Open peer commentary on the article “Learning about Urban Sustainability with Digital Stories: Promoting Collaborative Creativity from a Constructionist Perspective” by Maria Daskolia, Chronis Kynigos & Katerina Makri. Upshot: Creativity, collaboration and learning are fascinatingly messy and interconnected processes. Does knowledge develop by engaging in a collaborative creative process, or does existing knowledge allow us to create more creative artefacts? Does one build upon the other in a bricolage process, familiar to constructionist learning experiences? If so, how can (...) we best facilitate this type of learning? This OPC raises a number of questions that it does not attempt to answer but raises them to draw attention to the complexity of the phenomena under investigation. (shrink)

This work offers a groundbreaking exploration of the urgent need for creativity and innovation in contemporary military thought. In an era characterised by the ceaseless flux of global dynamics, traditional paradigms of warfare have become increasingly obsolete. The imperative has arisen to harness out-of-box thinking, underscoring creativity and innovation within the realm of military thought. The pursuit of victory no longer lies in the fixation upon past conflicts, but rather in the discerning assessment of and adaptation to the (...) challenges that will shape the conflicts of tomorrow. This innovative new work dissects the barriers that have thus far hindered the realisation of this potential. Furthermore, it challenges the status quo and advances a series of recommendations poised to steer international militaries towards success in the theatre of contemporary conflicts. Drawing from their extensive involvement with defence forces worldwide, the authors introduce concepts such as military design thinking as catalytic instruments of change. Through introspective reflections and real-world case studies, they present implications for mitigating cognitive biases, heralding a transformative epoch in military operations. It is this very transformation that furnishes militaries with the capacity to surge ahead of their adversaries, a capability proving to be indispensable in modern warfare. Offering a well-illuminated path for military entities to adapt and flourish within an ever-evolving global landscape, this book will be of much interest to students of military studies, security studies and International Relations, as well as military professionals. (shrink)

This is a book about evolution from a post-Darwinian perspective. It recounts the core ideas of French philosopher Henri Bergson and his rediscovery and legacy in the poststructuralist critical philosophies of the 1960s, and explores the confluences of these ideas with those of complexity theory in environmental biology. The failings in the development of systems theory, many of which complex systems theory overcomes, are retold; with Bergson, this book proposes, some of the rest may be overcome too. It asserts (...) that Bergson’s ideas can further our understanding of evolution, and of complex systems, and aid the work of scientists working in the field of ecological complexity. See http://www.creativeemergence.info/ for more detail and sample chapter. "The claim is that Bergson's notions of duration and élan vital resonate with and provide interesting metaphysical speculations complementing a process structuralist biology of the Goodwin and Kauffman stripe. This is certainly provocative and worth further thought. The key claim is that the openness and unpredictability of systems "at the edge of chaos" (where a system can be said to "choose" at bifurcation points in its state space) meets the Bergsonian desideratum of an open universe that takes irreversible time and evolutionary difference seriously. In particular, Kreps stresses the way Bergson's insistence on the differentiating force of élan vital (which Kreps successfully defends from the charge of a substantialist vitalism along the lines of Hans Dreisch) puts him in line with those who see natural selection as a secondary pruning of a primary differentiation." -John Protevi, Notre Dame Philosophical Reviews 2016.01.20 'This is no ordinary introduction to Henri Bergson. What David Kreps' excellent study gives us is Bergson, complexe: first, because there is no simple way to take (or leave) Bergson's ideas - his thought of durée, élan, and 'multiplicity' demands the most subtle and nuanced reading to give them their full justice; and second, because only by intertwining his ideas with the most up-to-date research in systems thinking, complexity theory, and poststructuralism can we begin to understand their absolute contemporaneity. Kreps' work does all this and more: it gives us the Bergson we need for today.' -John Mullarkey, author of Bergson and Philosophy 'Kreps' book is a thoroughly researched and well-written work that shows how Bergson's philosophy of evolution and time can also reinvigorate our ideas about complexity and organization in the natural and physical sciences.' -Stephen Crocker, author of Bergson and the Metaphysics of Media. (shrink)

