Results for 'creativity'

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  1.  11
    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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  2.  63
    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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  3. 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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  4. 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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  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. 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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  8.  20
    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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  9. 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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  10. 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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  11.  44
    Modeling Creative Abduction Bayesian Style.Christian 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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  12.  33
    Conceptualizing Creativity and Innovation as Affective Processes: Steve Jobs, Lars von Trier, and Responsible Innovation.Lars Geer Hammershøj - 2018 - Philosophy of Management 17 (1):115-131.
    The aim of this article is to contribute to responsible innovation by developing a conceptual framework for the processes of creativity and innovation. The hypothesis is that creative and innovative processes are similar in that both are affective in nature. I develop this conceptual framework through an interpretation of the insights of Henri Poincaré’s notion of the ‘four stages’ in the creative process and Joseph Schumpeter’s notion of the entrepreneur. Building on this framework, I analyze the creative and innovative (...)
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  13.  93
    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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  14. 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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  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.  34
    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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  17.  56
    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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  18.  8
    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.  20
    Creativity and Philosophy.Adrian Currie - 2020 - British Journal of Aesthetics 60 (2):225-229.
    Creativity and PhilosophyBerys Gaut and Matthew Kieran Routledge. 2018. pp. 394. £30.99.
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  20. 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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  21.  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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  22. Creativity, the Turing Test, and the (Better) Lovelace Test.Selmer Bringsjord, P. Bello & David A. Ferrucci - 2001 - Minds and Machines 11 (1):3-27.
    The Turing Test is claimed by many to be a way to test for the presence, in computers, of such ``deep'' phenomena as thought and consciousness. Unfortunately, attempts to build computational systems able to pass TT have devolved into shallow symbol manipulation designed to, by hook or by crook, trick. The human creators of such systems know all too well that they have merely tried to fool those people who interact with their systems into believing that these systems really have (...)
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  23. 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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  24.  29
    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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  25. Freedom, Creativity, and Manipulation.Eric Christian Barnes - 2015 - Noûs 49 (3):560-588.
  26.  22
    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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  27.  33
    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.
  28.  57
    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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  29. 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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  30.  60
    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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  31.  1
    Creative Evolution.Henri Bergson & Arthur Mitchell - 1911 - International Journal of Ethics 22 (4):467-469.
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  32. 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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  33. Against Creativity.Alison Hills & Alexander Bird - 2019 - Philosophy and Phenomenological Research 99 (3):694-713.
    Philosophy and Phenomenological Research, EarlyView.
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  34.  49
    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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  35. Creativity and the Machine. How Technology Reshapes Language.Fabio Fossa - 2017 - Odradek 3 (1-2):178-208.
    In scientific communications, journal articles, and philosophical aesthetic debates the words “art”, “creativity”, and “machine” are put together more and more frequently. Since some machines are designed to, or happens to, imitate human artistic creativity, it seems natural to use the same words to talk about human artists and machines which imitate them. However, the evolution of language in light of technology may conceal specific features of the phenomena it is supposed to describe. This makes it difficult to (...)
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  36.  12
    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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  37.  62
    Moral Creativity in Science and Engineering.Mike W. Martin - 2006 - Science and Engineering Ethics 12 (3):421-433.
    Creativity in science and engineering has moral significance and deserves attention within professional ethics, in at least three areas. First, much scientific and technological creativity constitutes moral creativity because it generates moral benefits, is motivated by moral concern, and manifests virtues such as beneficence, courage, and perseverance. Second, creativity contributes to the meaning that scientists and engineers derive from their work, thereby connecting with virtues such as authenticity and also faults arising from Faustian trade-offs. Third, morally (...)
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  38.  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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  39. The Creative Imagination: Enlightenment to Romanticism.James Engell - 1981 - 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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  40.  74
    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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  41. Emotional Creativity and Real-Life Involvement in Different Types of Creative Leisure Activities.Radek Trnka, Martin Zahradnik & Martin Kuška - 2016 - Creativity Research Journal 28 (3):348-356.
    The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. The present study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure activities and with four categories of college majors. Data were collected from 251 university students, university graduates and young adults (156 women and 95 men). Art students and (...)
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  42.  69
    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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  43.  17
    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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  44.  42
    Creativity, Proactive Personality, and Entrepreneurial Intention: The Role of Entrepreneurial Alertness.Rui Hu, Li Wang, Wei Zhang & Peng Bin - 2018 - Frontiers in Psychology 9.
  45.  42
    Why Creative Intelligence is Hard to Find.Daniel Dennett - 1988 - Behavioral and Brain Sciences 11 (2):253-253.
  46. Creativity and Cultural Improvisation.Elizabeth Hallam & Tim Ingold (eds.) - 2007 - Berg.
    There is no prepared script for social and cultural life. People work it out as they go along. Creativity and Cultural Improvisation casts fresh, anthropological eyes on the cultural sites of creativity that form part of our social matrix. The book explores the ways creative agency is attributed in the graphic and performing arts and in intellectual property law. It shows how the sources of creativity are embedded in social, political and religious institutions, examines the relation between (...)
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  47.  95
    Creativity, Cognition and Material Culture: An Introduction.Lambros Malafouris, Chris Gosden & Karenleigh A. Overmann - 2014 - Pragmatics and Cognition 22 (1):1-4.
    Introduction to the special issue in Pragmatics & Cognition focused on creativity, cognition, and material culture. With contributions from Maurice Bloch, Chris Gosden, Tim Ingold, John Kirsh, Carl Knappett & Sander van der Leeuw, Lambros Malafouris, Frédéric Vallée-Tourangeau, Kevin Warwick, and Tom Wynn and Frederick L. Coolidge.
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  48. 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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  49.  69
    Moral Creativity: Paul Ricoeur and the Poetics of Possibility.John Wall - 2005 - Oxford University Press.
    In Moral Creativity, John Wall argues that moral life and thought are inherently and radically creative. Human beings are called by their own primordially created depths to exceed historical evil and tragedy through the ongoing creative transformation of their world. This thesis challenges ancient Greek and biblical separations of ethics and poetic image-making, as well as contemporary conceptions of moral life as grounded in abstract principles or preconstituted traditions. Taking as his point of departure the poetics of the will (...)
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  50.  55
    Where Creativity Resides: The Generative Power of Unconscious Thought☆.A. Dijksterhuis & T. Meurs - 2006 - Consciousness and Cognition 15 (1):135-146.
    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 (...)
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