La force créatrice du discours que décrit Taylor permet-elle aux subordonnés de parler en leur nom propre? Pour répondre à cette question, j’emprunte au concept de politique de Jacques Rancière. J’affirme que la distinction de Taylor entre HLC et HHH ressemble à celle qu’établit Rancière entre «politique» et «police». Toutefois, parce que la force créatrice du discours réitère l’ordre humain, elle n’est pas politique en elle-même. J’aborde l’exemple de la relation «avunculaire» présenté par de Taylor pour illustrer à quel moment (...) la force créatrice peut s’avérer, ou non, un fondement de la politique. (shrink)

he following kind of incident has occurred over and over again, ever since Darwin. An evolutionist, browsing through some pre-Darwinian tome in natural history, comes upon a description of natural selection. Aha, he says; I have found something important, a proof that Darwin wasn't original. Perhaps I have even discovered a source of direct and nefarious pilfering by Darwin! In the most notorious of these claims, the great anthropologist and writer Loren Eiseley thought that he had detected such an anticipation (...) in the writings of Edward Blyth. Eiseley laboriously worked through the evidence that Darwin had read (and used) Blyth's work and, making a crucial etymological mistake along the way, finally charged that Darwin may have pinched the central idea for his theory from Blyth. He published his case in a long article (Eiseley, 1959), later expanded by his executors into a posthumous volume entitled "Darwin and the Mysterious Mr. X" (1979). (shrink)

Creative force or creative shaping? This unprecedented effort to plumb the workings of the ontopoiesis of life by disentangling its primordial forces and shaping devices as they enter into the originary matrixes of life yields fascinating insights. Prepared by the investigation of the first two matrixes (the `womb of life' and `sharing-in-life', Analecta Husserliana Volume 74) the present collection of essays focuses upon the third and crowning creative matrix, Imaginatio Creatrix here proves itself to be the (...) source and driving force which brings us to the origins of the human mind - human life. Studies by: Elof Axel Carlson, A-T. Tymieniecka, N. Milkov, Eldon C. Wait, K. Rokstad, M. Golaszewska, M. Küle, W. Kim Rogers, Piotr Mróz, R. Pinilla Burgos, A. Carrillo Canán, G.R. Ronsivalle, J.E. Smith, A. Pawliszyn, A. Rizzacasa, L. Galzigna and M. Galzigna, Jiro Watanabe, M. Jakubczak, K. Tarnowski, M. Durst, W. Pawliszyn, R.A. Kurenkova, Carmen Cozma, E. Supinska-Polit, I.S. Fiut, Gerald Nyenhuis, Osvaldo Rossi, R.D. Sweeney, and D. Ulicka. (shrink)

This work offers a groundbreaking exploration of the urgent need for creativity and innovation in contemporary military thought. In an era characterised by the ceaseless flux of global dynamics, traditional paradigms of warfare have become increasingly obsolete. The imperative has arisen to harness out-of-box thinking, underscoring creativity and innovation within the realm of military thought. The pursuit of victory no longer lies in the fixation upon past conflicts, but rather in the discerning assessment of and adaptation to the challenges that (...) will shape the conflicts of tomorrow. This innovative new work dissects the barriers that have thus far hindered the realisation of this potential. Furthermore, it challenges the status quo and advances a series of recommendations poised to steer international militaries towards success in the theatre of contemporary conflicts. Drawing from their extensive involvement with defence forces worldwide, the authors introduce concepts such as military design thinking as catalytic instruments of change. Through introspective reflections and real-world case studies, they present implications for mitigating cognitive biases, heralding a transformative epoch in military operations. It is this very transformation that furnishes militaries with the capacity to surge ahead of their adversaries, a capability proving to be indispensable in modern warfare. Offering a well-illuminated path for military entities to adapt and flourish within an ever-evolving global landscape, this book will be of much interest to students of military studies, security studies and International Relations, as well as military professionals. (shrink)

Feng Youlan emphasizes the concept of “creativity” in his article “Explanation of Mencius’ Chapter on Strong, Moving Vital Force”, in particular highlighting the problem whether the “ strong, moving vital force” is “innate” or “acquired”. Cheng Hao and Zhu Xi believed the “ strong, moving vital force” was endowed by Heaven, so was therefore innate; “nourishment” cleared fog and allowed one to “recover one’s original nature”. Mencius’ theory on “the good of human nature” is illustrated in the concept of integrated (...) “original endowment”. So Cheng Hao and Zhu Xi’s theory of “recovering the original nature” proposed that the “ strong, moving vital force” was innate, which is in complete agreement with Mencius and of which there is ample evidence in Mencius. However, “nature” is “created by the accumulation of righteousness”. Namely, it is the completion and presentation of the process of creation and transformation of human beings. Only when we consider both Cheng Hao and Zhu Xi’s theory and Feng Youlan’s theory can we fully understand Mencius’ theory of “the nourishment of the strong, moving vital force”, which is of great theoretical and academic value in accurately understanding Mencius and the Confucian theory of mind-nature. (shrink)

