition for their contribution to the production of artistic and scientific work. They are effectively “invisible”. This invisible status however, comes at the cost of a better understanding of artistic and scientific work, and improvements in artistic and scientific practice. To enhance understanding of artistic and scientific work, and these practices more broadly, it is vital to discern the nature of an assistant (...) or technician’s contribution to the production of a work, which is difficult as it is uncommon to discuss these workers. To address this, I investigate how different kinds of parallel working arrangements in collective artistic and scientific practices affect the creative potential of individuals involved. Different working arrangements permit different degrees of autonomy for individuals involved in these practices. Significantly, a lack of autonomy precludes the opportunity to act spontaneously and so exercise, what I term, “creative agency”. Evaluating the contribution of an assistant or technician based on the degree of autonomy that they are granted in the production of a work is an approach that I show can be used to precisely determine the nature of their contribution to the production of a work and accordingly, what kind of recognition an agent should receive for this. Importantly, this approach has the advantage of explaining the artistic and epistemic significance of different kinds of contribution to the production of artistic and scientific work. (shrink)

This article examines the artistic potential of forms of image-making that involve registering the features of real objects using mind-independent processes. According to skeptics, these processes limit an agent’s intentional control over the features of the resultant “automatic images,” which in turn limits the artistic potential of the work, and the form as a whole. I argue that this is true only if intentional control is understood to mean that an agent produces the features of the work by their own (...) bodily movements alone. Not only is this an unrealistic standard to uphold, but I show that a definition of intentional control based on the skeptic’s position does not prohibit an agent from realizing the features of an image by means beyond their own actions. An agent can exercise intentional control over the features of an image if they successfully anticipate the effect that the remote consequences of their actions will have on these. This, I argue, entails that to exert intentional control over the features of an image is to exercise “creative agency,” which is a species of executive agency. Consequently, I defend the idea that the origin of automatic images in creative agency grounds their artistic significance. (shrink)

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 (...) (like painting something “moving” or engineering something “nifty”) whose descriptive realizers are not known in advance. Aesthetic creativity itself fundamentally consists in perceiving or conceiving of some modification of raw material or a medium as promoting or constituting a novel way of realizing the aspirational aim. Creative achievements like poems and paintings are then to our credit in virtue of being exercises of spontaneity that disclose a deep layer of our selves that is manifest in active perception of affordances, showing that there is something beautiful about the way we experience the world, as a Sally Rooney character puts it. As with other creditworthy achievements, what makes them difficult is that simply trying won’t suffice to make success likely – but unlike in many other cases, neither will trying hard, since we have no direct volitional or rational control over perceptual spontaneity. (shrink)

Creativity for Critical Thinkers is a how-to book in creative thinking, specifically orientated towards college courses in critical thinking and with a strong appeal to the general reader as well. It offers a vital but often overlooked set of thinking skills: multiplying options, brainstorming, lateral thinking, reframing problems, and many others. These skills are reinforced by applications and exercises covering a wide range of topics, from the annoyance of everyday life to the largest issues on the world stage.

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)

Creativity may be a trait, a state or just a process defined by its products. It can be contrasted with certain cognitive activities that are not ordinarily creative, such as problem solving, deduction, induction, learning, imitation, trial and error, heuristics and "abduction," however, all of these can be done creatively too. There are four kinds of theories, attributing creativity respectively to (1) method, (2) "memory" (innate structure), (3) magic or (4) mutation. These theories variously emphasize the role of (...) an unconscious mind, innate constraints, analogy, aesthetics, anomalies, formal constraints, serendipity, mental analogs, heuristic strategies, improvisatory performance and cumulative collaboration. There is some virtue in each, but the best model is still the one implicit in Pasteur's dictum: "Chance favors the prepared mind." And because the exercise and even the definition of creativity requires constraints, it is unlikely that "creativity training" or an emphasis on freedom in education can play a productive role in this preparation. (shrink)

This article is an interrogation of a small practical project I recently undertook to examine the relation between ‘studio exercises’, commonplace in creative practices, and ‘training’ that is typical of corporate environments, to see how this affects the use of technology in each context. This project titled ‘Office Exercise’ focuses on the relationship between the roll of ‘experiment’ and ‘exercise’ in the production of creative work involving technology. As a series of works ‘Office Exercise’ examines creative practice (...) involving technology and the tensions it produces between the artistic applications of technology to a given situation and the simultaneous proficiency/competency of the use of this technology. (shrink)

