Philosophers of language and linguists tend to think of the interpreter as an essentially non-creative participant in the communicative process. There’s no room, in traditional theories, for the view that correctness of interpretation depends in some essential way on the interpreter. As a result, there’s no room for the possibility that while P is the correct interpretation of an utterance, u, for one interpreter, P* is the correct interpretation of that utterance for another interpreter. Recently, a number of theorists (...) have, for separate reasons, argued in favour of a radically different view of communication – a view in which the interpreter and her context play what should be thought of as a content-creating role. According to such views, natural languages contain what I’ll call interpretation sensitive terms: terms the correct interpretation of which varies across interpreters (or, more generally, contexts of interpretation).3 An interpretation sensitive sentence can have one content relative to one interpreter and another content relative to another interpreter. This paper is a development and (partial) defence of the view that interpretation sensitivity is ubiquitous in natural language. I call the view that there are interpretation sensitive terms content relativism. Before starting the discussion of content relativism, it is worth pointing out that recent attempts to develop semantically motivated versions of truth relativism should be seen as part of this trend of giving the interpreter a more active role. (shrink)

Bergson's famous study of the philosophical implications of biological evolutionary theory, presenting the idea of a creative life force shaping both the world and itself.

The final published book by Nobel Prize-winning author and philosopher Henri Bergson (1859-1941), La pensée et le mouvant (translated here as The Creative Mind), is a masterly autobiography of his philosophical method. Through essays and lectures written between 1903 and 1923, Bergson retraces how and why he became a philosopher, and crafts a fascinating critique of philosophy itself. Until it leaves its false paths, he demonstrates, philosophy will remain only a wordy dialectic that surmounts false problems. With masterful skill (...) and intensity, Bergson shows that metaphysics and science must be rooted in experience for philosophy to become a genuine search for truth. And in the quest for unanswered questions, the spiritual dimension of human life and the importance of intuition must be emphasized. A source of inspiration for physicists as well as philosophers, Bergson's introduction to metaphysics reveals a philosophy that is always on the move, blending man's spiritual drive with his mastery of the material world. (shrink)

Creativity has often been declared, especially by philosophers, as the last frontier of science. The assumption is that it will defy explanation forever. I will defend two claims in order to oppose this assumption and to demystify creativity: (1) the perspective that creativity cannot be explained wrongly identifies creativity with what I shall call metaphysical freedom; (2) the Darwinian approach to creativity, a prominent naturalistic account of creativity, fails to give an explanation of creativity, because it confuses conceptual issues with (...) explanation. I will close with some remarks on the status and differences in some explanations available in contemporary cognitive science. (shrink)

Humans are organisms of a creative sort. We make new things that scaffold the ecology of our minds, shape the boundaries of our thinking and form new ways to engage and make sense of the world. That is, we are creative ‘thingers’. This paper adopts the perspective of Material Engagement Theory (Malafouris 2013) and introduces the notion ‘thinging’ to articulate and draw attention to the kind of cognitive life instantiated in acts of thinking and feeling with, through and (...) about things. I will focus more specifically on Creativethinging, or creative material engagement, exploring the importance of thinging for understanding our species unique capacity for inventiveness. (shrink)

Traditional theories of communication in the philosophy of language and linguistics leave little room for the role of a creative interpreter. This chapter challenges the idea that the interpreter has no essential role to play in the correctness of the interpretation process. In opposition, it argues for a content co-creating role for the interpreter or content relativism. Content relativism is the view that not only are there interpretation-sensitive terms in natural language (terms whose correct interpretation varies across interpreters) but (...) these terms are pervasive. Content relativism is shown to be fruitful in connection with other theories (such as Kaplan’s framework in ‘Demonstratives’ (1977)), speech act pluralism, utterance pluralism, contextual vagueness, and recent work on indexicals, conditionals, and epistemic modals. Finally, the view is defended against arguments to the effect that it has trouble accounting for assertion as it can be shown to enrich our understanding of the phenomenon. (shrink)

In a work of astonishing intellectual range, James Engell traces the evolution of the creative imagination, from its emergence in British empirical thought through its flowering in Romantic art and literature. The notion of a creative imagination, Engell shows, was the most powerful and important development of the eighteenth century. It grew simultaneously in literature, criticism, philosophy, psychology, religion, and science, attracting such diverse minds as Hobbes, Addison, Gerard, Goethe, Kant, and Coleridge. Indeed, rather than discussing merely the (...) abstract notion of the imagination, Engell examines the community of thinkers, especially in England and Germany, who joined to pursue and develop what became the most fascinating and suggestive concept of modern Western thought. For as the imagination became the dominant subject of literature, its meanings multiplied. Finally it came to be seen as the crown of artistic creation and as the mediator in the ongoing dialectic between matter and spirit, materialism and transcendentalism. (shrink)

