One of the foremost scientists and thinkers of our time, David Bohm worked alongside Oppenheimer and Einstein. In Science, Order and Creativity he and physicist F. David Peat propose a return to greater creativity and communication in the sciences. They ask for a renewed emphasis on ideas rather than formulae, on the whole rather than fragments, and on meaning rather than mere mechanics. Tracing the history of science from Aristotle to Einstein, from the Pythagorean theorem to quantum mechanics, (...) the authors offer intriguing new insights into how scientific theories come into being, how to eliminate blocks to creativity and how science can lead to a deeper understanding of society, the human condition and the human mind itself. Science, Order and Creativity looks to the future of science with elegance, hope and enthusiasm. (shrink)

The philosophical understanding of scientific creativity cannot be limited to the analysis of cognitive abilities or ways of solving problems. It is always anthropologically-laden, based on a historically specific image image of a human being that acquires knowledge. The problem of creativity also articulates a well-known paradox of novelty: the new does not arise from the old, since it is significantly different from it, but it cannot arise from nothing, because then it remains incomprehensible. Paul Feyerabend criticizes such a “mysterianic” (...) concept of scientific creativity, which emphasizes its emergent character, i.e. its suddenness and inexplicability. The distance between subject and object, man and nature, knowledge and reality in this case remains insurmountable. To solve this problem, it is necessary to place creativity in the space between the uniqueness of the creative personality and the mechanisms of social recognition. This, in turn, requires rethinking of the ontological content of creativity, as well as the concept of “labor” with reference to its treatment by Karl Marx’ rethinking of it as the production of not only material goods, but also of the person itself. Moreover, creativity does not just form a person: it is a way of cultivating the entire social space. An unexpected move is provided by an appeal to a new social group – the precariat, which in science gives a lesson in openness to novelty and theoretical freedom. As a result, a deeper understanding of the social base of creativity arises, and a new strategy for the interaction of the scientific community with extra-paradigm groups and marginal individuals is being built. (shrink)

Very Good,No Highlights or Markup,all pages are intact.

The aim of this paper is to address the problem known as “the puzzle of imaginative” use, related to the ambiguities of an imagination that sometimes distances us from reality, but at other times, as for example in the use of scientific thought experiments, is used to understand some important aspects of the real world. The problem is closely related to that of imaginative constraints. It will be shown how, particularly in the scientific enterprise, the epistemic value of imagination depends (...) on the embodiment of imagination itself. The work of scientific imagination, understood as an ability, will be re-read through the most recent studies on Embodied Simulation. This will make it possible to grasp in the imaginative act the link between creativity and method that is essential in the scientific enterprise. (shrink)

This book explores different accounts of powers and abilities in early modern philosophy. It analyzes powers and abilities as a package, hopefully enabling us to better understand them both and to see similarities as well as dissimilarities. While some prominent early modern accounts of power have been studied in detail, this volume covers lesser-known thinkers and several early modern women philosophers. The volume also investigates early modern accounts of powers and abilities in a more systematic fashion than has been previously (...) done. By broadening its scope in these ways, the volume uncovers trends and tendencies in early modern thinking about powers and abilities that are easy to miss. The chapters explore how twenty-two early modern thinkers approached the following questions: What kind of entities are powers and abilities? Are they reducible to something categorical or not? What is the relation between powers and abilities? Is there a fundamental metaphysical difference between them or not? How do we know what powers objects have and what abilities agents have? Are human abilities in any way special? How do they relate to the abilities non-human animals have? And how do they relate to the powers of inanimate objects? Powers and Abilities in Early Modern Philosophy will appeal to scholars and advanced students working in the history of early modern philosophy, in metaphysics, and in the history of science. (shrink)

According to Mednick’s (1962) theory of individual differences in creativity, creative individuals appear to have a richer and more flexible associative network than less creative individuals. Thus, creative individuals are characterized by “flat” (broader associations) instead of “steep” (few, common associations) associational hierarchies. To study these differences, we implement a novel computational approach to the study of semantic networks, through the analysis of free associations. The core notion of our method is that concepts in the network are (...) related to each other by their association correlations - overlap of similar associative responses (“association clouds”). We began by collecting a large sample of participants who underwent several creativity measurements and used a decision tree approach to divide the sample into low and high creative groups. Next, each group underwent a free association generation paradigm which allowed us to construct and analyze the semantic networks of both groups. Comparison of the semantic memory networks of persons with low creative ability and persons with high creative ability revealed differences between the two networks. The semantic memory network of persons with low creative ability seems to be more rigid, compared to the network of persons with high creative ability, in the sense that it is more spread out and breaks apart into more sub-parts. We discuss how our findings are in accord and extend Mednick’s (1962) theory and the feasibility of using network science paradigms to investigate high level cognition. (shrink)