Moral creativity consists in identifying, interpreting, and implementing moral values in ways that bring about new and morally valuable results, often in response to an unprecedented situation. It does not mean inventing values subjectively, as Sartre and Nietzsche suggested. Moral creativity plays a significant role in meeting role responsibilities, exercising leadership, developing social policies, and living authentically in light of moral ideals. Kenneth R. Feinberg’s service in compensating the victims of 9/11 provides a paradigm instance.

Creative Ways to Learn Ethics is an accessible, easy-to-read guide that compiles a variety of ethics trainings to help professionals stimulate their minds, relieve stress, and increase engagement and memory retention. The book uses a range of experiential and thought-provoking approaches, including contemplative exercises, expressive arts, games, and media. Each chapter contains objectives, detailed procedures, adaptations for different audiences, and handouts. Trainers, educators, clinicians, and other mental health professionals can use these exercises in various settings and modify them to meet (...) the needs of their clients. (shrink)

This book offers a uniquely constructive set of tools for engaging complex and controversial ethical problems. Covering such practical methods as diversifying options, lateral thinking, reframing problems, approaching conflicts as creative opportunities, and many others, it shows how to find "room to move" inside even the most challenging ethical problems, and thereby discover new and productive ways to deal with them. The book features numerous exercises and applications that consider a wide range of familiar ethical issues--including the moral status of (...) animals, the death penalty, poverty, drug use, and many others--and ends with some of the toughest: abortion, assisted suicide, and environmental ethics. An ideal supplement for any general ethics course, Creative Problem-Solving in Ethics can also be used in more specific "applied" courses like bioethics, business ethics, and social ethics, as well as in critical thinking courses that emphasize ethics. In addition, it provides a concise and engaging introduction to creative thinking for workshop participants and general readers. From the very beginning of the book, readers will discover that creative thinking can offer imaginative and promising alternatives to seemingly intractable ethical dilemmas. (shrink)

