Examines Malraux's account of the creative process in art, discusses a misreading of Malraux by Merleau-Ponty, and highlights shortcomings in certain "analytic aesthetics" accounts of the creative process.

Phenomenology and the Creative Process explpores the subject of creativity from a vast range of perspectives. While the emphasis is placed on fundamental ideas taken from phenomenological philosophy and its precursors, the book also engages with related issues from the fields of psychology, physics, narrative studies, art, literature, cognitive science and neuroscience. Author Steven L. Bindeman's objective is to employ an analysis of creativity from the dual perspectives of "identity" and "difference," in order to develop a pluralistic and (...) open-ended understanding of the creative process. His central position is that while creativity can and should be studied as a physical, measurable phenomenon, we need to integrate quantitative studies with a phenomenological perspective that enables us to appreciate the distinctive experiential features of creative activities in order to fully appreciate the complex nature of the creative process. Bindeman's approach is important in that it recognizes the value of phenomenological studies without being afraid to draw insights from other fields of inquiry. This book thus offers unique analysis of creative individuals and works, applying insights from phenomenological philosophers to enrich our understanding of the creative processes of great artists, philosophers, and scientists. (shrink)

The article maintains, By appeal to documentary evidence relating to the creative processes of various artists, That the two major rival theories of the creative process--The "teleological" and the "propulsive" ("non-Teleological") theories--Are inadequate. Rather than always being goal-Directed or always propulsive, Creative processes exhibit a wide range of patterns. Six of them are considered. They range from works "which have been created without any, Or with scarcely any, (1) "vision" of the work-To-Be created, Even of the (...) vaguest or most general kind, Or (2) any particular "purpose" that the work to be created is intended to serve" to "instances of artistic creation which start with (1) some definite, Quite specific and well-Worked out plan, Vision or blueprint of the work-To-Be-Created, And/or (2) some specific purpose which the work-To-Be-Created... Is intended to have." still other patterns probably obtain in films and in "indeterminate" art. (shrink)

A standard account of creativity is that it is a process in which the form of a thing or event is altered—restructured or reinterpreted—in a way that changes fundamentally that thing’s or event’s meaning, its nature or function, its intrinsic or instrumental value. What is created in this manner, however, is only a variation of the initial form. Such processes are creative in a weak sense; the strong sense requires that the old form be replaced by a quite (...) different one, as in reconstructions or metaphors. But creative substitution is not haphazard, not a matter of insight, genius, luck, or divine assistance. It utilizes the generative rules governing a formal structure to make or discover new forms that are transformations, not variations, of the original form. These procedures are teachable and not mysterious, although the possible transforms of the structure are never predictable. (shrink)

The method of analogy is considered as it is used in epistemological considérations of both the object of creation and the creative process itself in art and the sciences. Both areas of creativity are considered within the context of the general systems theory concept of an open system which offers a convenient vehicle for relating the scientist and the artist with the product of his creation. It also provides a convenient method for the explanation of the essential nature (...) of the created object. It is shown how the creative process in both art and science can be viewed as a heuristic search for the structure of an open system‐the object of creation.Similarities in the two areas‐art and science‐are emphasized over the differences, in order to demonstrate the power of the method of analogy. (shrink)

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

ABSTRACT This paper draws upon the already extensive epistemology of science, both to provide a yardstick of comparison for the emergent epistemology of design, and to establish some starting points from which we might begin to construct the epistemology of design. In approaching the problem of how designers design, the paper employs Heidegger's distinction between ‘know‐how’and ‘knowledge‐that’, popularised by Ryle, and shows it to be central to the distinction between the implicit processes of design employed by craft technologies, and the (...) explicit processes employed by modern scientific technology. Borrowing from recent work by post‐structuralists, it explores the nature of the phases of analysis or ‘deconstruction’, synthesis or construction, and evaluation, by which scientifically informed design is supposed to proceed, paying particular attention to the relationship between deconstructive analysis and constructive synthesis, in order to re‐construct the creative moment/movement by which designers ‘leap’ from problem to solution. (shrink)

