Results for '*Creativity'

985 found
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  1. Alfonso Montuori.Creativity Knowledge - 1993 - World Futures 36:181.
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  2. Emotional Creativity: A Meta-analysis and Integrative Review.Martin Kuška, Radek Trnka, Josef Mana & Tomas Nikolai - 2020 - Creativity Research Journal 32.
    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 (...)
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  3. Fostering creativity and innovation without encouraging unethical behavior.Sherrie E. Human, David A. Baucus, William I. Norton & Melissa S. Baucus - 2008 - Journal of Business Ethics 81 (1):97-115.
    Many prescriptions offered in the literature for enhancing creativity and innovation in organizations raise ethical concerns, yet creativity researchers rarely discuss ethics. We identify four categories of behavior proffered as a means for fostering creativity that raise serious ethical issues: breaking rules and standard operating procedures; challenging authority and avoiding tradition; creating conflict, competition and stress; and taking risks. We discuss each category, briefly identifying research supporting these prescriptions for fostering creativity and then we delve into ethical issues associated with (...)
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  4. Creativity and the Machine. How Technology Reshapes Language.Fabio Fossa - 2017 - Odradek 3 (1-2):178-208.
    In scientific communications, journal articles, and philosophical aesthetic debates the words “art”, “creativity”, and “machine” are put together more and more frequently. Since some machines are designed to, or happens to, imitate human artistic creativity, it seems natural to use the same words to talk about human artists and machines which imitate them. However, the evolution of language in light of technology may conceal specific features of the phenomena it is supposed to describe. This makes it difficult to understand what (...)
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  5.  77
    Creativity: theory, history, practice.Rob Pope - 2005 - New York: Routledge.
    Creativity: Theory, History, Practice offers important new perspectives on creativity in the light of contemporary critical theory and cultural history. Innovative in approach as well as argument, the book crosses disciplinary boundaries and builds new bridges between the critical and the creative. It is organized in four parts: · Why creativity now? offers much-needed alternatives to both the Romantic stereotype of the creator as individual genius and the tendency of the modern creative industries to treat everything as a commodity. · (...)
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  6.  24
    The Creativity of the Hand.Gunter Gebauer - 2019 - Journal of Aesthetics and Phenomenology 6 (2):185-193.
    In this article I argue that, with the liberation of the hand from the tasks of locomotion in human evolution, unconscious use of the hands begins to create cultural forms. The first feature of the hands is its openness to the world. The second feature is its mediation between things and the body of which it is a part. The third feature is its self-referentiality. By touching, by giving form to a material, by gestures, and by establishing symbolic order in (...)
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  7.  61
    Creativity, group pedagogy and social action: A departure from Gough.James Evans, Ian Cook & Helen Griffiths - 2008 - Educational Philosophy and Theory 40 (2):330–345.
    The following paper continues discussions within this journal about how the work of Delueze and Guattari can inform radical pedagogy. Building primarily on Noel Gough's 2004 paper, we take up the challenge to move towards a more creative form of 'becoming cyborg' in our teaching. In contrast to work that has focused on Deleuzian theories of the rhizome, we deploy Guattari's work on institutional schizoanalysis to explore the role of group creativity in radical pedagogy. The institutional therapies of Felix Guattari's (...)
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  8. The creativity of undergoing.Timothy Ingold - 2014 - Pragmatics and Cognition 22 (1):124-139.
    Creativity is often portrayed as an X-factor that accounts for the spontaneous generation of the absolutely new. Yet the obsession with novelty implies a focus on final products and a retrospective attribution of their forms to unprecedented ideas in the minds of individuals, at the expense of any recognition of the form-generating potentials of the relations and processes in which persons and things are made and grown. In these processes, practitioners are characteristically called upon to copy the works of past (...)
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  9. Artistic Creativity and Suffering.Jennifer Hawkins - 2018 - In Berys Nigel Gaut & Matthew Kieran, Creativity and Philosophy. New York: Routledge.
    What is the relationship between negative experience, artistic production, and prudential value? If it were true that (for some people) artistic creativity must be purchased at the price of negative experience (to be clear: currently no one knows whether this is true), what should we conclude about the value of such experiences? Are they worth it for the sake of art? The first part of this essay considers general questions about how to establish the positive extrinsic value of something intrinsically (...)
