Why_read_Philosophy_of_original-_and_creative-thinking_rather_than_derivative_academic_professionals _ Meta-Philosophy and Philosophy’s rationale, aims, subject-matter and methods. What is philosophy for the creative-, original-thinking philosopher? Why is he doing philosophy? Where does his philosophical problems and insights come from? Comparing speculative/revisionary metaphysics, descriptive metaphysics and the explorative ‘metaphysics’ of the Socratic Method and the Philosophical Investigations. Comments on, or thinking through and with philosophical problems that cannot be dis/solved, Suber’s Meta-philosophy themes and questions, surveys of philosophers (and their believes) and Plant’s ‘On the Domain (...) of Meta-philosophy’. Socio-cultural, psychological and other factors related to the doing of philosophy. (shrink)

Author thinks that Kant's critique of metaphysics is motivated by creative need in execution of the possibility of a holistic world-view. By directing thought to the sphere of theoretically appropriate, Kant gives metaphysics anthropological sense which strengthens his motivation. Anthropologist metaphysics gives motivation to creativity of philosophical thinking by opening volition to connect ontological and axiological in philosophical subject: it gives completeness to worldview. But scientific conscience has not overcome non-critical fantasies that scientific intellect can cognize the last (...) truths about the world without any intensional implicatures of anthropological origin yet. Anthropological method of critical thinking makes scientific intellect holistic and reflexive without censoring religious nature of humankind. (shrink)

The concept of homology is the most solid theoretical basis elaborated by the morphological thinking during its history. The enucleation of some general criteria for the interpretation of homology is today a fundamental tool for life sciences, and for restoring their own opening to the question of qualitative innovation that arose so powerfully in the original Darwinian project. The aim of this paper is to verify the possible uses of the concept of compositional homology in order to provide (...) of an adequate understanding of the dynamics of creative thinking. (shrink)

The aim of teaching philosophy to children ultimately is not to teach them the history of philosophy, but rather to teach them to think, starting from philosophical concepts. This will help to develop high-level skills in children such as questioning, research, understanding and interpreting knowledge, establishing meaningful relationships between knowledge, creating original ideas, and problem-solving. Models of philosophizing with children have been developed, and systematic application attempts have been made, producing successful results in many countries of the world. According (...) to Matthew Lipman, these skills should be developed at a very young age with use of the model of philosophy for children (P4C). Our aim is to show and explore how to develop and sustain creative thinking, which is one of the achievements of P4C. If Lipman is right, children participating in these activities will start to gain creative thinking skills from an early age and will apply this foundation in other knowledge acquisition processes at more advanced developmental stages. This presentation aims to reveal the interrelation between P4C and creative thinking activity. First P4C will be explained, and then creative thinking and the interrelation between the two will be expanded upon in the conclusion. (shrink)

This book, based on a critical/collective/auto/ethnographic research project, describes an assemblage of theoretically informed, arts-based methods that aim to promote multiplicity and thinking. It explores multiplicities of knowing, sensing, doing and being, generated by analyzing knowing frames, poetry, reading aloud, fableing, playwriting and other inventive, playful and scholarly ways of working with experiences and stories. By offering engaging and inspiring strategies that can disturb standardizations and interrupt cultural normativities, the book sheds light on the conditions that might be present (...) in cultural contexts that enable diversity and creativity. The research project on which this book is based originated from a contradictory set of conditions characterized on the one hand by a marked interest in creative research methods and novel knowledge practices and, on the other hand, by a widespread concern that we live in increasingly standardized times, featuring systems that specify objectives ahead of time, demand compliance and narrow the possibilities for human action. The book takes readers on an arts-based journey designed to enhance the opportunities for imaginative and ethical professional practice in education, human services and the arts. (shrink)

Despite its theoretical importance, little is known about how semantic memory structure facilitates and constrains creative idea generation. We examine whether the semantic richness of a concept has both benefits and costs to creative idea generation. Specifically, we tested whether cue set size—an index of semantic richness reflecting the average number of elements associated with a given concept—impacts the quantity (fluency) and quality (originality) of responses generated during the Alternate Uses Task (AUT). Across four studies, we show that (...) low-association, sparse, AUT cues benefit originality at the cost of fluency compared to high-association, rich, AUT cues. Furthermore, we found an interaction with individual differences in fluid intelligence in the low-association AUT cues, suggesting that constraints of sparse semantic knowledge can be overcome with top-down intervention. Our findings indicate that semantic richness differentially impacts the quality and quantity of generated ideas, and that cognitive control processes can facilitate idea production when conceptual knowledge is limited. (shrink)

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

There is more than one way to think. Most people are familiar with the systematic, rule-based thinking that one finds in a mathematical proof or a computer program. But such thinking does not produce breakthroughs in mathematics and science nor is it the kind of thinking that results in significant learning. Deep thinking is a different and more basic way of using the mind. It results in the discontinuous "aha!" experience, which is the essence of creativity. (...) It is at the heart of every paradigm shift or reframing of a problematic situation. The identification of deep thinking as the default state of the mind has the potential to reframe our current approach to technological change, education, and the nature of mathematics and science. For example, there is an unbridgeable gap between deep thinking and computer simulations of thinking. Many people suspect that such a gap exists, but find it difficult to make this intuition precise. This book identifies the way in which the authentic intelligence of deep thinking differs from the artificial intelligence of "big data" and "analytics." Deep thinking is the essential ingredient in every significant learning experience, which leads to a new way to think about education. It is also essential to the construction of conceptual systems that are at the heart of mathematics and science, and of the technologies that shape the modern world. Deep thinking can be found whenever one conceptual system morphs into another. The sources of this study include the cognitive development of numbers in children, neuropsychology, the study of creativity, and the historical development of mathematics and science. The approach is unusual and original. It comes out of the author's lengthy experience as a mathematician, teacher, and writer of books about mathematics and science, such as How Mathematicians Think: Using Ambiguity, Contradiction, and Paradox to Create Mathematics and The Blind Spot: Science and the Crisis of Uncertainty. (shrink)

Originating within research on design cognition, the term design thinking has been growing in popularity over the past three decades, and has become a matter in a variety of discourses, assuming diverse and not necessarily congruent notions. In this article we suggest how to differentiate those discourses on design thinking and discuss its evolution into a meta-disciplinary concept.