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

Scientific discovery is often regarded as romantic and creative - and hence unanalyzable - whereas the everyday process of verifying discoveries is sober and more suited to analysis. Yet this fascinating exploration of how scientific work proceeds argues that however sudden the moment of discovery may seem, the discovery process can be described and modeled. Using the methods and concepts of contemporary information-processing psychology (or cognitive science) the authors develop a series of artificial-intelligence programs that can simulate the (...) human thought processes used to discover scientific laws. The programs - BACON, DALTON, GLAUBER, and STAHL - are all largely data-driven, that is, when presented with series of chemical or physical measurements they search for uniformities and linking elements, generating and checking hypotheses and creating new concepts as they go along. "Scientific Discovery examines the nature of scientific research and reviews the arguments for and against a normative theory of discovery; describes the evolution of the BACON programs, which discover quantitative empirical laws and invent new concepts; presents programs that discover laws in qualitative and quantitative data; and ties the results together, suggesting how a combined and extended program might find research problems, invent new instruments, and invent appropriate problem representations. Numerous prominent historical examples of discoveries from physics and chemistry are used as tests for the programs and anchor the discussion concretely in the history of science. Pat Langley is an Associate Professor in the Department of Information and Computer Science at the University of California, Irvine.Herbert Simon is a Professor in the Departments of Psychology, Computer Science, and Philosophy at Carnegie-Mellon University. Gary L. Bradshaw is an Assistant Professor in the Department of Psychology and Institute of Cognitive Science at the University of Colorado, Boulder. Jan M. Zytkow is an Associate Professor in the Computer Science Department at Wichita State University. (shrink)

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.

In their own words, many of the world's foremost mathematicians discuss the art and practice of their work in this book, which shines a light on some of the issues of mathematical creativity. It is neither a philosophical treatise nor the presentation of experimental results, but a compilation of reflections from top-calibre working mathematicians. This approach highlights the creative aspects of the field, illustrates the dramatic variation by individual, and hopes to express the vibrancy of creative minds at (...) work. Organised alphabetically, this book is meant for a general audience and is best read by browsing. It can be used as a supplementary text in mathematics history and mathematics education courses. (shrink)

The notion of subjectivity with which the argument will be carried out may be defined as our ability to reflect critically, to think creatively and to act resolutely in our relation to society and nature. Some essential marks of subjectivity are illustrated through an example taken from the rescue operation conducted in the fall of 2010 for the miners trapped deep underground at the San Jose mine site in Chile for sixty-nine days. With the science and technology applied (...) in constructing the drilling rigs and making the capsule which lifted the trapped miners to freedom, ingenuity, the resilient sense of mission and perseverance of the rescue personnel, and the purposeful solidarity among the trapped miners are among the decisive factors contributing to the successful accomplishment of the rescue undertaking. At this critical juncture of the current global economic downturn, it is consequential for us to bring ourselves to reflect upon the seriousness of the predicament which all humanity is in. It is indeed time for intellectuals to rise up and share responsibility in keeping our world sustainable by setting purposeful and resolute subjectivity before themselves and coming forward to tenaciously find ways in which to renew ourselves as well as to achieving the continuing betterment of humanity. (shrink)

The notion of subjectivity with which the argument will be carried out may be defined as our ability to reflect critically, to think creatively and to act resolutely in our relation to society and nature. Some essential marks of subjectivity are illustrated through an example taken from rescue operation conducted in the fall of 2010 for the miners trapped in deep underground at the San Jose mine site in Chile for 69 days. With the science and technology applied (...) in constructing the drilling rigs and making the capsule which lifted up the trapped miners to freedom, ingenuity, the resilient sense of mission and perseverance of the rescue personnel, and the purposeful solidarity among the trapped miners are among the decisive factors contributing to the successful accomplishment of the rescue undertaking.At this critical juncture of the current global economic downturn, it is consequential for us to bring ourselves to reflecting on the seriousness of the predicament which all humanity is in. It is indeed time for the intellectuals to rise up to share responsibility in keeping our world sustainable by setting purposive and resolute subjectivity before themselves and coming forward to tenaciously find ways toward renewing ourselves as well as toward the continuing betterment of humanity. (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)