In this essay we collect and put together a number of ideas relevant to the under- standing of the phenomenon of creativity, confining our considerations mostly to the domain of cognitive psychology while we will, on a few occasions, hint at neuropsy- chological underpinnings as well. In this, we will mostly focus on creativity in science, since creativity in other domains of human endeavor have common links with scientific creativity while differing in numerous other specific respects. (...) We begin by briefly introducing a few basic notions relating to cognition, among which the notion of ‘concepts’ is of basic relevance. The myriads of concepts lodged in our mind constitute a ‘conceptual space’ of an enormously complex structure, where con- cepts are correlated by beliefs that are themselves made up of concepts and are as- sociated with emotions. The conceptual space, moreover, is perpetually in a state of dynamic evolution that is once again of a complex nature. A major component of the dynamic evolution is made up of incessant acts of inference, where an inference occurs essentially by means of a succession of correlations among concepts set up with beliefs and heuristics, the latter being beliefs of a special kind, namely, ones relatively free of emotional associations and possessed of a relatively greater degree of justification. Beliefs, along with heuristics, have been described as the ‘mind’s software’, and con- stitute important cognitive components of the self-linked psychological resources of an individual. The self is the psychological engine driving all our mental and physical activity, and is in a state of ceaseless dynamics resulting from one’s most intimate ex- periences of the world accumulating in the course of one’s journey through life. Many of our psychological resources are of a dual character, having both a self-linked and a shared character, the latter being held in common with larger groups of people and imbibed from cultural inputs. We focus on the privately held self-linked beliefs of an individual, since these are presumably of central relevance in making possible inductive inferences – ones in which there arises a fundamental need of adopting a choice or making a decision. Beliefs, decisions, and inferences, all have the common link to the self of an individual and, in this, are fundamentally analogous to free will, where all of these have an aspect of non-determinism inherent in them. Creativity involves a major restructuring of the conceptual space where a sustained inferential process eventually links remote conceptual domains, thereby opening up the possibility of a large number of new correlations between remote concepts by a cascading process. Since the process of inductive inference depends crucially on de- cisions at critical junctures of the inferential chain, it becomes necessary to examine the basic mechanism underlying the making of decisions. In the framework that we attempt to build up for the understanding of scientific creativity, this role of decision making in the inferential process assumes central relevance. With this background in place, we briefly sketch the affect theory of decisions. Affect is an innate system of response to perceptual inputs received either from the exter- nal world or from the internal physiological and psychological environment whereby a positive or negative valence gets associated with a perceptual input. Almost every sit- uation faced by an individual, even one experienced tacitly, i.e., without overt aware-ness, elicits an affective response from him, carrying a positive or negative valence that underlies all sorts of decision making, including ones carried out unconsciously in inferential processes. Referring to the process of inferential exploration of the conceptual space that gener- ates the possibility of correlations being established between remote conceptual do- mains, such exploration is guided and steered at every stage by the affect system, analogous to the way a complex computer program proceeds through junctures where the program ascertains whether specified conditions are met with by way of generating appropriate numerical values – for instance, the program takes different routes, depending on whether some particular numerical value turns out to be positive or negative. The valence generated by the affect system in the process of adoption of a choice plays a similar role which therefore is of crucial relevance in inferential processes, especially in the exploration of the conceptual space where remote domains need to be linked up – the affect system produces a response along a single value dimension, resembling a number with a sign and a magnitude. While the affect system plays a guiding role in the exploration of the conceptual space, the process of exploration itself consists of the establishment of correlations between concepts by means of beliefs and heuristics, the self-linked ones among the latter having a special role in making possible the inferential journey along alternative routes whenever the shared rules of inference become inadequate. A successful access to a remote conceptual domain, necessary for the creative solution of a standing problem or anomaly – one that could not be solved within the limited domain hitherto accessed – requires a phase of relatively slow cumulative search and then, at some stage, a rapid cascading process when a solution is in sight. Representing the conceptual space in the form of a complex network, the overall process can be likened to one of self-organized criticality commonly observed in the dynamical evolution of complex systems. In order that inferential access to remote domains may actually be possible, it is necessary that restrictions on the exploration process – necessary for setting the context in ordinary instances of inductive inference – be relaxed and a relatively free exploration in a larger conceptual terrain be made possible. This is achieved by the mind going into the default mode, where external constraints – ones imposed by shared beliefs and modes of exploration – are made inoperative. While explaining all these various aspects of the creative process, we underline the supremely important role that analogy plays in it. Broadly speaking, analogy is in the nature of a heuristic, establishing correlations between concepts. However, analo- gies are very special in that these are particularly effective in establishing correlations among remote concepts, since analogy works without regard to the contiguity of the concepts in the conceptual space. In establishing links between concepts, analogies have the power to light up entire terrains in the conceptual space when a rapid cas- cading of fresh correlations becomes possible. The creative process occurs within the mind of a single individual or of a few closely collaborating individuals, but is then continued by an entire epistemic community, eventually resulting in a conceptual revolution. Such conceptual revolutions make pos- sible the radical revision of scientific theories whereby the scope of an extant theory is broadened and a new theoretical framework makes its appearance. The emerging theory is characterized by a certain degree of incommensurability when compared with the earlier one – a feature that may appear strange at first sight. But incommen- surability does not mean incompatibility and the apparently contrary features of the relation between the successive theories may be traced to the multi-layered structureof the conceptual space where concepts are correlated not by means of single links but by multiple ones, thereby generating multiple layers of correlation, among which some are retained and some created afresh in a conceptual restructuring. We conclude with the observation that creativity occurs on all scales. Analogous to correlations being set up across domains in the conceptual space and new domains being generated, processes with similar features can occur within the confines of a domain where a new layer of inferential links may be generated, connecting up sub- domains. In this context, insight can be looked upon as an instance of creativity within the confines of a domain of a relatively limited extent. (shrink)

Listening and responding to patients’ stories for over 20 years as an emergency physician has strengthened my appreciation for the many ways that the skills and principles drawn from writing fiction double as necessary clinical skills. The best medicine doesn’t work on the wrong story, and the stories patients tell sometimes feel like first drafts—vital and fragile works-in-progress. Increasingly complex health challenges compounded by social, financial, and psychological burdens make for stories that are difficult to articulate and comprehend. In (...) this essay, I argue that healthcare providers need to think like creative writers and the skills and sensitivities necessary to story construction deserve a vital space in medical education. A thorough understanding of story anatomy and the imaginative flexibility to work stories into open spaces serve as antidotes to the reductive nature of clinical decision making and have implications as patient safety and risk management strategies. The examples that I have selected demonstrate how thinking like a creative writer functions at the bedside, providing tools for clinical excellence and empathy. This approach asks that we re-imagine the importance of story in clinical care: from a vehicle to a diagnosis to its place as a critical destination. (shrink)

A complexity cosmography is introduced as construing a world that is self-organizing, dynamic, and emergent, and that comprises organic entities that too are self-organizing, dynamic, and emergent. Following critical reflection into the nature of utilising complexity in social inquiry, specific images, vocabularies and complexity-based methods and techniques as developed by the authors are introduced.

Creativity: Theory, History, Practice offers important new perspectives on creativity in the light of contemporary critical theory and cultural history. Innovative in approach as well as argument, the book crosses disciplinary boundaries and builds new bridges between the critical and the creative. It is organized in four parts: · Why creativity now? offers much-needed alternatives to both the Romantic stereotype of the creator as individual genius and the tendency of the modern creative industries to treat everything as (...) a commodity. · Defining creativity, creating definitions traces the changing meaning of "create" from religious ideas of divine creation from nothing to advertising notions of concept creation. It also examines the complex history and extraordinary versatility of terms such as imagination, invention, inspiration and originality. · Creation as myth, story, metaphor begins with modern re-telling of early African, American and Australian creation myths and -picking up Biblical and evolutionary accounts along the way - works round to scientific visions of the Big Bang, bubble universes and cosmic soup. · Creative practices, cultural processes is a critical anthology of materials, chosen to promote fresh thinking about everything from changing constructions of "literature" and "design" to artificial intelligence and genetic engineering. Rob Pope takes significant steps forward in the process of rethinking a vexed yet vital concept, all the while encouraging and equipping readers to continue the process in their own creative or "re-creative" ways. Creativity: Theory, History, Practice is invaluable for anyone with a live interest in exploring what creativity has been, is currently, and yet may be. (shrink)

