This paper is a complete student-led, student-edited collective writing project (CWP) conducted virtually in Spring 2022 throughout the course Knowledge Socialism taught by professor Michael Peters for the Faculty of Education, Beijing Normal university. The CWP involves 4 international, 5 domestic Ph.D. students, and 2 senior Western scholars as reviewers, revealing their thoughts, arguments, understanding, and criticisms towards the creative economy status in East Asian countries (Japan and China mostly) higher education as reflected in the knowledge socialism narratives. Xiyuan (...) as the lead author, co-editing with Woraport and Stefan, assigned each section to other authors and successfully devoted themself to organizing, proofreading, and revising the paper. Through a month of collective work, the final version of the paper elaborates on the contribution of East Asian creative universities and the economy as a whole to the knowledge socialism through co(labor)ation, with implications to the creative labors cultivation and shifted roles of students. (shrink)

In this fascinating read, Kauffman concludes that the development of life on earth is not entirely predictable, because no theory could ever fully account for the limitless variations of evolution. Sure to cause a stir, this book will be discussed for years to come and may even set the tone for the next "great thinker.".

In their seeking of simplicity, scientists fall into the error of Whitehead's "fallacy of misplaced concreteness." They mistake their abstract concepts describing reality for reality itself--the map for the territory. This leads to dogmatic overstatements, paradoxes, and mysteries such as the deep incompatibility of our two most fundamental physical theories--quantum mechanics and general relativity. To avoid such errors, we should evoke Whitehead's conception of the universe as a universe-in-process, where physical relations perpetually beget new physical relations. Today, the (...) most promising interpretations of quantum mechanics exemplify this Whiteheadian idea, formalizing physical systems, and the universe itself, as ongoing histories of actualizations of potential states, where actual states and potential states exist in mutually implicative relation as two separate categories of reality—an idea first proposed by Aristotle and rehabilitated by Heisenberg. In these interpretations, the classical conception of a history as a derivative story about fundamental physical objects is reversed: the classical physical object becomes the derivative story about fundamental histories of quantum states. The consistent histories interpretation of Robert Griffiths and the decoherent histories interpretation of Roland Omnès are cardinal examples of this approach to quantum mechanics. Another example, the relational realist interpretation, begins with the decoherent histories approach and formalizes it explicitly as a Whiteheadian interpretation, taking his “algebraic method” and applying it to quantum mechanics via algebraic topology. This branch of mathematics can be thought of as a “de-concretized” geometry in that it focuses only on the logical relations among objects and regions (and relations of these relations) rather than the fixed magnitudes of lines, planes, and other such rigid intervals. It has all the robust logical structure of geometry yet allows for an elasticity of relations that makes topological mathematical structures inherently immune misplaced concretization. (shrink)

Viacheslav Ivanov, the central intellectual force in Russian modernism, achieved through his work an original synthesis of Christianity, Platonism, and the philosophy of Friedrich Nietzsche. His powerful intellect exerted an immeasurable influence in modernist Russia and the early Soviet Union, and after emigrating to Italy in 1924 he played an important role in intellectual debates in Western Europe between the wars. In recent years, Ivanov's manifold contributions have been recognized in all major aspects of Russian culture, including poetry, literary theory, (...) philosophy, and theology. In _The Russian Prospero_, Robert Bird uncovers the foundations of Ivanov's poetic and theoretical universe, traces its evolution, and explores its connections to cultural and intellectual currents in international modernism. Blending a close reading of Ivanov's work with a thoughtful analysis of his place within twentieth-century thought, Bird finds that Ivanov's ecstatic creative psychology leads directly to a consideration of history as a continuum of human interpretive activity, and to a conception of art as a historical force. He emphasizes and dramatizes Ivanov's quest to harness the power of art and apply it to concrete life-situations. It is the dilemma of Prospero, who must liberate his attendant spirit Ariel in order to restore full sovereignty over his own creative self and to regain ethical agency. The productive tension that resulted from Ivanov's struggle was a remarkable force in Russian modernism and remains a powerful spur for our own reflections on modernity. Outstanding Academic Title, _Choice_ Magazine “[Bird’s] clear explanations of Ivanov’s ideas and his informed, insightful, astute readings of the poetic works make this book required reading for anyone interested in modern poetry, intellectual history, cultural studies, and philosophy of early 20th century Russian and European thought.... Essential.”—_Choice_ “[Bird] makes a welcome contribution to our understanding of Russian modernism in its broader European context.... In this undertaking he has not only succeeded admirably, but will undoubtedly inspire others to follow him.”—Pamela Davidson, _The Russian Review_ “The most comprehensive overall treatment of Ivanov’s work to date.”—David N. Wells, _The Slavic and East European Journal_. (shrink)