What is creativity and who exactly is creative? In this insightful and highly readable book, the author attempts to answer these questions by arguing that geographical millieux are hotbeds for creativity and renewal - places where pioneers in art, technology and science have gathered and developed their special abilities. In light of ongoing social and economic transformations, special attention is paid to the institutional settings in firms and universities. The goal is to identify those features which facilitate and (...) those which impede the creative process. Individual lives are illustrated through the autobiographies of hundreds of Nobel Laureates. Their life paths reveal the importance of geographic mobility and contact patterns for the development of creativity and international prestige. From these biographies we can also see how local millieux and schools have influenced many scientists"--Back cover. (shrink)

The main message of this volume is that the creative process of discovery is not a purely rational enterprise in the traditional sense which equates rationality with logical reasoning, yet it is a manifestation of a universal phenomenon ...

The associative theory of creativity states that creativity is associated with differences in the structure of semantic memory, whereas the executive theory of creativity emphasises the role of top-down control for creative thought. For a powerful test of these accounts, individual semantic memory structure was modelled with a novel method based on semantic relatedness judgements and different criteria for network filtering were compared. The executive account was supported by a correlation between creative ability and broad retrieval (...) class='Hi'>ability. The associative account was independently supported, when network filtering was based on a relatedness threshold, but not when it was based on a fixed edge number or on the analysis of weighted networks. In the former case, creative ability was associated with shorter average path lengths and higher clustering of the network, suggesting that the semantic networks of creative people show higher small-worldness. (shrink)

Review of Susan Haack Defending Science -- Within Reason: Between Scientism and Cynicism.

François Jacob, biologiste français et Prix Nobel, a souligné dans les années 1970 que les sciences, les technologies et leur cortège expérimental font intervenir " un jeu des possibles " et constituent pour cette raison " une machine à fabriquer de l'avenir ". Autrement dit, les activités scientifiques, médicales ou encore artistiques exigent que soient instaurés des dispositifs qui à la fois concrétisent et contrôlent la génération de connaissances nouvelles et de pratiques originales. Ce livre vise à explorer les articulations (...) multiples entre les activités créatives et leurs limites constitutives. Les articles posent la question des limites de la créativité à partir de perspectives philosophiques et sociologiques tout en se référant à des études de cas qui sont à l'interface entre sciences, arts et normes sociotechniques. Le livre est le résultat d'une recherche sur la créativité menée à l'IRIST (Institut de Recherches Interdisciplinaires sur les Sciences et la Technologie) à l'Université de Strasbourg. (shrink)

For evolutionary biologists, the concept of chance has always played a significant role in the formation of evolutionary theory. As far back as Greek antiquity, chance and "luck" were key factors in understanding the natural world. Chance is not just an important concept; it is an entire way of thinking about nature. And as Curtis Johnson shows, it is also one of the key ideas that separates Charles Darwin from other systematic biologists of his time. Studying the concept of chance (...) in Darwin's writing reveals core ideas in his theory of evolution, as well as his reflections on design, purpose, and randomness in nature's progression over the course of history.In Darwin's Dice: The Idea of Chance in the Thought of Charles Darwin, Curtis Johnson examines Darwin's early notebooks, his collected correspondence, and most of his published writing to trace the evolution of his ideas about chance in evolution. This proved to be one of Darwin's most controversial ideas among his reading public, so much so that it drew hostile reactions even from Darwin's scientific friends, not to mention the more general reader. The firestorm of criticism forced Darwin to forge a retreat, not in terms of removing chance from his theory--his commitment to it was unshakable--but in terms of how he chose to present his theory. Briefly, by changing his wording and by introducing metaphors and images, Darwin succeeded in making his ideas seem less threatening than before without actually changing his views. Randomness remained a focal point for Darwin throughout his life. Through the lens of randomness, Johnson reveals implications of Darwin's views for religion, free will, and moral theory. Darwin's Dice presents a new way to look at Darwinist thought and the writings of Charles Darwin. (shrink)

