In this article, I examine the Partnership for twenty-first Century Skills framework from a Confucian perspective. Given that this framework has attracted attention around the world, including Confucian-heritage societies, an analysis of how key ideas compare with Confucian values appears important and timely. As I shall show, although Confucian philosophy largely resonates with the ‘Learning and Innovation Skills’ in the P21 framework, namely, critical thinking, communication, collaboration and creativity, it also provides fresh perspectives and nuances the framework. These insights include (...) the notion that critical thinking is not a strictly cognitive endeavour but an affective one as well, a social construal of the self, and an ethical notion of creativity. This article aims to redress the under-representation of Asian philosophy in the philosophy of education. It also hopes to initiate more philosophical dialogues between Asia and the West. (shrink)

The purpose of this study was to examine how culture shapes creativity by reviewing empirical findings across diverse studies. The impact of culture on creativity is typically manifested in three ways: (a) people from different cultures or settings have distinct implicit and/or explicit conceptions of creativity; (b) individuals from different cultures, particularly those from individualist and collectivist cultures, show differences in preferred creative processes and creative processing modes (e.g., usefulness seems more important than novelty in the East, whereas novelty seems (...) equally important as usefulness, if not more so, in the West) when they are engaged in creative endeavors; (c) creativity may be assessed using different measures based on culture-related contents or materials, and findings are accurate only when culturally appropriate or culturally fair measures are used. Potential implications and future directions are also proposed. (shrink)

Despite countless anecdotes and the historical significance of insight as a problem solving mechanism, its nature has long remained elusive. The conscious experience of insight is notoriously difficult to trace in non-verbal animals. Although studying insight has presented a significant challenge even to neurobiology and psychology, human neuroimaging studies have cleared the theoretical landscape, as they have begun to reveal the underlying mechanisms. The study of insight in non-human animals has, in contrast, remained limited to innovative adjustments to experimental designs (...) within the classical approach of judging cognitive processes in animals, based on task performance. This leaves no apparent possibility of ending debates from different interpretations emerging from conflicting schools of thought. We believe that comparative cognition has thus much to gain by embracing advances from neuroscience and human cognitive psychology. We will review literature on insight and discuss the consequences of these findings to comparative cognition. (shrink)

Research shows that the effects of creative personality on moral disengagement and unethical behaviors are mixed. To reconcile the disparate findings, we draw on interdependence theory to unravel how and when creative personality is related to moral disengagement through countervailing pathways. Specifically, we propose competitive motivation and prosocial motivation as two distinct mechanisms that explain the double-edged effects of creative personality on moral disengagement and subsequent unethical behaviors. Furthermore, we hypothesize a cross-level moderating effect of competitive climate on the relationships (...) between competitive/prosocial motivation and moral disengagement. Results based on three-wave data from 753 employees showed that creative personality increased moral disengagement and subsequent unethical behaviors through competitive motivation but decreased moral disengagement and subsequent unethical behaviors through prosocial motivation. In addition, competitive climate weakened the negative relationship between prosocial motivation and moral disengagement and the negative indirect relationship between creative personality and unethical behaviors via prosocial motivation and moral disengagement. (shrink)

Common philosophical accounts of creativity align creative products and processes with a particular kind of agency: namely, that deserving of praise or blame. Considering evolutionary examples, we explore two ways of denying that creativity requires forms of agency. First, we argue that decoupling creativity from praiseworthiness comes at little cost: accepting that evolutionary processes are non-agential, they nonetheless exhibit many of the same characteristics and value associated with creativity. Second, we develop a ‘product-first’ account of creativity by which a process (...) is creative just in case it gives rise to products deserving of certain forms of aesthetic engagement. (shrink)

Creativity and PhilosophyBerys Gaut and Matthew Kieran Routledge. 2018. pp. 394. £30.99.

This article explores how aspects of traditional Chinese thought regarding creativity can influence and enrich contemporary thought about related topics: specifically, how creativity can be construed as an epistemic or intellectual virtue, and the benefits of considering it as such. It proceeds in three parts. First, I review a conception of creativity suggested by aspects of the Zhuangzi that centrally involves forms of spontaneity and adaptivity engendered by embracing you 遊, or “wandering”, contrasting it with more conventional conceptions of creativity (...) that emphasize novelty or originality. Second, I explain how this conception of creativity illuminates how creativity can be an epistemic virtue of a surprising sort: one that concerns a disposition to—borrowing an expression from Chris Fraser—“ride along with things”. This “riding along” is ironically engendered by letting go of what David Wong has characterized as “the obsession with being right”, about which the Zhuangzi expresses concern. I argue that, while this conception of creativity eschews fixed goals, including epistemically-oriented goals like apprehending truth or developing knowledge, there are nevertheless good reasons to count creativity (so understood) as an epistemic virtue. Third, I connect these explorations with current conversations (begun by Matthew Kieran and C. Thi Nguyen) that already treat creativity or, relatedly, play as an epistemic or intellectual virtue, and explore how engaging the Zhuangzi in the manner outlined promises to help extend them. (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)

Might traditional Chinese thought regarding creativity not just influence, but also enrich, contemporary European thought about the same? Moreover, is it possible that traditional Chinese thought regarding creativity might enrich contemporary thought both in a more broad, holistic sense, and more specifically regarding the nature and role of creativity as it pertains to scientific inquiry? In this paper, I elucidate why the answer to these questions is: yes. I explain in detail a classical Chinese conception of creativity rooted in Zhuangist (...) philosophy and which centrally involves spontaneity engendered by embracing yóu遊, or “wandering”, rather than novelty or originality. I then illustrate how this conception of creativity can be used to enrich contemporary thought regarding the nature and role of creativity both in general and as it pertains to scientific inquiry in particular, as well as how to engender creativity, by arguing that it might allow us to: i) more easily remove what is frequently an obstacle to creativity, and; ii) better understand creative agents as being more intimately connected with, and as processes within and products of, their environments. Finally, I conclude by briefly remarking on how exploring various cultural perspectives on creativity promises to help us to better comprehend and promote creativity, by encouraging us to become more creative about creativity itself. (shrink)