This chapter first distinguishes between originality and creativity. True originality is rare, whether in art, science, or LEGO, because to be truly original means to have done something that no one has ever done before, and that no one could have anticipated. Most LEGO creations will not meet that condition, for with the exception of serious hobbyists who undertake massive builds, most players who make original creations are making creations that are commonplace. Painting or remolding or placing stickers (...) on the bricks counts against the spirit of LEGO creation. The chapter then discusses The LEGO Movie embodies the paradox that presents three conflicting models of creative LEGO play, illustrated by the Master Builders, Finn's father, and Emmet. The movie's creators were deliberately playing around with conflicting popular conceptions of creativity: creativity as madness, creativity as thinking outside the box, and creativity as vision. (shrink)

Emotional creativity (EC) is a pattern of cognitive abilities and personality traits related to originality and appropriateness in emotional experience. EC has been found to be related to various constructs across different fields of psychology during the past 30 years, but a comprehensive examination of previous research is still lacking. The goal of this review is to explore the reliability of use of the Emotional Creativity Inventory (ECI) across studies, to test gender differences and to compare levels of EC in (...) different countries. Thirty-five empirical studies focused on EC were retrieved and the coefficients required for the meta-analysis extracted. The meta-analysis revealed that women showed significantly higher EC than men (total N = 3,555). The same gender differences were also found when testing scores from three ECI subscales, i.e. emotional novelty, emotional preparedness and emotional effectiveness/authenticity. When comparing EC in 10 different countries (total N = 4,375), several cross-cultural differences were revealed. The Chinese sample showed a significantly lower average ECI total score than all the other countries. Based on the integration of results, the avenues for future research on EC and the breadth of influence of the concept of EC across different fields of psychology are discussed. Keywords: Emotional Creativity, Review, Meta-Analyses, Meta-Analysis, Definition, Emotional Creativity Inventory, ECI, Reliability, Gender Differences, Cross-cultural, Cross-culture, Personality Traits, NEO Personality Inventory, Big Five, Extraversion, Agreeableness, Openness to Experience, Introversion, Neuroticism, Emotions, Creativity, Cognition, Cognitive Abilities, Affect, Fantasy, Coping, Alexithymia, Anhedonia, Self-understanding, Motivation, Creativeness, Innovative Performance, Creative Ability, Artistic Creativity, Creative Thinking. MeSH Headings: Emotions, Creativity, Affect, Affective Symptoms, Gender, Sex, Gender Identity, Cross-Cultural Comparison, Transcultural Studies, Temperament, Extraversion, Neuroticism, Anhedonia, Creativeness, Cognition, Cognitive Function, Artistic Creativity, Creative Ability, Creative Thinking. (shrink)

Csikszentmihalyi (1999: 314) argues that 'creativity is a process that can be observed only at the intersection where individuals, domains, and fields intersect'. This article discusses the relationship between creativity and interdisciplinarity in science. It is specifically concerned with interdisciplinary collaboration, interrogating the processes that contribute to the collaborative creation of original ideas and the practices that enable creative integration of diverse domains. It draws on results from a novel real-world experiment in which small interdisciplinary groups of graduate (...) students were tasked with producing an innovative scientific research problem and an integrative research proposal. Results show that while bisociative thinking assists in the creation of original research problems, both disciplinary skills and an interdisciplinary disposition are core to the integration of creative research proposals. Extrapolating from the results of this experiment, the article discusses the feasibility of preparing students for such work and the implications for universities and other intellectual centers. (shrink)

The Origin of Human Nature offers an original and fertile way to integrate spiritual and scientific views of human evolution. It offers a new and refreshing alternative to the way we think about our origins - random mutation (mechanistic neo-Darwinism), Genesis (God did it all personally), and Intelligent Design (God personally does what we can't otherwise account for). The result is an invigorating perspective on how our best qualities - our capacity for love, our appreciation of beauty, our altruistic (...) capability, our creativity and our intelligence - have come into being and evolved. By showing evolution as a creative and intelligent process with its own inherent logic, The Origin of Human Nature resolves the dilemma of how to have both truth and ethics at the same time. Instead of starting in an imagined remote and uncertain past and moving to the present, this book starts at the certain and immediate present and works back. That consciousness, creativity, and intelligence exist is certain. The question is, how can these have evolved? Dr. Albert Low has made a study of human nature throughout his life. In writing this book, he draws on his prolonged meditations on creativity and the human condition, his years of providing psychological and spiritual counseling, and a wide-ranging knowledge of Western psychology, philosophy, and science. He takes issue with Richard Dawkins' published texts, and provides a point-by-point rebuttal of the neo-Darwinist argument. (shrink)

For several decades, Antonio Gramsci has been one of the most studied and discussed political theorists; however, his originality as a political thinker has not yet been fully understood. In this incisive book, Sakari Hänninen explores Gramsci's political theory of transformation and posits that he was altogether too creative a thinker to be simply categorized as an adherent of a certain school of thought or tradition. Following Gramsci's own advice to trace the stable and permanent elements of a thinker's (...) intellectual development in statu nascendi, Hänninen argues that Gramsci's thinking was distinct and superior to the material he studied. Chapters examine the central question of his exilic writing in prison: political, historical and societal transformation - generated by struggle and strife giving birth to something qualitatively new and unforeseen - as a pluritemporal 'becoming' rather than unilinear development. The book further investigates Gramsci's modal analysis of political transformation moving from Marxian necessity to Machiavellian opportunity. Political Creativity: Antonio Gramsci on Political Transformation will be an enlightening read for students and scholars in the fields of political, social and historical science, particularly political theory, cultural studies and European politics. Its insights will also benefit political and civic activists, civil society agencies and think tanks. (shrink)

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

The study aimed to identify the creative environment of the technical colleges operating in Gaza Strip. The analytical descriptive method was used through a questionnaire which was randomly distributed to 289 employees of the technical colleges in Gaza Strip with a total number of (1168) employees and a response rate equal to (79.2%) of the sample study. The results confirmed the existence of a high degree of approval for the dimensions of the creative environment with a relative weight (...) of (75.19%) according to the perspective of the employees of the technical colleges in Gaza Strip. The results of the study showed a high level of creative environment (fluency, flexibility, originality, sensitivity to problems) in the technical colleges in Gaza Strip, where the field (fluency) ranked first and relative weight (76.86%), in the second place came the area (sense of problems) and relative weight (74.89%). The field of elasticity came in third place with a relative weight of (74.59%). Finally, the field of originality came in fourth and final rank with a relative weight of (74.41%). The results showed that there are differences between the technical colleges in the principles of the creative environment in all fields and the overall degree except for the field of flexibility. The most available colleges in these principles were the university college of applied sciences, and that was the least of the Faculty of Al-Aqsa Society. The results showed that there were differences according to the age variable in the areas of creative environment only in the sense of problems for age groups (less than 30 years) and (from 40 to 50 years). The researchers suggested a number of recommendations, the need to enhance the dimensions of the creative environment in technical colleges by working to improve the faculties of fluency, flexibility, originality and sensitivity to problems. The need to work on continuity and improve aspects of the creative environment of the colleges and the creation of new and innovative ways to support and develop and support these aspects combined. Necessity of technical colleges to continue to develop the creative environment (fluency, flexibility, originality, sensitivity to problems) for employees by engaging them in specialized training courses for creative thinking and problem solving. Developing work procedures with new innovative methods that will accomplish the various tasks quickly and accurately, and provide the effort, time and costs. The researchers urged more future studies that address the same variables of the current study in the field of creative environment and applied to other sectors. (shrink)