There is an increasing demand by society that university students demonstrate competitive skills to enable them to achieve greater success when entering the workplace. Creativity and life satisfaction correlate positively with academic performance, productivity, and excellence in the working environment. The presence of creativity and emotional intelligence in the curriculum and teaching methods in Spanish universities, however, is surprisingly lacking. Studies that examine gender differences in these variables provide conflicting results. The purpose of our research is to analyse (...) the changes produced in both creativity and life satisfaction in university students by a positive emotional and creative intervention and explore individual differences by gender. The methodology used was a quasi-experimental pre- test/post- test design with experimental/control groups. Three hundred university students from the Community of Madrid completed three exercises that evaluated creativity and life satisfaction. The results show significantly higher results in creativity and life satisfaction in women, who continued to achieve high results after the intervention. Finally, we discuss the need for emotional and creative education in universities and focus on the employability and the guarantee of equal opportunities through the development of these competencies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Embedding Creativity in Teaching and LearningHoward Cannatella (bio)IntroductionCreative teaching ranges from the view that creativity is necessary for a changing knowledge economy to a more individualized view that encompasses a person-centered approach. None of these views are advanced in this essay, as I feel that there are important weaknesses in taking either position. Instead, my main purpose is to discuss how certain kinds of creative activity can (...) substantially transform educational practice without necessarily succumbing to any of the above conceptions of creativity. My educational approach to creative activity relates to one aspect of Alasdair Macintyre's, After Virtue; the notion that creativity only flourishes via a devotion to a particular practice.1 For such practice to flourish it has to immerse itself in a type of personal address that revolves and combines in various ways what Maurice Merleau-Ponty refers to as "self-others-things."2Any claim to suggest that education should engage creativity more than it currently does can stir some reasonable criticism, for there are clearly a plethora of other important factors to consider in student learning. Yet, to a degree, the practice of creativity is, I think, being dissipated and weakened, where ambivalence and ill-informed ideas are increasingly obscuring its place. My own thinking on this displacement which has some connections with John White's view and in a different sense with Howard Gardner's, is that if we offer via teaching situations geometrical puzzles, visual problem solving exercises and the like, such exercises although perhaps amusing in themselves are hardly taking up the same refined order of creative display exhibited by those most credited as being creatively talented.3 Indeed, to surmise that creativity is a construal of left hand side verses right hand side brain activity; that one can show different color cards on a monitor or play a short excerpt of Beethoven's Pastoral symphony in order to accelerate student learning are at the very least questionable creative assumptions. In [End Page 59] contrast, what I aim to show from one perspective as a crucial distinction is how creativity is involved in fundamental painstaking ways with the phenomenological. When the landscape of this kind of learning presupposes the opening of oneself to the world, the stretching of a mind, the thickening of one's perceptions, and the discovery of a deeper and richer self through living, one will tend to experience as life enhancing more of nature, previously unfelt and articulated modes of being in the world.Clearly, as a lecturer one has to inspire students. One of the best ways I know of doing this is through satisfying and intensifying students' creative appetite. Although I will not discuss it here there is some evidence to suggest that the need for creativity is biologically, physically, and psychologically an essential part of human nature, necessary for human-reproduction, growth, and cultural striving.4 The lecturer who fails to stimulate students' creativity, their being in the world, may be unwittingly inhibiting their cognitive, emotional, and physical well-being; preventing them from realizing their potential. Indeed, some learning problems can be attributed to the unconscious or deliberate stifling of creativity in student lives. We can see this happening when one feels emotionally or intellectually repressed, unable to express oneself openly, to take delight in what one has achieved, to note one's own unique sensitivity, and to experience personally the many wonders in the world. Although we may not articulate it, without a modicum of creative outlet, life can appear very cruel. Further, some of the benefits of creativity can be seen in studio teaching situations in which, as Charles Bingham and Alexander Sidorkin imply, the dynamics of aesthetic creativity encourage power-sharing and the fostering of non-dominated pedagogical relationships.5 As both Immanuel Kant and Friedrich Schiller realized two centuries ago, creativity has the capacity to foster educationally a particular kind of freedom essential to sustaining an alert, liberal, and questioning mind.6 There is also much empirical evidence, at least in the arts, to show how creative practice can assist the clarification of ideas, advancement in thought, and concentration in learning. The notebooks, papers, and recordings of Mozart... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Embedding Creativity in Teaching and LearningHoward Cannatella (bio)IntroductionCreative teaching ranges from the view that creativity is necessary for a changing knowledge economy to a more individualized view that encompasses a person-centered approach. None of these views are advanced in this essay, as I feel that there are important weaknesses in taking either position. Instead, my main purpose is to discuss how certain kinds of creative activity can (...) substantially transform educational practice without necessarily succumbing to any of the above conceptions of creativity. My educational approach to creative activity relates to one aspect of Alasdair Macintyre's, After Virtue; the notion that creativity only flourishes via a devotion to a particular practice.1 For such practice to flourish it has to immerse itself in a type of personal address that revolves and combines in various ways what Maurice Merleau-Ponty refers to as "self-others-things."2Any claim to suggest that education should engage creativity more than it currently does can stir some reasonable criticism, for there are clearly a plethora of other important factors to consider in student learning. Yet, to a degree, the practice of creativity is, I think, being dissipated and weakened, where ambivalence and ill-informed ideas are increasingly obscuring its place. My own thinking on this displacement which has some connections with John White's view and in a different sense with Howard Gardner's, is that if we offer via teaching situations geometrical puzzles, visual problem solving exercises and the like, such exercises although perhaps amusing in themselves are hardly taking up the same refined order of creative display exhibited by those most credited as being creatively talented.3 Indeed, to surmise that creativity is a construal of left hand side verses right hand side brain activity; that one can show different color cards on a monitor or play a short excerpt of Beethoven's Pastoral symphony in order to accelerate student learning are at the very least questionable creative assumptions. In [End Page 59] contrast, what I aim to show from one perspective as a crucial distinction is how creativity is involved in fundamental painstaking ways with the phenomenological. When the landscape of this kind of learning presupposes the opening of oneself to the world, the stretching of a mind, the thickening of one's perceptions, and the discovery of a deeper and richer self through living, one will tend to experience as life enhancing more of nature, previously unfelt and articulated modes of being in the world.Clearly, as a lecturer one has to inspire students. One of the best ways I know of doing this is through satisfying and intensifying students' creative appetite. Although I will not discuss it here there is some evidence to suggest that the need for creativity is biologically, physically, and psychologically an essential part of human nature, necessary for human-reproduction, growth, and cultural striving.4 The lecturer who fails to stimulate students' creativity, their being in the world, may be unwittingly inhibiting their cognitive, emotional, and physical well-being; preventing them from realizing their potential. Indeed, some learning problems can be attributed to the unconscious or deliberate stifling of creativity in student lives. We can see this happening when one feels emotionally or intellectually repressed, unable to express oneself openly, to take delight in what one has achieved, to note one's own unique sensitivity, and to experience personally the many wonders in the world. Although we may not articulate it, without a modicum of creative outlet, life can appear very cruel. Further, some of the benefits of creativity can be seen in studio teaching situations in which, as Charles Bingham and Alexander Sidorkin imply, the dynamics of aesthetic creativity encourage power-sharing and the fostering of non-dominated pedagogical relationships.5 As both Immanuel Kant and Friedrich Schiller realized two centuries ago, creativity has the capacity to foster educationally a particular kind of freedom essential to sustaining an alert, liberal, and questioning mind.6 There is also much empirical evidence, at least in the arts, to show how creative practice can assist the clarification of ideas, advancement in thought, and concentration in learning. The notebooks, papers, and recordings of Mozart... (shrink)

