This book delves into the embodied ground of thinking, illuminating the transition from theorising about the embodied mind to actively practising embodied thinking in research, teaching, and learning. The authors speak from immersing themselves in novel methods that engage the felt, experiential dimensions of cognition in inquiry. -/- The turn to embodiment has sparked the development of new methodologies within phenomenology, pragmatism, and cognitive science. Drawing on Eugene Gendlin’s philosophical work on felt understanding, and Francesco Varela’s enactivist approach, (...) contributors explore innovative embodied thinking methods such as Focusing, Thinking at the Edge, micro-phenomenology, and mindfulness practices. They demonstrate the practical applications of these methods in research, teaching, and learning, highlighting their liberating and empowering potential for researchers and students. In an age marked by information overload and societal polarisation, methods of embodied thinking provide an innovative edge to critique, complementing more traditional approaches to critical thinking with listening skills and reflexive care. -/- This book shows how heeding the essential, yet often overlooked, embodied grounds of critical and creative thinking can deepen and strengthen each of research, teaching, and learning. It will interest philosophers of education and educators in higher education in particular, as well as researchers and postgraduate students from philosophy, and the cognitive and social sciences, who are curious about how embodied thinking can enrich research, teaching, and learning. (shrink)

This book brings together a collection of essays written by scholars inspired by Eugene Gendlin's work, particularly those interested in thinking with and beyond Gendlin for the sake of a global community facing significant crises. The contributors take inspiration from Gendlin's philosophy of the implicit, and his theoretical approach to psychology. The essays engage with Gendlin's ideas for our era, including critiques and corrections as well as extrapolations of his work. Gendlin himself worried that knowing (...) about a problem is too often conflated with actions that might lead to change; the essays in this book point to a form of understanding that is activated, an embodied and immediate way of thinking about today's problems. Throughout the volume, the contributors creatively engage with Gendlin's work and its applicability to the complex, pressing crises of our time: the Covid-19 pandemic, environmental/climate issues, racism, sexism, economic inequality, and other factors threatening human persons and communities. Gendlin's theoretical approach to psychology is naturally interdisciplinary, making this book an essential read for anyone interested in moving to the boundaries where psychology meets philosophy, theology, art, environmental studies, science, and technology, and much more. (shrink)

The regulatory effect of embodied emotion on one’s general emotion and the impact of the compatibility or incompatibility of the two types of emotion on creative thinking are still debatable. The purpose of this study is to investigate these issues experimentally. In Experiment 1, participants completed an explicit positive and negative emotion test [Positive and Negative Affect Schedule (PANAS)] and an implicit positive and negative emotion test [Implicit Positive and Negative Affect Test (IPANAT)] twice on a computer after emotional video (...) priming was used to induce negative emotions and facial expression manipulation was performed to induce embodied positive or negative emotions. It was found that maintaining the expression of a suppressed smile was helpful in regulating negative emotions ( p = 0.047). Specifically, the implicit negative emotions induced by facial expression manipulation had a positive regulating effect on the implicit negative emotions induced by the video (T1, M = 47.813; to T2, M = 44.188). In Experiment 2, the positive or negative emotions of the participants were induced using emotional videos, and facial expression manipulation was used to induce their embodied positive or negative emotions. Then, the participants completed a creative test by completing alternative use tasks (AUTs) and Chinese character riddles. The AUT fluency score in the emotionally compatible group was significantly higher than that in the emotionally incompatible group ( p = 0.032), but while experiencing negative emotions, the emotionally compatible group had a significantly higher originality score and insight in Chinese character riddle score than the emotionally incompatible group ( p = 0.017, p = 0.004). Therefore, embodied negative emotion has a significant regulating effect on implicit negative emotion. The compatibility of emotion activated by facial expression and viewing a video contributes to creative thinking, whereas the incompatibility of emotion hinders creative thinking. The compatibility of emotion under positive emotions improved thinking fluency, whereas under negative emotions, it activated originality and insight in creative thinking. The influence of such emotional compatibility on creative thinking may be due to the regulating effect of embodied emotions on implicit emotions induced by emotional stimuli. (shrink)

Memoires by eminently creative people often describe architectural spaces and qualities they believe instrumental for their creativity. However, places designed to encourage creativity have had mixed results, with some found to decrease creative productivity for users. This may be due, in part, to lack of suitable empirical theory or model to guide design strategies. Relationships between creative cognition and features of the physical environment remain largely uninvestigated in the scientific literature, despite general agreement among researchers that human cognition (...) is physically and socially situated. This paper investigates what role architectural settings may play in creative processes by examining documented first person and biographical accounts of creativity with respect to three central theories of situated cognition. First, the embodied thesis argues that cognition encompasses both the mind and the body. Second, the embedded thesis maintains that people exploit features of the physical and social environment to increase their cognitive capabilities. Third, the enaction thesis describes cognition as dependent upon a person’s interactions with the world. Common themes inform three propositions, illustrated in a new theoretical framework describing relationships between people and their architectural settings with respect to different cognitive processes of creativity. The framework is intended as a starting point toward an ecological model of creativity, which may be used to guide future creative process research and architectural design strategies to support user creative productivity. (shrink)

Modern ideas of embodiment have been influential in cognitive science for the past several decades, yet there is minimal evidence of embodied cognition approaches in creativity research or pedagogical practices for teaching creativity skills. With creativity research in crisis due to conceptual, methodological, and theoretical issues, radical embodied cognitive science (RECS) may offer a framework to move the field forward. This conceptual analysis examines the current state of creativity research from the 4E (embodied, embedded, enactive, (...) and extended) cognition and RECS perspectives. Two streams are critiqued for their potential to further knowledge about the development of creative expertise and inform educational practices. Promising directions for future research is discussed, including ways dynamical systems approaches, such as those used in improvisational and musical creativity, might yield new insights about how people develop creative expertise and help address the “higher order thinking” criticisms of RECS. (shrink)