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  10.  88
    Creativity and Philosophy.Berys Nigel Gaut & Matthew Kieran (eds.) - 2018 - New York: Routledge.
    An outstanding collection of specially commissioned chapters by leading philosophers who explore the relationship between philosophy and creativity. Essential readings for those interested in the philosophy of creativity, it is also an extremely useful resource for those in related subjects such as music, art and visual studies, literature and education.
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  11. Human creativity: Its cognitive basis, its evolution, and its connections with childhood pretence.Peter Carruthers - 2002 - British Journal for the Philosophy of Science 53 (2):225-249.
    This paper defends two initial claims. First, it argues that essentially the same cognitive resources are shared by adult creative thinking and problem-solving, on the one hand, and by childhood pretend play, on the other—namely, capacities to generate and to reason with suppositions (or imagined possibilities). Second, it argues that the evolutionary function of childhood pretence is to practice and enhance adult forms of creativity. The paper goes on to show how these proposals can provide a smooth and evolutionarily-plausible explanation (...)
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  12.  61
    On Creativity: A brainstorming session.Ulrich Bröckling - 2006 - Educational Philosophy and Theory 38 (4):513-521.
    The article problematizes in aphoristic condensation the heterogeneous concepts of creativity in philosophy, psychology and sociology and outlines their paradoxes. Creativity in these concepts is tied to the human potential to bring into being something new and to the capacity of drawing differences. In its contingency, creativity is ambivalent to a high degree—at one and the same time a desirable resource and a threatening potential. So on the one hand, creativity is meant to be mobilized and set free; on the (...)
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  13. Creativity, the Turing test, and the (better) Lovelace test.Selmer Bringsjord, P. Bello & David A. Ferrucci - 2001 - Minds and Machines 11 (1):3-27.
    The Turing Test is claimed by many to be a way to test for the presence, in computers, of such ``deep'' phenomena as thought and consciousness. Unfortunately, attempts to build computational systems able to pass TT have devolved into shallow symbol manipulation designed to, by hook or by crook, trick. The human creators of such systems know all too well that they have merely tried to fool those people who interact with their systems into believing that these systems really have (...)
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  14.  99
    Moral creativity: Paul Ricoeur and the poetics of possibility.John Wall - 2005 - New York: Oxford University Press.
    In Moral Creativity, John Wall argues that moral life and thought are inherently and radically creative. Human beings are called by their own primordially created depths to exceed historical evil and tragedy through the ongoing creative transformation of their world. This thesis challenges ancient Greek and biblical separations of ethics and poetic image-making, as well as contemporary conceptions of moral life as grounded in abstract principles or preconstituted traditions. Taking as his point of departure the poetics of the will of (...)
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  15.  97
    Everyday creativity and the arts.Ruth Richards - 2007 - World Futures 63 (7):500 – 525.
    Everyday artistic creativity is downplayed in our schools, our lives, our culture. Yet here is an essential language of our lives, opening us to important ways of knowing, truth, beauty, and means for creative coping, as individuals and as cultures. Views of John Dewey and Suzanne Langer are each considered. A devaluation of artistic creativity may also reflect unacknowledged biases related to emotional "versus" intellectual knowing, gender stereotyping, science "versus" art, individualism "versus" interdependence, false stereotypes of creative "unhealth," and eminent (...)
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  16.  26
    Social creativity as modern form of realization of kommunar pedagogics ideas.N. P. Tsaryova - 2014 - Liberal Arts in Russia 3 (3):214.
    Article is devoted to consideration of development of ideas of collective creative education, features of a technique of the organization of collective creative affairs, a technique role in social creativity. The comparative analysis of the organization of collective creative business and the social project is presented in article, the characteristic of the main manifestations of social creativity is given.
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  17.  29
    Everyday Creativity and New Views of Human Nature: Psychological, Social, and Spiritual Perspectives.Ruth Richards (ed.) - 2007 - American Psychological Association.