Creativity has received, and continues to receive, comparatively little analysis in philosophy and the brain and behavioural sciences. This is in spite of the importance of creative thought and action, and the many and varied resources of theories of mind. Here an alternative approach to analyzing creativity is suggested: start from the bottom up with minimally creative thought. Minimally creative thought depends non-accidentally upon agency, is novel relative to the acting agent, and could not have been tokened (...) before the time it is in fact tokened, relative to the agent in question. Thoughts that meet these three conditions—agency, psychological novelty, and modal—are what may be called cognitive breakthroughs. Even if such breakthroughs are not necessary to or definitive of richer creativity, they are indeed central to much of creativity. The minimal analysis provides a more workable explanandum for theories of creativity of varied motivation and method. (shrink)

This entry provides a substantive overview of research and debates concerning creativity in philosophy and related fields. Topics covered include definitions of creativity, whether creativity can be learned, whether it can be explained, attempts to explain creativity in cognitive science, and whether computer programs or AI systems can be creative.

We propose a distinction between two different concepts of time that play a role in physics: geometric time and creative time. The former is the time of deterministic physics and merely parametrizes a given evolution. The latter is instead characterized by real change, i.e. novel information that gets created when a non-necessary event becomes determined in a fundamentally indeterministic physics. This allows us to give a naturalistic characterization of the present as the moment that separates the potential future from (...) the determined past. We discuss how these two concepts find natural applications in classical and intuitionistic mathematics, respectively, and in classical and multivalued tensed logic, as well as how they relate to the well-known A- and B-theories in the philosophy of time. (shrink)

This article examines the artistic potential of forms of image-making that involve registering the features of real objects using mind-independent processes. According to skeptics, these processes limit an agent’s intentional control over the features of the resultant “automatic images,” which in turn limits the artistic potential of the work, and the form as a whole. I argue that this is true only if intentional control is understood to mean that an agent produces the features of the work by their own (...) bodily movements alone. Not only is this an unrealistic standard to uphold, but I show that a definition of intentional control based on the skeptic’s position does not prohibit an agent from realizing the features of an image by means beyond their own actions. An agent can exercise intentional control over the features of an image if they successfully anticipate the effect that the remote consequences of their actions will have on these. This, I argue, entails that to exert intentional control over the features of an image is to exercise “creative agency,” which is a species of executive agency. Consequently, I defend the idea that the origin of automatic images in creative agency grounds their artistic significance. (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)

This chapter explores the philosophical case for thinking of imagination and creativity as skills. Though the philosophical discussion of this topic has generally operated on two separate tracks, one focused on developing a framework for treating imagination as a skill and one focused on developing a framework for treating creativity as a skill, the goal of the chapter is to bring these two tracks together. After the philosophical case for treating imagination and creativity as skills has been fleshed out, the (...) discussion turns to a consideration of objections. Though some of these objections concern only the skill-based framework for imagination and others concern only the skill-based framework for creativity, some of the objections apply to both. Responses to the objections are then offered. The chapter concludes with an exploration of how treating imagination and creativity as skills might shed light on the relationship between imagination and creativity. (shrink)

The creative aspect of language use provides a set of phenomena that a science of language must explain. It is the “central fact to which any signi- ficant linguistic theory must address itself” and thus “a theory of language that neglects this ‘creative’ aspect is of only marginal interest” (Chomsky 1964: 7–8). Therefore, the form and explanatory depth of linguistic science is restricted in accordance with this aspect of language. In this paper, the implications of the creative (...) aspect of language use for a scientific theory of language will be discussed, noting the possible further implications for a science of the mind. It will be argued that a corollary of the creative aspect of language use is that a science of language can study the mechanisms that make language use possible, but that such a science cannot explain how these mechanisms enter into human action in the form of language use. (shrink)

1. In the last decade, technological systems based on Artificial Intelligence (AI) architectures entered our lives at an increasingly fast pace. Virtual assistants facilitate our daily tasks, recom...

