Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions. The Philosophy of Creativity takes up these questions and, in doing so, illustrates the value of interdisciplinary exchange.

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

The object of this paper is creativity as a cultural philosophical and historical-philosophical phenomenon. The subject of the research is the substantiation of the essence of creativity by Russian religious philosophy on the example of the doctrine of V.S. Solovyov and N.A. Berdyaev. The aim of this research is to identify and articulate the key semantic constructs of creativity from the positions of the above-mentioned thinkers. The article also explores ideas about the nature of creativity (...) and the specific features of a creative subject through the prism of relevant concepts of a socio-humanitarian orientation. A brief historical and philosophical excursion into the understanding of the ontological essence of creativity is carried out, modern ontological concepts of creativity are revealed and an existentially oriented concept of creativity is proposed. The theoretical basis of the research is the original works of V.S. Solovyov and N.A. Berdyaev, as well as various commenting scientific sources. The methodological foundation of the research is a comparative analysis and a method of contextual vision of creativity. The main result of the conducted research is the articulation of key aspects of the understanding of creativity by V.S. Solovyov and N.A. Berdyaev. It is shown that for the first philosopher, the central task of creativity is the spiritualization of the material world through the realization of the unity of Goodness, Truth and Beauty, while the second thinker considers the main mission of creativity to be the establishment of a fundamentally different spiritual being by the subject. The scientific novelty of the research also lies in the comparative characterization of the concepts of creativity of these thinkers in terms of essence, tasks, meaning, material, sources, functions, result and other structural aspects. (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program (...) really be creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

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

This chapter presents and contextualizes empirical work done by philosophers on imagination and creativity. It also suggests new directions for future empirical research. It is argued that empirical work on these (and other topics) is not just beneficial but necessary for philosophy of imagination and creativity. Further, it is argued that this work must sometimes be done by philosophers, and it is also often best done by philosophers. Topics discussed include imaginative resistance, counterfactual imagination, scientific imagination, distinguishing (...) imagination from other mental states (e.g., supposition, memory), vividness of imagination, AI imagination, creativity and praiseworthiness, creativity as a virtue, and AI and creativity. (shrink)

This essay considers a potential linkage between skepsis and the engendering of creativity. It explores and contests the possibility of a dialogical evolution of an intercultural scepticism, in particular a mode of skepsis conceived as a viable, productive way of life. It reflects on the conditions that encourage the development of a sceptical sensibility with reference to Sextus Empiricus, and then depicts an intercultural unfolding of the “sceptic ego” via reference to encounters with traditions such as Daoism and Romanticism. (...) The result is a scepticism culminating in a disposition toward creativity and empathetic, interdisciplinary enquiry. Intercultural skepsis emerges as the possibility of manifesting as a “philosophy of creativity” that must demonstrate its usefulness, and justify itself, by producing concrete, communicable, worthwhile results. (shrink)

The prominent Russian intellectual, Nikolai Berdyaev, is renowned for his metaphysics of creativity, which he founded on a unique concept of freedom. His unorthodox interpretation of human freedom and the reality of the Spirit became a kind of manifesto for religious existentialism. This article analyzes the social and metaphysical significance of Berdyaev's philosophy of creativity in the context of the European and Russian philosophical traditions.

Explores the nature and relation of history and becoming in the work of Gilles Deleuze. How are we to understand the process of transformation, the creation of the new, and its relation to what has come before? In History and Becoming, Craig Lundy puts forward a series of fresh and provocative responses to this enduring problematic. Through an analysis of Gilles Deleuze's major solo works and his collaborations with Felix Guattari, he demonstrates how history and becoming work together in driving (...) novelty, transmutation and experimentation. What emerges from this exploration is a new way of thinking about history and the vital role it plays in bringing forth the future. (shrink)

The subject of the research in this article are certain aspects of the "philosophy of culture" of the prominent thinker, theologian, historian of Russian thought Georgy Vasilyevich Florovsky, which influenced the evolution of his worldview. Special attention is paid to the facts of the "European" period of his biography, the analysis of his "Eurasian" works, as well as his assessments of the philosophical concepts of some Russian thinkers and calls for the conversion of the process of cultural creativity (...) to spiritual principles. Particular attention is paid to the content of the discussion that unfolded between G.V. Florovsky, N.S. Trubetskoy and (in absentia) N.Ya. Danilevsky on the problem of the status of "universal culture" and the mutual influences of cultures. The study reveals the philosophical nuances of the evolution of G. Florovsky's views as a "Eurasian" author based on his own works and the assessments contained therein. Scientific literature often emphasizes the influence of Eurasian ideology on G. Florovsky, expressed, in particular, in his ideas about culture and cultural creativity. However, based on the analysis of the material presented in the article, the author comes to the conclusion that G.V. Florovsky, although he was a member of the Eurasian circle, on some significant issues differed from the main direction of development of the Eurasian ideology presented by E. Trubetskoy. (shrink)

A previously unpublished manuscript found among Hartshorne's papers, the book was completed by Hartshorne in the mid-1980s and constitutes a vigorous and wide-ranging defense of his “neoclassical metaphysics” of creative freedom. Eight of the chapters are revisions of articles Hartshorne published between 1953 and 1986; the remaining five chapters and the preface were not published prior to the appearance of this book.