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

Humans, like all organisms, have evolved to survive in specific environments, while some elect or are forced to live and work in extreme environments. Understanding cognition as it relates to environmental conditions, we use 4E cognition as a framework to explore creativity in extreme environments. Our paper examines space arts as a case study through the history, present practices, and future possible arts in the context of humans beyond the Kármán boundary of the Earth’s atmosphere. We develop a proposed taxonomy (...) of space arts, based on prior taxonomies, and provide specific exemplars of space art developed by artists in space or for use by astronauts in space. Using examples of space art since the birth of the space age, we discuss 1) how human survival in extreme environments requires investment in the space arts, driven by consideration of all biopsychosocial factors and 2) how new scientific and engineering discoveries could be consequences or examples of creative thinking driven by artists in the various types of space art. We conclude by discussing possible benefits of space art, future research applications, and advocate that all space actors, government or private, involve artists in all projects beyond the Kármán Boundary of the Earth’s atmosphere. (shrink)

Scientists with creative imaginations are ever confronted by two opposing forces. One tempts them to soar into the realm of fancy, and the other cautions them to keep their feet on the ground. These conflicting influences play a significant part in the search for fundamental truth.The complementary value of philosophical reasoning and matter-of-fact experimentation in the complete fulfillment of science is illustrated by many an epochal discovery. Von Laue had the brilliant thought that the symmetrical distribution of atoms (...) in a crystal presents a lattice sufficiently fine to scatter the exceedingly small waves of X-rays. The idea appeared to be scientifically sound, at least to von Laue, but to certain of his colleagues, classicists all, it was untenable. The kinetic energy or heat-movement of the atoms would, they said, disturb the diffraction phenomena and obscure the picture. Von Laue had confidence in his hypothesis and the courage to see it through, but he also knew that the validity of a scientific theory lies in experimental verification. There were in his laboratory two assistants, both able experimenters, and they proved the truth of von Laue's dream. (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)

Creative Class, Creative Economy, and the Wisdom Society as a Solution to their Controversy The paper briefly introduces the notion of creativity, linking the concepts of creative class and the related creative economy that are considered by Florida and his followers as the driving force of the current social and economic development. The concept of creative economy and its quantification in form of the Creative Class Index 3T or the Euro-Creativity Index were submitted to (...) strong critique.The critics overturn some key issues of the concept of creative class with an indication that the creative people give priority in choosing the work from the place; and there is no or almost nil correlation of a perceptual representation of the persons of homosexual orientation and the high-tech growth which confirms the opinion that the assertion about higher creativity of homosexual persons is a myth only. The purpose of the article is the examination of propriety of the concept of creative class and its quantification at one hand, and the rightfulness of their critique at the other. The analysis of the axiology of the concept of creative class is the method of examination. From point of view of axiology probably the most significant characteristic of the creative class is its accompanying destruction of thee social capital of creative people and it substitution of the creative capital. The rise of creative class takes place in parallel with the implosion of values at which basis our Jewish-Christian civilization is established. To this Florida expresses rather vague attitude by a statement that all socio-cultural changes that accompany the rise of the creative class will have no favorable impact on society.Florida labeled creativity as a basic human law, furthermore, he announced the need for a new live style in which the quality of life will increase and people become better men. The concept of creativity as an instrument of urban planning evolved into a left-liberal ideology with elements of social engineering that is the most important finding of the axiological analysis. The second finding is the need to accept the meaning of creativity. By implication of the two findings there arises a proposal for wisdom as a new driving force of social and economic development. The conclusion is the contribution is a requirement for formulation of the concept of wisdom society that is currently likely absent in the academic world, and the statement that if the West will not create the wisdom society, it will lose the raison d'être of its existence. (shrink)

Everything you have been told about creativity is wrong. From line managers, corporate CEOs, urban designers, teachers, politicians, mayors, advertisers and even our friends and family, the message is 'be creative'. Creativity is heralded as the driving force of our contemporary society; celebrated as agile, progressive and liberating. It is the spring of the knowledge economy and shapes the cities we inhabit. It even defines our politics. What could possibly be wrong with this? In this brilliant, counter intuitive blast (...) Oli Mould demands that we rethink the story we are being sold. Behind the novelty, he shows that creativity is a barely hidden form of neoliberal appropriation. It is a regime that prioritizes individual success over collective flourishing. It refuses to recognise anything - job, place, person - that is not profitable. And it impacts on everything around us: the places where we work, the way we are managed, how we spend our leisure time. Is there an alternative? Mould offers a radical redefinition of creativity, one embedded in the idea of collective flourishing, outside the tyranny of profit. Bold, passionate and refreshing, Against Creativity, is a timely correction to the doctrine of our times. (shrink)

Judith Butler's The Force of Nonviolence attempts a creative mapping of the forces of nonviolence. With leading thinkers of the world coming up with creative cartographies of violence, Butler's mapping of nonviolence doesn't stand as an exercise in altering or undermining such cartographies. While these thinkers work with what stands as a categorical understanding of violence while reconstructing it as a destructive force innate to every being in the world, Butler departs from reiterating such understandings. However, with (...) her mapping, Butler doesn't seek to problematize the orientation of such understandings either—an orientation that lies in explaining the incurable fascist leaning of humans. Rather, she releases... (shrink)