Cognitive dimensions of creativity: What makes the difference between creative and non-creative university students? This paper analyses the contribution of specific cognitive functions on creative performance. The main question was which cognitive variables differentiate extreme levels of creative performance and therefore can characterize highly creative college students. A sample of Portuguese university students of Fine Arts and Literature took part in this study. A battery of verbal and figural cognitive tasks, as well as two kinds (...) of creative tasks have been considered. Results showed that there were mostly the same cognitive dimensions, which differentiate extreme levels of creative performance in both text and poster productions. These results are discussed considering the relevance of the cognitive approach to explain creativity. Some practical ideas, possible to put into the educational context, are also discussed. (shrink)

Review of "Reclaiming Enchantment: Humanity In A Creative Universe" by Stuart Kauffman NY: OUP, 2016.

Universities and Innovation Economies examines the rise and fall of the mass university and post-industrial society, considering how we might revitalize economic and intellectual creativity. Looking to a much more inventive social and economic paradigm to drive long-term growth, the author argues for a smaller, leaner, more effective university model - one capable of delivering a greater degree of high-level discovery and creative power.

The problem of creativity institutionalization at the university entails an identification and building a model of interrelated socio-epistemic structures, functionally ensuring creative activities of a heterogeneous subject of cognition in line with the university’s academic missions. The paper gives a socio-philosophical analysis of transformation of the creative-type cognitive relationship in the process of University 3.0 historical development. The author classifies the approaches to the definition of creative spaces and outlines the main provisions of the author’s concept of (...) creativity institutionalization in a modern university. It is shown that the creative function of a modern university develops under the influence of public expectations, economic conditions and new technologies that call for effective educational environments, innovative learning methods, new forms of literacy. The author distinguishes four historical stages in the University 2.0, which differ in types of creative activity of a subject of cognition with respect to learning and research: education as the comprehension of truth, conjunction of research and teaching, conjunction of research and learning, learning through scientific researches. It is shown that University 3.0 takes its origin at the end of the 20th century as a result of commercialization of scientific researches, where scientific- and socialentrepreneurial creativities are added to various types of educational and scientific-research creativity. The paper presents the approaches to conceptualization of creative spaces at the University: environment model, model of cognitive processes, complex “environment as a mode of cognition” model. The concept of generativity is a core element of the author’s model of creative space, which is applied as a social-epistemological characteristic to the processes of learning and the environment of cognition. The creative space is deemed as a cognitive-generative system that interconnects creative-type cognitive processes with the cognitively active environment. (shrink)

There is an increasing demand by society that university students demonstrate competitive skills to enable them to achieve greater success when entering the workplace. Creativity and life satisfaction correlate positively with academic performance, productivity, and excellence in the working environment. The presence of creativity and emotional intelligence in the curriculum and teaching methods in Spanish universities, however, is surprisingly lacking. Studies that examine gender differences in these variables provide conflicting results. The purpose of our research is to analyse the changes (...) produced in both creativity and life satisfaction in university students by a positive emotional and creative intervention and explore individual differences by gender. The methodology used was a quasi-experimental pre- test/post- test design with experimental/control groups. Three hundred university students from the Community of Madrid completed three exercises that evaluated creativity and life satisfaction. The results show significantly higher results in creativity and life satisfaction in women, who continued to achieve high results after the intervention. Finally, we discuss the need for emotional and creative education in universities and focus on the employability and the guarantee of equal opportunities through the development of these competencies. (shrink)

