The aim of this paper is to justify the role of mental imagery in creativity. In more specific terms the central idea of this paper is that the justification for the role of mental images in the creative process lies in the analysis of the relationship between vision and imagery. Mental images are present in thought just in those situations in which the ideal way to solve a problem would be the perception of those same things before our (...) own eyes. The production of a mental image is, from this point of view, an analogous process to the perception of an object in its absence. In these cases the images become a good substitute for reality: this is possible because they share common structural elements with percepts. These shared common characteristics provide a validation to the idea that the role of imagery in creativity depends on the structural properties which mental images share with the representation of the perceived information. Such a result opens the way to the idea that there is a close link between imagery and vision and, thus, provide justification for the theory that imagery is closer to perceiving than to thinking. (shrink)

This article draws on the ethnography of Aboriginal Australia to argue that perceptual openness, extending from waking life into dreaming experience, provides an important cognitive framework for the apprehension of dreamt experience in these contexts. I argue that this perceptual openness is analogous to the “openness to experience” described as a personality trait that had been linked with dream recall frequency. An implication of identifying perceptual openness at a cultural rather than at an individual level is two-fold. It provides an (...) example of the ways in which cultural differences affect perception, indicative of cognitive diversity; and, given the relationship between dreams and creativity suggested anecdotally and through research, a cultural orientation toward perceptual openness is also likely to have implications for the realization of creativity that occurs through dreams. Such creativity though cannot be separated from the relational context in which such dreamt material is elaborated and understood. (shrink)

Perception of Creativity in International Franchising Business Concepts - Comparison Analysis Between Franchisees and Franchisors This paper deals with the topic of creativity and perceived freedom of creativity in international franchising business concepts. It analyses various areas of daily business operations and the franchising business concept as a whole. Its focus is aimed at comparing the perception of level of freedom given in these areas to franchisees by the franchisors and its objective is to find (...) out where these perceptions differ between franchisees one side and franchisors on the other. The model of franchising is not described and the article assumes that the reader is familiar with this business model. The purpose of this article is to analyse and present the situation of creativity in the sector of international franchise businesses. As international franchising is in the focus of this article, topics such as cross-cultural environment in franchising models and creativity across cultures are covered. The method used to collect the data for further analysis is running an empirical research among two populations - franchisees and franchisors from several franchising business concepts active in international environment. Representatives from the two populations were asked to evaluate the level of freedom of creativity given or applied in their franchising business concepts. Respondents were answering an online survey, assessing ten different areas in daily business on a scale from one to five, ranging from no creativity allowed and strict governance by rules defined in the franchise concept to high level of creativity and freedom. Findings from both side of the franchise business partnerships, franchisees and franchisors, are presented including the test of homogeneity of proportions. Therefore some implications exist for further discussions and research, if franchising at all is, in its essence, a method of business concept, which enhances and facilitates creativity, or if creativity is perceived as a danger to franchise system that would harm its global unified approach which is the key principle of the franchis unified brand and concept strategy. (shrink)

We currently exist in a post-biological age. Mixed-realities shape the way in which we live modern life; half in physical form, half in a hyper-mediated virtual environment of network protocols. This article discusses network-based impacts on neurological navigation and the ways in which the human auditory cortex is developing through conjuncture with post-biological combinations of sound. In doing so, it examines the capacity of the human brain in decoding and understanding the abundance of sound in confluent, variegated realms of existence (...) and how such increased perceptions expand consciousness and, in turn, affect sonic creativity as a somewhat mimicry or response to our immediate auditory environments. Conclusively, it will be argued that the exploration of sound-based creativity can be reinterpreted for post-biological spaces, taking particular aim at the reflective approaches of musique concrète and how such technologically infused ideas can be transformed and recontextualized to match the power and capacity of today’s hybrid environments of occupancy. (shrink)