Essays, articles, artworks, and documents taken from and inspired by the symposium on Reza Negarestani's Cyclonopedia: Complicity with Anonymous Materials, which took place in March 2011 at The New School. Hailed by novelists, philosophers, artists, cinematographers, and designers, Cyclonopedia is a key work in the emerging domains of speculative realism and theory-fiction. The text has attracted a wide-ranging and interdisciplinary audience, provoking vital debate around the relationship between philosophy, geopolitics, geophysics, and art. At once a work of speculative theology, a (...) political samizdat, and a philosophic grimoire, Cyclonopedia is a Deleuzo-Lovecraftian middle-eastern Odyssey populated by archeologists, jihadis, oil smugglers, Delta Force officers, heresiarchs, and the corpses of ancient gods. Playing out the book's own theory of creativity - "a confusion in which no straight line can be traced or drawn between creator and created - original inauthenticity" - this multidimensional collection both faithfully interprets the text and realizes it as a loving, perforated host of fresh heresies. The volume includes an incisive contribution from the author explicating a key figure of the novel: the cyclone. CONTENTS: Robin Mackay, "A Brief History of Geotrauma" - McKenzie Wark, "An Inhuman Fiction of Forces" - Benjamin H. Bratton, "Root the Earth: On Peak Oil Apophenia" - Alisa Andrasek, "Dustism" - Zach Blas, "Queerness, Openness" - Melanie Doherty, "Non-Oedipal Networks and the Inorganic Unconscious" - Anthony Sciscione, "Symptomatic Horror: Lovecraft's 'The Colour Out of Space'" - Kate Marshall, "Cyclonopedia as Novel (a meditation on complicity as inauthenticity)" - Alexander R. Galloway, "What is a Hermeneutic Light?" - Eugene Thacker, "Black Infinity; or, Oil Discovers Humans" - Nicola Masciandaro, "Gourmandized in the Abattoir of Openness" - Dan Mellamphy & Nandita Biswas Mellamphy, "Phileas Fogg, or the Cyclonic Passepartout: On the Alchemical Elements of War" - Ben Woodard, "The Untimely (and Unshapely) Decomposition of Onto-Epistemological Solidity: Negarestani's Cyclonopedia as Metaphysics" - Ed Keller, "...Or, Speaking with the Alien, a Refrain..." - Lionel Maunz, "Receipt of Malice" - Öykü Tekten, "Symposium Photographs" - Reza Negarestani, "Notes on the Figure of the Cyclone". (shrink)

In their article, A.M. Dorozhkin and S.V. Shibarshina focus on the concepts of problem, task, and features of a creative personality as a single isolated agent. To a certain extent, such view is “opposed” by the socio-epistemic approach, since today it is extremely difficult to consider a person outside the socio-cultural context. In my paper, I discuss the distinctive features of the concepts of tasks and problems in connection with the fields of science and education. As an example of (...) a kind of creative adaptation practice, to which modern scientists are forced to resort (taking into account difficult socio-economic realities), I consider “tayloring” – a type of activity of “creative” written justification of the importance and usefulness of basic research (J. Calvert). The collective and institutional aspects of modern science, which play a role in the possible limitation of the process of generating new (creative) ideas in science, are discussed (P. Stanford). I agree with A.M. Dorozhkin and S.V. Shibarshina, that the method of epistemological randomization is most specific for the field of philosophy. Following C. Rovelli, it is emphasized that philosophy can serve as an important “creative resource” for scientific activity. (shrink)

The ultimate focus of the current essay is on methods of “creative abduction” that have some guarantees as reliable guides to the truth, and those that do not. Emphasizing work by Richard Englehart using data from the World Values Survey, Gerhard Schurz has analyzed literature surrounding Samuel Huntington’s well-known claims that civilization is divided into eight contending traditions, some of which resist “modernization” – democracy, civil rights, equality of rights of women and minorities, secularism. Schurz suggests an evolutionary model (...) of modernization and identifies opposing social forces. In a later essay, citing Englehart’s work as an example, Schurz identifies factor analysis as an example of “creative abduction”. The theories of Englehart and his collaborators are reviewed again in the current essay. Published simulations and standard statistical desiderata for causal inference show the methods Englehart used, factor analysis in particular, are not guides to truth for the kind of data Schurz recognizes as common in political science. Recent work in statistics, philosophy and computer science that makes advances towards such methods is briefly reviewed. (shrink)

The article deals with the issues of creative society’s environment. The theses have been developed as follows. 1. Creative venture enters unknown environment concerning consuming. 2. Outstanding society is hardly recognized in consuming environment, which has been forced to change. 3. Creative society is outstanding as much as by arising in consumi+ng environment does not regard consuming logic and blocks communicative channels of the consumers. 4. A creative worker is rich not by having a lot of (...) things to be consumed but by satisfying things for realization of his (her) creative aspirations. 5. The concept of happiness is a mobility factor of both an individual and the society. 6. Happiness is to be created together with beneficial for it social environment, the creator of which is both an individual and the society. 7. Averageness does not mean inauthenticity, on the contrary, it is an environment of outstandingness nurturance while the creative phenomena canalize this environment into the identity whole. 8. Creation and creative life art is prophylaxis of moderation and ipso facto happiness. 9. Technology is a factor of new social environment. 10. Consumer society wastes natural and social environment by orienting to as bigger as possible comfort and, as a result, causes total discomfort. 11. Quality of ecosphere as well as being affected by environmental pollution becomes an important challenge for the creative society. (shrink)

In this article, Strandberg analyses the development of Swedish cultural policy during the last decades. In contradistinction to the first policy proposition from 1974, which emphasised the importance of counteracting the negative impact of the market, the cultural policies that have been in place for the last twenty to thirty years consider the forces of the market to be conducive to the freedom of culture and the arts. This has entailed a paradigm shift in Swedish culture that has opened (...) up the field of cultural policy for the so-called creative industries, equated culture with creativity, and collapsed the distinction between culture and creative forms of entrepreneurship. When analysing this, Strandberg relates the modern history of Swedish cultural policy to the wider international development that has given rise to the paradigm of the creative industries and discusses how the equation of culture with creativity has made the autonomy of culture and the arts more and more difficult to uphold. (shrink)

