Originally published by Dimension Books in 1972, this volume, with a new preface, retains its significance as a seminal text on the science of formation. Important themes in the emergent formation theory of personality are congeniality, compatibility, and compassion, which correspond on a social level to justice, peace and mercy.

A história da ética filosófica é, em grande parte, uma tentativa de elucidar a maneira na qual os seres humanos podem fomentar um êthos, para atingir a própria plenitude. Fosse Peirce convidado a mostrar, primeiro, o que ele entendia pelo êthos do filósofo ou do cientista, ele responderia facilmente que é a busca por um ideal e verdades eternas, isto é, a própria razoabilidade que rege o universo. Fosse ele questionado, logo após, o que o êthos dos seres humanos é, (...) em geral, quer dizer, o que guia e dá sentido à vida de cada pessoa, sua resposta não diferiria muito da anterior: todos os seres humanos, por meio de suas ações concretas, devem encarnar a razoabilidade, o ideal admirável ou o summum bonum em suas próprias vidas. A resposta bem conhecida de Peirce contém uma visão criativa muito profunda da vida ética: esta é a construção progressiva e contínua de diversas possibilidades de ação, por meio da qual cada pessoa configura seu próprio êthos, segundo esse fim admirável, que é uma representação daquilo que seria uma vida boa, desejável e próspera. Isto pode não parecer original no contexto da história da ética filosófica – Aristóteles já tinha dito algo semelhante. Entretanto, há duas noções muito ricas e sugestivas no pensamento de Peirce, as quais podem sem dúvida ser recuperadas, visto que elas podem contribuir de maneira significativa para essa reflexão, a saber: a razoabilidade e a abdução. Como tentarei mostrar, para Peirce viver eticamente é viver criativamente. (shrink)

In what may be the most radical business book ever published, philosopher Jay Ogilvy shows that living without a goal is the only way to accomplish anything. In the 1980s we ran our lives with all the direction and confidence filofaxes and to-do lists could provide. Always knowing exactly where we were headed, we climbed toward the goals corporate America held out in front of us like so many carrots: higher salaries, better titles, more impressive offices. But after a (...) decade of climbing, the air is getting thin. We crave the chance to create, to express ourselves, and to make a difference, not just a living. It is time, says businessman/philosopher James Ogilvy, to tear up the to-do lists and grant ourselves the freedom to enjoy what E. M. Forster calls "the lights and shades that exist in the greyest conversation." Ogilvy shows that richness and color and flavor flood back into our lives once we set aside the goals that hold us captive. He explores how philosophers (from Plato to Nietzsche), lovers, ideologues, and executives have at one time or another lived without goals. What emerges from his argument is a new look at how to achieve personal creativity and freedom by fashioning one's day to-day life, not as a larger goal-producing machine, but as a personal work of art. (shrink)

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

Like most EM physicians presented with a wide assortment of patients I've never seen before, will probably never see again, and cannot schedule for a more convenient return visit when there are not three ambulances pulling up to the door, I sometimes get a bit cranky when I interview a patient who has registered for a less‐than‐valid “emergency.” As a resident in Mel Konner's Becoming a Doctor put it, “Low back pain? Low fucking back pain? You're waking me up for (...) low fucking back pain?” Although I ceased a long time ago to ask, “Why now?”—you almost never get an answer that is satisfying—I still think it. Often, I am sad to say. Perhaps it is a result of the obvious forces of callousness born of distance born of training and of stress. Again, Konner captures it well: “It is obvious … that the stress of clinical training alienates the doctor from the patient, that in a real sense the patient becomes the enemy. … At first I believed that this was an inadvertent and unfortunate concomitant of medical training, but I now think that it is intrinsic. Not only stress and sleeplessness but the sense of the patient as the cause of one's distress contributes to the doctor's detachment.” Such detachment can blinker our eyes from seeing why patients come to the emergency room and prevent our ears from hearing. (shrink)

This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.

