Of the famous passage from Augustine’s Confessions1 that opens Philosophical Investigations, Wittgenstein writes, These words, it seems to me, give us a particular picture of the essence of human language. It is this: the words in language name objects — sentences are combinations of such names. — In this picture of language we find the roots of the following idea: Every word has a meaning. This meaning is correlated with the word. It is the object for which the word stands. (...) (PI, 2009, §1) -/- This remark has frequently been taken to simply identify as Wittgenstein’s point of departure the ‘naming theory’ of language. But as usual, closer attentiveness to Wittgenstein’s words extracts a good deal more content. Augustine’s words impart a picture not only of human language, but indeed a picture of the essence of language. So to begin, let us look briefly at the concepts of (1) picture and (2) essence as they are used here. (shrink)

Research has independently highlighted the roles of semantic memory and associative abilities in creative thinking. However, it remains unclear how these two capacities relate to each other, nor ho...

This article examines the interactions of verbal and visual signifiers to advertise shares offers in the 2005 bank recapitalisation in Nigeria. It considers such signifiers as rhetorical devices to influence the prospective subscribers to invest in shares, thereby saving for the proverbial rainy day. Data for the study comprise eight adverts culled from some of Nigeria’s national daily newspapers and news magazines between March and December 2005. Lemke’s multimodal semiotic theory and Barthes’ conception of the interaction of signs as (...) encapsulated in the concepts of ‘anchorage’ and ‘relay’ provide the theoretical perspective for the data analysis. The study reveals that the advertisers creatively blend verbal and visual cues in the discourse largely to elicit certain sensibilities in the readers so as to make them think and act in the direction of the investment offer being touted. Generally, the advertisers’ appropriation of culture-specific issues in the Nigerian context, building a strong and credible brand to enhance the integrity of the respective banks and harping on the exigency of keying into the investment offers, serves as useful rhetorical appeals for the effectiveness of the multimodal semiotic resources in the discourse. (shrink)

Systems of formal dialectics articulate methods of conflict resolution. To this end they provide norms to regulate verbal exchanges between the Proponent of a thesis and an Opponent. These regulated exchanges constitute what are known as formal discussions.One may ask what moves, if any, in formal discusions correspond to arguing for or against the thesis. It is claimed that certain moves of the Proponent's are properly designated as arguing for the thesis, and that certain moves of the Opponent purport (...) to criticize the tenability or the relevance of the reasons advanced. Thus the usefulness of formal dialectic systems as models for reasonable argument is vindicated.It is then proposed to make these systems more realistic by incorporating in them a norm of Creative Reasoning that removes the severe restrictions to which the Proponent's arguing was hitherto subject. As a consequence, a certain type of irrelevant reason is no longer automatically excluded. Therefore, it is proposed to extend the Opponent's rights to exert relevance criticism. The new dialectic systems are shown to be strategically equivalent to the original ones. Finally, it is stressed that the Opponent's criticism should not be designated as arguing against the thesis. The Opponent criticizes, but does not argue. (shrink)

Publication date: 16 April 2018 Source: Author: Svitlana Serdiuk, Dmytro Volkov This article highlights the results of the research on psychological features of eschatological expectations of young people with different levels of creative thinking. Our study shows that 26 % of respondents believe that the End of the World will not arrive. Twenty-four per cent of respondents are skeptical about the likelihood of the Apocalypse, but they admit its possibility. Thirty-seven per cent of respondents believe that the End of Time (...) will not come soon and the remaining 13% expect the Apocalypse very soon. Some respondents indicate that growth in the rate of prophecies connected with the End of the World in recent years suggests that humanity itself seeks it, while 9 % of respondents state the religious point of view in their works. Also 9 % of respondents believe that there will be no destruction of civilization or destruction of the planet but there will be a mental transition to another level of being. The existence of correlation between creative thinking and eschatological expectations was also empirically established in our study, especially in the group of respondents with a high level of verbal creativity. There is no correlation between the index of non-verbal creativity, personal religiosity and eschatological expectations in the sample. These results confirm that our study is relevant and offers great prospects for further scientific research. (shrink)

In this work, starting from the social practice theory, we identified two kinds of creativity. A \textit{situational creativity} that takes place when a social practice is performed and a \textit{creativity of habit} that concerns the agents’ capacity of evoking different practices from habit. To test this hypothesis the Torrance Test of Creative Thinking (Verbal Form A) was analyzed in the light of praxeology.