One of the pressing issues in philosophy of technology is the role of human creativity in human-technology relations. We first observe that a techno-centric orientation of philosophy of technology leaves open the role and contribution of human creativity in technological evolution, while an anthropocentric orientation leaves open the role of the technical milieu in technological evolution. Subsequently, we develop a concept of creation as deviation and responsiveness in response to affordances in the environment, inspired by the affordance theory by James (...) Gibson. With this concept of creation as deviative responsiveness, we articulate the human contribution to human-technology creation, namely, our intentional deviation of the inhibiting forces of the currently dominant niche or meaningful world of human-technology relations, in order to become responsive to new affordances in human-technology creation that constitute a new niche or world of human-technology relations. (shrink)

The Minimum Description Length principle is the modernformalisation of Occam's razor. It has been extensively and successfullyused in machine learning, especially for noisy and long sources ofdata. However, the MDL principle presents some paradoxes andinconveniences. After discussing all these, we address two of the mostrelevant: lack of explanation and lack of creativity. We present newalternatives to address these problems. The first one, intensionalcomplexity, avoids extensional parts in a description, so distributingcompression ratio in a more even way than the MDL principle. (...) The secondone, information gain, forces that the hypothesis is informative wrt. the evidence, so giving a formaldefinition of what is to discover. (shrink)

Humans are neophile, curious, and explorative animals with impressive capabilities for creative problem-solving. I discuss some of the ultimate roots behind human creativity while reviewing two books on creativity and problem-solving. To E. O. Wilson, the driv­ing force behind creativity is our instinctive love of novelty, and creativity’s ultimate goal is “self-understanding.” I elaborate on and question this assumption. The theories of inclu­sive fitness and group selection are discussed, with Wilson in favor of the latter. Finally, the theory of (...) gene-culture coevolution is introduced as fundamental to the unity of science and the humanities and to closing the gap between these two cultures. Eagleman and Brandt’s volume is more of an entertaining history of design and human inventiveness than a study in creativity as such. We hear about the three main operations of creative process: bending, blending, and breaking, and these operations are the primary means by which all ideas evolve, according to the authors. (shrink)

The meeting of film and history sits at a position where it becomes hard to distinguish their interdependent dynamics. Accordingly, how do film and history connect, work with or work against each other? What is the significance of film for constructing histories of the people whose past, identity and culture were denied for long years? Where does this bring or drive film towards becoming a medium through which precarious politics on diverse people are revealed, documented and archived? Leaning on these, (...) in this article, I will interrogate the position of transnational Kurdish cinema produced in Turkey for transforming the precarious political realms into a creative force that exposes different Kurdish histories, memories and temporalities. To do this I will make use of the interviews I conducted with Kurdish filmmakers in Turkey between 2010 and 2016, including Hüseyin Karabey, Mizgin Müjde Arslan, and Zeynel Doğan, and their films which reveal the tensions they inherit from their ancestors. (shrink)

The idea that art is related to a process of creation is a modern one. Through a complex history in the $)th century, which is not without contradictions, the connection between art and creativity was debated in different fields – psychology, epistemology, cognitive science, etc. – and became the target of attacks from marxism and (post-)structuralism. Still, the notion of creativity seems to have conserved its force not only in everyday practices but also in media discourses. In diverse areas – (...) from art theory to epistemology, from action theory to economics, from computer science to psychology (to give only a few examples) – it has regained the attention of scholars as well, as is made clear by the number of recent publications on the topic. However, questions remain as to whether and how the notion of creativity can be used and what kind of conceptual work it can do. Trópos dedicated a call for papers to this topic. Selected papers are published in two special issues. The present one includes essays offering theoretical investigations on creativity. They do this under different, even contrasting, perspectives, with different aims and with di5erent outcomes. Yet, the light they throw on the question at issue provides readers with important, often creative, insights. Through them, readers are invited to think creatively, as well as critically, on creativity and its connections with the arts and aesthetics. (shrink)

This article argues that the Fourth and Fifth of John Toland's Letters to Serena are best understood as a creative confrontation of Spinoza and Leibniz ? one in which crucial aspects of Leibniz's thought are extracted from their original context and made to serve a purpose that is ultimately Spinozistic. Accordingly, it suggests that the critique of Spinoza that takes up so much of the fourth Letter, in particular, should be read as a means of `perfecting' Spinoza (via Leibniz), (...) rather than as the outright dismissal it might appear to be. In order to make its case, the article outlines: the supposed problems that Toland finds in Spinoza; what Toland takes from Leibniz, and what he discards, in order to solve these `problems'; and the imprint of Spinoza's naturalism on the eventual `solution' that Toland offers. The article concludes that, whatever the success of this `solution', Toland's speculative labours should still be treated as creative, perspicuous and intrinsically significant. (shrink)