Artificial intelligence (AI) and machine learning (ML) are increasingly integrated into the functioning of physical and digital products, creating unprecedented opportunities for interaction and functionality. However, there is a challenge for designers to ideate within this creative landscape, balancing the possibilities of technology with human interactional concerns. We investigate techniques for exploring and reflecting on the interactional affordances, the unique relational possibilities, and the wider social implications of AI systems. We introduced into an interaction design course (_n_ = 100) nine (...) ‘AI exercises’ that draw on more than human design, responsible AI, and speculative enactment to create experiential engagements around AI interaction design. We find that exercises around metaphors and enactments make questions of training and learning, privacy and consent, autonomy and agency more tangible, and thereby help students be more reflective and responsible on how to design with AI and its complex properties in both their design process and outcomes. (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)

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.

This book shows that global population ageing is an opportunity to improve the quality of human life rather than a threat to economic competitiveness and stability. It describes the concept of the creative ageing policy as a mix of the silver economy, the creative economy, and the social and solidarity economy for older people. The second volume of Economic Foundations for Creative Ageing Policy focuses on the public policy and management concepts related to the use of the opportunities that are (...) created by population ageing. Klimczuk covers theoretical analyses and case study descriptions of good practices to suggest strategies that could be internationally popularized. Each chapter includes exercises and assignments for both students and those who are likely to apply the presented concepts in practice. Contents: Foreword by Richard Adler Foreword by Dominic Campbell Introduction 1 The Politics of Ageing and the Challenges of Ageing Populations 2 Understanding Public Policy on Ageing 3 Sociological and Gerontological Perspectives on Ageing, Creativity, and the Third Age 4 Diversity of Ageing Policy Concepts 5 The Emergence of the Creative Ageing Movement 6 Aims and Challenges of the Creative Ageing Policy 7 Principles, Governance, and Coproduction of the Creative Ageing Policy 8 Organizational Forms and Management for the Building of Creative Capital of Older People Conclusion Afterword by Andreas Hoff and Kurt Lüscher Afterword by Suchandrima Chakraborty Afterword by Jorge Felix. (shrink)

The paper describes two practical exercises (and their learning outcomes) requiring students to consider certain concrete decisions made by managers in business and professional life. The first exercise requires students to consider that competitive economic exchange inevitably puts managers in situations where they cannot accurately predict the outcomes of their decisions, and often results in harm to innocent people. In this practical exercise, seven discussion situations are described and students are asked to make decisions that take into account (...) the individuals affected by these managerial decisions. Students are asked to consider various ethical theories and devise creative solutions so as to avoid unnecessary harm. The second exercise places students in roles that represent shareholders and stakeholders and asks them to consider the relocation of a manufacturing company to their community. (shrink)

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 fosters scientific creativity than selective realism. (shrink)