We examine how corporate social responsibility (CSR) perceptions (association and participation) affect manager creativity at the workplace and its mediating link through organisational identification. We collected data from the National Forum of Environment and Health (NFEH) 2019 that awarded 52 companies in Pakistan. NFEH is a purely non-profit, non-governmental, and voluntary organisation registered under the Voluntary Social Welfare Agencies Ordinance 1961. We employed convenience sampling to collect data from managers of 52 CSR performing organisations in Pakistan. We analyse the (...) data with structural equation modelling (SEM) via R. Findings reveal that CSR association does not affect creativity. In contrast, CSR participation has a significant positive effect on manager creative performance. Furthermore, the decomposition analysis indicated that only in the case of CSR participation, OI has a mediating effect. (shrink)

: Complex aesthetic perception, according to Mendelssohn’s writings between 1755 and 1771, is most alluring if it showcases a breach in the order of perfection. With this, Mendelssohn introduces a shift in our understanding of the artistic act of imitation: Artistic semblance is always lacking, and a painting that does not point to this fact is, in fact, displeasing. This is also the main reason why we enjoy non-beautiful art: in the artistic rendering of an unpleasant ‘object’ we focus (...) on the artistic act itself, on its formal features, and its effects on us as the perceiver. Thus, a representation that evokes the mixed feelings of pleasure, appreciation, and rejection is superior to ‘pure’ beauty, in that it better refers us to higher forms of perfection: the perfection of the perceiving and creative subject. It is the nagging, near-painful impression of mixed sentiments that, according to Mendelssohn, guides our self-perfection, the highest aim of all human endeavors. (shrink)

Kym Maclaren, in her article, “Emotional Metamorphoses: The Role of Others in Becoming a Subject,” explores a phenomenological view on emotion as being-in-the-world as well as the ethical implications of understanding emotion in opposition to the moralistic view. In the first part of this paper, I provide an exegetical assessment of Maclaren’s thesis; in the second I introduce a critique of Maclaren’s argument and argue a claim of my own which explores perception and autonomy in the human body along (...) with its implications in the context of Maclaren’s phenomenological account of emotion. I discuss the necessity of both emotion and reason in morality and argue that the traditional definition of autonomy is not plausible when considered through Maclaren’s phenomenological view of emotion. Finally, I work to creatively explore a new definition of autonomy that does cohere with this view. (shrink)

Abstract Creativity is seen as a complex process of information processing within a defined cognitive realm, or ‘conceptual space’. This ‘ space’ defines the possibilities in terms of sensible judgements. Creative acts are such that they a) consist of novel reorganisations and combinations of information within that space and b) challenge the boundaries of sense as defined by the space. Creativity is a process of explorative articulation within and at the parameters of this space. Because of their position (...) in relation to the ‘sense making’ system, creative acts particularly those of b), involve the risk of falling into nonsense. How do people come to make novel articulations within the conceptual space that defines the activity and what guides them when they ‘sensibly’ challenge the boundaries of that space ? Information is not emotionally neutral. In the intelligent selection and processing of information we are guided by subconsciously assimilated emotional markers that are a result of acculturation. They define both the subjectivity of the individual but also represent commonly held cultural perceptions to which the creative articulation of the individual is objectively attuned. Where the creative act challenges the boundaries of sense created by the conceptual space within which the act takes place, a higher level of emotional consonance kicks in. This is the tension felt, to a greater or lesser extent, by reflectively self conscious intelligences between the subjective, unitary, and temporary self and the objective, multiplex and timeless universe of which each is a part. (shrink)

The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able to spontaneously invent stylistically idiomatic compositions on the spot. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? In 'The Improvising (...) Mind' these questions are explored through an interdisciplinary approach that draws on cognitive neuroscience, study of historical pedagogical treatises on improvisation, interviews with improvisers, and musical analysis of improvised performances. Findings from these treatises and interviews are discussed from the perspective of cognitive psychological theories of learning, memory, and expertise. Musical improvisation has often been compared to 'speaking a musical language.' While past research has focussed on comparisons of music and language perception, few have dealt with this comparison in the performance domain. In this book, learning to improvise is compared with language acquisition, and improvised performance is compared with spontaneous speech from both theoretical and neurobiological perspectives. (shrink)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

