Results for 'creativity'

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  1.  25
    The Creativity of Natural Selection? Part II: The Synthesis and Since.John Beatty - 2019 - Journal of the History of Biology 52 (4):705-731.
    This is the second of a two-part essay on the history of debates concerning the creativity of natural selection, from Darwin through the evolutionary synthesis and up to the present. In the first part, I focussed on the mid-late nineteenth century to the early twentieth, with special emphasis on early Darwinism and its critics, the self-styled “mutationists.” The second part focuses on the evolutionary synthesis and some of its critics, especially the “neutralists” and “neo-mutationists.” Like Stephen Gould, I consider (...)
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  2.  20
    Creative Evolution.Henri Bergson - 1911 - London: Palgrave-Macmillan.
    Henri Bergson (1859-1941) is one of the truly great philosophers of the modernist period, and there is currently a major renaissance of interest in his unduly neglected texts and ideas amongst philosophers, literary theorists, and social theorists. Creative Evolution (1907) is the text that made Bergson world-famous in his own lifetime; in it Bergson responds to the challenge presented to our habits of thought by modern evolutionary theory, and attempts to show that the theory of knowledge must have its basis (...)
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  3.  65
    Creative Evolution.Henri Bergson (ed.) - 1911 - New York: the Modern Library.
    Henri Bergson (1859-1941) is one of the truly great philosophers of the modernist period, and there is currently a major renaissance of interest in his unduly neglected texts and ideas amongst philosophers, literary theorists, and social theorists. Creative Evolution (1907) is the text that made Bergson world-famous in his own lifetime; in it Bergson responds to the challenge presented to our habits of thought by modern evolutionary theory, and attempts to show that the theory of knowledge must have its basis (...)
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  4. The Creative Mind: Myths and Mechanisms.Margaret A. Boden - 2003 - Routledge.
    How is it possible to think new thoughts? What is creativity and can science explain it? And just how did Coleridge dream up the creatures of The Ancient Mariner? When The Creative Mind: Myths and Mechanisms was first published, Margaret A. Boden's bold and provocative exploration of creativity broke new ground. Boden uses examples such as jazz improvisation, chess, story writing, physics, and the music of Mozart, together with computing models from the field of artificial intelligence to uncover (...)
     
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  5. Explaining Creativity.Maria Kronfeldner - 2018 - In Berys Gaut & Matthew Kieran (eds.), Routledge Handbook on Creativity and Philosophy. New York: Routledge. pp. 213-29.
    Creativity has often been declared, especially by philosophers, as the last frontier of science. The assumption is that it will defy explanation forever. I will defend two claims in order to oppose this assumption and to demystify creativity: (1) the perspective that creativity cannot be explained wrongly identifies creativity with what I shall call metaphysical freedom; (2) the Darwinian approach to creativity, a prominent naturalistic account of creativity, fails to give an explanation of (...), because it confuses conceptual issues with explanation. I will close with some remarks on the status and differences in some explanations available in contemporary cognitive science. (shrink)
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  6. The Creative Aspect of Language Use and the Implications for Linguistic Science.Eran Asoulin - 2013 - Biolinguistics 7:228-248.
    The creative aspect of language use provides a set of phenomena that a science of language must explain. It is the “central fact to which any signi- ficant linguistic theory must address itself” and thus “a theory of language that neglects this ‘creative’ aspect is of only marginal interest” (Chomsky 1964: 7–8). Therefore, the form and explanatory depth of linguistic science is restricted in accordance with this aspect of language. In this paper, the implications of the creative aspect of language (...)
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  7. The Creative Mind: Myths and Mechanisms.Margaret A. Boden - 1992 - Routledge.
    An essential work for anyone interested in the creativity of the human mind, "The Creative Mind" has been updated to include recent developments in artificial ...
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  8. Creativity.Peter Langland-Hassan - 2020 - In Explaining Imagination. Oxford: pp. 262-296.
    Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a (...)
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  9. Creativity and Digitalization.Evgeniy V. Maslanov - 2022 - Epistemology and Philosophy of Science 59 (3):38-45.
    This article is a part of the discussion of Ilya Kasavin’s article “Creativity as a social phenomenon” and is devoted to the analysis of creativity in the era of digitalization. The author discusses creativity in computer programs and the actions of assistant robots. They can be creative because they are able to find new solutions to various problems. The Go program used new strategies that human players had never played before; another program predicted the crystal structure of (...)