The challenge of developing creativity to enhance human potential is conceptualized as a multifaceted wicked problem due to the countless interactions between people and environments that constitute human development, athletic skill, and creative moments. To better comprehend the inter-relatedness of ecologies and human behaviors, there have been increasing calls for transdisciplinary approaches and holistic ecological models. In this paper we explore an ecological dynamics rationale for creativity, highlighting the conceptual adjacency of key concepts from transdisciplinarity, dynamic systems theory, (...) ecological psychology and social-cognitive psychology. Our aim is to extend the scope of ecological dynamics and contextualize the application of non-linear pedagogy in sport. Foregrounding the role of sociocultural constraints on creative behaviors, we characterize the athlete-environment system as an ecological niche that arises from, and simultaneously co-creates, a form of life. We elaborate the notion that creative moments, skill and more generally talent in sport, are not traits possessed by individuals alone, but rather can be conceived as properties of the athlete-environment system shaped by changing constraints. This re-conceptualization supports a pedagogical approach predicated on notions of athletes and sports teams as complex adaptive systems. In such systems, continuous non-linear interactions between system components support the exploration of fluent and flexibly creative performance solutions by athletes and sports teams. The implications for practice suggest that cultivating a constellation of constraints can facilitate adaptive exploration of novel affordances (opportunities/invitation for action), fostering creative moments and supporting creative development in athletes. Future models or frameworks for practice contend that pedagogies should emerge from, and evolve in, interaction with the sociocultural context in which practitioners and athletes are embedded. (shrink)

Examining the complex role that motivation plays in creativity foregrounds the role of intrinsic motivation in paradigmatic cases of creative achievement. This is significant given the neglect of the role of motivation in the philosophical literature. Furthermore, given the way in which intrinsic motivation typically grounds and enables the cultivation of creativity for creatures like us, it pays to think of creativity in virtue-theoretic terms. As suggested by both empirical and conceptual considerations, intrinsic motivation insulates agents (...) from pressures against or inhibitors of creativity. It helps to explain robustness across different situations and influences. Conceiving of creativity as a virtue of character also makes best sense of how and why we praise or criticize as we do and shows us how to cultivate creativity. (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)

In this paper I take a philosophy of technology approach to so-called “creative AI.” In light of the disruptions promised by generative AI systems, I explore the way AI may give cause to develop a philosophical concept of creativity for the new technological milieu, beyond those often found in AI models, based on human psychology alone. Largely framed by the process thought of Alfred Whitehead, the paper first engages in a critique of human-centric accounts of creativity that are (...) dominant in the AI field, and then explores the way a process philosophy of technology can describe emerging creativity-technology relationships. The conclusion of the paper is twofold: the first is that creative AI systems should embrace a more contingent and complex concept of creativity in order to produce “new, surprising, and valuable” objects in the world. The second is that one of the key roles of contemporary philosophy of technology is to rethink creativity as artificial in light of the potential of AI. (shrink)

In this contribution, we draw on findings from a non-formal, community music project to elaborate on the relationship between the concept ofeudaimonia, as defined by Seligman, the interactive dimensions of collective free improvisation, and the concept of collaborative creativity. The project revolves around The Ostend Street Orkestra (TOSO), a music ensemble within which homeless adults and individuals with a psychiatric or alcohol/drug related background engage in collective musical improvisation. Between 2017 and 2019 data was collected through open interviews and (...) video recordings of rehearsals and performances. Participant data was analyzed through inductive analysis based on the principles of grounded theory. One interesting finding was the discrepancy in the participant interviews between social relationships indicative of a negative affect about social group interaction versus strong feelings of group coherence and belonging. Video recordings of performances and rehearsals showed clear enjoyment and pleasure while playing music. Alongside verbal reflection through one-on-one interviews video recordings and analysis of moment-to moment observations should be used, in order to capture the complexity of community music projects with homeless people. The initial open coding was aligned with the five elements of the PERMA model. Overall, we observed more focus on Relationship (sense of belonging), Engagement (flow in rehearsals and performances) and Meaning (belonging to something greater than yourself) and less on Positive Emotion and Accomplishment (goal setting). (shrink)

Most psychological theories of problem solving have focused on modeling explicit processes that gradually bring the solver closer to the solution in a mostly explicit and deliberative way. This approach to problem solving is typically inefficient when the problem is too complex, ill-understood, or ambiguous. In such a case, a ‘creative’ approach to problem solving might be more appropriate. In the present paper, we propose a computational psychological model implementing the Explicit-Implicit Interaction theory of creative problem solving that involves (...) integrating the results of implicit and explicit processing. In this paper, the new model is used to simulate insight in creative problem solving and the overshadowing effect. (shrink)

This article explores an understanding of organizational management developed from the metaphorical application of complexity science to the field of organizational development. It focuses on the insights that fractality triggers in relation to an alternative way of examining and appreciating organizational hierarchy, and the subsequent implications to liberating creativity, ingenuity and potentiality of individuals working within the organization. Sites where such a fractal-hierarchy mindset appears to be evident are discussed, and the effects on productivity noted.

