Explores the nature and relation of history and becoming in the work of Gilles Deleuze. How are we to understand the process of transformation, the creation of the new, and its relation to what has come before? In History and Becoming, Craig Lundy puts forward a series of fresh and provocative responses to this enduring problematic. Through an analysis of Gilles Deleuze's major solo works and his collaborations with Felix Guattari, he demonstrates how history and becoming work together in driving (...) novelty, transmutation and experimentation. What emerges from this exploration is a new way of thinking about history and the vital role it plays in bringing forth the future. (shrink)

In the middle of the 19th century a new value began to appear in Western Europe - the belief that (in the words of Matthew Arnold) 'the exercise of a creative activity is the true function of man'. This book gives an account of the stages by which, and the reasons why, this development occurred at that time. In so doing it reveals a historical puzzle, for the main factors which can be seen to have given rise to the (...) new value - mainly scientific, technological, economic and political - were not reflected in the value itself, for that was applied almost exclusively to artistic and cultural activity. John Hope Mason sets out to explain this puzzle by showing how throughout European history there have been two radically different views of the creative attribute. An early example of one view was the character of Prometheus in Greek mythology; influential examples of the second were the figures of God the Creator in Judaeo-Christian theology and the neo-Platonic One in Hellenistic philosophy. The book shows how the contrast represented by those figures informed discussions of genius in the 18th century and indicates why the notion of creativity which came to prevail then assimilated it with purely aesthetic and moral concerns. Combining a broad perspective with a close analysis of key figures - from Adam Smith, Rousseau and Kant, to Arnold, Marx and Nietzsche - this book casts a new light on a central value of the modern world. (shrink)

Richly researched, the book explores how creativity has been invoked in arenas as varied as Enlightenment debates over the nature of the cognition, Victorian-era intelligence research, the Cold War technology race, contemporary education, and even modern electoral politics. Along the way, the book turns to a set of art works from mobile steampunk sculptures to bicentennial adaptations of Frankenstein to a musical about the US Presidential election that ask how our ideas about creativity are bound up with those of self-fulfillment, (...) responsibility, and the individual, and how these might seduce us into joining a worldview and even a set of social imperatives that we might otherwise find troubling. The Creativity Complex traces the history of how creativity has come to mean the things it now does, and explores the ethical implications of how we use this term today for both the arts and for the social world more broadly. (shrink)

Inspiring and empowering, this journey behind the scenes of humanity's greatest creations reveals the surprising way we make something new. What do Thomas Jefferson's ice cream recipe, Coca Cola, and Chanel No. 5 have in common? They all depended on a nineteenth-century African boy who, with a single pinch, solved one of nature's great riddles and gave birth to the multimillion-dollar vanilla industry. Kevin Ashton opens his book with the fascinating story of the young slave who launched a flavor revolution (...) to show that invention and creation come in unexpected shapes and sizes. From the crystallographer's laboratory where the secrets of DNA were first revealed by a long-forgotten woman, to the electromagnetic chamber where the stealth bomber was born on a 25-cent bet, Ashton weaves tales of humanity's greatest creations to unpack the surprising true process of discovery. Drawing on the Amish and the iPhone, Kandinsky and cans of Coke, Lockheed, South Park, and the Wright brothers--who set out to "fly a horse"--he showcases the seemingly unremarkable individuals, gradual steps, multiple failures, and countless ordinary--and usually uncredited--acts that led to our most astounding breakthroughs. Creators, he shows, apply everyday, ordinary thinking that we are all capable of in particular ways, taking thousands of small steps, working in an endless loop of problem and solution. He explores why innovators meet resistance and how they overcome it, why most organizations stifle creative people, and how the most creative organizations work. In a passionate and profound narrative that amazes and inspires, Ashton's book sheds new light on how "new" comes to be. (shrink)

One of the foremost scientists and thinkers of our time, David Bohm worked alongside Oppenheimer and Einstein. In Science, Order and Creativity he and physicist F. David Peat propose a return to greater creativity and communication in the sciences. They ask for a renewed emphasis on ideas rather than formulae, on the whole rather than fragments, and on meaning rather than mere mechanics. Tracing the history of science from Aristotle to Einstein, from the Pythagorean theorem to quantum mechanics, the authors (...) offer intriguing new insights into how scientific theories come into being, how to eliminate blocks to creativity and how science can lead to a deeper understanding of society, the human condition and the human mind itself. Science, Order and Creativity looks to the future of science with elegance, hope and enthusiasm. (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)

Creativity is something that everyone talks about but how did this concept originate? With roots in nineteenth century philosophy, our current idea of creativity has emerged largely from psychological theories since the early twentieth century. Michael Hanchett Hanson has woven together the history of the development of the psychological theories of creativity with social constructivist views of power dynamics and pragmatic insights into the use of this powerful concept. Worldmaking: Psychology and the Ideology of Creativity provides an engaging and thought-provoking (...) analysis of interest to anyone who uses the idea of creativity, from psychologists and philosophers to artists, educators and business leaders. (shrink)

This thesis is about the creativity in the East and the West, but I will mainly focus on the view of creativity in ancient Greek philosophy and Chinese philosophy. In the first chapter, I will explore the concept of creativity, the history of creativity, and the research on creativity, including the creativity research in psychology and philosophy, which will set the stage for further disscusion. Then in the second chapter, I will start from Plato’s dialogue, Ion, and explore the traditional (...) theory of creativity in ancient Greek philosophy, and claim that their creative ability is inspired by divine being. After this, I will show people’s view on creativity has undergone a process of demystification. During this process, people gradually began to resist the divine source and explore the world individually and independently. Meanwhile, the meaning of the concept of creativity has become broader, since it is not limited to poem any more, but it can be applied to other fields, such as art, science, and education. In the third chapter, I will turn to the modern creativity theory, including the lateral thinking and emotional creativity, and explore how to be creative with lateral thinking techniques and how to improve creativity through emotion regulation. After the examination in the West, I will turn to the theory of creativity in Chinese philosophy, by focusing on classical works in Daoism and Confucianism. In the fourth chapter, I will explore the view of creativity in philosophy of Daoism. I will claim that the creativity in Daoism is natural and cosmological, and there is no external creative source, so I will claim it is self- creativity, which is distinct from the ancient Western creativity pushed by external divine power. In the fifth chapter, I will argue that the creativity in Confucianism is evolutionary, which is unlike the revolutionary creativity in the West, and I will propose the way to become creative in Confucianism based on its classics, Analects, and then will explore the creativity principle and how the agent cultivate their creative ability in Confucianism. In the conclusion, I will summarize the difference between the creativity in East and West, from the perspective of the source of creativity, nature of creativity. I will claim that the source of creativity in ancient Greek philosophy is divine being, whereas there is no divine source for creativity in Chinese philosophy, therefore, the creativity in the West traditionally is inspired creativity, while the creativity in the East traditionally is natural and cosmological creativity. In addition, the concept of creativity in the West is revolutionary, whereas the concept of creativity in the East is evolutionary and the moral function of creativity is also addressed in Chinese philosophy. (shrink)

