Are emotions, feelings, sentiments not the stuff of literature? There it is where they project their inner logic of aesthetic transmutation; there, beyond the instrument of language that they command. This collection explores how the lyrical virtualities of life-experience and the elegiac style in literature share a common core, lifting the human significance of life from abysmal vitality to esoteric heights, from abysmal grief to a serene reconciliation with destiny. The elegiac sequence in the play of emotions, feelings (...) and sentiments brings together life and literary creativity in its transformatory power. (shrink)

This chapter contains section titled: Fang's General Philosophy Fang's Interpretation of Chinese Classic Philosophy Fang's Critique of Song‐Ming Neo‐Confucianism Excerpts from Fang's Publications.

To forestall scepticism about meaning in life as a distinct final value, I sketch a preliminary characterization of meaning as superlative final value in life. I then make the case that this characterization helps us better appreciate a neglected substantive account of meaning, namely, Richard Taylor's creativity account. After laying out the creativity account, I argue that it is not just very compelling, but more compelling under the superlativeness characterization than the most prominent of the recent (...) substantive accounts. (shrink)

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

This paper examines the tension between creative destruction—an inherent feature of capitalist economies—and the ideal of autonomy. Creative destruction is vital for economic growth, but it undermines the conditions necessary for autonomy by disrupting individuals’ ability to plan their lives. This creates a dilemma: we must either abandon the ideal of autonomy or economic growth. The paper explores potential regulatory strategies to mitigate the impact of disruptive innovation on life plans, but argues these ultimately fail. It then proposes a (...) novel conception of autonomy consistent with capitalist creative destruction. With artificial intelligence poised to initiate unparalleled creative destruction, understanding this dilemma and potential solutions is crucial from an ethical perspective. The paper contends its revised conception of autonomy offers a path forward amidst transformative technological change. (shrink)

Drawing from cross-cultural work on creativity undertaken within philosophical psychology, as well as contemporary commentaries on the philosophy of the Zhuangzi, this article motivates a conception of creativity that emphasizes spontaneity and adaptivity—rather than novelty or originality—engendered by embracing you 遊 (“wandering”). It argues that this approach to creativity can enable us to understand certain forms of religious experiences, especially those related to grief and bereavement, as creative in a sense that is compatible with both: i) views (...) that emphasize the capacity of religious experiences to connect us with something supernatural, immaterial, or non-physical and, ii) views that emphasize the capacity of religious experiences to connect us with something natural, material, or physical. Additionally, it elaborates how these reflections might pave the way for further cross-cultural inquiries—empirical and otherwise—into the nature and value of religious experience. (shrink)

How do we perdure when we and everything around us are caught up in incessant change? But the course of this change does not seem to be haphazard and we may seek the modalities of its Logos in the transformations in which it occurs. The classic term "Metamorphosis" focuses upon the proportions between the transformed and the retained, the principles of sameness and otherness. Applied to life and its becoming, metamorphosis pinpoints the proportions between the vital and the aesthetic (...) significance of life. Where could this metaphysical in-between territory come better to light than in the Fine Arts? In this collection are investigated the various proportions between the vital significance of the constructivism of life and a specifically human contribution made by the creative imagination to the transformatory search for beauty and aesthetic values. Papers by: Lawrence Kimmel, Mark L. Brack, Sheryl Tucker de Vazquez, William Roberts, Jadwiga Smith, Victor Gerald Rivas, Max Statkiewicz, Matti Itkonen, George R. Tibbetts, Linda Stratford, Jorella Andrews, Ingeborg M. Rocker, Stephen J. Goldberg, Leah Durner, Donnalee Dox, Catherine Schear, Samantha Henriette Krukowski, Gary Maciag, Kelly Dennis, Wanda Strukus, Magda Romanska, Patricia Trutty-Coohill, Ellen Burns, Tessa Morrison, Sabine Coelsch-Foisner, Gary Backhaus, Daniel M. Unger, Howard Pearce. (shrink)