It’s plausible that conception of new ideas for aesthetic works involves intentional action: we ask how and why artists conceive of their works, and we give them great praise for conceiving them. But such creative conception can’t just involve acting on an intention to conceive the new idea in all its particularity, since having that intention in the first place already requires you to have conceived that idea. Then what is the content of a creative intention that can (...) guide the process of creative conception? There are at least two existing models of creative intention: a value realization model endorsed by Nick Zangwill; and an inspiration/selection model set out by Monroe Beardsley, among many others. Each model fails to identify a way for a creator to be properly active in the origination of their own ideas. A better model, the refinement model, can combine the strength of both of these. On this model, a creator intends to do justice to some proto-work—a draft or component of a final idea which sets up a standard to be met in further refinement. The content of the creator’s intention is demonstrative in nature; an artist might have no insight into what she is trying to do except via her grasp on this proto-work. This model is illuminated by application to a real-world example of creative conception by the band Grizzly Bear. (shrink)

This paper develops two related theses concerning resentment. The first, which I label the ‘prior norm requirement’, holds that feelings of resentment are grounded in the resenter’s conviction that some portion of their existing normative expectations has been violated. The second holds that resentments can make a rational contribution to the development of new normative expectations, transforming the resenter’s existing normative outlook. Certain expressions of the prior norm requirement in recent theory clash with the notion of norm-creative resentments, portraying (...) resentment as essentially conservative of existing norms. Against this, I develop the notion of ‘emotional articulation’, according to which emotions like resentment can involve cognitively complex processes of working through the meaning of experiences of wrongdoing, in ways that give rise to genuinely new normative commitments. I develop this through critical comparison with Martha Nussbaum’s cognitive-evaluative theory of emotion and by drawing from Charles Taylor’s notion of articulation. (shrink)

In this volume Henry Corbin emphasizes the differences between the exoteric and esoteric forms of Islam. He also reveals that whereas in the West philosophy and religion were at odds, they were inseparably linked, at least during this period, in the Islamic world. A valuable section of notes and appendices includes original translation of numerous Sufi treatises.

We articulate a conception of resilience via allostasis and the free energy principle to augment Nassim Nicholas Taleb’s conception of antifragility. Creative resilience is resilience 3.0, after robustness (1.0) and antifragility (2.0), because creative resilience is the deliberate effort to construct ecological niches toward a more caring and thus more viable world for more people – what Dewey proffered as the moral ideal of creative democracy. Viability is understood as the healthy tension between stability and precarity. Viability (...) is related to regulatory mechanisms of homeostasis and allostasis. Along with discussion of the free energy principle, we situate these processes of the internal milieu within the external milieu. Ecological niche construction and ecological psychological affordances are related to human practices as means of generating culture. Culture is both a product and producer of the process of valuation, which originates in evolution but is further developed by the free energy principle and social allostasis. The collective languishing exacerbated by the Covid-19 pandemic can be ameliorated through creative resilience so conceived as social allostasis writ large. (shrink)

Abstract: The study aimed to identify the creative behavior in the Palestinian civil organizations between reality and expectations, and the study used the descriptive analytical approach and the questionnaire as a main tool for collecting data from employees of associations operating in the governorates of Gaza Strip, and the cluster sample method was used and the sample size was (343) individuals and has been recovered (298) Resolution. The following results were reached: The relative weight of the measure of (...) class='Hi'>creative behavior was 78.99 (%), and there were no statistically significant differences in creative behavior according to the gender variable, age group, educational qualification, specialization, while the results indicated that there were differences according to the number of years of service. The study presented a set of recommendations, the most important of which are: the necessity of working to follow up the strategic plan for NGOs using electronic messages as it paves the way for achieving excellence and creativity in the field of work, the need to hold meetings and workshops with the local community and this helps them determine the needs of the community. (shrink)

This paper proposes a generative architecture through which Creative-Spirit becomes continuously productive across time. Rather than treating brand as a surface construct or market-driven identity system, this work defines brand as an applied structure through which Creative-Spirit acquires form, direction, and economic operability. -/- Building upon prior work that framed philosophy and brand as parallel systems of thought reproduction, this study advances the discussion by articulating a concrete causal process through which internal spirit is transformed into sustained external (...) action. This process is formalized as a seven-dimensional architecture: Spirit, Ideology, Purpose (Reason), Vision, Role, Mission, and Commitment. -/- Unlike existing Brand DNA models that enumerate elements without causal hierarchy, this architecture establishes a generative sequence grounded in inner–outer causality, cognitive development, and temporal reinforcement. Vision precedes role not as an idealized future image, but as the cognitive field within which role becomes possible. Mission is not assigned in advance; it emerges as a residual task generated through role execution. Commitment functions as the temporal mechanism that binds these dimensions into a self-reinforcing cycle. -/- This paper further demonstrates that time, within this architecture, is not a neutral container but the medium through which cognition deepens. Through repeated cycles of self-awareness, insight, execution, and intuitive decision-making, Creative-Spirit re-enters the system at progressively deeper levels. The result is not linear growth but spiral expansion. -/- By positioning brand as a surface manifestation of a deeper generative ontology, this work reframes Brand DNA Architecture as an applied system of Creative-Spirit production rather than a descriptive branding framework. This architecture provides the structural condition under which thought, spirit, and intention can remain productive beyond the individual and persist as a living system in economic reality. (shrink)