Research on collaborative professionalism may be enriched by inquiries into the lived experiences of teachers. The question of what collaboration is like for teachers has not been taken up widely in the literature. The meaning of collaboration as a coming together of individuals who share, design, and co-create for purposes that are aligned with generative possibilities of producing something new, of understanding something in a novel way, and to combine perspectives, personalities, experiences and expertise, represents a new area for research. (...) This paper presents a phenomenological analysis of teachers’ lived experiences of collaboration. To ask these questions requires an orientation to the lived experience of teacher collaboration. For the purposes of this paper, two themes – collaboration and a creative imaginary, and collaboration and relationality – are described as unique structures of human experience. This research supports the conclusion that research in the field of collaborative professionalism and teacher collaboration may be significantly deepened by inquiries into concrete lived experiences of teacher collaboration. (shrink)

This first anthology of the most important writings by Danny Siegel, spanning and modernizing fifty years of his insights, Radiance intersperses soulful Jewish texts with innovative Mitzvah ideas to rouse individuals and communities to transform our lives, communities, and world.

The latest book by Russian philosopher Sergey Mareev consists of two parts: recollections of his teacher Evald Ilyenkov, and reflections on some of the key themes of Ilyenkov’s philosophical heritage. The author traces several polemical lines related to the problem of the ideal, dialectics of the abstract and the concrete, the principle of historicism, as well as Ilyenkov’s interpretation of Spinoza and Hegel.

This article presents the conceptual groundwork for a “poetics of the self” by theorizing how and why a creative praxis rooted in Ricoeur’s philosophy of the will and hermeneutics of the living metaphor contributes to an individual’s on-going development of self-awareness. Its focus is on the affective fragility that manifests in an individual’s intermediary status of polarities – finitude and infinitude, freedom and nature – in conjunction with Ricœur’s tensional status of metaphorical truth. The act of writing poetry, it (...) suggests, can be an aesthetic mediation that develops insight into the primordial discord of the servile will. (shrink)

Moral or ethical questions are vital because they affect our daily lives: what is the best choice we can make, the best action to take in a given situation, and ultimately, the best way to live our lives? Health ethics has contributed to moving ethics toward a more experience-based and user-oriented theoretical and methodological stance but remains in our practice an incomplete lever for human development and flourishing. This context led us to envision and develop the stance of a “ (...) class='Hi'>living ethics”, described in this inaugural collective and programmatic paper as an effort to consolidate creative collaboration between a wide array of stakeholders. We engaged in a participatory discussion and collective writing process known as instrumentalist concept analysis. This process included initial local consultations, an exploratory literature review, the constitution of a working group of 21 co-authors, and 8 workshops supporting a collaborative thinking and writing process. First, a living ethics designates a stance attentive to human experience and the role played by morality in human existence. Second, a living ethics represents an ongoing effort to interrogate and scrutinize our moral experiences to facilitate adaptation of people and contexts. It promotes the active and inclusive engagement of both individuals and communities in envisioning and enacting scenarios which correspond to their flourishing as authentic ethical agents. Living ethics encourages meaningful participation of stakeholders because moral questions touch deeply upon who we are and who we want to be. We explain various aspects of a living ethics stance, including its theoretical, methodological, and practical implications as well as some barriers to its enactment based on the reflections resulting from the collaborative thinking and writing process. (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)

Emotional creativity refers to a set of cognitive abilities and personality traits related to the originality of emotional experience and expression. Previous studies have found that emotional creativity can positively predict posttraumatic growth and mental health. The outbreak of coronavirus disease 2019 (COVID-19) has posed great challenges to people’s daily lives and their mental health status. Therefore, this study aims to address the following two questions: whether emotional creativity can improve posttraumatic growth and mental health during the COVID-19 pandemic and (...) how it works. To do this, a multiple mediation model has been proposed, which supposes that emotional creativity is associated with posttraumatic growth and mental health through perceived social support and regulatory emotional self-efficacy. The study involved 423 participants from multiple regions with different COVID-19 involvement levels. Participants were asked to complete a questionnaire with six parts, which included Emotional Creativity Inventory (ECI), Regulatory Emotional Self-Efficacy Scale (RES), Stress-Related Growth Scale-Short Form (SRGS-SF), Multidimensional Scale of Perceived Social Support scale (MSPSS), Brief Symptom Inventory-18 scale (BSI-18), and COVID-19-related life events questionnaire. Path analysis used to examine the mediation model indicated that under the control of COVID-19-related life events and age, perceived social support mediated a positive association between emotional creativity and posttraumatic growth as well as a negative association between emotional creativity and all mental health problems, including somatization, depression, and anxiety. Regulatory emotional self-efficacy mediates the association between emotional creativity and posttraumatic growth, emotional creativity and anxiety, and emotional creativity and depression. The results suggest that emotional creativity plays an important role in coping with stressful events related to COVID-19. Furthermore, these results might provide a better understanding of the possible paths through which emotional creativity is related to psychological outcomes, such as mental health and posttraumatic growth. (shrink)

