Creativity

In this paper, I argue that culture plays a pivotal role for understanding Nietzsche’s own normative commitments. My argument develops as follows: Section 2 shows that Nietzsche advances an ideal of self-cultivation (Bildung) which is derived from the existential role of culture, elevating a peculiar concept of artistic creativity to ground his perfectionist understanding of value. Section 3 traces Nietzsche’s image of Goethe as exemplar of creative excellence. I contend that Nietzsche portrays Goethe as a male genius, rendering his concept (...) of self-cultivation entrenched in the cultural imagery of his time. The fin de siècle was obsessed with the image of genius as well as the relationship of creativity and gender. Moreover, as towering figure of German culture after the founding of the German Empire in 1871, Goethe was a frequent example of creative genius. Section 4 deepens the discussion of the role of gender in Nietzsche’s concept of creativity, exploring how the essentialist gender psychology of his mature works curtails the creative potential of women and explains his dismissal of feminism. (shrink)

This paper seeks to answer the question: Can contemporary forms of artificial intelligence be creative? To answer this question, I consider three conditions that are commonly taken to be necessary for creativity. These are novelty, value, and agency. I argue that while contemporary AI models may have a claim to novelty and value, they cannot satisfy the kind of agency condition required for creativity. From this discussion, a new condition for creativity emerges. Creativity requires curiosity, a motivation to pursue epistemic (...) goods. I argue that contemporary AI models do not satisfy this new condition. Because they lack both agency and curiosity, it is a mistake to attribute the same sort of creativity to AI that we prize in humans. Finally, I consider the question of whether these AI models stand to make human creativity in the arts and sciences obsolete, despite not being creative themselves. I argue, optimistically, that this is unlikely. (shrink)

This chapter explores what it can mean to say that culinary products (i.e., recipes and their outputs) are creative. It answers this question by distinguishing between three different kinds of creativity (idle, productive, and super-productive creativity) and two different kinds of creative domains, locked-in and expandable ones. It argues that culinary products can be creative in the three different ways just mentioned and that, accordingly, the creative domain constituted by the culinary arts turns out to be an expandable one.

An often-overlooked characteristic of the human mind is its propensity to wander. Despite growing interest in the science of mind-wandering, most studies operationalize mind-wandering by its task-unrelated contents. But these contents may be orthogonal to the processes that determine how thoughts unfold over time, remaining stable or wandering from one topic to another. In this chapter, we emphasize the importance of incorporating such processes into current definitions of mind-wandering, and propose that mind-wandering and other forms of spontaneous thought (such as (...) dreaming and creativity) are mental states that arise and transition relatively freely due to an absence of constraints on cognition. We review existing psychological, philosophical and neuroscientific research on spontaneous thought through the lens of this framework, and call for additional research into the dynamic properties of the mind and brain. (shrink)

Common sense has it that some of the greatest achievements that are to our credit are creative, whether artistic or otherwise. But standard theories of achievement and merit struggle to explain them, since the praiseworthiness of creative achievements isn’t grounded in effort, quality of will, disclosing the agent’s values, or even reasons-responsiveness. I argue that it’s distinctive of artistic or quasi-artistic creative activity that it is guided by what I call aspirational aims, which are formulated in terms of evaluative predicates (...) (like painting something “moving” or engineering something “nifty”) whose descriptive realizers are not known in advance. Aesthetic creativity itself fundamentally consists in perceiving or conceiving of some modification of raw material or a medium as promoting or constituting a novel way of realizing the aspirational aim. Creative achievements like poems and paintings are then to our credit in virtue of being exercises of spontaneity that disclose a deep layer of our selves that is manifest in active perception of affordances, showing that there is something beautiful about the way we experience the world, as a Sally Rooney character puts it. As with other creditworthy achievements, what makes them difficult is that simply trying won’t suffice to make success likely – but unlike in many other cases, neither will trying hard, since we have no direct volitional or rational control over perceptual spontaneity. (shrink)

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)

A primary aim of mind-wandering research has been to understand its influence on task performance. While this research has typically highlighted the costs of mind wandering, a handful of studies have suggested that mind wandering may be beneficial in certain situations. Perhaps the most-touted benefit is that mind wandering during a creative-incubation interval facilitates creative thinking. This finding has played a critical role in the development of accounts of the adaptive value of mind wandering and its functional role, as well (...) as potential mechanisms of mind wandering. Thus, a demonstration of the replicability of this important finding is warranted. Here, we attempted to conceptually replicate results of a highly cited laboratory-based experiment supporting this finding. However, across two studies (N = 443), we found no evidence for the claim that mind wandering during a creative-incubation interval facilitates a form of creativity associated with divergent thinking. We suggest that our failed conceptual replication stems from an inadequate characterization of mind wandering (task-unrelated thought), and that there are good reasons to think that task-unrelated thought is unlikely to be causally related to creativity. Our results cast doubt on the claim that task-unrelated thought during an incubation interval enhances divergent creativity while also offering some prescriptions for how future research might further elucidate the cognitive benefits of mind wandering. (shrink)