Three kinds of things may be creative: persons, processes, and products. The standard definition of creativity, used nearly by consensus in psychological research, focuses specifically on products and says that a product is creative if and only if it is new and valuable. We argue that at least one further condition is necessary for a product to be creative: it must have been produced by the right kind of process. We argue furthermore that this point has an (...) interesting epistemological implication: when you judge a product to be creative--attributing creativity--you are not just judging it to be new and valuable. Even if you did not witness how it was produced, you are also making a judgement about how it was produced. (shrink)

The unreduced solution to the arbitrary interaction problem, absent in the standard theory framework, reveals many equally real and mutually incompatible system configurations, or "realizations". This is the essence of universal dynamic undecidability, or multivaluedness, and the ensuing causal randomness (unpredictability), non-computability, irreversible time flow (evolution, emergence), and dynamic complexity of every real system, object, or process. This creative undecidability of real-world dynamics provides causal explanations for "quantum mysteries", relativity postulates, cosmological problems, and the huge efficiency of high-complexity phenomena, (...) such as life, intelligence, and consciousness, giving rise to extended applications, far beyond the critical limits of usual science paradigm. (shrink)

The main aim of this essay is to propose and develop a product‐oriented, non‐psychologistic, approach to scientific and artistic creativity. I first argue that the central problem is that of answering the question: how is creativity possible? Traditional approaches to this question tend to locate creativity primarily in some special psychological processes or traits, or in some special creative act. Some general arguments against such an approach are developed, and it is suggested that creativity ought primarily to be located (...) in scientific and artistic products. I then investigate the question ‘what aspects of such products lead us to evaluate them as creative?’ and use the results of this inquiry as a set of desiderata against which to evaluate various general views as to the nature of the creative process itself. The upshot of this procedure is the development of a kind of ‘Darwinian’ model whose novel feature lies in the suggestion that the process of production has, in effect, been controlled (plastically) by those very factors which can enable the product to be a creative one. (shrink)

This chapter considers the potential of artificial intelligence (AI) to exhibit creativity and imagination, in light of recent advances in generative AI and the use of deep neural networks (DNNs). Reasons for doubting that AI exhibits genuine creativity or imagination are considered, including the claim that the creativity of an algorithm lies in its developer, that generative AI merely reproduces patterns in its training data, and that AI is lacking in a necessary feature for creativity or imagination, such as consciousness, (...) agency, metacognitive awareness, or the use of mental imagery. In each case, a counterargument is provided that AI already has or soon will overcome the apparent barrier. In some instances, this is because the critical features deemed lacking in AI may not be necessary for human creativity and imagination either. In others, it is because important developmental and structural similarities between humans and generative AI have been insufficiently appreciated. (shrink)

An outstanding collection of specially commissioned chapters by leading philosophers who explore the relationship between philosophy and creativity. Essential readings for those interested in the philosophy of creativity, it is also an extremely useful resource for those in related subjects such as music, art and visual studies, literature and education.

This paper presents an experimental approach for engaging undergraduate STEM students in anticipatory ethical reasoning, or ethical reasoning applied to the analysis of potential mid- to long-term implications and outcomes of technological innovation. The authors implemented two variations of an approach that integrates three key components—scenario analysis, design fiction, and ethical frameworks—into five sections of an introductory course on the social contexts of science and technology that is required of STEM majors. The authors dub this approach Creative Anticipatory Ethical (...) Reasoning, or CAER. Scenario analysis is a strategy emerging from business consulting for grounded analysis of plausible future trajectories to inform planning. Design fiction is a creative hands-on activity that blends science fiction and design prototyping to facilitate critical thinking with respect to the societal dimensions of a plausible future technology. The authors present the following findings: in each of the variations, students demonstrated significant engagement with CAER and a substantive shift in their conception of what constitutes responsible innovation and ethical conduct in science and technology. Specifically, their integration of ethical reasoning with stakeholder perspectives and scenario analysis reframed technologies, from unproblematic solutions for societal problems to socially-embedded forms of life that might diverge from designers’ intentions. This suggests that CAER could be a useful pedagogical intervention for expanding students’ ethical engagement to consider the potential unintended consequences of technological innovation. (shrink)

