"A pleasure to read. Gracefully written by a scholar well grounded in the relevant philosophical, historical, and technical background. . . . a helpfully clarifying review and analysis of some issues of importance to recent philosophy of science and a source of some illuminating insights."--Burke Townsend, Philosophy of Science.

Introduction--pt. 1. On the perception of significance.--pt. 2. On the realization of significance: Fundamental problems. Wisdom versus theory.

This paper locates its genesis in a small town called Vitebsk in Belorussia which experienced a flowering of creativity and artistic energy that led to significant modernist experimentation in the years 1917–1921. Marc Chagall, returning from the October Revolution took up the position of art commissioner and developed an academy of art that became the laboratory for Russian modernism. Chagall’s Academy, Bakhtin’s Circle, and Malevich’s experiments, artistic group UNOVIS—all in fierce dialogue with one another—made the town of Vitebsk into an (...) artistic crucible in the early twentieth century. We argue that this creative collective transformed creative energies of Russian drama, music, theatre, art, and philosophy in a distinctive contribution to modernism, structuralism and formalism that contributed richly to the social understanding of creativity itself that is so evident across Mikhail Bakhtin’s subsequent body of work, and elsewhere across the world. This paper argues that a consideration of such interplay has much potential for twenty-first century educational philosophy. (shrink)

In this essay we collect and put together a number of ideas relevant to the under- standing of the phenomenon of creativity, confining our considerations mostly to the domain of cognitive psychology while we will, on a few occasions, hint at neuropsy- chological underpinnings as well. In this, we will mostly focus on creativity in science, since creativity in other domains of human endeavor have common links with scientific creativity while differing in numerous other specific respects. We begin by briefly (...) introducing a few basic notions relating to cognition, among which the notion of ‘concepts’ is of basic relevance. The myriads of concepts lodged in our mind constitute a ‘conceptual space’ of an enormously complex structure, where con- cepts are correlated by beliefs that are themselves made up of concepts and are as- sociated with emotions. The conceptual space, moreover, is perpetually in a state of dynamic evolution that is once again of a complex nature. A major component of the dynamic evolution is made up of incessant acts of inference, where an inference occurs essentially by means of a succession of correlations among concepts set up with beliefs and heuristics, the latter being beliefs of a special kind, namely, ones relatively free of emotional associations and possessed of a relatively greater degree of justification. Beliefs, along with heuristics, have been described as the ‘mind’s software’, and con- stitute important cognitive components of the self-linked psychological resources of an individual. The self is the psychological engine driving all our mental and physical activity, and is in a state of ceaseless dynamics resulting from one’s most intimate ex- periences of the world accumulating in the course of one’s journey through life. Many of our psychological resources are of a dual character, having both a self-linked and a shared character, the latter being held in common with larger groups of people and imbibed from cultural inputs. We focus on the privately held self-linked beliefs of an individual, since these are presumably of central relevance in making possible inductive inferences – ones in which there arises a fundamental need of adopting a choice or making a decision. Beliefs, decisions, and inferences, all have the common link to the self of an individual and, in this, are fundamentally analogous to free will, where all of these have an aspect of non-determinism inherent in them. Creativity involves a major restructuring of the conceptual space where a sustained inferential process eventually links remote conceptual domains, thereby opening up the possibility of a large number of new correlations between remote concepts by a cascading process. Since the process of inductive inference depends crucially on de- cisions at critical junctures of the inferential chain, it becomes necessary to examine the basic mechanism underlying the making of decisions. In the framework that we attempt to build up for the understanding of scientific creativity, this role of decision making in the inferential process assumes central relevance. With this background in place, we briefly sketch the affect theory of decisions. Affect is an innate system of response to perceptual inputs received either from the exter- nal world or from the internal physiological and psychological environment whereby a positive or negative valence gets associated with a perceptual input. Almost every sit- uation faced by an individual, even one experienced tacitly, i.e., without overt aware-ness, elicits an affective response from him, carrying a positive or negative valence that underlies all sorts of decision making, including ones carried out unconsciously in inferential processes. Referring to the process of inferential exploration of the conceptual space that gener- ates the possibility of correlations being established between remote conceptual do- mains, such exploration is guided and steered at every stage by the affect system, analogous to the way a complex computer program proceeds through junctures where the program ascertains whether specified conditions are met with by way of generating appropriate numerical values – for instance, the program takes different routes, depending on whether some particular numerical value turns out to be positive or negative. The valence generated by the affect system in the process of adoption of a choice plays a similar role which therefore is of crucial relevance in inferential processes, especially in the exploration of the conceptual space where remote domains need to be linked up – the affect system produces a response along a single value dimension, resembling a number with a sign and a magnitude. While the affect system plays a guiding role in the exploration of the conceptual space, the process of exploration itself consists of the establishment of correlations between concepts by means of beliefs and heuristics, the self-linked ones among the latter having a special role in making possible the inferential journey along alternative routes whenever the shared rules of inference become inadequate. A successful access to a remote conceptual domain, necessary for the creative solution of a standing problem or anomaly – one that could not be solved within the limited domain hitherto accessed – requires a phase of relatively slow cumulative search and then, at some stage, a rapid cascading process when a solution is in sight. Representing the conceptual space in the form of a complex network, the overall process can be likened to one of self-organized criticality commonly observed in the dynamical evolution of complex systems. In order that inferential access to remote domains may actually be possible, it is necessary that restrictions on the exploration process – necessary for setting the context in ordinary instances of inductive inference – be relaxed and a relatively free exploration in a larger conceptual terrain be made possible. This is achieved by the mind going into the default mode, where external constraints – ones imposed by shared beliefs and modes of exploration – are made inoperative. While explaining all these various aspects of the creative process, we underline the supremely important role that analogy plays in it. Broadly speaking, analogy is in the nature of a heuristic, establishing correlations between concepts. However, analo- gies are very special in that these are particularly effective in establishing correlations among remote concepts, since analogy works without regard to the contiguity of the concepts in the conceptual space. In establishing links between concepts, analogies have the power to light up entire terrains in the conceptual space when a rapid cas- cading of fresh correlations becomes possible. The creative process occurs within the mind of a single individual or of a few closely collaborating individuals, but is then continued by an entire epistemic community, eventually resulting in a conceptual revolution. Such conceptual revolutions make pos- sible the radical revision of scientific theories whereby the scope of an extant theory is broadened and a new theoretical framework makes its appearance. The emerging theory is characterized by a certain degree of incommensurability when compared with the earlier one – a feature that may appear strange at first sight. But incommen- surability does not mean incompatibility and the apparently contrary features of the relation between the successive theories may be traced to the multi-layered structureof the conceptual space where concepts are correlated not by means of single links but by multiple ones, thereby generating multiple layers of correlation, among which some are retained and some created afresh in a conceptual restructuring. We conclude with the observation that creativity occurs on all scales. Analogous to correlations being set up across domains in the conceptual space and new domains being generated, processes with similar features can occur within the confines of a domain where a new layer of inferential links may be generated, connecting up sub- domains. In this context, insight can be looked upon as an instance of creativity within the confines of a domain of a relatively limited extent. (shrink)