    Though active in the arts herself, Dr. Richards (psychology, Saybrook Graduate School, San Francisco; psychiatry, Harvard Medical School; McLean Hospital, Belmont, Massachusetts) views creativity more broadly and as essential to survival. As someone who helped break new ground in the assessment of creativity in the general population, she introduces 13 chapters in which interdisciplinary thinkers probe the "originality of everyday life" in individual and societal contexts. Perspectives range from Piaget's developmental stages and the more positive aspects of television viewing to (...)
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  18. The creativity of action.Hans Joas, Jeremy Gaines & Paul Keast - 1998 - Sociological Theory 16 (3):282.
    Hans Joas is one of the foremost social theorists in Germany today. Based on Joas’s celebrated study of George Herbert Mead, this work reevaluates the contribution of American pragmatism and European philosophical anthropology to theories of action in the social sciences. Joas also establishes direct ties between Mead’s work and approaches drawn from German traditions of philosophical anthropology. Joas argues for adding a third model of action to the two predominant models of rational and normative action—one that emphasizes the creative (...)
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  19.  21
    Creativity through Lateral Thinking Techniques.Konstantine Alexopoulos & Theodore Scaltsas - 2018 - Proceedings of the XXIII World Congress of Philosophy 68:11-17.
    Creativity is an emerging field of research for philosophy. A diachronic cultural value and fundamental human ability, creativity poses a host of questions that challenge us both on a theoretical and practical level. In this paper we explore creativity through the use of problem-solving lateral thinking techniques, as part of the C2Learn European Community research program. Lateral thinking is defined and then classified into three distinct kinds: conceptual, diagrammatic and emotive. Each kind is then explicated and its basic principles examined, (...)
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  20. Creativity, emergence of novelty, and spontaneous symmetry breaking.Radek Trnka, Martin Kuška & Inna Cabelkova - 2018 - In Radek Trnka, Martin Kuška & Inna Cabelkova, SGEM Conference Proceedings, Volume 5, Issue 2.1. pp. 203-210.
    The philosophy of mind concerns much about how novelty occurs in the world. The very recent progress in this field inspired by quantum mechanics indicates that symmetry restoration occurs in the mind at the moment when new creative thought arises. Symmetry restoration denotes the moment when one’s cognition leaves ordinary internalized mental schemes such as conceptual categories, heuristics, subjective theories, conventional thinking, or expectations. At this moment, fundamentally new, original thought may arise. We also predict that in older age, symmetry (...)
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  21. Creativity in language and expression : Merleau-Ponty and Saussure's principle of analogy.Anna Petronella Foultier - 2018 - Acta Structuralica: International Journal for Structuralist Research 2:47-68.
    For Merleau-Ponty, the question of phenomenological method was always connected to the problem of expression, in that the results of successful expression can for him amount to a catching of the world “in its nascent state”. In other words, elucidating the phenomena as they show themselves demands a certain amount of creativity to come through. But even though creative expression is without doubt of chief importance for Merleau-Ponty, it is not so easy to determine what exactly it consists in. Minimally, (...)
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  22.  36
    Situated Creativity: A Way out of the Impasse of the Heidegger-Cassirer Debate.Hans Joas - 2015 - History of European Ideas 41 (4):565-570.
    SummaryThis paper criticizes the dualism of “thrownness” and “spontaneity” in Peter Gordon's interpretation of the Heidegger-Cassirer debate and shows that American pragmatism and other currents of thought offer an alternative in the form of a conception of situated creativity.
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  23.  61
    Creativity, society, and the hidden subtext of gender: Toward a new contextualized approach.Riane Eisler & Alfonso Montuori - 2007 - World Futures 63 (7):479 – 499.
    Conventional categories of creativity are being deconstructed after the so-called postmodern debate. This article takes this process deeper, to what we will show is the hidden subtext of gender underlying how creativity has been socially constructed. It also proposes a more contextualized approach to creativity that takes into account both its individual and social dimensions and how this relates to what Eisler (1987) has called a partnership rather than dominator model of society.
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  24.  18
    On Creativity.Lee Nichol (ed.) - 1998 - Routledge.