The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. The present study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure activities and with four categories of college majors. Data were collected from 251 university students, university graduates and young adults (156 women and 95 men). Art students (...) and graduates scored significantly higher on the ECI than other majors. Humanities scored significantly higher than technical/economic majors. Five creative leisure activities were significantly correlated with the ECI, specifically, writing, painting, composing music, performing drama, and do-it-yourself home improvement. Keywords: Creativity, Emotional Creativity, Emotions, Creativeness, Affect, Feelings, Leisure Activities, Creative Ability, Artistic Creativity, Creative Thinking, Creativeness, Aging, Cognitive Deficits, Performance. MeSH Headings: Emotions, Creativity, Leisure, Leisure Activities, Hobbies, Recreation, Affect Affective Symptoms, Creativeness. (shrink)

Philosophical writings on the essentials of a creative life.

What is truth? This fascinating spectrum of studies into the various rationalities of our human dealings with life - psychological, aesthetic, economic, spiritual - reveals their joints and calls for a new approach to truth. Putting both classical and contemporary conceptions aside, we find the primogenital ground of truth in the networks of correspondences, adequations, relevancies, and rationales at work in life's becoming. Does this plurivocal differentiation mean that the status of truth is relative? On the contrary, submits (...) Anna-Teresa Tymieniecka, given the universal significance of the crucial instrument of the logos of life, "truth is the vortex of life's ontopoietic unfolding". (shrink)

This paper addresses the relations between art and everyday life in the city from the vantage points of urban aesthetics and sociology, where the “city” refers as well to a normative world. The aim is to show how art/artistic life contributed to the normative change and new urban lifestyles. First, I focus on Baudelaire’s theory of beauty and life in modern metropolis or the city as “poetic object” and dandyism as an art of the self, seen as (...) a crucial normative change: the emergence of new norms of excellence and art of living, such as creativity and self-fashioning. Second, I discuss a recent yet related normative change, described by Boltanski and Chiapello as a passage to the “project-oriented city”, seen as a new way of working and living that fuses cultures of creativity and uncertainty. Third, I tackle the “creative city” hailed by Florida, where the creative lifestyle of “creative people” is the new mainstream setting the norms for society: individuality, diversity and openness, but also impermanent relationships and loose ties. I will argue that extending the hyper-mobile and flexible creative lifestyle from the extraordinary figure of the artist to ordinary people, as everyday urban life, triggers both benefits and risks. (shrink)

There is an increasing demand by society that university students demonstrate competitive skills to enable them to achieve greater success when entering the workplace. Creativity and life satisfaction correlate positively with academic performance, productivity, and excellence in the working environment. The presence of creativity and emotional intelligence in the curriculum and teaching methods in Spanish universities, however, is surprisingly lacking. Studies that examine gender differences in these variables provide conflicting results. The purpose of our research is to (...) analyse the changes produced in both creativity and life satisfaction in university students by a positive emotional and creative intervention and explore individual differences by gender. The methodology used was a quasi-experimental pre- test/post- test design with experimental/control groups. Three hundred university students from the Community of Madrid completed three exercises that evaluated creativity and life satisfaction. The results show significantly higher results in creativity and life satisfaction in women, who continued to achieve high results after the intervention. Finally, we discuss the need for emotional and creative education in universities and focus on the employability and the guarantee of equal opportunities through the development of these competencies. (shrink)

Life-Sharing for a Creative Tomorrow is a study of human beings as arising from Nature, yet transcending it; related to each other as members of the human race, yet free to choose personal ties with and commitment to others in interpersonal relations. The trials and risks of love, the specific characterization of being human within moral and aesthetic expressions are considered in the context of the communal social structures in the world. The truth and integrity of selfhood, vis-à-vis psychological (...) influences and outside pressures is presented as the necessary safeguard of one's identity, while sharing a creative life of beauty and wisdom, in solidarity with Others, for a truly human future. (shrink)

