Digital technological innovation is reshaping the pattern of industrial development. Due to the shortage of digital talents and the frequent mobility of these people, the competition for talents will be very fierce for organizations to realize digital transformation. The digitization transformation of China’s service industry is far ahead of that of industry and agriculture. It is of great significance to study the organizational management and talent management of service enterprises to reduce the negative impact of insufficient talent reserve and meet (...) the needs of digital development. Based on 378 valid questionnaires from China’s service industry, this paper applied polynomial regression and a response surface model to analyze the impact of two kinds of person-environment fit on work engagement and individual creativity. The results show that: under the combination of high morality and high talent, work engagement and individual creativity are the highest; individual creativity is stronger under the condition of high morality and low talent than under low morality and high talent; and work engagement mediates the influence of morality and talent on individual creativity. The research reveals the internal mechanism by which morality and talent cooperatively promote individual creativity, which provides theoretical guidance for management practice of service firms to improve individual creativity in the process of digital transformation. (shrink)

Authentic leadership has become increasingly important in the literature, attracting the attention of many scholars in the last decade. This study adopted an employee-centered perspective to guide its examination of the relationship between authentic leadership and individual performance and investigation of the sequential mediation of employees’ affective commitment and individual creativity. An analysis was conducted of data collected from 214 employees working in different business sectors. The results reveal a statistically significant positive relationship between authentic leadership and (...) employees’ workplace performance, which are both directly connected and indirectly linked through the two proposed psychosocial mechanisms. The findings thus indicate that authentic leadership reinforces workers’ emotional connection with their organizations, thereby increasing their individual creativity and, subsequently, promoting better on-the-job performance. This study presents new and significant results since, on the one hand, it relied on a sequential mediation analysis of variables and, on the other hand, integrated the four main constructs into a single model. The proposed model displays the chain of effects between authentic leadership, affective commitment, individual creativity, and employee workplace performance. Implications for organizational management are discussed. (shrink)

In this study, experiments were conducted on 30 subjects by means of electrocardiogram and electroencephalogram methodologies as well as a money game to examine the effects of stress on creativity in business problem-solving. The study explained the relationship between creativity and human physiological response using the biopsychosocial model of challenge and threat. The subjects were asked to perform a cognitive mapping task. Based on the brain wave theory, we identified the types of brain waves and locations of brain (...) activities that occurred during the creative problem-solving process in a business environment and studied the effects of stress on creativity. The results of the experiments showed significant differences in creativity in business problem-solving depending on whether or not stress was triggered. Differences were found in the time domain and frequency domain of heart rates, a physiological stress indicator, between the stress group and the no-stress group. A brain wave analysis confirmed that alpha waves increased in the frontal lobe of the brain during creative business problem-solving but decreased when the subjects were under stress, during which beta waves in the brain increased. This study seeks to examine creativity in business problem-solving by studying the effects of stress on human physiological response and cognitive functions in the hope of providing a new and objective interpretation of existing research results. (shrink)

In this paper, we explain how our individual PhD enquiries have informed the philosophical underpinnings of our postgraduate programmes. The approach used to ensure validity and rigour in the research process is presented. We report on the development of the International Research Centre for e-Innovation and Workplace Learning and its collaboration in European projects such as Pathway to Inquiry Based Learning, Inspiring Science Education and the African based Global e-Schools and Communities Initiative project Leadership Development in ICT and the (...) Knowledge Society. Our claim is that researching our own practice can be a transformative experience for the practitioner-researcher who is committed to generating knowledge that has personal, professional and social value. (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, (...) class='Hi'>individual realism better fosters scientific creativity than selective realism. (shrink)

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 (...) creativity indicate pathways out. (shrink)

Building on findings that self-uncertainty motivates attempts to restore certainty about the self, particularly in ways that highlight one’s distinctiveness from others, we show that self-uncertainty, relative to uncertainty in general, increases creative generation among individualists. In Studies 1 to 3, high (but not low) individualists performed better on a creative generation task after being primed with self-uncertainty as opposed to general uncertainty. In Study 4, this effect emerged only among those who were told that the task measured creative as (...) opposed to analytical thinking, suggesting that the positive effects of self-uncertainty on performance are specific to tasks that bolster perceptions of uniqueness. In Study 5, self-uncertain individualists experienced a restoration of self-clarity after being induced to think about themselves as more (vs. less) creative. Implications for compensatory responses to self-uncertainty and factors that influence creativity are discussed. (shrink)