I argue that scientific and poetic modes of objectivity are perspectival duals: 'views' from and onto basic natural forces, respectively. I ground this analysis in a general account of objectivity, not in terms of either 'universal' or 'inter-subjective' validity, but as receptivity to basic features of reality. Contra traditionalists, bare truth, factual knowledge, and universally valid representation are not inherently valuable. But modern critics who focus primarily on the self-expressive aspect of science are also wrong to claim that our (...) knowledge is or should be ultimately mediated by ourselves. In objective science, we represent nature as a field of phenomena determined by and within explanatorily-basic physical structures that encode the causal impact of elemental physical forces. These causally-basic forces hence ground the possibility of objective scientific theory, even though (I argue) they are systematically excluded from its representational contents. I show how my notions of force and field emerge partly through my effort to naturalize concepts of 'God' and 'Laws' in 17th-century natural philosophy. In science, we use the structure of basic forces' impact to see corresponding objects. We do not see these forces themselves—and this relates to the 'transcendence' of 'God'. I supplement this historical analysis by critiquing standard accounts of objectivity, and by synthesizing elements from neo-Kantian epistemology and current 'structural' realism into a view that I call 'dynamic structuralism'. Finally, I argue that physics systematically relies on passive characterizations of phenomena like inertia and impressed force. Dynamic alternatives that are just as empirically adequate are possible, but they are non-scientific. Poetic objectivity involves a direct presentation of nature as an order of interacting forces. I elaborate first by developing a novel theory of the relation between beauty and sublimity, mediated by a basic category of 'sensory force' (e.g. a 'singing' tone in a beautiful melody). I then describe the interaction between sensory and affective dimensions of aesthetic experience, in relation to an original historical analysis of passion and 'disinterestedness' in Kant, Schiller and Nietzsche. I synthesize these lines of analysis into a critique of the role of 'expression' in art. I also resist 'spectator'-centric aesthetics, in this connection, by developing an account of artistic objectivity in dialogue with Ruskin's critique of the 'pathetic fallacy'. I contrast artistic objectivity with Romantic ideals of self-expression, while elaborating its positive relation to certain currents within Victorian and Modernist aesthetics, including Imagists' stress on 'exteriority'. My project creatively extends Nietzsche's view that philosophical and scientific theories are 'perspectival' expressions of theorists' drives. It is a virtue of Nietzsche's account that he takes the outlet of strong human drives in creative acts of theorizing to be just one among many higher modes of 'will to power' in nature—many of which are totally impersonal. But Nietzsche is still too focused on self-expression or willing one's own power. Objective science involves external forces' 'expression' in and through us, not just 'expressing' our own powers. And Nietzsche's vitalistic 'will to power' must be replaced by a basic ontology that better accommodates inorganic phenomena, like the 'lawful' order of celestial motions. Thus I aim to de-anthropomorphize and 'de-organicize' post-Kantian notions of willful striving and organic development, while preserving for force the primary ontological and evaluative status that theorists from Schiller and Goethe to Schelling and Schlegel to Emerson and Nietzsche attributed to will or to life. (shrink)

The medieval kingdoms of Portugal and León faced a common Muslim enemy on their southern frontiers. They also viewed each other as potential threats, along a boundary which grew in length as the Muslims were pushed back. Military preparedness was in these circumstances a major preoccupation of the monarchs in the two kingdoms. Offensive forces were needed for continued territorial expansion, and defensive forces were needed to protect lands that had already been gained, whether from Muslim counterattack or (...) from inroads by the Christian neighbor. (shrink)

The article presents the main provisions of S.D. Bodrunov’s theory of noonomics and synthesizes them with the leading theories of the leaders of the Frankfurt school: Jürgen Habermas and Axel Honneth. Noonomics refers to a new stage in the development of society as a whole, in which people will be forced out of material production, which will allow everyone to freely develop their creative powers. However, on the way to noonomics, humanity must avoid falling into a state of “digital (...) concentration camp,” which is possible only by transforming human nature itself, moving “from zoo- to noo-state.” This implies a synthesis of science and culture and the highest value of moral self-improvement for each person. Therefore, it is the development of the human mind that will allow the transition to noonomics. It is the study of the content and possibilities of the mind that will allow us to creatively develop the theory of noonomics by using J. Habermas’s concept of communicative rationality and A. Honneth’s new theory of socialism. Communicative rationality is a special capability which makes possible to achieve mutual understanding between representatives of con-flicting social classes and develop universal norms of activity that allow for the sustainable development of society as a whole. This capability can be developed within a special institutional environment based on solidarity activities. Thus, each person will consider the successful implementation of the plans of others as a condition for the possibility of implementing their plans. This network of social institutions based on solidarity activity will be the realization of freedom in its social form. Within the framework of solidarity activities, new universal meanings of social development arise, which the communicative community will be able to formulate. Further, these meanings will replace the existing ones, which are focused on profit and unlimited economic growth, and thus transform the existing institutional system. (shrink)

After presenting a critique of both negative and positive freedom this essay pursues the relation between creativity and freedom, drawing upon Foucault, Deleuze and Nietzsche to do so. Once you have understood Nietzsche’s reading of a culturally infused nest of drives in a self, the task becomes easier. A drive is not merely a force pushing forward; it is also a simple mode of perception and intention that pushes forward and enters into creative relations with other drives when activated (...) by an event. You can also understand more sharply how the Foucauldian tactics of the self work. We can now carry this insight into the Deleuzian territory of micropolitics and collective action by reviewing his work on flashbacks and “the powers of the false.” If a flashback in film pulls us back to a bifurcation point where two paths were possible and one was taken, the powers of the false refer to the subliminal role the path not taken can play in the formation of creative action. As you pursue these themes you see that neither old, organic notions of belonging to the world nor do negative notions of detachment as such do the work needed. Deleuze’s notion of freedom carries us to the idea of cultivating “belief” in a world of periodic punctuations. The latter are essential to creativity and incompatible with organic belonging. They are also indispensable supports of a positive politics today. (shrink)