As virtues of intellectual character are commonly discussed, they aim at _propositional _intellectual goods. But some creative works—especially those in music and the visual arts—are not primarily intended to gain, keep, or share propositional goods such as truth, knowledge, and understanding. They aim at something else. Thus, to conceive of intellectual creativity in a way that accords with standard discussions of intellectual virtue is to exclude paradigmatic works of the creative intellect. There is a kind of puzzle here: (...) it appears that we cannot maintain both the commonly-discussed notion of intellectual virtue and the claim that, say, Beethoven’s Ninth, or Monet’s Water Lilies, are central cases of intellectually virtuous creativity. We provide a two-part solution to the puzzle. First, we suggest that some works of music and visual art can convey propositional goods. Second, we appeal to the notion of _acquaintance _as an epistemic good that is conveyed through creative artistic and musical to an extent not conveyed in standard prose works. In this respect, intellectual creativity is the virtue that breaks the propositional mold of much contemporary virtue epistemology. (shrink)

This article proposes an approach to teaching and learning in the university arts sector that is able to accommodate and assess creative process alongside practice. In arguing thus, romanticized notions of ‘the spontaneous artist’ are exposed to scrutiny, and the creative process itself is made subject to analysis. Notwithstanding its focus on the areas of theatre and performance, this article has a wide application to the field of developmental higher education. Whereas performance functions as a peg on which (...) the article hangs, the content is concerned with locating the creative endeavours of students in all art and arts-related disciplines at the heart of the lifelong learning experience. (shrink)

Journal of Chinese Philosophy, EarlyView.

Emotional creativity refers to cognitive abilities and personality traits related to the originality of emotional experience and expression. Previous studies have found that the COVID-19 epidemic and the restrictions imposed increased the levels of negative emotions, which obstructed adaptation. This research suggests that EC predicts the motivation for innovative adaptive behavior under the restrictions of COVID-19. In the case study of university professors, we show that EC predicts the motivation to creatively capitalize on the imposed online teaching in looking for (...) innovative research and personal development. Methodologically, we rely on the Emotional Creativity Inventory administered to a sample of 463 university professors from the Czech Republic, Slovak Republic, and Russia. The indicators for motivation for innovative performance included motivations to use distant methods of scientific research, to look for partners for conducting scientific research in other cities or abroad, to conduct interdisciplinary research, starting distance learning to enhance qualifications, and the perception that due to online teaching, there is more time for personal development. We employ a set of ordinal regression analyses controlling for age, gender, position, type of science, and country. The results suggest that Emotional Creativity and its three components predict the motivation of university professors to creatively capitalize on the imposed online teaching in looking for innovative research and personal development under the conditions of COVID-19. Furthermore, our results confirmed the gender and age differences in EC. The differences in EC according to position and type of science were not statistically significant. These results compel us to be aware of the importance of the emotional side of creativity to optimize stress-related behavior under the conditions of limited abilities to continue as usual. More space devoted to the manifestation of all the aspects of emotional creativity would improve adaptation to challenging circumstances and even allow one to capitalize on new opportunities. Moreover, we suggest that if personal intrinsic Emotional Creativity is high, the crises, such as the COVID-19 epidemic, may improve adaptation and trigger creative outcomes. (shrink)