    Creativity is fundamental to human experience. In _On Creativity_ David Bohm, the world-renowned scientist, investigates the phenomenon from all sides: not only the creativity of invention and of imagination but also that of perception and of discovery. This is a remarkable and life-affirming book by one of the most far-sighted thinkers of modern times.
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  25.  32
    Creativity and discovery.Mark Weinstein - 1993 - Journal of Philosophy of Education 27 (2):275–280.
    Mark Weinstein; Creativity and Discovery, Journal of Philosophy of Education, Volume 27, Issue 2, 30 May 2006, Pages 275–280, https://doi.org/10.1111/j.1467-975.
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  26.  36
    Creativity for Critical Thinkers.Anthony Weston - 2006 - Oup Australia & New Zealand.
    Creativity for Critical Thinkers is a how-to book in creative thinking, specifically orientated towards college courses in critical thinking and with a strong appeal to the general reader as well. It offers a vital but often overlooked set of thinking skills: multiplying options, brainstorming, lateral thinking, reframing problems, and many others. These skills are reinforced by applications and exercises covering a wide range of topics, from the annoyance of everyday life to the largest issues on the world stage.
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  27. Developing creativity: Artificial barriers in artificial intelligence. [REVIEW]Kyle E. Jennings - 2010 - Minds and Machines 20 (4):489-501.
    The greatest rhetorical challenge to developers of creative artificial intelligence systems is convincingly arguing that their software is more than just an extension of their own creativity. This paper suggests that “creative autonomy,” which exists when a system not only evaluates creations on its own, but also changes its standards without explicit direction, is a necessary condition for making this argument. Rather than requiring that the system be hermetically sealed to avoid perceptions of human influence, developing creative autonomy is argued (...)
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  28. Creativity for problem solvers.René Victor Valqui Vidal - 2009 - AI and Society 23 (3):409-432.
    This paper presents some modern and interdisciplinary concepts about creativity and creative processes specially related to problem solving. Central publications related to the theme are briefly reviewed. Creative tools and approaches suitable to support problem solving are also presented. Finally, the paper outlines the author’s experiences using creative tools and approaches to: Facilitation of problem solving processes, strategy development in organisations, design of optimisation systems for large scale and complex logistic systems, and creative design of software optimisation for complex non-linear (...)
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  29. Creativity of metaphor in perceptual symbol systems.Bipin Indurkhya - 1999 - Behavioral and Brain Sciences 22 (4):621-622.
    A metaphor can often create novel features in an object or a situation. This phenomenon has been particularly hard to account for using amodal symbol systems: although highlighting and downplaying can explain the shift of focus, it cannot explain how entirely new features can come about. We suggest here that the dynamism of perceptual symbol systems, particularly the notion of simulator, provides an elegant account of the creativity of metaphor. The elegance lies in the idea that the creation of new (...)
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  30.  55
    Can creativity be taught?Bruce Haynes - 2019 - Educational Philosophy and Theory 52 (1):34-44.
    The title question and two subsequent questions are considered in the context of rational creativity. A-rational creativity is not considered.Q. Can creativity be taught?A. It depends on wh...
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  31.  64
    Creativity, knowledge and curriculum in further education: A Bernsteinian perspective.Ron Thompson - 2009 - British Journal of Educational Studies 57 (1):37-54.
  32.  10
    Creativity and Master Trends in Contemporary Sociological Theory.José Maurício Domingues - 2000 - European Journal of Social Theory 3 (4):467-484.
    This article considers whether there exists today a movement of similar strength to the synthetic 'new theoretical movement' of the mid-1980s. The author argues that one main trend in sociological theory today is the notion of creativity and efforts to understand it conceptually. The contemporary growth of contingency, it is claimed, is closely related to this creative perspective. After examining Parsons's notion of 'double contingency', the article suggests that neither rationality nor normativity alone is able to dampen recognition of the (...)
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  33.  12
    Creativity Opportunities: When Non-science Helps o Answer Scientific Questions.Olesya I. Sokolova - 2023 - Epistemology and Philosophy of Science 60 (1):60-67.