The main aim of the paper is to offer a solution compatible with Graham Priest’s Noneism and Amie Thomasson’s Artifactual theory which stresses the epistemic features of the notion of individuality in fiction in a framework where individuals are conceived of as functions (the framework is known as the world-lines-semantics of Hintikka). According to our view, it is the endorsement of a reader’s perspective that extends the range of the values of the functions (individuals) and that offers an alternative solution (...) to cases of identity inside and outside the scope of a fictionality (or representation) operator. More technically, this proposal can be seen as both extending the notion of individuality of the Artifactual theory and furnishing an epistemic twist to Priest’s principle of freedom. (shrink)

The main aim of the paper is to offer a solution compatible with Graham Priest’s Noneism and Amie Thomasson’s Artifactual theory which stresses the epistemic features of the notion of individuality in fiction in a framework where individuals are conceived of as functions (the framework is known as the world-lines-semantics of Hintikka). According to our view, it is the endorsement of a reader’s perspective that extends the range of the values of the functions (individuals) and that offers an alternative solution (...) to cases of identity inside and outside the scope of a fictionality (or representation) operator. More technically, this proposal can be seen as both extending the notion of individuality of the Artifactual theory and furnishing an epistemic twist to Priest’s principle of freedom. (shrink)

The current ecological and global crises call us to reexamine our understanding of ourselves, our relationships, and the world in which we live together as well as the values that shape and determine our mutual participation within this shared world process. This article engages the dynamic relationship between the thought and writings of C. G. Jung and A. N. Whitehead, two insightful contemplative visionaries, exploring the philosophical and spiritual vision that arises from this interaction, with special attention to the emergence (...) of principles and values that might serve as guides for reflection, evolution, and mutual understanding. (shrink)

This article explores some of the key dynamics of the UK fashion sector as an example of a post-industrial, urban based, cultural economy comprising of a largely youthful female workforce. It argues that the small scale, independent activities which formed the backbone of the success of British fashion design as an internationally recognized phenomenon from the mid 1980s to the mid 1990s, represented a form of female self-generated work giving rise to collaborative possibilities and co-operation. However without an effective lobby (...) or association (despite the expansion of the fashion media) and under conditions of rapid individualization and in an increasingly harsh climate of neo-liberalization, this creative economy has been overtaken and virtually demolished by the joint forces of a re-vitalized high street fashion culture and the aggressive presence of corporate fashion (‘Prada-ization’). While the UK government celebrates the growth of the cultural economy, it also overlooks the processes making the livelihoods of its predominantly female workforce either untenable or else requiring de-specialization and ‘multi-tasking’. (shrink)

The setting in which people generate ideas and work collaboratively to solve problems is gradually shifting from traditional face-to-face communities to virtual communities. Virtual communities are, therefore, becoming a new source of creative ideas. Nevertheless, online creativity is not without challenges. The main obstacle seems to be a lack of active engagement from participants within these virtual communities, resulting in a low quality and quantity of creative content when compared to traditional methods of creation. Research suggests that successfully generating (...) creative ideas online involves sustained, active engagement among collaborators. A number of studies have investigated various factors related to the generation of creative ideas within virtual communities. However, a comprehensive understanding of contributing factors remains elusive. This study examines past research on the factors that drive creative ideas generation in online creative communities through a systematic literature review. The study seeks to analyze research findings over the past decade and provide an overview of the main driving factors, research areas, research trends, and implications for future research. Web of Science and Scopus were used to identify relevant articles, while Google Scholar was used to minimize the risk of missing any valuable data related to the aim of this study. The results provide an overview of the studies examining creative ideas generation within virtual communities. By approaching the subject matter from three primary perspectives, this paper identifies influencing factors associated with the successful generation of creative ideas online. The results of the paper also provide an overview of the research methods and guiding theories adopted by current researchers. The paper concludes with research trends and recommendations for future research. (shrink)