This essay focuses on theories of creativity from six historical figures, while noting comparisons to several others. In Ancient Greece: (i) Plato advances the thesis that the poet is a passive vessel inspired by a muse. (ii) Aristotle replies with the antithesis that the poet creates through skilled activity. (iii) Longinus provides the synthesis. Plato is right that poets are passively inspired with original ideas – though the source is natural genius instead of some muse. But Aristotle is also right (...) that the poet must actively employ skill. In early modern Europe: (iv) Margaret Cavendish argues that through creativity women can enjoy some freedom and happiness despite oppression. (v) Alexander Gerard and Immanuel Kant both inherit the Longinian synthesis. Gerard says we form original ideas through remote associations. (vi) Kant notices that although the genius must be passive in the origination of ideas, she must also be active in the very same process, because she merits acclaim for her originality. Kant designs his theory of genius to resolve this Paradox of Creative Agency. (shrink)

Understandings of play are frequently tied to a sense of instinctual gratification—a something that must be completed, that all humans, young or old, should or need to partake in. Indeed, for many, play is characterised as a unique activity that stands apart from the ordinary and every day. While such assessments prefigure a clear demarcation between the fun of play and the more laborious, boring aspects of profane life, what this distinction alludes to is a greater sense of the creativity (...) that underlies play. Drawing from a Lacanian perspective, the following chapter will determine that an essential aspect of play and sport is the creativity it provides, namely, by considering how the act of creativity is intricately tied to the very lack that constitutes the Lacanian subject. To do so, the concept of sublimation is used to consider how the codified rules and regulations that sport both asserts and requires renders apparent the importance of the limit. Rather than conceiving of this limit as a barrier to creativity, what is revealed in sublimation is how this limit proves constitutive of our very creativity. That is, the ability to sublimate—to creatively perform unique displays of physical or artistic expression— lies in the mundanity and utter importance of the playful and sporting activity and, more importantly, the inherent restrictions and constraints these activities impose. It is in accordance with the limit that one’s creativity can expose an emancipatory potential in the context of play and sport. (shrink)

The recent remarkable success of generative AI models to create text and images has already started altering our perspective of intelligence and the “uniqueness” of humanity in this world. Simultaneously, arguments on why AI will never exceed human intelligence are ever-present as seen in Landgrebe and Smith (2022). To address whether machines may rule the world after all, this paper zooms in on one of the aspects of intelligence Landgrebe and Smith (2022) neglected to consider: creativity. Using Rhodes four Ps (...) of creativity as a starting point, this paper evaluates the creative ability in visual generative AI models with respect to the state of the art in creativity theory. The most part of the reflective evaluation is performed through a case study in generating illustrations of dogs using the generative AI tool Midjourney. (shrink)

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

Michael T. Stuart (2021 and 2022) has proposed imagination as an intellectual dual‐process virtue, consisting of imagination1 (underwritten by cognitive Type 1 processing) and imagination2 (supported by Type 2 processing). This paper investigates the consequences of taking such an account seriously. It proposes that the dual‐process view of imagination allows us to incorporate recent insights from virtue epistemology, providing a fresh perspective on how imagination can be epistemically reliable. The argument centers on the distinction between General Reliability (GR) and Functional (...) System Reliability (FSR), for example in relation to Kengo Miyazono and Uko Tooming's (2023) argument for epistemic generativity. Furthermore, the paper claims that the dual‐process virtue account enables us to integrate a wide range of findings from the literature on epistemology and imagination. Moreover, it suggests a novel way to distinguish the virtues of creativity and imagination and presents a case for viewing imagination as a virtue rather than a skill. (shrink)

This work was written for the Midlands Conference of Critical Thought which took place on 5–6th April 2024 at Nottingham Trent University. It was presented for a session on productivity, process, and the value of making, organised by the Vienna Contemporary Art Space. The work provides an overview of two of the presenter’s essays, Content and Operation and Instinct and Intelligence, to show how the process of philosophy can be the subject matter of philosophical works.