Peter Homans offers a new understanding of the origins of psychoanalysis and relates the psychoanalytic project as a whole to the sweep of Western culture, past and present. He argues that Freud's fundamental goal was the interpretation of culture and that, therefore, psychoanalysis is fundamentally a humanistic social science. To establish this claim, Homans looks back at Freud's self-analysis in light of the crucial years from 1906 to 1914 when the psychoanalytic movement was formed and shows how these experiences culminated (...) in Freud's cultural texts. By exploring the "culture of psychoanalysis," Homans seeks a better understanding of what a "psychoanalysis of culture" might be. Psychoanalysis, Homans shows, originated as a creative response to the withering away of traditional communities and their symbols in the aftermath of the industrial revolution. The loss of these attachments played a crucial role in the lives of the founders of psychoanalysis, especially Sigmund Freud but also Karl Abraham, Carl Jung, Otto Rank, and Ernest Jones. The personal, political, and religious losses that these figures experienced, the introspection that followed, and the psychological discovery that resulted are what Homans calls "the ability to mourn." Homans expands this historical analysis to construct a general model of psychological discovery: the loss of shared ideals and symbols can produce a deeper sense of self (psychological structure-building, or individuation) and can then lead to the creation of new forms of meaning and self-understanding. He shows how Freud, Jung, and other psychoanalysts began to extend their introspection outward, reinterpreting the meanings of Western art, history, and religion. In conclusion, Homans evaluates Freud's theory of culture and discusses the role that psychoanalysis might play in social and cultural criticism. Throughout the book, Homans makes use of the many histories, biographies, and psychobiographies that have been written about the origins of psychoanalysis, drawing them into a comprehensive sociocultural model. Rich in insights and highly original in approach, this work will interest psychoanalysts and students of Freud, sociologists concerned with modernity and psychoanalysis, and cultural critics in the fields of religion, anthropology, political science, and social history. (shrink)

Throughout the history of psychoanalysis, the study of creativity and fine art has been a special concern. _Psychoanalytic Studies of Creativity, Greed and Fine Art: Making Contact with the Self_ makes a distinct contribution to the psychoanalytic study of art by focusing attention on the relationship between creativity and greed. This book also focuses attention on factors in the personality that block creativity, and examines the matter of the self and its ability to be present and exist as the (...) essential element in creativity. Using examples primarily from visual art_ David Levine_ explores the subjects of creativity, empathy, interpretation and thinking through a series of case studies of artists, including Robert Irwin, Ad Reinhardt, Susan Burnstine, and Mark Rothko. _Psychoanalytic Studies of Creativity, Greed and Fine Art_ explores the highly ambivalent attitude of artists toward making their presence known, an ambivalence that is evident in their hostility toward interpretation as a way of knowing. This is discussed with special reference to Susan Sontag’s essay on the subject of interpretation. Psychoanalytic Studies of Creativity, Greed and Fine Art contributes to a long tradition of psychoanalytically influenced writing on creativity including the work of Deri, Kohut, Meltzer, Miller and Winnicott among others. It will be of interest to psychoanalysts, psychoanalytic psychotherapists, historians and theorists of art. (shrink)

The article offers a socio-historical approach to the problem of creative personality in polemic with the article by A.M. Dorozhkin and S.V. Shibarshina. Creative activity is considered not as a psychological process or an expression of cognitive abilities, but as a result evaluated by the professional scientific community and even by the entire society. The distinction between the psychological, historical and historical-epistemological interpretation of creativity is discussed. The authors argue that although the proposed approach has an explanatory potential (...) for creativity as a socio-historical phenomenon, it reduces the nature of individual personalities and their role in scientific research to a public response to a new result. The personality of an author is getting vanished in this result, becoming only a label of some social achievement. Using the terminology of J.-P. Sartre, the essence of the author as a unique individual is reduced to his social existence as a scientist. The purpose of this existence is not the fulfillment of a vocation, but the implementation of a professional mission to promote science as a public good, which consists, among other things, in creating a field of intellectual tension. The scientist ensures the objective increase of public awareness of the painful points of history and modernity; critically analyzes global risks from ecology to security; and presents images of a possible and required future. Thus, creative science acts as a source for development through problematization, a factor of cognitive dissonance, a troublemaker, a potential violator of social stability. (shrink)

Издание содержит: История исследования творчества в психологии; Феноменология творческой личности.

Erich Neumann (1905-1960) was a student, close collaborator, and life-long friend of C. G. Jung's. He moved from Berlin to Palestine in 1934 where he endured WW11 with much distress. This provoked intense and depthful research into topics such as evil, consciousness, and creativity that would occupy his attention for the rest of his life- as well as challenge his friend's (Jung) thinking in many ways. His writings are still valuable and ever so pertinent for our understanding of human nature (...) and the changing developments that have resulted in "the eruption of the shadow and psychic chaos in today's world." (Jerome Bernstein) Eternal Echoes offers the reader an overview of Neumann's opus, which is large and multifaceted. Beginning with an introduction of Erich Neumann including a series of his active imagination watercolors, we see an intimate view into his internal process. The Jung-Neumann Correspondence examines evil as witnessed during WW11. The work Neumann focused on during this period resulted in his exploration of his own Roots of Jewish Consciousness, both Revelation and Apocalypse, and Hasidism. From there we move into an exploration of his exceptional and iconic books, The Origins and History of Consciousness, and The Great Mother, and two papers "Mass Man and the Phenomena of Recollectivation" and "Narcissism". Neumann continued his study of mythology and archetypes in Amor and Psyche: The Development of the Feminine. Later in Neumann's life, he wrote a number of books on creativity exploring its nature and source which began with his important early paper on "Mystical Man": Creative Man, Art and the Creative Unconscious, The Place of Creation. Neumann's works lead us back to our ground of being, where we live with opposites that are fiercely alive, impacting our lives and cultures. His writings are comprehensive, clear and steeped in deeply felt experiences that help to place us on firm ground. Since many of his themes and concepts are universal-beginning with archetypes, myths, and images-this book is not only pertinent to Jungian psychotherapists but anyone interested in understanding the profundity of human nature and its development. (shrink)