In a world becoming increasingly sensitive to the failings of narrow empiricism this book offers insights into creative and meaningful approaches to research. It explores ontological epistemology of participation as a new pathway of research as well as conceptualization of reality which goes beyond conventional methods such as participant observation and the familiar dualisms between qualitative and the quantitative and epistemology and ontology. Drawing on the editor's wide ranging network of creative scholars at work in the world of (...) academia and beyond Pathways of Creative Research: Towards a Festival of Dialogues brings together twenty-five insightful chapters each rich in insights into the role that creativity and dialogue play in the work researchers do. Drawing on both Western and Eastern approaches as part of a festival of dialogues, the book offers pathways of creative research that strives to understand the work of the non-dual in self, culture, society and the world. Pathways of Creative Research, the first volume in the trilogy of creative research which includes the subsequent volumes, Cultivating Pathways of Creative Research: New Horizons of Transformative Practice and Collaborative Imagination and Research as Realization: Science, Spirituality and Harmony, is not only a pioneering but also a monumental effort in our world of scholarship, thinking, practice and collaborative imagination which raises some of these vital and deeper questions of theory and practice and then overflows to an epochal and epic quest for rethinking and regenerating life, culture, society, polity and our fragile humanity. (shrink)

This is a reply to the article by A.M. Dorozhkin, S.V. Shibarshina “Epistemological Randomization, or On Creativity in Science”. The comprehension of the general philosophical problems of scientific rationality is inextricably linked with the creative development of the world. An actual philosophical position can be formed on the basis of the intersection of several alternative approaches. The first is connected with the understanding of rationality as a special style of thinking of the epoch, in which the coordinate system (...) of the worldview is set. Such rationality sets general ideas about the cognizability of the world, and forms methodological and theoretical scientific strategies. Rationality outlines the boundaries of a scientist’s creative thought. Addressing the problem of the rationality of scientific creativity involves the use of a second approach, on the basis of which we can talk about the use of a variety of logics in describing the world. At the same time, confidence in their connection with reality allows us to hope for the formation of a holistic description of the problem in the future. In this case, we are dealing with an act of cognitive activity, as a result of which our consciousness throws a rational construct as a network on a situation of uncertainty, explaining and mastering it – the picture of the world is ordered. According to the third position, the evaluation of scientific results is flexible, plastic in nature: what is perceived as methodologically erroneous today may turn out to be a scientific discovery tomorrow. Thus, it can be stated that the creative thinking of the researcher is inscribed in certain cultural conditions of understanding reality, and this situation has a rationally given meaning. At the same time, the human mind always strives beyond the limits of the definable and categorically set, with the help of rationality, progressively groping the boundaries of the unknown and going beyond the limits of the possible. (shrink)

How humans and technology evolve together in a creative partnership. In this book, Edward Ashford Lee makes a bold claim: that the creators of digital technology have an unsurpassed medium for creativity. Technology has advanced to the point where progress seems limited not by physical constraints but the human imagination. Writing for both literate technologists and numerate humanists, Lee makes a case for engineering—creating technology—as a deeply intellectual and fundamentally creative process. Explaining why digital technology has been so (...) transformative and so liberating, Lee argues that the real power of technology stems from its partnership with humans. Lee explores the ways that engineers use models and abstraction to build inventive artificial worlds and to give us things that we never dreamed of—for example, the ability to carry in our pockets everything humans have ever published. But he also attempts to counter the runaway enthusiasm of some technology boosters who claim everything in the physical world is a computation—that even such complex phenomena as human cognition are software operating on digital data. Lee argues that the evidence for this is weak, and the likelihood that nature has limited itself to processes that conform to today's notion of digital computation is remote. Lee goes on to argue that artificial intelligence's goal of reproducing human cognitive functions in computers vastly underestimates the potential of computers. In his view, technology is coevolving with humans. It augments our cognitive and physical capabilities while we nurture, develop, and propagate the technology itself. Complementarity is more likely than competition. (shrink)

The article offers a socio-historical approach to the problem of creative personality in polemic with the article by A.M. Dorozhkin and S.V. Shibarshina. Creative activity is considered not as a psychological process or an expression of cognitive abilities, but as a result evaluated by the professional scientific community and even by the entire society. The distinction between the psychological, historical and historical-epistemological interpretation of creativity is discussed. The authors argue that although the proposed approach has an explanatory potential (...) for creativity as a socio-historical phenomenon, it reduces the nature of individual personalities and their role in scientific research to a public response to a new result. The personality of an author is getting vanished in this result, becoming only a label of some social achievement. Using the terminology of J.-P. Sartre, the essence of the author as a unique individual is reduced to his social existence as a scientist. The purpose of this existence is not the fulfillment of a vocation, but the implementation of a professional mission to promote science as a public good, which consists, among other things, in creating a field of intellectual tension. The scientist ensures the objective increase of public awareness of the painful points of history and modernity; critically analyzes global risks from ecology to security; and presents images of a possible and required future. Thus, creative science acts as a source for development through problematization, a factor of cognitive dissonance, a troublemaker, a potential violator of social stability. (shrink)