In today’s world of rapid changes and increasing complexity, understanding and enhancing creativity is of critical importance. Studies investigating EEG correlates of creativity linked power in the alpha frequency band to creativity, and alpha-power has been interpreted as reflecting attention on internal mental representations and inhibition of external sensory input. Thus far, however, there is no direct evidence for the idea that internally directed attention facilitates creativity. The aim of the current study was to experimentally investigate (...) the relationship between eye-closure—a simple and effective means to stimulate internally directed attention—and creativity. Moreover, to test whether the potential beneficial effect of eye-closure is specific for creativity, or whether it improves general cognitive functioning, the current study tested the effect of eye-closure on creativity and on working memory (WM). Participants completed four tasks to measure divergent and convergent creativity (Adapted Alternative Uses (AAU) Test, Remote Associates Test (RAT), Sentence Construction Test, and Word Construction Test), and one task to measure WM (Digit Span Test). For each task, participants had to perform two versions, one version with eyes open and one version with eyes closed. Eye-closure facilitated creative performance on the classical divergent and convergent creativity tasks (AAU Test and RAT). No effect of eye-closure was observed on the WM task. These findings provide a novel and easily applicable means to enhance divergent and convergent creativity through eye-closure. (shrink)

Although many new ideas are generated, only a few are ever implemented. Thus, it seems reasonable to conclude that idea evaluation represents an important aspect of the creative process. In the present article, we examine the cognitive operations involved in idea evaluation. We argue that idea evaluation is a complex activity involving appraisal of ideas, forecasting of their implications, and subsequent revision and refinement. We note that the outcomes of these activities depend on both the standards applied in idea (...) evaluation and the context surrounding evaluation of a new idea. Implications for the development of idea evaluation skills are discussed. (shrink)

This book offers a uniquely constructive set of tools for engaging complex and controversial ethical problems. Covering such practical methods as diversifying options, lateral thinking, reframing problems, approaching conflicts as creative opportunities, and many others, it shows how to find "room to move" inside even the most challenging ethical problems, and thereby discover new and productive ways to deal with them. The book features numerous exercises and applications that consider a wide range of familiar ethical issues--including the moral status (...) of animals, the death penalty, poverty, drug use, and many others--and ends with some of the toughest: abortion, assisted suicide, and environmental ethics. An ideal supplement for any general ethics course, Creative Problem-Solving in Ethics can also be used in more specific "applied" courses like bioethics, business ethics, and social ethics, as well as in critical thinking courses that emphasize ethics. In addition, it provides a concise and engaging introduction to creative thinking for workshop participants and general readers. From the very beginning of the book, readers will discover that creative thinking can offer imaginative and promising alternatives to seemingly intractable ethical dilemmas. (shrink)

A full-color, go-anywhere guide to Nikon's entire array of creative lighting possibilities Nikon's Creative Lighting System is like having a low-cost, wireless, studio lighting system that's portable enough to fit into a camera bag. Although the possibilities are endless and exciting, setting up, synchronizing the equipment, and determining lighting ratios can be a bit overwhelming. Luckily, this Digital Field Guide has been completely updated to shed some light on the situation! Beginning with the basic functions of the Nikon SB-900, the (...) SB-800, and the SB-600, the author then goes on to demystify the complexities of using multiple speedlights, adjusting flash outputs, and setting up a wireless studio. Clearly explains how to get the best results when using multiple speedlights Includes examples and unique advice on how to light specific subjects, such as weddings, wildlife, portraits, product shots, and corporate locations Covers other Creative Lighting System components, such as Nikon's wireless commander and macro speedlights With this handy, on-the-go guide, you'll no longer be in the dark on Nikon's Creative Lighting System. (shrink)

This paper is an analysis of the concept of creativity. Tradition is followed in distinguishing three related but increasing complex concepts. The first concerns mere making or bringing into existence. It is not examined at length. The second builds on the first but includes the notion of novelty. The third incorporates the second but adds the notion of value. The latter two concepts of creativity are explored in great detail.

Learn how breaking photographic rules can result in stunning black-and-white photos Black-and-white photography poses unique challenges; without color to guide the eye, contrast, lighting, and composition take on even more importance. Renowned photographer Harold Davis explains these elements and demonstrates the basic rules of black and white photography as well as when and how to break them. He breaks through the complexity of this photographic medium, explores opportunities for black-and-white imagery, and shows how to capitalize on every one. Richly illustrated (...) with the author's own images, this beautiful guide presents the skills needed for great black-and-white photos while encouraging your confidence and creativity. Goes beyond basics to teach photographers how to conquer the challenges posed by black-and-white photography Appeals to professionals and serious amateurs who are interested in exploring creative black-and-white imagery Presents photography fundamentals and shows how black and white requires some of the rules to be bent Encourages creative thinking and confidence Lavishly illustrated with Harold Davis's outstanding monochromatic photos Whether you're a professional just venturing into black and white or a serious amateur, Creative Black & White will both educate and inspire you. (shrink)

Abstract:Implementing creative and sustainable urban planning initiates is rather challenging. This article argues that universities can become more relevant to underserved communities in their hinterlands by conducting town-gown citizen-science programs. Central to the article is a review of the most pertinent literature on public engagement, citizen-science, and other community based participatory methods utilized in the resolution of very complex health, social, environmental, and consumption problems. The research’s analytical mechanism is centered on the triad of Placeless, Place and Non-Place genius (...) loci of socio-spatial town-gown interventions. The curricular and pedagogical innovations identified entail the strengthening of citizen-science and design thinking in both high school and university education. (shrink)

In quantum mechanics, the term “creativity” is amplified, since natural events form the constant transition from possibility to reality, according to the ontological probabilism of the Schrödinger equation. The completion of the quantum theory through the concept of the Grand Unified Theories, and especially through the yet incomplete superstring theory, reveals that at the micro level of creation of sub-atomic particles or space, motion literally comes prior to Being and objects are forms of a motion which suggests a constant (...) transition from possibility to reality. In non – linear physics of complex systems, the term “creativity” does not simply correspond to the initial emergence of the universe (big bang) or to the sub-atomic scale processes described by quantum mechanics, the Grand Unified Theories and the superstring theory, but is expanded to all aspects of nature: i.e. physical - chemical, ecological, psychological – mental aspect. So, through the non – linear physics theory, macroscopically viewed beings are constructed, holistic forms of motion, in order for the whole to gain a non reducible (therefore the whole is constantly being produced) ontological meaning which characterizes the operation of the part. Combining the theories of quantum mechanics and relativity, it could be stated that modern physics abolishes the customary perception concerning the natural phenomena, which were concerned as a constant transformation of a fundamental substance. On the contrary, the contemporary description of the natural world by physics and mathematics corresponds to Morphodynamics, i.e. the description of the world as creation of all cosmic shapes from a zero point, on all cosmic levels. From this point of view, zero is understood as the absence of shape, while the notion of an unshaped eternal substance is weakened and does not seem to be able to be justified by the evolution of scientific thought. The “beings” and their “substance” are assimilated to forms of movement that have already been created or that are being created, and constitute motion inside motion. (shrink)

