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  1. Cartesian Clarity.Elliot Samuel Paul - 2020 - Philosophers' Imprint 20 (19):1-28.
    Clear and distinct perception is the centrepiece of Descartes’s philosophy — it is the source of all certainty — but what does he mean by ‘clear’ and ‘distinct’? According to the prevailing approach, what it means for a perception to be clear is that its content has a certain objective property, like truth. I argue instead that clarity is at least partly a subjective, phenomenal quality whereby a content is presented as true to the perceiving subject. Clarity comes in degrees. (...)
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  2. The Philosophy of Creativity.Elliot Samuel Paul & Scott Barry Kaufman (eds.) - 2014 - New York: Oxford University Press.
  3. Cartesian intuition.Elliot Samuel Paul - 2022 - British Journal for the History of Philosophy 31 (4):693-723.
    This paper explicates Descartes’ theory of intuition (intuitus). Departing from certain commentators, I argue that intuition, for Descartes, is a form of clear and distinct intellectual perception. Because it is clear and distinct, it is indubitable, infallible, and provides a grade of certain knowledge he calls ‘cognitio’. I pay special attention to why he treats intuition as a form of perception, and what he means when he says it is ‘clear and distinct’. Finally, I situate his view in relation to (...)
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  4. Attributing Creativity.Elliot Samuel Paul & Dustin Stokes - 2018 - In Berys Nigel Gaut & Matthew Kieran (eds.), Creativity and Philosophy. New York: Routledge.
    Three kinds of things may be creative: persons, processes, and products. The standard definition of creativity, used nearly by consensus in psychological research, focuses specifically on products and says that a product is creative if and only if it is new and valuable. We argue that at least one further condition is necessary for a product to be creative: it must have been produced by the right kind of process. We argue furthermore that this point has an interesting epistemological implication: (...)
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  5. Creativity.Elliot Samuel Paul & Dustin Stokes - 2023 - Stanford Encyclopedia of Philosophy.
    This entry provides a substantive overview of research and debates concerning creativity in philosophy and related fields. Topics covered include definitions of creativity, whether creativity can be learned, whether it can be explained, attempts to explain creativity in cognitive science, and whether computer programs or AI systems can be creative.
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  6. Descartes’s Anti-Transparency and the Need for Radical Doubt.Elliot Samuel Paul - 2018 - Ergo: An Open Access Journal of Philosophy 5:1083-1129.
    Descartes is widely portrayed as the arch proponent of “the epistemological transparency of thought” (or simply, “Transparency”). The most promising version of this view—Transparency-through-Introspection—says that introspecting (i.e., inwardly attending to) a thought guarantees certain knowledge of that thought. But Descartes rejects this view and provides numerous counterexamples to it. I argue that, instead, Descartes’s theory of self-knowledge is just an application of his general theory of knowledge. According to his general theory, certain knowledge is acquired only through clear and distinct (...)
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  7.  34
    Cartesian intuition.Elliot Samuel Paul - 2022 - British Journal for the History of Philosophy 31 (4):693-723.
    This paper explicates Descartes’ theory of intuition (intuitus). Departing from certain commentators, I argue that intuition, for Descartes, is a form of clear and distinct intellectual perception. Because it is clear and distinct, it is indubitable, infallible, and provides a grade of certain knowledge he calls ‘cognitio’. I pay special attention to why he treats intuition as a form of perception, and what he means when he says it is ‘clear and distinct’. Finally, I situate his view in relation to (...)
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  8. Introducing THE PHILOSOPHY OF CREATIVITY.Elliot Samuel Paul & Scott Barry Kaufman - 2014 - In Elliot Samuel Paul & Scott Barry Kaufman (eds.), The Philosophy of Creativity. New York: Oxford University Press. pp. 3-14.
    Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be (...)
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  9. Naturalistic approaches to creativity.Dustin Stokes & Elliot Samuel Paul - 2016 - In J. Systma W. Buckwalter (ed.), The Blackwell Companion to Experimental Philosophy.
    We offer a brief characterization of creativity, followed by a review of some of the reasons people have been skeptical about the possibility of explaining creativity. We then survey some of the recent work on creativity that is naturalistic in the sense that it presumes creativity is natural (as opposed to magical, occult, or supernatural) and is therefore amenable to scientific inquiry. This work is divided into two categories. The broader category is empirical philosophy, which draws on empirical research while (...)
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  10. "Computer creativity is a matter of agency".Dustin Stokes & Elliot Samuel Paul - 2021 - Institute of Arts and Ideas.
    Computer programs are generating artworks of astonishing novelty and aesthetic value. By the standard definition of creativity, these programs would count as being creative. But if you still hesitate to call a program creative, that's for good reason, we argue. It's because real creativity requires AGENTS who are responsible for what they make, and it's not at all clear that these programs are agents. -/- (The title was imposed by the editor. It was supposed to be called, "ARE COMPUTERS CREATIVE?").
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  11.  25
    The Philosophy of Creativity.Christine Battersby, Elliot Samuel Paul & Rick Lewis - 2022 - Philosophy Now 153:12-13.
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  12. Cartesian clarity.Elliot Samuel Paul - 2020 - Philosophers' Imprint 20 (19):1–28.
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  13.  11
    Naturalistic Approaches to Creativity.Dustin Stokes & Elliot Samuel Paul - 2016 - In Justin Sytsma & Wesley Buckwalter (eds.), A Companion to Experimental Philosophy. Malden, MA: Wiley. pp. 318–333.
    This chapter offers a brief characterization of creativity, followed by a review of some of the reasons people have been skeptical about the possibility of explaining creativity. It surveys some of the recent work on creativity that is naturalistic in the sense that it presumes creativity is natural, as opposed to magical, occult, or supernatural, and is therefore amenable to scientific inquiry. The chapter divides into two categories. The broader category is empirical philosophy, which draws on empirical research while addressing (...)
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  14. Creativity and schizophrenia spectrum disorders across the arts and sciences.Scott Barry Kaufman & Elliot Samuel Paul - 2014 - Frontiers in Psychology 5.
     
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  15.  11
    Introducing.Scott Barry Kaufman & Elliot Samuel Paul - 2014 - In Elliot Samuel Paul & Scott Barry Kaufman (eds.), The Philosophy of Creativity. New York: Oxford University Press.
    This is the opening chapter to The Philosophy of Creativity: New Essays. It argues that since creativity is such a significant aspect of the human experience, and since it raises a wealth of philosophical questions, it deserves much more attention than it currently receives in philosophy. It also argues for the fruitfulness of interdisciplinary exchange, integrating philosophical insights with research in experimental psychology. Providing an overview of the field and of the subsequent essays in the volume, this chapter surveys issues (...)
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  16. Descartes and the Puzzle of Sensory Representation, by Raffaella De Rosa. [REVIEW]Elliot Samuel Paul & John Morrison - 2014 - Mind 123 (492):1187-1191.
    A book review of Raffaella De Rosa's Descartes and the Puzzle of Sensory Representation".
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