The development of a `theory of mind' may not only be important for understanding the minds of others but also for using one's own mind. To investigate this supposition, forty children between the ages of three and four were given false-belief and creativity tasks. The numbers of appropriate and of original responses in the creativity test were found to correlate positively with performance on false-belief tasks. This association was robust, as it continued to be strong and significant even when (...) age and verbal intelligence were partialled out. The results support the hypothesis that the metarepresentational skills involved in theory of mind also affect the way children can access and scan their own mental repertoire beyond the areas of currently activated content (i.e. divergent thinking). With the advent of theory of mind a basic cognitive shift takes place in human development, and possibly took place in cognitive evolution. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Introduction to Creative Writing ContributionsAlexis Pauline Gumbs, Akasha Gloria Hull, Cheryl Clarke, doris diosa davenport, Cheryl Boyce-Taylor, Asha French, Sharon Bridgforth, Omi Osun Joni L. Jones, Alexis De Veaux, and Sokari Ekinewhen i first began to dream of creative writing contributions for this special issue of Feminist Studies celebrating the fortieth anniversaries of This Bridge Called My Back: Writings by Radical Women of Color and All the (...) Women Are White, All the Blacks Are Men, But Some of Us Are Brave: Black Women's Studies, I imagined a wealth of examples of the world and the work made possible by these two groundbreaking anthologies. I wondered what their editors and contributors were writing now. I wondered about the work of their students and people like me: those of us who understand everything we write as indebted to the path-making, silence-clearing, generative, and bodacious work of the participants in the miracles that are This Bridge Called My Back and But Some of Us Are Brave.But today as I reread the contributions that actually emerged from this process, I realize that my dream was too small. I imagined writing that would provide evidence of the ongoing impact made by these two anthologies. Instead, the creative writing in this special issue offers something more crucial and beautiful than I had imagined. These works are not mere evidence of a transformed world; these works are continuing to transform the world in urgent and visionary ways. As repeated again and again by participants in the 2022 celebration for the fortieth anniversary celebration of This Bridge Called My Back, the work that inspired these anthologies is not over. The writings featured in this issue not only show [End Page 198] how this work continues, but they feed, nurture, and provoke us as we honor our responsibility to transform this world.For example, when Akasha Gloria Hull, coeditor of But Some of Us Are Brave, shares her daily early morning meditative writing in "Writing and Rebirth: A Set of Journal Poems," we remember not only her fundamental work excavating the daily lives of Black women writers from the nineteenth century—most notably in Give Us Each Day, her edited book based on the diaries of poet Alice Dunbar Nelson—but also our own imperative. Hull's reflections on health challenges, interpersonal conflict, resurrection, collaboration, and writing itself remind us that our feminist praxis is impactful because of its dailyness. Those of us who wake up tomorrow will need to ask the same critical questions the editors of But Some of Us Are Brave asked of the fields of Black studies and women's studies. We will find surprises and repetitions in the days we meet, and then we will have to do it again.When we read two new prose poems by Cheryl Clarke, an original contributor to This Bridge Called My Back, we have an opportunity to time travel. In "Living as a Lesbian in the Archive of Style," we venture into a critical engagement with the term "hardcore lesbian," displacing the desires of the person who needs to classify others using that term with those of someone who has been hailed by it. Clarke's poem is a reminder that as we work in literary traditions and fields of study made possible by the revolutionary identity politics of an earlier era, we are still responsible for centering the experiences of those most impacted by our fluent and fluid naming practices. In "History," Clarke offers us a timely Black lesbian feminist lens on many iterations of responding to police violence, centering the perspective of a lesbian, her lover, and her lover's husband.The poem "On Being an hbcu Graduate, Teacher, Professor-Scholar at Stillman College, Tuscaloosa, AL, in May 2015" by doris diosa davenport—an original contributor to But Some of Us Are Brave—highlights the intimacy, hilarity, and poignancy of the daily work of intergenerational critical and creative praxis. In particular, she considers the context of institutions and regions that are sometimes excluded from the imaginary of how and where feminist work happens. davenport transmits the lessons and energy gained through her practice of thinking and gathering otherwise... (shrink)

A large number of studies, including single case and case series studies, have shown that patients with different types of frontotemporal dementia are characterized by the emergence of artistic abilities. This led to the hypothesis of enhanced creative thinking skills as a function of these pathological conditions. However, in the last years, it has been argued that these brain pathologies lead only to an augmented “drive to produce” rather than to the emergence of creativity. Moreover, only a few (...) studies analyzed specific creative skills, such as divergent thinking, by standardized tests. This Mini-Review aimed to examine the extent to which DT abilities are preserved in patients affected by FTD. Results showed that DT abilities are altered in different ways according to the specific anatomical and functional changes associated with the diverse forms of FTD. On the one hand, patients affected by the behavioral form of FTD can produce many ideas because of unimpaired access to memory stores, but are not able to recombine flexibly the information to produce original ideas because of damages in the pre-frontal cortex. On the other hand, patients affected by the semantic variant are impaired also in terms of fluency because of the degradation of their semantic memory store. Potential implications, limitations, and future research directions are discussed. (shrink)

Contemporary psychoanalytic thinking about the interdependence of subjectivity and intersubjectivity has reenvisioned the analytic process, and with it the very nature of creative and engaged psychoanalytic listening. Yet few systematic writings on psychoanalytic listening or technique provide comprehensive instruction that would prepare the analyst for the kind of analytic listening needed to participate imaginatively in this sort of intersubjective experience.Offering a short course in analytic listening, _Creative Listening and the Psychoanalytic Process_ provides a guide for the clinical uses (...) of imaginative literature. Outside the psychoanalytic literature, extraordinary pieces of imaginative literature exist that provide the kind of experience in analytic listening that can guide clinicians in their work with patients. Certain works of fiction create textured, sensory worlds in which complex characters possessing shifting states of consciousness live within fluid emotional atmospheres. In this book, Fred Griffin demonstrates that by entering the worlds that original writers create in their texts, the psychoanalytic therapist will learn to attend more closely to varying emotional states that generate nuanced, multidimensional views of the analysand’s internal and relational worlds. He illustrates how these works capture more fully the sensory experience encountered by the analyst themselves when taking in what the patient communicates within the analytic space. _Creative Listening and the Psychoanalytic Process_ presents case material alongside selected passages from works of fiction written by a range of creative writers, each of which stimulates analytic sensibility about this clinical experience. A conceptual framework is provided that makes these and other original works of fiction more accessible for these purposes. This book will be essential reading for psychoanalysts and psychoanalytic psychotherapists, as well as professors and graduate students studying psychoanalysis and literature. It will also appeal to literary scholars and those teaching and practicing in the field of narrative medicine. (shrink)

"Children live in a realm of direct experience, engaged with their senses and absorbed in events as they occur. But as adults, we've come to depend on our acquired skills of language, logic, and familiar thinking strategies to get things done and get through our days. For decades, innovative neuroscience educator Dee Joy Coulter has been treasure-hunting for fresh insights into learning that we can actually use-to transform the way we perceive, think, feel, and learn. Original Mind guides (...) us into her expansive vision for unfolding our natural brilliance. Applying the findings of scientists, artists, and cultures across the globe-and illuminated with stories and hands-on practices from her own work-readers will explore:. How to see, listen, feel, and taste again with childlike wonder. The oral tradition-reclaiming the cognitive power of storytelling and metaphor. Problem-solving and learning at the deepest levels. Empty mind -the art of rejuvenation as taught by the Buddha, composers and artists, and children across the globe. Boredom, Complexity, Ambiguity, Permeability, and Novelty-five tolerances essential to fulfillment. Surfing the edges of inner chaos-the theta-gamma states of inspired genius, and many other topics Readers both new and well-versed in brain training, meditation, and stress reduction will find here a wealth of inspiration to amplify the richness of their perceptions, intuition, creativity, emotional balance-and the untapped wonder hidden within each moment of our lives."--Publisher's description. (shrink)