Contemporary choreography offers a window onto creative processes that rely on harnessing the power of sensory sys- tems. Dancers use their body as a thing to think with and their sensory systems as engines to simulate ideas non- propositionally. We report here on an initial analysis of data collected in a lengthy ethnographic study of the making of a dance by a major choreographer and show how translating between different sensory modalities can help dancers and choreographer to be more (...) creative. (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)

This is a philosophical question, not a scientific one. There are many examples of AI systems whose products appear to be creative and whose processing fits the criteria of combination, exploration, or transformation. (Arguably, that’s strictly true of transformation only if the system is linked to contingencies external to the program.) But could any of them or any conceivable computer-based system “really” be creative? That raises queries about whether “real” creativity must involve autonomy, intentionality, valuation, emotion, and consciousness. (...) The answer, in each case, is yes (sometimes with qualifications). However, these concepts are hugely controversial in themselves, quite apart from their relation to creativity—and/or to AI. It follows that no clear answer can be given to the title question. It remains open, until we have clear—and credible—accounts of all these matters. (shrink)

The relationship between creativity and artificial intelligence has been recently discussed in both the expert community and the broader public, with the discussion being driven not only by the challenges of practice or academic interest but also significantly influenced by societal anxieties. Large Language Models (LLMs), such as Chat GPT, Midjourney, DALL-E, have become central to the dialogue on human/machine creativity. Questions arise: Can AI be truly creative and if so, is AI creativity of the same nature as human (...) or non-human animal creativity? If we affirm both of these questions, what implications does that hold for our future selves? This contribution establishes meaningful links of personal and collective identity bridging the debates on AI creativity and human enhancement. (shrink)

In keeping with the focus of this special section, we concentrate initially on some of the problems of autonomist Marxist concepts such as `immaterial labour', `affective labour' and `precarity' for understanding work in the cultural industries. We then briefly review some relevant media theory (John Thompson's notion of mediated quasi-interaction) and some key recent sociological research on cultural labour (especially work by Andrew Ross and Laura Grindstaff, the latter drawing on Hochschild's concept of emotional labour), which we believe may be (...) more useful than autonomist concepts in developing empirically informed critique. The main body of the article then consists of an ethnographic account of working on one particular television programme, an account that aims to build on these theoretical debates. We analyse how the power to provide exposure or not to individuals in the talent show genre in contemporary television (a feature that derives from the symbolic power of producers to make texts that are then circulated to massive numbers of people) and disputes between commissioners and independent producers about how best to go about doing so (an organizational issue) are registered in the form of stress, anxiety and sometimes poor working relations among project teams of young television researchers (a matter of working conditions and experiences). We especially focus on how additional pressures are borne by these workers because of the requirements to undertake emotional labour, involving the handling of strong emotions on the part of talent show contributors, and to maintain good working relations in short-term project work, requirements generated by the need to ensure future employment. Ultimately, then, we support the view that creative work is `precarious' — but we go beyond the generalizations involved in concepts such as immaterial labour and affective labour to show the specific ways in which precariousness is registered and negotiated in the lives of young workers in one industry. (shrink)

Applying the graded response model within the item response theory framework, the present study analyzes the psychometric properties of Karwowski’s creative self-efficacy scale. With an ethnically diverse sample of US college students, the results suggested that the six items of the CSE scale were well fitted to a latent unidimensional structure. The scale also had adequate measurement precision or reliability, high levels of item discrimination, and an appropriate range of item difficulty. Gender-based differential item functioning analyses confirmed that there (...) were no differences in the measurement results of the scale concerning gender. Additionally, openness to experience was found to be positively related to the CSE scale scores, providing some support for the scale’s convergent validity. Collectively, these results confirmed the psychometric soundness of the CSE scale for measuring CSE and also identified avenues for future research. (shrink)