The exemplary value of individual moral and political acts provides a unique vantage point for inquiring into the role of the creative imagination in social life. Drawing on Kant’s concept of productive imagination, I argue that an act’s exemplification of a fitting response to a moral or political problem or crisis is comparable to the way that a work of art expresses the ‘thought’ or ‘idea’ to which it gives voice. The exercise of practical reason, or phronesis, is akin (...) to the way that a work augments the practical field of our experiences in this respect. For, like a work of art, the act produces the rule to be followed by means of the example that it sets. Accordingly, I explain how the injunction issuing from the act can be credited to the way that the singular case summons its rule. The singular character of the injunction issuing from the act thus brings to the fore the relation between reflective judgment and this injunction’s normative value. The conjunction of reason, action, and the creative power of imagination offers a critical point of access for interrogating the normative force of claims rooted in individual acts. By setting reason, action, and imagination in the same conceptual framework, I therefore highlight the creative imagination’s subversive role in countering hegemonic systems and habits of thought through promoting the causes of social and political struggles. (shrink)

The aim of our “discussion remark” is not to present a critical review on the book written by S. Geniusas, a brilliant study notable by its extreme painstakingness, historical sensitivity and terminological accuracy, but rather to delve deeply into the origins of phenomenological understanding of productive imagination, i.e., to turn “back to Kant”, given in Saulius Geniusas’ book (the first chapter) for introductory reason. We proceed from S. Geniusas remark that productive imagination establishes a relation between different abilities, reconciles the (...) antagonism between them and, in this respect, exercises a pro-creative function. We reveal that it is this pro-creative element of productive imagination that brings it closer to time (as indicated by Viktor Molchanov, a prominent Russian phenomenologist, in his study of 1988) and serves as the basis for gaining new knowledge. Imagination acts as a limit for reflection, however, it gets revealed only through reflecting, and, thus, it proves to be connected with a fundamental layer of consciousness, which appears both as an object and as a means of describing reflection, i.e., as time. The convergence, or rather, identification, of time with imagination lies in the very fact that both of them exercise an objective function: time – as a possibility for semantic definition of objectivity, imagination – as a basis for a possibility of any knowledge. Moreover, imagination turns out to be a source of a paradox and, ultimately, the only thing that explains self-cognition. (shrink)

Foucault’s understanding of the history and contemporary significance of ascetic practices or exercises of cultivation (ascesis) differs significantly from attempts which consider the renewal of asceticism in spiritual or even religious terms. This paper tries to show that he thought about related problems from the perspective of aesthetic cultivation. The first part will discuss his analysis of sexuality within the broader context of his theory-formation and elaborate on the theoretical structure of his concept of self-cultivation. In the second part I (...) will situate the idea of creative ascesis in a broader historical context. The third part will provide a preliminary perspective on the transcultural significance of relating Foucault and contemporary Chinese philosophy. (shrink)

This essay begins by demonstrating how conversations can end before they have a chance to authentically begin. Conversations are stultified by patterns in the human ecology. The first pattern identified is “self-obliviousness” in conversation. “Self-obliviousness” is then tied to patterns of both radical self-assurance and self-diminishment. The underlying idea and argument is that adequate self-awareness is a necessary condition for conversation and this condition is only met as human beings recognize their own selves as relational. The argument then turns to (...) remedies to the pattern. Metacognition as exercised in relation to literary art can reveal the conditions for identifying and recognizing the damaging patterns. By the end of the essay the conditions for creativity in conversation are conflated with the formation of empathetic dispositions and these are only possible through understanding the self in equal relation to other selves. The arguments and examples are from contemporary United States Culture, but the damaging patterns can easily be recognized as elements of the human condition generally. (shrink)

Autonomous labor and its attendant values have now become familiar tools of neoliberal capitalism: work has become freelance, flexible, mobile, project-based, hybrid and temporary. If these conditions are novel to the general economy, this way of working is not new to artists, who began experiencing these precarious conditions long before Post-Fordism was a buzzword. The contributors to Mobile Autonomy, drawn from a variety of disciplines including art, political philosophy and sociology, examine the alternate working methods and economic models developed, in (...) theory and in practice, by artists and other creative professionals to make artistic work viable in contemporary social, economic and political conditions. (shrink)