Within the Australian university context, research has uncovered increasing levels of psychological distress, in the form of stress, anxiety and depression. Higher rates of psychological distress have been reported in undergraduate students specifically enrolled in creative arts programs. Despite these increasing levels of psychological distress, university students are reluctant to engage with mental health and wellbeing supports. To explore ways to meet the mental health and wellbeing needs of creative arts university students, the Creative Arts and Music (...) Therapy Research Unit at The University of Melbourne commenced a project exploring the benefits and pitfalls of a brief creative arts therapies approach for students attending a campus based wellbeing clinic. This exploratory research study formed the art therapy component of this much broader research endeavor. Creative arts students in this research study were invited to participate in a single session art therapy encounter that involved the visual exploration of the miracle question, asking students to visually depict “what the problem looks like and how it will look when the problem is resolved or you feel like you can cope with it better?” The descriptive findings of this exploratory research study revealed how the combination of art therapy used within a single session framework was able to afford students a novel means to externalize problems, leading students to forming a less internalized view of the self. (shrink)

In his essay “Goddesses of the Twenty‐first Century,” R. Buckminster Fuller's use of woman and goddess as metaphor suggests a fruitful source of images illuminating synergetic principles. Using five images, clustered as odyvessel‐matrix, the article suggests an epistemology and a heuristic for connecting the personal‐physical and the universal‐metaphysical. These images are (1) the Egyptian goddess Nut, (2) the Greek earth goddesses, (3) Neolithic Maltese goddess temples, (4) the double spiral, and (5) the Apollo Mission's Earth photographs. These images are intended (...) as transformational synergetic/ecofeminist figures to replace images of deprivation, alienation, and destruction with images of abundance, intimacy, and co‐creation. (shrink)

Studies have revealed that emotion-based learning outcomes are scarce when teachers’ competence and creative performance are neglected, further university performance in relation to teachers’ emotion-based learning outcomes is disregarded in literature so far. Based on the Attributional theory of achievement motivation and emotion, the purpose of this empirical study is to investigate the effects of Emotional Intelligence on learning outcomes of academicians in Pakistan’s higher education institutions. This study also examines the mediating role of teacher competence and creative (...) performance in a relationship between EI and learning outcomes. Furthermore, this study ascertained the relationship between learning outcomes and organizational performance of HEIs. This study used a sample frame of 237 academic professionals from Pakistani HEIs, the hypothesized associations were ascertained using the partial least squares structural equation modeling method. The findings disclose that EI has a positive and significant influence on learning outcomes. Furthermore, an indirect relation between EI and learning outcomes is established through teacher competence and creative performance while the relationship between learning outcomes and OP is established also. Results of the considered study reinforce the academic understanding of EI and propose how academicians of HEIs can value their competence and creative performance which in turn enhances learning outcomes and OP. There is a lack of studies in HEIs that investigate the relationship between EI, teacher competence, creative performance, learning outcomes, and OP. This is one of the initial researches that not only empirically examine the interface of EI, learning outcomes, and OP of HEIs’ academicians but also enlightens comprehensions into the prevailing literature by immediate investigation of the mediating role of teacher competence and creative performance in fundamental association. (shrink)

Creative Writing programmes in universities now offer both an education for and employment to literary writers. This papers asks how literary writers apprehend their relatively recently institutionalised position, as university staff and students. The concept of ‘patronage’, it is argued, offers a useful way into reflecting upon such academic institutionalisation. The argument is presented in three parts. The first outlines some of the conceptual nuances of patronage. The second examines the oft made claim that universities extend patronage to literary (...) writers by enabling employment as Creative Writing staff. The third part engages with a question: what precisely does a student expect to gain from a Creative Writing programme and what does the degree validate? It is suggested that Creative Writing programmes are designed principally to offer supportive patronage, with a promise – but without guarantees – of entry into a financial patronage system. A brief conclusion considers the bearing of these arguments on Creative Writing as a school subject. (shrink)

