This paper examines the relationship between learning and practice, rule and invention, in Japanese art. Drawing on Chinese precedent, learning through the close observation of conventional models for technical mastery or stylistic construction, underpinned training in almost all of the arts and crafts in Japan. The practice of building individually inventive projects was usually developed only after the successful completion of long apprenticeships in studio settings. The pictorial engagements of Edo, today's Tokyo, form the principal focus for this examination (...) of how individually forged learning pathways developed within the formal constraints of Tokugawa period art-training arrangements. This paper... (shrink)

The notion of subjectivity with which the argument will be carried out may be defined as our ability to reflect critically, to think creatively and to act resolutely in our relation to society and nature. Some essential marks of subjectivity are illustrated through an example taken from the rescue operation conducted in the fall of 2010 for the miners trapped deep underground at the San Jose mine site in Chile for sixty-nine days. With the science and technology applied in constructing (...) the drilling rigs and making the capsule which lifted the trapped miners to freedom, ingenuity, the resilient sense of mission and perseverance of the rescue personnel, and the purposeful solidarity among the trapped miners are among the decisive factors contributing to the successful accomplishment of the rescue undertaking. At this critical juncture of the current global economic downturn, it is consequential for us to bring ourselves to reflect upon the seriousness of the predicament which all humanity is in. It is indeed time for intellectuals to rise up and share responsibility in keeping our world sustainable by setting purposeful and resolute subjectivity before themselves and coming forward to tenaciously find ways in which to renew ourselves as well as to achieving the continuing betterment of humanity. (shrink)

The notion of subjectivity with which the argument will be carried out may be defined as our ability to reflect critically, to think creatively and to act resolutely in our relation to society and nature. Some essential marks of subjectivity are illustrated through an example taken from rescue operation conducted in the fall of 2010 for the miners trapped in deep underground at the San Jose mine site in Chile for 69 days. With the science and technology applied in constructing (...) the drilling rigs and making the capsule which lifted up the trapped miners to freedom, ingenuity, the resilient sense of mission and perseverance of the rescue personnel, and the purposeful solidarity among the trapped miners are among the decisive factors contributing to the successful accomplishment of the rescue undertaking.At this critical juncture of the current global economic downturn, it is consequential for us to bring ourselves to reflecting on the seriousness of the predicament which all humanity is in. It is indeed time for the intellectuals to rise up to share responsibility in keeping our world sustainable by setting purposive and resolute subjectivity before themselves and coming forward to tenaciously find ways toward renewing ourselves as well as toward the continuing betterment of humanity. (shrink)

The notion of subjectivity with which the argument will be carried out may be defined as our ability to reflect critically, to think creatively and to act resolutely in our relation to society and nature. Some essential marks of subjectivity are illustrated through an example taken from rescue operation conducted in the fall of 2010 for the miners trapped in deep underground at the San Jose mine site in Chile for 69 days. With the science and technology applied in constructing (...) the drilling rigs and making the capsule which lifted up the trapped miners to freedom, ingenuity, the resilient sense of mission and perseverance of the rescue personnel, and the purposeful solidarity among the trapped miners are among the decisive factors contributing to the successful accomplishment of the rescue undertaking.At this critical juncture of the current global economic downturn, it is consequential for us to bring ourselves to reflecting on the seriousness of the predicament which all humanity is in. It is indeed time for the intellectuals to rise up to share responsibility in keeping our world sustainable by setting purposive and resolute subjectivity before themselves and coming forward to tenaciously find ways toward renewing ourselves as well as toward the continuing betterment of humanity. (shrink)

ArgumentStudents entered Renaissance universities as apprentices in the craft of books. In the decades around 1500, such university training began to involve not only manuscript circulation, but also the production and the use of books in the new medium of print. Through their role in the crafting of books, I show how a circle of students around Jacques Lefèvre d’Étaples gained the experience needed to become bookmen. Students took classroom manuscripts and brought them into print – the new print shop (...) offered students a place in which to exchange labor for credibility as joint authors. (shrink)