Challenging a long-standing assumption of the separation of ethical from poetic activity, this essay develops the basis for a theory of moral life as inherently and radically creative. A range of contemporary post-Kantian ethicists--including Ricoeur, Nussbaum, Kearney, and Gutiérrez--are employed to make the argument that moral practice requires a fundamental capability for creative transformation, imagination, and social renewal. In addition, this poetic moral capability can finally be understood only from the primordial religious point of view of the mystery of (...) Creation as such. Humanity as an image of its Creator is called to the endless impossible possibility of the re-creation of its own complex, plural, and fallen social world. Such a perspective is opposed to views of moral life as the application of law-like principles or the recovery of past moral histories. Without a better understanding of moral life's radically creative imperative, we miss a vital element of social relations' distinctive humanity. (shrink)

Background: A growing body of evidence has demonstrated significant social and emotional benefits of music-making amongst senior citizens. However, several as-yet unresolved age-related barriers to ‘musicking’ have been identified. Positioned within the emergent field of gerontechnology, concerned with the interface between aging and technology research, this review of literature thus explores the potential for music technologies to function as a vehicle for creative musical opportunities in later-life. Methods: ERIC, PsychInfo and Web of Science databases were searched, focusing on the (...) intersection between music, technology and ageing. The criteria for inclusion were that the paper should: 1) be in English; 2) report empirical research involving the use of music technologies intended to support receptive (listening, interpreting, reflecting) or active (playing, creating, performing) engagement with music amongst older persons, defined as being aged 60 years or above (United Nations, 2017); 3) be published as a peer reviewed journal article. Results: Of 144 papers screened, eighteen papers were retained. Ten studies focused on using technology to support musicking in the form of listening, reflecting and interpreting. Just five studies explored the utility of technology in promoting singing or playing instruments, while a further three were focused on music and movement. Conclusions: Overall, the literature reviewed suggests that older people, even those with complex needs, are capable of, and interested in using music technologies to access and create personally meaningful music. The limited research that does exist points to multiple and significant benefits that may be derived from receptive or active musicking supported by a range of music technologies. (shrink)

DARWIN’S FUNDAMENTAL INSIGHT is that evolution consists in “ descent with heritable variations that are sifted by natural selection to retain the adaptive changes.” Contemporary Darwinian biology tends to be restricted to an exclusively twofold focus: first, the gene, which is conceived as the basic element of biological reality, and hence of life, to the extent that it represents the fundamental unit of heredity; and second, selection, which is conceived as the sole source of order in biological organisms, to (...) the extent that inherited genetic variations leading to a better adaptation of an organism to its environment are selected to survive within this environment. This focus is fundamentally reductionist and functional. The integrity of the organism is. (shrink)

The world's foremost systems philosopher presents a new scientific theory to explain how the universe defies our current understanding of fundamental physical laws.

In the current era, robots and artificial agents can do jobs that could only be achieved with human creativity in the past, therefore successfully stepped into the sacred territory that once considered exclusive to human. Given this situation, Mark Amerika made two significant contributions with his new book, “My life as an Artificial Creative Intelligence”. This book added to the emerging literary genre collaborated by human artists and AI, telling the story about the advanced ACI developed in the (...) project FATAL ERROR and its relationship with Amerika as its co-author and creator. Moreover, this book documented an in-depth investigation into the nature of creativity and its processes, asking whether creativity is exclusive to the human mind. (shrink)

Based on a psychobiographical approach, this study addresses magical thinking across the life span of Paulo Coelho. Paulo Coelho, who was born in Brazil in the 1940s, has become one of the most sold and famous contemporary authors in the world. In his life, as well as in his books, which are mainly autobiographical accounts, magic and magical thinking, spirituality, meaningfulness, and the living of one’s dream, are key themes. The aim of this study was to explore magic (...) and magical thinking in Paulo Coelho’s life and creative works. The study uses a psychobiographical single case study approach within the methodological frame of Husserl’s phenomenology. The author, Paulo Coelho, was chosen as the subject of research. Documents providing both first person and third person perspectives were subjected to content analysis. The findings show that magical thinking played an important role in Coelho’s creative works and in his life, in the form, for example, of ascriptions of magic to key situations in his life, the performance of daily rituals, mystic interpretations of life events, and his deep religious faith. Magical thinking is usually regarded as indicative of pathological and inappropriate cognitive and psychological behaviour, especially when found in adults in a westernised culture. However, the analysis of Coelho’s life and works shows that magical thinking can be utilised creatively and be integrated into one’s life to enable personal development and growth while simultaneously providing fertile ground for creative production. In Paulo Coelho’s case, the intertwining of religion and magical thinking provided deep meaning that guided his personal development. (shrink)