The relationship between individuals’ creativity and their ethical ideologies appears to be complex. Applying Forsyth’s (1980, 1992) personal moral philosophy model which consists of two independent ethical ideology dimensions, idealism and relativism, we hypothesized and found support for a positive relationship between creativity and relativism. It appears that creative people are less likely than non-creative people to follow universal rules in their moral decision making. However, contrary to our hypothesis and the general stereotype that creative people are (...) less caring about others, we found a positive relationship between creativity and idealism. These findings indicate that highly creative people are likely to be what Forsyth called “situationists,” individuals with both an ethic of caring and a pragmatic moral decision-making style. The finding that creative individuals tend to be situationists, and particularly that they tend to be high in idealism, appears to refute the line of reasoning that argues for a “creative personality” characterized in part by social insensitivity. Understanding the relationship between creativity and ethical ideologies has important implications for researchers, managers and teachers. (shrink)

Can large language models be considered intelligent? Arguments against this proposition often assume that genuine intelligence cannot exist without consciousness, understanding, or creative thinking. We discuss each of these roadblocks to machine intelligence and conclude that none of them rule out the possibility of viewing current AI systems based on large language models as intelligent. We argue that consciousness is not relevant for intelligence, while creativity and understanding should be considered functional traits that, in principle, can be (...) implemented in a machine. Many arguments concluding that current AI systems necessarily lack these traits either rely on human exceptionalism or flawed understanding of human intelligence. Arguments that highlight alleged shortcomings in current systems—such as a lack of reliability, agency, or understanding—often obscure the many qualitative similarities between human cognition and current AI models. We further suggest that a critical examination of high-performance AI systems can serve as a mirror through which we can reflect on our own intelligence. Many arguments against the prospects of AI may be based on naively optimistic assessments of capacities of the human mind. (shrink)