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  10.  18
    The Role of Human Creativity in Human-Technology Relations.Vincent Blok - 2022 - Philosophy and Technology 1 (3):1-19.
    One of the pressing issues in philosophy of technology is the role of human creativity in human-technology relations. We first observe that a techno-centric orientation of philosophy of technology leaves open the role and contribution of human creativity in technological evolution, while an anthropocentric orientation leaves open the role of the technical milieu in technological evolution. Subsequently, we develop a concept of creation as deviation and responsiveness in response to affordances in the environment, inspired by the affordance theory (...)
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  11. Creative Potential of Humanism.Grigor Asatryan - 2017 - Wisdom 8 (1):31-36.
    The article analyzes the gist and certain specific features of contemporary humanism, reveals its creative and unifying potentials, and sheds light on the role it plays in solving the global problems the humanity faces in the current complicated and critical period of the development of civilization.
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  12. Creativity Phenomenon in the Context of Medieval Christian Philosophy.Sholpanay Uralbaeva, Zalina Nataeva, Vadim Kortunov, Darya Kapustina, Natalia Kotovchikhina & Denis Somov - 2022 - Wisdom 23 (3):152-158.
    Based on the analysis of fundamental worldview principles of the leading medieval philosophers – Aurelius Augustinus and Thomas Aquinas – the conceptual principles of the phenomenon of creativity in Medieval literature are established. It is concluded that human creativity in the medieval Christian paradigm is associated with the divine, manifesting as salvation through union with God. In medieval Christian philosophy, creativity is not just a person’s action but also the appearance of a chance for a particular person (...)
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  13.  14
    Will Creative Employees Always Make Trouble? Investigating the Roles of Moral Identity and Moral Disengagement.Xiaoming Zheng, Xin Qin, Xin Liu & Hui Liao - 2019 - Journal of Business Ethics 157 (3):653-672.
    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 (...)
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  14. Minimally Creative Thought.Dustin Stokes - 2011 - Metaphilosophy 42 (5):658-681.
    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 (...)
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  15. The Creativity of Action.Hans Joas, Jeremy Gaines & Paul Keast - 1998 - Sociological Theory 16 (3):282.
    Hans Joas is one of the foremost social theorists in Germany today. Based on Joas’s celebrated study of George Herbert Mead, this work reevaluates the contribution of American pragmatism and European philosophical anthropology to theories of action in the social sciences. Joas also establishes direct ties between Mead’s work and approaches drawn from German traditions of philosophical anthropology. Joas argues for adding a third model of action to the two predominant models of rational and normative action—one that emphasizes the creative (...)
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  16. Attributing Creativity.Elliot Samuel Paul & Dustin Stokes - 2018 - In Berys Gaut & Matthew Kieran (eds.), Creativity and Philosophy. Routledge.
    Three kinds of things may be creative: persons, processes, and products. The standard definition of creativity, used nearly by consensus in psychological research, focuses specifically on products and says that a product is creative if and only if it is new and valuable. We argue that at least one further condition is necessary for a product to be creative: it must have been produced by the right kind of process. We argue furthermore that this point has an interesting epistemological (...)
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  17. Fostering Creativity and Innovation Without Encouraging Unethical Behavior.Sherrie E. Human, David A. Baucus, William I. Norton & Melissa S. Baucus - 2008 - Journal of Business Ethics 81 (1):97-115.
    Many prescriptions offered in the literature for enhancing creativity and innovation in organizations raise ethical concerns, yet creativity researchers rarely discuss ethics. We identify four categories of behavior proffered as a means for fostering creativity that raise serious ethical issues: breaking rules and standard operating procedures; challenging authority and avoiding tradition; creating conflict, competition and stress; and taking risks. We discuss each category, briefly identifying research supporting these prescriptions for fostering creativity and then we delve into (...)
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  18.  9
    Creatively Undecided: Toward a History and Philosophy of Scientific Agency.Menachem Fisch - 2017 - Chicago: University of Chicago Press.
    For many, the two key thinkers about science in the twentieth century are Thomas Kuhn and Karl Popper, and one of the key questions in contemplating science is how to make sense of theory change. In Creatively Undecided, philosopher Menachem Fisch defends a new way to make sense of the rationality of scientific revolutions. He argues, loosely following Kuhn, for a strong notion of the framework dependency of all scientific practice, while at the same time he shows how such frameworks (...)
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  19. Creative Democracy: The Task Before Us.John Dewey - 1939 - In John Dewey and the Promise of America, Progressive Education Booklet, No. 14, American Education Press.