According to social cognitive theory, this study explored the relationship between intrapreneurship and opportunity recognition. We developed a moderated mediation model of creative self-efficacy as a mediator and support for innovation as a moderator linking intrapreneurship with opportunity recognition. Using a sample of 206 college students from Chinese universities, we found that intrapreneurship is positively related to opportunity recognition, and this relationship was mediated by creative self-efficacy. Our research further found that the effect of intrapreneurship on opportunity recognition was conditional (...) on support for innovation. Finally, the theoretical and practical implications are discussed. (shrink)

Purpose of the article: Although the economic growth and society are two independent terms at the first sight, they are in fact closely connected and interact with each other. The main topic of this work is the creative economy, which is considered to be a part of growth theories. Thanks to the new approach, theorists supplement these theories with the demographic and the socio-cultural factor. First, the work establishes a comprehensive theoretical framework for economic growth. Furthermore, it analyses the representation (...) of creativity in the regions of the Czech Republic. Methodology/methods: The primary aim of this work is to carry out an analysis that charts the representation of the creative potential in the regions of the Czech Republic. The analysis uses the new creative index, which was created by modifying of the Richard Florida´s creative index. Consequently, the work uses the new creative index within the framework of smaller regional units as opposed to national groupings. Additional advantages of this model include the number and measurability of the indexes. Scientific aim: The aim of this work is not just demonstrating the dependence between the presence of creative people and economic growth, but in addition, the work aims to seek out the factors that influence the allocation of creative employees. Findings: The work demonstrates high mutual dependence between creativity and economic growth with the help of the correlation coefficient. The assumptions that creative regions are more attractive on the social and knowledge basis were also confirmed. Conclusions : Territorial units must consequently work to develop conditions, which support the establishment and the development of the creative environment in order to retain their competitiveness and support the economic growth. (shrink)

Recent research has uncovered the dark side of creativity by finding that creative individuals are more likely to engage in unethical behavior. However, we argue that not all creative individuals make trouble. Using moral self-regulation theory as our overarching theoretical framework, we examine individuals’ moral identity as a boundary condition and moral disengagement as a mediating mechanism to explain when and how individual creativity is associated with workplace deviant behavior. We conducted two field studies using multi-source data (...) to test our hypotheses. In Study 1, the results indicated that creativity positively predicted moral disengagement for those low in moral identity. In Study 2 with multi-wave data, we replicated the finding that moral identity moderated the effect of creativity on moral disengagement in Study 1 and further revealed that moral disengagement mediated the interactive effects of creativity and moral identity on workplace deviant behavior. The theoretical and practical implications of these findings and directions for future research are discussed. (shrink)

Creative Intelligence: Essays in the Pragmatic Attitude represents an attempt at intellectual cooperation. No effort has been made, however, to attain unanimity of belief nor to proffer a platform of "planks" on which there is agreement. The consensus represented lies primarily in outlook, in conviction of what is most likely to be fruitful in method of approach. As the title page suggests, the volume presents a unity in attitude rather than a uniformity in results. Consequently each writer is definitively responsible (...) only for his own essay. The reader will note that the Essays endeavor to embody the common attitude in application to specific fields of inquiry which have been historically associated with philosophy rather than as a thing by itself. Beginning with philosophy itself, subsequent contributions discuss its application to logic, to mathematics, to physical science, to psychology, to ethics, to economics, and then again to philosophy itself in conjunction with esthetics and religion. The reader will probably find that the significant points of agreement have to do with the ideas of the genuineness of the future, of intelligence as the organ for determining the quality of that future so far as it can come within human control, and of a courageously inventive individual as the bearer of a creatively employed mind. (shrink)