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

In this article I argue that, with the liberation of the hand from the tasks of locomotion in human evolution, unconscious use of the hands begins to create cultural forms. The first feature of the hands is its openness to the world. The second feature is its mediation between things and the body of which it is a part. The third feature is its self-referentiality. By touching, by giving form to a material, by gestures, and by establishing symbolic order in (...) the given world, the actions of the hand develop important preconditions for language, aesthetic forms, and social order. The hand itself assumes the most diverse shapes and gives different shapes to the objects around it. Touching and pointing produce the certainty that the indicated object exists, insofar as it is produced as object-for-the-hand. Its doubling in the use of the hand re-creates the object in a symbolic medium. This mimetic re-creation of the world is the main characteristic of the creativity of hand use. The two-sided plasticity of the hands divides the social universe into right and left halves, classified according to right-handed and left-handed values. The hand’s actual acquisition of this capacity is the result of a social process. In coordination with our visual sense, the use of the hands leads both to the making of objects and to the construction of worlds of subjective feelings. Both achievements are often ascribed to language. But the functions considered as most fundamental to language first take shape in the unconscious use of our hands. (shrink)

The concept of simultaneity and contemporaneity is fundamental to and the core of my artistic practice but it also fits perfectly with the theme of my research. Creating multimedia art and installations with the help of new media is one way to best express the concept of non-separation, as evidenced by language itself. In Italian the word confusione, from the Latin term cunfusionem (mixing, blending), and in English confusion, is often used as a synonym for noise. In English, commotion is (...) a synonym for blare, and it has been derived from the Latin word cum movere, which means moving together. Contemporary art and installation are both staticity and change intermingled in a single place and time. The study of crowd, and the emotion that emerges from the deep immersive experiencing of art, is also strongly linked to another concept developed by Bergson: intuition. By ‘intuition’, Bergson meant an elementary, indivisible experience of sympathy, through which a person is moved into the inner being of an object and can comprehend what is unique and indefinable in it. I hypothesize the presence and expression of emotion in the collective experience of installation art, and both my creative efforts and theoretical research are aimed at facilitating the audience’s understanding or intuition of this emotion in an immersive multisensory environment. Using a range of both technological and classical tools and means of expression in my work, but more generally, artists create a product that can mediate and unfold the complexity of the phenomenological event by rendering it in a new form accessible to all. (shrink)

The relevance of transcreation skills goes beyond mere translation strategy to a more sought-after service, that help equip translators with relevant employability skills. Nevertheless, the concern for the high demands of translators who possess these skills calls for a thorough training of future translators to acquire these skills. On the other hand, this will be possible if translator educators are already equipped with these skills. As such, this study aims to explore how translation educators, specifically, university lecturers can be prepared (...) to effectively address the growing need for transcreation skills. The research further explores practical techniques and approaches aimed at teaching instructors to successfully impart transcreation abilities and adequately equip students for employment in creative translation. In order to achieve the objective of this research, a quantitative research methodology was adopted, and an online research questionnaire was also utilized. Moreover, a total of ninety-seven (97) study participants were included in the online survey to express their perspectives on how the university lecturers can be trained to address demands for creative translation. The participants' replies, which constitute the primary dataset for this study, were presented and subjected to thorough analysis. Additionally, these replies provided additional clarification on the two fundamental study hypotheses. The study results highlighted several fundamental elements connected with transcreation skills, including bilingual proficiency, creative writing, cultural sensitivity, and multimedia proficiency. Based on the analyzed data, the research revealed that adoption of practical strategies and methodologies such as professional development, inclusion of transcreation projects in translation training module, collaboration with industry experts, and technology integration helps to train translation educators to effectively teach transcreation skills. The study, however, recommends combination of these identified strategies for effective training of university lecturers. (shrink)