The idea that art is related to a process of creation is a modern one. Through a complex history in the $)th century, which is not without contradictions, the connection between art and creativity was debated in different fields – psychology, epistemology, cognitive science, etc. – and became the target of attacks from marxism and (post-)structuralism. Still, the notion of creativity seems to have conserved its force not only in everyday practices but also in media discourses. In (...) diverse areas – from art theory to epistemology, from action theory to economics, from computer science to psychology (to give only a few examples) – it has regained the attention of scholars as well, as is made clear by the number of recent publications on the topic. However, questions remain as to whether and how the notion of creativity can be used and what kind of conceptual work it can do. Trópos dedicated a call for papers to this topic. Selected papers are published in two special issues. The present one includes essays offering theoretical investigations on creativity. They do this under different, even contrasting, perspectives, with different aims and with di5erent outcomes. Yet, the light they throw on the question at issue provides readers with important, often creative, insights. Through them, readers are invited to think creatively, as well as critically, on creativity and its connections with the arts and aesthetics. (shrink)

‘Creative Involution’ posits something of a philosophical genealogy, a line of flight that has neither need for nor interest in the periodisation of Modernism, a line of which Beckett (even reluctantly) is part. Murphy, among others, is deterritorialised as much as Beckett's landscapes are, and so he/they become a ‘complexification’ of being that manifests itself in Beckett not as represented, representative or a representation, since so much of Beckett deals with that which cannot be uttered, known or represented, but whose (...) image the works (and its figures) have become, a thinking through of negativity, becoming, and multiplicity through non-Newtonian motion, of being as becoming, where every movement brings something new into the world, but in something of a reverse Darwinism that moves from complex to simple organism, from Murphy to Worm, or Watt to Pim, or among the nameless figures in the short prose, a ‘becoming-animal’, in something not so much of a creative devolution but rather a ‘neoevolution’, or to adopt another term from Deleuze and Guattari, an ‘involution’, which ‘is in no way confused with regression’ (1987: 238), becomings creating nothing less than new worlds. Writing casually to his post-war confidant Georges Duthuit on 26 July 1951, Beckett noted in the midst of gardening chores, ‘Never seen so many butterflies in such worm-state, this little central cylinder, the only flesh, is the worm’ (2011: 271). The observation comes after the writing but before the premiere performance of Waiting for Godot in which Gogo tells Didi, ‘You and your landscapes! Tell me about the worms!’ (1954: 67). Such ‘becoming-animal always involves a pack, a band, a population, a peopling, in short a multiplicity’ (1987: 239), Deleuze and Guattari tell us. For Beckett it defines creativity as well, only possible through such un-tethered selves or beings, amid the generation of varieties and differences, accessible through moments of deterritorialisation, characterised by, ‘A fearsome involution calling us toward unheard-of becomings’ (240). (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)

What happened when creative biographers took on especially creative subjects in Greek and Roman antiquity? Creative Lives in Classical Antiquity examines how the biographical traditions of ancient poets and artists parallel the creative processes of biographers themselves, both within antiquity and beyond. Each chapter explores a range of biographical material that highlights the complexity of how readers and viewers imagine the lives of ancient creator-figures. Work in the last decades has emphasized the likely fictionality of nearly all of the ancient (...) evidence about the lives of poets, as well as of other artists and intellectuals; this book now sets out to show what we might nevertheless still do with the rich surviving testimony for 'creative lives' - and the evidence that those traditions still shape how we narrate modern lives too. (shrink)

We live in a world of massive change, and each decade appears to move faster and faster. It is not just the inventions that are picking up speed, but the adoption of technologies is increasing by businesses and consumers. The early adaptors switch to general consumption at an increasing pace. Part of the increase in adoption is attributed to challenges such as a pandemic. Nevertheless, in general, the concepts of a VUCA (volatile, uncertain, complex, and ambiguous) are becoming a (...) standard year-on-year driven by the exponential growth of knowledge and, therefore, technology (Jari & Lauraeus, 2019). As this chapter will explain, this exponential growth in technology would not be possible without the creative surge upon us. Organizations are promoting out-of-the-box thinking and creativity. Historically, creativity was only necessary for the arts and philosophical thinkers. Creativity has moved to its rightful place as part of our problem solving. No discussion of disruption is complete without addressing the work of Harvard professor Dr. Christensen, who for over 20 years has looked in detail at the phenomenon of disruption at the technology and business model levels. Christensen was not just aware of some new technologies’ disruptive nature and provided guidelines on how organizations should view different disruptive technologies (Christensen, 1997; Christensen, 2015; Christensen et al., 2018). Academic institutions and business schools need to embrace creativity and technology as part of the core skill sets required for successful organizations. (shrink)

So well established was the cliché which connected TB and creativity that at the end of the century one critic suggested that it was the progressive disappearance of TB which accounted for the current decline of literature and the arts'. Some biochemical evidence does indeed invite a hypothesis that M. tuberculosis originally joined the human holobiont as a brain evolution-enhancing endosymbiont, thus possibly contributing towards the development of human consciousness and creative potential. Exploring the complexity of mycobacteria's entanglements within (...) human corporeality leads us to questions that challenge anthropocentric conceptions of creativity in a twofold manner. As noted above, the tubercle bacillus forms machinic assemblages and operates as an endosymbiont with human bio-systems. It is possible that these endosymbiotic assemblages contribute towards human creativity and destabilize simple notions of its origin. In a double reflection, the concept of creativity itself could be revisited along alternative lines: it can no longer be considered only as the production of human cultural artefacts and experiences, but rather it can be understood as ubiquitous activity performed by heterogeneous highly dynamic machinic assemblages (comprising of human, animal, computational, social, molecular, bacterial, viral and other processes), which lead to the production of novel modes of existence. (shrink)

