Results for 'creativity'

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  1. Front Matter Front Matter (pp. i-iii).Creative Grammar, Art Education Creative Grammar & Art Education - 2011 - Journal of Aesthetic Education 45 (3).
     
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  2.  5
    Jacquelyn Ann K. Kegley.Living Creatively - 2006 - In James Campbell & Richard E. Hart (eds.), Experience as philosophy: on the work of John J. McDermott. New York: Fordham University Press. pp. 19--58.
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  3. Marie-laure Ryan.Creative Analogies - 1998 - Semiotica 118 (1/2):147-164.
     
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  4. Conflict and Change.Creative Insecurity & A. Style Of Being-Becoming - forthcoming - Humanitas.
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  5. Alfonso Montuori.Creativity Knowledge - 1993 - World Futures 36:181.
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  6.  16
    ABE, STANLEY K. Ordinary Images. University of Chicago Press. 2002. pp. 408. 230 halftones, 5 maps, 20 line drawings.£ 45.50. ALEXANDER, VICTORIA D. Sociology of the Arts: Exploring Fine and Popular Forms. Blackwell. [REVIEW]Creative Dream - 2003 - British Journal of Aesthetics 43 (3).
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  7. Dr. Pierre Laviolette 12/05/2011 0 Comments.Nanette Norris & Creative Work - forthcoming - Veritas – Revista de Filosofia da Pucrs.
     
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  8. Frozen rats, mice, chicks & guinea pigs-from $25.00 per 100. Live crickets $18.00 per thousand. Mc, visa, amx & disc. Fob: Perfect pets, inc., 23180 Sherwood, belleville, mi 48111: Phone (734) 461-1362, fax (734). [REVIEW]Carolina Mouse Farm, Creative Aquatic, Custom Cages, Dunthorpe Press, Freedom Breeder, Glades Herp, Kevin Bryant Reptile, Feeder Rodents, Maryland Reptile Farm & Pro Exotics - 1997 - Vivarium 9:64.
     
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  9. EVANS, GR, Philosophy and Theology in the Middle Ages, London, Roulledge, 1993,£ 8.99 pb. FLANAGAN, OWEN, Consciousness.Barry Loewer, Georges Rey, Don Macniven & Creative Morality - 1994 - Cogito 8:101.
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  10. The creative aspect of language use and the implications for linguistic science.Eran Asoulin - 2013 - Biolinguistics 7:228-248.
    The creative aspect of language use provides a set of phenomena that a science of language must explain. It is the “central fact to which any signi- ficant linguistic theory must address itself” and thus “a theory of language that neglects this ‘creative’ aspect is of only marginal interest” (Chomsky 1964: 7–8). Therefore, the form and explanatory depth of linguistic science is restricted in accordance with this aspect of language. In this paper, the implications of the creative aspect of language (...)
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  11. Creativity and cultural improvisation.Elizabeth Hallam & Tim Ingold (eds.) - 2007 - New York, NY: Berg.
    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 (...)
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  12.  55
    Creative evolution.Henri Bergson - 1911 - New York: Palgrave-Macmillan. Edited by Keith Ansell-Pearson, Michael Kolkman & Michael Vaughan.
    Henri Bergson (1859-1941) is one of the truly great philosophers of the modernist period, and there is currently a major renaissance of interest in his unduly neglected texts and ideas amongst philosophers, literary theorists, and social theorists. Creative Evolution (1907) is the text that made Bergson world-famous in his own lifetime; in it Bergson responds to the challenge presented to our habits of thought by modern evolutionary theory, and attempts to show that the theory of knowledge must have its basis (...)
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  13.  90
    Creative evolution.Henri Bergson (ed.) - 1911 - New York,: The Modern library.
    Henri Bergson (1859-1941) is one of the truly great philosophers of the modernist period, and there is currently a major renaissance of interest in his unduly neglected texts and ideas amongst philosophers, literary theorists, and social theorists. Creative Evolution (1907) is the text that made Bergson world-famous in his own lifetime; in it Bergson responds to the challenge presented to our habits of thought by modern evolutionary theory, and attempts to show that the theory of knowledge must have its basis (...)
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  14. The Creative Mind: Myths and Mechanisms.Margaret A. Boden - 2003 - Routledge.