In this contribution, we draw on findings from a non-formal, community music project to elaborate on the relationship between the concept ofeudaimonia, as defined by Seligman, the interactive dimensions of collective free improvisation, and the concept of collaborative creativity. The project revolves around The Ostend Street Orkestra (TOSO), a music ensemble within which homeless adults and individuals with a psychiatric or alcohol/drug related background engage in collective musical improvisation. Between 2017 and 2019 data was collected through open interviews and (...) video recordings of rehearsals and performances. Participant data was analyzed through inductive analysis based on the principles of grounded theory. One interesting finding was the discrepancy in the participant interviews between social relationships indicative of a negative affect about social group interaction versus strong feelings of group coherence and belonging. Video recordings of performances and rehearsals showed clear enjoyment and pleasure while playing music. Alongside verbal reflection through one-on-one interviews video recordings and analysis of moment-to moment observations should be used, in order to capture the complexity of community music projects with homeless people. The initial open coding was aligned with the five elements of the PERMA model. Overall, we observed more focus on Relationship (sense of belonging), Engagement (flow in rehearsals and performances) and Meaning (belonging to something greater than yourself) and less on Positive Emotion and Accomplishment (goal setting). (shrink)

The Cognitive Reserve (CR) hypothesis suggests that the brain actively attempts to cope with neural damages by using pre-existing cognitive processing approaches or by enlisting compensatory approaches. This would allow an individual with high CR to better cope with aging than an individual with lower CR. Many of the proxies used to assess CR indirectly refer to the flexibility of thought. The present paper aims at directly exploring the relationships between CR and creativity, a skill that includes flexible thinking. (...) We tested a sample of 72 adults (aged between 45 and 78) assessing both their level of CR and their creativity. To evaluate CR we used the proxies commonly used in literature, namely, three subtests from the WAIS (vocabulary, similarities, and digit span) and the years of education. We also used an ad-hoc test asking people to report how frequently they tend to perform activities that are believed to increase CR. We used verbal creativity tasks (alternative uses and generation of acronyms) to assess individual levels of creativity. We asked participants to describe their main occupation (present or past) and coded each occupation as creative or not creative. Results (controlling for age-related differences) showed that scores from the WAIS correlated positively with creativity performance, even though correlations varied across the subtests. Focusing on the frequency and type of activities that people perform, and comparing individuals who have or had a creative job to those with a routine job, a clear relationship between creativity and CR emerged. This effect was more relevant than the level of job complexity. Implications for the study of CR and aging are discussed. (shrink)

Selective mutism is an anxiety disorder in which an individual is unable to speak in certain social situations though may speak normally in other settings (Hua & Major, 2016 ). Selective mutism in adults is rare, though people with this condition might have other methods of communicating their needs outside of verbal communication. Healthcare professionals rely on a patient’s ability to communicate to establish if they have decision-making capacity. This commentary responds to a case of a young adult patient (...) with selective mutism and social anxieties that significantly limited his ability to communicate with anyone in the healthcare team. This required a creative, patient-centered approach to engage in meaningful communication. (shrink)

Cognitive dimensions of creativity: What makes the difference between creative and non-creative university students? This paper analyses the contribution of specific cognitive functions on creative performance. The main question was which cognitive variables differentiate extreme levels of creative performance and therefore can characterize highly creative college students. A sample of Portuguese university students of Fine Arts and Literature took part in this study. A battery of verbal and figural cognitive tasks, as well as two kinds of creative tasks (...) have been considered. Results showed that there were mostly the same cognitive dimensions, which differentiate extreme levels of creative performance in both text and poster productions. These results are discussed considering the relevance of the cognitive approach to explain creativity. Some practical ideas, possible to put into the educational context, are also discussed. (shrink)