Historically left to the margins, the topics of imagination and creativity have gained prominence in philosophy of science, challenging the once dominant distinction between ‘context of discovery’ and ‘context of justification’. The aim of this chapter is to explore imagination and creativity starting from issues within contemporary philosophy of science, making connections to these topics in other domains along the way. It discusses the recent literature on the role of imagination in models and thought experiments, and their comparison with fictions. (...) It then turns to the importance of constraints on imaginings in the scientific domain, as well as whether constraints can hinder creativity. The second part of the paper focuses on the social dimensions of science. It considers imagination and creativity of scientific communities, asks whether the institution of science promotes creativity (and whether we want it to) or if it encourages conservativeness, and ends with a reflection on the politics of imagination and creativity in science. (shrink)

This paper offers a critical survey and analysis of empirical studies on creativity, with emphasis on how imagination plays a role in the creative process. It takes as a foil the romantic view that, given features like novelty, incubation, and insight, we should be skeptical about the prospects for naturalistic explanation of creativity. It rebuts this skepticism by first distinguishing stages or operations in the creative process. It then works through various behavioral and neural studies, and corresponding philosophical theorizing, that (...) concern the preparation, generation, insight, and evaluation stages of creative processes. The result is not a complete explanation of creativity, but it identifies an explanatory path towards such an explanation, including the features of creativity that motivate that skepticism. (shrink)

An important topic in the ethics of technology is the extent to which recent digital technologies undermine user autonomy. Supporting evidence includes the fact that recent digital technologies are known to have an impact on attention, which balances "bottom-up" and "top-down" influences on cognition. As described in numerous papers, these technologies manipulate bottom-up influences through cognitive fluency, intermittent variable rewards, and other techniques, making them more attractive to the user. We further reason that recent digital technologies reduce the user’s ability (...) to exert top-down attention due to the scale of the content—they provide far more content at a much faster pace than other technologies, which over time reweights the balance of attention in favor of bottom-up influences. After reviewing evidence for these effects, including their temporal duration, we consider their downstream effects on both autonomy and creativity. We find that while the impact of recent digital technologies on top-down attention may allow for more idea generation, that creativity also depends on control, which is undermined by these technologies. We are more circumspect with autonomy, reasoning that in certain cases it might not make sense to see user autonomy as harmed through these effects. We conclude with other ways that recent digital technologies may improve creativity, which may act as an offset to the detrimental impacts of these technologies. (shrink)

The recent wave of generative AI (GAI) systems like Stable Diffusion that can produce images from human prompts raises controversial issues about creatorship, originality, creativity and copyright. This paper focuses on creatorship: who creates and should be credited with the outputs made with the help of GAI? Existing views on creatorship are mixed: some insist that GAI systems are mere tools, and human prompters are creators proper; others are more open to acknowledging more significant roles for GAI, but most conceive (...) of creatorship in an all-or-nothing fashion. We develop a novel view, called CCC (collective-centered creation), that improves on these existing positions. On CCC, GAI outputs are created by collectives in the first instance. Claims to creatorship come in degrees and depend on the nature and significance of individual contributions made by the various agents and entities involved, including users, GAI systems, developers, producers of training data and others. Importantly, CCC maintains that GAI systems can sometimes be part of a co-creating collective. We detail how CCC can advance existing debates and resolve controversies around creatorship involving GAI. (shrink)

Artificial intelligence (AI) technologies are used in various domains of human activities, and one of these domains is scientific research. Now, researchers in many scientific areas try to apply AI technologies to their research and automate it. These researchers claim that the ‘automation of science’ will liberate people from non-creative tasks in scientific research, and radically change the overall state of science and technology so that large-scale innovation results. As I see it, the automation of science is remarkable in another (...) respect: since science is one of the most distinctive human activities, the tendency of automating it prompts us to reconsider the aspects of our humanity itself. One of these aspects is concerned with human creativity, on which this article focuses. In this article, I address two questions concerning the automation of science: first, ‘Can AI makes creative discovery?’; second, ‘What implications may the automation of science have on science and society?’. Scientific discovery is said to be one of the most creative phases of scientific research. I show that, though there are no reasons in principle why AI could not make creative discovery, we do not at present have enough knowledge how to realize it. If the automation of science nevertheless proceeds, the cultural values science as a creative activity has might be reduced, and it might alter the state of scientific community and its relationship with society in some undesirable way. Therefore, I conclude, we need to specify desirable ways of introducing AI technologies into science and devise measures against demerits of automating science. (shrink)