The article studies the impact of Fintech on entrepreneurship in Arabic region by using Crowdfunding platforms as the field of study. The article focuses on Arabic Crowdfunding platforms. The population of (12) platforms consist of: individuals, entrepreneurs, investors, employees at Crowdfunding platforms. Descriptive and quantitative approach used in this article, and a questionnaire used as a tool to collect primary data. The results indicate an impact for Fintech on entrepreneurship in general and obvious obstacles to use it widely in Arabic (...) region cause of legislations or e-payments. The article recommended more awareness for innovative products and services such as Fintech, Crowdfunding and adopting the culture of e-business models. Also the article promoting the process of developing regulations that organize e-business models, especially Fintech and Crowdfunding, the use of modern communication technology to serve the development of society, more interest to innovation and creativity as a key factor for entrepreneurial success. (shrink)

Individual creativity has been the focus of long-term research in creative industries. However, few studies have explored the impact on individual creativity from social factors. At the same time, the influence of individual creativity on the existence of subsequent factors in the creative industry is also worthy of further investigation. From a social standpoint, this research aims to explore how social norms affect individual creativity, and how individual creativity affects subsequent (...) leadership. The present research takes creative entrepreneurs in creative enterprises as the research objects, and the structural equation model is used to analyze the data obtained from 202 valid questionnaires. Besides, the mediating effect of individual creativity between social norms and individual leadership is verified. The results show that social norms can effectively promote the generation of individual creativity that has a positive impact on both transactional or transformational leadership. It is revealed that social norms are effective tools for enhancing creativity, answering the question of how creative ideas are transformed into creative work and leadership. Individual creativity plays a mediating role between social norms and individual leadership. (shrink)

According to one of the rivals, “poets do not create from knowledge but on the basis of certain natural talents and guided by divine inspiration, just like seers and the singers of oracles.”1 There is “a form of possession and madness, caused by the muses, that seizes a tender and untouched soul and inspires and stimulates it so that it educates by praising the deeds of ancestors in songs and in every other mode of poetry. Whoever knocks on the door (...) of poetry without the madness of the muses trusting that technique alone will make him a whole poet does not reach his aim; he and his poetry of reason disappear before the poetry of the madman.”2 Even knowledge cannot arise in a purely rational way. In his seventh letter Plato explains how “from a long and dedicated pursuit of the subject and from close companionship, [understanding] suddenly, like fire being kindled by a leaping spark, is born in the soul and straightaway finds nourishment in itself.”3 Thus understanding or building a work of art contains an element that goes beyond skill, technical knowledge, and talent. A new force takes hold of the soul and directs it, toward theoretical insight in one case, toward artistic achievement in the other.The view adumbrated in these quotations is very popular today. Interestingly enough it seems to receive support form the most rigorous and most advanced parts of the sciences. This rigor, it is pointed out, is but a transitory stage in a process which has much in common with what Plato envisaged. Of course, it is necessary to make some changes: Plato’s knowledge was stable while scientific knowledge progresses. Plato assumed that outside forces—madness, divine inspiration—impinge on the soul while the moderns let the appropriate ideas, images, emotions arise from the individual soul itself. But there seem to exist many reasons to recommend a Platonism that has been modified in this way.In the following essay I shall try to show that the reasons that have been given are invalid and that the view itself—the view that culture needs individual creativity—is not only absurd but also dangerous. To make my criticism as concrete as possible I shall concentrate on e specific group of arguments in its favor. And to make it as clear as possible I shall use arguments trying to show the role of individual creativity in the sciences. If these clear and detailed arguments fail, then the rhetoric emerging from more foggy areas will altogether lose its force. 1. Plato, Apology of Socrates 22c. Translations, unless otherwise noted, are my own2. Plato, Phaedrus 245a.3. Plato, Epistles 341c, d. Paul Feyerabend studied singing and opera production in Vienna, history of theater and theatrical production at the Institute for the Methodological Reform of the German Theater in Weimar, and physics, astronomy, and philosophy in Vienna. He has lectured on aesthetics, the history of science, and philosophy in Austria, Germany, England, New Zealand, and the United States. At the moment he holds a joint appointment at the University of California, Berkeley, and the Federal Institute of Technology in Zurich. His books include Against Method , Erkenntnis für freie Menschen , and Philosophical Papers . Forthcoming works are Farewell to Reason and Stereotypes of Reality. (shrink)