The Vedanta of conciousness : transcendence, enlightenment and everyday life -- The alienated self and the Kabbala of transformation -- The Zen of creativity and the critique of the discursive intellect -- The Tao of love and unconditionality in commitment -- The yoga of action and effortless efficiency -- The nous of perception and the re-enchantment of the tree of life -- The gnosis of freedom and the Fana of fulfilment.

BERDYAEV AS A PHILOSOPHER How shall a non-Russian, above all a North American, assimilate the extraordinary assemblage of ideas which is Berdyaev's philosophy? Dr. Richardson does not exaggerate the difficulties. And he introduces us with great care (and what a formidable task it must have been) precisely to what is most strange in this writer, his fusion of historical.. eschatological-metaphysical-mystical-Christian conceptions. By some standards Berdyaev is a theologian rather than a philosopher; for he takes the truth of the Christian (...) revelation for granted and his work can readily be viewed as an elaborate apologetic for one religion against all others and against irreligion. Yet I incline to sympathize with him in his claim to be a philosopher. What an eccentric one, however! There are indeed some partial analogies in the general European tradition. Certainly this Russian is a disciple of Kant, and strong traces of Kantianism survive in him. He also moved away from Kant somewhat as did Fichte, Hegel, and, above all, Schelling in his last period. His sympathetic response to Heracleitos and Boehme recalls Hegel. The interest in Boehme and Schelling is found also in Tillich. Like the late German-American, Berdyaev rejects conceptual in favor of symbolic speech about God. Like Bergson, he stresses intuition and makes a radical distinction between scientific logical analytic thought and the mode of apprehension by which, he believes, metaphysical truth is to be appropriated. Here one thinks also of Heidegger. (shrink)

This article focuses on soils as more-than-human subjects who are both living entities and ‘lenses’ through which we may begin to rethink some of the conventional parameters of ecology, communication and even the grounding of some western philosophical traditions on which these boundaries have stood. Just as the very term ‘more-than-human’ potentially exceeds the relegation of both soilogic agents and animalities to subservient status, likewise this discussion embarks from a more-than-humanist (‘posthumanist’) position. As we attempt to interact with living systems (...) and ways of being in broader, more expansive terms, it becomes possible to catch conceptual glimpses of less hierarchical ontologies as they are understood by some more-than-western cultures. I have also drawn inspiration from artistic, theoretical and political movements in the west that have sought to interrupt the primacy of Eurocentric humanism in institutions and philosophical arenas. This presages dirty thinking. (shrink)

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

*Winner of the American Society for Aesthetics 2019 Outstanding Monograph Prize* Until now, research on art schools has been largely occupied with the facts of particular schools and teachers. This book presents a philosophical account of the underlying practices and ideas that have come to shape contemporary art school teaching in the UK, US and Europe. It analyses two models that, hidden beneath the diversity of contemporary artist training, have come to dominate art schools. The first of these is essentially (...) an old approach: a training guided by the artistic values of a single artist-teacher. The second dates from the 1960s, and is based around the group crit, in which diverse voices contribute to an artist’s development. Understanding the underlying principles and possibilities of these two models, which sit together in an uneasy tension, gives new insights into the character of contemporary art school teaching, demonstrating how art schools shape art and artists, how they can be a potent engine of creativity in contemporary culture and how they contribute to artistic research. A Philosophy of the Art School draws on first-hand accounts of art school teaching, and is deeply informed by disciplines ranging from art history and art theory, to the philosophy of art, education and creativity. (shrink)

This book is a unique study of the work of Gabriel Marcel, a twentieth-century philosopher of international renown. This book brings a fresh perspective to the examination of Marcel's thought, highlighting facets of interest to many different audiences and presenting a clear exposition of the nature of creative fidelity.

Philosophy of Communication Ethics is a unique and timely volume that creatively examines communication ethics, philosophy of communication, and the 'Other.'.