Creativity is often conceived in terms of insight, innovation, and invention realized through technical mastery and skill. Challenging this individualistic model are “inventions” like writing, something that surely gave no clue to the form it would ultimately take—script—or the ways in which it would reorganize behaviors and brains in the cognitive state known as literacy. Here writing is analyzed as a tool used collectively and collaboratively. Collective, collaborative use enabled the tool to become increasingly effective at eliciting specific behavioral and (...) psychological responses. Collective, collaborative use also subjected the tool to the combined force of the individual variability represented by different user and material combinations over time. Combined variability influenced tool form toward features reflecting both the average behavioral, physiological, and psychological capacities of the tool-using community and points of maximal usability. The result offers a new model of creativity, one based not on the individual but on collective, collaborative use and incremental change in behaviors and brains, materially accumulated and redistributed between generations. The model presents aspects of human innovation that escape the individualistic model by focusing on ordinary tool-using behaviors and sustained use within social groups as the critical elements. (shrink)

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

In popular imagination creativity requires us to surrender control. Yet, attention is at the heart of control, and many studies show attention to play a key role in the creative process. This is partly due to the selective nature of attention—creative cognition consists of two phases, idea generation and idea evaluation, and selective processes are essential for both phases. Here, we investigate attentional (i.e., selective) mechanisms underlying each phase, using the framework of two major attention taxonomies: top-down/bottom-up and internal/external attention. (...) We argue that creative cognition is supported by a dynamic interplay between the typically opposing sides of each taxonomy. Further, we argue that this dynamic relationship is reflected in interactions across three large-scale brain networks: the default mode (DMN), frontoparietal control (FPN), and salience (SN) networks. Our review of the evidence suggests that creative cognition is best achieved through the flexible use of multiple forms of attention, rather than through reduced attention. We thus propose a two-dimensional space, including one dimension for top-down/bottom-up and another for internal/external attention, which can sufficiently capture the flexibility and diversity of attentional mechanisms underlying different stages and components of creative cognition. (shrink)

This chapter summarizes the conceptual foundations and research on emotional creativity. Emotional creativity is defined as a pattern of cognitive abilities and personality traits related to originality and appropriateness in emotional experience. This construct pervades human creative performance and represents an important link between emotional experience and cognitive processes. Empirical research in this field has revealed various links of emotional creativity to personality variables (e.g., openness to experience), positive affect, fantasy proneness, coping strategies, post-traumatic growth, better self-understanding, and one’s engagement (...) in practicing creative leisure activities. In the applied settings, emotional creativity has been found to be positively related to the intrinsic motivation of employees, the innovative performance of employees, teaching efficacy, and an increased awareness of professional roles. Interestingly, the available meta-analysis of past studies revealed that women showed significantly higher emotional creativity than men. Emotional creativity has also been found to be lower in older adulthood compared to younger age. Because the levels of emotional creativity were found to be sensitive to the decline of cognitive functions in older adults, their decrease can be considered as one of the indicators of cognitive aging. Recent research in clinical neuropsychology has also revealed that older adults in the early stages of Parkinson’s disease showed decreased emotional creativity compared to healthy older adults. (shrink)

Discoverability: the urgent need of an ecology of human creativity from the prolific Lorenzo Magnani is worthy of direct attention. The message may be of special interest to philosophers, ethicists and organizing scientists involved in the development of AI and related technologies which are increasingly directed at reinforcing conditions against which Magnani directly warns, namely the “overcomputationalization” of life marked by the gradual encroachment of technologically “locked strategies” into everyday decision-making until “freedom, responsibility, and ownership of our destinies” are ceded (...) and we, in parallel, build a future fit for artifacts over human beings. Professional educators - teachers and administrators serious about teaching - and policy-makers including the concerned public, parents and social activists concerned about the effects of technologies on development and well-being may benefit, as well. (shrink)

Perhaps a part of what makes expertise so inspiring to the curious researcher is the possibility of appropriating the structural components of skilled action to draw a roadmap towards their achievement that anyone might be able to follow. Accordingly, the purpose of this essay is to shed light upon the role that creativity plays in the production and environment of skilled action to that foregoing end. In doing so, I suggest that the lessons to be learned from recent empirical research (...) on creativity has much to offer to the cognitive science of skill and expertise. Experts are able to bring their intelligence to bear in controlling fast and seemingly automatic actions by utilizing a form of control often called ‘intelligent automaticity.’ In this spirit, I argue that the environment of intelligently automatic action control curates a similarly ideal environment for the processes of creativity. Moreover, insofar as creativity is ideally operative within the environment of expert action control, I argue further that creativity functions as one representative form of ‘intelligence’ embedded within otherwise fluid, and automatic expert actions. Creativity is able to do so even without conscious representation through the powers of incubated cognition. (shrink)