The recognition and incorporation of evidence-based neuroscientific concepts into creative arts therapeutic knowledge and practice seem valuable and advantageous for the purpose of integration and professional development. Moreover, exhilarating insights from the field of neuroscience coincide with the nature, conceptualization, goals, and methods of Creative Arts Therapies, enabling comprehensive understandings of the clinical landscape, from a translational perspective. This paper contextualizes and discusses dynamic brain functions that have been suggested to lie at the heart of intra- and inter-personal processes. Touching (...) upon fundamental aspects of the self and self-other interaction, the state-of-the-art neuroscientific-informed views will shed light on mechanisms of the embodied, predictive and relational brain. The conceptual analysis introduces and interweaves the following contemporary perspectives of brain function: firstly, the grounding of mental activity in the lived, bodily experience will be delineated; secondly, the enactive account of internal models, or generative predictive representations, shaped by experience, will be defined and extensively deliberated; and thirdly, the interpersonal simulation and synchronization mechanisms that support empathy and mentalization will be thoroughly considered. Throughout the paper, the cross-talks between the brain and the body, within the brain through functionally connected neural networks and in the context of agent-environment dynamics, will be addressed. These communicative patterns will be elaborated on to unfold psychophysiological linkage, as well as psychopathological shifts, concluding with the neuroplastic change associated with the formulation of CATs. The manuscript suggests an integrative view of the brain-body-mind in contexts relevant to the therapeutic potential of the expressive creative arts and the main avenues by which neuroscience may ground, enlighten and enrich the clinical psychotherapeutic practice. (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.

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)

The aim of our “discussion remark” is not to present a critical review on the book written by S. Geniusas, a brilliant study notable by its extreme painstakingness, historical sensitivity and terminological accuracy, but rather to delve deeply into the origins of phenomenological understanding of productive imagination, i.e., to turn “back to Kant”, given in Saulius Geniusas’ book (the first chapter) for introductory reason. We proceed from S. Geniusas remark that productive imagination establishes a relation between different abilities, reconciles the (...) antagonism between them and, in this respect, exercises a pro-creative function. We reveal that it is this pro-creative element of productive imagination that brings it closer to time (as indicated by Viktor Molchanov, a prominent Russian phenomenologist, in his study of 1988) and serves as the basis for gaining new knowledge. Imagination acts as a limit for reflection, however, it gets revealed only through reflecting, and, thus, it proves to be connected with a fundamental layer of consciousness, which appears both as an object and as a means of describing reflection, i.e., as time. The convergence, or rather, identification, of time with imagination lies in the very fact that both of them exercise an objective function: time – as a possibility for semantic definition of objectivity, imagination – as a basis for a possibility of any knowledge. Moreover, imagination turns out to be a source of a paradox and, ultimately, the only thing that explains self-cognition. (shrink)

Creative Intelligence: Essays in the Pragmatic Attitude represents an attempt at intellectual cooperation. No effort has been made, however, to attain unanimity of belief nor to proffer a platform of "planks" on which there is agreement. The consensus represented lies primarily in outlook, in conviction of what is most likely to be fruitful in method of approach. As the title page suggests, the volume presents a unity in attitude rather than a uniformity in results. Consequently each writer is definitively responsible (...) only for his own essay. The reader will note that the Essays endeavor to embody the common attitude in application to specific fields of inquiry which have been historically associated with philosophy rather than as a thing by itself. Beginning with philosophy itself, subsequent contributions discuss its application to logic, to mathematics, to physical science, to psychology, to ethics, to economics, and then again to philosophy itself in conjunction with esthetics and religion. The reader will probably find that the significant points of agreement have to do with the ideas of the genuineness of the future, of intelligence as the organ for determining the quality of that future so far as it can come within human control, and of a courageously inventive individual as the bearer of a creatively employed mind. (shrink)

Embodied knowledge in chronic illness and injury When people experience chronic illness or serious injury, changes occur not just within their physical bodies but also in their embodiments, that is, how they view the world through their bodies. For such patients, dualistic (mind–body) notions of the body as object and the mind as subject can devalue experiences that are necessary for healing and for managing everyday problems related to their illness or injury. Nurses need to be able to guide people (...) with illness or injury to new levels of wellness, but may lack appropriate theoretical conceptualizations. Philosophies that underlie embodied knowledge — in particular, philosophies of Merleau‐Ponty and Polanyi — were explored yielding two new ways to understand the body. The body as ‘silent partner’ fosters an appreciation of the body's own subjectivity that can be enhanced in nursing care through sensitivity, listening, and creative coaching. Nurses can assist their patients to identify new and positive understandings of what their bodies mean to them after bodily changes. The body as ‘informant’ holds much promise for solving some of the everyday problems that people with chronic illness or injury experience. By using phenomenological and other naturalistic methods, researchers and patients can find clues to solving such problems, clues that are known through daily living but hidden beneath conscious awareness. As a result, some of the practical know‐how of the body as ‘informant’ can be transformed into testable nursing interventions. (shrink)

Why does one need creativity? On a personal level, improvisation with available resources is needed for online coping with unforeseen environmental stimuli when existing knowledge and apparent action strategies do not work. On a cultural level, the exploitation of existing cultural means and norms for the deliberate production of novel and valuable artifacts is a basis for cultural and technological development and extension of human action possibilities across various domains. It is less clear, however, how creativity develops and (...) how exactly one arrives at generating new action possibilities and producing multiple alternative action strategies using familiar objects. In this theoretical paper, we first consider existing accounts of the creative process in the Alternative Uses Task and then present an alternative interpretation, drawing on sociocultural views and an embodied cognition approach. We explore similarities between the psychological processes underlying the generation of new uses in the Alternative Uses Task and children’s pretend play. We discuss possible cognitive mechanisms and speculate how the generation of new action possibilities for common objects in pretend play can be related to adults’ ability to generate new action strategies associated with object use. Implications for creativity development in humans and embodied artificial agents are discussed. (shrink)