The paper deals with basic characteristics of dogmatic thinking, taking into consideration especially the relation towards the creative essence of the human being. Discussing the development of human being and its perception in the conditions of desirable uniformity and limited freedom, the paper strives to point at the inevitability of continuous overcoming of given possibility and point out the meaning of candid, antidogmatic practices aimed at making the humanistic philosophy come to be. Referring to the basic assumptions of Danko (...) Grlić’s philosophy, the work examines the implications of Marx’s political instrumentalisation, draws attention to the one-dimensionality of dogmatic thinking and emphasises the antidogmatic nature of original Marxism. (shrink)

In an essay entitled ‘The Nobility of Sight’, Hans Jonas argues that ‘[s] ince the days of Greek philosophy sight has been recognized as the most excellent of senses’ (Jonas, 1954, p.507). Seeking to account for the historical elevation of vision over other forms of sensory engagement with the world, Jonas contends that ‘[t]he unique distinction of sight consists in what we may call the image performance, where “image” implies three characteristics: (1) simultaneity in the presentation of a manifold; (2) (...) neutralization of the causality of sense-affection; (3) distance in the spatial and mental senses’ (ibid.). In the case of (1), what distinguishes sight from other senses is the fact that it can give us both dynamic and static reality: our eyes can survey a whole field of possible percepts as well as focus directly upon a fixed object (ibid., pp.508–9). In the case of (2), what further marks out vision is that it does not require the perceiver and the object of perception to be directly engaged — the ‘dynamic’ relation between the two is, in Jonas’ words, ‘neutralized’ (ibid., p.514). And in the case of (3), seeing’s inimitability is also guaranteed by its being ‘the only sense in which the advantage lies not in proximity but in distance: the best view is by no means the closest view’ (ibid., pp.517–8). (shrink)

Richard Popkin gives the frame into which the topics of the colloquium fit: Cartesian skepticism about our knowledge of the existence of the self and the external world. Robert Fogelin sketches a prescriptive model for human action, using classical and contemporary ideas on the grammar of act descriptions. Following these individual papers, there are three symposia, consisting of a paper, comments, and author's reply. In the first, with Philip Hugly as commentator, Fred Dretske attempts to undercut skeptical attack on the (...) validity of ordinary perceptual claims. He holds that an epistemic perceptual report conveys two items: a description, and a justification of the increment in knowledge which is the crux of each particular claim. The second symposiast is Roderick Chisholm, writing with historical fluency and analytic skill on the loose and strict senses of identity. In his comments, S. Shoemaker offers a "special concern" criterion for personal identity. In the third symposium, Jaakko Hintikka argues that the logic of perceptual terms is modal, in the extended sense that most of the words used to express propositional attitudes, words like 'knows', 'believes', 'strives', serve as modal operators. Romane Clark is Hintikka's commentator. Again, the comments seem genuinely helpful in clarifying or emphasizing the issues for the reader. Hintikka tells us that he finds that traditional problems in perception are closely related to difficulties logicians have met as they try to understand the interplay between modal notions and the basic logical concepts of identity and existence. His comment expresses the sense of discovery and promise which pervades these papers. It strikes one that this Colloquium achieved a felicitous combination of high-level technique and creative scholarship.--M. B. M. (shrink)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

This thesis constructs an Interactive Theory of Beauty to change the way we think about beauty and aesthetic form, in order to resolve the conceptual discrepancies between the features that characterize the traditional concept of beauty and the features of the phenomenology of beauty. The assumptions that underlie these discrepancies are identified. I hypothesize an alternative assumption that would need to be the case to resolve the tensions between the traditional concept and the phenomenology. This involves rejecting the idea that (...) beauty is an objective property of the object, and instead considering the possibility that beauty is an awareness of a certain aspect of the perceptual processing of the object. As such, beauty would be neither purely subjective nor purely objective; but a relational property. This hypothesis is mapped out in terms of a computational model of perception. The argument relies on the explanatory power of this conception of beauty. I employ my central hypothesis to explain how beauty can be both universal and subjective; an experience of the aesthetic form of the object which can, in some cases, supervene on representational content; and a property which is experienced as inferred from more basic properties, yet ineffable. While I focus mainly on visual beauty, I suggest applications for musical beauty and haptic beauty, particularly in non-sighted persons. This Interactive Theory of Beauty also accounts for the instrumentality of beauty, which is a feature of scientific and mathematical beauty. If my central hypothesis is correct, then the experience of beauty may offer insights into the nature of creativity in all fields of enquiry. (shrink)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