In what may be the most radical business book ever published, philosopher Jay Ogilvy shows that living without a goal is the only way to accomplish anything. In the 1980s we ran our lives with all the direction and confidence filofaxes and to-do lists could provide. Always knowing exactly where we were headed, we climbed toward the goals corporate America held out in front of us like so many carrots: higher salaries, better titles, more impressive offices. But after a decade (...) of climbing, the air is getting thin. We crave the chance to create, to express ourselves, and to make a difference, not just a living. It is time, says businessman/philosopher James Ogilvy, to tear up the to-do lists and grant ourselves the freedom to enjoy what E. M. Forster calls "the lights and shades that exist in the greyest conversation." Ogilvy shows that richness and color and flavor flood back into our lives once we set aside the goals that hold us captive. He explores how philosophers (from Plato to Nietzsche), lovers, ideologues, and executives have at one time or another lived without goals. What emerges from his argument is a new look at how to achieve personal creativity and freedom by fashioning one's day to-day life, not as a larger goal-producing machine, but as a personal work of art. (shrink)

Discover the tools you need to get (and keep) your creative juices flowing! Tangerine has developed a series of exercises to help you develop a positive mindset, prioritize your time, and keep you creating day after day.

There is a paradigm shift occurring. The transition underway is from a rigid, mechanistic, and materialistic worldview to a process organismic worldview supporting a foundation of interconnectedness, cooperation, and the intersection of science and spirituality. A new paradigm must start with abductive hypotheses. I present the following as a presentation of abductive hypotheses. In semiotics abduction is a kind of reverse deduction to discover a law or some factor that would render some phenomenon intelligible. The importance of abduction is that (...) it is creative; it escapes the confines of deduction and induction. In this paper we’re not putting forth claims of truth or arguments for a position, but we are putting forth claims of usefulness; what do we need to be investigating to support this new paradigm? (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)

Margaret Boden famously theorizes that the highest form of creativity is more than the production of new ideas—it involves the transformation of a conceptual space consisting of all possible ideas that a person can obtain. This article examines whether this notion of transformative creativity can be applied to the field of biology. Biological transformative creativity (BTC) is theoretically conceivable if an extension of Boden’s original framework is allowed to include non-conceptual spaces as the object of transformation. However, (...) identifying specific biological phenomena that warrant the label of transformative creativity in living systems poses a substantial challenge. After scrutinizing two recent theories regarding BTC—one connecting BTC to evolution and the other equaling it to self-organization—this paper turns to a third alternative hypothesis that emphasizes the autonomous, self-productive mechanisms through which novel organizational patterns and morphological features take shape. To unpack this idea, the paper draws on extensive evidence in epigenetic studies and argues that autonomous transformation of overall possibilities of living organisms occurs at the individual level primarily due to flexible modifications of gene expression norms in the organism. Then, the paper analyzes the developmental plasticity of _C. elegans_ and the origin and differentiation of castes in social insects as two examples of the epigenetic form of BTC. The account is expected to contribute to a more appropriate understanding of the origin of human creativity and the creative nature of life. (shrink)

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

Wittgenstein’s later philosophy addresses the subject of connection between the psychic life of the individual and social context, represented by language games which are played within a form of life. Sensations and passions are part of the psychic life of the individual; far from being hidden psychological objects of a private Cartesian, they are inseparable from their social redefinition. In fact, they become visible in the context of the game. Wittgenstein argues that there is a transformation of (...) subjective psychic life by learning language games. The psychic life of the individual is then re-organized by learning a socially defined, characteristic behaviour pattern. However, the learning process of the games is complex and non-deterministic, in that it oscillates between degrees of acceptance and degrees of negation of language game rules. Through this oscillation between acceptance and denial of the game rules, it is possible to develop processes which lead to unpredictable changes in the game and in forms of life. (shrink)

This study of the Jewish legal system (the Halakhah) demonstrates that the law embraces every corner of life.