This article investigates the origin of editorial images, with a focus on the mental processes that enable cartoonists and illustrators across cultures to come up with novel ideas. It provides the most compelling evidence to date that recycling, where artists regularly recycle pictorial and compositional ideas they have developed earlier, is the origin of ideas. Recycling theory is thus compatible with a variety of ongoing research programs. Among these are Turner’s work on blending (2014), Musolff’s research on scenarios (2016), Langacker’s (...) ideas on constructional schemas (1991), Johnson’s work on image schemas (1987), and van Dijk’s proposals concerning discourse complexes and intertextuality (2014). More specifically, the present study gives cognitively plausible answers to the perennial questions: To what extent does recycling shape and constrain the human way of thinking? Is it bound to certain cultural traditions? Does it characterize the style of certain artists or artistic movements? How does it contribute to discourse? Are the products of recycling always imaginative and creative? Is it a mode of efficiency? The theoretical insights are applied to 440 editorial images of Egyptian and British origin. This investigation will aid both semiotics scholarship and cognition studies based on multimodal stimuli. (shrink)

What I see when I come across that what is presented as philosophy is talking about the ideas and often technical terms of others and from the the tradition of philosophy. The latter is not original thinking but a sort of scholarly approach.. Immediately when I encounter someone using technical terms and words to talk about the ideas in philosophy and the work of other philosophers I realize that this is not original and creative thinking (...) but scholarly work and intentions. That type of work leads to and forms part of the domains, intentions, concerns, interests, aims and objectives of other disciplines, disciplines, other than philosophy. -/- For example semantics, linguistics, signs, logic, critical thinking, mathematics, consciousness talk concerning neurology, neurosciences, biology, physics, chemistry, biochemistry, sociology, social studies, culture, history, economics, anthropology, gender, grievance studies, politics, ethics, religion, spirituality, astrophysics, the multiverse, fine tuning and the origins of the universe, evolution of life and species, etc, etc. -/- The next step for this type of doing ‘philosophy’ usually consists of some form of speculation and dealing speculatively with ideas. The latter is not original thinking but a sort of scholarly approach.. Immediately when I encounter someone using technical terms and words to talk about the ideas in philosophy and the work of other philosophers I realize that this is not original and creative thinking but scholarly work and intentions. That type of work leads to and forms part of the domains, intentions, concerns, interests, aims and objectives of other disciplines, disciplines, other than philosophy. -/- For example semantics, linguistics, signs, logic, critical thinking, mathematics, consciousness talk concerning neurology, neurosciences, biology, physics, chemistry, biochemistry, sociology, social studies, culture, history, economics, anthropology, gender, grievance studies, politics, ethics, religion, spirituality, astrophysics, the multiverse, fine tuning and the origins of the universe, evolution of life and species, etc, etc. (shrink)

This book rewrites the story of classical Chinese philosophy, which has always been considered the single most creative and vibrant chapter in the history of Chinese philosophy. Works attributed to Confucius, Mozi, Mencius, Laozi, Zhuangzi, Xunzi, Han Feizi and many others represent the very origins of moral and political thinking in China. As testimony to their enduring stature, in recent decades many Chinese intellectuals, and even leading politicians, have turned to those classics, especially Confucian texts, for alternative or (...) complementary sources of moral authority and political legitimacy. Therefore, philosophical inquiries into core normative values embedded in those classical texts are crucial to the ongoing scholarly discussion about China as China turns more culturally inward. It can also contribute to the spirited contemporary debate about the nature of philosophical reasoning, especially in the non-Western traditions. -/- This book offers a new narrative and interpretative framework about the origins of moral-political philosophy that tracks how the three normative values, humaneness, justice, and personal freedom, were formulated, reformulated, and contested by early Chinese philosophers in their effort to negotiate the relationship among three distinct domains, the personal, the familial, and the political. Such efforts took place as those thinkers were reimagining a new moral-political order, debating its guiding norms, and exploring possible sources within the context of an evolving understanding of Heaven and its relationship with the humans. Tao Jiang argues that the competing visions in that debate can be characterized as a contestation between partialist humaneness and impartialist justice as the guiding norm for the newly imagined moral-political order, with the Confucians, the Mohists, the Laoists, and the so-called fajia thinkers being the major participants, constituting the mainstream philosophical project during this period. Thinkers lined up differently along the justice-humaneness spectrum with earlier ones maintaining some continuity between the two normative values (or at least trying to accommodate both to some extent) while later ones leaning more toward their exclusivity in the political/public domain. Zhuangzi and the Zhuangists were the outliers of the mainstream moral-political debate who rejected the very parameter of humaneness versus justice in that discourse. They were a lone voice advocating personal freedom, but the Zhuangist expressions of freedom were self-restricted to the margins of the political world and the interiority of one's heartmind. Such a take can shed new light on how the Zhuangist approach to personal freedom would profoundly impact the development of this idea in pre-modern Chinese political and intellectual history. (shrink)

The ability to be creative is often considered a unique characteristic of conscious beings and many efforts have been directed at demonstrating a relationship between creativity and the personality construct of psychoticism. The present study sought to investigate this link explicitly by focusing on discrete facets of creative cognition, namely the originality/novelty dimension and the practicality/usefulness dimension. Based on Eysenck’s conceptualisation of psychoticism as being characterised by an overinclusive cognitive style, it was expected that higher levels of psychoticism (...) would accompany a greater degree of conceptual expansion and elevated levels of originality in creative imagery, but would be unrelated to the practicality/usefulness of an idea. These hypotheses were confirmed in 80 healthy participants who were contrasted based on their EPQ psychoticism scale scores. Our findings suggest that the link between psychoticism and creativity is based on associative thinking and broader but weak top-down activation patterns rather than on goal-related thinking. (shrink)

The search for new ideas often frustratingly cycles back to old ones, a phenomenon known as fixation. Recent research has shown ways to kick‐start finding new uses for familiar objects, a prototypical creativity task: wandering in the mind or the world or working on a messy desk. Those techniques seem to succeed by helping break fixation, but do not guide the search for new ideas. The perspective‐taking or human‐centric or empathic mindset championed by many in HCI and in design firms (...) does provide a search strategy. We compared the mind‐wandering mindset to a perspective‐taking mindset, the latter priming thinking of ways that people in different roles (gardener, artist, etc.) might use the objects. In two studies, the Perspective‐Taking mindset yielded more ideas and more original ideas than Mind‐Wandering, which did not differ from a No‐Mindset control. Original ideas came late, rewarding persistence. The perspective‐taking mindset is productive for problem‐solving, forecasting, and social interactions as well as innovation. (shrink)

The COVID-19 pandemic resulted in an abrupt change in routines and livelihoods all around the world. This public health crisis amplified a number of systemic inequalities that led to populations needing to grapple with universally difficult truths. Yet some individuals, firms, and countries displayed resilient and creative responses in coping with pressing demands on healthcare and basic sanity. Past work has suggested that engaging in creative acts can be an adaptive response to a changing environment. Therefore, the purpose (...) of this paper is to describe how entities at the personal, community, and national levels cultivated and expressed creativity in an effort to make meaning during COVID-19. By overlaying the Four C model of creativity on such responses, we aim to to connect mini, little, Pro, and Big creative behaviors with our attempts to make meaning of the ongoing COVID-19 pandemic, and to suggest how engaging in creative expression can be used to guard against the adverse consequences of this outbreak. Acknowledging that this time has been and continues to be distressing and filled with uncertainty, we propose some ways of making sense of current events by applying original thinking across domains. Further, we propose how engaging in creativity can serve to buffer against the negative effects of living through the pandemic. (shrink)