The notion that human activity can be characterised in terms of dynamic systems is a well-established alternative to motor schema approaches. Key to a dynamic systems approach is the idea that a system seeks to achieve stable states in the face of perturbation. While such an approach can apply to physical activity, it can be challenging to accept that dynamic systems also describe cognitive activity. In this paper, we argue that creativity, which could be construed as a ‘cognitive’ activity (...) par excellence, arises from the dynamic systems involved in jewellery making. Knowing whether an action has been completed to a ‘good’ standard is a significant issue in considering acts in creative disciplines. When making a piece of jewellery, there a several criteria which can define ‘good’. These are not only the aesthetics of the finished piece but also the impact of earlier actions on subsequent ones. This suggests that the manner in which an action is coordinated is influenced by the criteria by which the product is judged. We see these criteria as indicating states for the system, e.g. in terms of a space of ‘good’ outcomes and a complementary space of ‘bad’ outcomes. The skill of the craftworker is to navigate this space of available states in such a way as to minimise risk, effort and other costs and maximise benefit and quality of the outcome. In terms of postphenomonology, this paper explores Ihde’s human-technology relations and relates these to the concepts developed here. (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)

Understanding compositional practices is a major goal of musicology and music theory. Compositional practices have been traditionally viewed as disembodied and idiosyncratic. This view makes it hard to integrate musical creativity into our understanding of the general cognitive processes underlying meaning construction. To overcome this unnecessary isolation of musical composition from cognitive science, in this conceptual analysis, we approach compositional processes with the analytic tools of blending theory, material anchoring, and enaction. Our case study is Iannis Xenakis’ use of (...) sieves for distributing rhythmic patterns inPsappha. Though disregarded in previous accounts, the timeline and the gearwheel provide crucial conceptual templates for anchoring Xenakis’ idea of time for this score. This case study of conceptual integration templates for temporal representation seeks to gain insight into musical creativity, embodiment, and blending, especially into how virtual interactions with material structures facilitate the construction of complex meanings. (shrink)

This thesis argues for the continuing possibility of Adorno set against the backdrop of a post-modern proliferation of affects. A major theoretical contention is the concept of the subject: a sticking point within philosophy. The thesis takes this up and offers a new pathway without falling into the cliché of a renewal of Adorno’s position. Drawing on Adorno’s theoretical thoughts on the subject the thesis contends that the subject is that which by turns dissolves all eventualities or more proportionally acts (...) like a place-holder for the newly emerging: structures that cannot be explained by recourse to the laws that govern its parts. These experiential structures present a surface, resistance, or solidarity that upon closer examination dissolve back into the ephemeral. Although such structures are profligate and prolific, the thesis adopts as its major concern artworks and aesthetics. Following Adorno, a claim is made for artworks that present open-ended possibilities. They are able for example to critically challenge the dominant hegemony the profundity that all too easily sides with the oppressors of life. What philosophy, a critical tool in furtherance of the good life, a concept restaged, here takes from art is not a sense of equivalence, art and philosophy are held apart in a creative and critical tension, but the sense of yearning that animates the nonconceptual side of art which the concept negates. The yearning, being experiential, is always embodied. Its fulfilment negates the immediacies, the mere appearance of life, particularly in its systematically reflexive form. The conclusion concurs with Adorno in the thought that affinity with the object is achieved not as the resultant of identity thinking, but through the act of definite negation of identifying schema. (shrink)

The author critically reviews the content and specific chapters of the Handbook of Embodied Cognition and Sport Psychology, focusing on the importance of imagination and creativity within the cognitive science of sport. Emphasis is placed on the concept of motor imagery, which plays a central role in enhancing athlete performance. In addition, the following section explores the topic of measuring creativity in a way that is appropriate to the specific discipline, while also taking into account its enactive and (...) embodied nature. This understanding allows for a more comprehensive exploration and cultivation of creativity. (shrink)

While many scholars join in the call for an experiential shift in thinking and living, it is not always clear how it could be done. Recent environmental philosophy has illuminated the significance of re-animating human–environment relations on an experiential level for endeavouring a new (or renewed) ethical, experiential, and, indeed, existential stance of the human as part of the environed embodiment. In relation to this call, I explore embodied critical thinking (ECT) as a tool for recognising, revitalising, and reflecting (...) embodied, enactive, and embedded thinking that comes from a felt sense. Thus, this chapter employs some of the TAE (Thinking at the Edge) steps for ECT research as a practical approach to facilitating and embracing a new way of thinking that is crucial for reconnecting humans with their lived environments, but also for emancipating research practices to enable research that goes out from such a renewed connectivity. In particular, the chapter traces the application of Eugene Gendlin’s move of instancing to showcase the use of embodied knowing and felt sense in environmental contexts. Thus, it showcases how, in fundamental ways that speak directly to and from our embodied embeddedness, ECT has an emancipatory impact in ways that resonate with lived experiences. (shrink)