Joseph Margolis holds that both artworks and selves are ”culturally emergent entities." Culturally emergent entities are distinct from and not reducible to natural or physical entities. Artworks are thus not reducible to their physical media; a painting is thus not paint on canvas and music is not sound. In a similar vein, selves or persons are not reducible to biology, and thought is not reducible to the physical brain. Both artworks and selves thus have two ongoing and inseparable ”evolutions”—one cultural (...) and one physical. Rather than having fixed ”natures” that remain stable for any purpose other than numerical identity, artworks and selves have ”careers” due to their cultural evolution that change with the course and flux of history, interpretation and reinterpretation. The question for this essay is how a Margolisian encultured artist, who is also an individual ”self," can construct an identifiable ”career” that is both from culture and develops culture constructively in a way that involves an individual, as well as collective, contribution. In answering this question I will provide a theory that shows how Margolis’ work on the artist as cultural agent leaves room for creative innovators within a cultural context. In short, I claim that Margolis’ idea that a person is a thinking-and-doing practitioner that emerges from and works within a cultural context does allow for the agent to use that same context to acquire the tools and skills necessary to make something new. I will then consider how this innovation might be possible by making recourse to some theories of creativity from neuroscience and psychology. This essay will focus on Margolis’ theory of the creative artist as cultural agent as supplemented with an account of the nature of the human being as a raw set of genetic materials and capacity for acquiring cultural competence. My claim is that this is the site for an adequate account of how some encultured persons are able to create exceptional innovations in artistic domains and others are not. I agree with Margolis that it is true that innovation is not possible by any pre- or non-encultured self but I also think that extremes of cultural mastery and innovation, as in the case of highly creative and innovative artists, are not possible without an inborn potentiality to develop to a high level of cultural ability under the right conditions. This is not to deny Margolis’ theory of artists as cultural agents. Indeed, I accept Margolis’ view of the deep importance of culture to the development of the self and to the creative artist wholeheartedly. I also agree that this is a crucial aspect of artistic agency and creativity that has been given short shrift in analytic aesthetics. My intention here is only to answer one question that is still left unanswered after understanding and acknowledging the importance of culture: How do we account for the disparity in ability in cultural agents and artists that cannot be attributed to cultural training and socio-historical factors? How do we account for the existence of the exceptionally creative artist in a situation where the cultural and socio-historical factors are roughly equivalent for others who demonstrate lesser amounts of creativity? (shrink)

I begin–because I take the history of philosophy seriously–with the Scholastic distinction between categories and transcendentals. A category is a concept applicable to every being except God. A transcendental is a concept applicable to every being including God. Every being, it was thought, can be said to be one, good, and true–the last word meaning that the being can be known, and, at least by God, is known. Sometimes beauty was added to unity, goodness, and truth; sometimes also power, (...) class='Hi'>ability to influence others. I accept all five transcendentals. But I think the Scholastics, like the ancient Greeks, somewhat misconceived the relation of being–also substance–to other fundamental concepts. Being seems to contrast with becoming, which applies to every concrete reality other than God as classically conceived; yet nothing in the five transcendentals explicitly involves becoming, even as a possibility. God was for two millennia defined as immutable perfection; other realities were by comparison imperfect as well as mutable. What in any sense becomes was supposed less than what simply is without becoming–as though the idea of changeable entities was arrived at by subtracting from the idea of immutable perfection! (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)

In a well-known paper “Illusion and well-being”, Taylor and Brown maintain that positive illusions about the self play a significant role in the maintenance of mental health, as well as in the ability to maintain caring inter-personal relations and a sense of well-being. These illusions include unrealistically positive self-evaluations, exaggerated perceptions of personal control, and unrealistic optimism about one's future. Accurate self-knowledge, they maintain, is not an indispensable ingredient of mental health and well-being. Two lines of criticism are directed (...) against the creative self-deception hypothesis, one methodological and one substantive. First, it is argued that Taylor and Brown's method of eliciting experimental subjects' self-reports and comparative self-ratings under artificial experimental conditions lacks ecological validity and phenomenological realism. Second, it is argued that positive illusions diminish the range of reactive other-regarding attitudes and emotions that people can adopt. A literary case history (Ibsen's The wild duck ) which satisfies the criteria of ecological adequacy is used to illustrate the latter point. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.2 (2005) 36-57 [Access article in PDF] "Being With": The Resonant Legacy of Childhood's Creative Aesthetic Lori A. Custodero Teachers College, Columbia University Introduction...enrichment of the present for its own sake is the just heritage of childhood....1In this paper, the qualities of artistic pursuit exemplified in the musical play of children and the compositional processes of adults provide a context for exploring how (...) "being with" influences teaching and learning. Specifically I propose that "being with" music generates a sense of the aesthetic as we both transform musical materials — timbres, pitches, rhythms, phrases, harmonies — and are transformed by our experiences with them, and that "being with" others as we partake in musical activity often broadens and deepens that experience. In many ways, this is an exploration into why childhood matters, how it functions as a mirror for our adult lives as we experience and revel in the seemingly miraculous moments of aesthetic insight, where the familiar is welcomed with fresh perception and the addition of novelty is greeted as the solution to a previously unfathomable problem. It is also about why children matter, as our responses to their ways of being connect and transform us as adults. In this piece, recorded observations of children's musicality are juxtaposed with first-person accounts of adults' creative processes, revealing contributions to our understanding of artistry-in-action as it is manifested in both the musical and the pedagogical. The Aesthetic in Childhood and Adulthood To be "in the moment" is to encounter the aesthetic — fully engaged in an activity for which one's individual contributions are perceived as vital, aware of surprise relationships between seemingly disparate phenomena, and enveloped by sensory messages of color, sound, and movement meeting personal criteria for beauty. Such experiences exemplify features of artistry, an approach defined by openness to possibility and orientation toward discovery, where cues emanating from involvement in activity are clearly interpreted and utilized, and reflection is an ongoing process informing action. Characterized by a sense of wonder and ability to imagine and invent, the creative worlds of young children have provided a source of artistic genesis cited by composers, performers, psychologists, and educators.2Edith Cobb's thoughtful, groundbreaking account of the relationship between childhood and artistry, The Ecology of Imagination in Childhood, was introduced by Margaret Mead, who highlighted the work's thesis: "that in the imaginative experiences of childhood could be found the essential kernels of the highest forms of human thought."3 The legacy of childhood is universal to our existence; in acknowledging its contributions to ontological and cultural artistry, we can both connect personal histories across the [End Page 36] lifespan and identify characteristic trends across a spectrum of aesthetic rendering.4One trait common to both the child and the creative adult is a focused attentiveness to perceived affordances, that is, materials and human resources accessible in the environment. Acting upon and with these resources,children and artists become aesthetic agents as sensitivity to both experience and milieu combine to produce relevant and innovative outcomes.5 These two interactive dimensions have been described in interviews with composers I have interviewed as "being with the moment" and "being with yourself and at the same time with another" and are operating in the musical play of children, as noted in this description recorded by a mother/student: On Thanksgiving Day, we had a family gathering of sixteen people, five of whom are under the age of eight years. Three-year-old Louise is thrilled to be with her female cousins, who all dress up in ballet-type frilly costumes in order to put on a "show" for the family. Cousin Lily, now eight years old, assumes the role of pianist, while Louise, and five-year-old cousin Amy creatively dance to Lily's improvised accompaniment. Their movements are directly related to Lily's playing, in her fluidity and well as "jumps!" Here, family members serve as catalysts for creative activity — costumes and musical instruments in the environment... (shrink)