How should the development of creativity be approached? Many accounts of children’s creativity focus on the relation between creativity and pretend play, placing make-believe and the mental exploration of possible scenarios about the world at the fore. Often divergent thinking and story-telling are used to measure creativity with fluency, originality, and flexibility as indicators. I will argue that the strong focus on conceptual processes and higher-order thought leaves procedural forms of creativity in the dark and hinders a proper investigation (...) of the development of creativity. Creativity involves both strategic and procedural elements and the mental and physical manipulation of ideas are equally important. Sahlin’s notion of rule-based creativity might serve as the starting-point for an approach to the development of creativity that is neutral as to the underlying nature of creativity and that permits investigating creativity independently of language. On this approach, creativity is characterized by the violation and subsequent replacement of a rule or norm that underlies a given activity with a novel strategy or procedure. When, where, and how children will manifest creativity is conditional on the kind of rule or norm that is violated. (shrink)

Academic freedom has often been defended in a progressivist manner: without academic freedom, creativity would be in peril, and with it the advancement of knowledge, i.e. the epistemic progress in science. In this paper, I want to critically discuss the limits of such a progressivist defense of academic freedom, also known under the label ‘argument from truth.’ The critique is offered, however, with a constructive goal in mind, namely to offer an alternative account that connects creativity and academic freedom in (...) a way that goes beyond mere reference to epistemic progress and involves reference to the freedom to think independently as the freedom we mean when we point to creativity and when we point to academic freedom. The resulting causal independence account is not only epistemologically stronger than a progressivist account, it also allows to counter the curbing of academic freedom in the name of progress. The latter becomes key, for instance, when authoritarian political regimes limit or negate academic freedom with reference to an epistemic progress suitably defined for that regime. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 53-64 [Access article in PDF] Emotion and Creativity Mike Radford Introduction Creativity may be seen as a complex process of informational processing within a given framework, or, as Margaret Boden has termed it, "conceptual space." 1 It is in the context of such frameworks that the process of managing information makes sense. The framework offers the possibilities within which information can be (...) combined and separated, grouped and regrouped,and may be seen to define the boundaries of that which makes sense both within the space and at its parameters. Boden suggests that we can, by playing around with the variables within a "conceptual space," be creative. We can generate multiple possibilities in terms of meaningful articulations.We can also aspire to a more fundamental level of creative thought oraction by engaging in the high-risk process of challenging the very rules that support the coherence of the space itself. In other words we can think, hypothesize or "play" at the boundaries of sense. Such explorations might result in changing those boundaries, thus transforming the conceptual space. Such changes might be minor but at other times dramatic, constituting major transitions in human thought and expression. This account seems to explain both the gradual process of creative development in the arts and sciences as well as the dramatic transformations that we observe in the history of intellectual and cultural development. Some conceptual spaces may be clearly defined with relatively closely controlled parameters. Others might be more open, more accommodating both within and at their boundariesA number of questions arise in the context, two of which are of particularinterest. First, how do novel combinations or reorganizations of information within the conceptual space come to be made and how they are recognized as sensible and of value within the system? Second and more fundamentally, how are new and original articulations that stand at the parameters or boundaries of the sense-making system constructed? How are we guided [End Page 53] when we seek to make sense at its very boundaries? It may be that few are called to such profound levels of creative articulation but for the rest of us, how do we recognize these creative articulations when they are made? How do we make sense of an activity, a new scientific theory, or work of art when it challenges the very principles that govern its sense in the first place?It is important to give full cognizance to the complexity of the information-processing task being performed and it is highly doubtful if all elements, all items of information, and the relationships between them, are before the conscious mind of the individual creative intelligence at any one time. There may be a sense of consonance or harmony within this system that enables us to recognize its sense or coherence. In this way much of the information contained within it is simply not noticed. Only when some item of information or process is out of place, dissonant with the organization, do we perceive difficulties. All systems contain dissonances either obvious or manufactured. In science for example there are items of evidence that do not fit within the theoretical frameworks or the paradigms that it has to offer. There are also substantial areas of human experience that might seem to fall outside the paradigm altogether. For many years scientists have been able to predict the exact day, time, and locality within which we may observe an eclipse of the sun. What they have been unable to do, even within a few hours of the event, is predict whether the weather conditions will be such that we can actually observe it. In time it may be that there is the development of a new paradigm that promises accuracy in weather predictions or newly discovered evidence that warrants a review of particular theories within a paradigm.Sometimes it may seem that there is a perversity in human intelligence, particularly in the arts, that seeks out or deliberately manufactures such dissonances in order to challenge us in the way that we are thinking, to shake complacency... (shrink)