Ayahuasca is an Amazonian psychoactive shamanic brew that often elicits spontaneous, intense, and meaningful imagery narratives related to psychological and physical healing, problem solving, knowledge acquisition, community cohesion, creativity, and spiritual development. My EEG and phenomenology ayahuasca research found it caused the greatest changes in EEG beta coherence from 25 to 30 cycles per second compared to a resting state before ayahuasca ingestion. Enhanced beta coherence indexes significantly greater information exchange between cortical regions and is congruent with the reported (...) enhanced richness, complexity, and profundity of ayahuasca experiences. I developed the creative cycle processes model that identifies in ayahuasca reports distinct experiential change processes and describes how these processes, neuroscience, psychotherapy, mythological, and other transdisciplinary evidence can be coherently integrated to explain ayahuasca benefits. The model suggests three change process stages together underlie one emergent dynamic creative cycle process. The sequential stages are Form dismantling and healing processes, form creation processes, where novel forms spontaneously combine, and form expression processes, where emergent experiences are embodied. The model suggests that these three stages repeat cyclically in human development in an ongoing process of dismantling and generation producing more creative experiences and expressive forms. (shrink)

Drawing on a particular emphasis within the phenomenological tradition as exemplified by Maurice Merleau-Ponty and Eugene Gendlin, this book considers the role of the lived body as a way of knowing and being. The author, a psychologist, psychotherapist and qualitative researcher pursues this theme within three practical contexts that illustrate some of the nuances of embodied enquiry: qualitative research, psychotherapy, spirituality. The three sections of the book also provide examples of how embodied enquiry is not just a philosophical perspective (...) but also a practice with very tangible implications for research, psychotherapy and spirituality. (shrink)

While the emphasis on embodiment and situatedness is strong in contemporary philosophy and cognitive sciences, its implications for the practice of critical thinking are just beginning to be taken seriously. The challenge is to think with the richness and the intricacy that come along with embodiment of situated knowers and on the basis of the experiential turn. Even though the embodied and experiential dimension is operative and continuously present all the time in thought and action, it is hardly (...) acknowledged, cared for, or made transparent in academic philosophical training. In doing philosophy we are actually rather trained to detach ourselves from the experiential basis of our thinking. In this paper we claim that by doing so we cut ourselves off from important sources of what it means to think for oneself. We argue that the more embodied context one dares to include in critical thinking, the more critique becomes personally and politically transformative. This has major methodological implications: one needs to learn “reading” embodied, felt experience as carefully and closely as the texts. The methods of Embodied Critical Thinking presented here are based on the micro-phenomenological approach of Claire Petitmengin and the Thinking at the Edge method developed by Eugene Gendlin and Mary Hendricks. (shrink)

This chapter first distinguishes between originality and creativity. True originality is rare, whether in art, science, or LEGO, because to be truly original means to have done something that no one has ever done before, and that no one could have anticipated. Most LEGO creations will not meet that condition, for with the exception of serious hobbyists who undertake massive builds, most players who make original creations are making creations that are commonplace. Painting or remolding or placing stickers on (...) the bricks counts against the spirit of LEGO creation. The chapter then discusses The LEGO Movie embodies the paradox that presents three conflicting models of creative LEGO play, illustrated by the Master Builders, Finn's father, and Emmet. The movie's creators were deliberately playing around with conflicting popular conceptions of creativity: creativity as madness, creativity as thinking outside the box, and creativity as vision. (shrink)

For several hundred thousand years, the genus homo deployed a characteristic technical creativity, communicating and transmitting its outcomes, together with its operative protocols, without the available recourse to articulated language. The thesis proposed here is that the aforementioned functions should be attributed to a complex intertwining of embodied abilities, which can in turn be ascribed to the classic philosophical concept of imagination. It is through imagination that the human becomes involved in material engagement, by virtue of which its extended (...) mind takes part in the processes of producing artifacts and is in turn shaped by them. The main issue of this article consists in investigating how this involvement occurs and the part that articulated language plays in it, following the invention of the latter. The latter’s emergence can indeed be traced back to the transformation and specialization of a recursive element, already present in the pre-linguistic work of imagination, whose ability to implement a denotative semantics is discussed in particular. (shrink)

This open access book develops a theory of 'vital curiosity' as a transdisciplinary force that activates ecological flows of connection across pedagogical spaces, disciplinary bodies, curricular structures, and institutional ontologies. Educational approaches and values are currently being rethought in light of global economic and environmental crises, posing fundamental questions about desire, access, responsibility, ethics, and relationality in teaching and learning. Cala Coats explores curiosity's vital force as a critical learning disposition and creative process that activates movement and attraction through aesthetic (...) disruptions and embodied connections, propelled through affective ruptures and durational commitments toward affirmative complexity. Chapters follow questions and connections that emerge from embodied encounters in schools, homes, public spaces, and the natural environment, illuminating residual patterns of colonization and commodification across bodies, territories, and knowledge. While this book is rooted in questions of schooling and education, it serves as a proposition to realize curiosity's vital energy as an affirmative ethico-aesthetic force in any context. Drawing on new materialist and posthuman theories, the book puts forward an image of educational life, as it extends from curiosity, as a radical pedagogical practice. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on www.bloomsburycollections.com. (shrink)

his essay explores the universal nature of aesthetic, creative, and mystical experience, tracing some essential interrelations among the three. Enlarging upon the work of anthropologist Jacques Maquet, I speculate that “sensory fixedness” is both necessary and sufficient to achieve aesthetic experience, and that the unification of mind engendered by sensory fixedness is the essential source of aesthetic power. Therefore, the role of the aesthetic object (construed broadly) is either as an arbitrary sensory focusing mechanism, or as the physical embodiment (...) of a gestalt facilitating fixedness; the first category is merely attractive, while the second contains all that is truly great in art (visual and auditory). I suggest further that as both creative inspiration and mystical experience result from fixedness, both are related to aesthetic experience. However, while aesthetic experience is rooted in sensation, mystical and creative experience, though often prepared by sensory fixedness, may transcend the sensory domain altogether toward more abstract forms of mental fixedness. (shrink)

The present contribution is mainly intended to illustrate how some recent discoveries in the field of neurosciences have revolutionized our ideas about perception, action and cognition, and how these new neuro-scientific perspectives can shed light on the human relationship to art and aesthetics, in the frame of an approach known as "experimental aesthetics". Experimental aesthetics addresses the problem of artistic images by investigating the brain-body physiological correlates of the aesthetic experience and human creativity, providing a perspective that is complementary, (...) and not in opposition, to the humanistic one on the arts and the aesthetic. (shrink)

The article Thinking embodiment with genetics: epigenetics and postgenomic biology in embodied cognition and enactivism, written by Maurizio Meloni and Jack Reynolds, was originally published electronically on the publisher’s internet portal on 18 June 2020 without open access. With the author’ decision to opt for Open Choice the copyright of the article changed on 6 November 2020 to ©The Author 2020 and the article is forthwith distributed under a Creative Commons Attribution.