As an artist I am interested in creative states of consciousness and the direct expression of altered states of consciousness in forms such as musical improvisation and the automatic writings and drawings of the Surrealist Artists. I have been investigating a particular spectrum of altered states characterized by an enhanced experience where out-of-the-ordinary information is accessed or an enhanced ability is realized beyond what would ordinarily be possible. Within this realm we would find the ‘peak performance’ state of (...) athletes and musicians, as well as a state of intellectual inspiration where a complex problem is solved and also the phenomenon of premonition. It is related to the ‘flow state’ as described in Flow, The Psychology of Optimal Experience (Mihályi Csíkszentmihályi, 1990) and the experience of the American clairvoyant Edgar Cayce who resolved complex medical ailments when in a self-induced hypnotic trance. Additional examples include Haitian Vodou ritualized possession and all experiences where healing and foretelling of the future takes place through a communion with spirits. It is a broad spectrum that has been described in various ways throughout history and within all cultures. But though the descriptions vary, this spectrum of consciousness shares the common characteristic of accessing extraordinary information or demonstrating extraordinary skill or ability. This article is an attempt to help clarify and define this particular spectrum of consciousness. (shrink)

The translationist theory of meaning can provide a plausible understanding of the reenactment methodology of history, although there are disanalogies. It takes as primitive our ability to recognize synonymy relations between linguistic episodes, either within the same language or other languages. In translating a complex linguistic object translators must possess an incredibly large stock of background knowledge about a culture and be sensitive and resourceful speakers of the language into which they are translating. Since there is no codified set (...) of rules which guarantees a good translation, translators need to use creativity. Similarly, in deciding which of the possible meanings to assign to an event or document, historians can follow little better advice than to insert themselves imaginatively into the situation and let their ability to understand their contemporary events and other historical events come to bear upon the events of the past. (shrink)

Kondratyk L. "Ideas of Civil Religion in the Creative Work of Cyril Methodians". The author is based on the fact that the civil religion is such a sociocultural phenomenon in which, through the prism of a peculiar religious language and specific practices, the necessity of acquiring and establishing a national state is substantiated, which originates in the need of the community to find the sacral in the activity that is inherent in the transcendent, eternally -linear character and which is (...) rooted in the history of the territory. It is proved that the soil on which the ideas of the Cyril and Methodius civil religion originated is Western European romanticism, religiosity, the starting point of which was the idea of religion as the focus of the spiritual world of the individual and community, the idea of the Higher Reason that sets the directions for historical development, Christianity a decisive role in the spiritual and moral and social renewal of mankind, the view of Ukraine as an independent cultural and historical and social force, the influence of creativity T. Shevche gt; The main ideas of the civil religion of the Cyril Methodians are as follows: the messianism of the Ukrainian spirit manifests itself in the ability to unite the Slavs in the best way, because Ukraine is inspired by self-sacrifice with the Christian spirit and has apostolic intercession; Kiev - the capital of the resurrected from the oppression of the Slavs, the city - in which the courts prevail, truth, equality; concepts "temple", "truth", "righteous judgment", "freedom", "brotherhood", "equality", "love", "Kiev", "Kiev mountains" - the basic concepts-symbols of the Ukrainian civil religion; in the Ukrainian community with the need to coincide Christian values and moral standards, which dominate it. (shrink)

_From the president of Wesleyan University, an illuminating history of the student, spanning from antiquity to Zoom “[Roth] has a clear vision for what it ought to mean to be a student: Learn what you love to do, get better at it, and then share it with others.”—David Perry, _Washington Post__ In this sweeping book, Michael S. Roth narrates a vivid and dynamic history of students, exploring some of the principal models for learning that have developed in very different contexts, (...) from the sixth century BCE to the present. Beginning with the followers of Confucius, Socrates, and Jesus and moving to medieval apprentices, students at Enlightenment centers of learning, and learners enrolled in twenty-first-century universities, he explores how students have been followers, interlocutors, disciples, rebels, and children becoming adults. There are many ways to be a student, Roth argues, but at their core is developing the capacity to think for oneself by learning from others, and thereby finding freedom. In an age of machine learning, this book celebrates the student who develops more than mastery, cultivating curiosity, judgment, creativity, and an ability to keep learning beyond formal schooling. Roth shows how the student throughout history has been someone who interacts dynamically with the world, absorbing its lessons and creatively responding to them. (shrink)

