This is why I think Frankenstein has been read for so long. This revulsion met by onlookers is merely based on the creatures hideous looks. In Frankenstein, Elizabeth Lavenza is depictedRead more
Retrieved March 23, 2011. The big X which divides the page, for example, is evocative and dramatic rather than unambiguously functional. 6 In Point and Line to Plane the subheads runRead more
eminent psychologists of the 20th century, and the field can only be described as explosive. This was an excerpt from The Philosophy of Creativity, edited by Elliot Samuel Paul and. I think of the ethnographic research conducted by Albert Lord and Milman Parry in the 1920s on Serbo-Croatian bards. We not only praise and admire individuals whose creative activity is born from a passion for what they do but, other things being equal, we expect them to be more reliably creative across different situations than those who are extrinsically motivated. To be sure, some of the greatest philosophers in history have been taken with the wonder of creativity. This is particularly striking when we consider that the importance of imitation, training, practice, and intentional efforts for the performance of creative work has long been known. They may have invoked the Muse for their performances, but it took a lifetime of diligent preparation to earn her favor. Kant conceived of artistic genius as an innate capacity to produce works of exemplary originality through the free play of the imagination, a process which does not consist in following rules, can neither be learned nor taught, and is mysterious even to geniuses themselves. The essays range widely in topic and tone, perhaps a result of the fact that the contributors submitted them independently of one another rather than as the result of a working group or conference. Rather than treating the imagination as if it were a single monolithic phenomenon, however, he identifies and analyzes several different imaginative activities that are engaged in response to a variety of artworks, such as reasoning counterfactually, filling-in unspecified content, constructing story-worlds around fictional objects, mentally.
There is also the popular perception that conscious thought impedes creativity; thus the familiar accounts of artists using drugs, alcohol, or other trance-inducing practices as a means of surrendering conscious control and giving free rein to the creative unconscious. They consider pretend play as a distinctively human ability, noting its universality, and showing that nearly all children, cross-culturally, engage. It tends to wither when they do not (unless a persons creativity, like Van Goghs, is exceptionally virtuous). This belief is perhaps reinforced by the experience of having a creative insight "pop" into our minds, unbidden. In the classical story where creative inspiration comes to an artist from an external muse, the artists consciousness is not the source, but rather the recipient, of creative work. Whether one succeeds in being creative will depend on a number of factors, only some of which are under one's control. Illustrating the value of interdisciplinary exchange, this is a series of new essays from some of todays leading thinkers integrating philosophical insights with empirical research. It also raises a wealth of philosophical questions, but curiously, it hasnt been a major topic in contemporary philosophy.
Cambridge, UK: Cambridge University Press 2003,. 1, berys Gaut, "Creativity and Imagination in Berys Gaut and Paisley Livingston, eds., The Creation of Art. Why do we value novelty so highly in the arts? In the absence of better evidence, Currie puts a new spin on the debate by emphasizing the creativ- ity that goes into producing such great works of fiction. In so doing, he integrates two philosophical traditions.
The philosophy of creativity new essays pdf