First published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

Michael Polanyi and Karl Popper offer contrasting accounts of social tradition. Popper is steeped in the heritage of the Enlightenment, while Polanyi interweaves religious and diverse secular strands of thought. Explaining the liberal tradition, Polanyi features tacit knowledge of rules, standards, applications and interpretations being transmitted by “craftsmen” to “apprentices.” Each generation adopts the liberal tradition on “faith,” commits to creatively developing its art of knowledge-in-practice, and is drawn to the spiritual reality of ideal ends. Of particular interest to Popper (...) is the rationality of social traditions. Likened by him to scientific theories, Popper’s traditions are criticizable and improvable, assisting agents to understand, and act in, the world as stable and predictable. Polanyi’s is the more informative rendering of tradition. Polanyi delves deeply into important areas where Popper only scratches their surface: the tacit dimension, transmission by way of apprenticeship, the meaning of tradition for those who participate in it, and the extent of its authority over them. (shrink)

First published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

Simone Weil's influence has been enormous and in this age of doubt and uncertainty there is something particularly appealing about this French Jewish writer, for Weil lived out her beliefs. From an early age she was attracted to Bolshevism, became an anarchist and helped Trotsky. She joined the International Red Brigade to fight Franco in the Spanish Civil War. An agnostic, she experienced a profound religious conversion, yet never converted to the Christian faith to which she was so deeply attracted. (...) This clear lucid exposition of her life and work shows how Weil is truly a prophet for our age and an indispensable source of encouragement to all those at the frontiers of religion, both within and without. (shrink)

In the 19 th century shift from virtue ethics to duty-oriented ethics, friendship and its role in ethics was marginalized. This paper explores the reason to this and examines the nature of friendship as a mutual intention of goodwill which depends upon a concrete context of particulars. This focus on contingent particulars makes friendship incompatible with Enlightenment ethics, but enables friendship to play two significant roles in moral development. These roles are explored as is the place of friendship in virtue (...) ethics. Finally, it is argued that the account of friendship from virtue ethics is confirms our ordinary experience of the significance of friendship in our lives. (shrink)

In creative cognition research, the Romantic view about creative cognition is traditionally rejected in favor of the modern view. The modern view about creative cognition maintains that creativity is neither mysterious nor unintelligible and that it is indeed susceptible to analysis. The paradigmatic objects of analysis in creative cognition research have been creative output and the creative process. The degree of creativity of an output is assessed in accordance with certain criterial definitions. The degree of creativity of (...) a cognitive process is assessed in accordance with certain models of creative cognition, psychometric test measures, and neuroimaging studies that are grounded in certain criteria for assessment. The reliance on criterial definitions and criteria for assessment in analyzing either the creative output or the creative process suggests that creative cognition researchers remain under the sway of the classical, bundles-of-criteria theory of meaning. In this paper, I will critically evaluate the criterial problems that confront both criterial definitions and criteria for assessment before proposing an alternative theory of meaning. (shrink)

Keith Holyoak and Paul Thagard provide a unified, comprehensive account of the diverse operations and applications of analogy, including problem solving, ...

In this text, I put forward the thesis that creativity and logic do not exclude each other. I depart from the characterization of a creative product as that which is novel and useful. I presuppose there is some kind of method for generating that new product, and in this respect, I rely on Peirce’s formulation of abduction. A central point to be discussed concerns whether Peirces’ abduction may be considered as a logic of synthetic reasoning; to what extent its (...) products are genuinely novel. In my defense of above’s thesis, I shall restrict to new scientific hypotheses generated from previous concepts. I consider that this modest analysis will nevertheless shed some light on the scope of this thesis. (shrink)

In situations that require creative thinking, there is no well-known procedure for how to reach the goal, or the solution. Among other things, it is not clear how choices between outcomes are made, or when the search for a solution should terminate. The article focusses on the evaluation of solutions that are generated during the search. The general question concerns the standards according to which evaluation is made. Are they at all similar to those that are used in normal problem-solving? (...) Another question relates to the stages of the processs during which evauation occurs. Is it during the whole process that evaluations are made, or only towards the end? (shrink)

The use of protocol analysis in the traning of cognitive skills.

Recent significant changes in technology such as Artificial Intelligence and big data analysis have a wide impact in many areas of human societies, not least in education. Advances in efficien...