Erich Neumann (1905-1960) was a student, close collaborator, and life-long friend of C. G. Jung's. He moved from Berlin to Palestine in 1934 where he endured WW11 with much distress. This provoked intense and depthful research into topics such as evil, consciousness, and creativity that would occupy his attention for the rest of his life- as well as challenge his friend's (Jung) thinking in many ways. His writings are still valuable and ever so pertinent for our understanding of human (...) nature and the changing developments that have resulted in "the eruption of the shadow and psychic chaos in today's world." (Jerome Bernstein) Eternal Echoes offers the reader an overview of Neumann's opus, which is large and multifaceted. Beginning with an introduction of Erich Neumann including a series of his active imagination watercolors, we see an intimate view into his internal process. The Jung-Neumann Correspondence examines evil as witnessed during WW11. The work Neumann focused on during this period resulted in his exploration of his own Roots of Jewish Consciousness, both Revelation and Apocalypse, and Hasidism. From there we move into an exploration of his exceptional and iconic books, The Origins and History of Consciousness, and The Great Mother, and two papers "Mass Man and the Phenomena of Recollectivation" and "Narcissism". Neumann continued his study of mythology and archetypes in Amor and Psyche: The Development of the Feminine. Later in Neumann's life, he wrote a number of books on creativity exploring its nature and source which began with his important early paper on "Mystical Man": Creative Man, Art and the Creative Unconscious, The Place of Creation. Neumann's works lead us back to our ground of being, where we live with opposites that are fiercely alive, impacting our lives and cultures. His writings are comprehensive, clear and steeped in deeply felt experiences that help to place us on firm ground. Since many of his themes and concepts are universal-beginning with archetypes, myths, and images-this book is not only pertinent to Jungian psychotherapists but anyone interested in understanding the profundity of human nature and its development. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Theoretical Remarks on Combined Creative and Scholarly PhD Degrees in the Visual ArtsJames Elkins (bio)The PhD in visual arts is inescapable: it is on the horizon. In just a few years, there will be a number of such programs in the United States, and if the trend mirrors the expansion of MFAs after the mid-1960s, then in a few decades the PhD will be the consensus "terminal" degree (...) for artists. Given that, it is pressing to consider how the degree might be theorized. In Australia and the United Kingdom, where the degrees already exist, their growth has been dictated in large measure by the existing educational structures and by the inevitable quest for funding. (In the United Kingdom, university departments get a disproportionate increase in their funding if they offer doctorate programs, and the same pattern occurs in state schools in America.) As a result, existing programs simply grow by exonomic necessity or opportunity, and so far they have not been well theorized apart from models already in use elsewhere in the university. Private universities and art schools in the United States are therefore well positioned to rethink the conceptual foundations of combined studio and scholarly PhDs, because they are largely freed of the temptation of increased funding and the obligation to fit the new programs into existing structures. In this essay, I propose eight configurations that such degrees might take. I close with three general observations about the future of such programs.Three pieces of background are necessary as introduction. First, the School of the Art Institute, Chicago, where I teach, is currently running an four-year undergraduate major in visual studies. Soon we will be expanding it into an MA and, in a few years, a PhD. At the BA level our program already has a large studio component. For that reason we have been looking at programs that offer comparable combinations of creative and scholarly work at the PhD level. Our own program, we hope, will be a place [End Page 22] where the possibilities of other programs can be kept open and continuously questioned.Second, this essay was originally a reader's report for a creative-arts PhD thesis called "Beyond the Surface: The Contemporary Experience of the Italian Renaissance," written by Jo-Anne Duggan for the University of Technology, Sydney. In fall 2003 Duggan was a candidate for the "DCA," Doctorate of Creative Arts." She is a photographer, and her special interest is photographing inside museums; her thesis explores the history and theory of that practice. The report I wrote for her was the basis of this essay, because I found that her thesis is a mixture of what I think are the eight principal possibilities for combining PhD-level scholarship and creative work.Third, this essay is the outgrowth of several colloquia that have been held at the College Art Association and at the Association of Independent Colleges of Art and Design/National Association of Schools of Art and Design (AICAD/NASAD) conferences (organizations of art school administrators). These ad hoc forums have been, so far, the only places where the new programs have been debated. I hope this essay can contribute to a more detailed discussion.Here are the eight configurations. The first five are (or will be) common, and the last two are rare but preferable.1. The thesis is art history, intended to inform the art practice. The most obvious relation between scholarship and creative work is that the former informs the latter. The artist positions her scholarship so that it supports her art practice. Within this possibility, perhaps the most common option would be to write an art historical thesis, covering the history of practices that lead up to the writer's own practice. Among the advantages would be that, in theory, the candidate would be able to go on to teach in a department of art history. In terms of her practice, the idea would be that historical knowledge strengthens art practice: a debatable point, if only because so many artists have done so well by ignoring or distorting the relevant history. In Canberra in summer 2003, I met a recent PhD whose thesis was on... (shrink)

The aim of this article is to trace some lines of thinking towards a conceptualization of the uniqueness of the creative work of museums, the mode of creativeness that belongs exclusively to museums, or at least that museums are capable of by virtue of the types of materials and forms as well as activities unique to what will be referred to as museography. This is linked to the question of what it is that constitutes the uniqueness of museum (...) work as a professional field. The article characterizes the uniqueness of museum professional knowledge primarily in terms of a mode of creativeness, or bricolage in Levi-Strauss’s sense, mediated through the museographic form, and applied to the chance assemblies of materials to generate museum-specific modes of engaging questions—across science, culture, and society—particularly through creating unique temporal arrangements, or durations, that provoke thought, learning, and engagement on museographic terms. Museography’s originality, it is argued, consists in a bricolage that works through the museum’s unique material and form to create learning resources and encounters, museographic assemblages that depart from a conception of linear time as the space of evolutionary narrative to facilitate the experience of Bergsonian durations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Theoretical Remarks on Combined Creative and Scholarly PhD Degrees in the Visual ArtsJames Elkins (bio)The PhD in visual arts is inescapable: it is on the horizon. In just a few years, there will be a number of such programs in the United States, and if the trend mirrors the expansion of MFAs after the mid-1960s, then in a few decades the PhD will be the consensus "terminal" degree (...) for artists. Given that, it is pressing to consider how the degree might be theorized. In Australia and the United Kingdom, where the degrees already exist, their growth has been dictated in large measure by the existing educational structures and by the inevitable quest for funding. (In the United Kingdom, university departments get a disproportionate increase in their funding if they offer doctorate programs, and the same pattern occurs in state schools in America.) As a result, existing programs simply grow by exonomic necessity or opportunity, and so far they have not been well theorized apart from models already in use elsewhere in the university. Private universities and art schools in the United States are therefore well positioned to rethink the conceptual foundations of combined studio and scholarly PhDs, because they are largely freed of the temptation of increased funding and the obligation to fit the new programs into existing structures. In this essay, I propose eight configurations that such degrees might take. I close with three general observations about the future of such programs.Three pieces of background are necessary as introduction. First, the School of the Art Institute, Chicago, where I teach, is currently running an four-year undergraduate major in visual studies. Soon we will be expanding it into an MA and, in a few years, a PhD. At the BA level our program already has a large studio component. For that reason we have been looking at programs that offer comparable combinations of creative and scholarly work at the PhD level. Our own program, we hope, will be a place [End Page 22] where the possibilities of other programs can be kept open and continuously questioned.Second, this essay was originally a reader's report for a creative-arts PhD thesis called "Beyond the Surface: The Contemporary Experience of the Italian Renaissance," written by Jo-Anne Duggan for the University of Technology, Sydney. In fall 2003 Duggan was a candidate for the "DCA," Doctorate of Creative Arts." She is a photographer, and her special interest is photographing inside museums; her thesis explores the history and theory of that practice. The report I wrote for her was the basis of this essay, because I found that her thesis is a mixture of what I think are the eight principal possibilities for combining PhD-level scholarship and creative work.Third, this essay is the outgrowth of several colloquia that have been held at the College Art Association and at the Association of Independent Colleges of Art and Design/National Association of Schools of Art and Design (AICAD/NASAD) conferences (organizations of art school administrators). These ad hoc forums have been, so far, the only places where the new programs have been debated. I hope this essay can contribute to a more detailed discussion.Here are the eight configurations. The first five are (or will be) common, and the last two are rare but preferable.1. The thesis is art history, intended to inform the art practice. The most obvious relation between scholarship and creative work is that the former informs the latter. The artist positions her scholarship so that it supports her art practice. Within this possibility, perhaps the most common option would be to write an art historical thesis, covering the history of practices that lead up to the writer's own practice. Among the advantages would be that, in theory, the candidate would be able to go on to teach in a department of art history. In terms of her practice, the idea would be that historical knowledge strengthens art practice: a debatable point, if only because so many artists have done so well by ignoring or distorting the relevant history. In Canberra in summer 2003, I met a recent PhD whose thesis was on... (shrink)