ABSTRACT Necropolitical arrangements of bifurcations delineate those ontological antagonisms that code Blackness as ontological lack (as non-position). In this article, I attempt to think about this evacuation of being in terms of the necropolitical’s fleshy excess, as what Alexander Weheliye’s work names “habeus viscus.” In so doing, I explore the implications, for our understanding of the “repressed proximities” of which the necropolitical consists, of arrangements that always-already include entanglements with their fleshy excess. In other words, if the nonposition of the (...) excluded is always positioned within, then living in/against the death-logics of necropolitics is always happening from that “nonposition within.” Hence, a reading of Achille Mbembe’s account of necropolitics must reckon with what Katherine McKittrick names “the creative consequences of the plot and the plantation,” with the implications of the inextricable proximal entanglements between the killing of life and the living that persists, despite. This article focuses on this “living despite.” Through a constellation of thinkers like Katherine McKittrick, Alexander Weheliye, and Zakiyyah Iman Jackson (to name a few), it aims to show that there are, perhaps, other futures that are already “now,” shattering what Édouard Glissant refers to as the “stone of time,” shattering (necropolitical) history as destiny. (shrink)

Though active in the arts herself, Dr. Richards (psychology, Saybrook Graduate School, San Francisco; psychiatry, Harvard Medical School; McLean Hospital, Belmont, Massachusetts) views creativity more broadly and as essential to survival. As someone who helped break new ground in the assessment of creativity in the general population, she introduces 13 chapters in which interdisciplinary thinkers probe the "originality of everyday life" in individual and societal contexts. Perspectives range from Piaget's developmental stages and the more positive aspects of television viewing to (...) chaos theory and Zen Buddhism. In integrating these views, the editor enumerates the benefits of living creatively. (shrink)

This article examines the relationship between feminist theologies and women’s poetry and fiction. Using Sheila Hassell Hughes’ work on this same relationship as a point of departure, I contend that feminist theologians rely on literature by women for a variety of reasons, and I focus on how literature by women offers feminist theologies a multitude of examples of women’s experience, embodied experience in particular. If women’s experience is the starting point for a truly feminist theology, women’s writing seems an obvious (...) source of the theologian’s materialist and semiotic quest. (shrink)

Creativity is often portrayed as an X-factor that accounts for the spontaneous generation of the absolutely new. Yet the obsession with novelty implies a focus on final products and a retrospective attribution of their forms to unprecedented ideas in the minds of individuals, at the expense of any recognition of the form-generating potentials of the relations and processes in which persons and things are made and grown. In these processes, practitioners are characteristically called upon to copy the works of past (...) masters. However, though they may be guided by a script or score, every practitioner has to improvise his or her own passage through the array of tasks the performance entails. With examples from music, calligraphy and lace-making, I show that the wellsprings of creativity lie not inside people’s heads, but in their attending upon a world in formation. In this kind of creativity, undergone rather than done, imagination is not so much the capacity to come up with new ideas as the aspirational impulse of a life that is not just lived but led. But where it leads is not yet given. In opening to the unknown — in exposure — imagination leads not by mastery but by submission. Thus the creativity of undergoing, of action without agency, is that of life itself. (shrink)