Creativity is an important 21st Century skill that enhances students’ ability to see new opportunities, confront new challenges, and adapt flexibly to the changing study, work and life situations. To nurture students with strong self-efficacy in creative thinking is as important as the contexts and strategies involved in its application. But how to develop sustainable interventions to promote students’ self-efficacy in creativity is a long-lasting challenge. This study presents a simple and relatively cost-effective instructional intervention, i.e., self-assessment mind (...) maps, and examines its effect on students’ self-efficacy in creativity, self-efficacy in learning English, and academic performance in English language tests. A pretest-posttest non-equivalent design was adopted for the experimental and control groups of students in a Hong Kong primary school in 2021/22 Spring semester. The results show that students from the experimental group significantly outperformed those from the control group on self-efficacy in creativity after the intervention. However, the intervention did not improve students’ self-efficacy and test performance in English learning. The findings demonstrate the potential of self-assessment mind maps as an effective and sustainable instruction intervention to promote students’ higher-order abilities. This study sheds light on designing sustainable instructional strategies for empowerment in creativity. (shrink)

Through an examination of the bacteria that produce the cellulose, an investigation of the growing process and properties, and a discussion of an artistic exploration, one can fully grasp bio cellulose’s potential in becoming a synergist for sustainable fashion. This new creative and radical approach re-imagines the future materials for fashion and other fields requiring textile applications that are grown and renewable. Questions how textile can be created to be sustainable, biodegradable and infinitely reusable and mainly what the paradigms for (...) the new aesthetics are. The aim of this article is to convey the need for new biomaterials inspired by nature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.4 (2005) 12-19 [Access article in PDF] Seeking the Aesthetic in Creative Drama and Theatre for Young Audiences Nellie McCaslin Introduction Is an aesthetic experience ever achieved in a creative drama class or in attending a performance of a children's play? If it is, how do I know and how can it be achieved? This is a question to which I have given much (...) thought and in so doing have been flooded with memories of my own passion for theatre in all its forms, first as a child and years later as a teacher. These memories have shaped my perception of the aesthetic presence, elusive but powerful, which comes in its own way and in its own time. The following is an account of revisiting those memories in the light of today's practices and objectives. The result is not a scholarly piece or approach to the question but simply a record of one person's journey through the theatre arts as she experienced it at a particular point in time, when the pedagogy and the terminology of today were nonexistent, or at least were not generally known. Nor, I might add, was the question.From that journey through time, I have reached a few tentative convictions. First among them is that the most important element in teaching creative drama or producing children's plays is the one too often marginalized by practitioners today in their pursuit of practical ends and contemporary issue-oriented scripts.1 It is the aesthetic. Is theatre an art form worth studying in its own right or is it an educational tool, appealing to administrators and producers because it is effective? I believe that it is an art and should be taught as an art form first and foremost, but that skillfully done, it can accomplish both objectives. The grey area between art and education is difficult for the inexperienced teacher to negotiate without the loss of one goal or the other. It is the intent that charts the course. [End Page 12] Early Recollections What was it that first drew me to the theatre? Was it the play? The players? Or the combined skills of all who were involved in the production whether it was a professional company in a theatre downtown; a puppet show at a community center; "dramatics" in the classroom, when the teacher allowed us to "act out" a history lesson or favorite story; or an assembly program put on by the eighth grade in the school auditorium? To me, they were all theatre, and theatre in whatever form it took was magic. To us, theatre was real, regardless of the performers or the venue. Even the puppets ceased to be inanimate figures in the hands of an artist who shared his belief in their reality with his young audiences. Indeed, the puppets assumed human proportions before our eyes and have remained so in my memory ever since. Was this not just as much of an aesthetic experience for us, the viewers, as the performance of living actors? I believe that it was, although at the age of eight I had never heard the word "aesthetic" or stopped to analyze my reactions.The reason, among others, for my lack of discrimination as a child was the fact that in America at that time no differentiation was made between what we did and what we saw, never mind who did it. There was a clear distinction between the amateur and the professional; it didn't concern us. We flocked to the few shows, both amateur and professional, deemed appropriate for children, and we made up shows of our own in our own backyards. Our shows were improvised (another term we didn't know then), but even minus a script, it was still theatre because we believed in it and so did the little ones on our block who were the audience.It was Winifred Ward, an American pioneer in the field, writing a few years later, who was to distinguish between process and product... (shrink)