This study aims to examine how service employees’ perceptions of corporate social responsibility affect their creativity at work and its mediated link through compassion at work and their intrinsic motivation. Working with a sample of 250 hotel employees in South Korea, structural equation modeling is employed to test research hypotheses. The results of this research suggest that employees’ perceptions of CSR are positively related to employee creativity. Second, compassion at work mediated the positive relationship between employees’ perceptions of (...) CSR and creativity. Third, employees’ intrinsic motivation also mediated the positive relationship between employees’ perceptions of CSR and employee creativity. Finally, the relationship between employees’ perceptions of CSR and employee creativity is sequentially and fully mediated by compassion at work and their intrinsic motivation. The theoretical and managerial implications of the results and limitations of the study are discussed, and future research directions are suggested. (shrink)

Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond.

Is there a substantial difference between a portrait depicting the sitter’s face made by an artist and an image captured by a machine able to simulate the neuro-physiology of facial perception? Drawing on the later Wittgenstein, this paper answers this question by reference to the relation between seeing a visual pattern as (i) a series of shapes and colours, and (ii) a face with expressions. In the case of the artist, and not of the machine, the portrait’s creative process (...) involves the ability to see both aspects. From the perspective of the image’s viewer, the distinction is more difficult to draw. I address this difficulty by further distinguishing between two attributes of portraits: their representational accuracy, and their ability to convey the artist’s reflection on her experience of seeing the sitter face-to-face. While artificial intelligence can mimic this latter reflective ability, it cannot exactly reproduce it. (shrink)

Purpose of the StudyThe significance of creativity and performance in the workplace has been illustrated on various occasions. This study aims to find out if there is a link between transformative leadership, organizational innovation, psychological issues such as hindrance and challenge stressors, and employee creativity and employee performance. There is still a lack of awareness of the factors that influence employee performance in small and medium businesses in Pakistan. Pakistan’s SMEs have struggled to survive in their early years, (...) with an initial failure rate of 90 percent to 95 percent.MethodologyThe relationship between hindrance and challenge stressors, organizational innovation, transformational leadership, employee creativity, and their effect on overall employee performance is established through employing Structural Equation Modeling. In this study, constructs were developed from existing theories, hypotheses were generated, data were collected from 424 SME employees, and SEM analysis was conducted to prove the suggested hypothesis. The employees of SMEs are the research study’s unit of analysis.FindingsThe findings of this study demonstrated that challenge stressors, transformational leadership, and employee creativity all had positive and significant effects on employee performance.Originality/ValueThis is one of the first studies to study and extends existing understanding of psychological research in this manner and following correlations in a developing country, Pakistan: the links between transformational leadership and employees’ perception of creativity and performance along with organizational innovation and work stressors. Based on theoretical considerations, a model is proposed, and hypotheses are established and explored. The findings of this study can help businesses increase employee performance by informing employee performance improvement methods. Business executives might learn more about how to engage and motivate employees to improve their performance. (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)

Tourism in the Globally Important Agricultural Heritage System is critical to the inheritance and innovation of excellent traditional farming cultures. Based on social identity theory, this paper explored the process by which agricultural heritage systems’ creative performance influences tourists’ cultural identity through 406 questionnaires from Chinese tourists. The results indicate that creative performance affects tourists’ cultural identity through a dual perspective of knowledge transfer and novelty perception. Furthermore, perceived authenticity acts as a moderator, weakening the impact of creative performance (...) on tourists’ knowledge transfer, while perceived authenticity does not affect the process of tourists’ novelty perception. This research provides a fresh perspective on the sustainable development of agricultural heritage tourism. Meanwhile, it offers theoretical foundations and practical inspirations for the development of agricultural heritage’s creative tourism. (shrink)