Group creativity is vital in overcoming the numerous challenges that the world faces. Yet group creativity is deeply puzzling. It seems plausible that only agents can be creative, so group creativity requires group agency. But how could groups possess the mental states required to be agents, let alone the rich range of them required to be creative? It appears more reasonable to hold that group creativity is not a real phenomenon, but is merely the summed (...) class='Hi'>creativity of the individuals forming the group. There is also much empirical evidence that groups are no more creative than their members. In this paper I examine the conceptual and empirical challenges to group creativity, defend its existence, and offer an explanation of how it is possible. (shrink)

Creativity: Theory, History, Practice offers important new perspectives on creativity in the light of contemporary critical theory and cultural history. Innovative in approach as well as argument, the book crosses disciplinary boundaries and builds new bridges between the critical and the creative. It is organized in four parts: · Why creativity now? offers much-needed alternatives to both the Romantic stereotype of the creator as individual genius and the tendency of the modern creative industries to treat everything (...) as a commodity. · Defining creativity, creating definitions traces the changing meaning of "create" from religious ideas of divine creation from nothing to advertising notions of concept creation. It also examines the complex history and extraordinary versatility of terms such as imagination, invention, inspiration and originality. · Creation as myth, story, metaphor begins with modern re-telling of early African, American and Australian creation myths and -picking up Biblical and evolutionary accounts along the way - works round to scientific visions of the Big Bang, bubble universes and cosmic soup. · Creative practices, cultural processes is a critical anthology of materials, chosen to promote fresh thinking about everything from changing constructions of "literature" and "design" to artificial intelligence and genetic engineering. Rob Pope takes significant steps forward in the process of rethinking a vexed yet vital concept, all the while encouraging and equipping readers to continue the process in their own creative or "re-creative" ways. Creativity: Theory, History, Practice is invaluable for anyone with a live interest in exploring what creativity has been, is currently, and yet may be. (shrink)

We praise and admire creative people in virtually every domain from the worlds of art, fashion and design to the fields of engineering and scientific endeavour. Picasso was one of the most influential artists of the twentieth century, Einstein was a creative scientist and Jonathan Ive is admired the world over as a great designer. We also sometimes blame, condemn or withhold praise from those who fail creatively; hence we might say that someone's work or ideas tend to be rather (...) derivative and uninspired. Institutions and governmental advisory bodies sometimes aspire, claim or exhort us to enable individual creativity, whether this is held to be good for the individual as such or in virtue of promoting wider socio-economic goods. It is at least a common thought that people are more self-fulfilled if they are creative and society more generally is held to be all the better for enabling individual creativity. (shrink)

A philosophy of shared creative experience.--What metaphysics is.--Present prospects for metaphysics.--Abstraction: the question of nominalism.--Some principles of method.--A logic of ultimate contrasts.--Wittgenstein and Tillich: reflections on metaphysics and language.--Non-restrictive existential statements.--Events, individuals and predication: a defence of event pluralism--The prejudice in favor of symmetry.--The principle of dual transcendence and its basis in ordinary language.--Can there be a priori knowledge of what exists?--Ideas of God: an exhaustive division.--Six theistic proofs.--Sensory qualities and ordinary language.--The aesthetic matrix of value.

This study focuses on latent inhibition, a mechanism behind selective attention, as the biological basis of creativity in schoolchildren. The main objective of this study is to know if low levels of attention positively affect the levels of creativity manifested in students between the ages of nine and 12. The design of this study is non-experimental with an explanatory-correlational cross-sectional quantitative approach. In order to achieve the objective suggested, several education centers located in Murcia were selected, in which (...) 476 students took part in a creativity test, an attention test, and another test about intelligence depending on the educational level. The results obtained showed that selective attention was negatively correlated with graphic creativity, understanding that behind it lies the latent inhibition, and that when certain levels of intelligence are present, this negative correlation increases. In this way, the simultaneous existence of creative and inattentive subjects is demonstrated. (shrink)