    How is it possible to think new thoughts? What is creativity and can science explain it? And just how did Coleridge dream up the creatures of The Ancient Mariner? When The Creative Mind: Myths and Mechanisms was first published, Margaret A. Boden's bold and provocative exploration of creativity broke new ground. Boden uses examples such as jazz improvisation, chess, story writing, physics, and the music of Mozart, together with computing models from the field of artificial intelligence to uncover (...)
     
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  15.  84
    Creativity: Avalanche in the Sand-pile.Avijit Lahiri - 2024 - Bengaluru, India: Self-published.
    [A revised and updated version of an earlier article 'Understanding Creativity: Affect Decision and Inference' (unpublished), posted at PhilArchive in 2021.] -/- This book looks at the creative process in the human mind. -/- Creativity involves a major restructuring of the conceptual space where a sustained inferential process eventually links remote conceptual domains, thereby opening up the possibility of a large number of new correlations between remote concepts by a cascading process. Since the process of inductive inference depends (...)
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  16. The Creative Mind: Myths and Mechanisms.Margaret A. Boden - 1992 - Routledge.
    An essential work for anyone interested in the creativity of the human mind, "The Creative Mind" has been updated to include recent developments in artificial ...
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  17.  12
    Creative imagination in the Ṣūfism of Ibn ʻArabī.Henry Corbin - 1969 - [Princeton, N.J.]: Princeton University Press.
    A penetrating analysis of the life and doctrines of the Spanish-born Arab theologian.
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  18.  35
    The Creativity of Natural Selection? Part II: The Synthesis and Since.John Beatty - 2019 - Journal of the History of Biology 52 (4):705-731.
    This is the second of a two-part essay on the history of debates concerning the creativity of natural selection, from Darwin through the evolutionary synthesis and up to the present. In the first part, I focussed on the mid-late nineteenth century to the early twentieth, with special emphasis on early Darwinism and its critics, the self-styled “mutationists.” The second part focuses on the evolutionary synthesis and some of its critics, especially the “neutralists” and “neo-mutationists.” Like Stephen Gould, I consider (...)
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  19. Creative fidelity.Gabriel Marcel - 2002 - New York: Fordham University Press. Edited by Robert Rosthal.
    This important collection of lectures and essays was regarded by Gabriel Marcel as the best introduction to his thought.
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  20. On Creativity and the Philosophy of the Supranational State.Barry Smith & Wolfgang Grassl - 2004 - In Tamás Demeter (ed.), Essays on Wittgenstein and Austrian Philosophy: In Honour of J.C. Nyíri. BRILL. pp. 25-39.
    Building on the writings of Wittgenstein on rule-following and deviance, Kristóf Nyíri advanced a theory of creativity as consisting in a fusion of conflicting rules or disciplines. Only such fusion can produce something that is both intrinsically new and yet capable of being apprehended by and passed on to a wider community. Creativity, on this view, involves not the breaking of rules, or the deliberate cultivation of deviant social habits, but rather the acceptance of enriched systems of rules, (...)
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  21. Fostering creativity and innovation without encouraging unethical behavior.Sherrie E. Human, David A. Baucus, William I. Norton & Melissa S. Baucus - 2008 - Journal of Business Ethics 81 (1):97-115.
    Many prescriptions offered in the literature for enhancing creativity and innovation in organizations raise ethical concerns, yet creativity researchers rarely discuss ethics. We identify four categories of behavior proffered as a means for fostering creativity that raise serious ethical issues: breaking rules and standard operating procedures; challenging authority and avoiding tradition; creating conflict, competition and stress; and taking risks. We discuss each category, briefly identifying research supporting these prescriptions for fostering creativity and then we delve into (...)
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  22.  1
    Creativity and the Value of Virtue.Glen Pettigrove - 2022 - Australasian Philosophical Review 6 (2):204-218.
    1. This is the second in a two-part investigation of the relationship between virtue and value. It focuses principally on two questions that part 1 [Pettigrove 2022] left readers asking.1 First, is...
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  23.  98
    The creative mind: an introduction to metaphysics.Henri Bergson & Mabelle Louise Andison - 1946 - Mineola, N.Y.: Dover Publications. Edited by Mabelle L. Andison.