Seeing-as and Novelty brings together new essays that consider Wittgenstein’s treatment of the phenomenon of aspect perception in relation to the broader idea of conceptual novelty; that is, the acquisition or creation of new concepts, and the application of an acquired understanding in unfamiliar or novel situations. Over the last twenty years, aspect perception has received increasing philosophical attention, largely related to applying Wittgenstein’s remarks on the phenomena of seeing-as, found in Part II of Philosophical Investigations , to (...) issues within philosophical aesthetics. Seeing-as, however, has come to occupy a broader conceptual category, particularly in philosophy of mind and philosophical psychology. The essays in this volume examine the exegetical issues arising within Wittgenstein studies, while also considering the broader utility and implications of the phenomenon of seeing-as in the fields of aesthetics, philosophical psychology, and philosophy of mathematics, with a thematic focus on questions of novelty and creativity. The collection constitutes a fruitful interpretative engagement with the later Wittgenstein, as well as a unique contribution to considerations of philosophical methodology. (shrink)

There is no prepared script for social and cultural life. People work it out as they go along. Creativity and Cultural Improvisation casts fresh, anthropological eyes on the cultural sites of creativity that form part of our social matrix. The book explores the ways creative agency is attributed in the graphic and performing arts and in intellectual property law. It shows how the sources of creativity are embedded in social, political and religious institutions, examines the relation between (...) creativity and the perception and passage of time, and reviews the creativity and improvisational quality of anthropological scholarship itself. Individual essays examine how the concept of creativity has changed in the history of modern social theory, and question its applicability as a term of cross-cultural analysis. The contributors highlight the collaborative and political dimensions of creativity and thus challenge the idea that creativity arises only from individual talent and expression. (shrink)

The Vedanta of conciousness : transcendence, enlightenment and everyday life -- The alienated self and the Kabbala of transformation -- The Zen of creativity and the critique of the discursive intellect -- The Tao of love and unconditionality in commitment -- The yoga of action and effortless efficiency -- The nous of perception and the re-enchantment of the tree of life -- The gnosis of freedom and the Fana of fulfilment.

This article offers a synthesis of certain essential contributions from three revolutionary thinkers of our age, C. West Churchman, Pir Vilayat Khan, and Ilya Prigogine, each of whom recently departed this life. In the course of this article, common threads in the work of these pioneers related to problem solving and creativity will be explored.

Using the classroom as the unit of analyses, the current article discusses the methodological issues surrounding the literature with regard to the study of academic misconduct. Arguing for a shift in research, the present empirical investigation assesses the relationship between students' perceptions of classroom environment and academic misconduct by utilizing valid and reliable multidimensional measures with established constructs. By utilizing the classroom as the unit of analysis, a better understanding of the unique variance in academic dishonesty across classes may be (...) established in relation to variation in students' perceptions of teaching practices. One hundred twenty-eight classes participated in the current study, with 3,151 students completing the Students' Perceptions of Teacher Effectiveness survey and Academic Misconduct Survey. Although students' overall perceptions of teacher effectiveness were not related to the rate of academic misconduct across classes, results do suggest that the lower the difficulty and workload of the course is perceived as being, the more likely students report cheating on exams, taking credit for others' work, using false personal excuses, and creatively padding their work. Reasons for these relationships are explicated, and suggestions for future research are discussed. (shrink)

This book is dedicated to clarify ambiguous concepts from the world of creativity and innovation. One of the initial triggers for the development of the book was the perceived ambiguity of the binomials Design vs. Design Thinking and Innovation vs. Invention. Frequently, designers and innovation consultants are questioned by their clients about the relationships between these kind of concepts. Has the second emerged through the first, or vice-verse? Is one part of the other? Where are the similarities and which (...) are the differences? This conceptual incomprehension makes itself noticeable between many ambiguous concepts in the world of innovation and creativity. What is the difference between Radical and Disruptive Innovation? Or is Social Innovation the same as Social Intervention? And regarding Creativity, are Creativity and Creative Thinking the same? In this book the reader will find answers to these kinds of questions and doubts. 28 authors from 10 different countries and cultural backgrounds are questioning current definitions and perceptions, by comparing different sources and ideas, or simply by giving their personal opinions. Some of the authors have an academic background, others a practical one, being either entrepreneurs, working with innovation in companies, or being innovation/design consultants. (shrink)