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

his essay explores the universal nature of aesthetic, creative, and mystical experience, tracing some essential interrelations among the three. Enlarging upon the work of anthropologist Jacques Maquet, I speculate that “sensory fixedness” is both necessary and sufficient to achieve aesthetic experience, and that the unification of mind engendered by sensory fixedness is the essential source of aesthetic power. Therefore, the role of the aesthetic object (construed broadly) is either as an arbitrary sensory focusing mechanism, or as the physical embodiment (...) of a gestalt facilitating fixedness; the first category is merely attractive, while the second contains all that is truly great in art (visual and auditory). I suggest further that as both creative inspiration and mystical experience result from fixedness, both are related to aesthetic experience. However, while aesthetic experience is rooted in sensation, mystical and creative experience, though often prepared by sensory fixedness, may transcend the sensory domain altogether toward more abstract forms of mental fixedness. (shrink)

The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. The present study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure activities and with four categories of college majors. Data were collected from 251 university students, university graduates and young adults (156 women and 95 men). Art students and graduates (...) scored significantly higher on the ECI than other majors. Humanities scored significantly higher than technical/economic majors. Five creative leisure activities were significantly correlated with the ECI, specifically, writing, painting, composing music, performing drama, and do-it-yourself home improvement. Keywords: Creativity, Emotional Creativity, Emotions, Creativeness, Affect, Feelings, Leisure Activities, Creative Ability, Artistic Creativity, Creative Thinking, Creativeness, Aging, Cognitive Deficits, Performance. MeSH Headings: Emotions, Creativity, Leisure, Leisure Activities, Hobbies, Recreation, Affect Affective Symptoms, Creativeness. (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)

According to one of the rivals, “poets do not create from knowledge but on the basis of certain natural talents and guided by divine inspiration, just like seers and the singers of oracles.”1 There is “a form of possession and madness, caused by the muses, that seizes a tender and untouched soul and inspires and stimulates it so that it educates by praising the deeds of ancestors in songs and in every other mode of poetry. Whoever knocks on the door (...) of poetry without the madness of the muses trusting that technique alone will make him a whole poet does not reach his aim; he and his poetry of reason disappear before the poetry of the madman.”2 Even knowledge cannot arise in a purely rational way. In his seventh letter Plato explains how “from a long and dedicated pursuit of the subject and from close companionship, [understanding] suddenly, like fire being kindled by a leaping spark, is born in the soul and straightaway finds nourishment in itself.”3 Thus understanding or building a work of art contains an element that goes beyond skill, technical knowledge, and talent. A new force takes hold of the soul and directs it, toward theoretical insight in one case, toward artistic achievement in the other.The view adumbrated in these quotations is very popular today. Interestingly enough it seems to receive support form the most rigorous and most advanced parts of the sciences. This rigor, it is pointed out, is but a transitory stage in a process which has much in common with what Plato envisaged. Of course, it is necessary to make some changes: Plato’s knowledge was stable while scientific knowledge progresses. Plato assumed that outside forces—madness, divine inspiration—impinge on the soul while the moderns let the appropriate ideas, images, emotions arise from the individual soul itself. But there seem to exist many reasons to recommend a Platonism that has been modified in this way.In the following essay I shall try to show that the reasons that have been given are invalid and that the view itself—the view that culture needs individual creativity—is not only absurd but also dangerous. To make my criticism as concrete as possible I shall concentrate on e specific group of arguments in its favor. And to make it as clear as possible I shall use arguments trying to show the role of individual creativity in the sciences. If these clear and detailed arguments fail, then the rhetoric emerging from more foggy areas will altogether lose its force. 1. Plato, Apology of Socrates 22c. Translations, unless otherwise noted, are my own2. Plato, Phaedrus 245a.3. Plato, Epistles 341c, d. Paul Feyerabend studied singing and opera production in Vienna, history of theater and theatrical production at the Institute for the Methodological Reform of the German Theater in Weimar, and physics, astronomy, and philosophy in Vienna. He has lectured on aesthetics, the history of science, and philosophy in Austria, Germany, England, New Zealand, and the United States. At the moment he holds a joint appointment at the University of California, Berkeley, and the Federal Institute of Technology in Zurich. His books include Against Method , Erkenntnis für freie Menschen , and Philosophical Papers . Forthcoming works are Farewell to Reason and Stereotypes of Reality. (shrink)