    The final published book by Nobel Prize-winning author and philosopher Henri Bergson (1859-1941), La pensée et le mouvant (translated here as The Creative Mind), is a masterly autobiography of his philosophical method. Through essays and lectures written between 1903 and 1923, Bergson retraces how and why he became a philosopher, and crafts a fascinating critique of philosophy itself. Until it leaves its false paths, he demonstrates, philosophy will remain only a wordy dialectic that surmounts false problems. With masterful skill and (...)
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  24. On creativity.David Bohm - 1996 - New York: Routledge. Edited by Lee Nichol.
    Creativity is fundamental to human experience. In On Creativity David Bohm, the world-renowned scientist, investigates the phenomenon from all sides. This is a remarkable and life-affirming book by one of the most far-sighted thinkers of modern.
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  25. The Philosophy of Creativity.Elliot Samuel Paul & Scott Barry Kaufman (eds.) - 2014 - New York: Oxford University Press.
  26. On Creativity.David Bohm - 1996 - New York: Routledge. Edited by Lee Nichol.
    Creativity is fundamental to human experience. In _On Creativity_ David Bohm, the world-renowned scientist, investigates the phenomenon from all sides: not only the creativity of invention and of imagination but also that of perception and of discovery. This is a remarkable and life-affirming book by one of the most far-sighted thinkers of modern times.
     
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  27. Needs, Creativity, and Care: Adorno and the Future of Work.Craig Reeves & Matthew Sinnicks - 2023 - Organization 30 (5):851–872.
    This paper attempts to show how Adorno’s thought can illuminate our reflections on the future of work. It does so by situating Adorno’s conception of genuine activity in relation to his negativist critical epistemology and his subtle account of the distinction between true and false needs. What emerges is an understanding of work that can guide our aspirations for the future of work, and one we illustrate via discussions of creative work and care work. These are types of work which (...)
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  28. The Creative Interpreter: Content Relativism and Assertion.Herman Cappelen - 2008 - Philosophical Perspectives 22 (1):23 - 46.
    Philosophers of language and linguists tend to think of the interpreter as an essentially non-creative participant in the communicative process. There’s no room, in traditional theories, for the view that correctness of interpretation depends in some essential way on the interpreter. As a result, there’s no room for the possibility that while P is the correct interpretation of an utterance, u, for one interpreter, P* is the correct interpretation of that utterance for another interpreter. Recently, a number of theorists have, (...)
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  29. Creativity.Elliot Samuel Paul & Dustin Stokes - 2023 - Stanford Encyclopedia of Philosophy.
    This entry provides a substantive overview of research and debates concerning creativity in philosophy and related fields. Topics covered include definitions of creativity, whether creativity can be learned, whether it can be explained, attempts to explain creativity in cognitive science, and whether computer programs or AI systems can be creative.
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  30.  4
    Creative Diversity and Critical Transformation in Phenomenology of Religion : Focusing on Chongsuh Kim’s Phenomenological Sociology of New Religions. 안신 - 2018 - Phenomenology and Contemporary Philosoph 79:263-288.
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  31.  82
    Exploring Creativity in the Design Process: A Systems-semiotic Perspective.Argyris Arnellos, Thomas Spyrou & Ioannis Darzentas - 2007 - Cybernetics and Human Knowing 14 (1):37-64.
    This paper attempts to establish a systems-semiotic framework explaining creativity in the design process, where the design process is considered to have as its basis the cognitive process. The design process is considered as the interaction between two or more cognitive systems resulting in a purposeful and ongoing transformation of their already complex representational structures and the production of newer ones, in order to fulfill an ill-defined goal. Creativity is considered as the result of an emergence of organizational (...)
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  32.  23
    Creative intelligence: essays in the pragmatic attitude.John Dewey, Harold Chapman Brown, George Herbert Mead, Horace Meyer Kallen & Addison Webster Moore (eds.) - 2020 - New York: Nova Science Publishers.
    Creative Intelligence: Essays in the Pragmatic Attitude represents an attempt at intellectual cooperation. No effort has been made, however, to attain unanimity of belief nor to proffer a platform of "planks" on which there is agreement. The consensus represented lies primarily in outlook, in conviction of what is most likely to be fruitful in method of approach. As the title page suggests, the volume presents a unity in attitude rather than a uniformity in results. Consequently each writer is definitively responsible (...)
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  33. Minimally Creative Thought.Dustin Stokes - 2011 - Metaphilosophy 42 (5):658-681.