This paper aims to clarify the program of Deleuze’s work on Hume’s philosophy. Also, I plan to make clear the operational meaning of Deleuze’s own hallmark regarding his approaches to philosophy. I start to follow Deleuze’s plot by engendering three functions of his interpretation of Hume’s Treatise that will be the area of three thematic chapters. The first tries to sort the polemical function of empiricism that is launched through Deleuze’s Hume; the second attempts to figure the domain of subjectivity (...) as the inventive function of the book; the third searches the creative function by describing the role of the institutional theory. (shrink)

“La Poésie Comme Exercice Spirituel” first appeared in a 1942 issue of Revue Fontaine edited by Jacques and Raissa Maritain and was subsequently republished in Wah’s 1948 text Poésie, Pensée, Perception, published by Calmann-Lévy. The following is a translation of the Fontaine version. I have noted all of the variations from the latter version in the notes. As I emphasize in my commentary, the piece is a notable display of Wahl’s eclectic range of influences. Most importantly, it shows the extent (...) to which his interest in radical empiricism and process metaphysics informs his creative approach to the intersection of poetics and metaphysics. These interests are not explicitly named in the essay, and yet their influence is pervasive. The essay also includes several moments of substantial resonance with the work of Gilles Deleuze, as noted in the commentary. (shrink)

Throughout history, the generation, exercise, and dissemination of knowledge are fraught with dangers, the root causes of which are traceable to the definition of authority relations. The authors compare Greek myths and Chinese legends, setting the stage for a metarelational analysis of authority relations between teacher and students and between scholar-teachers and political rulers in Confucian-heritage cultures. These two relations are rooted in ideological conservatism. They are related in a higher-order relation or metarelation: Political control and the definition of (...) the teacher-student relationship reinforce each other in consolidating authoritarian values. Thus, ideological conservatism shapes educational philosophy and socialization. It conflicts with present demands for creativity in the service of knowledge-based economies. Hence, a major issue in cultural change to be addressed concerns the dilemma between maintaining authoritarian control and enhancing creativity. (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)

Describe a successful classroom teaching tactic that could be replicated by other instructors. -/- The context: This activity was used in a required undergraduate introductory theology course at a Catholic college. I tried this exercise a month into class, at the start of a section on creation in Genesis. -/- The pedagogical purpose: The activity encourages students to deepen the skill of reading and understanding the Bible. It also invites students to use their imagination in recognizing the goodness and (...) variety of creation described in Genesis 1. It takes place mostly outdoors, in a natural setting that mirrors the richness of the text, and encourages students to observe their surroundings in light of the text. Doing this as a group creates a positive learning environ- ment; for example, the more active students act as role models of paying attention to detail, observing closely, and taking photos. The exercise mirrors the typical proclamation of Scripture within a communal context. (shrink)

Fr. Seidel sees "the crisis of creativity" as a perennial issue facing man, forcing him to make decisive choices that ultimately affect his destiny. The basic concern of the book is to analyze the creative process itself which Seidel does not accept as an irrational, brute eruption into consciousness. While recognizing the importance of the unconscious, he attempts to bring out those factors that are not immune to analysis. Drawing on insights of Aristotle, Kant, Hume, Freud, James, and Bergson, (...) Seidel discusses the significance of "selective forgetting," remembering, and the association of ideas. According to the author, creativity is a process that should be taken account of in the conscious reflections of philosophers. He feels its neglect in much modern and contemporary philosophy can be attributed to a fundamentally misleading conception of the importance of methodology that found its way into philosophy with Bacon and Descartes. The search for the single right method, which when found and exercised would yield "truth," is thus seen as concomitant with the denigration of an intuitive basis for knowledge. For Seidel, this is a reversal of the Aristotelian view which acknowledges the instrumental character of any method and its subordination to prior insight. Because of its non-technical nature, the book can be read with profit by both professional philosophers and the generally educated public.—L. W. (shrink)

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.