A burgeoning body of research has shown that authoritarian leadership embodies the characteristics of “light” and “dark,” meaning that it does not always have a negative impact on employees’ creative activities. However, studies explaining this potential positive effect are insufficient. To extend the AL and creativity literature, we draw on self-determination theory and event system theory, and elicit discipline-focused AL and appointment event criticality to examine whether, when, and how authoritarian leaders affect employee creativity positively. With time-lagged data (...) collected from 435 employees and their direct leaders in China, we found that discipline-focused AL has an indirect positive effect on employee creativity through creative self-efficacy. Additionally, appointment event criticality strengthens the positive relationship between discipline-focused AL and creative self-efficiency, and the indirect impact of discipline-focused AL on employee creativity through creative self-efficiency. The theoretical and practical implications are discussed. (shrink)

Creativity has become an oft-used word in UK public policy, but perhaps it is also under-imagined. This paper contends that there is an instrumental tendency to narrowly frame creativity as innovation, implying a reproducible product, instead of more openly as improvisation, a situational, embodied and temporal process. This is not a simple dichotomy (innovation and improvisation, product and process, can be mutually informing concepts), nor is it specifically a question of definition; rather, it relates to an ontological orientation, (...) and related to that are issues of epistemological implications. In particular the paper is concerned with the value of the arts in public policy, as situated in the social, and therefore human, spaces of health and care; and more generally the arts in society. The paper brings together a broad discussion from across disciplines, not in an interdisciplinary attempt to solve a problem, or to be reductive in the analysis, but to begin to approach a reorienting of understandings of creativity and the human value and foundation of the arts in society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Creativity in Teaching and Building a Meaningful Life as a TeacherDavid T. HansenMy point of departure in this essay is the idea that creativity in teaching often has less to do with inventiveness per se than it does with responsiveness. To draw on terms from John Dewey, creative teachers "rise to the needs of the situation" presented in the educational setting.1 They respond well to circumstances not (...) because they necessarily have the pedagogical equivalent of Twyla Tharp's talent for choreography or B.B. King's brilliance on the blues guitar; rather, I want to suggest that creative teachers, at least in many cases, "rise" and do what is needed because they have learned to pay attention both to students and to the subject(s) at hand. In other words, I propose that we consider the idea that creativity in teaching often manifests itself most vividly, if also subtly, in a kind of ongoing attentiveness, by which I mean a dynamic combination of patience, listening, and initiative.I will begin the discussion by first sketching a conception of creativity in teaching centered around the idea of attentiveness. Then I address two [End Page 57] consequences of this conception. The first is that the most suitable models of good practice for new teachers to start with are not the profession's versions, presuming such exist, of Pablo Picasso, Marie Curie, or Michael Jordan. I do not mean that it is uniformly inappropriate to place such models in front of teacher candidates, any more than it would be wrong to put before art students the work of a Cassatt or Rembrandt. However, I will argue that among the best and most consequential initial models are those experiences in which teacher candidates themselves truly listened to the doings of the world around them and heeded what was said, whether the latter "spoke" in the form of a work of art, a human voice or gesture, or the play of wind in the trees. If new teachers take seriously this kind of experience, they can gain a valuable perspective for approaching the long and often difficult process of appreciating teaching's details and engaging them in educational settings. I illustrate these claims by examining a field-based activity that was part of a teacher education program I used to direct.The second consequence of the conception of creativity in teaching I will put forward points to the title of this essay. If new teachers deepen their ability to pay attention and to engage in creative work, they position themselves to receive one of teaching's primary offerings to its practitioners, namely, a life of meaning."Ordinary" Pedagogical CreativityCreativity in teaching can take many forms. We witness it in the structuring of an artful lesson plan; in the logic, flow, and pacing of a dynamic lecture; or in a timely and evocative example or illustration the teacher employs to clinch a point in the midst of a class. All of this is familiar and an important, indeed indispensable, way to think about good teaching. Creativity in practice is associated here, among other things, with notions of expertise and of knowledge gained through experience.However, I want to add to this portrait the notion that creativity in practice can also spring from responsiveness. Rather than issuing solely from what the teacher brings to the educational setting — consider again terms such as expertise and knowledge — creativity can point to what the teacher is capable of deriving or drawing from it. Creativity as responsiveness denotes a form of openness to the setting, which may or may not complement or fit harmoniously with what is preset, prefigured, or anticipated. Experienced teachers would be the first to say that there are times when it becomes educationally vital to shelve a preset plan. There are times when one form of creativity in teaching, embodied in a well-wrought lesson plan, must give way to another form, embodied in what I am calling responsiveness. The art of teaching consists, in part, of balancing these expressions of pedagogical creativity.Let me share the following vignette as a basis for elucidating this point. One morning in March 2002, during which... (shrink)