The essential role of creativity has been highlighted in several human knowledge areas. Regarding the neural underpinnings of creativity, there is evidence about the role of left dorsolateral prefrontal cortex (DLPFC) and left inferior frontal gyrus (IFG) on divergent thinking (DT) and convergent thinking (CT). Transcranial stimulation studies suggest that the left DLPFC is associated with both DT and CT, whereas left IFG is more related to DT. However, none of the previous studies have targeted both hubs simultaneously (...) and compared transcranial direct current stimulation (tDCS) and random noise stimulation (tRNS). Additionally, given the relationship between cognitive flexibility and creativity, we included it in order to check if the improvement in creativity may be mediated by cognitive flexibility. In this double-blind, between-subjects study, 66 healthy participants were randomly assigned to one of three groups (N = 22) that received a transcranial direct current stimulation (tDCS), transcranial random noise stimulation (tRNS), or sham for 20 min. The tDCS group received 1.5 mA with the anode over the left DLPFC and cathode over the left IFG. Locations in tRNS group were the same and they received 1.5 mA of high frequency tRNS (100–500 Hz). Divergent thinking was assessed before (baseline) and during stimulation with unusual uses (UU) and picture completion (PC) subtests from Torrance Creative thinking Test, whereas convergent thinking was evaluated with the remote association test (RAT). Stroop test was included to assess cognitive flexibility. ANCOVA results of performance under stimulation (controlling for baseline performance) showed that there were significant differences in PC (F = 3.35, p = 0.042, np2 = 0.10) but not in UU (F = 0.61, p = 0.546) and RAT (F = 2.65, p = 0.079) scores. Post-hoc analyses showed that tRNS group had significantly higher scores compared to sham (p = 0.004) in PC. More specifically, tRNS showed higher performance in fluency (p = 0.012) and originality (p = 0.021) dimensions of PC compared to sham. Regarding cognitive flexibility, we did not find any significant effect of any of the stimulation groups (F = 0.34, p = 0.711). Therefore, no further mediation analyses were performed. Finally, the group that received tDCS reported more adverse effects than sham group (F = 3.46, p = 0.035). Altogether, these results suggest that tRNS may have some advantages over tDCS in DT. (shrink)

Approaches to foster motor creativity differ according to whether creative movements are assumed to be enacted creative ideas, or solutions to emerging motor problems that arise from task and environmental constraints. The twofold aim of the current study was to investigate whether an enriched physical education intervention delivered with a joint constraints-led and cognitive stimulation approach fosters motor creativity, and the responsiveness to the intervention is moderated by baseline motor and cognitive skills and sex; the intervention may benefit (...) motor creativity through gains in motor coordination, executive function, and creative thinking. Ninety-five children, aged 6–9 years, participated in a 6-month group randomized trial with specialist-led enriched PE vs. generalist-led conventional PE. Before and after the intervention, Bertsch’s Test of Motor Creativity, Movement Assessment Battery for Children, Random Number Generation task and Torrance Test of Creative Thinking were administered. Linear mixed models were run accounting for the random effects of data clusters. Multiple mediation analysis was performed to assess whether motor coordination, executive function and creative thinking mediated any improvement of motor creativity. Results showed that specialist-led enriched PE, compared to generalist-led conventional practice, elicited a more pronounced improvement in all motor creativity dimensions independently of baseline levels of motor and cognitive skills and sex; and improved motor creativity was partially mediated by improved motor coordination and, as regards motor flexibility, also by improved inhibitory ability. In conclusion, enriching PE with tailored manipulations of constraints and variability may enhance the ability to create multiple and original task-pertinent movements both directly and through indirect paths. The results are discussed extending to motor creativity a theoretical framework that distinguishes different creativity modes. The intervention may have fostered the generation of creative movements directly through the exposure to variation in constraints, activating the sensorimotor ‘flow’ mode of creativity that bypasses higher-order cognition, but also indirectly through a systematic and conscious convergence on solutions, activating the ‘deliberate’ mode of creativity that relies on inhibition to reject common or task-inappropriate movement categories. (shrink)

Eitan Mechter's new book deals with theoretical-theoretical aspects of creativity through reading in modern thought. The educational act aimed at cultivating creativity requires theoretical clarification before formulating practical lines of action - philosophical study serves as a source for building pedagogical patterns. To create; replication and normalization - to cultivate originality and impart expression. This change requires a new philosophical basis. In man's attitude to himself and the world lies the root of the act of creation, as is renewable self-discovery. (...) The 21st century calls for a new definition of the educational act. Of the author is that the philosophical basis of education for creation rests on two axes: on the one hand the rational axis, the critical theory from the school of Adorno; on the other hand the axis of existential philosophy shaped by experience, passion The will and self-creation, from Nietzsche's seminary. This book seeks to show how the two perceptions complement each other when it comes to cultivating creativity; How they form part of the general heritage of humanistic education. This combination makes it possible to organize the experience intelligently, but also to release reason for inspiring and renewed emotional experiences. "- translated from the back cover. (shrink)

The paper deals with basic characteristics of dogmatic thinking, taking into consideration especially the relation towards the creative essence of the human being. Discussing the development of human being and its perception in the conditions of desirable uniformity and limited freedom, the paper strives to point at the inevitability of continuous overcoming of given possibility and point out the meaning of candid, antidogmatic practices aimed at making the humanistic philosophy come to be. Referring to the basic assumptions of (...) Danko Grlić’s philosophy, the work examines the implications of Marx’s political instrumentalisation, draws attention to the one-dimensionality of dogmatic thinking and emphasises the antidogmatic nature of original Marxism. (shrink)

This article provides an introduction to plagiarism and the numerous negative aspects associated with it. Some examples from history have also been provided along with their outcomes. There are different types of plagiarism with varying legal and social aspects. The taxonomy of plagiarism is built by classifying it, with respect to the method involved in plagiarism, the form in which it happens or the intention of the plagiarist. The strategies suggested in the literature to avoid plagiarism are organized into individual (...) and organizational levels. Individuals can adopt strategies to build habits of avoiding plagiarism and focus on their original and innovative way of thinking. Similarly, institutions can make policies to cope with plagiarism and hence maintain their reputation. In this paper, the focus is not on mentioning the plagiarism detection methods; rather we believe that building awareness in the people about plagiarism outcomes is more important than teaching them about the different methodologies used for detection. Some students avoid plagiarism detection as if playing a game and it can be only avoided by educating them in ethics. (shrink)

The article emphasizes the cultural and educational importance of H. Skovoroda Institute of Philosophy for the spiritual development of the Ukrainian society, especially in the direction of democracy and establishment of the worldview culture as a requirement for the culture of freedom. From the position of the included observer the author of the article describes some episodes of relationship in the scientist’s communities which can be defined as justice and solidary community. On the basis of the Heidegerian scheme, some dangers (...) are analyzed as demands addressed to philosophical thinking. This scheme is used by structuring of the article. The metaphoric of these dangers indicates the contextual problems which are important for producing of philosophical ideas. The experience of the Institute of Philosophy gained by solving of problems is very remarkable for the fulfillment of philosophical studies and educational practices especially by mentoring of the postgraduate students. The fact of naming the Institute after H. Skovoroda is regarded as a symbolic act with a great creative potential and energy which can be used for reviving of national traditions of philosophical thinking. The role of lyric in activating of philosophical ideas is showed. The symbiotic coexisting of the poetry, art, journalism and philosophy is one of the original features of the Skovorodian tradition caring by the well-known representatives of the Institute. All these characteristics joined with the civic culture, which was demonstrated by all generations of the Institute, allow defining it as a metaphysical place with the ability both to follow on the road of the way of light and to represent it on the landscapes of philosophical science and education. The history of the Institute, especially, in the period of its post-totalitarian transformations, gives the opportunity of taking comparison with the Institute for Social Research Frankfurt. The civic courage of the Ukrainian intellectual elites was always initiated, supported and generated by philosophers gathering in Institute of Philosophy. (shrink)