Psychometrically sound instruments that assess temporal dynamics of creative abilities are limited. The Ambulatory Battery of Creativity is designed to assess creative ideation performance multiple times in everyday life and was proven to capture the intra-individual dynamic of creative abilities reliably and validly. The present ambulatory study aimed to replicate and extend the psychometric evidence of the novel ABC. Sixty-nine participants worked on the ABC during a 5-day ambulatory assessment protocol. Each day, participants completed six randomly presented items of (...) the verbal and the figural ABC. Matching previous psychometric analyses, the results indicated good between-person and good within-person reliability. Furthermore, evidence for between-person and within-person validity of the ABC was obtained. Performance in the verbal and the figural ABC were interrelated and correlated with an independent measure of creative potential. The verbal ABC was further associated with openness, self-reported creative behavior, creative activities, and creative achievements, thus providing additional evidence of construct validity, especially for the verbal ABC. Finally, the verbal and the figural ABC yielded convincing within-person validity: Longer response times and higher subjective originality ratings were associated with more original ideas. This replication and extension of the ABC’s psychometric properties indicates that it enables a reliable and valid assessment of moment-to-moment fluctuations of creative ideation abilities in everyday life, which may facilitate the investigation of exciting new research questions related to dynamic aspects of creative ability. (shrink)

Individual differences in convergent and divergent thinking may uniquely explain variation in analogical reasoning ability. Across two studies we investigated the relative influences of divergent and convergent thinking as predictors of verbal analogy performance. Performance on both convergent thinking and divergent thinking uniquely predicted performance on both analogy selection and analogical generation tasks. Moreover, convergent and divergent thinking were predictive above and beyond creative behaviours in Study 1 and a composite measure of crystallised intelligence in Study 2. Verbal (...) analogies in Study 2 also varied in semantic distance, with results demonstrating divergent thinking as a stronger predictor of analogy generation for semantically far than for semantically near analogies. Results thus further illuminate the link between analogical reasoning and creative cognition by demonstrating convergent and di.. (shrink)

For all the differences in the teachings and fate of Franz Rosenzweig and Mikhail Bakhtin, comparing them with one another is extremely instructive and reveals important and often lost meanings of 20th-century philosophy. Bakhtin made his debut in 1929 as the author of Problems of Dostoevsky’s Creative Art, but then went into exile for sufficient years and emerged from oblivion only in the 1960s. Rosenzweig died in 1929 and was almost forgotten for many years. Now, almost a century later, we (...) see in Bakhtin’s philosophy, especially in his early works, and in Rosenzweig’s philosophy very much in common. Both sought to create a new philosophical system that radically rethinks the subject of philosophy. Both went beyond the traditional New European ontology, both recognized the fundamentality of language and language arts in the philosophy of the future, and, finally, both became the creators of the philosophy of dialogue as an important trend in 20th-century thought. For all that, there were many cultural, religious, and intellectual differences between Bakhtin and Rosenzweig. However, consideration of both the commonalities and differences in their philosophical systems is extremely fruitful not only for the cultural history of the 20th century but also for philosophical studies of the future. (shrink)

In this article, we argue that there is an essential difference between social intelligence and creative intelligence, and that they have their foundation in human sexuality. For sex differences, we refer to the vast psychological, neurological, and cognitive science research where problem-solving, verbal skills, logical reasoning, and other topics are dealt with. Intelligence tests suggest that, on average, neither sex has more general intelligence than the other. Though people are equals in general intelligence, they are different in special forms (...) of intelligence such as social intelligence and creative intelligence, the former dominant in women, the latter dominant in men. The dominance of creative intelligence in men needs to be explained. The focus of our research is on the strictly anthropological aspects, and consequently our explanation for this fact is based on the male-female polarity in the mating systems. Sexual dimorphism does not only regard bodily differences but implies different forms of sex life. Sex researchers distinguish between two levels of sexual intercourse: procreative sex and recreational sex, and to these we would add “creative sex.” On all three levels, there is a behavioral difference between men and women, including the subjective experience. These differences are as well attributed to culture as genetically founded in nature. Sexual reproduction is only possible if females cooperate. Their biological inheritance makes females play a decisive role in mate choice. Recreational sex for the purpose of pleasure rather than reproduction results from female extended sexual activity. Creative sex, on the contrary, is a specifically male performance of sexuality. We identify creative sex with eroticism. Eroticism evolved through the transformation of the sexual drive into a mental state of expectation and fantasizing. Hence, sex differences (that nowadays are covered up by cultural egalitarianism) continue to be the evolutionary origin of the difference between social and creative intelligence. (shrink)

