Unprecedented times compel new ways to explore relationships. Using interviews with dating app users quarantined in American cities at the height of the Covid-19 pandemic, I show the impacts of digital mediation on the highly scripted interactional patterns in dating. Drawing from the literature on creative action, temporality, digital affordance, and the materiality of cultural objects, I examine how actors access the creative opportunities in digitally mediated interaction. I find that dating partners creatively mobilized the affordances of digital technologies to (...) approximate a dating script in organizing online interactions, which simultaneously allowed them to formulate relational narratives with varying deviation from the scripted temporal structure. I identify three aspects of digital affordances offering creative opportunities: the dissolution of spatial-temporal boundaries, the production and circulation of digital objects, and the connection between contexts. Taking advantage of an extraordinary moment of cultural and interactional rupture that necessitated digital solutions to connect, this article demonstrates how digital technologies unsettle culturally institutionalized interactional patterns and the formation of meaningful relationships. (shrink)

Framed within the broader theoretical context of social semiotics, we attempt to show how university students communicate using a variety of unique means, in particular social contexts. We privilege Pennycook and Otsuji’s semiotic assemblages, Jimaima and Simungala’s semiotic creativity, and the notion of semiotic economy as critical ingredients that conspire to give rise to the unique and complex coinages and innovations constituting students’ repertoires. We argue that, born out of creativity, the students’ repertoires are semiotically and economically charged (...) discourses that generate extended narratives such that more is realized with less. We show that this reality undoubtedly constitutes a multi-semiotic meaning-making endeavor that enacts and sustains students’ imagined and lived experiences in real sociocultural, historical, and political spaces in the multilingual landscapes of university campuses. (shrink)

Peirce’s architectonics, far from rigid, is bended by many plastic transformations, deriving from the cenopythagorean categories, the pragmaticist (modal) maxim, the logic of abduction, the synechistic hypotheses and the triadic classification of sciences, among many other tools capable of molding knowledge. Plasticity, in turn, points to interlacements between mathematics and art, and shapes some associated conceptual forces in the boundary of the disciplines: variation, modulation and invariance; transformability, continuity and discreteness; creative emergence. In this article we focus on this third (...) aspect, through bounded, well defined case studies in the Logic Notebook. The first section describes the manuscript and its interest for a study of creativity, leading to a short speculation on “creative reason” and “plastic imagination” in Peirce. The second section studies five precise cases of creative emergence in the Logic Notebook: differential relatives, existential graphs, sequence diagrams, triadic logic, translatability. Some major surprises occur in those detailed studies. (shrink)

Ivancovsky et al.'s Novelty-Seeking Model suggests several mechanisms that might underlie developmental change in creativity and curiosity. We discuss how these implications both do and do not align with extant developmental findings, suggest two further elements that can provide a more complete developmental account, and discuss current methodological barriers to formulating an integrated developmental model of curiosity and creativity.

One of the foremost scientists and thinkers of our time, David Bohm worked alongside Oppenheimer and Einstein. In _Science, Order and Creativity_ he and physicist F. David Peat propose a return to greater creativity and communication in the sciences. They ask for a renewed emphasis on ideas rather than formulae, on the whole rather than fragments, and on meaning rather than mere mechanics. Tracing the history of science from Aristotle to Einstein, from the Pythagorean theorem to quantum mechanics, the (...) authors offer intriguing new insights into how scientific theories come into being, how to eliminate blocks to creativity and how science can lead to a deeper understanding of society, the human condition and the human mind itself. _Science, Order and Creativity_ looks to the future of science with elegance, hope and enthusiasm. (shrink)

In this philosophical exploration of creativity, Irving Singer describes the many different types of creativity and their varied manifestations within and across all the arts and sciences. Singer's approach is pluralistic rather than abstract or dogmatic. His reflections amplify recent discoveries in cognitive science and neurobiology by aligning them with the aesthetic, affective, and phenomenological framework of experience and behavior that characterizes the human quest for meaning. Creativity has long fascinated Singer, and in Modes of Creativity (...) he carries forward investigations begun in earlier works. Marshaling a wealth of examples and anecdotes ranging from antiquity to the present, about persons as diverse as Albert Einstein and Sherlock Holmes, Singer describes the interactions of the creative and the imaginative, the inventive, the novel, and the original. He maintains that our preoccupation with creativity devolves from biological, psychological, and social bases of our material being; that creativity is not limited to any single aspect of human existence but rather inheres not only in art and the aesthetic but also in science, technology, moral practice, as well as ordinary daily experience. (shrink)

Creativity is one of the central dimensions of human achievement and social development and has always fascinated scientists and non-scientists alike. But what is the essential nature of creativity? And what is the role of consciousness in the emergence of creativity? If it is true that it has been explored in many aspects in the cognitive and neurobiological field, it is also true that the lore chest—from which the conscious mind through unconscious mechanisms extracts the rough material (...) that is then brought to the surface—has been less investigated. The purpose of this article is to give an account of how the multiplicity of levels of awareness is made possible by a spontaneous order that has nothing to do with a monolithic view of creativity. (shrink)