Creative Class, Creative Economy, and the Wisdom Society as a Solution to their Controversy The paper briefly introduces the notion of creativity, linking the concepts of creative class and the related creative economy that are considered by Florida and his followers as the driving force of the current social and economic development. The concept of creative economy and its quantification in form of the Creative Class Index 3T or the Euro-Creativity Index were submitted to strong critique.The critics overturn some key (...) issues of the concept of creative class with an indication that the creative people give priority in choosing the work from the place; and there is no or almost nil correlation of a perceptual representation of the persons of homosexual orientation and the high-tech growth which confirms the opinion that the assertion about higher creativity of homosexual persons is a myth only. The purpose of the article is the examination of propriety of the concept of creative class and its quantification at one hand, and the rightfulness of their critique at the other. The analysis of the axiology of the concept of creative class is the method of examination. From point of view of axiology probably the most significant characteristic of the creative class is its accompanying destruction of thee social capital of creative people and it substitution of the creative capital. The rise of creative class takes place in parallel with the implosion of values at which basis our Jewish-Christian civilization is established. To this Florida expresses rather vague attitude by a statement that all socio-cultural changes that accompany the rise of the creative class will have no favorable impact on society.Florida labeled creativity as a basic human law, furthermore, he announced the need for a new live style in which the quality of life will increase and people become better men. The concept of creativity as an instrument of urban planning evolved into a left-liberal ideology with elements of social engineering that is the most important finding of the axiological analysis. The second finding is the need to accept the meaning of creativity. By implication of the two findings there arises a proposal for wisdom as a new driving force of social and economic development. The conclusion is the contribution is a requirement for formulation of the concept of wisdom society that is currently likely absent in the academic world, and the statement that if the West will not create the wisdom society, it will lose the raison d'être of its existence. (shrink)

Hans Joas is one of the foremost social theorists in Germany today. Based on Joas’s celebrated study of George Herbert Mead, this work reevaluates the contribution of American pragmatism and European philosophical anthropology to theories of action in the social sciences. Joas also establishes direct ties between Mead’s work and approaches drawn from German traditions of philosophical anthropology. Joas argues for adding a third model of action to the two predominant models of rational and normative action—one that emphasizes the creative (...) character of human action. This model encompasses the other two, allowing for a more comprehensive theory of action. Joas elaborates some implications of his model for theories of social movements and social change and for the status of action theory in sociology in the face of competition from theories advanced by Luhmann and Habermas. The problem of action is of crucial importance in both sociology and philosophy, and this book—already widely debated in Germany—will add fresh impetus to the lively discussions current in the English-speaking world. (shrink)

In keeping with the focus of this special section, we concentrate initially on some of the problems of autonomist Marxist concepts such as `immaterial labour', `affective labour' and `precarity' for understanding work in the cultural industries. We then briefly review some relevant media theory (John Thompson's notion of mediated quasi-interaction) and some key recent sociological research on cultural labour (especially work by Andrew Ross and Laura Grindstaff, the latter drawing on Hochschild's concept of emotional labour), which we believe may be (...) more useful than autonomist concepts in developing empirically informed critique. The main body of the article then consists of an ethnographic account of working on one particular television programme, an account that aims to build on these theoretical debates. We analyse how the power to provide exposure or not to individuals in the talent show genre in contemporary television (a feature that derives from the symbolic power of producers to make texts that are then circulated to massive numbers of people) and disputes between commissioners and independent producers about how best to go about doing so (an organizational issue) are registered in the form of stress, anxiety and sometimes poor working relations among project teams of young television researchers (a matter of working conditions and experiences). We especially focus on how additional pressures are borne by these workers because of the requirements to undertake emotional labour, involving the handling of strong emotions on the part of talent show contributors, and to maintain good working relations in short-term project work, requirements generated by the need to ensure future employment. Ultimately, then, we support the view that creative work is `precarious' — but we go beyond the generalizations involved in concepts such as immaterial labour and affective labour to show the specific ways in which precariousness is registered and negotiated in the lives of young workers in one industry. (shrink)