The relationship between individuals' creativity and their ethical ideologies appears to be complex. Applying Forsyth's (1980, 1992) personal moral philosophy model which consists of two independent ethical ideology dimensions, idealism and relativism, we hypothesized and found support for a positive relationship between creativity and relativism. It appears that creative people are less likely than non-creative people to follow universal rules in their moral decision making. However, contrary to our hypothesis and the general stereotype that creative people are (...) less caring about others, we found a positive relationship between creativity and idealism. These findings indicate that highly creative people are likely to be what Forsyth called "situationists," individuals with both an ethic of caring and a pragmatic moral decision-making style. The finding that creative individuals tend to be situationists, and particularly that they tend to be high in idealism, appears to refute the line of reasoning that argues for a "creative personality" characterized in part by social insensitivity. Understanding the relationship between creativity and ethical ideologies has important implications for researchers, managers and teachers. (shrink)

The objective of our study is to explore scientific creativity with a focus on intellectual (thinking) skills in the cognitive aspect by analyzing scientific theories, which are basically the creativity of historical great scientists, Galileo, Newton, Einstein While our study laid stress on the cognitive domain, exploration of the creativity of great scientists is also connected with affective characteristics (motives, task commitment, etc.) and their environmental factors (incubation period). Great scientists of the science history were aware of the discrepancy issue (...) among different fields of study and long searched for solutions, which they held in their minds. As a result, they created a certain hypothesis using the abstraction strategy in which they leave only the considerations suitable for the world view of the time. Then, they conducted a thought experiment that justified it. The reason why it was difficult for general people to understand was that there was a domain transition beyond materials obtained in the abstraction process. Furthermore, they all had strong motives for the future as well as task commitment. Knowledge is a product of natural selection, and the fusion of knowledge that does not presuppose the unity of knowledge is meaningless. (shrink)

Creativity of V. V. Rozanov is considered as a semantic unity in which the intention of understanding brings together stylistically and meaningfully the different worlds of the treatise "On Understanding" and the later works of the thinker. The convergence of this words basis by Rozanov on the cultural opposition between the public and the private. We restore the immutable meaning of Rozanov’s creativity, using methodological statements of the another great russian thinker M.M. Bachtin. We study the world of (...) V. V. Rozanov as the dialogical coordination of two opposite trends. One of this trends is giving by Rozanov by means of the exteriorization. This exteriorization supposes the perception of the understanding as the concept of the public world. On the other hand we observe by Rozanov the another tendency, that can be called the interiorization. According to this tendency plots, topics and images of Rozanov’s late works can be interpreted in the connection with immanent features of the understanding, reflecting in such the private word of the thinker. Actually this worlds by Rozanov can be interchanged, adding each other, therefore pays Rozanov intention to coincidences, mistakes, dark sides of the word, that does not depend on the person. The peculiarity of Rozanov’s vision includes the opportunity to combine this trends. Rozanov does not choose one of this ways. He stresses, that the person in the real life does not have opportunity to make this choose. One opportunity does not exclude by Rozanov the another, that can explain contradictions of his creativity, making his world closer to our own position. Rozanov in contrast to Bachtin, had created his own literature world and deals with the real world, that is unpredictable and strange. This state helps Rozanov to understand the worries of the people and to describe the world as the unsolvable problem. (shrink)

This paper aims to examine how humorous leadership enhances employee workplace creativity from a novel angle of employee psychological capital (EPC). This study also explores the moderating roles of supervisor–subordinate dyadic tenure and work autonomy in the proposed model. Data from a sample of 355 supervisor-subordinate dyads working in an information technology enterprise in the People’s Republic of China were used to test the assumed moderated mediation model. The results indicate the positive relationship between humorous leadership and employee workplace creativity, (...) which is partially mediated by EPC. Moreover, work autonomy significantly moderates the relationship between EPC and employee creativity. Humorous leadership drives creativity among subordinates; this can have a significant effect on the extra-role behavior of subordinates, leading to workplace creativity. The deliberate establishment of a humorous image by leaders may encourage subordinates to achieve creative goals. Combined with traditional management practices that emphasize the supportive behaviors of leaders, leaders can use humor to provide an open and friendly atmosphere for employees, thereby encouraging creativity in the workplace. Organizations should also place greater emphasis on employee work autonomy, allowing employees flexibility on when and how they do their job; this could enhance the positive impact of other factors on employee workplace creativity. These findings carry implications for research on humorous leadership, EPC, and creativity. (shrink)