The subject of this research is the rehearsal process in choreographic art. The object of the study is the comprehension of this process as a creative integration of an artist and a teacher-tutor. The author examines in detail such aspects of the topic as the role of an artist, the preparation of a ballet dancer for a performance, gives examples of works of art that contribute to honing the professional skills of dancers. The author focuses on the (...) importance of participation in stage practice during the years of study, which allows you to feel more confident on stage as a professional ballet dancer, and also points out the main contradiction – the time limitation on the preparation of the artist for the part and the need to demonstrate impeccable performance. The importance of this research is expressed in the fact that in modern education and tutoring work in the theater, such a phenomenon as creative integration is an important factor in achieving the goals set, namely in obtaining and maintaining the professional level of academic theaters. The result of the conducted research is the design of a model of modern training of artists to participate in performances of the classical repertoire, with a focus on preserving the choreographic text and heritage as a whole. The novelty of the research lies in a comprehensive approach to the characterization of the creative integration of a ballet dancer and a teacher in the process of preparing for a performance, determining the leading professional traits of dancers, the presence of which allows us to realize the task of creating a high-quality product of joint activity of the performer and the teacher-tutor. (shrink)

This paper provides an account of the nature of creativity in high-energy physics experiments through an integrated historical and philosophical study of the current and planned attempts to measure the self-coupling of the Higgs boson by two experimental collaborations at the Large Hadron Collider and the planned High Luminosity Large Hadron Collider. A notion of creativity is first identified broadly as an increase in the epistemic value of a measurement outcome from an unexpected transformation, and narrowly as a condition for (...) knowledge of the measurement of the self-coupling of the Higgs. Drawing upon Tal’s model-based epistemology of measurement this paper shows how without change to ‘readings’ a transformation to the model of the measurement process can increase the epistemic value of the measurement outcome. Such transformations are attributed to the creativity of the experimental collaboration. Creativity, in this context, is both a product, a creative and improved model, and the distributed collaborative process of transformation to the model of the measurement process. For the case of the planned measurements at the HL-LHC, where models of the measurement process perform the epistemic function of prediction, creativity is included in the models of the measurement process, both as projected quantified creativity and as an assumed property of the future collaborations. (shrink)

Volume 33, Issue 4, May 2020, Page 653-656.

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

In the past two decades digital technologies have fundamentally changed the way we think about, make and use popular music. From the production of multimillion selling pop records to the ubiquitous remix that has become a marker of Web 2.0, the emergence of new music production technologies have had a transformative effect upon 21st Century digital culture. Sonic Technologies examines these issues with a specific focus upon the impact of digitization upon creativity; that is, what musicians, cultural producers and prosumers (...) do. For many, music production has moved out of the professional recording studio and into the home. Using a broad range of examples ranging from experimental electronic music to more mainstream genres, the book examines how contemporary creative practice is shaped by the visual and sonic look and feel of recording technologies such as Digital Audio Workstations. (shrink)

The paper reviews some of the links between the notion of “ultimate reality” and everyday life, mainly art, beauty, the creative processes in art, and citizenship. If, according to M. Heidegger, art reveals the truth of being (i.e., also of ultimate reality), then we may find some historical descriptions of creative processes that are very close to descriptions of ultimate reality. Three examples of these kinds of descriptions are discussed (Abhinavagupta, St. Augustine, F. Engels). The final aim is (...) to show how the interpretation of ultimate reality can contribute to a better understanding of the creative process in art. These considerations can also throw light on one particular aspect of civil life—the relations between everyday life and its final goals. If we are to gain an understanding of the relations between ultimate reality, art and civil life, then the disciplines of aesthetics, philosophy, history and anthropology, and cultural history should all contribute together. (shrink)

This paper attempts to establish a systems-semiotic framework explaining creativity in the design process, where the design process is considered to have as its basis the cognitive process. The design process is considered as the interaction between two or more cognitive systems resulting in a purposeful and ongoing transformation of their already complex representational structures and the production of newer ones, in order to fulfill an ill-defined goal. Creativity is considered as the result of an emergence (...) of organizational complexity in each cognitive system participating in the design process, while it is trying to purposefully incorporate new constraints in its meaning structures. The meanings generated in each system are identified as the contingent and anticipatory content of its representations, and where self-organization is the dominant process in which they are continuously involved. Furthermore, Peircean semiotic processes appear to provide the functionality needed by the emergent representational structures in order to complete the cycle of a creative design process. Creativity originates in the abductive stage of the semiotic process, the fallible nature of which is maintained in the proposed framework by the fact that the respective emergent representations can be misfits. The nodal points of the framework are identified and analyzed showing that a cognitive system needs the whole interactive anticipatory cycle in order to engage in a creative design process. (shrink)