The author proves the crucial role of the reform of philosophical education in the context of the socio-economic crisis. Without this reform, it is impossible to form a new mentality. Respectively, without changing the mentality, other reforms are not possible. Criticizing the Soviet command-and-control system, the author argues that its system remains in the very structure of Ukrainian universities. The reform of philosophical education, according to the author, should lie (1) in the democratization of the educational process and (2) in (...) reorienting this process to develop the ability to philosophize. This goal assumes that the basis of philosophical education should be such disciplines as the history of philosophy and the argumentation theory because they provide an understanding of philosophical problems and teach how to think critically and creatively. (shrink)

Der Band dokumentiert Beiträge zum 18. Symposium des Mediävistenverbandes, das im Frühjahr 2019 in Tübingen stattgefunden hat. Das Thema greift aktuelle Debatten über Autorschaft, Urheberrecht, Originalität und Plagiat auf, die anzeigen, dass diese Konzepte neuerdings in Bewegung geraten sind. Die Beiträge des Bandes fragen aus unterschiedlichen Fachperspektiven, ob und inwiefern die Verfahren des Umgangs mit Autorschaft zwischen Mittelalter und Moderne am Ende stärker vergleichbar sind als gemeinhin angenommen. So werden die aus der Moderne gebildeten Kategorien von Kreativität hinterfragt und unterlaufen. (...) Zugleich zeigt sich, dass eben diejenigen Kreativitätsprozesse der Moderne, die den hohen normativen Ansprüchen einer Geniekultur nicht entsprechen, nicht einfach Defizienzerscheinungen sind, sondern Variationen vielfach geübter Techniken, zu deren Verständnis die mittelalterliche Produktivität dient. Schaffen und Nachahmen sind nicht in einen "künstlerischen" Bereich der Kultur sektorierbar, sondern sie erweisen sich als Grundstruktur menschlichen Handelns auch im wissenschaftlichen, ethischen oder religiösen Feld. So liegt mit diesem Band ein starkes Plädoyer für die Anerkennung der kreativen Kraft der Nachahmung vor. (shrink)

This book surveys and examines the most famous philosophical arguments against building a machine with human-level intelligence. From claims and counter-claims about the ability to implement consciousness, rationality, and meaning, to arguments about cognitive architecture, the book presents a vivid history of the clash between the philosophy and AI. Tellingly, the AI Wars are mostly quiet now. Explaining this crucial fact opens new paths to understanding the current resurgence AI (especially, deep learning AI and robotics), what happens when philosophy (...) meets science, and the role of philosophy in the culture in which it is embedded. -/- Organising the arguments into four core topics - 'Is AI possible', 'Architectures of the Mind', 'Mental Semantics and Mental Symbols' and 'Rationality and Creativity' - this book shows the debate that played out between the philosophers on both sides of the question, and, as well, the debate between philosophers and AI scientists and engineers building AI systems. Up-to-date and forward-looking, the book is packed with fresh insights and supporting material, including: -/- - Accessible introductions to each war, explaining the background behind the main arguments against AI - Each chapter details what happened in the AI wars, the legacy of the attacks, and what new controversies are on the horizon. - Extensive bibliography of key readings. (shrink)

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)

All social phenomena, all social interaction, anything that exists in society, is temporal. Anticipation of futures is a necessary part of all social actions, and particularly so in the world of modern organisations. If social sciences are to be relevant they should also be able to say something about possible and likely futures. My paper articulates an ontology for futures studies and then, on that ontological basis, specifies the methodology of futures studies. Critical realist ontology explains why there are multiple (...) possible futures. The actual is only a part of the real world, which also consists of non-actualised possibilities and unexercised powers of the already existing structures and mechanisms that are transfactually efficacious in open systems. Social sciences are also involved in envisaging better possible futures in terms of concrete utopias. However, building concrete utopias is not the only task of a futurologist. We are also interested in other possible and likely futures, and in determining the ways in which our actions and the actions of others contribute—sometimes via unintended effects and consequences—to making some of them real. Empirico-analytical models have a role to play, as do systematic modelling of geo-historical realities: embodied agency and actors; modes of action; rules and principles; resources, as competencies and facilities; practices; relational structures ; and self-organising social systems. However, scenario-construction should also be seen as self-reflective exercise in cultural studies, moral philosophy and creative ability. (shrink)

For evolutionary biologists, the concept of chance has always played a significant role in the formation of evolutionary theory. As far back as Greek antiquity, chance and "luck" were key factors in understanding the natural world. Chance is not just an important concept; it is an entire way of thinking about nature. And as Curtis Johnson shows, it is also one of the key ideas that separates Charles Darwin from other systematic biologists of his time. Studying the concept of chance (...) in Darwin's writing reveals core ideas in his theory of evolution, as well as his reflections on design, purpose, and randomness in nature's progression over the course of history.In Darwin's Dice: The Idea of Chance in the Thought of Charles Darwin, Curtis Johnson examines Darwin's early notebooks, his collected correspondence, and most of his published writing to trace the evolution of his ideas about chance in evolution. This proved to be one of Darwin's most controversial ideas among his reading public, so much so that it drew hostile reactions even from Darwin's scientific friends, not to mention the more general reader. The firestorm of criticism forced Darwin to forge a retreat, not in terms of removing chance from his theory--his commitment to it was unshakable--but in terms of how he chose to present his theory. Briefly, by changing his wording and by introducing metaphors and images, Darwin succeeded in making his ideas seem less threatening than before without actually changing his views. Randomness remained a focal point for Darwin throughout his life. Through the lens of randomness, Johnson reveals implications of Darwin's views for religion, free will, and moral theory. Darwin's Dice presents a new way to look at Darwinist thought and the writings of Charles Darwin. (shrink)

