THE PHILOSOPHY OF CREATIVITY

Creativity Research Journal, 2010

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www.chara.dk, 2012

In educating the creative mind, it becomes imperative to reach a deeper understanding of the creative mind and of creativity itself. A vast number of creativity research studies conducted in recent years indicates that creativity is closely related to art, artistic practice and artistic modes of relating to and communicating with the world around us. Furthermore, creativity researchers in the field generally agree to base their definition of creativity on value and novelty, and they thus agree to presuppose a more or less tacit range of utilitarian and anthropocentric categories. In educating the creative mind, it is therefore also imperative to investigate the teleological basis for our understanding of the creative mind-what is the purpose of creativity and how does creativity relate to and influence our lives, practice, learning and the world around us? This paper examines the nature of the arts and the creative process and proposes a definition of creativity that places the arts and arts-based education as one of the many ways to promote creative thinking and innovation. Finally, the paper argues as one of its main conclusions that any change towards more creative preschools and early elementary schools presupposes a change of the culture of the schools and that this change in its turn presupposes a deep and unfolded understanding of the very culture that we want to enrich.

Handbook of Research on Creativity, 2013

KNOWLEDGE – International Journal , 2019

Creativity is usually characterized by originality and effectiveness, novelty and appropriateness, quality and high intelligence. Knowledge and creativity are interrelated, knowledge favors creativity and creativity allows the discovery of new knowledge. However, they are also opposed in the sense that creativity sometimes can contradict the so far established or traditional knowledge. The psychology of creativity is flourishing, but research in the area of the philosophy of creativity is scarce. Here I present a philosophical analysis of philosophy of creativity and the power of knowledge, which answers the important question about the interrelationship between philosophy and creativity. Sigmund Freud in his article on creativity "Creative Writers and Daydreaming" (1908) identified the process of creativity with children's phantasying and conceived of creative writers as persons who perform sublimation. In this line of reasoning, Strachey conceived of creative writers as "successful neurotics". According to Hausman (1979), there are four utmost questions about creativity, namely: "Who is the creator? Why does the creator create? What happens when the creator creates? and How does the creator create?" In general there are numerous strategies how one can enhance one's creative capacity, including by psychopharmacological neuroenhancement. Pragmatic strategies, for example, include the following ones: 1) performance of proposed steps more efficiently, 2) increase of the amount of time spent or the number of times a given step is performed., 3) the a performance of steps, but in different order and 4) the introduction of a brand new stage model (Gascón & Kaufman, 2010). Plato's and Aristotle's views on creativity were antagonistic: Plato argued that creativity is a mysterious act of imitation, whereas Aristotle argued that it is a scientifically explainable act. Immanuel Kant conceived of creativity of geniuses as a natural gift, which rules are not given and that creativity as a capacity cannot be taught. Arthur Schopenhauer conceived of creativity as a pure contemplation of Ideas and noted the similarities between creative geniuses and madmen. Bertrand Russell's contribution is that he proposed a genuine test for creativity. More recently, the dark side of creativity in terms of malevolent usage of creative products or even malevolent creative acts. Finally, it is noted that a positive correlation between creativity scores and certain psychopathological illnesses, such as hypomania, mania, schizophrenia and schizotypal personality disorders has been found. This correlation seems to be related to dopaminergic function in the brain. A conclusion is reached that creativity in fact appears before a degeneration in terms of psychopathology appears.

Like E. Paul Torrance, my colleagues and I have tried to understand the nature of creativity, to assess it, and to improve instruction by teaching for creativity as well as teaching students to think creatively. This article reviews our investment theory of creativity, propulsion theory of creative contributions, and some of the data we have collected with regard to creativity. It also describes the propulsion theory of creative contributions. Finally, it draws some conclusions.

2005

Introduction by Co-Editors The intention of the introduction by the co-editors adheres to the meaning of the following statement from the first paragraph in the Recurring Editorial that started in the 2005 issue of cd-

Interactions, 2006

The editors' stated goal of The International Handbook of Creativity was to present a genuinely international and diverse set of perspectives and insights into the psychology of human creativity. As such, they assembled a renowned cast of scholars from around the globe and had them prepare chapters that cover both historical and contemporary glimpses into creativity research and theory. The resulting volume not only gives readers access to North American and English-speaking flavors of creativity history and research, but crisscrosses the globe to share Western European (i.e., French,

This paper critiques the traditional analysis of creativity in terms of a novel, valuable and surprising product, and attempts to give necessary and sufficient conditions for creativity in terms of the states of phenomenal consciousness involved in it. Forthcoming in a volume edited by Jaison Manjaly.