This essay explores the nature and neurological basis of creativity in technical production. After presenting a model of expert technical cognition based in cognitive anthropology and cognitive psychology, the authors propose that craft production has three inherent sources of novelty — procedural drift, serendipitous error and fiddling. However, these are quite limited in their creative potential, which may help explain the virtual absence of innovation over the long millennia of the Palaeolithic. Innovation can be far more rapid and effective (...) via invention, which requires folk theories of causation and adequate working memory capacity, all fairly recent evolutionary developments. The neurological basis of expert technical cognition lies in well-known cortical and sub-cortical structures, but recent research has established a provocative role for the cerebellum in the formulation of novel arrangements. (shrink)

A meeting on Hegel and Creativity was sponsored by the Society for Philosophy of Creativity, Eastern Division, in connection with the meeting of the American Philosophical Association in Washington, D.C. on December 29, 1977. The principal paper, entitled “Creativity in Hegel?,” was presented by Kenneth Schmitz. It was followed by papers of two commentators, Kenley Dove and David Lachterman. The session was chaired by Donald Verene and organized by George L. Kline, Chairman of the Society’s Eastern Division.

The principal goal of this essay is to examine the manner and extent to which one actual occasion can have value for others according to Whitehead. This question divides into two, depending upon whether we are considering the relation of an entity to its past or to its future. The essay closes with a defense of the monistic interpretation of creativity in Whitehead.

After its proliferation as a primarily psychological term in the literature of the late 1960s, creativity has since advanced to a core notion also for sociology. The first part of the paper tackles “the creativity narrative” according to three paradigmatic readings brought forward by Luc Boltanski and Ève Chiapello, Maurizio Lazzarato, and most recently Andreas Reckwitz. Despite the insightful accounts that those readings provide concerning the entanglement of creativity to capitalist ways of production, the practical consequences they (...) offer regarding how to contest this entanglement are debatable. Therefore, in the second part of the article a fourth understanding of creativity is invoked that was proposed by Cornelius Castoriadis. As argued, the radicality of this concept lies in defining creativity as a mode of production of the subject’s psyche as a collective co-existence from which broader, necessarily collective practices can be derived.Après sa prolifération en tant que notion psychologique dans la littérature des années 1960, la créativité est aussi devenue une notion fondamentale pour la sociologie. La première partie de l’article aborde le « récit de la créativité » à partir des trois lectures paradigmatiques proposées par Luc Boltanski et Ève Chiapello, Maurizio Lazzarato et, plus récemment, par Andreas Reckwitz. Malgré le fait qu’elles éclairent de manière signi????icative l’enchevêtrement de la créativité aux modes capitalistes de production, les conséquences pratiques que ces lectures tirent sur les contestations possibles de cet enchevêtrement sont sujettes au débat. C’est pourquoi, dans la deuxième partie de ce texte, une quatrième compréhension de la créativité est proposée à partir de Cornelius Castoriadis. La radicalité de ce concept repose sur sa dé????inition en tant que mode de production du psychisme du sujet compris en tant que co-existence collective, à partir de laquelle des pratiques plus larges et nécessairement collectives peuvent découler. (shrink)

This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the creative process is rational; whether it is (...) teleological; the relation of creativity to knowledge; whether creativity can be explained; computational and Darwinian theories of creativity; whether creativity is a virtue; the relation of creativity to tradition; the aesthetic value of creativity; and whether creative activity is different in science and art. (shrink)

Numerous studies had found that creativity is not only associated with low effort and flexible processes, but also associated with high effort and persistent processes especially when defensive behavior being induced negative emotions. The important role of self-esteem is to buffer the negative emotions and low self-esteem are prone to instigate various forms of defensive behaviors. Thus, we thought that the relationships between trait creativity and executive control brain networks might be modulated by self-esteem. The resting-state electroencephalogram (RS-EEG) (...) microstates can divided into four classical types (MS1, MS2, MS3 and MS4) which can reflect the brain networks as well as the dynamic characteristic of them. Thus, Williams creative tendency scale (WCTS) and Rosenberg Self-Esteem Scale (RSES) were used to investigate the modulating role of self-esteem on the relationships between trait creativity and the RS-EEG microstates. As our results showed, self-esteem consistently modulated the relationships between creativity and the duration and contribution of MS2 related to visual or imagery processing, the occurrence of MS3 related to cingulo-opercular networks, as well as transitions between MS2 and MS4 which was related to frontoparietal control networks. Based on these results, we thought that Moreover, individuals with low self-esteem might be more prone to influenced by negative emotions and develop low trait creativity; bottom-up information from vision or visual imagery might be beneficial to develop trait creativity for individuals with high self-esteem to improve trait creativity, while inhibition of irrelevant information could facilitate trait creativity for individuals with low self-esteem. (shrink)