    Creativity has received, and continues to receive, comparatively little analysis in philosophy and the brain and behavioural sciences. This is in spite of the importance of creative thought and action, and the many and varied resources of theories of mind. Here an alternative approach to analyzing creativity is suggested: start from the bottom up with minimally creative thought. Minimally creative thought depends non-accidentally upon agency, is novel relative to the acting agent, and could not have been tokened before (...)
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  34.  35
    Creative imagination in the Sūfism of Ibn ʻArabi.Henry Corbin - 1969 - London,: Routledge and Kegan Paul.
    In this volume Henry Corbin emphasizes the differences between the exoteric and esoteric forms of Islam. He also reveals that whereas in the West philosophy and religion were at odds, they were inseparably linked, at least during this period, in the Islamic world. A valuable section of notes and appendices includes original translation of numerous Sufi treatises.
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  35.  53
    Multidisciplinary creativity: the case of Herbert A. Simon.Subrata Dasgupta - 2003 - Cognitive Science 27 (5):683-707.
    In the twentieth century, no person epitomized more dramatically the “Renaissance mind” than Herbert A. Simon (1916–2001). In aworking life spanning over 60 years, Simon made seminal contributions to administrative theory, axiomatic foundations of physics, economics, sociology, econometrics, cognitive psychology, logic of scientific discovery, and artificial intelligence. Simon's life of the mind, thus, affords nothing less than a “laboratory” in which to observe and examine at close quarters the phenomenon ofmultidisciplinary creativity. In this paper, we attempt to shed some (...)
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  36.  10
    Creative unity.Rabindranath Tagore - 1922 - New York,: The Macmillan company.
    Creative Unity This book is a result of an effort made by us towards making a contribution to the preservation and repair of original classic literature. In an attempt to preserve, improve and recreate the original content, we have worked towards: 1. Type-setting & Reformatting: The complete work has been re-designed via professional layout, formatting and type-setting tools to re-create the same edition with rich typography, graphics, high quality images, and table elements, giving our readers the feel of holding a (...)
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  37. Creativity and the Philosophy of C. S. Peirce.[author unknown] - 1990 - Transactions of the Charles S. Peirce Society 26 (1):153-156.
     
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  38.  81
    Using creative writing techniques to enhance the case study method in research integrity and ethics courses.Timothy N. Atkinson - 2008 - Journal of Academic Ethics 6 (1):33-50.
    The following article explores the use of creative writing techniques to teach research ethics, breathe life into case study preparation, and train students to think of their settings as complex organizational environments with multiple actors and stakeholders.
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  39. Explaining Creativity.Maria Kronfeldner - 2018 - In Berys Gaut & Matthew Kieran (eds.), Routledge Handbook on Creativity and Philosophy. Routledge. pp. 213-29.
    Creativity has often been declared, especially by philosophers, as the last frontier of science. The assumption is that it will defy explanation forever. I will defend two claims in order to oppose this assumption and to demystify creativity: (1) the perspective that creativity cannot be explained wrongly identifies creativity with what I shall call metaphysical freedom; (2) the Darwinian approach to creativity, a prominent naturalistic account of creativity, fails to give an explanation of (...), because it confuses conceptual issues with explanation. I will close with some remarks on the status and differences in some explanations available in contemporary cognitive science. (shrink)
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  40.  71
    Where creativity resides: The generative power of unconscious thought☆.A. Dijksterhuis & T. Meurs - 2006 - Consciousness and Cognition 15 (1):135-146.
    In three experiments, the relation between different modes of thought and the generation of “creative” and original ideas was investigated. Participants were asked to generate items according to a specific instruction . They either did so immediately after receiving the instruction, or after a few minutes of conscious thought, or after a few minutes of distraction during which “unconscious thought” was hypothesized to take place. Throughout the experiments, the items participants listed under “unconscious thought” conditions were more original. It was (...)
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  41. Creativity.Peter Langland-Hassan - 2020 - In Explaining Imagination. Oxford: Oxford University Press. pp. 262-296.
    Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a (...)
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  42. Fintech: Creative Innovation for Entrepreneurs.Youssef M. Abu Amuna, Samy S. Abu-Naser, Mazen J. Al Shobaki & Yasser A. Abu Mostafa - 2019 - International Journal of Academic Accounting, Finance and Management Research (IJAAFMR) 3 (3):8-15.