Observing dance improvisation provides a unique opportunity to understand how people collaborate together while creating. It is an opportunity to consider how new ideas appear, not simply from the internal processes of a single creator but rather from the interactions between the minds, bodies and the environment acting on and between a group of improvising dancers. Improvisational scores served in this study as a laboratory into group creativity. Using a video-stimulated recall method, which asks dancers to reflect upon their (...) own processes just after completing the score, I explored the interdependency between meta-cognitive strategies such as imagery and sense awareness, group processes, the role of others in one’s own creative processes, and interactions between bodies and with the environment. As a result I describe how dancers build together a common improvisational space, which allows them to co-create and share their ideas mostly in non-verbal, non-propositional ways. I discuss the co-agency of such a process, showing that intentionality is distributed between dancers at each moment of improvisation and that they are mainly focused on supporting the ideas of others. I also discuss the medium of the body and the embodied response as central to dance improvisation practice. (shrink)

The present study examined gender differences in the distribution of creative abilities through the lens of the greater male variability hypothesis, which postulated that men showed greater interindividual variability than women in both physical and psychological attributes. Two hundred and six undergraduate students in Hong Kong completed two creativity measures that evaluated different aspects of creativity, including: a divergent thinking test that aimed to assess idea generation and a creative problem-solving test that aimed to assess restructuring ability. The (...) present findings extended the research of greater male variability in creativity by showing that men generally exhibited greater variance than women in the overall distribution of the creativity scores in both divergent thinking and creative problem solving, despite trivial gender differences in mean scores. The findings further enriched the discourse of the greater male variability hypothesis by showing interesting domain-specific gendered patterns: greater male variability was more likely to occur in figural forms of creativity, with larger effect sizes, when compared to the variability in verbal forms of creativity; and mixed gendered patterns were found in the upper tails of the creativity score distribution with respect to the verbal domain but not the figural one, despite greater male representation being consistently observed in the lower tail of the distribution. Possible underlying mechanisms and implications were discussed. (shrink)

This research delves into the potential of implementing artificial intelligence in architecture. It specifically provides a critical assessment of AI-enabled workflows, encompassing creative ideation, representation, materiality, and critical thinking, facilitated by prompt-based generative processes. In this context, the paper provides an examination of the concept of hybrid human–machine intelligence. In an era characterized by pervasive data bias and engineered injustices, the concept of hybrid intelligence emerges as a critical tool, enabling the transcendence of preconceived stereotypes, clichés, and linguistic prejudices. This (...) paper not only explores the applied and generative capacities of AI-enabled workflows but also suggests fundamental approaches that can enhance the creative process and confront the embedded biases and injustices within data-driven systems. (shrink)

The essay presents a novel theory of meaning-as-response inspired by the pragmatist cultural historian Morse Peckham in the mid-twentieth century. This approach is useful here in consideration of how artistic behavior can make a difference in technical culture and in relation to innovative technical practices. Continuing from Félix Guattari's notion of the machine as a partial object, this essay examines the essentialist idea of computational machines as creative collaborators which haunts the model of interaction prevailing today. Following this negative critique, (...) the essay advances a positive approach emphasizing partiality in experimental design practices as a step toward a renewed art of living. (shrink)