Male provisioning ability may have evolved as a “good dad” indicator through sexual selection, whereas male creativity may have evolved partly as a “good genes” indicator. If so, women near peak fertility (midcycle) should prefer creativity over wealth, especially in short-term mating. Forty-one normally cycling women read vignettes describing creative but poor men vs. uncreative but rich men. Women’s estimated fertility predicted their short-term (but not long-term) preference for creativity over wealth, in both their desirability ratings of individual men (...) (r=.40, p<.01) and their forced-choice decisions between men (r=.46, p<.01). These preliminary results are consistent with the view that creativity evolved at least partly as a good genes indicator through mate choice. (shrink)

ABSTRACTThis paper investigates the relationship between Helmholtz's formulation of the principle of the conservation of force and the two principles well known in rational mechanics as the principle of vis viva and the principle of the conservation of vis viva. An examination of the relevant literature from Leibniz to Duhamel reveals both Helmholtz's indebtedness to that tradition and his creative refashioning of it as he endeavoured to craft an argument that would both prohibit the construction of a perpetuum mobile (...) and the efficacy of a supposed vital force and demonstrate the necessity of an ontology of mass points subject to attractive and repulsive central forces depending solely on distance. (shrink)

This article explores some of the key dynamics of the UK fashion sector as an example of a post-industrial, urban based, cultural economy comprising of a largely youthful female workforce. It argues that the small scale, independent activities which formed the backbone of the success of British fashion design as an internationally recognized phenomenon from the mid 1980s to the mid 1990s, represented a form of female self-generated work giving rise to collaborative possibilities and co-operation. However without an effective lobby (...) or association (despite the expansion of the fashion media) and under conditions of rapid individualization and in an increasingly harsh climate of neo-liberalization, this creative economy has been overtaken and virtually demolished by the joint forces of a re-vitalized high street fashion culture and the aggressive presence of corporate fashion (‘Prada-ization’). While the UK government celebrates the growth of the cultural economy, it also overlooks the processes making the livelihoods of its predominantly female workforce either untenable or else requiring de-specialization and ‘multi-tasking’. (shrink)

This essay presents a reading of Nietzsche's untimely consideration On the Use and Disadvantage of History for Life that reevaluates the importance of animality and animal forgetfulness in Nietzsche's conception of history. It argues that the novelty of Nietzsche's essay On the Use and Disadvantages of History for Life is contained in the insight that animal is prior and primordial to human memory; that life is historical through and through because it is forgetful through and through. Furthermore, it contends that (...) the perspective of animal forgetfulness reveals that memory is an artistic force, and, as a consequence, historiography must be understood as an artwork rather than a science, concerned with interpretation rather than the factual representation of the past. Dieser Artikel vertritt die These, dass die Originalität von Vom Nutzen und Nachthiel der Historie für das Leben darin besteht, das tierische, Vergessen als die Bedingung und Möglichkeit des menschlichen Erinnerns festgestellt zu haben. Dies beduetet, dass das menschliche Leben nicht deswegen als geschichtlich zu begriefen ist, weil der Mensch sich erinnert, sondern weil er wie das Tier vergisst. Es wird dafür argumentiert, das es diese Einsicht in den Vorang des tierischen Vergessens ist, welche Nietzsche dazu geführt hat einerseits das menschliche Erinnerungvermögen als eine Künstlerische Kraft neu zu definieren und andererseits die Geschichtsschreibung als ein Kunstwerk, dass sich mit Interpretation und nich mit der faktischen Widerspiegelung der Vergangenheit befasst, neu ze bestimmen. (shrink)

The Covid-19 pandemic has resulted in disruption of work and other social activities of so many people. Some were forced to stay at home and many decided to stay at home for fear of being infected with the virus. This phenomenon brought different reactions and even mental stress to many people. However, there were people who turned this kind of tragedy into creative work. This paper discusses the experiences and insights of known plant lovers in Digos City, Davao del (...) Sur Philippines. Digos City is one of the heavily affected places during the series of earthquakes that jolted Davao del Sur last year. While people are still recovering, COVID-19 added an additional burden to the residents. In this paper, we argue that their decision to focus on gardening was not only to fight boredom and to divert their attention during lockdown but this was their way of maintaining their well-being by participating in the on-going work of creation and recreation and to rise from the tragedy. We further argue that it might be good that this creative work will go beyond home gardening and beyond pots and slowly extend to creative work for environmental protection and preservation through more active engagements into reforestation activities. (shrink)

Globally, performative spaces and venues of artistic creativity are governed by sets of conventions which impact the creative process. In this article, we discuss the experiences of four different creatives, operating in four different creative spaces. A poet and football player, a theatre producer and script writer, a gallery curator, and a ballet dancer have all shared their experiences of how traditionally white and heteronormative discourses regulate their respective creative spaces, the ways they conform to or transgress (...) these norms, and the ways their interactions with their chosen creative spaces affect their creativity. These creatives have identities which are somehow ‘marked’, somehow ‘different’ from the ‘norms’ Wales and South-West England. Whether members of the LGBTQ+ community, migrants to Wales from European and Caribbean countries, or being a different race to many around them, the creatives all have complicated interactions with the norms of their creative spaces within Wales and South-West England. These creative’s identities often clash with an entrenched lack of diversity and the broader expectations of British society. Despite, or perhaps, because of, these conflicts and tensions, each of the creatives discussed here found immense joy in the relationship between their identity/ies and their creative spaces and discovered how their own identity/ies are a central driving force for their creativity. Regardless of the differences of their mediums, each creative interviewed sought to centre their identity, to help them create art which can challenge dominant white and heteronormative discourses in wider British society. (shrink)