This paper examines creative strategies employed inscientific modelling. It is argued that being creativepresents not a discrete event, but rather an ongoingeffort consisting of many individual `creative acts''.These take place over extended periods of time andcan be carried out by different people, working ondifferent aspects of the same project. The example ofextended extragalactic radio sources shows that, inorder to model a complicated phenomenon in itsentirety, the modelling task is split up into smallerproblems that result in several sub-models. This is (...) away of using cognitive resources efficiently and in away which overcomes their limitations. Another aspectof modelling that requires creativity is theemployment of visualisation in order to reassemble,i.e. recreate the unity of, the various sub-models bymeans of visualisation. This illustrates how thecreative effort required to deal with the complexityof the complicated phenomenon of radio sources ischannelled in order to use cognitive resourcesefficiently and to stay within their capacity. (shrink)

Creativity is often portrayed as an X-factor that accounts for the spontaneous generation of the absolutely new. Yet the obsession with novelty implies a focus on final products and a retrospective attribution of their forms to unprecedented ideas in the minds of individuals, at the expense of any recognition of the form-generating potentials of the relations and processes in which persons and things are made and grown. In these processes, practitioners are characteristically called upon to copy the works of (...) past masters. However, though they may be guided by a script or score, every practitioner has to improvise his or her own passage through the array of tasks the performance entails. With examples from music, calligraphy and lace-making, I show that the wellsprings of creativity lie not inside people’s heads, but in their attending upon a world in formation. In this kind of creativity, undergone rather than done, imagination is not so much the capacity to come up with new ideas as the aspirational impulse of a life that is not just lived but led. But where it leads is not yet given. In opening to the unknown — in exposure — imagination leads not by mastery but by submission. Thus the creativity of undergoing, of action without agency, is that of life itself. (shrink)

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)

Transcendent Individual is an anthropological account of individual creativity and its conscious engagement in society. Drawing widely on ethnographic and theoretic material, and bringing into debate a range of voices--Nietzsche, Wilde and Forster, Bateson and Gerald Edelman, George Steiner, Richard Rorty and John Berger, Edmund Leach and Anthony Cohen--the book approaches individuality in terms of a range of issues: biological integrity, consciousness, agency, democracy, discourse, knowledge, consumerism, globalism and play.

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 introduces the concept of transformational creativity, which is creativity that is deployed to make a positive, meaningful, and potentially enduring difference to the world. Transformational creativity is compared to transactional creativity, which is creativity deployed in search of a reward, whether externally or internally generated. The article also discusses different kinds of transactional and transformational creativity. For example, some transactional creativity is inert, meaning that it never comes to fruition. Transformational (...) class='Hi'>creativity can be directed inward, outward, or both ways. The article also discusses pseudo-transformational creativity, which is offered by the creator as making the world a better place, when in fact its goal is to improve the lot of the person who is pseudo-transformationally creative. Many charismatic leaders are pseudo-transformational autocrats. It is concluded that, at this point in time, the world desperately needs the work of transformationally creative individuals. (shrink)

There is a classical paradox in education that also affects the epistemic virtues: the paradox inherent in the demand to develop general strategies for training persons to be free and creative individuals. This problem becomes particularly salient with respect to the epistemic virtue of creativity, the more so if we consider a radical form of creativity, namely, genius. This paper explores a historical constellation in which rigorous claims about the standards for knowledge and morality were developed, along with (...) a highly influential notion of genius: the philosophy of Kant and of immediate post‐Kantian philosophers. The paper shows how in this historical moment came together a new notion of “science,” a theory of “genius” and of virtues, and an analysis of the promises and difficulties inherent in educating a virtuous or creative individual. In this constellation of ideas, there also emerges a potentially fruitful account of how to teach intellectual creativity. (shrink)