When it comes to the notion of creativity, both R. Dawkins and D. Dennett argue that creativity is a matter of random mutation, in the same way that genes randomly mutate. Neither Dennett nor Dawkins see anything else in the mimetic theory of creativity than a process of Darwinian evolution. However, this complete reliance upon the extension of evolution for understanding creativity needs to be supplemented by combining it with other ideas such as those of "schema theory," because creativity (...) always occurs within a structured context and is not simply a matter of random mutation of ideas. Schema theory comes largely from the works of E.H Gombrich, who argued that "schemas" play a crucial role in how it is that we are able to be creative. He defines schemas as structure and traditions in society that help to convey the meaning of our creative efforts. Just as semantics needs syntax within language in order to formulate and convey meaning, so by analogy memes need schemas for the creation and expression of new ideas. Rather than being the antithesis of creativity, existing forms of expression and traditions are important for the creation of new ideas. This needs to be factored into any theory of creativity in order to account for the effect of the social context on creative endeavours in addition to a Darwinian account of memes. The unconscious processes at work within the brain that are involved in the generation of ideas and other creative products can be understood using the notion of a "generator", as originally conceived by D. Dennett. This notion goes beyond mere concrete Skinnerian behavioural trial and error. Within this generator, there appear to be at work processes such as those of bisociation and association, as discussed by A. Koestler, as well as processes such as the role of language, memory, generate-and-test and intentionality that must be acknowledged in addition to the syntactic operations of schemas and the replicating contents of memes. The operation of all of these ingredients within the generator, when understood together, can be seen as responsible for our ability to be creative. (shrink)

Creative activities in a classroom can often be mistaken for negligence of academic requirements. This is especially true for many African American students. Recognition of the mental processes used in the expression of creative behaviors should give teachers the opportunity to harness this creative energy to develop academic skills. This article draws upon a historical perspective of creativity and its relationship to this trait in African Americans. Although many of the behaviors listed are common in all ethnic (...) groups those behaviors listed as uniquely evident among African American students are derived from assumptions made from experiences by various scholars, research documents and historical data. Strategies for addressing and enhancing these creative behaviors are included. (shrink)

The importance of enterprises significantly improving their innovation performance by working closely with customers throughout the innovation process has been emphasized in recent literature. However, the role of organizational innovation environment in customer creativity and the impact of customer knowledge matching on the innovation environment are not sufficiently explored. Based on the Social cognitive theory and Flow theory, his investigate the factors that influence enterprise innovation performance in the context of customer participation in innovation, as well as how businesses can (...) foster an online innovation environment that fosters customer creativity. The mixed-methods study, which combines qualitative and quantitative research, is used to create the scale item that measures the study’s main variables. Structural equation modeling and bootstrapping estimation was performed on survey data collected via questionnaire from 392 consumers who participated in online service innovation in an online virtual brand community between June 2018 and May 2019. The study obtain the following main results. First, the innovative environment of customer online participation in service innovation fosters customer creativity. Second, two mediation interactions exist: creative self-efficacy and positive emotions, both of which partially mediate the relationship between customer creativity and the innovation environment. Third, while customer knowledge matching influences the intermediary effect of creative self-efficacy on innovation environment and customer creativity, it has no effect on the intermediary effect of positive emotion on innovation environment and customer creativity. (shrink)

Education during the COVID-19 pandemic required teachers to be creative because students might not be able to complete education in a normal way. However, Islamic education teachers seem to lack the skills and attitudes required for twenty-first century learning, including creative teaching. The purpose of this study is to explore if Islamic education teachers were able to teach creatively by responding to twenty-first century learning during the pandemic. A qualitative methodology was adopted using a case study design. The (...) sample consisted of four Islamic education teachers from Putrajaya schools. Our findings illustrated that there were six themes that emerged as elements of creative teaching in twenty-first century learning. These were: student-centered learning, twenty-first century teaching, creative inspirations, creative strategies, creative activities, and alternative evaluation. This study found Islamic education teachers to be creative in teaching and it demonstrated the professional development of Islamic education teachers. (shrink)

This chapter presents play as a framework for critically examining the convergence of the ‘real’ physical reality of things and their psychological weight. Herein, I stretch psychoanalyst Donald Winnicott’s theory of play (1971), which posits destruction as a central component of creativity, to introduce a materially based exploration of an object. This object, I argue, is particularly well suited to a playful method of examination because this object is constituted of toys. The object at hand? A twentieth-century intelligence test kit (...) called the Stanford-Binet Scales of Intelligence. Herein, I quite literally unpack a test kit to performatively argue for studying it with Winnicott’s theory of play in mind and discuss the process of making an exhibition which puts this multiply decontextualised object on display so that it can be played with, and therein studied, by exhibition visitors. (shrink)