    Late Dewey on democracy and its social and political roles in American society. Republished in John Dewey, The Later Works, 1925-1953, Vol. 14.
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  20. Fintech: Creative Innovation for Entrepreneurs.Youssef M. Abu Amuna, Samy S. Abu-Naser, Mazen J. Al Shobaki & Yasser A. Abu Mostafa - 2019 - International Journal of Academic Accounting, Finance and Management Research (IJAAFMR) 3 (3):8-15.
    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 (...)
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  21.  46
    Modeling Creative Abduction Bayesian Style.Christian J. Feldbacher-Escamilla & Alexander Gebharter - 2019 - European Journal for Philosophy of Science 9 (1):1-15.
    Schurz proposed a justification of creative abduction on the basis of the Reichenbachian principle of the common cause. In this paper we take up the idea of combining creative abduction with causal principles and model instances of successful creative abduction within a Bayes net framework. We identify necessary conditions for such inferences and investigate their unificatory power. We also sketch several interesting applications of modeling creative abduction Bayesian style. In particular, we discuss use-novel predictions, confirmation, and the problem of underdetermination (...)
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  22.  34
    Creative Cognition and Brain Network Dynamics.Roger E. Beaty, Mathias Benedek, Paul J. Silvia & Daniel L. Schacter - 2016 - Trends in Cognitive Sciences 20 (2):87-95.
  23. Freedom, Creativity, and Manipulation.Eric Christian Barnes - 2015 - Noûs 49 (3):560-588.
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  24.  2
    Creative Evolution.Henri Bergson & Arthur Mitchell - 1911 - International Journal of Ethics 22 (4):467-469.
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  25.  69
    The Creative Mind: An Introduction to Metaphysics.Henri Bergson & Mabelle Louise Andison - 1946 - Philosophical Library.
    The Nobel laureate discusses not only how and why he became a philosopher but also his conception of philosophy as a field distinct from science and literature. A source of inspiration for physicists as well as philosophers, Bergson's essays declare the emphasis of intuition over intellect.
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  26.  42
    The Creativity of Natural Selection? Part I: Darwin, Darwinism, and the Mutationists.John Beatty - 2016 - Journal of the History of Biology 49 (4):659-684.
    This is the first of a two-part essay on the history of debates concerning the creativity of natural selection, from Darwin through the evolutionary synthesis and up to the present. Here I focus on the mid-late nineteenth century to the early twentieth, with special emphasis on early Darwinism and its critics, the self-styled “mutationists.” The second part focuses on the evolutionary synthesis and some of its critics, especially the “neutralists” and “neo-mutationists.” Like Stephen Gould, I consider the creativity (...)
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  27. Creativity Naturalized.Maria Kronfeldner - 2009 - Philosophical Quarterly 59 (237):577-592.
    I argue that creativity is compatible with determinism and therefore with naturalistic explanation. I explore different kinds of novelty, corresponding with four distinct concepts of creativity – anthropological, historical, psychological and metaphysical. Psychological creativity incorporates originality and spontaneity. Taken together, these point to the independence of the creative mind from social learning, experience and previously acquired knowledge. This independence is nevertheless compatible with determinism. Creativity is opposed to specific causal factors, but it does not exclude causal (...)
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  28.  35
    Creative Abduction, Factor Analysis, and the Causes of Liberal Democracy.Clark Glymour - 2019 - Kriterion - Journal of Philosophy 33 (1):1-22.
    The ultimate focus of the current essay is on methods of “creative abduction” that have some guarantees as reliable guides to the truth, and those that do not. Emphasizing work by Richard Englehart using data from the World Values Survey, Gerhard Schurz has analyzed literature surrounding Samuel Huntington’s well-known claims that civilization is divided into eight contending traditions, some of which resist “modernization” – democracy, civil rights, equality of rights of women and minorities, secularism. Schurz suggests an evolutionary model of (...)
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  29. Field Creativity and Post-Anthropocentrism.Stanislav Roudavski - 2016 - Digital Creativity 27 (1):7-23.
    Can matter, things, nonhuman organisms, technologies, tools and machines, biota or institutions be seen as creative? How does such creativity reposition the visionary activities of humans? This article is an elaboration of such questions as well as an attempt at a partial response. It was written as an editorial for the special issue of the Digital Creativity journal that interrogates the conception of Post-Anthropocentric Creativity. However, the text below is a rather unconventional editorial. It does not attempt (...)