The philosophy of mind concerns much about how novelty occurs in the world. The very recent progress in this field inspired by quantum mechanics indicates that symmetry restoration occurs in the mind at the moment when new creative thought arises. Symmetry restoration denotes the moment when one’s cognition leaves ordinary internalized mental schemes such as conceptual categories, heuristics, subjective theories, conventional thinking, or expectations. At this moment, fundamentally new, original thought may arise. We also predict that in older age, symmetry (...) restoration is less likely to occur as internalized mental schemes become more rigid in the elderly. Furthermore, the present study demonstrates that symmetry restoration may occur not only individually, in one’s mind, but also collectively, during collaborative creative activities, e.g. during small-group brainstorming sessions or creative improvisational performances. The possibility of collective symmetry restoration interacts well with the ideas in the field of relational ontology. Relational ontology highlights an important ontological role of relations. The ontological primacy is not given to individual entities, as in traditional metaphysics, but to relational structures and transformative relational processes (interactions). When accepting this assumption, we cannot imagine the situation when the actor’s mind could act absolutely independently and leave all of its relations as assumed in the compatibilist theory of free will. We argue that creative free action can be performed even in the case when the actor is entangled within their material, environmental, and social relational structures. (shrink)

Though active in the arts herself, Dr. Richards (psychology, Saybrook Graduate School, San Francisco; psychiatry, Harvard Medical School; McLean Hospital, Belmont, Massachusetts) views creativity more broadly and as essential to survival. As someone who helped break new ground in the assessment of creativity in the general population, she introduces 13 chapters in which interdisciplinary thinkers probe the "originality of everyday life" in individual and societal contexts. Perspectives range from Piaget's developmental stages and the more positive aspects of (...) television viewing to chaos theory and Zen Buddhism. In integrating these views, the editor enumerates the benefits of living creatively. (shrink)

Despite the growing attention on the topic of abusive supervision, how abusive supervision affects individual and team creativity have not yet been thoroughly investigated. Drawn from the perspective of leader-member exchange (LMX), the current study develops a multilevel model to describe the relationships between abusive supervision and creativity at both team and individual levels, with a focus on the roles played by team-level leader-member exchange (TLMX) and LMX differentiation (DLMX). Based on data collected from 319 team (...) members and their team leaders in 71 teams, the results show that abusive supervision has a negative relationship with TLMX, a practice that is conducive to both team and individual creativity. At the team level, the negative relationship between abusive supervision and TLMX is lessened by a higher level of DLMX. In addition, the positive relationship between TLMX and team creativity is weakened by a higher level of DLMX. Theoretical and practical implications of the findings are discussed. (shrink)