We have, as a theological community, generally lost a language in which to speak of the created-ness of the world. As a consequence, our discourses of reason cannot bridge the way we know God and the way we know the world. Therefore, argues Oliver Davies, a primary task of contemporary theology is the regeneration of a Christian account of the world as sacramental, leading to the formation of a Christian conception of reason and a new Christocentric understanding of the real. (...) Both the Johannine tradition of creation through the Word and a Eucharistic semiotics of Christ as the embodied, sacrificial and creative speech of God serve the project of a repairal of Christian cosmology. The world itself is viewed as a creative text authored by God, of which we as interpreters are an integral part. This is a wide-ranging and convincing book that makes an important contribution to modern theology. (shrink)

Do we perceive or do we imagine virtual entities in virtual reality games? There are, to date, two mainstream answers in the literature to this question: the answer of the fictionalists, which is that we must imagine virtual entities for they are fictional, and the answer of the realists, which is that we directly perceive virtual entities since they are digital. In this article, I put another option on the table, and argue that following a particular embodied and enactive take (...) oni magination (what I will call EEI), imagination can play a specific role in our experience of virtual entities. Specifically, imagination is involved in anticipating virtual affordances (or in-game actions possibilities), and in allowing one to be creative within the game context. The view ultimately endorses a relational instead of a representational view of imagination: instead of representing unreal fictional entities, it showcases that imagination is a context-dependent process shaped by the interactions found within the virtual games. (shrink)

At the current stage, the cultural and creative industry, as an emerging economic form, is increasingly becoming an important engine driving socio-economic development. Cultural and creative products are not only the material embodiments of cultural resources but also innovative expressions of cultural values. This paper explores innovative pathways for the design of cultural and creative products from the perspective of sustainable development based on traditional philosophy. By combining elements of traditional philosophy with modern design concepts, the design of cultural and (...) creative products can achieve an organic fusion of cultural heritage and innovation, creating products that possess both rich cultural depth and meet contemporary aesthetic and functional demands. This paper analyzes the application of traditional philosophy in the design of cultural and creative products, emphasizing the deepening of cultural connotations, the stimulation of design innovation, and the construction of brand identity. Furthermore, in conjunction with the concept of sustainable development, it proposes specific strategies for the design of cultural and creative products in terms of material ecological sustainability and cultural diversity. (shrink)

Due to the increased cases of sexual impurity among the contemporary Filipino teens I felt the dire need to search for an appropriate approach in formulating a content of sexual ethic that is relevant for them. Three approaches were the subject of investigation namely: positive church norms; various cultural norms; and philosophically-oriented conception of the person. I realized that to generate a more comprehensive one, the approach should be based on the socio-cultural influences that affect their everyday life. This is (...) where I suggest Ferdinand Dagmang’s solidarity ethics of malasakit at damay which essentially embodied this quality. However, this ethic needs to be reconstructed in order to be more contextualized and non-discriminatory for these teens. Thus, a new ethic called free and creative communal compassion is presented. This proposed ethic revolves around the concepts of caring community, purified intimacy, and free and creative show of compassion. (shrink)

The article deals with the mythological creativity of G.R.R. Tolkien as a socio-cultural phenomenon associated with the values of European culture. The author proceeds from the hypothesis that the myth is the embodiment of social identity, this function it retains after the loss of its ideological functions. The revival of literary mythology in the XIX-XX centuries there is an attempt to update this feature of the myth. The success of the literary myth is due to the fact that (...) he was able to absorb and Express the basic values of society. Tolkien’s work is one of the successful examples of the literary embodiment of socially significant values, combining both traditional values and value formations characteristic of the modern era. The article shows that Tolkien’s work has organically absorbed the pagan basis, the Christian attitude, and the values characteristic of the XX century. Pagan heroic principle, Christian mercy, the idea of freedom, democracy-all this is organically intertwined in the works of Tolkien, their success is due to the harmony of the whole range of social attitudes represented in the European consciousness of the mid XX century. Currently, the decline in interest in Tolkien is a reflection of the change of value preferences of European culture. (shrink)

This article discusses the results of a practice-as-research intensive project carried out in August 2019, which in turn applies the doctoral research of scholar-practitioners Jorge Crecis and Lucía Piquero. The project delved into ideas about embodied cognition to support a practice-led theoretical understanding of the experience of emotional import and peak performative states in theatre dance performances. A series of creative sessions were recorded and analyzed, and then presented to an audience at the end of each day. The experience of (...) the audience is also collected through questionnaires and open discussion, to develop a multi-perspectival understanding of the experience of emotion in performance. The main pursuit of the project was to understand and develop tools in relation to the dancers’ awareness of their own sensorimotor patterns, in relation to peak performance and understandings of emotion in performance. The article develops a conceptual framework through the theoretical notions of embodied cognition, enactive perception, and sensorimotor patterns. This allows for analysis based on the experiences of the participants, and for an integration of views which then develops into a discussion of the dancers’ awareness of their sensorimotor patterns. (shrink)

Trauma is notoriously difficult to communicate, as it often defies understanding. It unfolds over time and cannot be told through linear narratives. Nevertheless, we show that narratives can become a medium through which experiences of trauma may be shared, alleviating the sense of alienation common to post-traumatic experience. Drawing from one of the authors’ lived experiences of cancer and her illness narrative, we focus on the question of whether traumatic events can be narrated, known, and shared. In conversation with one (...) another, and building on phenomenological literature on trauma (Husserl, 1973, Walther, 1923), illness (Carel, 2021, 2016), and working with an autoethnographic approach to cancer (Pini, 2022; Pini and Maguire-Rosier, 2021; Pini and Pini, 2019) in this chapter we address the ways in which creative and expressive illness narratives—particularly the sharing of such experiences—can help patients heal or repair from trauma. We identify the moment of the cancer diagnosis as a traumatic event, as it constitutes the expulsion of the individual into an alienworld: the world of the sick. We demonstrate how a philosophical account of unification (Walther 1923) may help shed light on the complexities of traumatic experience and highlight the potential of embodied narratives to re-establish a sense of belonging through sharing trauma experiences. We present a case in which performance art serves not only as an act of creatively re-modelling the performer’s illness narrative, but as a means to communicate this experience. Sharing the experience of trauma and recovery contributes to a re-constitution of a sense of belonging. We highlight that the (re-)constitution of feelings of belonging is a dyadic process between the traumatized individual and others. An illness narrative needs to be heard, seen, or otherwise witnessed in order to fulfil its full healing potential. In this way, we hope to contribute to a better understanding of how a narrative approach can be fruitfully applied in clinical practice. (shrink)