    The article studies the impact of Fintech on entrepreneurship in Arabic region by using Crowdfunding platforms as the field of study. The article focuses on Arabic Crowdfunding platforms. The population of (12) platforms consist of: individuals, entrepreneurs, investors, employees at Crowdfunding platforms. Descriptive and quantitative approach used in this article, and a questionnaire used as a tool to collect primary data. The results indicate an impact for Fintech on entrepreneurship in general and obvious obstacles to use it widely in Arabic (...)
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  43.  14
    Concerning Creativity: A Comparison of Chu Hsi, Whitehead, and Neville.John H. Berthrong - 1998 - State University of New York Press.
    A cross-cultural comparsion of creativity that introduces Neo-Confucian discourse as a sophisticated dialogue partner with modern western speculative philosophy and theology.
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  44.  60
    Creativity and Art: Three Roads to Surprise.Margaret A. Boden - 2010 - Oxford University Press.
    Margaret Boden presents a series of essays in which she explores the nature of creativity in a wide range of art forms. Creativity is the generation of novel, surprising, and valuable ideas. Boden identifies three forms of creativity each eliciting a different form of surprise.
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  45.  64
    The Creativity of Natural Selection? Part I: Darwin, Darwinism, and the Mutationists.John Beatty - 2016 - Journal of the History of Biology 49 (4):659-684.
    This is the first of a two-part essay on the history of debates concerning the creativity of natural selection, from Darwin through the evolutionary synthesis and up to the present. Here I focus on the mid-late nineteenth century to the early twentieth, with special emphasis on early Darwinism and its critics, the self-styled “mutationists.” The second part focuses on the evolutionary synthesis and some of its critics, especially the “neutralists” and “neo-mutationists.” Like Stephen Gould, I consider the creativity (...)
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  46.  13
    Creative Agency as Executive Agency: Grounding the Artistic Significance of Automatic Images.Claire Anscomb - 2021 - Journal of Aesthetics and Art Criticism 79 (4):415-427.
    This article examines the artistic potential of forms of image-making that involve registering the features of real objects using mind-independent processes. According to skeptics, these processes limit an agent’s intentional control over the features of the resultant “automatic images,” which in turn limits the artistic potential of the work, and the form as a whole. I argue that this is true only if intentional control is understood to mean that an agent produces the features of the work by their own (...)
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  47.  8
    Creative Evolution.Henri Bergson & Arthur Mitchell - 1911 - International Journal of Ethics 22 (4):467-469.
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  48.  6
    Unpacking Creativity: The Power of Figurative Communication in Advertising.Paula Pérez Sobrino, Jeannette Littlemore & Samantha Ford - 2021 - Cambridge University Press.
    Figurative communication (the use of metaphor, metonymy, hyperbole and irony) provides economy of expression, clarity, persuasiveness, politeness, evaluation, and communication of emotions. However, it also increases the potential for misunderstanding in situations when people lack shared background knowledge. This book combines theoretical frameworks with empirical studies that measure the effectiveness of different approaches to the use of figurative language in advertisements, to show how to maximise the benefits of creative metaphor and metonymy in global advertising. It highlights how subtle differences (...)
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  49. Human creativity: Its cognitive basis, its evolution, and its connections with childhood pretence.Peter Carruthers - 2002 - British Journal for the Philosophy of Science 53 (2):225-249.
    This paper defends two initial claims. First, it argues that essentially the same cognitive resources are shared by adult creative thinking and problem-solving, on the one hand, and by childhood pretend play, on the other—namely, capacities to generate and to reason with suppositions (or imagined possibilities). Second, it argues that the evolutionary function of childhood pretence is to practice and enhance adult forms of creativity. The paper goes on to show how these proposals can provide a smooth and evolutionarily-plausible (...)
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  50. Attributing Creativity.Elliot Samuel Paul & Dustin Stokes - 2018 - In Berys Nigel Gaut & Matthew Kieran (eds.), Creativity and Philosophy. New York: Routledge.
    Three kinds of things may be creative: persons, processes, and products. The standard definition of creativity, used nearly by consensus in psychological research, focuses specifically on products and says that a product is creative if and only if it is new and valuable. We argue that at least one further condition is necessary for a product to be creative: it must have been produced by the right kind of process. We argue furthermore that this point has an interesting epistemological (...)
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