In this Element, we’ll explore the nature of both imagination and creative thinking in an effort to understand the relation between them and also to understand their role in the vast array of activities in which they are typically implicated, from art, music, and literature to technology, medicine, and science. Focusing on the contemporary philosophical literature, we will take up several interrelated questions: What is imagination, and how does it fit into the cognitive architecture of the mind? What is creativity? (...) Is imagination required for creativity? Is creativity required for imagination? Is a person simply born either imaginative or not (and likewise, either creative or not), or are imagination and creativity skills that can be cultivated? And finally, are imagination and creativity uniquely human capacities, or can they be had by nonbiological entities such as AI systems? (shrink)

Mind-wandering seems to be paradigmatically unintentional. However, experimental findings have yielded the paradoxical result that mind-wandering can also be intentional. In this paper, we first present the paradox of intentional mind-wandering and then explain intentional mind-wandering as the intentional omission to control one’s own thoughts. Finally, we present the surrealist method for artistic production to illustrate how intentional omission of control over thoughts can be deployed towards creative endeavors.

This paper explores some aspects of the scientific study of creativity by focusing on intentional attempts to create instances of linguistic humour. We argue that this sort of creativity can be accounted for within an influential cognitive approach but that said framework is not a recipe for producing novel instances of humour and may even preclude them. We start by identifying three great puzzles that arise when trying to pin down the core traits of creativity, and some of the ways (...) taken by Cognitive Studies in this quest. We then consider what we call 'creative humour', which exhibits the core features of the aforesaid creativity. We then explore how a key cognitive approach to human communication can account for creative humour. We end by drawing lessons and highlighting limitations to cognitive approaches to creativity. (shrink)

This study examined the effects of mood and risk-taking on divergent and convergent thinking using a Q-learning computation model. The results revealed that while mood was not significantly related to divergent or convergent thinking (as creative thinking types), risk-taking exerted positive effects on divergent thinking in the face of negative rewards. The results were consistent with the representational change theory in insight problem solving. Although this theory accounts directly for insight, the underlying idea of going beyond current contexts and implicit (...) constrains could be applied to creative thinking as well. The results indeed accounted for the relevance of this theory to divergent thinking. The current study is one of the first empirical studies simultaneously examining the role of mood and risk-taking in creativity. In particular, no related studies exist that took a computational approach to estimate the relevant parameters in the framework of dynamic optimization. Our Q learning model enables to distinguish and identify the different roles of mood and risk-taking in updatingQvalues and making decisions. (shrink)

By offering an original elucidation of the notion of the imagination in the writings of Immanuel Kant, Johann Fichte, and Cornelius Castoriadis, this book addresses and brings to the fore the significance of the imagination as the ontological source of human creation.

This philosophical paper examines the Darwinian account of creativity as a model for assessing computational creativity. It will first establish a Darwinian account of creativity using Simonton’s model. It will then apply this model to popular image-producing AI, Generative Adversarial Networks, and the promising Creative Adversarial Network, both used in the computational production of ‘artworks’. The paper will argue that these networks are compatible with a Darwinian account of creativity, due to the presence of blind variation within the networks, a (...) key component of Simonton’s model. The paper will then address some initial objections. The aim of this paper will ultimately be to assess whether the AI systems are compatible with the Darwinian model of creativity, and in the process explore Darwinian creativity as a potential standard for testing computational creativity. (shrink)

Academic freedom has often been defended in a progressivist manner: without academic freedom, creativity would be in peril, and with it the advancement of knowledge, i.e. the epistemic progress in science. In this paper, I want to critically discuss the limits of such a progressivist defense of academic freedom, also known under the label ‘argument from truth.’ The critique is offered, however, with a constructive goal in mind, namely to offer an alternative account that connects creativity and academic freedom in (...) a way that goes beyond mere reference to epistemic progress and involves reference to the freedom to think independently as the freedom we mean when we point to creativity and when we point to academic freedom. The resulting causal independence account is not only epistemologically stronger than a progressivist account, it also allows to counter the curbing of academic freedom in the name of progress. The latter becomes key, for instance, when authoritarian political regimes limit or negate academic freedom with reference to an epistemic progress suitably defined for that regime. (shrink)