Evolutionary adaptation has been suggested as the hallmark of life that best accounts for life’s creativity. However, current evolutionary approaches still fail to give an adequate account of it, even if they are able to explain both the origin of novelties and the proliferation of certain traits in a population. Although modern-synthesis Darwinism is today usually appraised as too narrow a position to cope with all the complexities of developmental and structural biology—not to say biosemiotic phenomena—, Darwinism need not (...) be if we separate metaphor from reality in natural selection in order to show the axiological complexity of this concept. This can shed light on the relationship between biosemiotics and biological evolution. (shrink)

Most research on people's conceptions regarding creativity has concerned informal beliefs instead of more complex belief systems represented in scholarly theories of creativity. The relevance of general theories of creativity to the creative domain of music may also be unclear because of the mixed responses these theories have received from music researchers. The aim of the present study was to gain a better comparative understanding of theories of creativity as accounts of musical creativity by (...) allowing students to assess them from a musical perspective. In the study, higher-education music students rated 10 well-known theories of creativity as accounts of four musical target activities—composition, improvisation, performance, and ideation—and argued for the “best theoretical perspectives” in written essays. The results showed that students' theory appraisals were significantly affected by the target activities, but also by the participants' prior musical experiences. Students' argumentative strategies also differed between theories, especially regarding justifications by personal experiences and values. Moreover, theories were most typically problematized when discussing improvisation. The students most often chose to defend the Four-Stage Model, Divergent Thinking, and Systems Theory, while theories emphasizing strategic choices or Darwinian selection mechanisms were rarely found appealing. Overall, students tended toward moderate theory eclecticism, and their theory appraisals were seen to be pragmatic and example-based, instead of aiming for such virtues as broad scope or consistency. The theories were often used as definitions for identifying some phenomena of interest rather than for making stronger explanatory claims about such phenomena. Students' theory appraisals point to some challenges for creativity research, especially regarding the problems of accounting for improvisation, and concerning the significance of theories that find no support in these musically well-informed adults' reasoning. (shrink)

This paper develops the concept of ‘creative attention’. Against classical theories that understand attention as a spotlight that brings objects into focus, I will argue that attention is a complex phenomenon structured in different layers. The most basic layer is perceptual, passive and pre-predicative: at this level, attention is creative – and this is the central claim of this paper – because it institutes meanings and rules for our behaviour.

This paper presents some modern and interdisciplinary concepts about creativity and creative processes specially related to problem solving. Central publications related to the theme are briefly reviewed. Creative tools and approaches suitable to support problem solving are also presented. Finally, the paper outlines the author’s experiences using creative tools and approaches to: Facilitation of problem solving processes, strategy development in organisations, design of optimisation systems for large scale and complex logistic systems, and creative design of software optimisation for (...) complex non-linear systems. (shrink)

As we move towards a world that is using machine learning and nascent artificial intelligence to analyse and, in many ways, guide most aspects of our lives, new forms of heterogeneous collaborative teams that include human/intelligent machine agents will become not just possible, but an inevitable part of our shared world. The conscious participation of the arts in the conversation about, and development and implementation of, these new collaborative possibilities is crucial, as the arts serve as our best lens through (...) which we can explore the full spectrum of potential possibilities and futures. Through the complex relationships formed through heterogeneous human/intelligent agent collaboration, we are given the opportunity to re-examine some of our assumptions and suppositions of teamwork and forms of relating and thinking within a group environment. (shrink)

This article discusses the issue of social and cultural ‘autotranscendence’ - self-production, creativity - in the debates on self-organization. The point of departure is Cornelius Castoriadis’s idea of ‘self-creation’. First, a schisma between mechanical and ontological modeling is indicated and used to introduce the idea of a ‘creative organization’. This is further discussed in relation to Jean-Pierre Dupuy’s concept of social ‘autotranscendence’ by ‘complex methodological individualism’, with particular respect to the incomprehension of the social. Following Johann P. Arnason’s (...) treatment of the question of cultural articulation in Castoriadis, the article argues that the problem of autotranscendence presents a further problem of self-creation discernible in Castoriadis’s notions of phusis/nomos, living being/human, and constraint/magma. The article closes with a consideration of Duncan Watts, Alberto-László Barabási and Bernardo Huberman’s sketch of a network sociology. (shrink)

In this article, I demonstrate that Friedrich Nietzsche offers us a unique form of hermeneutic critique. In particular, I contend that when reading Nietzsche’s perspectivism and will to power in light of each other, they provide us with the tools to overcome habits of interpretation through the concepts of genealogy and creative hermeneutics. I show this in three sections. In section one, I introduce Nietzsche’s perspectivism and situate it within his concept of the will to power. In doing so, I (...) demonstrate that interpretations exist amidst a complex field of agonistic, reciprocal relations in life’s constant production of meaning. In section two, I then analyze how certain interpretations sediment into habits, forming harmful blind spots in interpretive activity. Such habits, Nietzsche shows, when privileged as prima facie ‘True’ and left uncontested exclude different ways of interpreting and existing, stagnating the production of meaning and denying the agonistic conditions of life. In the final section, I argue that Nietzsche critiques such habits in the two directions of genealogy and creative hermeneutics. Through the backward approach of genealogy, Nietzsche problematizes the habit, excavates its lowly origin, and deconstructs its supposed universality. Through the forward approach of creative hermeneutics, he overcomes and reinterprets them out of their origins, experiments with difference and multiplicity, and engages in an ongoing critique to open up new perspectives. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 53-64 [Access article in PDF] Emotion and Creativity Mike Radford Introduction Creativity may be seen as a complex process of informational processing within a given framework, or, as Margaret Boden has termed it, "conceptual space." 1 It is in the context of such frameworks that the process of managing information makes sense. The framework offers the possibilities within which (...) information can be combined and separated, grouped and regrouped,and may be seen to define the boundaries of that which makes sense both within the space and at its parameters. Boden suggests that we can, by playing around with the variables within a "conceptual space," be creative. We can generate multiple possibilities in terms of meaningful articulations.We can also aspire to a more fundamental level of creative thought oraction by engaging in the high-risk process of challenging the very rules that support the coherence of the space itself. In other words we can think, hypothesize or "play" at the boundaries of sense. Such explorations might result in changing those boundaries, thus transforming the conceptual space. Such changes might be minor but at other times dramatic, constituting major transitions in human thought and expression. This account seems to explain both the gradual process of creative development in the arts and sciences as well as the dramatic transformations that we observe in the history of intellectual and cultural development. Some conceptual spaces may be clearly defined with relatively closely controlled parameters. Others might be more open, more accommodating both within and at their boundariesA number of questions arise in the context, two of which are of particularinterest. First, how do novel combinations or reorganizations of information within the conceptual space come to be made and how they are recognized as sensible and of value within the system? Second and more fundamentally, how are new and original articulations that stand at the parameters or boundaries of the sense-making system constructed? How are we guided [End Page 53] when we seek to make sense at its very boundaries? It may be that few are called to such profound levels of creative articulation but for the rest of us, how do we recognize these creative articulations when they are made? How do we make sense of an activity, a new scientific theory, or work of art when it challenges the very principles that govern its sense in the first place?It is important to give full cognizance to the complexity of the information-processing task being performed and it is highly doubtful if all elements, all items of information, and the relationships between them, are before the conscious mind of the individual creative intelligence at any one time. There may be a sense of consonance or harmony within this system that enables us to recognize its sense or coherence. In this way much of the information contained within it is simply not noticed. Only when some item of information or process is out of place, dissonant with the organization, do we perceive difficulties. All systems contain dissonances either obvious or manufactured. In science for example there are items of evidence that do not fit within the theoretical frameworks or the paradigms that it has to offer. There are also substantial areas of human experience that might seem to fall outside the paradigm altogether. For many years scientists have been able to predict the exact day, time, and locality within which we may observe an eclipse of the sun. What they have been unable to do, even within a few hours of the event, is predict whether the weather conditions will be such that we can actually observe it. In time it may be that there is the development of a new paradigm that promises accuracy in weather predictions or newly discovered evidence that warrants a review of particular theories within a paradigm.Sometimes it may seem that there is a perversity in human intelligence, particularly in the arts, that seeks out or deliberately manufactures such dissonances in order to challenge us in the way that we are thinking, to shake complacency... (shrink)

