Creativity, Co-creation and Continuous Creativity

The Creativity Virus - A Book about and for Creative Thinking, 2019

This article is a chapter of the book "The Creativity Virus", published by Katja Tschimmel in 2019, on the 15th of April 2019 in honour of Leonardo da Vinci's 567th anniversary and in the context of the World Creativity and Innovation Week. The article introduces the evolution of the concept 'creativity' from a Psychological to a Systemic Approach.

A good summary of the Catholic doctrine on Creation is found in this section of the book. The main point of this section reveals that creation is a relationship and a participation with the Divine Being. It further states that Creation Out of Nothing is a profound way to express the idea of the vision of a relationship between God and the world. It also reviews the concept of cause and effect in the works of St. Thomas, saying that creation is an emanation from the Universal and Efficient Cause which effects creatures. This argument resolves the Augustinian reaction on emanation (which conflicts with the doctrine of Creation Form Nothing), stating that creatures need not be equals of God through emanation, but rather complete effects of a cause. These thoughts are of great help for the second chapter of this work. This part of the book which deals on the systematic theology about creation effectively presents a historical overview of the development of doctrine of Creation in the Roman Catholic perspective. Anne Clifford surveys this progress by taking into account the notion of creation in the bible, to the history of the Church, and contemporary applications of the doctrine with Science and Technology. The author presents the work in a chronological consideration of notions, concepts and theological opinions on Creation. She presents a rather comprehensive, but not much of analysis and comparison, of creation. The work is extensive and presents many presuppositions about theology and science. Only the part considering the development of the doctrine in the history of the Church will be considered, in comparison to the author's exhaustive approach. Fichtner, Joseph. Man the Image of God. New York: Alba House, 1978. This book presents the concept of the image of God in relation to the covenant of Yahweh and Israel. Apart from the biblical theme, it also presents the concept of the image of God according to early Christian writings. Fichtner traces the origin of the development of early Christian Anthropology by taking into consideration the patterns of thought that were prevalent at that part of history. He points out that the early discourses about Christian Anthropology were a product of the reaction against Greek paganistic thought. Also, he considers the view of St. Thomas Aquinas and other scholastics. The fundamental concept presented by the author is that man's destiny is to be like Christ, the perfect image of God, who reconciled Divine and human nature in himself and continues to make man more and more like the image of God by the action of the Holy Spirit. The author presents a straightforward approach at dealing with the concept of Imago Dei. His historical presentation of the development of the concept is simple and a clear-cut treatment of facts from original sources and historical accounts. There is not much of analysis in his work; just a laying-down of the things one needs to know. This book is used in the third chapter of the work and is used as a source for the historical treatment of the concept of the imago Dei. Hontiveros, Eduardo. "Man as the Image of God", The Creator: A textbook in Theological Anthropology, Loyola School of Theology Textbook Series. Quezon City: Loyola School of Theology, 1998. This textbook contains chapters dealing with man as the image of God, Creation and the Creator and the purpose and Freedom of Creation. It emphasizes that basic tenet of faith that man is the image of God which is his highest dignity. To be the image of God is to be in a relationship with God himself. It puts forth that the significance of this O"Meara, Thomas. Thomas Aquinas: Theologian. Notre Dame: University of Notre Dame Press, 1997. O'Meara provides a commentary on the ideas of St. Thomas Aquinas. The Third part of the book deals with the theological world of Aquinas and is rather a good summary of it. The first section of this part of the work presents the first of Thomas' major themes: that is, God. The author reiterates that God is ever present as he is mirrored by the beauty of creation, and He can only be confined to our limited understanding by analogy. God is the excellence of all the perfections we see in the world. It also discusses and comments on creation and the choice of man as the image of God. Man, it says, is a receptacle of grace and holiness. He is a reminder that the goal of faith and religion is perfection or beauty. This chapter of this book is used in almost all personality by means of it. 241 Art speaks to us. No wonder people can stand or sit in front of a museum painting for hours at a time, listening to and recognizing what the artist wishes to reveal in his artwork. Beauty reveals! And much more for religious art, beauty serves the eternal Beauty by way of revelation. -Beautiful art is also a sacred word in its own right, a direct mediation of encounter with God,‖ 242 says Viladesau. Just as words mediate our communication and reveal our thoughts to others, beauty can lead us to the Divine.

THE PHILOSOPHY OF CREATIVITY, 2014

reativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research.

Scientia et Fides, 2019

The rapid development of empirical science (physics, biology) and theoretical disciplines (theoretical physics) related to them, results in many theories on the origin, evolution and nature of the world, sometimes interpreted as contradictory to the theological conception. Consequently, under the influence of these achievements, within theology itself a position on the autonomy of both domains and on their complementarity seems to be more and more popular. With regard to this question, it is theology that should present the possibility of an understanding of the revealed truths such that they could coexist with scientific discoveries. Based directly on biblical texts, the sophiological vision of the origin and nature of the world seems to be very interesting among other theological conceptions regarding this question. The present article attempts to confront the presumptions of sophiology regarding the eternal creative Wisdom with the scientific theory of the world’s nature (i.e. its laws), its development (evolution, accidentality of events) and on human existence (e.g. liberty) in order to demonstrate the possibility of the coexistence of these discourses without contradiction.