This article establishes the relevance of Anna-Teresa Tymieniecka’s work for understanding human communication. Tymieniecka’s cosmology, available in her four-volume series Logos and Life (1988–2000) and supplemented by prolific writings across several decades, articulates a ‘third phenomenology’ – a phenomenology of life. Her work fulfils Edmund Husserl’s original phenomenology of consciousness and Roman Ingarden’s second phenomenology of realism/idealism. Tymieniecka’s ontopoietic cosmology, which strenuously resists linear form, is interwoven with the possibilities of human communication. Her works explain life as the expansion of (...) logos: recursively the vital sphere initiates logos, forcing the existential sphere, concurrently prompting the social sphere of the human condition. The human station reveals meaning-bestowing functions: the creative-imaginative origin urges the aesthetic, moral, and intellective senses. Self-individualizing development concurrently desires communicative participation in life. The lived-body and sign/word allow one to re-establish ties to communal life after self-individualization. At the human ‘crown’, life recedes through an individual quest for spiritual development, inspired by a desire for transcendence. (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)

The exemplary value of individual moral and political acts provides a unique vantage point for inquiring into the role of the creative imagination in social life. Drawing on Kant’s concept of productive imagination, I argue that an act’s exemplification of a fitting response to a moral or political problem or crisis is comparable to the way that a work of art expresses the ‘thought’ or ‘idea’ to which it gives voice. The exercise of practical reason, or phronesis, is akin (...) to the way that a work augments the practical field of our experiences in this respect. For, like a work of art, the act produces the rule to be followed by means of the example that it sets. Accordingly, I explain how the injunction issuing from the act can be credited to the way that the singular case summons its rule. The singular character of the injunction issuing from the act thus brings to the fore the relation between reflective judgment and this injunction’s normative value. The conjunction of reason, action, and the creative power of imagination offers a critical point of access for interrogating the normative force of claims rooted in individual acts. By setting reason, action, and imagination in the same conceptual framework, I therefore highlight the creative imagination’s subversive role in countering hegemonic systems and habits of thought through promoting the causes of social and political struggles. (shrink)

The Morality of Defensive Force is a welcome addition to self-defence theorizing. It is creative, well written, and analytically rigorous. Quong not only explor.

In the resolution of the Central Committee of the CPSU entitled "On the Periodical Kommunist," the study of the dialectics of the forces and relations of production is assigned to the sphere of economics. It is no accident that the question is posed in this way. Today, under conditions of restructuring, a concrete analysis of the economic connections, contradictions, and interactions of socialist society and of the real forms of manifestation of economic relations is more important than ever. The (...) [current] criticism of erroneous views, widespread in their time, about the exceptional character of the economic system of socialism that made it possible to "constitute" productive relations through the "creative force of the economic plan," is especially timely and substantive. However, a more general sociophilosophical study of the dialectics of the forces and relations of production is also necessary. Lenin's words have never lost their vital force: we cannot take up "particular questions without first solving the general question. …"' It is from these general sociophilosophical positions that we shall be examining some aspects of this topic that we think important. (shrink)

The COVID-19 pandemic has forced higher education institutions to shift their teaching activities from traditional face-to-face to online learning. This brings a great challenge to the creativity training of vocational college students, who not only learn theoretical knowledge but also cultivate technical skills. Therefore, it is very important to explore the influencing factors of online learning on students’ creativity during the epidemic. By relying on the related literature review, an extensive model is developed by integrating the expectation confirmation model, technology (...) task fit model, and the technology acceptance model to illustrate key factors that influence creativity. Based on the proposed model, theory-based hypotheses are tested through structural equation modeling employing empirical data gathered through a survey questionnaire of 229 students from different vocational colleges in China. In addition, to extend the analysis results, this paper performs a comparative analysis based on gender. The findings demonstrate that perceived ease of use and perceived usefulness significantly influence knowledge sharing; knowledge sharing significantly affects creativity. However, there is no substantial relationship between perceived usefulness and attitude, and no relationship between attitude and knowledge sharing. Moreover, a multi-group comparison shows that there is a significant gender difference between perceived ease of use and attitude. Based on the findings, theoretical and practical implications are discussed. (shrink)

Creativity and civil courage are major dimensions of an intellectual's authority and contribute towards the enrichment of democracy. This book develops a sociological account of civil courage and creative behaviour in order to enhance our understanding of the nature of intellectuals' involvement in society. Barbara A. Misztal employs both theoretical-analytic and empirical components to develop a typology of intellectuals who have shown civil courage and examines the biographies of twelve Nobel Peace Prize laureates, including Elie Wiesel, Andrei Sakharov and (...) Linus C. Pauling, to illustrate acts of courage which have embodied the values of civil society. She advances our understanding of the nature of intellectuals' public involvement and their contribution to social well-being. In the current climate of fear and insecurity, as governments are forced to deal with issues of increasing complexity, this is a pioneering sociological book with a highly original approach. (shrink)

