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KEITH SAWYER St. Louis, Jan . 16 2012 The writer is an associate professor of education at Washington University and the author of "Group Genius" and "Explaining Creativity".
But the problem with defining creativity in this way, argues Keith Sawyer, Ph.D., professor at the University of North Carolina at Chapel Hill and author of Explaining Creativity: The Science of Human Innovation, is that "usefulness" and "adaptability" also need to be defined -- meaning researchers often have to use other measures to determine who or what is creative.
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So if the argument's going to be, "We need to posit the existence of a soul in order to explain creativity," again, that just seems wrong.
Relaxed selection explains creativity in language and literature: once we no longer have to pressure our bodies to chew and hunt, the big heads behind them, having nothing to do, start doing what they please.
Reinforcing these assumptions are hundreds of books and studies that have attempted to explain creativity as the product of mysterious processes within the right side of the human brain.
A scientific psychology can reasonably hope to explain creativity.
They cannot explain creativity and have no relations to the predominant interest of philosophy in that time, namely the fields of dynamical (temporal) logics which should help to model the movement of thought (Denkbewegung).
(Nor by intuition: To say we do something by intuition is to say that we do it, but we don't know how we do it. In other words, "intuition" is the name of a question, not the name of an answer). A scientific psychology can reasonably hope to explain creativity.
This article presents a framework for understanding and explaining digital creativity within the growing area of interactive visual analytics.
This is one way of explaining the creativity generated by cities, by Europe's 17th-century coffee-houses, and by the internet.
In his book Creative Intelligence, Nussbaum explains that creativity is not a rare genetic trait – it is a learned skill.
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