Verbal narratives provide incomplete information and can be very long, yet readers and hearers often effortlessly fill in the gaps and make connections across long stretches of text, sometimes even finding this immersive. How is this done? In the last few decades, event-indexing situation modeling and complementary accounts of narrative emotion have suggested answers. Despite this progress, comparisons between real-life perception and narrative experience might underplay the way narrative processing modifies our world model, as well as the role of (...) the emotions that do not relate to characters. I reframe narrative experience in predictive processing and neural networks, capturing continuity between fiction, perception, and states like dreaming and imagination, enabled by the flexible instantiation of concepts. In this framework, narrative experience is more clearly revealed as a creative experience that can share some of the phenomenology of dreams. (shrink)

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

The verbal and musical arts across languages and cultures -- The cognition of stories and poems -- In the beginning -- Poetry across languages and cultures -- First music and second music acquisition -- The origin of music in art and science -- Creationist pseudoscience in the American university -- New opportunities for narrative inquiry -- Theory and creativity in literary and musical education.

Châteillon a peut-être laissé un plus grand souvenir par son opposition à Calvin dans l'affaire Servet que par sa traduction française de la Bible. Après le rappel à grands traits de la vie de ce “ savoyard ” , J. Roubaud place son œuvre de traducteur sous le signe de cette affaire, de son adhésion à la Réforme et de son souci de s'adresser non seulement aux lettrés, à ceux qui connaissent la latin et le grec, mais surtout aux “ (...) idiots ”, c'est-à-dire à ceux qui ignorent les langues anciennes. Loin de considérer ces derniers comme gens stupides, il les rejoint dans leur créativité verbale, n'hésitant pas à utiliser le langage populaire, voire à créer des mots, de façon à rendre le texte biblique aussi direct que possible dans son expression, ce qui lui fit produire un chef d'œuvre du français du XVIe siècle.Châteillon has perhaps left a greater impression by his opposition to Calvin in the Servet affair than by his French translation of the Bible. After recalling the main lines of the life of this "Savoyard" , J. Roubaud puts his translation under the sign of the above affair, of his adhesion to the Reformation, and of his concern to write not only for the educated, for those who know Latin and Greek, but especially for the "idiots", that is to say for those who ignore ancient languages. Far from conside7ing the latter as stupid, he joins them in their verbal creativity, not hesitating to use popular language, indeed to create words in order to make the biblical text as direct as possible in its expression. This led him to produce a chef-d'oeuvre of French in the 16th century. (shrink)

People are often inaccurate in their predictions of performance on a variety of cognitive tasks. We tested whether receptivity to bullshit – the tendency to perceive meaningless statements as profound – would relate to the accuracy of metacognitive judgments on several problem-solving tasks. Individuals who were highly receptive to bullshit were less accurate in their predictions of performance on creative problem-solving tasks, but not on verbal analogy or recall tasks. Further, individuals with high BS receptivity were less able to (...) discriminate between solvable and unsolvable problems when making metacognitive judgments. These findings support the possibility that the tendency to perceive semantic connections where none exist, as indicated by high bullshit receptivity, may lead to inaccurate predictions of performance on tasks that require noticing and utilizing distant semantic connections. (shrink)

One of the most characteristic features of Comparative Literature in terms of methodological practice is that of operating in “in between” spaces. Not only does this feature suggest the comparative approach as something which originates through movement, thus making it imperative for the researcher to deal with the notion of mobility, it also characterizes many of the concepts with which it operates. Considering the possibility, as well as the fertility, of practicing this methodology in the analysis and critique of contemporary (...) visual art, we understand that it fits the analysis of any enterprise regarding the in-betweens of visual and verbal texts. These fundamental aspects were elected for a comparative analysis of two visuals artists whose œuvres operate in in-between spaces between the visual and the verbal as much as between the self and the Other. José Leonilson (Brazil 1957-1993) and Louise Bourgeois (France/EUA 1911-2010) reveal, through a comparative analysis, creative and constitutive actions which elaborate a space we could best understand through the image of a seaside landscape where the line we try to draw to divide the saltwater from the sand never stands. But, in what manners could the constituted poetic space created by them be of significance for a broader spectrum than the literary interest? In our understanding, Leonilson’s and Bourgeois’s poetics operate through a silent hearing of the Other, might that be their loved ones, the stone or cloths. This conceptual notion, required for the creative action, thus establishes a particular notion of balance between them and the Other. It is this precise aspect that also operates the mobility of the notion of love through their œuvre, and through the election of personal emotional narratives as the thriving force for creation. And what could be more needed nowadays, here as elsewhere, than considering together with Leonilson’s and Bourgeois’ images that love shall be the perpetual moving space that at times nears, and later distances us from each other? (shrink)