The article offers the author’s reconstruction of Henri Bergson’s famous work “Creative Evolution”, clarifying a number of provisions of the book that were unclear to the author. It is about how the Universe, seemingly an empty, lifeless space, was understood by Bergson as a form of life, moreover, a creative life, and also why Bergson extrapolates human experience to the Universe, as a result of which it becomes possible, with the help of introspection and intuition, to penetrate through (...) human consciousness into the essence of the Universe, which turns out to be “duration”. Based on the reconstruction of the work of Emanuel Swedenborg, the author suggests that Bergson resolves two existential problematic situations for him (understanding evolution, as well as the relationship between space and man) by creating schemes that defined the reality conceptualized by Bergson as duration. Considering some aspects of Bergson’s spiritual experience, the author notes the influence of Plotinus’s ideas on the French philosopher and examines how the latter were rethought to meet the requirements of philosophical communication of the New Time. In conclusion, the author points out the significance of Bergson’s work for our time. (shrink)

The article considers the meaning of freedom in the context of the revolution, its interpretation by social philosophers of the second half of the 20th century (H.Arendt, H.Marcuse, E.Fromm, Y.Habermas and other scientists). It is emphasized that the struggle for freedom can be one of the factors of the beginning of revolutionary events, at the same time, revolutionary events can cause a new round of the struggle for freedom. Investigating the genesis of the concept of “revolution”, it is noted that (...) in the political aspect, the origins of the revolution lie in the plane of “civil disorder” of the ancient polis. At the initial stage, there was an understanding of the revolution as a restoration, an attempt to find the absolute in the past, and a fear of founding something completely new. Based on the comparative characteristics of the French and American revolutions, it is noted that initially they were perceived by their participants primarily as an uprising against tyranny and oppression, as a return to the old just order. The revolutionary goals of the American and French revolutions were identical – freedom from domination. But unlike the French, the American revolution focused not on liberation, but on the establishment of a new republic, a new type of government. Thus, the French revolution was the revolution of the liberators, and the American revolution was the revolution of the founders. A key difference between the French and American revolutions was the assessment of freedom as the main goal of the revolution: the French revolution rose against a limited monarchy, the American revolution against an absolute one. The American Revolution was aimed at the formation of new institutions, a system of checks and balances, and the division of power into separate branches of government. The French Revolution almost immediately lost the public political space, personal “political freedom” was replaced by the “unified will of the people”, and the destruction of the old system did not lead to the proper formation of the new one. Despite the obvious success of the American revolution, it was the French revolution with all its problems and pitfalls that became the prototype of almost all revolutions of the 19th and 20th centuries. (shrink)

What is art? What is beauty? Why are we driven to create? People have been struggling with the answers to these questions for millenia. In this book Jay Friedenberg examines age old and contemporary responses to the perceptual and performative side of aesthetics. The work is wide-ranging in scope, addressing all forms of art including painting, photography, writing, film, music, theater, dance, and more. Issues are examined from multiple perspectives with separate chapters on history, philosophy, mathematics, physics, psychology, and neuroscience. (...) This beautifully illustrated book can be read by a general audience or used as an undergraduate or graduate textbook for courses in art history, aesthetics, or media studies. (shrink)

In the field of mathematics education, one of the main questions remaining under debate is whether students’ development of mathematical reasoning and problem-solving is aided more by solving tasks with given instructions or by solving them without instructions. It has been argued, that providing little or no instruction for a mathematical task generates a mathematical struggle, which can facilitate learning. This view in contrast, tasks in which routine procedures can be applied can lead to mechanical repetition with little or no (...) conceptual understanding. This study contrasts Creative Mathematical Reasoning (CMR), in which students must construct the mathematical method, with Algorithmic Reasoning (AR), in which predetermined methods and procedures on how to solve the task are given. Moreover, measures of fluid intelligence and working memory capacity are included in the analyses alongside the students’ math tracks. The results show that practicing with CMR tasks was superior to practicing with AR tasks in terms of students’ performance onpracticed test tasksandtransfer test tasks. Cognitive proficiency was shown to have an effect on students’ learning for both CMR and AR learning conditions. However, math tracks (advanced versus a more basic level) showed no significant effect. It is argued that going beyond step-by-step textbook solutions is essential and that students need to be presented with mathematical activities involving a struggle. In the CMR approach, students must focus on the relevant information in order to solve the task, and the characteristics of CMR tasks can guide students to the structural features that are critical for aiding comprehension. (shrink)

In this article, we propose that engaging in creative writing can constitute a significant source of self-understanding, enabling forms of self-disclosure where self-narratives often remain inhibited. To develop this perspective, we begin by outlining the broader challenge of a hermeneutics of the self. Building on this, we argue that creative writing processes can bypass several limitations associated with self-narrative as a mode of self-understanding—such as the selectivity of narrative ordering and the normative regulation of self-presentation. We (...) then unpack how creative writing fosters self-understanding by highlighting two key principles: aesthetic distancing and engaging the subface. The value of these principles is richly illustrated through extensive qualitative material, drawn from in-depth phenomenologically grounded qualitative interviews with participants in a creative writing course called REWRITALIZE, offered to in- and out-patients in psychiatric care. (shrink)

