Creativity has received, and continues to receive, comparatively little analysis in philosophy and the brain and behavioural sciences. This is in spite of the importance of creative thought and action, and the many and varied resources of theories of mind. Here an alternative approach to analyzing creativity is suggested: start from the bottom up with minimally creative thought. Minimally creative thought depends non-accidentally upon agency, is novel relative to the acting agent, and could not (...) have been tokened before the time it is in fact tokened, relative to the agent in question. Thoughts that meet these three conditions—agency, psychological novelty, and modal—are what may be called cognitive breakthroughs. Even if such breakthroughs are not necessary to or definitive of richer creativity, they are indeed central to much of creativity. The minimal analysis provides a more workable explanandum for theories of creativity of varied motivation and method. (shrink)

Selection theory requires multiple, distinct, simultaneously-actualized states. In cognition, each thought or cognitive state changes the 'selection pressure' against which the next is evaluated; they are not simultaneously selected amongst. Creative thought is more a matter of honing in a vague idea through redescribing successive iterations of it from different real or imagined perspectives; in other words, actualizing potential through exposure to different contexts. It has been proven that the mathematical description of contextual change of state introduces (...) a non-Kolmogorovian probability distribution, and a classical formalism such as selection theory cannot be used. This paper argues that creative thought evolves not through a Darwinian process, but a process of context-driven actualization of potential. (shrink)

Keith Holyoak and Paul Thagard provide a unified, comprehensive account of the diverse operations and applications of analogy, including problem solving, ...

The associative theory of creativity states that creativity is associated with differences in the structure of semantic memory, whereas the executive theory of creativity emphasises the role of top-down control for creative thought. For a powerful test of these accounts, individual semantic memory structure was modelled with a novel method based on semantic relatedness judgements and different criteria for network filtering were compared. The executive account was supported by a correlation between creative ability and broad retrieval ability. (...) The associative account was independently supported, when network filtering was based on a relatedness threshold, but not when it was based on a fixed edge number or on the analysis of weighted networks. In the former case, creative ability was associated with shorter average path lengths and higher clustering of the network, suggesting that the semantic networks of creative people show higher small-worldness. (shrink)

Empirical results suggest that defocusing attention results in primary process or associative thought, conducive to finding unusual connections, while focusing attention results in secondary process or analytic thought, conducive to rule-based operations. Creativity appears to involve both. It is widely believed that it is possible to escape mental fixation by spontaneously and temporarily engaging in a more divergent or associative mode of thought. The resulting insight may be refined in a more analytic mode of thought. The (...) question addressed here is: how does the architecture of memory support these two modes of thought, and what is happening at the neural level when one shifts between them? Recent advances in neuroscience shed light on this. It was demonstrated that activated cell assemblies are composed of multiple ‘neural cliques’, groups of neurons that respond differentially to general or context-specific aspects of a situation. I refer to neural cliques that would not be included in the assembly if one were in an analytic mode, but would be if one were in an associative mode, as ‘neurds’. It is posited that the shift to a more associative mode of thought conducive to insight is accomplished by recruiting neurds that respond to abstract or atypical subsymbolic microfeatures of the problem or situation. Since memory is distributed and content-addressable this fosters remindings and the forging of creative connections to potentially relevant items previously encoded in those neurons. Thus it is proposed that creative thought involves neither randomness, nor search through a space of predefined alternatives, but emerges naturally through the recruitment of neurds. It is suggested this occurs when there is a need to resolve conceptual gaps in ones’ internal model of the world, and resolution involves context-driven actualization of the potentiality afforded by its fine-grained associative structure. (shrink)

A divide exists in the creativity literature as to whether relatively more or less executive processing is beneficial to creative thinking. To explore this issue, we employ an individual differences perspective informed by dual-process theories in which it is assumed that people vary in the extent to which they rely on autonomous or controlled processing . We find that those more willing and/or able to engage Type 2 processing are more likely to successfully make creative connections in tasks (...) requiring the unification of disparate elements and the novelty of generated items, but not in some other indices of creativity, namely, cognitive flexibility and fluency. Implications for the role of executive processing in creative thinking are discussed in the context of DPTs. We situate the ability to make remote connections alongside other advanced higher order thinking capabilities that are unique to humans. (shrink)

'His mind and hand went together' said Hemings and Condell of the speed of Shakespeare. But the conceptual language of literary criticism, be it moralistic or political, has long been too slow to the properly responsive to Shakespeare's meaning. With the help of both Renaissance philosophers and present-day actors, Sudden Shakepeare seeks to locate the underlying secrets of Shakespeare's dynamic power. It offers a technical language wihch, close to Shakespeare's own, is capable of responding suddenly to the speed, transforming shape, (...) and power of Shakespeare's way of thinking as it comes into meaning. (shrink)

In three experiments, the relation between different modes of thought and the generation of “creative” and original ideas was investigated. Participants were asked to generate items according to a specific instruction . They either did so immediately after receiving the instruction, or after a few minutes of conscious thought, or after a few minutes of distraction during which “unconscious thought” was hypothesized to take place. Throughout the experiments, the items participants listed under “unconscious thought” conditions (...) were more original. It was concluded that whereas conscious thought may be focused and convergent, unconscious thought may be more associative and divergent. (shrink)

I. The "Moral Universal" from the Perspectives of East Asian Thought jl\ defining characteristic of East Asian thought is the widely accepted proposition ...