The significance of the research topic is found in the analysis of the problem of thinking, one of the most important abilities of man, which today, in combination with knowledge, appears as a means of creating a new world and man. The purpose of the study is to identify the main content load of thinking in the process of its formation and development in the system of various intellectual and cognitive practices, in the culture of communication, which determines its role (...) in the acquisition and transformation of the surrounding reality - natural, social, spiritual. Objectives of the study - to identify the main directions of development of thinking - logical, philosophical, psychological, to reveal the content of the concept of "productive thinking", its development in classical epistemology and post-classical philosophy of science, which show the polymeaningfulness of the phenomenon of thinking. Methodology of the research - analytical-historical, contaminant, rational-heuristic methods are used, which allows to carry out a systematic analysis of thinking, which acquired a variety of forms and means in the history of philosophy and culture; methods of contemporary socio-philosophical and cognitive analysis showed the relationship of theoretical foundations of thinking with practical principles. The result of the study is the conceptualization of the problem of thinking as an effective intellectual, heuristic, cognitive and theoretical tool in the development of knowledge, objectivized in concepts, principles, and laws. The establishment of the role of thinking in the development of scientific knowledge, in the creation of new paradigms of knowledge is also an important aspect. The result of the analysis is the development of scientific-theoretical and methodological approaches in identifying the heuristic, creative essence of thinking, whose influence on the objective and subjective world causes their transformation and the transition to a new quality. Conclusion - the solution of theoretical problems of intellectual and intellectual activity as a factor in the formation and development of philosophy, culture and creative activity of man. (shrink)

"We have no more beginnings", George Steiner begins in this radical book. A far-reaching exploration of the idea of creation in Western thought, literature, religion, and history, he reflects on the different ways people have of talking about beginnings, on the "coretiredness" that pervades end-of-the-millennium spirit, and on the changing grammar of discussions about the end of Western art and culture.

Drawing on an extensive yet concise review of the history of cross-cultural aesthetics, the volume presents the scientists and artists working in the new world of transformative arts.

Employing her original concept of the ontopoiesis of life, the author uncovers the intrinsic law of the primogenital logos - that which operates in the working of the indivisible dyad of impetus and equipoise. This is the crucial, intrinsically motivated device of logoic constructivism. This key instrument is engaged - is at play - at every stage of the advance of life. In a feat unprecedented in the history of western philosophy, the emergence and unfolding of the entire orbit of (...) the human universe is shown to bear out this insight. Furthermore, the intrinsic rhythms of impetus and equipoise are taken as a guide in uncovering the workings of the logos all at once, in contrast to the piecemeal exposition of a single line of argument. In a schema covering the entire career of beingness-in-becoming between the infinities of origin and destiny, an historically unprecedented harmonizing all sectors of rationality is accomplished in a span of reflection comparable to Spinoza's Ethics. The work draws on interdisciplinary investigations in both science and the arts. All of the history of Occidental philosophy finds summary in it, even as feelers, guidelines, leitmotifs are thrown out for its future development. A landmark of Occidental philosophy at the turn of the millennium. (shrink)

The author proves the crucial role of the reform of philosophical education in the context of the socio-economic crisis. Without this reform, it is impossible to form a new mentality. Respectively, without changing the mentality, other reforms are not possible. Criticizing the Soviet command-and-control system, the author argues that its system remains in the very structure of Ukrainian universities. The reform of philosophical education, according to the author, should lie in the democratization of the educational process and in reorienting this (...) process to develop the ability to philosophize. This goal assumes that the basis of philosophical education should be such disciplines as the history of philosophy and the argumentation theory because they provide an understanding of philosophical problems and teach how to think critically and creatively. (shrink)

Graphic justice and the law of aesthetics have in very recent years successfully brought law, aesthetics and comics scholarship into the same space. The culture of copyright infringement within comics (including in the Marvel, DC, and Disney universes) has been extensively in the literature by scholars including Saval. How copyright law is portrayed within the graphic novels and comics themselves is the focus (and contribution of) this article. This article will explore several comics and graphic novels, as well as included (...) this author’s reflections of portraying copyright visually within zines for public dissemination. Throughout this article, the discourses of ghosts and spectres that are interwoven with copyright law and haunt the texts will be seen, as will the discourses of oppression and warfare that are involved for anyone seeking to make use of copyright works. As Gómez Romero and Dahlman note, comics offer “an alternative legal discourse” and we can see these alternative legal discourses through their aesthetic graphic form. This article will consider: the aesthetic portrayal of copyright law in A Gift for a Ghost and Josie and the Pussycats No. 6; as well as Bound by Law, Theft! A History of Music, and Pictures within Pictures. These comics and graphic novels have been chosen as they aesthetically portray copyright law and copyright infringement (referred to in some of the comics as “plagiarism”), and others aesthetically portray the public domain and fair use. In viewing these aesthetic manifestation of copyright law, the reader understands the limiting nature of copyright on creative freedoms, and that copyright law’s power is absolute. This article will explore the following: (i) copyright’s aesthetic portrayals and the impact of this; (ii) comics haunted by copyright law, considering A Gift for A Ghost and Josie and the Pussycats; (iii) comics about the necessity of the public domain and fair use, considering Bound by Law, Theft! A History of Music, and Pictures within Pictures; and (iv) self-reflections on portraying copyright aesthetically in publicly disseminated research zines. This article has not set out to determine that certain visual aesthetic portrayals are “correct” or “better”, but rather to explore how legal discourses and narratives about copyright law are circulated through the comics medium. These visual depictions hold considerable weight, and it is striking to see similar narratives used across a range of comics works, with different intended audiences. What is clear is that the visual depiction of copyright law enables a greater ability to convey the multiple copyright law discourses that can be felt at once, and also to highlight that some of these discourses are contradictory to one another. (shrink)

Photographic discourse between doxa and paradoxe appearing in 1839 as a technical process of representation of the image, in the amateur and enlightenment middle, Photography will produce a popular speech that will be exclusive for almost three decades: the photographic image is beautiful more perfect it is as an imitation of the reality. Clear and with formal information about time and space. This popular speech includes a short historical information about some authors of technical inventions that improved fixation and circulation (...) image. In the last quarter of that century, as a sensibleness against Industrial making, amateur photographs define an artistic and creative sight supported with a photographic theory, the Pictorialism, that overvalues the creative subject coinciding with new forms of Thought and Art. When Pictorialism is exhausted after the 1st G. War, a new sight which includes the ability of the new camera to mimic cinema effects, the subjective sight will no longer abandon the photographic practice while the photographic literature multiplies itself with the interest of philosophers, thinkers, film makers, psychologists and psychiatrists since the developing of the mass society. In the last quarter of the XX century, with post-modern inspiration, it appears as an international pattern a new History of Photography treated as History of Art, with styles and authors, that still remains. The objective of this work is to distinguish popular and scholarly photographic reading from its origins to the technological revolution that provokes a real crisis through the analysis of its greatest analysts. Taking into consideration our time, a period of numeric change, facing the new computational technology, that work with algoritms, image reading must change, but photographs and analysts repeat analog concept and strategies. (shrink)