The main purpose of this dissertation is to examine critically and discuss the role of imagination in science and religion, with particular emphasis on its possible epistemic, creative, and meaning-making functions. In order to answer my research questions, I apply theories and concepts from contemporary philosophy of mind on scientific and religious practices. This framework allows me to explore the mental state of imagination, not as an isolated phenomenon but, rather, as one of many mental states that co-exist and interplay (...) in our cogntive architecture. Based on the philosophical discourse of philosophy of mind, four types of imagination are indentified and conceptualized: sensory, propositional, experiential, and creative imagination. These categories are then employed on five phenomena that can be found in scientific and religious environments: metaphors, models, thought experiments, aspect perception, and - in the religious case - rituals. In relation to the concept of religious "seeing" I consider how imaginings may influence visionary experiences and visualization, and compare these phenomena with cases of scientific visualization and eureka experiences. In regard to scientific and religious models, a distinction is made between, on the one hand, two notions of truth and, on the other hand, truth-independent meaning-making. In light of these categories, I differentiate between, and critically discuss, the use of imagination in doxastic, non-doxastic and fictionalist accounts. In light of this investigation, I formulate and defend the position of interactivism, which acknowledges a constant interplay between different attitudes and mental states. In my examination of rituals and scientific and religious thought experiments, special attention is given to the mental capacity to recreate the experiences that are entailed in an imagined scenario. At the end of the investigation, I consider the possible impact that my study might have on how we view science and religion as well as the dialogue bewteen these two fields. (shrink)

A fundamental question for philosophy of science asks, How is knowledge of the world created? A pragmatist approach is constructed to show how discovery and justification are tightly related during the creation of scientific knowledge. Procedural abduction, at the scientific level of Strict Abduction and higher, integrates the learnable and the logical quite thoroughly. Discovery and justification are functionally fused together within the organized process of procedural abduction by scientific communities. Four questions posed at the start are answered by this (...) pragmatist philosophy of science as follows. Is scientific creativity methodologically related to scientific justification? Answer: scientific creativity is integral to abductive procedures yielding scientific justification. Can a distinction between genuine science and pseudo-science be clearly defined? Answer: genuine science is distinguished by the application of procedural abduction at the level of Strict Abduction or higher. Does scientific knowledge achieve the legitimacy of scientific realism? Answer: procedural abduction legitimates the credibility of highly-confirmed hypotheses and hence justifies scientific realism. How are scientific communities responsible for establishing scientific knowledge? Answer: scientific communities using procedural abduction realize scientific knowledge. (shrink)

The pervasive nature of social media can result in excessive use and addiction, but whether excessive use of social media is good or bad for individuals' creativity is unclear. This study explored the direct and indirect impact of excessive use of WeChat on individuals' creativity in workplace, focusing on how excessive use of WeChat promotes or restrains creativity through knowledge sharing and psychological strain. Based on the person–environment fit model and motivation theory, this study examined the three paths of excessive (...) WeChat use affecting individuals' creativity in workplace. We used the structural equation model to test our research model. A survey of 364 employees revealed that excessive WeChat use directly promotes creativity and indirectly improves creativity via knowledge sharing, but excessive WeChat use does not lead to psychological strain. These findings, obtained by theoretically and empirically investigating the positive outcomes of excessive WeChat use, suggest an upside to excessive WeChat use. The implications and limitations of this study and future research on excessive-use behavior are also discussed. (shrink)

Wonder can be found in human creativity as well as in nature. While one version of belief in inspiration precludes human creativity, another presupposes it. Margaret Boden, however, suggests that creativity is continuous with generic human powers, and arises through breaking recognised rules. Problems are raised for this latter view. It needs to be added that creativity commonly involves participation in a tradition of skill or craftsmanship, and in a creative community. Further, the continuity approach is argued to be consistent (...) with a version of the inspiration approach, according to which the Creator can communicate through minds reflective of his/her creative imagination, as suggested by Austin Farrer. (shrink)

Mahadevan (2018, AAAI Conference. https://people.cs.umass.edu/~mahadeva/papers/aaai2018-imagination.pdf) proposes that we are at the cusp of imagination science, one of whose primary concerns will be the design of imagination machines. Programs have been written that are capable of generating jokes (Kim Binsted’s JAPE), producing line-drawings that have been exhibited at such galleries as the Tate (Harold Cohen’s AARON), composing music in several styles reminiscent of such greats as Vivaldi and Mozart (David Cope’s Emmy), proving geometry theorems (Herb Gelernter’s IBM program), and inducing quantitative (...) laws from empirical data (Pat Langley, Gary Bradshaw, Jan Zytkow, and Herbert Simon’s BACON). In recent years, Dartmouth has been hosting Turing Tests in creativity in three categories: short stories, sonnets, and dance music DJ sets. In this post, I will provide a brief and non-exhaustive survey of some plausible responses to these imagination machines and the related prospects for our understanding of the imagination. (shrink)