This article considers revolution as a political clash and revolutionism as an aesthetic position, which is a topic inspired by the philosophical, social, and aesthetic experience of the twentieth century. This topic has been considered on the eve of the 100-year anniversary of the October Revolution. The author proceeds from the claim that one of the theatrical geniuses, Vsevolod E. Meyerhold, was, above all, a man of politics, while the other, Yevgeny B. Vakhtangov, was first and foremost a man of (...) art. The revolutionary pathos of Vakhtangov’s work is paradoxically actualized through the concept of myth and compassion as an alternative to cruelty and destruction. The personality of Meyerhold is described within the context of the revolutionary scene and in the unique mode of revolutionary nature and action. The experience of these theatrical geniuses in all their personal contradictions and artistic difference shows that it is possible to live during a time of revolution, but it is impossible to live in a constant state of revolution. Only creativity, as a source of hope and harmony, is an alternative to chaos and destruction. (shrink)

Everyday artistic creativity is downplayed in our schools, our lives, our culture. Yet here is an essential language of our lives, opening us to important ways of knowing, truth, beauty, and means for creative coping, as individuals and as cultures. Views of John Dewey and Suzanne Langer are each considered. A devaluation of artistic creativity may also reflect unacknowledged biases related to emotional "versus" intellectual knowing, gender stereotyping, science "versus" art, individualism "versus" interdependence, false stereotypes of creative "unhealth," and eminent (...) "versus" everyday creativity. Addressing these holds promise for our personal well-being and development, and our greater health as cultures. (shrink)

Maurice Merleau-Ponty (1908-1961) discusses the living body through the concept of intentionality. Later, Merleau-Ponty comes up with a theory of ontology based on the reversibility of the flesh. Zhuangzi (375-300 BCE) also speaks of the significant role played by our bodies in shaping our knowledge and experience. However, Zhuangzi relates the body to yi 意presented, referring to the creative coordination of bodily organs of perception and movement 眼-手-伸-通(such as eyes and hands), developed by constantly and persistently engaging with an (...) object. The presence of yi dictates a manifestation of walking-where-all-things-have-been-walking which is Dao. (shrink)

City Living is about urban spaces, urban dwellers, and how these spaces and people make, shape, and change one another. More people live in cities than ever before: more than 50% of the earth's people are urban dwellers. As downtown cores gentrify and globalize, they are becoming more diverse than ever, along lines of race, ethnicity, socioeconomic class, sexuality, and age. Meanwhile, we are in the early stages of what seems sure to be a period of intense civil unrest. (...) During such periods, cities generally become the primary sites where tensions and resistance are concentrated, negotiated, and performed. For all of these reasons, understanding cities and contemporary city living is pressing and exciting from almost any disciplinary and political perspective. Quill R Kukla offers the first systematic philosophical investigation of the nature of city life and city dwellers. The book draws on empirical and ethnographic work in geography, anthropology, urban planning, and several other disciplines in order to explore the impact that cities have on their dwellers and that dwellers have on their cities. It begins with a philosophical exploration of spatially embodied agency and of the specific forms of agency and spatiality that are distinctive of urban life. It explores how gentrification is enacted and experienced at the level of embodied agency, arguing that gentrifying spaces are contested territories that shape and are shaped by their dwellers. The book then moves to an exploration of repurposed cities, which are cities materially designed to support one sociopolitical order, but in which that order collapsed, leaving new dwellers to use the space in new ways. Through detailed original ethnography of the repurposed cities of Berlin and Johannesburg, Kukla makes the case that in repurposed cities, we can see vividly how material spaces shape and constrain the agency and experience of dwellers, while dwellers creatively shape the spaces they inhabit in accordance with their needs. The book concludes with a reconsideration of the right to the city, asking what would be involved in creating a city that enabled the agency and flourishing of all its diverse inhabitants. (shrink)

After Ontotheology: Reciprocal, Caring, Creative, and Right Relationships With the end of ontotheology we may realize, as Dewey did, that what sustains us is our caring relationships with physical nature, biological life, and other persons. My paper argues that relationships are ontologically basic and caring relations are morally basic. Right relationship binds us to the world and holds us together. We live by the grace of others. I conclude that after ontotheology, we must seek to form reciprocal, caring, and creative (...) relationships. (shrink)