This is an essay based on a story with observations, about present and sparkling moments from everyday life coexisting with a mother living with dementia. The story is used to begin philosophical underpinnings reflecting on ‘how it could be otherwise’. Dementia deploys brutal existential experiences such as cognitive deterioration, decline in mental functioning and often hurtful social judgements. The person living with dementia goes through transformation and changes of self. Cognitive decline progressively disrupts the foundations upon which social connectedness is (...) built, often creating a profound sense of insecurity. The challenge for carers and healthcare professionals is therefore to find ways of clarifying a concept of agency. It will be worthwhile developing the ability of attuning into ‘what is there’ arising from every corner of the care situation. Understanding and practicing this can strengthen existence and the experience of connectedness and meaning, empowering the person with dementia. It is important to find ways, relational moves, in which carers and healthcare professionals can embed the creativity appearing in mundane everyday situations filled with surplus of meaning, sharing mental landscapes (and embodied relational understanding) with the person living with dementia – seizing and sharing aesthetic moments (verbal and nonverbal) being present together. We argue that carers and healthcare professionals may find this understanding of care useful. This implies looking into a phenomenological‐hermeneutic perspective developing competences as well as practical wisdom understanding and being aware of the creative and innovative possibilities (often preverbal and unnoticed small things) in everyday life of what we, inspired by psychoanalyst Daniel Stern, call sparkling moments of meeting, creating experience with the other that is personally undergone and lived through in the present. (shrink)

-/- I already wrote about derivative, academic or secondary philosophy - teaching, talking and writing about and studying the work of philosophers. -/- I compared this to original and creative thinking, thinkers, that are situated on the opposite pole of the continuum. -/- I also wrote a lot about the nature of the work of the latter, namely creative thinking. -/- for example, pre-conceptual or non-verbal ‘thinking or consciousness’, or intuition. -/- This could be viewed as the first stage (...) of creation or the combinatorial nature of creativity as Einstein and others called it. -/- I suggested that contemplation, meditation and religious mysticism and visual art informs us about and illustrates this first stage very well. -/- This combinatorial nature is one way, approach or attitude that we could be alive, interact with and respond to the world. They form the building blocks of this creative response and existence. -/- They consist of ‘impressions’ (a concept that need to be explored), by experiences (also to be explored), memories (personal or individual, collective, social, cultural and historical, of our species, human existence, planet earth, our solar system, galaxy and the multiverse) and ‘influences’ (another multi-dimensional, many-levelled, extremely complex notion). -/- These things assist us to act, be alive and live into or as consciousness and thinking and think, be conscious into and as action and existence. -/- Einstein, and others, suggested that the combinatorial nature consists of several, for example four, stages. -/- Institutionalized, derivative, academic philosophy deals only with the verbalized, conceptualized stage by means of its -isms, ideologies and methods (Marxism, analysis, pragmatism, etc). -/- In chapter 3 I show ways of multi-sensory dealing with all stages of creativity as philosophical possibilities, requiring new approaches and paradigms. -/- I explore, identify and express both sides of the limits of philosophy and the doing of philosophy. i show, reveal and make visible the ineffable and invisible. -/- . (shrink)