In the past years, food has found itself a central focus of creativity in contemporary culture and a pinnacle of this trend has been the kind of culinary creativity displayed at Noma in Copenhagen. But what is culinary creativity? And what is distinctive about the kind of culinary creativity displayed at places like Noma? In this paper, I attempt to answer these two questions. Building up on pioneering work on creativity by Margaret Boden, I argue that creativity is a matter (...) of adding new valuable things to the world. I then distinguish three different ways a recipe can be creative, building up on different culinary trends. I then focus on the specific case of Noma and argue that what is specific about the kind of culinary creativity displayed at Noma is that it emphasizes the role that recipes can play in mediating our relation to the environment. (shrink)

Explanations of how the brain makes successful predictions should refer to abstracta. But, the mind/brain system is for more than prediction alone. Creativity also plays an important role in supply the mind/brain system with abstracta that serve a number of valuable ends over and above prediction.

A review of Marcus du Sautoy's 2019 book, THE CREATIVITY CODE: Art and Innovation in the Age of AI, Cambridge, MA: Belknap (Harvard) Press, 2019. ISBN: 9780674988132.

Time-motion studies revolutionized the design and efficiency of repetitive work last century. Wouldtime-ideastudies revolutionize the rules of intellectual/creative work this century? Collaborating with seven professional dancers, we set out to discover if there were any significant temporal patterns to be found in a timeline coded to show when dancers come up with ideas and when they modify or reject them. On each of 3 days, the dancers were given a choreographic problem (or task) to help them generate a novel, high (...) quality contemporary dance phrase. They were videoed as they worked on this task for sessions of 15, 30, and 45 min. At the end of each 15 min interval during each session, we had them perform the phrase they were creating. They recorded and then coded the video of themselves dancing during these sessions by using a coding language we developed with them to identify when ideas are introduced, modified, and rejected. We found that most ideas are created early and that though these early ideas are aggressively pruned early on, many still make it into the final product. The two competing accounts of creativity in design research make predictions for the temporal structure of creativity. Our results support neither account, rather showing a more blended version of the two. The iterative design view, arguably the dominant view, is that good ideas are the product of generating many ideas, choosing one fairly early, committing to it, and iteratively improving it. The “fail fast fail often” view is that good ideas are the product of rapidly generating and discarding ideas and holding back from early commitment to any one in particular. The result of holding back commitment, typically, is not that an idea is taken up later and then incrementally improved at the last minute, as much as that later designs are not completely novel, instead incorporating the best parts of the entire sequence of ideas. In our study, we found no evidence that one account or the other was more predictive for the domain of contemporary dance. The behavior of the dancers that we studied revealed elements of both, calling into question how predictive these theories are. (shrink)

Emotional creativity (EC) is a pattern of cognitive abilities and personality traits related to originality and appropriateness in emotional experience. EC has been found to be related to various constructs across different fields of psychology during the past 30 years, but a comprehensive examination of previous research is still lacking. The goal of this review is to explore the reliability of use of the Emotional Creativity Inventory (ECI) across studies, to test gender differences and to compare levels of EC in (...) different countries. Thirty-five empirical studies focused on EC were retrieved and the coefficients required for the meta-analysis extracted. The meta-analysis revealed that women showed significantly higher EC than men (total N = 3,555). The same gender differences were also found when testing scores from three ECI subscales, i.e. emotional novelty, emotional preparedness and emotional effectiveness/authenticity. When comparing EC in 10 different countries (total N = 4,375), several cross-cultural differences were revealed. The Chinese sample showed a significantly lower average ECI total score than all the other countries. Based on the integration of results, the avenues for future research on EC and the breadth of influence of the concept of EC across different fields of psychology are discussed. Keywords: Emotional Creativity, Review, Meta-Analyses, Meta-Analysis, Definition, Emotional Creativity Inventory, ECI, Reliability, Gender Differences, Cross-cultural, Cross-culture, Personality Traits, NEO Personality Inventory, Big Five, Extraversion, Agreeableness, Openness to Experience, Introversion, Neuroticism, Emotions, Creativity, Cognition, Cognitive Abilities, Affect, Fantasy, Coping, Alexithymia, Anhedonia, Self-understanding, Motivation, Creativeness, Innovative Performance, Creative Ability, Artistic Creativity, Creative Thinking. MeSH Headings: Emotions, Creativity, Affect, Affective Symptoms, Gender, Sex, Gender Identity, Cross-Cultural Comparison, Transcultural Studies, Temperament, Extraversion, Neuroticism, Anhedonia, Creativeness, Cognition, Cognitive Function, Artistic Creativity, Creative Ability, Creative Thinking. (shrink)