What is creativity and who exactly is creative? In this insightful and highly readable book, the author attempts to answer these questions by arguing that geographical millieux are hotbeds for creativity and renewal - places where pioneers in art, technology and science have gathered and developed their special abilities. In light of ongoing social and economic transformations, special attention is paid to the institutional settings in firms and universities. The goal is to identify those features which facilitate and those which (...) impede the creative process. Individual lives are illustrated through the autobiographies of hundreds of Nobel Laureates. Their life paths reveal the importance of geographic mobility and contact patterns for the development of creativity and international prestige. From these biographies we can also see how local millieux and schools have influenced many scientists"--Back cover. (shrink)

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

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

Moral creativity consists in identifying, interpreting, and implementing moral values in ways that bring about new and morally valuable results, often in response to an unprecedented situation. It does not mean inventing values subjectively, as Sartre and Nietzsche suggested. Moral creativity plays a significant role in meeting role responsibilities, exercising leadership, developing social policies, and living authentically in light of moral ideals. Kenneth R. Feinberg’s service in compensating the victims of 9/11 provides a paradigm instance.

In lieu of an abstract, here is a brief excerpt of the content:Creativity Belongs to the Person, not to DiseaseJuan J. López-Ibor Jr. (bio) and María-Inés López-Ibor (bio)Keywordscreativity, patho-biography, Saint Teresa, visionsIn the paper, “From the Visions of Saint Teresa of Jesus to the Voices of Schizophrenia,” Cangas, Sass, and Pérez-Álvarez (2008) take an original approach to patho-biography that is very welcome.The temptation to designate historical individuals or characters of fiction as suffering from mental disease has always produced disagreeable feelings (...) in me. This sort of abuse of psychiatry and of the people in question is parallel to the abuse by the media or lay citizens when they describe, say, an especially violent murderer as a schizophrenic—forgetting that the vast majority of people with schizophrenia are not in the least violent. Having read Santa Teresa’s writings during my adolescence, well before I even considered entering medicine, I reacted to comments about her alleged psychiatric illnesses with uneasiness, to put it mildly. The Santa Teresa of La Vida de la Santa Madre Teresa de Jesús (her autobiography), of the Camino de Perfección, and of the El Castillo Interior was surely not a mental patient, it seemed to me. The same would apply to San Juan de La Cruz, Jean D’Arc, Don Quijote, Sancho Panza, Edipus, and Clitemnestra, to mention a few. Even van Gogh’s paintings did not seem to me the productions of a patient with schizophrenia or epilepsy. Of course all of them may have suffered, at certain periods of life, symptoms attributable to a mental disorder, but their creativity rested elsewhere, and was often manifest during healthy periods of their lives. After years spent fighting the stigma of mental diseases, and after organizing several exhibitions of works of art of people with mental diseases, we came to the conclusion that creativity and singularity belong to the person, not to the illness. Some of the diseases of these individuals may have being accidents (van Gogh’s hallucinations and psychotic symptoms, for example, were most probably due to intoxications with absinthe, then rich in hallucinogenic alkaloids such as tujone), or, together with other life circumstances, may have had unspecific influences on the person’s condition. In contrast with many other psychiatric disorders that are represented in ancient Greek and Roman literature, there are no descriptions of individuals with schizophrenia in the Greek and Roman literature dating from the fifth century bc to the beginning of the second century Ad (Evans et al. 2003), and several authors have speculated that schizophrenia did not exist before the eighteenth century (Ellard 1987).Caution is important when dealing with mental health and religious issues in contrast with creativity. The creativity of people suffering from bipolar disorders is well recognized (Jamison 1993) and [End Page 277] the same applies to alcohol and drug intoxication. Tellenbach (1986) has also written on the creativity of depressed persons, although he refers more to the disposition of mood (Schwermut) than to clinical depression as such. The link between melancholia and genius put forward by Aristotle has often been misinterpreted. The philosopher was considering the melancholic temperament and not the melancholic illness as we would understand it today. Of the four temperaments, it is in his view only the melancholic that is gifted with creativity. The sanguine person seeks the immediate pleasures of life, the choleric one considers himself powerful and dedicates himself to manifesting this power, and the phlegmatic individual is disconnected from life and seeks to live without effort or pleasure. The melancholic temperament leads to creativity because of the predominance of doubt, reflection, and dissatisfaction with the miseries of life.Freud’s notion of religiosity as a collective obsessive neurosis is totally mistaken, in my view. The three main themes of obsessions are cleanliness, order, and guilt. In none of these cases is the theme the goal of the action; rather, it is a strategy to contain anxiety. As a consequence, patients with obsessions and compulsions about dirt and cleanliness tend to be dirty themselves, because the real purpose of their compulsions is not in fact to be clean but rather to satisfy a ritual. When order... (shrink)