The seventh Korea elementary school curriculum implies that it is possible to activate higher-order thinking by accepting constructivism as a paradigm. However, the absence of effective and concrete way to make it possible disturbs the goal of the new curriculum. I summarized the class contents of what I did for the last two years in the contest that is for improvement of instruction. As I got a bronze medal twice in Seoul teachers teaching contest, it can be a good example (...) for teaching. I hope that it offers concrete materials for general class instructions. I managed five parts of research flexibly for a year. 1. Making the environment for Community of Inquiry (COI) model: being considerate of others in the class. 2. Stressing the reading habit: extending background knowledge and cultivating self-centered learning ability. 3. Discussion: training thinking skill with games. 4. Assessment and Feedback: writing with activity papers, writing portfolio and art-book. 5. Generalization: sharing materials with others, teaching mixed grade students with COI model. As a result, I found out that thinking skill stimulates students' thinking ability as well as their behavior change. Also it proved the positive parts of COI model by showing that COI model improved the creative writing ability. (shrink)

F. P. Ramsey was a remarkably creative and subtle philosopher who in the briefest of academic careers made significant contributions to logic, philosophy of mathematics, philosophy of language and decision theory. His few published papers reveal him to be a figure or comparable importance to Russell, Carnap and Wittgenstein in the history of analytical philosophy. This book was the first critical study of Ramsey's work, offering a thorough exposition and interpretation of his ideas, setting the ideas in (...) their historical context, and assessing their significance for contemporary research. The study is intended to complement the reissue of Ramsey's papers edited by Professor Hugh Mellor. (shrink)

This is a volume on the concepts, theories, models and social consequences of creativity. It contains articles by well-known cognitive scientists, economists, mathematicians, philosophers and psychologists.

Philosophy has long either dismissed or paid only minimal attention to creativity, and even with the rise of research on imagination, the creative imagination has largely been ignored as well. The aim of this volume is to correct this neglect. By bringing together existing research in various sub-disciplines, we also aim to open up new avenues of research. The chapters in Part I provide some framing and history on the philosophical study of imagination and creativity, along with (...) an overview of the empirical literature. Part II explores imagination and creativity as they manifest in, and in turn shape, the individual. Part III surveys the role of imagination and creativity across a wide variety of artistic domains, and the chapters of Part IV turn to societal domains. Part V focuses on the interplay of imagination and creativity with regard to particular features of creative subjects and different kinds of creative subjects. *** -/- Part I: Theories and Approaches 1. Theories of Imagination (Peter Kung) 2. Theories of Creativity (Julia Langkau) 3. Historical Treatments of Imagination in the Western Tradition (Lucia Oliveri) 4. Historical Treatments of Creativity in the Western Tradition (Elliot Paul) 5. Non-Western Treatments of Imagination (Reza Hadisi and Jing Iris Hu) 6. Non-Western Treatments of Creativity (Nicolas B. Verger and Vlad Glăveanu) 7. Empirical Treatments of Imagination and Creativity (Dustin Stokes) 8. Experimental Philosophy of Imagination and Creativity (Michael T. Stuart) 9. The Relationship between Imagination and Creativity (Margherita Arcangeli) -/- Part II: Imagination and Creativity in Mind and Action 10. Imagination, Creativity, and Skill (Amy Kind) 11. Imagination, Creativity, and Attention (Bence Nanay) 12. Imagination, Creativity, and Agency (Caterina Moruzzi) 13. Imagination, Creativity, and Emotion (Julien Deonna and Fabrice Teroni) 14. Imagination, Creativity, and Embodiment (Adriana Clavel-Vázquez and María Jimena Clavel Vázquez) 15. Imagination, Creativity, and Gender (Luke Roelofs) 16. Imagination, Creativity, and Race (Nicholas Whittaker) 17. Imagination, Creativity, and Child Development (Thalia Goldstein, Anna Sofia Caruso, Darian Stapleton, and Lamin Fatty) -/- Part III: Imagination and Creativity in the Arts 18. Imagination, Creativity, and the Visual Arts (Claire Anscomb) 19. Imagination, Creativity, and Music (Matteo Ravasio) 20. Imagination, Creativity, and Fiction (Hannah H. Kim) 21. Imagination, Creativity, and Dance (David Davies and Anna Pakes) 22. Imagination, Creativity, and the Culinary Arts (Patrik Engisch) 23. Imagination, Creativity, and Film (Murray Smith) 24. Imagination, Creativity, and Acting (Tzachi Zamir) 25. Imagination, creativity, and fashion (Laura T. Di Summa) -/- Part IV: Imagination and Creativity in Society 26. Imagination and Creativity in the Scientific Realm (Alice Murphy) 27. Imagination and Creativity in the Moral Realm (Tim Mulgan) 28. Imagination and Creativity in the Political Realm (Avshalom Schwartz) 29. Imagination and Creativity in the Law (Maksymilian Del Mar) 30. Imagination and Creativity in the Religious Realm (Neil Van Leeuwen) 31. Imagination and Creativity in Business (Eric Peterson) 32. Imagination and Creativity in Times of Crisis (Jennifer Fraser and Noah Stemeroff) Part V: Emerging Issues in Imagination and Creativity Research 33. Imagination, Creativity, and Aphantasia (Andrea Blomkvist) 34. Imagination, Creativity, and Neurodivergence (Sofia Ortiz-Hinojosa) 35. Imagination, Creativity, and Non-Human Animals (Henry Shevlin) 36. Imagination, Creativity, and Artificial Intelligence (Peter Langland-Hassan) 37. Collective Imagination and Collective Creativity (Nick Wiltsher) . (shrink)