Miscreants, in the form of deviants and dark personalities, impact organizations more than we realize. Most management instruction on ethics issues focuses on helping students to understand how to evaluate difficult situations, make ethical decisions, and engage in ethical actions. While this approach works well for the individual decision maker, it fails to help students learn how to anticipate and proactively prevent the unethical actions of others. Using ethical codes as a backdrop, “Thinking Like a Bad Guy” is a provocative (...) classroom activity to elicit critical and creative thinking among business students. The goal of this exercise is to facilitate student learning so they can anticipate the behaviors of bad actors and alter organizational processes and procedures to mitigate the ability of others to violate organizational ethical standards. (shrink)

Centralization and over-professionalization can lead to the disappearance of a critical environment capable of linking the human sciences to the "real world." The authors of this volume suggest that the humanities need to operate in a concrete cultural environment able to influence procedures on a hic et nunc basis, and that they should not entirely depend on normative criteria whose function is often to hide ignorance behind a pretentious veil of value-neutral objectivity. In sociology, the growth of scientism has fragmented (...) ethical categories and distorted discourse between our inner and outer selves, while philosophy is suffering from an empty professionalism current in many philosophy departments in industrialized and developing countries where boring, ahistorical, and nonpolitical exercises are justified through appeals to false excellence. In all branches of the humanities, absurd evaluation processes foster similar tendencies as they create a sterile atmosphere and prevent interdisciplinarity and creativity. Technicization of theory plays into the hands of technocrats. The authors offer a broad range of approaches and interpretations, reaching from philosophy of education to the re-evaluation of business models for universities. (shrink)

This article describes an artwork in progress; a digital video of synchronized visual patterns based in part on rhythmic practices that are said to reliably lead to a shifted state of consciousness. The artwork is being developed to further understand the correlation of rhythm and consciousness. The investigation is based on a comparative study of the following practices: ‘The Art of Memory’ and Raymon Llull’s thirteenth-century diagrammatic mnemonics, the Lucid Dreaming exercises developed at Stanford University and the African Yoruba rhythms (...) of ritualized possession. Throughout history, states of extreme lucidity, whether described as ‘ah-ha’ moments or life-transforming epiphanies, have been described with striking consistently and with such frequency that, rather than extraordinary, they seem to be fundamental to the human condition. The paradoxical state of lucid dreaming has been scientifically identified at Stanford University as a state of wakeful awareness that occurs during REM sleep, while dreaming. We might anticipate in the near future, the identification of a wakeful state of lucidity, a state as distinct from normal wakeful awareness as the state of dreaming. Those who have experienced altered states of consciousness can lend unique perspective and insight into the nature of consciousness. Analysis of practices that lead to such states add further insight. From running, to rhythmic breathing, to the circular movement of pilgrims at Mecca, to circular mosh pits, rhythmic activity is prevalent among practices that are said to lead to a shifted state of consciousness. The research suggests that in addition to rhythm itself, the relationship between rhythms is a significant factor corresponding to shifted states of consciousness. The digital video artwork discussed in this article might be thought of as a visualization of such rhythmic sequencing, and its development a creative method of inquiry. (shrink)

The new contexts of literary education allow for the creation of digital reading and writing practices related to what specialised literature calls digital literature. Among these practices and with an eminently theoretical content and with an example of this content, in this paper, we want to focus our gaze on cyberpoetry, conceived as an exercise in literary creativity that firstly involves use of technology and specific software for the digital creation of poetic texts and, last but not least, (...) knowledge and mastery of poetic language and the literary conventions linked thereto. From this point of view, in initial teacher training, we work with future teachers to create cyberpoems with a dual purpose: on the one hand, to reflect on what literary reading in digital format entails and to rehearse reading mediation processes that can be carried out with this type of literature, and, on the other, to begin in the digital creation of cyberpoems that, later, may be presented and worked in a real context of the school classroom. In this paper, we present digital practices of literary reading that have been created by student teachers in initial training. The creation of these practices has been carried out with the Genially tool. For data collection, the URL of each creation is accessed in order to analyse them. The analysis of the data follows the parameters of the qualitative methodology, specifically based on three categories of analysis for each digital creation: multimodality, hypertextuality and the interaction of each digital reading proposal. The conclusions of all this allow us to affirm that the creation of cyberpoems is an exercise in literary creativity that has to take into account the digital dimension of the literary text and its reading comprehension in a multimodal environment. Thus, the teacher in initial training carries out a digital literary mediation exercise, of a creative type, which he will later carry out in his pedagogical practice. (shrink)