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  30.  10
    Creativity and Philosophy.Berys Gaut & Matthew Kieran (eds.) - 2018 - Routledge.
    Creativity matters. We want people to be more creative and admire those who are. Yet creativity is deeply puzzling. Just what is it to be creative? Why is it valuable? Who or what can be creative and how? Creativity and Philosophy is an outstanding collection of specially commissioned chapters by leading philosophers who explore these problems and many more. It provides a comprehensive and creative picture of creativity, including the following themes: creativity as a virtue, (...)
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  31.  25
    Creative Thinging.Lambros Malafouris - 2014 - Pragmatics and Cognition 22 (1):140-158.
    Humans are organisms of a creative sort. We make new things that scaffold the ecology of our minds, shape the boundaries of our thinking and form new ways to engage and make sense of the world. That is, we are creative ‘thingers’. This paper adopts the perspective of Material Engagement Theory and introduces the notion ‘thinging’ to articulate and draw attention to the kind of cognitive life instantiated in acts of thinking and feeling with, through and about things. I will (...)
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  32.  79
    Creativity.Elliot Samuel Paul & Dustin Stokes - forthcoming - Stanford Encyclopedia of Philosophy.
  33. On Creativity.David Bohm - 1996 - Routledge.
    Creativity is fundamental to human experience. In On Creativity David Bohm, the world-renowned scientist, investigates the phenomenon from all sides. This is a remarkable and life-affirming book by one of the most far-sighted thinkers of modern.
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  34.  78
    Darwinian Creativity and Memetics.Maria Kronfeldner - 2011 - Acumen Publishing.
    The book examines how Darwinism has been used to explain novelty and change in culture through the Darwinian approach to creativity and the theory of memes. The first claims that creativity is based on a Darwinian process of blind variation and selection, while the latter claims that culture is based on and explained by units - memes - that are similar to genes. Both theories try to describe and explain mind and culture by applying Darwinism by way of (...)
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  35. Against Creativity.Alison Hills & Alexander Bird - 2019 - Philosophy and Phenomenological Research 99 (3):694-713.
    Philosophy and Phenomenological Research, EarlyView.
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  36. Creative Accounting: Some Ethical Issues of Macro- and Micro-Manipulation.Catherine Gowthorpe & Oriol Amat - 2005 - Journal of Business Ethics 57 (1):55-64.
    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 (...)
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  37.  56
    Creative Synthesis and Philosophic Method.Charles Hartshorne - 1970 - La Salle, Ill., Open Court Pub. Co..
    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.
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  38. Unpacking Creativity: The Power of Figurative Communication in Advertising.Paula Pérez Sobrino, Jeannette Littlemore & Samantha Ford - 2021 - Cambridge University Press.
    Figurative communication provides economy of expression, clarity, persuasiveness, politeness, evaluation, and communication of emotions. However, it also increases the potential for misunderstanding in situations when people lack shared background knowledge. This book combines theoretical frameworks with empirical studies that measure the effectiveness of different approaches to the use of figurative language in advertisements, to show how to maximise the benefits of creative metaphor and metonymy in global advertising. It highlights how subtle differences in colour, layout, and combinations of different kinds (...)
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  39.  22
    Fostering Creativity and Innovation Without Encouraging Unethical Behavior.Melissa S. Baucus, William I. Norton, David A. Baucus & Sherrie E. Human - 2008 - Journal of Business Ethics 81 (1):97-115.
    Many prescriptions offered in the literature for enhancing creativity and innovation in organizations raise ethical concerns, yet creativity researchers rarely discuss ethics. We identify four categories of behavior proffered as a means for fostering creativity that raise serious ethical issues: breaking rules and standard operating procedures; challenging authority and avoiding tradition; creating conflict, competition and stress; and taking risks. We discuss each category, briefly identifying research supporting these prescriptions for fostering creativity and then we delve into (...)
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  40.  8
    Creativity and Philosophy.Berys Gaut & Matthew Kieran (eds.) - 2018 - Routledge.
    Creativity matters. We want people to be more creative and admire those who are. Yet creativity is deeply puzzling. Just what is it to be creative? Why is it valuable? Who or what can be creative and how? Creativity and Philosophy is an outstanding collection of specially commissioned chapters by leading philosophers who explore these problems and many more. It provides a comprehensive and creative picture of creativity, including the following themes: creativity as a virtue, (...)
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  41. Creativity, Spontaneity, and Merit.Antti Kauppinen - forthcoming - In Alex King & Christy Mag Uidhir (eds.), Philosophy and Art: New Essays at the Intersection. Oxford University Press.