Critiquing many areas of medical practice and research whilst making constructive suggestions about medical education, this book extends the scope of medical ethics beyond sole concern with regulation. Illustrating some humanistic ways of understanding patients, this volume explores the connections between medical ethics, healthcare and subjects, such as philosophy, literature, creative writing and medical history and how they can affect the attitudes of doctors towards patients and the perceptions of medicine, health and disease which have become part of contemporary culture. (...) The authors examine a range of ideas in medical practice and research, including: the idea that patient status or the doctor/patient relationship can be understood via quantitative scales the illusion fostered by medical ethics that doctors, unlike those in other professions, are uniquely beneficent and indeed altruistic. An excellent text for undergraduate and postgraduate students of law, medical ethics and medical healthcare law, Bioethics and the Humanities shows the real ethical achievements, problems and half-truths of contemporary medicine. (shrink)

Theories of perception and of memory are closely allied. The binding problem (which considers how bits of perception are reassembled by the brain) leads to neurophysiological subjectivism. This could be outflanked by arguing with Bergson that perceiving consciousness is out in the world. Thus the brain would bind only behavioral “maps.” In turn, consciousness would retain our personal pasts. Such personal (episodic) memories both help us to recognize present objects and to perform creative acts. Memory, although retentive, is (...) also creative. This is important in rethinking biological and evolutionary memory. (shrink)

For my son NathanielRecent studies suggest that Philip Roth's creative impulse is in some measure indebted to Arthur Koestler's Insight and Outlook and to Jean-Paul Sartre's Being and Nothingness.1 Koestler advances a theory of "bisociative" thinking—that is, the perception of consonance amidst the clash of seemingly dissonant planes of knowledge. The theme finds expression in the very title of Koestler's book, given the compatibility, despite opposite root prepositions, of such words as "in sight" and "out look." Insofar as Roth's (...) narrator Nathan Zuckerman mentions "Koestler" in The Anatomy Lesson, Zuckerman's otherwise obscure lament (because of writer's block and neck... (shrink)

Building on findings that self-uncertainty motivates attempts to restore certainty about the self, particularly in ways that highlight one’s distinctiveness from others, we show that self-uncertainty, relative to uncertainty in general, increases creative generation among individualists. In Studies 1 to 3, high (but not low) individualists performed better on a creative generation task after being primed with self-uncertainty as opposed to general uncertainty. In Study 4, this effect emerged only among those who were told that the task measured creative as (...) opposed to analytical thinking, suggesting that the positive effects of self-uncertainty on performance are specific to tasks that bolster perceptions of uniqueness. In Study 5, self-uncertain individualists experienced a restoration of self-clarity after being induced to think about themselves as more (vs. less) creative. Implications for compensatory responses to self-uncertainty and factors that influence creativity are discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Time and History in Alois Riegl's Theory of PerceptionMichael GubserIn an early essay, the Austrian art historian Alois Riegl (1858–1905), a pioneer of the modern discipline of art history, linked the creation of the zodiac images in calendar art to the designation of constellations in the heavens.1 Ancient calendar artists observed the motion of stars across the night sky and attempted to map them into recognizable patterns representing specific (...) temporal periods. Their efforts inscribed the cyclical temporality of the heavens into the images of the ancient calendar. This inherent temporality came to characterize all art forms in Riegl's work; his choice of calendar art as his earliest research topic heralded a career-long interest in the connection between temporality and artistic form. Art objects, he believed, were temporal as well as spatial. Just as the light from constellations reflected a deep history, artworks illuminated the passage of time by visually re-presenting the perceptual world of past eras.Riegl's work has garnered attention in recent decades among art historians and non–art historians alike. This interest is due in part to the renewed concern for disciplinary origins that art history, like other fields, has experienced in the wake of poststructuralist critiques. Scholars outside of art history have taken note of his work because of its broad scope and relevance for the study of historiography and perception; Riegl's work provides models for linking the analysis of specific artworks with a history of perception, exploring the relationship between monuments and memory, and analyzing the nature of visual modernity. Interest in Riegl also stems from his acknowledged impact on such preeminent philosophers and historical theorists as Erwin Panofsky, Paul Feyerabend, Gilles Deleuze, Fèlix Guattari, and above all Walter [End Page 451] Benjamin.2 Figures as varied as Georg Lukács, Karl Mannheim, Walter Gropius, and Mikhail Bakhtin have cited his work favorably.3 Riegl is perhaps best known for his attempts to dismantle the hierarchy of high and low art, his attack on the preeminence of classical aesthetic ideals, and his effort to construct a universal history of style. The combination of these commitments led him to consider European and non-European craft genres that fell outside conventional definitions of art. In books such as Problems of Style, Late Roman Art Industry, and The Group Portraiture of Holland, Riegl examined the high arts, decorative arts, and manufactured artifacts alike, gleaning insights into the structure of an era's perception from close descriptive analyses of its artwork.4 In Problems of Style, Riegl traced the development of ancient vegetal decorative motifs toward their fulfillment in the naturalized tendrils and acanthus leaves of Greek ornament. A single, universal development encompassed seemingly distinct motivic forms, and creative innovation was driven by an inner formal logic. Similarly, Late Roman Art Industry, the [End Page 452] epoch-making work that Walter Benjamin described as a revolution in art historical method,5 traced the gradual development of space as an object of artistic concern in the late Roman Empire. In this volume, Riegl explored his controversial notion of the Kunstwollen, or artistic will, which asserted art's autonomy on the basis of a formal creative volition internal to artworks.6 Finally, The Group Portraiture of Holland documented the emergence and decline of a "typically Hollandish painting" emphasizing space and attention.7Riegl scholars have frequently attempted to situate his art history within a variety of philosophical traditions, an effort complicated by Riegl's limited citation of sources. Several scholars have linked Riegl's historical vision with the embattled tradition of Hegelian philosophy. Riegl's teleology; his stress on the unified, internal, and purposive development of art; his notion of art as mind overcoming material; and even his emphasis on the role of the viewer in art all have a distinctly Hegelian resonance. Wolfgang Kemp fits Riegl squarely within a late-nineteenth-century Hegelian revival,8 Michael Podro incorporates him within a Hegelian critical tradition of art history that spanned the nineteenth and early twentieth centuries,9 and Michael Ann Holly posits a clear trajectory, linking Kant and Hegel with Riegl and Panofsky.10Others, however, just as firmly reject this... (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)