    In this reply to the article by A.M. Dorozhkin and S.V. Shibarshina, the question of the creative nature of the randomization technique is considered, which is understood as a rejection of logically obvious ways to solve scientific problems, and involves the inclusion of an element of randomness, or uncertainty, in the scientific search procedure. Some doubt is expressed about the consequences of introducing the technique of epistemological randomization into the tactics of solving scientific problems. The author of the article emphasizes (...)
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  34.  10
    Creativity and (global, ethnic, host) cultural identifications: An examination in migrant and host national samples.Elia Soler Pastor, Magdalena Bobowik & Verónica Benet Martínez - 2022 - Frontiers in Psychology 13.
    We live in an era of unprecedented interconnectivity and challenges that require global mindsets and creative approaches. While research on global identification has increased in recent years, the question of whether it can facilitate creativity remains largely unexplored. Moreover, despite the evidence linking multicultural experiences and global identities, migrant populations have been overly underrepresented in this area of research. We examine the association between global culture identification and creativity in the Alternate Uses Test, across two different samples residing in Spain: (...)
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  35. Incubated cognition and creativity.Dustin Stokes - 2007 - Journal of Consciousness Studies 14 (3):83-100.
    Many traditional theories of creativity put heavy emphasis on an incubation stage in creative cognitive processes. The basic phenomenon is a familiar one: we are working on a task or problem, we leave it aside for some period of time, and when we return attention to the task we have some new insight that services completion of the task. This feature, combined with other ostensibly mysterious features of creativity, has discouraged naturalists from theorizing creativity. This avoidance is misguided: we can (...)
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  36. Creativity and constraint.David Novitz - 1999 - Australasian Journal of Philosophy 77 (1):67 – 82.
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  37.  75
    Artistic Creativity and Human Evolution – Art Theory and the Work of André Leroi-Gourhan.Konstantinos Vassiliou - 2013 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 58 (2):107-121.
    This article relates the work of André Leroi-Gourhan and mostly his two-volume ok Le geste et la parole to art theory. More specifically, it is concerned with central debates on artistic creativity and examines how Leroi-Gourhan can contribute to them. After presenting some general premises of Leroi-Gourhan’s work (I), its second part (II) argues that his theory on ›rhythms‹ supplies valuable insights to the debate of Kunstwollen and materialism. The third part (III) discusses his work within the debate of industrialization (...)
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  38.  34
    Chaos, creativity, and counseling: Aspects of a Transtheoretical model of the counseling process.James L. Frank‐Saraceni - 1998 - World Futures 51 (3):361-388.
    Counselors ask their clients to become creative in their personal lives and within their counseling process. The process of counseling is a creative process. Growth is necessary for effective improvement in the counseling process. This paper will examine creativity from the point of view of the affective experience of the creator, and the relationship of this experience to the client in counseling. The position here is that the process of counseling is both a creative process and one that involves tensions (...)
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  39.  20
    Psychology of Creativity and Pedagogy in the Context of the Asynchrony of Cultural Personality Layers.M. V. Ivanov - 2015 - Liberal Arts in Russia 4 (1):43.
    The article is devoted to problems of creative and reproductive strategies of modern Russian pedagogy with regard to the asynchrony of cultural personality layers of students. The asynchrony of cultural and psychological personality layers means that a system of personal attitudes consists of orientations that prevailed in different historical periods and therefore is able to combine both harmony and disharmony of interaction between them. Orientation on the reproduction or on the creativity has a particularly strong influence on the formation and (...)
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  40.  37
    Creativity through Autonomy: The Real Challenge of the Computer Art Today.Nikoleta Kerinska - 2023 - Balkan Journal of Philosophy 15 (1):69-76.
    This paper questions the notion of creativity found in certain artworks produced with A.I. technologies. The artistic examples concerned are: The Giver of names by David Rokeby, Oscar by Catherine Ikam and Louis Fléri, and Emotion Vending Machine by Maurice Benayoun. These artworks were selected because they stand out for their autonomous behavior in front of the human public. In this context, creativity is revealed as a consequence of the functional autonomy, which is very typical of these pieces of art. (...)
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  41.  89
    A journey into chaos: Creativity and the unconscious.N. C. Andreasen - 2011 - Mens Sana Monographs 9 (1):42.