Although research on ethics and creativity has been fruitful, it has also yielded mixed results and two different perspectives, raising questions about whether ethics hinders orfacilitates creativity. These two perspectives have been fueled by limited consistency in terms of theoretical specification and mechanisms. One potentially important but overlooked factor that may help shed light on this relationship is religion. Building on the theory of intimate co-creation, our study examines the dyadic relationship between individuals and God in the creative process. (...) We conduct an inductive, qualitative study using 49 interviews of entrepreneurial monks and nuns across 25 monasteries in Italy to understand how religion influences the relationship between ethics and creativity. Our findings suggest an ethical process of relational moralization occurs between individuals and God through three stages: relational development, relational identity, and relational obedience. Rather than simply hindering or facilitating creativity, our study finds a more nuanced understanding where relational moralization acts as a double-edge sword that both limits the creative domain and enables creativity within the domain through relationally-bounded-creativity. Our study takes an important step in reconciling competing views of the relationship between ethics and creativity. Our findings have important theoretical implications for the ethics-creativity relationship, ethics and a constructive view of obedience, and intimate co-creation. (shrink)

The aim of this paper is to explain why creativity is an artistic merit. Artworks and non-artworks can both be creative. But creativity does not help make many other creative things good of their kind. A creative explanation is not a better explanation in virtue of being creative. Why, then, is a creative artwork a better artwork in virtue of being creative? Understanding this will give us a better understanding of the nature (...) of artistic merit. The approach adopted in this paper is as follows. First, I say what creativity is and what an artistic merit is. Second, I identify reasons to doubt that creativity is an artistic merit. A good explanation of the merit of creativity should address these doubts. Third, I develop a theory of artistic merit that appeals to the final value of acting excellently – for example, virtuously or skilfully. Finally, I argue that this enables us to explain why creativity is an artistic merit. This account also enables us to argue that artistic merits give some things final value, and not merely instrumental value. It also provides reason to believe that ethical qualities of artworks enhance their artistic merit for the same reason creativity does. (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)

In cognitive science, creative ideas are defined as original and feasible solutions in response to problems. A common proposal is that creative ideas are generated across dedicated cognitive pathways. Only after creative ideas have emerged, they can be enacted to solve the problem. We present an alternative viewpoint, based upon the dynamic systems approach to perception and action, that creative solutions emerge in the act rather than before. Creative actions, thus, are as much a product (...) of individual constraints as they are of the task and environment constraints. Accordingly, we understand creative motor actions as functional movement patterns that are new to the individual and/or group and adapted to satisfy the constraints on the motor problem at hand. We argue that creative motor actions are promoted by practice interventions that promote exploration by manipulating constraints. Exploration enhances variability of functional movement patterns in terms of either coordination or control solutions. At both levels, creative motor actions can emerge from finding new and degenerate adaptive motor solutions. Generally speaking, we anticipate that in most cases, when exposed to variation in constraints, people are not looking for creative motor actions, but discover them while doing an effort to satisfy constraints. For future research, this paper achieves two important aspects: it delineates how adaptive (movement) variability is at the heart of (motor) creativity, and it sets out methodologies toward stimulating adaptive variability. (shrink)

Emotional creativity refers to a set of cognitive abilities and personality traits related to the originality of emotional experience and expression. Previous studies have found that emotional creativity can positively predict posttraumatic growth and mental health. The outbreak of coronavirus disease 2019 (COVID-19) has posed great challenges to people’s daily lives and their mental health status. Therefore, this study aims to address the following two questions: whether emotional creativity can improve posttraumatic growth and mental health during the COVID-19 pandemic and (...) how it works. To do this, a multiple mediation model has been proposed, which supposes that emotional creativity is associated with posttraumatic growth and mental health through perceived social support and regulatory emotional self-efficacy. The study involved 423 participants from multiple regions with different COVID-19 involvement levels. Participants were asked to complete a questionnaire with six parts, which included Emotional Creativity Inventory (ECI), Regulatory Emotional Self-Efficacy Scale (RES), Stress-Related Growth Scale-Short Form (SRGS-SF), Multidimensional Scale of Perceived Social Support scale (MSPSS), Brief Symptom Inventory-18 scale (BSI-18), and COVID-19-related life events questionnaire. Path analysis used to examine the mediation model indicated that under the control of COVID-19-related life events and age, perceived social support mediated a positive association between emotional creativity and posttraumatic growth as well as a negative association between emotional creativity and all mental health problems, including somatization, depression, and anxiety. Regulatory emotional self-efficacy mediates the association between emotional creativity and posttraumatic growth, emotional creativity and anxiety, and emotional creativity and depression. The results suggest that emotional creativity plays an important role in coping with stressful events related to COVID-19. Furthermore, these results might provide a better understanding of the possible paths through which emotional creativity is related to psychological outcomes, such as mental health and posttraumatic growth. (shrink)