Regardless this will have the following points: if we want to solve global problems , we need to - the global ethics. The ethics can not be the last of the modern world view provided by the world view to the material - the ultimate energy as the true occasion of the universe, because the view is nihilism, the denial code of ethics is part of the universe was constructed. The ethics can not learn from the Western tradition (...) provide nervous, because the traditional occasion of neural science regarded as the ultimate truth is only one never to create the world nervous. According to this view, apart from the scientific method and with the fact that malignant evil conflict, and promote individual traditional classic can correct the flexibility to stimulate the heart, resulting in another of its special moral admonition should be universal. a global ethics of the philosophical foundation provided by Whitehead's view of the world, because the argument for God and the creation of the ultimate. I will argue the following theses: If we are to solve our global problems , we need a global ethic. Such an ethic cannot be provided by the late modern worldview, according to which matter-energy is the only ultimate reality, because this view is nihilistic, denying that moral norms belong to the fabric of the universe. Such an ethic also cannot be provided by traditional Western theism, according to which the only ultimate reality is a deity who created the world ex nihilo, because this view, besides conflicting with scientific method and the fact of evil, promotes the idea that the scriptures of one's tradition are infallibly inspired, so that its particularistic moral injunctions should be universally enforced. The philosophical foundation for a global ethic can be provided by Whitehead's worldview, with its two ultimates: God and creativity. (shrink)

Background: There has for some time now been recognition that there was a relationship between exceptional creative talent and mental disorder. The works of Andreasen (2008) and others in this area have been very significant. However, most of the research has been carried out in USA and Europe. Very little has come out of Africa on the subject. Aim : To survey the beliefs of different groups within an African society, concerning the possibility of a relationship between creative (...) talent and mental disorder. To assess creativity within a community of people with a formal diagnosis of mental disorder. Materials and Methods: Some of the mythology of the Yoruba was examined for content, concerning the behaviour of certain notable individuals and the existence of psychopathology based on modern-day criteria. The beliefs of members of the general public and mental health professionals concerning the existence of a relationship between creative talent and psychopathology were surveyed using a questionnaire designed for the project. A sample of patients with formal diagnoses of affective disorder or schizophrenia drawn from two units, the Lagos State University Teaching Hospital and the Federal Neuropsychiatric Hospital Yaba, were assessed for 'Creativity.' Results : Although there are notable 'eccentric' figures in local mythology, the overwhelming majority of the people surveyed do not believe there is any relationship between creativity and mental illness. They however believe that engaging in creative activities helps the mentally ill to recover from illness. The mental health professionals, who were clinical psychologists and psychiatrists, had a significant minority who believed that a relationship does exist, and they also strongly assert that creative activity has a therapeutic effect for the mentally ill. A survey of in-patients diagnosed with schizophrenia and affective disorder failed to show a significant difference in the creativity of the two populations, as measured by the originality score of the Rorschach scale. The survey of patients is inconclusive, based on small sample size (ten patients with a diagnosis of schizophrenia, ten with bipolar affective disorder.). The linkage between formal mental disorder is only recognised by a significant minority of mental health professionals. A significant proportion of the population believe that creative activity aids recovery from mental illness. More research is required into this important subject in Africa. (shrink)

This paper presents a general education course offered at The Pennsylvania State University that integrates AI ethics within a creative arts context. The course emphasizes AI literacy and the ethical use of AI tools through the creation and critique of AI-generated art, literature, and music. Since its inception, the course has evolved to accommodate increasing enrollments and diverse student demographics while maintaining a focus on hands-on activities and ethical discussions. Student feedback indicates high engagement with the course’s ethical content, (...) prompting considerations for future course revisions. The authors argue that AI literacy, particularly ethical considerations, is essential for all students and advocate for the creation of similar courses across educational institutions to better prepare students for the ethical challenges of emerging AI technologies. (shrink)