In this paper, the epistemological and conceptual limits of our ability to conceive and reason about future possibilities are analyzed. It is argued that more attention should be paid in futures studies on these epistemological and conceptual limits. Drawing on three cases from philosophy of science, the paper argues that there are deep epistemological and conceptual limits in our ability to conceive and reason about alternatives to the current world. The nature and existence of these limits are (...) far from obvious and become visible only through careful investigation. The cases establish that we often are unable to conceive relevant alternatives; that historical and counterfactual considerations are more limited than has been suggested; and that the present state of affairs reinforces its hegemony through multiple conceptual and epistemological mechanisms. The paper discusses the reasons behind the limits of the conceivability and the consequences that follow from the considerations that make the limits visible. The paper suggests that the epistemological and conceptual limits in our ability to conceive and reason about possible futures should be mapped systematically. The mapping would provide a better understanding of the creative and critical bite of futures studies. (shrink)

Creativity — A New Vocabulary proposes a novel approach to the way in which we talk and think about creativity. It covers a variety of topics not commonly associated with creativity that offer us valuable insights and open up new and exciting possibilities for creative action. This collection of essays challenges the 'traditional' vocabulary of creativity and its preference for individuals, brains, cognition, personality, divergent thinking, insight, and problem solving. Instead, the book proposes a more dynamic and relational perspective (...) that considers creativity as an embodied, social, material, and cultural process. This book will be useful for a wide range of specialists within the humanities and social sciences, as well as practitioners from applied fields who are looking for novel ways of thinking about and doing creative work. (shrink)

The article explores the transformative impact on human and social sciences in response to anticipated societal shifts driven by the forthcoming proliferation of artificial systems, whose intelligence will match human capabilities. Initially, it was posited that artificial intelligence (AI) would excel beyond human abilities in computational tasks and algorithmic operations, leaving creativity and humanities as uniquely human domains. However, recent advancements in large language models have significantly challenged these conventional beliefs about AI’s limitations and strengths. It is projected that, in (...) the near future, generative AI models will adeptly replicate individual qualities, desires, beliefs, opinions, and the essence of human identity and consciousness to a degree that is nearly indistinguishable from that of humans. This lends support to the connectionist approach to understanding consciousness, suggesting an inherent similarity between biological and artificial neural networks. The discussion posits two innovative areas of scientific inquiry: “mathematical anthropology” and “multi-dimensional calculus of value.” The former suggests that viewing human nature through a mathematical and calculative lens not only preserves but enriches our understanding of the complexity of anthropological experience and its perceived contradictions. The latter hypothesis explores how mathematical models could facilitate various social interactions. The advanced simulation capabilities of neural networks suggest that traditional social and political frameworks face a growing vulnerability to AI-driven manipulations. This trend underscores the urgency of developing social interaction models that incorporate explicitly defined calculative rules. In conclusion, the paper advocates for a paradigm shift in how mathematics is perceived – not merely as a tool for computation but as a foundational science for crafting sophisticated models. In conclusion, the article advocates for transitioning from perceiving mathematics solely as a science of computation to viewing it as a discipline dedicated to constructing various formalized models, thereby deepening our insight into the complexities of human and social phenomena. (shrink)

The aim of this dissertation is to create a naturalistic philosophical picture of creative capacities that are specific to our species, focusing on artistic ability, religious reflection, and scientific study. By integrating data from diverse domains within a philosophical anthropological framework, I have presented a cognitive and evolutionary approach to the question of why humans, but not other animals engage in such activities. Through an application of cognitive and evolutionary perspectives to the study of these behaviors, I have (...) sought to provide a more solid footing for philosophical anthropological discussions of uniquely human behavior. In particular, I have argued that art, religion and science, which are usually seen as achievements that are quite remote from ordinary modes of reasoning, are subserved by evolved cognitive processes that serve functions in everyday cognitive tasks, that arise early and spontaneously in cognitive development, that are shared cross-culturally, and that have evolved in response to selective pressures in our ancestral past. These mundane cognitive processes provide a measuring rod with which we can assess a diversity of cultural phenomena; they form a unified explanatory framework to approach human culture. I have argued that we can explain uncommon thoughts in terms of interactions between common minds. This dissertation is subdivided into four parts. Part I outlines the problem of human uniqueness, examining theories on how humans conceptualize the world, and what their mental tool box looks like. Part II discusses the evolutionary and cognitive origins of human artistic behavior. Part III focuses on the cognitive science of religion, especially on how it can be applied to the reasoning of theologians and philosophers of religion. Part IV considers the cognitive basis of scientific practice. (shrink)