International Journal of Criminology and Sociology, 2020

The main aim of the study is to analyze the phenomenon of creativity, which has traditionally been the subject of philosophical investigation. Moreover, the phenomenon of philosophy itself as a creative process often remained in the shadow of general problems. By tacit agreement the creative nature of philosophy was recognized as obvious, and therefore, as a subject of philosophizing, it was often simply left out of the picture. However, again and again, the thesis about the “death of philosophy” makes the question of its creative nature more than relevant. If the creative potential of philosophy has been exhausted, perhaps it is really dying as a special form of thought in culture. If creativity in philosophy is possible, then its cultural prospects become more optimistic, or cultural elimination of philosophy is associated not only (or not so much) with its creative capacity. Creativity became the object of theorization in the Renaissance and Modernity, when man was initially thought of as its subject. Therefore, the very understanding of creativity bears the mark of Modern thinking. However, the "post-" situation forces us to return to the analysis of the problem and consider it in terms of the impossibility of the new. The problem can and should also be considered on the material of Russian philosophical thought, whose status has always been ambiguous, primarily for Russian philosophy itself. Today, the position of Russian philosophy is becoming even more problematic due to the problematization of philosophy as a particular discourse that claims to be universal, on the one hand, and the specifics of Russian theoretical thought labeled as "responsive", its empathicity – on the other.

2021

This article describes the role of apperception and imagination (scientific and poetic) in scientific and poetic creativity in order to compare with each other. It demonstrates the importance of imagination for scientific creativity and highlights typological features of ideal objects (according to V.S. Stepin) that are common to scientific ideal objects and poetic images. The article discusses the concept of scientific and poetic meaningfulness and scientific and poetic meanings. According to the definition of N.M. Smirnova creativity is understood as the process of creation of new cultural meanings. The scientific imagination is analyzed as a necessary factor of scientific activity. The role of imagination in the apperception of the results of scientific and poetic creativity is demonstrated. It’s shown that in term of phenomenology, human culture appears as the horizon where the meanings circulate as ideal objects of culture. Special attention is paid to the concepts of intersubj...

PhD Dissertation, 2021

The dissertation includes both a philosophical and a scientific study of creativity in the phenomenon of “boundary situation”, as it is elaborated in the philosophy of Karl Jaspers. The work comprises three parts: 1) Introduction to the philosophy of Karl Jaspers and the conception of “boundary situation”, 2) Description of the functions of the psycho-somatic complex in norm and pathology, as well as their relation to philosophical consciousness and 3) Study of creativity before, during and after the experiences of boundary situations. The first part is historico-philosophical. The second – scientific, whereas the third represents a synthesis of the first two. The used methods include: historico-philosophical analysis, comparative analysis and conceptual analysis. The work comprises a multitude of starting points for a serious study of boundary situations and the role of creativity in relation to the methods of overcoming of such situations. There are included a series of studies related to the core topic, such as: the Notion “creativity”, Dostoevsky’s epilepsy, the Life of E. Swedenborg, Pharmacometaphysics, Depressive-pessimistic Realism, psychic defenses (A. and S. Freud), Logotherapy of V. Frankl, Psychotomimetic states and other. The focus is on the methods for overcoming of boundary situations, in particular the exact role of creativity. To the reader there is offered a rich compilation of perspectives for future studies of the elaborated problematics.

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.

Our contribution to this cross-cultural volume takes the form of an interpretation of Alfred North Whitehead’s (1861–1947) philosophical development. It aims to show how his radical understanding of the concept of creativity made him drift away from the standard Western concept of creation qua production, thereby bringing him closer to a Taoist pragmatic of creativity.

This article critically examines the dangerous, or “troubling,” aspects of the creative process that relate primarily to subjective experiences of limitation and limitlessness with a theological reflection on Biblical stories that exhibit a “troubling” theme of growth fueled by opposition. Sculpting my masterpiece "The New Being" is the case study for this analysis. In keeping with the theme of this issue of Intégrité, the general focus is: What can the creative process teach us about God? The thesis is that the creative process is an effective way to negotiate oppositions for the purposes of psychological and/or spiritual growth and mastery, which shines a light on the important theme of opposition and growth in the stories of the Bible. This theme highlights the Biblical nature of creativity, that it is through adversity that God creates the universe, his nation Israel, and now, accomplishes his supreme task of re-creation or salvation, which he promises will manifest his kingdom by creating a new world culture that advances integral human development, a “new humanity” in a “new creation.”