This paper examines the tension between creative destruction—an inherent feature of capitalist economies—and the ideal of autonomy. Creative destruction is vital for economic growth, but it undermines the conditions necessary for autonomy by disrupting individuals’ ability to plan their lives. This creates a dilemma: we must either abandon the ideal of autonomy or economic growth. The paper explores potential regulatory strategies to mitigate the impact of disruptive innovation on life plans, but argues these ultimately fail. It then proposes (...) a novel conception of autonomy consistent with capitalist creative destruction. With artificial intelligence poised to initiate unparalleled creative destruction, understanding this dilemma and potential solutions is crucial from an ethical perspective. The paper contends its revised conception of autonomy offers a path forward amidst transformative technological change. (shrink)

Despite the recent upsurge of interest in the investigation of creativity, the question of how to measure creativity is arguably underdiscussed. The aim of this paper is to address this gap, proposing a multidimensional account of creativity which identifies problem-solving, evaluation, and naivety as measurable features that are common among creative processes. The benefits that result from the adoption of this model are twofold: integrating discussions on creativity in various domains and offering the tools to assess creativity across systems (...) of different kinds. By situating creativity within this framework, I aim to contribute to a non-anthropocentric, more comprehensive understanding of the notion, and to debates on natural and artificial creativity. (shrink)

Might traditional Chinese thought regarding creativity not just influence, but also enrich, contemporary European thought about the same? Moreover, is it possible that traditional Chinese thought regarding creativity might enrich contemporary thought both in a more broad, holistic sense, and more specifically regarding the nature and role of creativity as it pertains to scientific inquiry? In this paper, I elucidate why the answer to these questions is: yes. I explain in detail a classical Chinese conception of creativity rooted in Zhuangist (...) philosophy and which centrally involves spontaneity engendered by embracing yóu遊, or “wandering”, rather than novelty or originality. I then illustrate how this conception of creativity can be used to enrich contemporary thought regarding the nature and role of creativity both in general and as it pertains to scientific inquiry in particular, as well as how to engender creativity, by arguing that it might allow us to: i) more easily remove what is frequently an obstacle to creativity, and; ii) better understand creative agents as being more intimately connected with, and as processes within and products of, their environments. Finally, I conclude by briefly remarking on how exploring various cultural perspectives on creativity promises to help us to better comprehend and promote creativity, by encouraging us to become more creative about creativity itself. (shrink)

Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a recent (...) example of how a system’s ability to generate novel products can both be finely tuned by prior experience and grounded in strategies that cannot be articulated by the system itself. Further, the kinds of processes exploited by GANs need not be seen as incorporating something akin to sui generis imaginative states. The chapter concludes with reflection on the added relevance of personal character to explanations of creativity. [This is Chapter 12 of the book Explaining Imagination.]. (shrink)

In this article, I argue that there is such a thing as moral creativity with a little c, namely when agents realize innovative moral improvement in a particular context. This claim is meant as an addition to the growing field of philosophy of creativity that mainly discusses artistic and scientific creativity or historically unprecedented cases of moral creativity. With the help of two examples, I show that moral creativity also occurs in a non-historical, small-scale variant that is innovative given the (...) particularity and expectations of a specific context. Unlike other moral-philosophical accounts that focus either on groundbreaking or revolutionary moral achievements or understand moral creativity in terms of moral imagination, this paper emphasizes the significance of everyday, context-sensitive innovations in moral practice. Cases of creativity with a little c illustrate that moral progress does not always require large-scale transformation. Rather, moral improvement can emerge from adaptive and genuinely creative responses to local challenges. (shrink)