Spirituality, in the broad sense, provides a deeper foundation for principles of international business ethics than legalistic, command-based ethics programs. Spiritual-based principles and values are presupposed and endorsed by established legal and ethical principles for international business. Identifying such spiritual-based principles and values requires the exercise of moral imagination and an openness to values embraced by the world's religions. Once identified, a new realm of moral freedom is attained for multinational corporations which may help them move beyond an "ethics (...) for sale" orientation. (shrink)

The case method approach to introducing ethical issues is a traditional tool for applying critical thinking skills to a specific dilemma (Beauchamp & Childress, 2001). It allows for personal reflection and clarification of an individual's conceptual framework for deciding what is and is not ethical behavior. However, it also affords the student distance from the story line and may, through providing a retrospective critique, prevent sufficient challenge to the student to articulate and defend personal value assessments in addressing the ethical (...) dynamics reflected in the case. Providing teaching exercises that encourage the creation of language to form that conceptual framework and a comfort in using that language allows the student to not only identify ethical issues but also recognize and more effectively communicate the struggles with molding a personal values portrait to apply to such cases. (shrink)

Our world suffers. Some people suffer more than others. Since the first part of 2020, ours is justly described as a time of uncertainty, threat, and upheaval. In this article, we offer reflections threaded narratively, told from the specificity of our societal contexts in Iran, Canada, and Australia. What might we learn in the present and anticipated future from people living chronically within conditions of uncertainty and immobility and also those experiencing uncertainty and immobility for the first time? We argue (...) that reflexive comparative analysis bridging social and visual analysis, anchored in embodied conditions of such people, offers a way to learn from responses to COVID-19 while also being an exercise in ethical research practice. This reflection builds on and extends from our scholarly collaborations that have been ongoing since 2015. Our title recognizes this specific virus as stealthy. Importantly, our choice of words identifies resident Iranians—whose experiences were the original impetuses for this paper, and whose lives provide its empirical basis —as equally steely. (shrink)

Kineska gimnastika, daoyin xingqi 導引行氣, koju svakodnevno vježbaju milijuni Kineza, potječe iz razdoblja starodrevne Kine i ima korijene u šamanističkim obrednim plesovima. Bazira se na pokretima tijela kojima se oponašaju pokreti životinja. Doslovni prijevod termina daoyin xingqi jest »upravljati, rastezati i gibati qi 氣«, tj. sveprožimajući vitalni dah. Naime, gimnastika u kineskoj tradiciji nije se razumijevala samo kao puka tjelovježba, već kao oblik kultiviranja vitalnog daha, qia. Gimnastika, štoviše, predstavlja važan korak prema harmoniziranju čovjeka s nebom i zemljom . Iščitavanjem (...) isječaka tekstova iz razdoblja Zaraćenih država i razdoblja dinastije Han 漢, kao i analiziranjem najstarijeg pronađenog vizualnog prikaza gimnasticiranja u Kini »Karte upravljanja i povlačenja« , analizirat će se poimanje gimnastike u ranoj kineskoj kulturi. Interpretacija tjelovježbe postavit će se unutar paradigme promjene koja je oblikovala kinesko viđenje kozmosa. Posebno će se naglasiti veza između gimnasticiranja i pojma sheng 生 koji znači život, kao i rađanje, stvaranje, obnavljanje.Chinese gymnastics, daoyin xingqi 導引行氣, practised daily by millions of Chinese people, originates from ancient China and is rooted in shamanistic ritual dances. It is based on body movemements which imitate the movements of animals. Literally translated, daoyin xingqi means “guiding, pulling and moving qi 氣” i.e. the all-permeating vital spirit. Gymnastics in Chinese tradition, therefore, was never considered to be just a body exercise but also a form of cultivating the vital spirit, qi. Gymnastics, however, is the important medium of harmonizing man with heaven and earth . By reading of Warring States and Han 漢 dynasty writings, as well as the the oldest excavated visual representation of gymnastics in China “Daoyin chart” , in this exposure analysis will be on the understanding of gymnastics in the early Chinese culture. The interpretation of Chinese gymnastics will be set forth within the paradigm of change which shaped Chinese vision of cosmos. Special emphasis will be given to the connection between gymnastics and the concept of sheng 生, which means life, as well as birth, creation, renewal. (shrink)