Common sense has it that some of the greatest achievements that are to our credit are creative, whether artistic or otherwise. But standard theories of achievement and merit struggle to explain them, since the praiseworthiness of creative achievements isn’t grounded in effort, quality of will, disclosing the agent’s values, or even reasons-responsiveness. I argue that it’s distinctive of artistic or quasi-artistic creative activity that it is guided by what I call aspirational aims, which are formulated in terms of evaluative predicates (...) (like painting something “moving” or engineering something “nifty”) whose descriptive realizers are not known in advance. Aesthetic creativity itself fundamentally consists in perceiving or conceiving of some modification of raw material or a medium as promoting or constituting a novel way of realizing the aspirational aim. Creative achievements like poems and paintings are then to our credit in virtue of being exercises of spontaneity that disclose a deep layer of our selves that is manifest in active perception of affordances, showing that there is something beautiful about the way we experience the world, as a Sally Rooney character puts it. As with other creditworthy achievements, what makes them difficult is that simply trying won’t suffice to make success likely – but unlike in many other cases, neither will trying hard, since we have no direct volitional or rational control over perceptual spontaneity. (shrink)

Nurses have an important role in preventing and responding to child abuse and neglect. This paper reports on nurses' perceptions of how organisational systems and hierarchies shaped their capacity to respond to child abuse and neglect. This is one of four key themes identified through an inductive analysis of data from a broader qualitative study that explored nurses' perceptions and experiences of keeping children safe. The study was guided by social constructionist theory, and data were collected through in‐depth interviews with (...) nurses working with children in Australia (n = 21). Key findings showed that nurses experienced many challenges to responding to child abuse, including difficulties sharing information, fear of making mistakes and inflexible systems of care. This was underpinned by an organisational ‘rule‐centred’ culture of following policies at the expense of maintaining an explicit focus on children's needs. These findings demonstrate first the importance of creative and flexible thinking from individual professionals, so policies are enacted with a clear child focus. Second, they highlight the need for leadership to enact organisational and systemic cultural change that maintains a genuinely child‐centred approach. (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)