CHAMELEON is a computational melodic harmonization assistant. It can harmonize a given melody according to a number of independent harmonic idioms or blends between idioms based on principles of conceptual blending theory. Thus, the system is capable of offering a wealth of possible solutions and viewpoints for melodic harmonization. This study investigates how human creativity may be influenced by the use of CHAMELEON in a melodic harmonization task. Professional and novice music composers participated in an experiment where they were asked (...) to harmonize two similar melodies under two different conditions: one with and one without computational support. A control group harmonized both melodies without computational assistance. The influence of the system was examined both behaviorally, by comparing metrics of user-experience, and in terms of the properties of the artifacts that were created between the two experimental conditions. Results suggest that appreciation of the system was expertise-dependent. At the same time, users seemed to adopt more explorative strategies as a result of interaction with CHAMELEON based on the fact that the harmonizations created this way were more complex, diverse, and unexpected in comparison to the ones of the control group. (shrink)

Contributions in modern theoretical physics and chemistry on the behavior of nonlinear systems, exemplified by Ilya Prigogine's work on the thermodynamics of open systems, attract growing attention in economics. Our purpose here is to relate the new orientation in the natural sciences to a particular nonorthodox strand of thought within economics. All that is needed for this purpose is some appreciation of the general thrust of the enterprise, which involves a shift of perspective from the determinism of conventional physics to (...) the nonteleological open-endedness, creative, and nondetermined nature of evolutionary processes. (shrink)

Contemporary psychoanalytic thinking about the interdependence of subjectivity and intersubjectivity has reenvisioned the analytic process, and with it the very nature of creative and engaged psychoanalytic listening. Yet few systematic writings on psychoanalytic listening or technique provide comprehensive instruction that would prepare the analyst for the kind of analytic listening needed to participate imaginatively in this sort of intersubjective experience.Offering a short course in analytic listening, _Creative Listening and the Psychoanalytic Process_ provides a guide for the clinical uses (...) of imaginative literature. Outside the psychoanalytic literature, extraordinary pieces of imaginative literature exist that provide the kind of experience in analytic listening that can guide clinicians in their work with patients. Certain works of fiction create textured, sensory worlds in which complex characters possessing shifting states of consciousness live within fluid emotional atmospheres. In this book, Fred Griffin demonstrates that by entering the worlds that original writers create in their texts, the psychoanalytic therapist will learn to attend more closely to varying emotional states that generate nuanced, multidimensional views of the analysand’s internal and relational worlds. He illustrates how these works capture more fully the sensory experience encountered by the analyst themselves when taking in what the patient communicates within the analytic space. _Creative Listening and the Psychoanalytic Process_ presents case material alongside selected passages from works of fiction written by a range of creative writers, each of which stimulates analytic sensibility about this clinical experience. A conceptual framework is provided that makes these and other original works of fiction more accessible for these purposes. This book will be essential reading for psychoanalysts and psychoanalytic psychotherapists, as well as professors and graduate students studying psychoanalysis and literature. It will also appeal to literary scholars and those teaching and practicing in the field of narrative medicine. (shrink)

What can we learn from plants? Which forms of intelligence and knowledge can we discover by dedicating ourselves to understanding the life of a plant, its characteristics, interactions with the environment and cultural narratives? This article aims to bridge recent studies in plant intelligence, Semiotics and creative processes. Departing form the idea that the world arrived at a critical situation and the planet Earth cannot continue being exploited as an infinite source, we argue that it is necessary to promote (...) transformations in our culture, abandoning the anthropocentric framework and looking for new perspectives. In this sense, connecting communication, art, science and education, the purpose of Plant Portraits is to create experiences and propitiate encounters that catalyse the awakening of an expanded and integrated consciousness. (shrink)