With the COVID-19 pandemic, governments implemented successive lockdowns that forced employees to work from home to contain the spread of the coronavirus. This crisis raises the question of the effects of mandatory work from home on employees’ well-being and performance, and whether these effects are the same for all employees. In the present study, we examined whether working at home may be related to intensity, familiarity with WFH, employees’ well-being and creativity. We also examined whether the psychological profile of employees, (...) combining preference for solitude and associated personality variables from the Big Five, may influence the effects of WFH. The data were collected via an online survey from November 13th to December 15th 2020 among 946 employees from various organizations during the second lockdown in France. In addition to identifying two distinctive psychological profiles for employees having to WFH, results revealed that those with a “Solitary” profile reported higher loneliness at work, higher levels of stress, and lower levels of job satisfaction and work engagement than those with an “Affiliative” profile. It was also found that employees with a “Solitary” profile perceived themselves as less creative and produced objectively fewer ideas than individuals with an “Affiliative” profile. The present study suggests the necessity to distinguish the profiles of teleworkers and to offer a stronger support for the less affiliative employees when working from home. (shrink)

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not (...) disinterested or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

Studies of style can be approached from two directions: the end and the means. From the end point of view, a style is a cluster of features present in artifacts; scholars usually classify the features in products to differentiate styles. Similar approaches used to examine features for further exploring the nature of style, the degree between styles, and the systematic measurement within style were extensively covered in Chap. 3. From the means point of view, a style is a mode by (...) which designers’ personal and professional preferences are expressed, and studies attempt to deliberate the mode of expression to mark styles. Although most style researchers have studied both directions, their efforts cannot provide clear explanations of how a style is generated. That is because not enough research has been devoted to the study of the means used that create a style. This chapter begins to explore, through a case study, the aspects of style creation and the forces that generate a style. Studies of style approached from the means point of view conducted in various fields and the factors determining the generation of style are reviewed first. (shrink)

This essay, the last in a series, focuses on the relationship between Nietzsche’s mental illness and his philosophical art. It is predicated upon my original diagnosis of his mental condition as bipolar affective disorder, which began in early adulthood and continued throughout his creative life. The kaleidoscopic mood shifts allowed him to see things from different perspectives and may have imbued his writings with passion rarely encountered in philosophical texts. At times hovering on the verge of psychosis, Nietzsche was (...) able to gain access to unconscious images and the music of language, usually inhibited by the conscious mind. He reached many of his linguistic, psychological and philosophical insights by willing suspension of the rational. None of these, however, could have been communicated had he not tamed the subterranean psychic forces with his impressive discipline and hard work. (shrink)

Secondary education around the world has been significantly disrupted by covid-19. Students have been forced into new ways of independent learning, often using remote technologies, but without the social nuances and direct teacher interactions of a normal classroom environment. Using data from the School Attitudes Survey—which surveys students regarding the perceived level of difficulty, anxiety level, self-efficacy, enjoyability, subject relevance, and opportunities for creativity with regards to each of their school subjects—this study examines students' responses to this disruption from two (...) very different schools with two very different experiences of the pandemic. This paper reports on the composite attitudinal profiles of students in the senior secondary levels at each school. The findings challenged our expectation that the increased difficulty and anxiety caused by the disruption would reduce perceived opportunities for creativity. Indeed, our analyses showed that the students at both schools demonstrated generally positive attitudes toward their learning and strongly associated opportunities for creativity with other attitudinal constructs including enjoyability, subject relevance, and self-efficacy. These complex associations made by the students appear to have buffered the impacts of the disruption, and they may even have supported creative resilience. (shrink)

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)

Dealing with conflicts seems to be a great challenge in society today. But not only in society. Higher education displays an air of resoluteness with certainty and security that disguises the conflicts and the fear of conflicts in a substantial number of subjects. If not in a state of denial, higher education avoids taking up conflicts over issues, for learning. The detailed investigation of Tagore’s pedagogical writings, with a focus on the importance of conflicts in education, reveals a genuine embrace (...) of conflicts for education. Conflicts are natural and necessary for the development and change of both the individual and society and the start of a ‘creative imagination’ to solve the problems we face in life. Contradictions in conflicts are not incompatible incongruities that are irreconcilable and mutually exclusive, but to the contrary, in need of each other. Contradictions do not represent different worlds but are substantial parts of one world: together they form a unity. Conflicting forces are necessary to create harmony. Creativity, imagination, love, art, and critical encounters are key elements in Tagore’s practical education aimed at finding similarities among people instead of emphasizing differences. Relations between people over the Identity of people. In other words, we need conflicts to become creative and imaginative human beings. The paper continues discussing conceptual and practical issues that seem necessary to get the teaching of conflicts in education off the ground. On the conceptual level, in particular our dealing with uncertainty and fear, the valuation of conflict and the need for uncertainty-researching education. On a practical level, I propose a certain teaching model, a supportive curriculum, a way of choosing genuine conflicts for education and finally, I argue for specific support and education of teachers, acknowledging the vital role teachers play in delivering the education that we need. (shrink)

Worldwide, the COVID-19 pandemic has forced people to adapt quickly, and to reexamine interactions and responsibilities toward communities in creative ways. This paper presents a qualitative media analysis of 50 online news articles published between March 17th and August 6th, 2020 using the key-words “creativity” and “COVID-19.” Informed by a definition of creativity as actions that are considered both “new” and “appropriate”, articles describing a “creative action” were kept for analysis. These articles highlight creative responses to the (...) COVID-19 quarantine in various domains including architecture, fashion, and faith. In this paper, we discuss the themes derived during this analysis- “renewal and continuity” and “the multidimensionality of creativity” which elaborate and contextualize a perspective of socio-cultural creativity theory and propose two implications of this study. The first implication posits that creativity was an observable, cultural response to the COVID-19 pandemic. The second implication offers a broader concept of how cultural resources function as dynamic constraints or “affordances” within the Five A’s model of creativity. Discussion of further research through the lens of socio-cultural creativity is discussed. (shrink)