In this posthumous collection of writings, Cornelius Castoriadis (1922-1997) pursues his incisive analysis of modern society, the philosophical basis of our ability to change it, and the points of intersection between his many approaches to this theme. His main philosophical postulate, that the human subject and society are not predetermined, asserts the primacy of creation and the possibility of creative, autonomous activity in every domain. This argument is combined with penetrating political and social criticism, opening numerous avenues of (...) critical thought and action. The book’s wide-ranging topics include the core worldview of ancient Athens, where the idea of self-creation and self-limitation made democracy possible; the wealth of poetic resources; a deconstruction of the so-called rationality of capitalism and of the current conception of democracy, along with a discussion of what a radical, revolutionary project means today; the role of what he calls the radical imagination in the creation of both societal institutions and history; the roots of hate; a psychoanalytic view of human development torn between heteronomy and autonomy; the role of education in forming autonomous individuals; and notions of chaos, space, and number. (shrink)

Benjamin Franklin famously wrote that “the good [that] men do separately is small compared with what they may do collectively” (Isaacson 2004). The ability to join with others in groups to accomplish goals collectively that would hopelessly overwhelm the time, energy, and resources of individuals is indeed one of the greatest assets of our species. In the history of humankind, groups have been among the greatest workers, builders, producers, protectors, entertainers, explorers, discoverers, planners, problem-solvers, and decision-makers. During the late (...) 19th and early 20th century, many social scientists employed the notorious “group mind” idiom to express the sensible idea that groups can function as the seats of cognition, intelligence, and agency in their own right (Allport 1968; Wilson 2004). In their quest to stress (rightly) that group phenomena are something “over and above” the sum of individual contributions, a fondness for vitalist metaphors led them to believe (wrongly) that genuine group cognition must be the result of tapping into individualistically inaccessible, “holistic” forces. Today, inspired in part by historically unparalleled forms of mass collaboration enabled by the internet, it has once again become popular to speak of collective intelligence, group agency, or even the emergence of a “global brain” (cf. the wiki-edited MIT Handbook of Collective Intelligence). -/- In this chapter, I review some contemporary developments of the idea of group cognition, defined broadly as the collaborative performance of cognitive tasks such as remembering, problem-solving, decision-making, or verbal creativity for the purpose of producing a group-level outcome. My discussion serves a two-fold purpose. First, by discussing how the idea of group cognition can be operationalized, I seek to show that we can retain some central theoretical insights of the “group mind” thesis without succumbing to its eccentric metaphysical overtones. Second, by providing a useful array of generalizable taxonomic resources, I hope to foster greater degrees of mutual awareness among insufficiently integrated areas of research on group performance. (shrink)

We raise the new possibility that people diagnosed with developmental dyslexia (DD) are specialized in explorative cognitive search, and rather than having a neurocognitive disorder, play an essential role in human adaptation. Most DD research has studied educational difficulties, with theories framing differences in neurocognitive processes as deficits. However, people with DD are also often proposed to have certain strengths – particularly in realms like discovery, invention, and creativity – that deficit-centered theories cannot explain. We investigate whether these strengths reflect (...) an underlying explorative specialization. We re-examine experimental studies in psychology and neuroscience using the framework ofcognitive search, whereby many psychological processes involve a trade-off between exploration and exploitation. We report evidence of an explorative bias in DD-associated cognitive strategies. High DD prevalence and an attendant explorative bias across multiple areas of cognition suggest the existence of explorative specialization. An evolutionary perspective explains the combination of findings and challenges the view that individuals with DD have a disorder. In cooperating groups, individual specialization is favored when features that confer fitness benefits are functionally incompatible. Evidence for search specialization suggests that, as with some other social organisms, humans mediate the exploration–exploitation trade-off by specializing in complementary strategies. The existence of a system of collective cognitive search that emerges through collaboration would help to explain our species’ exceptional adaptiveness. It also aligns with evidence for substantial variability during our evolutionary history and the notion that humans are adapted not to a particular habitat but to variability itself. Specialization creates interdependence and necessitates balancing complementary strategies. Reframing DD therefore underscores the urgency of changing certain cultural practices to ensure we do not inhibit adaptation. Key improvements would remove cultural barriers to exploration and nurture explorative learning in education, academia, and the workplace, as well as emphasize collaboration over competition. Specialization in complementary search abilities represents a meta-adaptation; through collaboration, this likely enables human groups (as a species and as cultural systems) to successfully adapt. Cultural change to support this system of collaborative search may therefore be essential in confronting the challenges humanity now faces. (shrink)

Charisma is a concept with a peculiar history. It arose from theological obscurity through social science, from which it passed into popular culture. As a social science concept, its significance derives in large part from the fact that it captures a particular type of leadership. But it fits poorly with other concepts in social science, and is problematic as an explanatory concept. Even Weber himself was torn in his use of the concept between the individual type-concept and a broader use (...) of it to characterize the sacral character of culture and institutions. Which use is fundamental? Neither use seems to be able to be extended to account for the other, and in practice the term serves as a heterogenous residual category. Shils’ argument that the charisma of central institutions was fundamental was an attempt to make sense of the examples of institutional charisma that fell into this residual category, such as the jury, and assimilated charisma to the idea of the holy. But this conflicts with Weber’s idea of the originary or creative character of individual charisma, which by definition cannot derive from preexisting sacral qualities. Weber’s account of individual charisma focuses on success, and this suggests the idea that the power of the charismatic leader arises from the ability to confound and surpass expectations - to be extraordinary. This allows us to reconsider ‘originary’ charisma, and assimilate it both to rational choice and to Steiner’s account of taboo. A leader who produces a change in our risk perceptions by proving our previous perceptions wrong by the success of the leader’s actions is providing a novel rational choice for us: a new option together with new estimates of the risk in a course of action. Weber explained the situation of primitive or magical morality in terms of magical charisma producing taboos that were then rationalized, leading to permanent norms - which relies on the notion of charisma without explaining it. But Steiner goes further, by suggesting that taboo represents the intellectual organization of danger through the act of interdiction. The power to interdict is not based on some other power, but rather the power to organize danger through interdiction is originary. Is there originary charisma today? Or is the commonplace use of the term ‘charisma’ a transformation of the concept into something else? In popular culture, the term refers to role-models who break new ground, and if we consider the ‘dangers’ that they appear to their audiences to overcome, the phenomenon is not so different. Charisma seems to collapse into personal style, but in a world in which the old interdicts have lost their power, style itself becomes a matter of experimental success in the face of social danger. (shrink)