This chapter contains section titled: Fang's General Philosophy Fang's Interpretation of Chinese Classic Philosophy Fang's Critique of Song‐Ming Neo‐Confucianism Excerpts from Fang's Publications.

Building on the writings of Wittgenstein on rule-following and deviance, Kristóf Nyíri advanced a theory of creativity as consisting in a fusion of conflicting rules or disciplines. Only such fusion can produce something that is both intrinsically new and yet capable of being apprehended by and passed on to a wider community. Creativity, on this view, involves not the breaking of rules, or the deliberate cultivation of deviant social habits, but rather the acceptance of enriched systems of rules, (...) the adherence to which presupposes simultaneous immersion in disciplines hitherto seen as being unrelated. The paper presents a demonstration of the fruitfulness of this theory by means of an account of some of the political, cultural and intellectual peculiarities of the Habsburg Monarchy. (shrink)

In relation to this world of fact, how is the self creative? In relation to this conservative system of physical nature, how is the self creative? By creative, in this context, Hocking means “making a difference in physical nature: inserting something that would not otherwise be there.” Can the self make such a difference?

Chapter INTRODUCTION Charles Sanders Peirce is quickly becoming the dominant figure in the history of American philosophy. The breadth and depth of his work ...

William Ernest Hocking has been described as “the people’s philosopher,” “the last of the Golden Age of American philosophy,” and “the dean of American philosophers.” These labels reflect something of the sensitivity of the man and the magnitude of his achievements. Hocking’s own words illustrate the appropriateness of the diverse labels. “Philosophy is the common man’s business,” he once remarked, “and until it reaches the common man and answers his questions it is not doing its duty.” “Philosophic thinking, (...) stirred to the depths by catastrophic events on a worldscale, has become a public concern in a new sense. The rise of clearmarked ideologies, undertaking to align men in vast numbers behind a constellation of points-of-view which it would be unfair to call philosophies—unfair to philosophy, I mean—yet with philosophical groundwork, has compelled men the world over to take issues of truth with renewed seriousness.” But, the other two labels apply with equal force. Hocking was the last representative of the Golden Age of American philosophy. In a manner that is quite unfashionable, he dealt with the grand intellectual themes that have traditionally occupied those who love wisdom: the nature of man, the meaning of life and death, and God. Gabriel Marcel refers to Hocking as “a man who, through the visible world, has never ceased to have the presentment of what is eternal.” His fellow philosophers, however bent on other concerns, would find it difficult to overlook his achievements. Hocking published seventeen books and two hundred seventy essays and delivered the prized Gifford and Hibbert Lectures. It is in part at least for such achievements that he is called the “dean of American philosophers.”. (shrink)

A vigorous and wide-ranging defense of Hartshorne’s “neoclassical metaphysics” of creative freedom.

The article develops a philosophical approach on how to handle the riddle of creativity. Section I presents reflections on the concept of creativity: its value; the meaning and sense of the word; the possibility of a science of creativity; and on different types of creativity. Section II focuses on the differences and relations between psychological and philosophical conceptions of creativity, introducing a signo-interpretational approach that is developed in more details in Section III. There the discussion (...) also deals with the conditions, structures and functions of creativity processes: the space of arbitrariness and polysemiosis; rule-following; rule violation; rule invention; and the shifting from possibilities to potentialities. (shrink)

There is a growing interest in the application of creative writing in the treatment of mental illness. Nonpharmacological approaches have shown that access to poetic, creative language can allow for the verbalisation of illness experiences, as well as for self-expressions that can include other facets of the subject outside of the disease. In particular, creative writing in a safe group context has proven to be of particular importance. In this article, we present a pilot on a creative writing group for (...) young adults in treatment for psychosis. We set the texts and experiences from the writing group in dialogue with Paul Ricoeur’s and Julia Kristeva’s philosophies onpoetic languageas meaning making and part of subject formation. The focus is on language as materiality and potentiality and on the patient’s inherent linguistic resources as founded in a group dynamic. As a whole, the project seeks to give an increased theoretical and empirical understanding of the potentiality of language and creativity for healing experiences, participation and meaning-making processes among vulnerable people. Furthermore, a practice founded in poetic language might critically address both the general and biomedical understanding of the subject and disease. (shrink)

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