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

​Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process—one with (...) its own inscrutable principles of operation. Explaining Imagination upends that view, showing how, on closer inspection, the imaginings at work in hypothetical reasoning, pretense, the enjoyment of fiction, and creativity are reducible to other familiar mental states—judgments, beliefs, desires, and decisions among them. Crisscrossing contemporary philosophy of mind, cognitive science, and aesthetics, Explaining Imagination argues that a clearer understanding of imagination is already well within reach. (shrink)

This thesis is about the creativity in the East and the West, but I will mainly focus on the view of creativity in ancient Greek philosophy and Chinese philosophy. In the first chapter, I will explore the concept of creativity, the history of creativity, and the research on creativity, including the creativity research in psychology and philosophy, which will set the stage for further disscusion. Then in the second chapter, I will start from Plato’s dialogue, Ion, and explore the traditional (...) theory of creativity in ancient Greek philosophy, and claim that their creative ability is inspired by divine being. After this, I will show people’s view on creativity has undergone a process of demystification. During this process, people gradually began to resist the divine source and explore the world individually and independently. Meanwhile, the meaning of the concept of creativity has become broader, since it is not limited to poem any more, but it can be applied to other fields, such as art, science, and education. In the third chapter, I will turn to the modern creativity theory, including the lateral thinking and emotional creativity, and explore how to be creative with lateral thinking techniques and how to improve creativity through emotion regulation. After the examination in the West, I will turn to the theory of creativity in Chinese philosophy, by focusing on classical works in Daoism and Confucianism. In the fourth chapter, I will explore the view of creativity in philosophy of Daoism. I will claim that the creativity in Daoism is natural and cosmological, and there is no external creative source, so I will claim it is self- creativity, which is distinct from the ancient Western creativity pushed by external divine power. In the fifth chapter, I will argue that the creativity in Confucianism is evolutionary, which is unlike the revolutionary creativity in the West, and I will propose the way to become creative in Confucianism based on its classics, Analects, and then will explore the creativity principle and how the agent cultivate their creative ability in Confucianism. In the conclusion, I will summarize the difference between the creativity in East and West, from the perspective of the source of creativity, nature of creativity. I will claim that the source of creativity in ancient Greek philosophy is divine being, whereas there is no divine source for creativity in Chinese philosophy, therefore, the creativity in the West traditionally is inspired creativity, while the creativity in the East traditionally is natural and cosmological creativity. In addition, the concept of creativity in the West is revolutionary, whereas the concept of creativity in the East is evolutionary and the moral function of creativity is also addressed in Chinese philosophy. (shrink)

IMAGO TEXT 2020 ABSTRACTS -/- (German abstract below) The text presents a structural analysis and a logical theory of creativity. It argues that creativity emerges from the translation between two forms of precision, thus from the ubiquitous transformation between incompatible forms of thought and articulation. This transformation allows for unexpected surpluses and innovations, in conjunction with fallacies, waste and noise. Common myths and misconceptions – i.e. about creativity as a force in dire supply - are debunked, as are mistaken strategies (...) for creativity-enhancement. Instead, suggestions are offered as to how educational institutions can channel and enable ubiquitous energies – instead of investing much resources and effort into their suppression. -/- Der Text präsentiert eine strukturelle Analyse und eine logische Theorie der Kreativität. Er argumentiert, dass Kreativität aus der Übersetzung zwischen zwei Formen der Präzision hervorgeht, aus der allgegenwärtigen Transformation zwischen unvereinbaren Formen des Denkens und der Artikulation, was zu Überschuß und produktiven Abweichungen wie auch Abfall und Fehlschlüssen führt. Verbreitete Mythen und Missverständnisse – etwa zu Kreativität als Mangelware – werden diskutiert sowie Strategien zur Kreativitätsförderung. Es geht um Vorschläge, wie pädagogische Institutionen die stets vorhandenen kreativen Energien kanalisieren und ermöglichen können, anstatt sie mit viel Aufwand zu unterdrücken. (shrink)