Most psychological theories of problem solving have focused on modeling explicit processes that gradually bring the solver closer to the solution in a mostly explicit and deliberative way. This approach to problem solving is typically inefficient when the problem is too complex, ill-understood, or ambiguous. In such a case, a ‘creative’ approach to problem solving might be more appropriate. In the present paper, we propose a computational psychological model implementing the Explicit-Implicit Interaction theory of creative problem solving that involves integrating (...) the results of implicit and explicit processing. In this paper, the new model is used to simulate insight in creative problem solving and the overshadowing effect. (shrink)

Creativity is commonly seen as beyond the scope of rationality. In the present paper, it is argued that available insights in epistemology and available results in logic enable us to incorporate creativity within an independently sensible view on human rationality.

Digitalisation and platformisation are continuously impacting and reshaping the societies we live in. In this context, we are witnessing the rise of phenomena such as fake news, hate speech, and the sharing of any other illegal content through social media. In this paper, I propose some ethical reflections on content moderation in the context of digital (social) media, as this topic seems – to me – to already incorporate other relevant digital issues in it, such as algorithms bias, the spread (...) of fake news, and the potential misuses of artificial intelligence. In the first section, I will provide a few hermeneutic reflections over a speech given by the Italian scholar Umberto Eco, which appears to underline the necessity of a content moderation in an era of digital (social) media. In the second section, I will analyse, through a consequentialist perspective, critical and ethical issues posed by content moderation. In particular, I suggest the idea of a ‘moderate’ (reasonable and limited) content moderation that can only be assured by humans, as they are able to contextualise the content, to take emotions and subjective elements into account, to apply critical thinking and adaptability in complex circumstances. (shrink)

The present study investigated the role of thought suppression in incubation, using a delayed incubation paradigm. A total of 301 participants were tested over five conditions, viz., continuous work control, incubation with a mental rotations interpolated task, focussed suppression, unfocussed suppression and a conscious expression condition. Checks were made for intermittent work during the incubation condition. The target task was alternative uses for a brick. In the incubation and suppression conditions, participants worked for 4 minutes, then had a break during (...) which suppression or the mental rotations interpolated task was carried out for 3 minutes before conscious work was resumed for a further 4 minutes on the alternative uses task. Results indicated that both incubation with an interpolated distractor task and incubation with suppression were effective in enhancing performance relative to controls. The intermittent work hypothesis (that effects of an incubation period are simply due to illicit con.. (shrink)

The aim of this paper is to focus on the specificities of the creative processes in taste industries: industries that have connected the artistic and industrial dimensions to supply goods and services—demand for which derives not from the logic of needs and necessity, but from the logic of pleasures, tastes, ethic preferences and hedonism. These taste industries belong to the creative industries but, unlike scientific and technological production, they work not on the basis of cumulative knowledge but through the creation (...) of ideas, drawings, recipes, goods and services which pass through time, and which constitute heritages. Thus, creativity works on the basis of heritages: that is, past and accumulated creativity. The paper considers how the different types of heritage contribute to creative process. It concludes on the double-edged effect of heritages, which while bestowing competitive advantages and favouring the development of creativity, do orient development along a given path, promoting a certain kind of creativity that may lead to lock-in effects, and build obstacles in the way of development. (shrink)

While the subjective experience of insight during problem solving is a common occurrence, an understanding of the processes leading to solution remains relatively uncertain. The goal of this study was to investigate the restructuring patterns underlying solution of a creative problem, and how providing cues to solution may alter the process. Results show that both providing cues to solution and analyzing problem solving performance on an aggregate level may result in restructuring patterns that appear incremental. Analysis of performance on an (...) individual level provides evidence for insight-like solution patterns. However, no evidence is found for a relationship between an individual’s restructuring pattern and their subjective experience of insight during problem solving. (shrink)