In this essay we collect and put together a number of ideas relevant to the under- standing of the phenomenon of creativity, confining our considerations mostly to the domain of cognitive psychology while we will, on a few occasions, hint at neuropsy- chological underpinnings as well. In this, we will mostly focus on creativity in science, since creativity in other domains of human endeavor have common links with scientific creativity while differing in numerous other specific respects. (...) We begin by briefly introducing a few basic notions relating to cognition, among which the notion of ‘concepts’ is of basic relevance. The myriads of concepts lodged in our mind constitute a ‘conceptual space’ of an enormously complex structure, where con- cepts are correlated by beliefs that are themselves made up of concepts and are as- sociated with emotions. The conceptual space, moreover, is perpetually in a state of dynamic evolution that is once again of a complex nature. A major component of the dynamic evolution is made up of incessant acts of inference, where an inference occurs essentially by means of a succession of correlations among concepts set up with beliefs and heuristics, the latter being beliefs of a special kind, namely, ones relatively free of emotional associations and possessed of a relatively greater degree of justification. Beliefs, along with heuristics, have been described as the ‘mind’s software’, and con- stitute important cognitive components of the self-linked psychological resources of an individual. The self is the psychological engine driving all our mental and physical activity, and is in a state of ceaseless dynamics resulting from one’s most intimate ex- periences of the world accumulating in the course of one’s journey through life. Many of our psychological resources are of a dual character, having both a self-linked and a shared character, the latter being held in common with larger groups of people and imbibed from cultural inputs. We focus on the privately held self-linked beliefs of an individual, since these are presumably of central relevance in making possible inductive inferences – ones in which there arises a fundamental need of adopting a choice or making a decision. Beliefs, decisions, and inferences, all have the common link to the self of an individual and, in this, are fundamentally analogous to free will, where all of these have an aspect of non-determinism inherent in them. Creativity involves a major restructuring of the conceptual space where a sustained inferential process eventually links remote conceptual domains, thereby opening up the possibility of a large number of new correlations between remote concepts by a cascading process. Since the process of inductive inference depends crucially on de- cisions at critical junctures of the inferential chain, it becomes necessary to examine the basic mechanism underlying the making of decisions. In the framework that we attempt to build up for the understanding of scientific creativity, this role of decision making in the inferential process assumes central relevance. With this background in place, we briefly sketch the affect theory of decisions. Affect is an innate system of response to perceptual inputs received either from the exter- nal world or from the internal physiological and psychological environment whereby a positive or negative valence gets associated with a perceptual input. Almost every sit- uation faced by an individual, even one experienced tacitly, i.e., without overt aware-ness, elicits an affective response from him, carrying a positive or negative valence that underlies all sorts of decision making, including ones carried out unconsciously in inferential processes. Referring to the process of inferential exploration of the conceptual space that gener- ates the possibility of correlations being established between remote conceptual do- mains, such exploration is guided and steered at every stage by the affect system, analogous to the way a complex computer program proceeds through junctures where the program ascertains whether specified conditions are met with by way of generating appropriate numerical values – for instance, the program takes different routes, depending on whether some particular numerical value turns out to be positive or negative. The valence generated by the affect system in the process of adoption of a choice plays a similar role which therefore is of crucial relevance in inferential processes, especially in the exploration of the conceptual space where remote domains need to be linked up – the affect system produces a response along a single value dimension, resembling a number with a sign and a magnitude. While the affect system plays a guiding role in the exploration of the conceptual space, the process of exploration itself consists of the establishment of correlations between concepts by means of beliefs and heuristics, the self-linked ones among the latter having a special role in making possible the inferential journey along alternative routes whenever the shared rules of inference become inadequate. A successful access to a remote conceptual domain, necessary for the creative solution of a standing problem or anomaly – one that could not be solved within the limited domain hitherto accessed – requires a phase of relatively slow cumulative search and then, at some stage, a rapid cascading process when a solution is in sight. Representing the conceptual space in the form of a complex network, the overall process can be likened to one of self-organized criticality commonly observed in the dynamical evolution of complex systems. In order that inferential access to remote domains may actually be possible, it is necessary that restrictions on the exploration process – necessary for setting the context in ordinary instances of inductive inference – be relaxed and a relatively free exploration in a larger conceptual terrain be made possible. This is achieved by the mind going into the default mode, where external constraints – ones imposed by shared beliefs and modes of exploration – are made inoperative. While explaining all these various aspects of the creative process, we underline the supremely important role that analogy plays in it. Broadly speaking, analogy is in the nature of a heuristic, establishing correlations between concepts. However, analo- gies are very special in that these are particularly effective in establishing correlations among remote concepts, since analogy works without regard to the contiguity of the concepts in the conceptual space. In establishing links between concepts, analogies have the power to light up entire terrains in the conceptual space when a rapid cas- cading of fresh correlations becomes possible. The creative process occurs within the mind of a single individual or of a few closely collaborating individuals, but is then continued by an entire epistemic community, eventually resulting in a conceptual revolution. Such conceptual revolutions make pos- sible the radical revision of scientific theories whereby the scope of an extant theory is broadened and a new theoretical framework makes its appearance. The emerging theory is characterized by a certain degree of incommensurability when compared with the earlier one – a feature that may appear strange at first sight. But incommen- surability does not mean incompatibility and the apparently contrary features of the relation between the successive theories may be traced to the multi-layered structureof the conceptual space where concepts are correlated not by means of single links but by multiple ones, thereby generating multiple layers of correlation, among which some are retained and some created afresh in a conceptual restructuring. We conclude with the observation that creativity occurs on all scales. Analogous to correlations being set up across domains in the conceptual space and new domains being generated, processes with similar features can occur within the confines of a domain where a new layer of inferential links may be generated, connecting up sub- domains. In this context, insight can be looked upon as an instance of creativity within the confines of a domain of a relatively limited extent. (shrink)