Creativity is the hallmark of human intelligence. Roli et al. (Frontiers in Ecology and Evolution 9:806283, 2022) state that algorithms cannot achieve human creativity. This paper analyzes cooperation between humans and intelligent algorithmic tools to compensate for algorithms’ limited creativity. The intelligent tools have functionality from the neocortex, the brain’s center for learning, reasoning, planning, and language. The analysis provides four key insights about human-tool cooperation to solve challenging problems. First, no neocortex-based tool without feelings can achieve (...) human creativity. Second, an interactive tool exploring users’ feeling-guided creativity enhances the ability to solve complex problems. Third, user-led abductive reasoning incorporating human creativity is essential to human-tool cooperative problem-solving. Fourth, although stakeholders must take moral responsibility for the adverse impact of tool answers, it is still essential to teach tools moral values to generate trustworthy answers. The analysis concludes that the scientific community should create neocortex-based tools to augment human creativity and enhance problem-solving rather than creating autonomous algorithmic entities with independent but less creative problem-solving. (shrink)

For half a century René Girard’s theories of mimetic desire and scapegoating have captivated the imagination of thinkers and doers in many fields as an incisive look into the human condition, particularly the roots of violence. In a 1993 interview with Rebecca Adams, he highlighted the positive dimensions of mimetic phenomena without expanding on what they might be. Now, two decades later, this groundbreaking book systematically explores the positive side of mimetic theory in the context of the multi-faceted world of (...) creativity. Several authors build on Adams’ insight that loving mimesis can be understood as desiring the subjectivity of the other, particularly when the other may be young or wounded. With highly nuanced arguments authors show how mimetic theory can be used to address child and adult development, including the growth of consciousness and a capacity to handle complexity. Mimetic theory is brought to bear on big questions about creativity in nature, evolutionary development, originality, and religious intrusion into politics. (shrink)

Inspiring teachers to teach with more spontaneity and creativity within a highly constrained educational environment, this text demonstrates through descriptive stories strategies for emergent teaching. The text is consistent with the theoretical understandings and research in the complexity sciences but takes a narrative approach, giving examples through stories, myths, and parables.

This book studies creativity in its own right in the search for a creativity science. If we assume that creativity can best be described by constraint theory, the complexity and paradoxes of creativity can be reduced by dividing it into manageable sections. The model is tested and evidenced by numerous historical cases of pioneering work within the three intellectual fields: science, art, and technology. The model guides non-specialists from the many disciplines studying creativity and demonstrates (...) the first principles of creativity science. Going all the way back to Aristotle, the author makes the basic ideas of the original founder of creativity science accessible and up to date with current research. (shrink)

Context: The article discusses design strategies for infusing constructionism and creativity into widely recognised media such as e-books. Problem: E-books have recently included constructionist widgets but we do not yet have creative designs for readers who may want to both read and tinker with an e-book. Method: The generation and study of a community of interest collaboratively designing e-books, with a strong constructionist element. Results: Some first examples of social creativity in the collaborative design process are discussed in (...) the article, showing the complexity of fusing reading with constructionism and the importance of the designers’ own ability to exchange widgets meant for the book and at the same time use them as boundary objects to communicate with each other. Implications: Social creativity in such design processes is considered as key for spreading and democratizing design for constructionism and creativity. (shrink)

A path model of organizational creativity was presented; it conceptualized the influences of information sharing, learning culture, motivation, and networking on creative climate. A structural equation model was fitted to data from the pharmaceutical industry to test the proposed model. The model accounted for 86% of the variance in the creative climate dependent variable. Information sharing had a positive effect on learning culture, which in turn had a positive effect on creative climate, while there were negative direct effects of (...) information sharing on creative climate and on intrinsic motivation. This study suggests that information sharing and intrinsic motivation are important drivers for organizational creativity in a complex R&D environment in the pharmaceutical industry. Implications of the model are discussed. (shrink)

Can the ontological and cosmological arguments for the existence of God, whose complex relationship was discussed by Kant, achieve more together than they can achieve apart? Yes, but what they achieve is not necessarily a proof of monotheism.