Recent research has uncovered the dark side of creativity by finding that creative individuals are more likely to engage in unethical behavior. However, we argue that not all creative individuals make trouble. Using moral self-regulation theory as our overarching theoretical framework, we examine individuals’ moral identity as a boundary condition and moral disengagement as a mediating mechanism to explain when and how individual creativity is associated with workplace deviant behavior. We conducted two field studies using multi-source data to (...) test our hypotheses. In Study 1, the results indicated that creativity positively predicted moral disengagement for those low in moral identity. In Study 2 with multi-wave data, we replicated the finding that moral identity moderated the effect of creativity on moral disengagement in Study 1 and further revealed that moral disengagement mediated the interactive effects of creativity and moral identity on workplace deviant behavior. The theoretical and practical implications of these findings and directions for future research are discussed. (shrink)

This article presents the framework and explores the measurement, correlates, and outcomes of creative adaptability, proposed here as the cognitive–behavioral-emotional ability to respond creatively and adaptively to stressful situations. Data collection was in April 2020, during the peak of the outbreak of the Coronavirus pandemic in Israel. In Study 1, a sample of 310 adults completed the newly developed CA scale, as well as spontaneity, openness to experience, creative self-efficacy, and well-being measurements. The results of exploratory and confirmatory (...) factor analyses corroborated the 9-item CA scale’s theorized underlying construct. The scale’s validity and reliability were also supported. Exploratory analyses suggested that the association between CA and well-being was mediated by creative self-efficacy and that CA may buffer the impact of individuals’ concern about Coronavirus on their well-being. In Study 2, short-term longitudinal data based on a sample of 71 students suggested that CA may predict lower psychological stress over time. Support for the CA scale’s internal consistency reliability was obtained and its test–retest reliability was established. Overall, the results shed light on this new construct as a potential protective factor. Implications for theory, research, and practice are discussed. (shrink)

This paper identifies, explores, and resolves a tension between two common ideas about creativity. The first is that a project is less creative insofar as it adheres to a formula of some kind. The second is that a project’s being carried out within a set of constraints does not necessarily make it less creative. The tension arises from the fact that formulae and constraints operate in the same manner. They reduce the set of options for an agent undertaking (...) some project. How could it be that reducing an agent’s options both does and does not make their project less creative? I resolve this tension by arguing that the first idea is false and should be replaced with the claim that a project is less creative insofar as the decisions that comprise it are dictated by a formula rather than being attributable to the agent. Finally, I employ a case study to demonstrate that there are ways in which formulae and constraints can diminish creativity and ways in which they can have no effect, or perhaps even enhance creativity. (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)

Entrepreneurship and broader business literature show a growing interest in sustainability issues, illuminating the critical role that entrepreneurship can play in addressing the issues facing economic development in diverse socioeconomic settings. This study undertakes a selective systematic literature review and synthesizes co-creative entrepreneurship research with Foucault's conceptualizations of ethical power and human relationships to deepen our understanding of the roots of sustainability issues. It offers insights into addressing sustainability challenges in diverse social settings and provides reflections and directions for (...) future research. As such, this study provides a philosophical ground for the further development of sustainable entrepreneurship. (shrink)

In his commentary on Euclid, Proclus develops what he takes to be an important Platonic critique of the epistemology of abstraction. As I argue, his argument closely reflects terminology and concepts from Plato’s Philebus. Both emphasize the priority—in reality and in our awareness—of the precise over the imprecise. Specifically, Proclus’s famous notion of the psychical “projection” of intermediate mathematical entities, while having no technically exact precedent in Plato, finds a conceptual neighbor in the Philebus’s suggestion that philosophical arithmeticians “posit” pure (...) units for counting. Likewise, for both our self-engagement in mathematical thinking serves to clarify the independence of the precise sciences—both in their content and in their practice—from perception. Thus, as I argue, Plato and Proclus, with their different terms and nuances, develop a shared conception scientific inquiry in which an activity of “creative discovery” plays a central role. (shrink)

In this introduction to The Journal of Aesthetics and Art Criticism special issue on the aesthetics of creative activism, we canvas influential scholarship of political aesthetics to sculpt a broad typology of six interconnected mechanisms by which art might intervene in the world. We label these: Documentation, Disruption, Recognition, Participation, Imagination, and Beauty. Each has a compelling tradition of theory and application, augmented, extended, and sometimes challenged by the thirteen fresh and provocative contributions in the special issue. Yet, we (...) ask, if both politically minded artists and culturally minded activists are convinced of the power of art to provoke social change, and if we live a world that by almost all measures is now saturated with politically inclined, aesthetically informed practices, interfaces, objects, and texts, why does art not seem to be making a difference? Clearly, we need to think harder about the relationships between art and action, a task the articles assembled here call upon us to take seriously. (shrink)