Counselors ask their clients to become creative in their personal lives and within their counseling process. The process of counseling is a creative process. Growth is necessary for effective improvement in the counseling process. This paper will examine creativity from the point of view of the affective experience of the creator, and the relationship of this experience to the client in counseling. The position here is that the process of counseling is both a creative process and one that involves tensions (...) and turbulence. Based on a model of nonlinear dynamics, and ideas about the creative process, this study draws a dynamical fractal movie of the counseling process in which the counselor serves as an attractor for the construction of opposites in the client behavior that allow for growth and the construction of a new state of psychosocial events. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Embedding Creativity in Teaching and LearningHoward Cannatella (bio)IntroductionCreative teaching ranges from the view that creativity is necessary for a changing knowledge economy to a more individualized view that encompasses a person-centered approach. None of these views are advanced in this essay, as I feel that there are important weaknesses in taking either position. Instead, my main purpose is to discuss how certain kinds of creative activity can substantially transform (...) educational practice without necessarily succumbing to any of the above conceptions of creativity. My educational approach to creative activity relates to one aspect of Alasdair Macintyre's, After Virtue; the notion that creativity only flourishes via a devotion to a particular practice.1 For such practice to flourish it has to immerse itself in a type of personal address that revolves and combines in various ways what Maurice Merleau-Ponty refers to as "self-others-things."2Any claim to suggest that education should engage creativity more than it currently does can stir some reasonable criticism, for there are clearly a plethora of other important factors to consider in student learning. Yet, to a degree, the practice of creativity is, I think, being dissipated and weakened, where ambivalence and ill-informed ideas are increasingly obscuring its place. My own thinking on this displacement which has some connections with John White's view and in a different sense with Howard Gardner's, is that if we offer via teaching situations geometrical puzzles, visual problem solving exercises and the like, such exercises although perhaps amusing in themselves are hardly taking up the same refined order of creative display exhibited by those most credited as being creatively talented.3 Indeed, to surmise that creativity is a construal of left hand side verses right hand side brain activity; that one can show different color cards on a monitor or play a short excerpt of Beethoven's Pastoral symphony in order to accelerate student learning are at the very least questionable creative assumptions. In [End Page 59] contrast, what I aim to show from one perspective as a crucial distinction is how creativity is involved in fundamental painstaking ways with the phenomenological. When the landscape of this kind of learning presupposes the opening of oneself to the world, the stretching of a mind, the thickening of one's perceptions, and the discovery of a deeper and richer self through living, one will tend to experience as life enhancing more of nature, previously unfelt and articulated modes of being in the world.Clearly, as a lecturer one has to inspire students. One of the best ways I know of doing this is through satisfying and intensifying students' creative appetite. Although I will not discuss it here there is some evidence to suggest that the need for creativity is biologically, physically, and psychologically an essential part of human nature, necessary for human-reproduction, growth, and cultural striving.4 The lecturer who fails to stimulate students' creativity, their being in the world, may be unwittingly inhibiting their cognitive, emotional, and physical well-being; preventing them from realizing their potential. Indeed, some learning problems can be attributed to the unconscious or deliberate stifling of creativity in student lives. We can see this happening when one feels emotionally or intellectually repressed, unable to express oneself openly, to take delight in what one has achieved, to note one's own unique sensitivity, and to experience personally the many wonders in the world. Although we may not articulate it, without a modicum of creative outlet, life can appear very cruel. Further, some of the benefits of creativity can be seen in studio teaching situations in which, as Charles Bingham and Alexander Sidorkin imply, the dynamics of aesthetic creativity encourage power-sharing and the fostering of non-dominated pedagogical relationships.5 As both Immanuel Kant and Friedrich Schiller realized two centuries ago, creativity has the capacity to foster educationally a particular kind of freedom essential to sustaining an alert, liberal, and questioning mind.6 There is also much empirical evidence, at least in the arts, to show how creative practice can assist the clarification of ideas, advancement in thought, and concentration in learning. The notebooks, papers, and recordings of Mozart... (shrink)