Research based on construal level theory (CLT) suggests that thinking about the distant future can prime people to solve problems by insight (i.e., an “aha” moment) while thinking about the near future can prime them to solve problems analytically. In this study, we used a novel method to elucidate the time-course of temporal priming effects on creative problem solving. Specifically, we used growth-curve analysis (GCA) to examine the time-course of priming while participants solved a series of brief verbal problems. (...) Participants were tested in two counterbalanced sessions in a within-subject experimental design; one session featured near-future priming and the other featured far-future priming. Our results suggest high-level construal may temporarily enhance analytical thinking; far-future priming caused transient facilitation of analytical solving while near-future priming induced weaker, transient facilitation of insightful solving. However, this effect is short-lived; priming produced no significant differences in the total number of insights and analytical solutions. Given the fleeting nature of these effects, future studies should consider implementing methodology that allows for aspects of the time-course of priming effects to be examined. A method such as GCA may reveal mild effects that would be otherwise missed using other types of analyses. (shrink)

Human interactions are often improvised rather than scripted, which suggests that efficient coordination can emerge even when collective plans are largely underspecified. One possibility is that such forms of coordination primarily rely on mutual influences between interactive partners, and on perception–action couplings such as entrainment or mimicry. Yet some forms of improvised joint actions appear difficult to explain solely by appealing to these emergent mechanisms. Here, we focus on collective free improvisation, a form of highly unplanned creative practice where both (...) agents' subjective reports and the complexity of their interactions suggest that shared intentions may sometimes emerge to support coordination during the course of the improvisation, even in the absence of verbal communication. In four experiments, we show that shared intentions spontaneously emerge during collective musical improvisations, and that they foster coordination on multiple levels, over and beyond the mere influence of shared information. We also show that musicians deploy communicative strategies to manifest and propagate their intentions within the group, and that this predicts better coordination. Overall, our results suggest that improvised and scripted joint actions are more continuous with one another than it first seems, and that they differ merely in the extent to which they rely on emergent or planned coordination mechanisms. (shrink)

Searching through semantic memory may involve the use of several retrieval cues. In a verbal fluency task, the set of available cues is limited and every candidate word is a target. Individuals exhibit clustering behavior as predicted by optimal foraging theory. In another semantic search task, the remote associates task, three cues are presented and a single target word has to be found. Whereas the task has been widely studied as a task of creativity or insight problem solving, (...) in this article, the RAT is treated as a semantic retrieval task and assessed from the perspective of information foraging theory. Experiments are presented that address the superadditive combination of cues and the anti-clustering behavior in the recall sequence. A new type of search behavior in the RAT is put forward that involves maximizing the difference in activation between target and distractors. This type of search is advantageous when the target is weak and cue patches are contaminated with strong competitors. (shrink)

This article is devoted to describing results of conceptualization of the idea of mind at the stage of maturity. Delineated the acquisition by the energy system (mind) of stable morphological characteristics, which associated with such a pivotal formation as the discourse. A qualitative structural and ontological sign of the system transition to this stage is the transformation of the verbal morphology of the mind into a discursive one. The analysis of the poststructuralist understanding of discourse in the context of (...) the dispersion of meanings (Foucault) made it possible to formulate a notion of it as a meaning that is constituted by the relation between the discursive practice and the worldview, regarded as a meta-discourse or a global discursive formation. In consequence of this relationship, a discrete and simultaneous scattering of meanings arises, the procedural side of which is a concrete discourse, and its productive aspect is linked with the creation of a local discursive formation. Based on this view it is proposed a logical formula of discourse, which takes into account the entropy of the language and the entropy of the worldview, as a particular manifestation of the mind entropy. Using this formula and considering the reactive nature of discourse, it was developed a classification, which included such types of discourses as reactive, suggestive, synthetic and creative. In turn, the proposed types of discourses are correlated with the specific characteristics of certain activities, as a psychological category. Also, it was considered the translation of the structure of discourse dissipation from the cognitive plan into the affective sphere because of which it is formed a hierarchy of significances, which performs the sense-forming function. It was analyzed the inverse influence of the hierarchy of significances on the structure of meanings dispersion and for respective account it was introduced a conditional coefficient of the value deviation of the significance of the meanings. This parameter reflects the sense correction of the meaning that occurs in the process of the emergence of discourse from discursive practice. Thus, the discourse is presented as a complex dynamic formation of the mind arising at the maturity stage of the system as a result of the combined effect of entropic dispersion of meanings and the value deviation of their significances. (shrink)