Bion's unfashionable thought is a challenge for our times in which anesthesia and mass thinking prevail. The themes this book addresses are time and the unconscious. In the present/past, the here and now reveals its relationship with the unredeemable time, which conditions our behaviour and is at the root of a state of hallucinosis in the form of a short-sighted view that is distorted by deep-seated wounds. The book also highlights the resonances with contemporary epistemology and physics that underlie (...) the new paradigm of psychoanalytic field theory. The topic of the unconscious raises questions about its origin and the difference between the Bionian and the Freudian unconscious. In Bion we see an evolutionary, process character emerge, with a double movement of repetition and expansion within a single system in unstable equilibrium, for which there is no conscious feeling that does not also carry with it the shadow of the unconscious. Drawing on psychoanalytic and philosophical concepts this book is essential reading for psychoanalysts, psychotherapists, philosophers and anyone who wishes to understand more fully what it means to be human. (shrink)

Daya Krishna was easily the most creative and original Indian philosopher of the second half of the 20th century. His thought and philosophical energy dominated academic Indian philosophy and determined the nature of the engagement of Indian philosophy with Western philosophy during that period. He passed away recently, leaving behind an enormous corpus of published work on a wide range of philosophical topics, as well as a great deal of incomplete, nearly-complete and complete-but-as-yet-unpublished work. Daya Krishna's thought and (...) publications address a broad range of philosophical issues, including issues of global philosophical importance that transcend considerations of particular traditions; issues particular to Indian philosophy; and issues at the intersection of Indian and Western philosophy, especially questions about the philosophy of language and ontology that emerge in the context of his Samvada project that brought together Western philosophers and Nyaya pandits to discuss questions in the philosophy of language and metaphysics. The volume editors have organized the volume as a set of ten couplets and triplets. Each draws together papers from different periods in Daya Krishna's life: some take different approaches to the same problem or text; in some cases, the second paper references and takes issue with arguments developed in the first; in still others, Daya Krishna addresses very different topics, but using the same distinctive philosophical methodology. Each set is introduced by one of the editors. These couplets are framed by two of Daya Krishna's finest metaphilosophical essays, one that introduces his approach, and one that draws some of his grand morals about the discipline. Daya Krishna's daughter, Professor Shail Mayaram of the Center for the Study of Developing Societies contributes a preface, and Professor Arindam Chakrabarti, a longtime colleague of Daya Krisha and a collaborator on some of his most important philosophical ventures has written the introduction. (shrink)

To investigate the cognitive processes underlying creative inspiration, we tested the extent to which viewing or copying prior examples impacted creative output in art. In Experiment 1, undergraduates made drawings under three conditions: copying an artist's drawing, then producing an original drawing; producing an original drawing without having seen another's work; and copying another artist's work, then reproducing that artist's style independently. We discovered that through copying unfamiliar abstract drawings, participants were able to produce creative (...) drawings qualitatively different from the model drawings. Process analyses suggested that participants' cognitive constraints became relaxed, and new perspectives were formed from copying another's artwork. Experiment 2 showed that exposure to styles of artwork considered unfamiliar facilitated creativity in drawing, while styles considered familiar did not do so. Experiment 3 showed that both copying and thoroughly viewing artwork executed using an unfamiliar style facilitated creativity in drawing, whereas merely thinking about alternative styles of artistic representation did not do so. These experiments revealed that deep encounters with unfamiliar artworks—whether through copying or prolonged observation—change people's cognitive representations of the act of drawing to produce novel artwork. (shrink)

According to the account of artifacts developed by Lynne Rudder Baker, artifacts have a certain “proper function” essentially. The proper function of an artifact is the purpose or use intended for the artifact by its “author(s)”, viz., the artifact’s designer(s) and/or producer(s). Baker’s account therefore traces the essences of artifacts back indirectly to the intentions of an artifact’s original author (e.g., its inventor, maker, producer or designer). Like other “author-intention-based” accounts (e.g., those defended by Amie Thomasson, Simon Evnine, and (...) others), Baker’s treatment, or so I have argued, is subject to the concern that, when stated in its most general form, human creative intentions are not nearly as powerful and discriminating as proponents of author-intention-based accounts make them out to be (see Kathrin Koslicki, Form, Matter, Substance, Oxford University Press, 2018, Chapter 8). When Baker responds to a version of this objection launched against her account by Theodore Sider and Dean Zimmerman, she proposes that we cannot simply think things into existence for which “our conventions and practices do not have a place” (Lynne Rudder Baker, The Metaphysics of Everyday Life: An Essay in Practical Realism, 2007, p. 44). For example, I cannot, according to Baker, make up the word, “bonangle”, apply it to a piece of driftwood and thereby succeed in bringing into existence a new artifact, viz., a bonangle, merely by thinking to myself “It would be nice if the world contained bonangles; I hereby make that piece of driftwood a bonangle”. In order for this response to be effective, however, more needs to be said about how our conventions and practices support the creation of some artifacts and artifact kinds, while disallowing the attempted creation of others. In this paper, I examine the effectiveness of Baker’s response in addressing the challenges posed by the inclusion of artifacts in Baker’s practical realist ontology. (shrink)

Despite there being deep lines of convergence between the philosophies of Alfred North Whitehead, C. S. Peirce, William James, John Dewey, and other classical American philosophers, it remains an open question whether Whitehead is a pragmatist, and conversation between pragmatists and Whitehead scholars have been limited. Indeed, it is difficult to find an anthology of classical American philosophy that includes Whitehead’s writings. These camps began separately, and so they remain. This volume questions the wisdom of that separation, exploring their connections, (...) both historical and in application. The essays in this volume embody original and creative work by leading scholars that not only furthers the understanding of American philosophy, but seeks to advance it by working at the intersection of experience and reality to incite novel and creative thought. This exploration is long overdue. Specific questions that are addressed are: Is Whitehead a pragmatist? What contrasts and affinities exist between American pragmatism and Whitehead’s thought? What new questions, strategies, and critiques emerge by juxtaposing their distinct perspectives? -/- . (shrink)

Co-creativity focuses on how individuals produce innovative ideas together. As few studies have explored co-creativity using standardized tests, it is difficult to effectively assess the individual’s creativity performance within a group. Therefore, this study aims to develop a platform that allows two individuals to answer creativity tests simultaneously. This platform includes two divergent thinking tasks, the Straw Alternative Uses Test and Bottle Alternative Uses Test, and Chinese Radical Remote Associates Test A and B, which were used to evaluate their (...) open-and closed-ended creative problem-solving performance. This platform has two modes: single-player mode and paired-player mode. Responses from 497 adults were collected, based on which the fluency, flexibility, and originality of divergent thinking were measured. This study also developed a computer scoring technique that can automatically calculate the scores on these creativity tests. The results showed that divergent thinking scores from computer-based calculation and manual scoring were highly positively correlated, suggesting that the scores on a divergent thinking task can be calculated through a system that avoids time-consuming, uneconomical manual scoring. Overall, the two types of tests on this platform showed considerable internal consistency reliability and criterion-related validity. This advanced application facilitates the collection of empirical evidence about co-creativity. (shrink)

This essay examines modern linguistic meaning of creativity and its roots in ancient Cinese philosophy. In particular, two kinds of creativity that originated in ancient Cinese thought -- natural and individual creativity -- are introduced and discussed.