Humans, like all organisms, have evolved to survive in specific environments, while some elect or are forced to live and work in extreme environments. Understanding cognition as it relates to environmental conditions, we use 4E cognition as a framework to explore creativity in extreme environments. Our paper examines space arts as a case study through the history, present practices, and future possible arts in the context of humans beyond the Kármán boundary of the Earth’s atmosphere. We develop a proposed taxonomy (...) of space arts, based on prior taxonomies, and provide specific exemplars of space art developed by artists in space or for use by astronauts in space. Using examples of space art since the birth of the space age, we discuss 1) how human survival in extreme environments requires investment in the space arts, driven by consideration of all biopsychosocial factors and 2) how new scientific and engineering discoveries could be consequences or examples of creative thinking driven by artists in the various types of space art. We conclude by discussing possible benefits of space art, future research applications, and advocate that all space actors, government or private, involve artists in all projects beyond the Kármán Boundary of the Earth’s atmosphere. (shrink)

We live in an era of unprecedented interconnectivity and challenges that require global mindsets and creative approaches. While research on global identification has increased in recent years, the question of whether it can facilitate creativity remains largely unexplored. Moreover, despite the evidence linking multicultural experiences and global identities, migrant populations have been overly underrepresented in this area of research. We examine the association between global culture identification and creativity in the Alternate Uses Test, across two different samples residing in Spain: (...) a host national and majorly student sample and a culturally diverse immigrant sample. Additionally, we test the predictive value of ethnic identification and host culture identification. Regression analyses reveal that global culture identification positively predicts creativity among host national participants, and host culture identification predicts creativity among immigrant participants. Our results suggest that developing a cultural identity that transcends the one acquired through enculturation has the potential of facilitating creative behavior. (shrink)

Outlining the characteristics of “wicked” and “super‐wicked” problems, climate change is considered as a global super‐wicked problem that is primarily about the future. Being global‐ and future‐oriented makes climate change something we have to learn to live with but cannot expect to solve. Because the Institute on Religion in an Age of Science (IRAS) is a multidisciplinary society that yokes the natural and social sciences with values, it is in a position to explore strategies for living with climate change—exemplified (...) by the articles in this section. Finally, asking “who/what is in charge,” it is suggested that in a dynamically interrelated and evolving world no one is. It is important to distinguish between good that is already created and the creative interactions that give rise to new good. In order to live with climate change, our primary orientation should be to live with the creativity that has created and continues to create our life on Planet Earth—since we are not able to know what the future holds. (shrink)

This paper considers the claim that imagination is implicated in our most apparently straightforward human transactions with the world, that our 'knowing' of the world (both in experience and our subsequent symbolic ordering of it) is in some sense imaginatively constructed from the outset. Second, drawing in particular on the work of Mark Johnson, it explores the senses in which such imaginative transactions are both experience constituted and experience constitutive (that, in Ricoeur's words, imagination 'invents in both senses of the (...) word'). Third, it attends to one apparent theological cost of ascribing to human imagination a 'creative' role in relation to the human world. Fourth, it focuses in particular on Charles Taylor's account of the imaginative construction of the self as a moral entity. And finally, it considers just one example of how the arts may be active in shaping moral identity, and thereby the human world in which we live and move and have our being. (shrink)