The prestige of science, derived from its claims to certainty, has adversely affected the humanities. There is, in fact, a “politics of certainty”. Our ability to predict events in a limited sphere has been idealized, engendering dangerous illusions about our power to control nature and eliminate time. In addition, the perception and propagation of science as a bearer of certainty has served to legitimate harmful forms of social, sexual, and political power. Yet, as Ilya Prigogine has argued, (...) renewed attention to the irreducible reality of time has brought us to “the end of certainty”. As we enter the age of uncertainty, there is disagreement about how science should be understood and communicated. Some scientists cling to the ideal of certainty, while others emphasize the creative potential of spontaneity, novelty, and surprise. (shrink)

A bold new synthesis of paleontology, archaeology, genetics, and anthropology that overturns misconceptions about race, war and peace, and human nature itself, answering an age-old question: What made humans so exceptional among all the species on Earth? Creativity. It is the secret of what makes humans special, hiding in plain sight. Agustín Fuentes argues that your child's finger painting comes essentially from the same place as creativity in hunting and gathering millions of years ago, and throughout history in making war (...) and peace, in intimate relationships, in shaping the planet, in our communities, and in all of art, religion, and even science. It requires imagination and collaboration. Every poet has her muse; every engineer, an architect; every politician, a constituency. The manner of the collaborations varies widely, but successful collaboration is inseparable from imagination, and it brought us everything from knives and hot meals to iPhones and interstellar spacecraft. Weaving fascinating stories of our ancient ancestors' creativity, Fuentes finds the patterns that match modern behavior in humans and animals. This key quality has propelled the evolutionary development of our bodies, minds, and cultures, both for good and for bad. It's not the drive to reproduce; nor competition for mates, or resources, or power; nor our propensity for caring for one another that have separated us out from all other creatures. As Fuentes concludes, to make something lasting and useful today you need to understand the nature of your collaboration with others, what imagination can and can't accomplish, and, finally, just how completely our creativity is responsible for the world we live in. Agustín Fuentes's resounding multimillion-year perspective will inspire readers—and spark all kinds of creativity. (shrink)

The notion of creativeness is widely used in a number of sciences. The same time meaning of this word is not so obvious as it may seem at first sight. In most cases the notion definitions contain only one of it's meaning features unchangeable: creativeness is a kind of ability to create something new. There are several sometimes absolutely different points of view regarding to the following questions: who is a bearer of this ability, what are the main (...) peculiarities of it’s appearance, not to mention its formation possibility and methods. We analyze these points of view to approach to the comprehension of the nature of creativeness. Demands of modern world to person increase. Creativeness is one of these aspects. Besides this one is foundation of human’s nature. Sodeciding this problem we make a base for solving many other problems. Probably the decision of this problem lies in dividing of creativeness types. (shrink)

The article analyzes cultural crisis as a decline in human existential creativity. A review of the problematic nature of the conception of creativity shows that this concept is not strictly defined. Non-classical philosophers were among the first to theoretically ground the importance of creativity for an individual, their quality of life, the well-being of society, and the development of culture. From this philosophical perspective, it is shown that a human being has, as a natural creative faculty, an innate (...) class='Hi'>ability to create. This existential human creativity can be defined as the self-development of one's personality, the creation of one's life and environment. The causes and consequences of a decline in creativity are analyzed in the context of Spengler's conception of cultural crisis. The conclusion is reached that creative activity and creativity can be taken to be the most profound goal of a personality and its most perfect form of existence. From this existential creativity stems an authenticity of life, a creation of spiritual values, and an improvement and development of cultural forms. The disjunction of culture and civilization reveals that the establishment of an era of civilization and mass culture marks the decline of authentic culture as regards vibrant existential creative activity. (shrink)