The principle of stewardship has come to play a significant role in the consciousness of Catholic health care. This is a recent development correlative with changes in the economic configurations of Catholic health care in the latter two decades of the twentieth century, as well as with the striking ascendance of the principle within US Catholic culture during the same period. Yet while the concept of stewardship seems to be an unobjectionable given central to Catholic practice, I argue that in (...) its contemporary configuration, it embodies a deeply problematic set of theological assumptions drawn from a particular historical trajectory that is—from a Catholic perspective—quite troubling. This history is concurrent with an equally problematic deformation of the concept of charity. Taken together, these malformed concepts often shackle and misdirect the ability of those who work within Catholic health care to creatively discern transformative solutions and faithful modes of practice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Imitation, Mirror Neurons, and Mimetic Desire:Convergence Between the Mimetic Theory of René Girard and Empirical Research on ImitationScott R. GarrelsIntroductionUntil recently, the pervasive and primordial role of imitation in human life was either largely ignored or misunderstood by empirical researchers. This is no longer the case. It is now clear that investigations on human imitation are among the most profound and revolutionary areas of research contributing to the future (...) of a more unified and coherent understanding of the cognitive and social sciences. This ever-growing body of research has profound implications for a better understanding of the development and structure of human psychosocial functioning as well as cultural evolution, yet current applications lack insight into two essential aspects of human imitation: (1) its elemental role in generating uniquely human forms of relational competition, rivalry, and violence; and (2) the historical and anthropological role of religious /cultural beliefs and practices in transforming the effects of human imitation into viable and sustainable communities. Rene Girard's Mimetic Theory offers empirical researchers an already elaborated explanatory model that illuminates the way in which imitation is foundational to these universal human phenomena. Yet astonishingly, there have been no substantial studies concerning the critical question of human imitation that have applied and synthesized recent empirical research with the mimetic theory of human motivation and religious and cultural evolution.The initiation of such a detailed and comparative analysis is essential to understanding not only the historical relationship between culture and religion (and ultimately the evolution of the human species) but perhaps more importantly the pressing and complex relationship between violence, religion, and contemporary society. The mimetic theory of religion helps bring to light the mechanisms of social mimesis that produce the self-other distortions characteristic of behaviors ranging from primitive sacrificial rituals to the abhorred [End Page 47] atrocities of recent history; yet it also fundamentally elucidates the creative and historical role of the religious and cultural insights and practices based on human mimetic dynamics that continue to be indispensable in fostering alternative, nonviolent forms of progress and social cooperation in our contemporary world.The purpose of this article, then, is to advance the interdisciplinary dialogue first embarked on by Jean-Michel Oughourlian (1982), and continued in more detail by Eugene Webb (1993), concerning the convergence between empirical research on imitation and René Girard's theory of psychological mimesis. Psychological mimesis1 is the tendency of human beings to imitate the gestures, behaviors, intentions, and desires of other persons; it is the very cornerstone upon which the entire work of Girard is constructed. From this foundation, Girard has made a number of bold claims about human nature and the resulting origin and structure of human culture and religion. Girard's work is immense in scope and has far reaching implications across such diverse disciplines as anthropology, primitive religion, psychology, literary analysis, theology, and philosophy. Any theory attempting to cover this much ground will undoubtedly draw an enormous amount of criticism, and Girard's work has been no exception. Regardless of this, "Girard's hypotheses about the pragmatics of imitative interaction, and more specifically, about the influence of imitation on motivation, represent a unique and significant contribution that merits a careful examination" (Livingston 1992, xvi).The ability of mimetic theory to effectively address the various disciplines it claims to interpret will depend significantly upon its capacity to clarify and validate the primordial role of mimesis in psychosocial development and functioning. Webb (1993) has emphasized that while Girard's work has many broader anthropological and historical implications, the most essential aspect of his theory is that of psychological mimesis. On this point Webb concluded:Thus there is good reason to think not only that [psychological mimesis] deserves a careful hearing but also that it should prove widely useful for psychologists in providing an explanatory framework for the sorts of systematic relationship that many are currently investigating.(213)While Paisley Livingston (1992) has attempted a systematic presentation of Girard's ideas on mimesis, to my knowledge the "careful hearing" that Webb called for has not taken place through an engagement with the empirical sciences. This is remarkable when one considers the enormous output of imitation research... (shrink)

Electronic Dance Music Culture (EDMC) is one of the largest subcultural musical movements in history. The dance floor is a creative context that engenders a freedom among participants to reshape their social identity within the Temporary Autonomous Zones (TAZ) that raves, the central spaces for EDMC, provide. On the dance floor, participants enter into powerful trances that have the capacity to reshape notions of self and personhood. This paper examines such identity discourses and suggests that trance consciousness re-constitutes the (...) bodily self as an interaction rather than a corporeal body, radically altering the internal dialogue from which notions of self originate. I illuminate this process by articulating the phenomenal experience of musical trancing with scientific theories of human consciousness. Drawing on the ideas of Merleau-Ponty and Damasio, I suggest an integrative model of consciousness that sheds new light upon the complex layering of trance experiences. The potential benefit of this model lies in its ability to theoretically capture the ineffable musical experience and reveal salient processes underlying the self-transformation reported in subjective narratives. This is pertinent not only to EDMC and other musical cultures, but to our more general understanding of the relationship between self and experience in the world. (shrink)