The nature of creative thinking is complex and multifaceted, often involving cognitive processes and dispositions modulated by implicit cultural belief systems and ways of thinking. In this article, we build on existing research on the relations of creative thinking and culture, and explore how specific cultural resources can be harnessed to foster creative problem-solving in education. We first review the recent changes in our understanding of creative thinking, from an exclusive focus on cognitive processes to a more inclusive view (...) of creative problem-solving as socially negotiated and culturally modulated, carrying important cultural functions. We then introduce a pedagogical model, QEOSA, to illustrate how cultural resources, particularly culture-specific ways of thinking about the world, can be harnessed to foster creative thinking in education, and what developmental and pedagogical considerations are involved to make it effective. We finally conclude this article by indicating the value of this line of work that integrates psychological, cultural, developmental, and educational principles in fostering the development of a creative mind-set with relevant knowledge, skills, dispositions, and values. (shrink)

Understanding the role of simulation in conceptualization has become a priority for cognitive science. Barsalou makes a valuable contribution in that direction. The present commentary points to theoretical issues that need to be refined and elaborated in order to account for key aspects of meaning construction, such as negation, counterfactuals, quantification or analogy. Backstage cognition, with its elaborate bindings, blendings, and mappings, is more complex than Barsalou's discussion might suggest. Language does not directly carry meaning, but rather serves, along (...) with countless other situational elements, as a powerful instrument for prompting its construction. (shrink)

Dynamic conceptual reframing represents a crucial mechanism employed by humans, and partially by other animal species, to generate novel knowledge used to solve complex goals. In this talk, I will present a reasoning framework for knowledge invention and creative problem solving exploiting TCL: a non-monotonic extension of a Description Logic (DL) of typicality able to combine prototypical (commonsense) descriptions of concepts in a human-like fashion [1]. The proposed approach has been tested both in the task of goal-driven concept invention (...) [2,3] and has additionally applied within the context of serendipity-based recommendation systems [4]. I will present the obtained results, the lessons learned, and the road ahead of this research path. -/- . (shrink)

This paper introduces the basic principle and application process of simulated annealing algorithm and improves the simulated annealing algorithm so that it can converge faster to get the new parameters of cultural and creative product design and make it more in line with the reality of engineering optimization. In the cultural creative industry, it is necessary to use the creatorʼs creativity and technology to derive and develop the original cultural resources with the help of various materialization means, to refine (...) the abstract and profound contents of cultural resources to make them more visualized, and to produce products with both spiritual and economic values through the multiple development and utilization of their intellectual property contents. By studying the feasibility analysis of the cultural and creative design, the design positioning of the cultural and creative products is determined. In this article, we use the simulated annealing method to simulate and analyse the condition values in the design process of cultural creative products. As the Internet era progresses, people have more diversified requirements for cultural and creative products, and they need to have innovative ideas to follow the trend, so the design of cultural and creative products can spread culture through different design expressions and media. As one of the important pillar industries for future development, cultural and creative products are characterized by a wide range of styles and practicality, which meet the aesthetic needs and fashion trends of modern people. (shrink)

Framed within the broader theoretical context of social semiotics, we attempt to show how university students communicate using a variety of unique means, in particular social contexts. We privilege Pennycook and Otsuji’s semiotic assemblages, Jimaima and Simungala’s semiotic creativity, and the notion of semiotic economy as critical ingredients that conspire to give rise to the unique and complex coinages and innovations constituting students’ repertoires. We argue that, born out of creativity, the students’ repertoires are semiotically and economically (...) charged discourses that generate extended narratives such that more is realized with less. We show that this reality undoubtedly constitutes a multi-semiotic meaning-making endeavor that enacts and sustains students’ imagined and lived experiences in real sociocultural, historical, and political spaces in the multilingual landscapes of university campuses. (shrink)

In order to solve problems, humans are able to synthesize apparently unrelated concepts, take advantage of serendipitous opportunities, hypothesize, invent, and engage in other similarly abstract and creative activities, primarily through the use of their visual systems. In _Scenario Visualization_, Robert Arp offers an evolutionary account of the unique human ability to solve nonroutine vision-related problems. He argues that by the close of the Pleistocene epoch, humans evolved a conscious creative problem-solving capacity, which he terms scenario visualization, that enabled them (...) to outlive other hominid species and populate the planet. Arp shows that the evidence for scenario visualization -- by which images are selected, integrated, and then transformed and projected into visual scenarios -- can be found in the kinds of complex tools our hominid ancestors invented in order to survive in the ever-changing environments of the Pleistocene world. Arp also argues that this conscious capacity shares an analogous affinity with neurobiological processes of selectivity and integration in the visual system, and that similar processes can be found in the activities of organisms in general. The evolution of these processes, he writes, helps account for the modern-day conscious ability of humans to use visual information to solve nonroutine problems creatively in their environments. Arp's account of scenario visualization and its emergence in evolutionary history suggests an answer to two basic questions asked by philosophers and biologists concerning human nature: why we are unique; and how we got that way. Robert Arp is Postdoctoral Research Fellow at the National Center for Biomedical Ontology. His areas of specialization include philosophy of biology and philosophy of mind. He is the author of numerous articles and the forthcoming An Integrated Approach to the Philosophy of Mind. (shrink)

This book discusses how scientific and other types of cognition make use of models, abduction, and explanatory reasoning in order to produce important, innovative, and possibly creative changes in theories and concepts. Gathering revised contributions presented at the international conference on Model-Based Reasoning (MBR023), held on June 7–9, 2023 in Rome, Italy, the book addresses various intertwined topics ranging from the epistemology and applications of models also concerning the problem of knowledge production and scientific methodology (information visualization, experimental methods, and (...) design) to the analysis of their role in cognition, decision-making, also with respect to social implications. The problem of model-based cognition is also illustrated taking advantage of recent results regarding problem-solving, abduction, and logic, paying attention to a critique of the dominant and received approaches, to the aim of fostering new discussions and stimulate new ideas. All in all, the book provides researchers and graduate students in the fields of applied philosophy, epistemology, cognitive science, and artificial intelligence alike with an authoritative snapshot of the latest theories and applications of model-based reasoning. (shrink)