The first systematic collaboration between cognitive scientists and sports psychologists considers the mind–body relationship from the perspective of athletic skill and sports practice. This landmark work is the first systematic collaboration between cognitive scientists and sports psychologists that considers the mind–body relationship from the perspective of athletic skill and sports practice. With twenty-six chapters by leading researchers, the book connects and integrates findings from fields that range from philosophy of mind to sociology of sports. The chapters show not only that (...) sports can tell scientists how the human mind works but also that the scientific study of the human mind can help athletes succeed. Sports psychology research has always focused on the themes, notions, and models of embodied cognition; embodied cognition, in turn, has found striking confirmation of its theoretical claims in the psychological accounts of sports performance and athletic skill. Athletic skill is a legitimate form of intelligence, involving cognitive faculties no less sophisticated and complex than those required by mathematical problem solving. After presenting the key concepts necessary for applying embodied cognition to sports psychology, the book discusses skill disruption ; sensorimotor skill acquisition and how training correlates to the development of cognitive faculties; the intersubjective and social dimension of sports skills, seen in team sports; sports practice in cultural and societal contexts; the notion of “affordance” and its significance for ecological psychology and embodied cognition theory; and the mind's predictive capabilities, which enable anticipation, creativity, improvisation, and imagination in sports performance. Contributors Ana Maria Abreu, Kenneth Aggerholm, Salvatore Maria Aglioti, Jesús Ilundáin-Agurruza, Duarte Araújo, Jürgen Beckmann, Kath Bicknell, Geoffrey P. Bingham, Jens E. Birch, Gunnar Breivik, Noel E. Brick, Massimiliano L. Cappuccio, Thomas H. Carr, Alberto Cei, Anthony Chemero, Wayne Christensen, Lincoln J. Colling, Cassie Comley, Keith Davids, Matt Dicks, Caren Diehl, Karl Erickson, Anna Esposito, Pedro Tiago Esteves, Mirko Farina, Giolo Fele, Denis Francesconi, Shaun Gallagher, Gowrishankar Ganesh, Raúl Sánchez-García, Rob Gray, Denise M. Hill, Daniel D. Hutto, Tsuyoshi Ikegami, Geir Jordet, Adam Kiefer, Michael Kirchhoff, Kevin Krein, Kenneth Liberman, Tadhg E. MacIntyre, Nelson Mauro Maldonato, David L. Mann, Richard S. W. Masters, Patrick McGivern, Doris McIlwain, Michele Merritt, Christopher Mesagno, Vegard Fusche Moe, Barbara Gail Montero, Aidan P. Moran, David Moreau, Hiroki Nakamoto, Alberto Oliverio, David Papineau, Gert-Jan Pepping, Miriam Reiner, Ian Renshaw, Michael A. Riley, Zuzanna Rucinska, Lawrence Shapiro, Paula Silva, Shannon Spaulding, John Sutton, Phillip D. Tomporowski, John Toner, Andrew D. Wilson, Audrey Yap, Qin Zhu, Christopher Madan. (shrink)

This paper aims to conceptualize the phenomenology of attentional experience as ‘embodied attention.’ Current psychological research, in describing attentional experiences, tends to apply the so-called spotlight metaphor, according to which attention is characterized as the illumination of certain surrounding objects or events. In this framework, attention is not seen as involving our bodily attitudes or modifying the way we experience those objects and events. It is primarily conceived as a purely mental and volitional activity of the cognizing subject. Against this (...) view, the phenomenology of Maurice Merleau-Ponty shows that attention is a creative activity deeply linked with bodily movements. This paper clarifies and systematizes this view and brings it into dialogue with current empirical findings as well as with current theoretical research on embodied cognition. By doing this, I spell out three main claims about embodied attention: the transcendentalism of embodiment for attention, the bodily subjectivity of attention, and the creativity of embodied attention. (shrink)

Determinism poses a prima facie problem about free will only if the latter is understood as counterfactual power, understood categorically, rather than self-determination. A key premise of the defense of incompatibilism provided by the Consequence Argument, namely, that laws are unalterable, presupposes that laws include more than the fundamental laws of physics. This premise is challenged by appeal to actual cases. The necessitarian assumptions embodied in that premise can be successfully challenged by a new and improved version of the regularity (...) theory. Other defenses of the latter, including a defense of Humean Supervenience, are offered. The picture that the compatibilist offers of a decision maker, in part responsible for the laws of psychology, unconcerned about the deterministic or indeterministic nature of the world, is of a more creative individual than the incompatibilist, for whom one’s freedom depends upon the nature of a world about which one has no control. (shrink)

Insight experiences are sudden, persuasive, and can accompany valuable new ideas in science and art. In this preregistered experiment, we aim to validate a novel visceral and continuous measure of insight problem solving and to test whether real-time and embodied feelings of insight can predict correct solutions. We report several findings. Consistent with recent work, we find a strong positive relationship between Aha moments and accuracy for problems that demand implicit processing. We also found that the intensity of the insight (...) experience further predicted the accuracy of solutions and participants naturally embodied the intensity of their insight experiences by squeezing the dynamometer more tightly. Intriguingly, this unintentional embodiment further predicted the accuracy of solutions. We suggest that the dynamometer complements previous measures by (1) simultaneously capturing both process and feeling in real-time, (2) highlights the value of measuring Aha moments on a continuum of intensity, and (3) firmly establishes that the impulsive feeling of Aha can carry information about the veracity of an idea. We discuss the findings in light of a recent theoretical account of how feelings of insight may act as a heuristic to select ideas from the stream of consciousness. (shrink)

