CREATIVITY IN SCIENCE AND THE ARTS (original) (raw)
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Perceptions of Creativity in Artistic and Scientific Processes
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This paper presents the results of a factorial survey research on perceptions of artistic and scientific creativity in humans and AI. A general reluctance at attributing creativity to artificial systems is well-documented in the literature on the theme. Aim of this survey is to test whether this reluctance is equally strong when participants evaluate scenarios where human and artificial agents are involved in processes of scientific discovery and scenarios where they are engaged in artistic creation processes. The starting hypothesis of the study is that participants should be less hesitant at attributing creativity to artificial agents when the latter engage in scientific discovery processes. Findings, however, disconfirm this assumption, showing that participants attribute significantly less creativity to artificial actors than to human ones, and even more so when they are involved in scientific processes.
Creativity and Innovation Management, 1996
Magyari-Beck applied familiar themes from the history of science, this article borrows extensively from the latest thinking in the philosophy of science, thus continuing the debate started by Magyari-Beck at the ontological and epistemological plane. The contribution of this article lies in the fact that it uncovers some basic assumptions researchers hold about the nature of the (social) world and ways they can obtain knowledge about that world. As such it challenges orthodox ideas about "good" research and theory building.
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Balkan Journal of Philosophy, Volume 15, Issue 1, 2023. Special Issue Creativity After Automation. https://www.pdcnet.org/bjp/content/bjp\_2023\_0015\_0001\_0013\_0022 Algorithms and automated learning systems have been successfully applied to produce images, pieces of music, or texts that are appealing to humans and that are often compared to artworks. Computational technologies are able to find surprising and original solutions–new patterns that humans cannot anticipate– but does this mean we ascribe to them the kind of creativity that is expressed by human artists? Even though AI can successfully detect humans’ preferences as well as select the objects that satisfy taste, can we ascribe to them the capacity of recognizing the intrinsic value of artworks? To answer these questions, I am first going to explain the kind of creativity that is expressed by contemporary predictive systems, then, in the second part of this paper, I will try to show the difference between the creativity of algorithms and the creativity of artists by expanding on Deleuze’s reflections.
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International Journal of Engineering, 2018
The problem of artistic creativity is one of the deeper problems, which are related to acts underlying the artist, emerged about his artistic work, they also represent the most important art issues, as the creative innovation is about originality reflect the genius reveal his greatness, and artistic creation is an introduction to the study of artistic taste on the basis of sound, which is the study of the act or creative expression precondition of artistic taste, which is the focus of the relationship between the creator and the receiver. Studies on the problem of creativity have varied between; historical studies that tracks the views of successive artists, descriptive studies only as artistic creativity in their manifestations, taxonomic studies that focus on the classification of creative processes, and interpretative studies that are trying to reach the level of theory by Philosophical Method the theoretical or practical and demo approach. Research deals with an analytical study of the theories of artistic creation, which include: inspiration or genius, mental, social, and psychology, to confirm that creativity is nothing but a product of social reality and conditions, customs and heritage and traditions associated with inspiration and genius of social and psychological conditions.
AN EXCURSION INTO PHILOSOPHY AND PSYCHOLOGY OF CREATIVITY
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.
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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.
Artificial life illuminates human hyper-creativity
The aim of this chapter is to show how the technological research activity called "artificial life" is shedding new light on human creativity. Artificial life aims to understanding the fundamental behavior of life-like systems by synthesizing that behavior in artificial systems (more on artificial life below). One of the most interesting behaviors of living systems is their creativity. Biological creativity can be found in both individual living organisms and in the whole biosphere-the entire interconnected system comprised of all forms of life-but I will focus in this chapter on the biological creativity exhibited by the evolutionary process. This is the creativity that enabled the earliest simple life forms to spontaneously evolve into the incredibly rich and beautiful diversity of life that now surrounds us. This diversity of life includes the most complex adaptive and intelligent systems in the known universe. This is an amazingly powerful spontaneous creation process, indeed. I will refer to it as hyper-creativity to call attention to the way in which it produces qualitatively new and more complex kinds of adaptations. There is a similar quality in human creativity. I am thinking of the aesthetic and cultural creativity of artists, but also the intellectual creativity of scientists and scholars, as well as the commercial and practical creativity of craftsmen, businessmen, and entrepreneurs. And I want to focus especially on the hypercreative aspects of human creativity-the way in which human activity can yield qualitatively new and more complex creations.