Tu Wei-ming is the foremost exponent of Confucian thought in the United States today. Over the last two decades he has been developing a creative scholarly interpretation of Confucian humanism as a living tradition. The result is a work of interpretive brilliance that revitalizes Confucian thought, making it a legitimate concern of contemporary philosophical reflections.

The goal of this article is to display the attractiveness of a novel account of the place of creativity in the human mind. This is designed to supplement (and perhaps replace) the widespread assumption that creativity is thought-based, involving novel combinations of concepts to form creative thoughts, with the creativity of action being parasitic upon prior creative thinking. According to the proposed account, an additional (or perhaps alternative) locus of creativity lies in the assembly and activation of (...) action-schemata, with creative thoughts arising subsequently from the mental rehearsal of those actions, normally resulting in either visual imagery or inner speech. (shrink)

This present Doctoral Thesis deals with David Bohm's reflection on the Act of Thinking vs. Thinking, and its impacts that would affect freedom for creativity, or, on the contrary, would run into arbitrariness and fragmentation, especially in scientific knowledge. For that, we combined some of his works, written in the period of his maturity. In the weaving of our text, following the line of Bohm, we resort to the use of metaphors and analogies, in order to explore not only the (...) “awakening of his creativity”, through the contexts to which he was involved, but also his repertoire, their lenses to understand the world involved and explained. In addition, we analyze how their affective bonds would have contributed to their particular way of making themselves: as a physicist and free thinker. Although he was a scholar born in the last century, we will see how other researchers, even today, seem to share the "same" act of thinking, which in a way, even if implied, continues to extend its influence to many. (shrink)

This article discusses the meanings of “creativity”—tvorchestvo—as we encounter it in Georges Florovsky’s thought, first and foremost in his magnum opus Ways of Russian Theology (1937). Tvorchestvo had by this time become a key concept in Russian pre-revolutionary and later émigré thought. It is associated above all with Nikolai Berdyaev’s philosophy, but it also plays an important role in Sergei Bulgakov’s philosophy of economy. In both cases, it stands for the human response to divine creation. Moreover, and somewhat (...) less famously, it was also an epistemological concept in the religious idealism of Vladimir Solovyov as well as in Russian neo-Kantianism (Fyodor Stepun), where it stood for the active, synthetic faculty of our minds. Florovsky, meanwhile, used it as a description of how we should relate to the patristic heritage, but also to history more generally: Our attitude should be “creative,” active, as well as both backward- and forward-looking. This “return to the Fathers” was a central component of Florovsky’s neopatristic program, but, interestingly, in order to conceptualize this return, Florovsky took over a concept from traditions that his own approach otherwise firmly criticized. By analyzing Florovsky’s use of tvorchestvo, this article addresses the broader question as to the differences and parallels between the neopatristic movement and the legacy of the Russian Renaissance (Silver Age). (shrink)

This paper surveys historical and recent philosophical discussions of the relations between imagination and creativity. In the first two sections, it covers two insufficiently studied analyses of the creative imagination, that of Kant and Sartre, respectively. The next section discusses imagination and its role in scientific discovery, with particular emphasis on the writings of Michael Polanyi, and on thought experiments and experimental design. The final section offers a brief discussion of some very recent work done on conceptual relations (...) between imagination and creativity. (shrink)

The aim of this dissertation is to create a naturalistic philosophical picture of creative capacities that are specific to our species, focusing on artistic ability, religious reflection, and scientific study. By integrating data from diverse domains within a philosophical anthropological framework, I have presented a cognitive and evolutionary approach to the question of why humans, but not other animals engage in such activities. Through an application of cognitive and evolutionary perspectives to the study of these behaviors, I have sought (...) to provide a more solid footing for philosophical anthropological discussions of uniquely human behavior. In particular, I have argued that art, religion and science, which are usually seen as achievements that are quite remote from ordinary modes of reasoning, are subserved by evolved cognitive processes that serve functions in everyday cognitive tasks, that arise early and spontaneously in cognitive development, that are shared cross-culturally, and that have evolved in response to selective pressures in our ancestral past. These mundane cognitive processes provide a measuring rod with which we can assess a diversity of cultural phenomena; they form a unified explanatory framework to approach human culture. I have argued that we can explain uncommon thoughts in terms of interactions between common minds. This dissertation is subdivided into four parts. Part I outlines the problem of human uniqueness, examining theories on how humans conceptualize the world, and what their mental tool box looks like. Part II discusses the evolutionary and cognitive origins of human artistic behavior. Part III focuses on the cognitive science of religion, especially on how it can be applied to the reasoning of theologians and philosophers of religion. Part IV considers the cognitive basis of scientific practice. (shrink)

The opening essay of Emerson’s 1860 book, The Conduct of Life, posed, in that fateful year of threatening Civil War and disunion, the philosophical problem of human freedom and fate. The essay “Fate” is followed in the present book by a series of essays on related themes, including: “Power,” “Wealth,” “Culture,” “Worship,” “Beauty” and “Illusions.” The central question of the volume is, “How shall I live?” Appreciating both our freedom and its limits, we understand the vitality of power to acquire (...) what wealth is needed to scale the corrections and heights of culture and worship, find beauty in life and human society, wary still of the illusions. Overall, the book is a call for creative solutions. Yet the nation, in the year of Abraham Lincoln’s election, seemed fated to war or disunion in spite of all its dedication to freedom. (shrink)

This chapter contains sections titled: Bedtime Stories It's For Your Own Good; Or Is It? Truth, Lies, and Parental Whoppers Lies, Rights, and Rationality Conclusion: It Isn't Easy Being Honest Notes.