The Virtual Embodied is intended to inform and provoke. It juxtaposes cutting-edge theories, polemics, and creative practices to uncover ethical, aesthetic and ecological implications of why, how and in particular where, human actions, observations and insights take place. It refuses simply to hold a euphoric view of technology yet equally resists the apocalyptic scorn which surrounds the new. The contributors use a range of interdisciplinary strategies to point to a re-worked aesthetic for embodying knowledge and explore such areas as colonialism (...) and the internet, the virtual unconscious in electronic systems, theatre as a virtual space, 'information' and the capitalist society, ecstatic bodies and the rave scene, desire and the 'virtual comfort' zone. In The Virtual Embodied many of the authors, artists, performers and designers apply their interdisciplinary passions to questions of embodied knowledge and virtual space. (shrink)

This article arises out of critical contemplation of ‘skills’ in relation to Higher Education pedagogy as it relates to the Arts, Humanities and Social Sciences. As the emphasis on skills dominates more and more of the discourse about pedagogy in Higher Education, the article aims to make some critical comments about the reductionist approach to education that easily becomes part of skills discourse. In addition to criticising instrumentalist deployment of ‘skills’ in Higher Education policy, the article also considers the supposedly (...) most ‘radical’ perspective on the idea of skill which is implicit in enactivists’ accounts of the embedding of sensorimotor action in cognition. It is argued that such a perspective is undermined by its insistence on a model of direct human-environment interaction which brackets creativity, anticipation and the future. The article suggests that such a perspective would be illumined by dialogue with Ernst Bloch’s concept of the ‘not-yet’. (shrink)

In this article, the artist/author wishes to examine corporeality in the virtual realm, through the usage of the (non)-physical body of the avatar. Two sister art installations created in the virtual world of Second Life, both of which are meant to be accessed with site-specific avatars, will provide the creative platform whereby this investigation is undertaken. While the installation Anatomia aims to propel the visitor towards reflections of an introverted nature, involving the fragility of the physical self, body parts seeks (...) to challenge the residents of virtual environments to connect with the virtual manifestations, i.e., avatars, of others in an emotionally expressive/intimate manner. (shrink)

Dance, as aesthetic self-expression, is a unique arts-based program that combines the physical benefits of exercise with psychosocial therapeutic benefits. While dance has also been shown to support empowerment, meaningful self-expression, and pleasurable experience, it is rarely adopted to support these aspects of engagement in the context of dementia care. The instrumental reduction of dance to its application as a therapeutic tool can be traced to the contemporary movement towards cognitive science with an emphasis on embodied cognition. This has effectively (...) elided a consideration of how the body itself, separate and apart from cognition, could be a source of intelligibility, inventiveness, and creativity. We argue for the need to broaden the therapeutic model of dance to more fully support embodied and creative self-expression by persons living with dementia. To achieve this, we explore how a relational model of citizenship that recognizes corporeality and relationality as fundamental to human existence brings a new and critical dimension to understanding the importance of dance in the context of dementia. Drawing on this model, we articulate a new kind of ethic characterized by a pre-reflective intercorporeal sensibility that requires the mobilization of public structures and practices to cultivate a relational environment for individuals living with dementia that supports human flourishing. (shrink)

Before imagination became the transcendent and creative faculty promoted by the Romantics, it was for something quite different. Not reserved to a privileged few, imagination was instead considered a universal ability that each person could direct in practical ways. To imagine something meant to form in the mind a replica of a thing—its taste, its sound, and other physical attributes. At the end of the Renaissance, there was a movement to encourage individuals to develop their ability to imagine vividly. Within (...) their private mental space, a space of embodied, sensual thought, they could meditate, pray, or philosophize. Gradually, confidence in the self-directed imagination fell out of favor and was replaced by the belief that the few—an elite of writers and teachers—should control the imagination of the many. This book seeks to understand what imagination meant in early modern Europe, particularly in early modern France, before the Romantic era gave the term its modern meaning. The author explores the themes surrounding early modern notions of imagination (including hostility to imagination) through the writings of such figures as Descartes, Montaigne, François de Sales, Pascal, the Marquise de Se;vigne;, Madame de Lafayette, and Fe;nelon. (shrink)

We are particularly interested in how poetry and phenomenological research come together to increase understanding of human phenomena. We are further interested in how these more aesthetic possibilities of understanding can occur within a community context, that is the possibility of a process in which understanding is shared through an ongoing process of participation. In this way phenomenologically-oriented understandings may meaningfully speak of that which is common between us as well as that which may be uniquely lived for each of (...) us in terms of its individual context and nuance. In this paper we reflect on a process by which we engaged with participants to poetically re-present a description of an experiential phenomenon. As part of this process we offered an evocative description of a health care scenario, and facilitated collectively created ‘embodied responses’ inspired by the interactive form of Japanese Renga. We ask the question: “What kind of phenomenology is this?” Through so doing we attempt to address the theme of this special issue, namely, a focus on a wide embrace of the notion of evidence. We do this by drawing out the epistemological implications of a phenomenological approach that attends to the ‘awakening of presences’ in embodied and linguistic ways. In this pursuit we are assisted by the writings of Gendlin, Gadamer, Levinas and Shotter. Indo-Pacific Journal of Phenomenology , Volume 12, Special Edition July 2012. (shrink)