A bold new synthesis of paleontology, archaeology, genetics, and anthropology that overturns misconceptions about race, war and peace, and human nature itself, answering an age-old question: What made humans so exceptional among all the species on Earth? Creativity. It is the secret of what makes humans special, hiding in plain sight. Agustín Fuentes argues that your child's finger painting comes essentially from the same place as creativity in hunting and gathering millions of years ago, and throughout history in making war (...) and peace, in intimate relationships, in shaping the planet, in our communities, and in all of art, religion, and even science. It requires imagination and collaboration. Every poet has her muse; every engineer, an architect; every politician, a constituency. The manner of the collaborations varies widely, but successful collaboration is inseparable from imagination, and it brought us everything from knives and hot meals to iPhones and interstellar spacecraft. Weaving fascinating stories of our ancient ancestors' creativity, Fuentes finds the patterns that match modern behavior in humans and animals. This key quality has propelled the evolutionary development of our bodies, minds, and cultures, both for good and for bad. It's not the drive to reproduce; nor competition for mates, or resources, or power; nor our propensity for caring for one another that have separated us out from all other creatures. As Fuentes concludes, to make something lasting and useful today you need to understand the nature of your collaboration with others, what imagination can and can't accomplish, and, finally, just how completely our creativity is responsible for the world we live in. Agustín Fuentes's resounding multimillion-year perspective will inspire readers—and spark all kinds of creativity. (shrink)

In this paper, we explore the links between emotions and creativity. Building on what we perceive as key examples, we distinguish instrumental and constitutive senses in which emotions can be creative. Emotions are instrumentally creative when they sustain novel and valuable thought processes aiming at maintaining or modifying a given emotional situation. They are constitutively creative when they function as essential parts of value understanding and when they come to carve and sometimes change the evaluative landscape. (...) Despite their alleged passivity and rigidity, we claim, emotions sometimes manifest the kind of skillfulness that creativity presupposes. (shrink)

There have been a number of recent readings of Daoist creativity in terms of contextual responsiveness, playfulness, flexibility, adaptivity, novelty, and epistemic virtue. These readings emphasize how the Daoist classics, the Laozi and the Zhuangzi, offer a model of agency that avoids excessive conscious intentionality, control, rigidity, dogmatism, and perspectival myopia. This paper claims that these readings, while not incorrect, are one-sidedly in favor of the “everyday” at the expense of the more “fantastical” aspects of Daoist creativity. These readings appear (...) to be rooted in an understanding of Daoist creation that mostly ignores the constant, self-causal, and absolutely inclusive nature of the Dao’s generative power. By contrast, this paper argues that Daoist creativity is better viewed as the local expression of Daoist creation, thus rendering Daoist creation itself global creativity. This view of Daoist creativity reads the famous examples of creators in Daoist texts as cases of beings who receive inspiration from, and ultimately identify with, the Dao’s or nature’s global creativity. This is a thoroughly non-supernatural notion of inspiration. Daoist creativity is thus the making explicit of Daoist creation in specific aesthetic forms and objects. This is a reading that requires championing the fantastical, paradoxical, and stranger aspects of Daoist metaphysics. Through a switch of perspective to the source of creation itself, Daoist creativity is no longer addressed only in terms of the reactive traits listed above, but rather seen in its full positive identity as an expression of the Dao’s constant self-generation. (shrink)

Creative Management and Innovation Nowadays, entrepreneurship is determined how fast innovations or creativity can be incorporated into company activities. Creativity is mean constantly aspiring process of innovation and progress. Creativity and innovation management these days are important keys to any effort how to be success in business world. Forces of creativity in company or in entrepreneurship should be able to provide innovation and contribute to solve problems. The new idea are often accepted as the main activity of creative (...) management and the vision, strategy, goals or ideas are understands like equipment of creativity. Implementation of new ideas - innovation is the main activity of creative management. Visions, strategies, objectives and ideas are seen as tools of creativity.Because of differences in innovation process between EU and USA, innovation processes in EU are directly supported via framework programs. Currently FP7 is active, but new process for innovation called Horizon 2020 is under preparation. Last FP7 program is oriented for cooperation between science oriented organizations (universities) and SME, while future Horizon 2020 will be oriented for excellence science, competitive industries and better human society.In paper are presented real examples of companies/projects within the EU, including Slovakia. Three types of projects are compared. While project SAFER is supported by EU FP7, project Volvo Vision 2020 and Logomotion project are not supported and are commercial projects. Slovak project is supported by private investor. All projects are different, but have common line - to manage innovation process and implement it in real life. To manage innovation teams located around the world required creative concept in management. (shrink)

This paper attempts to show how Adorno’s thought can illuminate our reflections on the future of work. It does so by situating Adorno’s conception of genuine activity in relation to his negativist critical epistemology and his subtle account of the distinction between true and false needs. What emerges is an understanding of work that can guide our aspirations for the future of work, and one we illustrate via discussions of creative work and care work. These are types of (...) work which cater to persistent human needs, albeit ones that are distorted under present social conditions. Adorno’s thought helps us to understand why this is the case. (shrink)