A central concern of nearly every environmental ethic is its desire to extend the scope of direct moral concern beyond human beings to plants, nonhuman animals, and the systems of which they are a part. Although nearly all environmental philosophies have long since rejected modernity’s conception of individuals as isolated and independent substances, few have replaced this worldview with an alternative that is adequate to the organic, processive world in which we find ourselves. In this context, Brian G. Henning argues (...) that the often overlooked work of Alfred North Whitehead has the potential to make a significant contribution to environmental ethics. Additionally inspired by classical American philosophers such as William James, John Dewey and Charles Sanders Pierce and environmental philosophers such as Aldo Leopold, Peter Singer, Albert Schweitzer, and Arne Naess, Henning develops an ethical theory of which the seminal insight is called “The Ethics of Creativity.” By systematically examining and developing a conception of individuality that is equally at home with the microscopic world of subatomic events and the macroscopic world of ecosystems, _The Ethics of Creativity_ correctly emphasizes the well-being of wholes, while not losing sight of the importance of the unique centers of value that constitute these wholes. In this way, _The Ethics of Creativity_ has the potential to be a unique voice in contemporary moral philosophy. (shrink)

In this article, we draw upon the philosophy of critical realism to reflect upon issues concerning discovery processes and opportunity development. First, paradoxes in the relationship between opportunity discovery and creativity are identified and explained. Second, the question of how to investigate opportunities is discussed and a solution informed by critical realism presented whereby three new types of discovery are identified and defined for empirical investigation. Using critical realism to augment entrepreneurial opportunity theory, we propose that discovery processes have (...) significance beyond discovery theory and can be considered revealing for theories of opportunity development more generally. We conclude with conceptual and practical comment on the importance of ontological theorising for entrepreneurship. (shrink)

Constructing a dialogue between the social theory of Alain Touraine and the philosophy of Paul Ricoeur, this work locates the wellsprings of the renewed intepretative powers of Touraine's recent sociology of the subject and critique of modernity in an implicit and unfinished, but unmistakable 'hermeneutical turn'.

ABSTRACT Western creativity is usually entrusted to the human imagination, regarded as a mental power capable of envisioning eternally original artefacts, while in the East creativity is entrusted to nature-in-the human, what Taoist philosophy calls qi, a spiritual power capable of reflecting the passing changes of nature in paintings, poems, and other forms of art. It is the intention of this paper to explore and elucidate these differences between the Western and Eastern conceptualizations of creativity, ending with (...) a suggestion of one feature they may have in common. (shrink)

R K Elliott; Versions of Creativity, Journal of Philosophy of Education, Volume 5, Issue 2, 30 May 2006, Pages 139–152, https://doi.org/10.1111/j.1467-9752.1971.

Many traditional theories of creativity put heavy emphasis on an incubation stage in creative cognitive processes. The basic phenomenon is a familiar one: we are working on a task or problem, we leave it aside for some period of time, and when we return attention to the task we have some new insight that services completion of the task. This feature, combined with other ostensibly mysterious features of creativity, has discouraged naturalists from theorizing creativity. This avoidance is (...) misguided: we can maintain unconscious incubated cognition as (sometimes) part of the creative process and we can explain it in scientifically responsible ways. This paper, focusing on the effects of attention on the functional networking of the brain, attempts just such an explanation. It also serves to assuage the naturalist's scepticism about other features of creative cognition. The broad upshot, one would hope, is that philosophers of mind and cognitive scientists return some attention to the long neglected topic of creativity. (shrink)

There is a demand to nurture scientific creativity in science education. This paper proposes that the relevant conceptual infrastructure with which to teach scientific creativity is often already included in philosophy of science courses, even those that do not cover scientific creativity explicitly. More precisely, it is shown how paradigm theory can serve as a framework with which to introduce the differences between combinational, exploratory, and transformational creativity in science. Moreover, the types of components given in (...) Kuhn’s disciplinary matrix are argued to indicate a further subdivision within transformational creativity that makes explicit that this most radical type of creativity that aims to go beyond and thus to transform the current paradigm can take many different directions. More generally, it is argued that there are several synergies between the topic of scientific creativity and paradigm theory that can be utilized in most philosophy of science courses at relative ease. Doing so should promote the understanding of scientific creativity among students, provide another way to signify the relevance of paradigm theory, and more strategically be a way of reinforcing the place of philosophy of science in science education. (shrink)

R K Elliott; Versions of Creativity, Journal of Philosophy of Education, Volume 5, Issue 2, 30 May 2006, Pages 139–152, https://doi.org/10.1111/j.1467-9752.1971.