    The capacity to be creative, to produce new concepts, ideas, inventions, objects or art, is perhaps the most important attribute of the human brain. We know very little, however, about the nature of creativity or its neural basis. Some important questions include how should we define creativity? How is it related (or unrelated) to high intelligence? What psychological processes or environmental circumstance cause creative insights to occur? How is it related to conscious and unconscious processes? What is happening at the (...)
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  42. Corporate Ethical Values, Group Creativity, Job Satisfaction and Turnover Intention: The Impact of Work Context on Work Response. [REVIEW]Sean Valentine, Lynn Godkin, Gary M. Fleischman & Roland Kidwell - 2011 - Journal of Business Ethics 98 (3):353 - 372.
    A corporate culture strengthened by ethical values and other positive business practices likely yields more favorable employee work responses. Thus, the purpose of this study was to assess the degree to which perceived corporate ethical values work in concert with group creativity to influence both job satisfaction and turnover intention. Using a self-report questionnaire, information was collected from 781 healthcare and administrative employees working at a multi-campus education-based healthcare organization. Additional survey data was collected from a comparative convenience sample of (...)
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  43.  3
    Reenvisioning Artistic Creativity: Modern / Postmodern Implications of Balzac’s “the Unknown Masterpiece”.Dalia Judovitz - 2020 - Studia Universitatis Babeş-Bolyai Philosophia:199-216.
    This study explores Honoré de Balzac’s iconic representation of artistic creativity in The Unknown Masterpiece by focusing on an unexamined aspect of his text, namely the seminal role played by critical reception and consumption in artistic production. This influential tale is examined in terms of its artistic and philosophical contributions to reenvisioning creativity by modern and postmodern critics and thinkers. Challenging the ideology of the artist as creative genius, this analysis targets the processes, labor and materials of artistic production and (...)
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  44.  95
    Creativity in Language.Paul Ricoeur - 1973 - Philosophy Today 17 (2):97.
  45.  1
    Creativity and Religiosity as a Problem of Philosophy of Russian Culture (Review on the book by Olga A. Zhukova “Creativity and Religiosity in Russian Culture. Philosophical Studies”. Moscow: Soglasie Publ., 2022. 594 p.). [REVIEW]Н.А Хренов - 2024 - History of Philosophy 29 (1):135-141.
    This review presents an analysis of the fundamental work “Creativity and religiosity in Russian culture. Philosophical Research” was written by the Russian philosopher and cultural scientist O.A. Zhukova who has been fruitfully researching the history of Russian culture and national thought for many years. The new book is the third part of a trilogy devoted to discussing the line of succession in Russian cultural and intellectual history, which is characterized by a religious understanding of creativity. The author formulates important theoretical (...)
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  46.  98
    Artistic creativity.John Hospers - 1985 - Journal of Aesthetics and Art Criticism 43 (3):243-255.
  47. Creativity: Progress and Potential.Calvin W. Taylor - 1964 - British Journal of Educational Studies 13 (1):115-115.
  48.  45
    Innovation and Creativity: Beyond Diffusion — On Ordered (Thus Determinable) Action and Creative Organization.Anders Michelsen - 2009 - Thesis Eleven 96 (1):64-82.
    The article confronts Cornelius Castoriadis's philosophy of 'the imaginary institution of society' with issues of innovation in a knowledge society and outlines a new notion of innovation as creative organization. It will take a critical approach to innovation from a historical perspective of postwar systems theory and introduce Castoriadis's philosophy as an interesting option in this regard. It proceeds in four parts: (a) First, it debates the limits of the commonplace metaphor of diffusion and adoption in today's debate on innovation. (...)
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  49. Creativity in art.Vincent Tomas - 1958 - Philosophical Review 67 (1):1-15.
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  50. Creativity and the new structure of science.Andrei Kirilyuk - manuscript
    A qualitatively new, much more liberal and efficient organisation of science is proposed and justified in connection with emerging international science structures, such as the European Research Council, and growing debates about further role and development of fundamental science. Although the ideas are expressed in terms of "common sense" arguments accessible to a "general" audience, they are based on the rigorous analysis within the recently advanced "universal concept of complexity", which can be applied, due to its universality, also to science (...)
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