    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 (...)
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  42.  14
    Creative Democracy—The Task Before Us.John Dewey - 2011 - In Robert B. Talisse & Scott F. Aikin (eds.), The Pragmatism Reader: From Peirce Through the Present. Princeton University Press. pp. 150-154.
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  43.  71
    Creativity and Meaning in Life.David Matheson - 2018 - Ratio 31 (1):73-87.
    To forestall scepticism about meaning in life as a distinct final value, I sketch a preliminary characterization of meaning as superlative final value in life. I then make the case that this characterization helps us better appreciate a neglected substantive account of meaning, namely, Richard Taylor's creativity account. After laying out the creativity account, I argue that it is not just very compelling, but more compelling under the superlativeness characterization than the most prominent of the recent substantive accounts.
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  44.  73
    Exploring Creativity in the Design Process: A Systems-Semiotic Perspective.Argyris Arnellos, Thomas Spyrou & Ioannis Darzentas - 2007 - Cybernetics and Human Knowing 14 (1):37-64.
    This paper attempts to establish a systems-semiotic framework explaining creativity in the design process, where the design process is considered to have as its basis the cognitive process. The design process is considered as the interaction between two or more cognitive systems resulting in a purposeful and ongoing transformation of their already complex representational structures and the production of newer ones, in order to fulfill an ill-defined goal. Creativity is considered as the result of an emergence of organizational (...)
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  45.  45
    Creativity as an Artistic Merit.James Grant - 2018 - In Berys Gaut & Matthew Kieran (eds.), Creativity and Philosophy. London: pp. 333-349.
    The aim of this paper is to explain why creativity is an artistic merit. Artworks and non-artworks can both be creative. But creativity does not help make many other creative things good of their kind. A creative explanation is not a better explanation in virtue of being creative. Why, then, is a creative artwork a better artwork in virtue of being creative? Understanding this will give us a better understanding of the nature of artistic merit. The approach adopted (...)
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  46. The Creative Imagination: Enlightenment to Romanticism.James Engell - 1981 - Cambridge: Harvard University Press.
    In a work of astonishing intellectual range, James Engell traces the evolution of the creative imagination, from its emergence in British empirical thought through its flowering in Romantic art and literature. The notion of a creative imagination, Engell shows, was the most powerful and important development of the eighteenth century. It grew simultaneously in literature, criticism, philosophy, psychology, religion, and science, attracting such diverse minds as Hobbes, Addison, Gerard, Goethe, Kant, and Coleridge. Indeed, rather than discussing merely the abstract notion (...)
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  47. Rest in Space, Starman! Creative Reframing of Death Metaphors on David Bowie’s Mural in London.Paula Pérez-Sobrino & Laura Hidalgo-Downing - 2022 - Discourse Studies 24 (5):566-589.
    This article explores the way in which death metaphors written in the urban mural for David Bowie in London contribute to creatively reframing the artist’s death. While research on death metaphors has focussed on traditional written genres such as obituaries and epitaphs, studies of urban memorials and shrines have focussed on the creation of fandom identities, downplaying the role played by figurativity, creativity and emotional connotation. The present article aims to bridge the gap between these two areas of study (...)
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  48.  50
    Creativity: Theory, History, Practice.Rob Pope - 2005 - Routledge.
    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 (...)
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  49.  22
    Creativity in the Social Epistemology of Science.Mike D. Schneider - 2021 - Philosophy of Science 88 (5):882-893.
    Currie (2019) has introduced a novel account of creativity within the social epistemology of science. The account is intended to capture how conservatism can be detrimental to the health of inquiry within certain scientific communities, given the aims of research there. I argue that recent remarks by Rovelli (2018) put pressure on the applicability of the account. Altogether, it seems we do not yet well understand the relationship between creativity, conservatism, and the health of inquiry in science.
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  50. The Creative Interpreter: Content Relativism and Assertion.Herman Cappelen - 2008 - Philosophical Perspectives 22 (1):23 - 46.
    Philosophers of language and linguists tend to think of the interpreter as an essentially non-creative participant in the communicative process. There’s no room, in traditional theories, for the view that correctness of interpretation depends in some essential way on the interpreter. As a result, there’s no room for the possibility that while P is the correct interpretation of an utterance, u, for one interpreter, P* is the correct interpretation of that utterance for another interpreter. Recently, a number of theorists have, (...)
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