Insight problem solving is hindered by automated verbal–conceptual processes. Because mindfulness meditation training aims at “nonconceptual awareness” which involves a reduced influence of habitual verbal–conceptual processes on the interpretation of ongoing experience, mindfulness may facilitate insight problem solving. This hypothesis was examined across two studies . Participants in both studies completed a measure of trait mindfulness and a series of insight and noninsight problems. Further, participants in Study 2 completed measures of positive affect and a mindfulness or control (...) training. The results indicated that trait mindfulness predicts better insight but not noninsight problem solving , this relation is maintained when controlling for positive affect , mindfulness training improves insight but not noninsight problem solving and this improvement is partially mediated by state mindfulness . These findings are the first to document a direct relation between mindfulness and creativity. (shrink)

Conceptual projection from one mental space to another always involves projection to "middle" spaces-abstract "generic" middle spaces or richer "blended" middle spaces. Projection to a middle space is a general cognitive process, operating uniformly at different levels of abstraction and under superficially divergent contextual circumstances. Middle spaces are indispensable sites for central mental and linguistic work. The process of blending is in particular a fundamental and general cognitive process, running over many (conceivably all) cognitive phenomena, including categorization, the making of (...) hypotheses, inference, the origin and combining of grammatical constructions, analogy, metaphor, and narrative. Blending is not secondary to these phenomena but prerequisite, and its operation is not restricted to any one of these phenomena. We give evidence for blending from a wide range of data that includes everyday language, idioms, literary metaphor, non-verbal conceptualization of action, creative thought in mathematics, evolution of socio-cultural models, jokes, and advertising. Blending is in general invisible to consciousness and detectable only on analysis. Blended spaces are routinely necessary for constructing central meanings, inferences, and structures, and for motivating emotions. We show that the blending of highly schematic spaces yields the fusion of grammatical constructions and functional assemblies studied in Cognitive Grammar and Construction Grammar. Finally, recognizing the cognitive import of middle spaces allows us to propose a generalized four-space model of conceptual projection that subsumes a variety of previous models. We explore the consequences of this model for the theory of concept formation. Introduction 3 I. The four space model 4 II. The phenomenon of blended spaces 5 1. Dante's Inferno 5 2. Regatta 7 3. The riddle of the Buddhist monk 8 4. Getting ahead of oneself 9 5. Tuning in, and other actions 11 6. Complex numbers 12 III. Prototypes of blending and mistaken reductions 14 IV. Further evidence for conceptual projection into a blended space 17 1. President Bush on third base 18 2. President Nixon in France 19 3. Personification 21 V. Category extension 22 VI. Generic spaces 24 VII. Parameters and subschemes 25 VIII. Blending and grammar 30 IX. The concept of a concept 33 Notes 35 References 38. (shrink)

The public transport sector in the urban landscape in Nigeria is a prominent social site for the spatial distribution of automobile graffiti signatures. Transporters have various kinds of symbolic tags on their vehicles that convey different messages which represent their local attitudes, beliefs, religious identities, folk psychology, and safety precautionary measures to recipients (other road users and passers-by). This article, based on two case studies, examines the practice of automobile graffiti on trucks and lorries in Calabar metropolis, Cross River State, (...) south-eastern Nigeria. It investigates the motivations, thematic categories, and subjective semiotic interpretations of these verbal signatures from the perspectives of visual semiotics theory using participant observations, semi-structured interviews, and informal conversations. The study demonstrates that truck drivers/owners use their vehicles as visible artistic platforms in the public space to express their thoughts and sentiments on personal, social, and religious issues affecting the society. The study concludes that these inscriptions and imageries are artistic subcultures that mirror wide ranging value categories and provide outlets for spatial transformation, creative agencies, and social commentaries. (shrink)