Transformational Creativity

Margaret Boden presents a series of essays in which she explores the nature of creativity in a wide range of art forms. Creativity in general is the generation of novel, surprising, and valuable ideas (conceptual, theoretical, musical, literary, or visual). Boden identifies three forms of creativity: combinational, exploratory, and transformational. These elicit differing forms of surprise, and are defined by the different kinds of psychological process that generate the new ideas. Boden examines creativity not only in traditional fine art, but also in craftworks, and some less orthodox approaches—namely, conceptual art and several types of computer art. Her Introduction draws out the conceptual links between the various case-studies, showing how they express a coherent view of creativity in art.

“A brilliant travel guide to the coming world of AI.” —Jeanette Winterson What does it mean to be creative? Can creativity be trained? Is it uniquely human, or could AI be considered creative? Mathematical genius and exuberant polymath Marcus du Sautoy plunges us into the world of artificial intelligence and algorithmic learning in this essential guide to the future of creativity. He considers the role of pattern and imitation in the creative process and sets out to investigate the programs and programmers—from Deep Mind and the Flow Machine to Botnik and WHIM—who are seeking to rival or surpass human innovation in gaming, music, art, and language. A thrilling tour of the landscape of invention, The Creativity Code explores the new face of creativity and the mysteries of the human code. “As machines outsmart us in ever more domains, we can at least comfort ourselves that one area will remain sacrosanct and uncomputable: human creativity. Or can we?...In his fascinating exploration of the nature of creativity, Marcus du Sautoy questions many of those assumptions.” —Financial Times “Fascinating...If all the experiences, hopes, dreams, visions, lusts, loves, and hatreds that shape the human imagination amount to nothing more than a ‘code,’ then sooner or later a machine will crack it. Indeed, du Sautoy assembles an eclectic array of evidence to show how that’s happening even now.” —The Times

Secrets of Creativity: What Neuroscience, the Arts, and Our Minds Reveal draws on insights from leading neuroscientists and scholars in the humanities and the arts to probe creativity in its many contexts, in the everyday mind, the exceptional mind, the scientific mind, the artistic mind, and the pathological mind. Components of creativity are specified with respect to types of memory, forms of intelligence, modes of experience, and kinds of emotion. Authors in this volume take on the challenge of showing how creativity can be characterized behaviorally, cognitively, and neurophysiologically. The complementary perspectives of the authors add to the richness of these findings. Neuroscientists describe the functioning of the brain and its circuitry in creative acts of scientific discovery or aesthetic production. Humanists from the fields of literature, art, and music give analyses of creativity in major literary works, musical compositions, and works of visual art.

Creativity is usually seen as a good thing, but why? The Creativity Advantage first offers an overview of creativity studies with an emphasis on the little-discussed benefits of being creative. These include how creativity can lead to self-insight, help people heal, forge connections with others, inspire drive, and enable people to leave behind a meaningful legacy. Written in an engaging style and illustrated with interesting anecdotal material, this book offers a new perspective on creativity scholarship that can serve as an introduction to the field for newcomers or as a way to encourage new avenues for research.

Creativity is a highly-prized quality in any modern endeavor, whether artistic, scientific or professional. Though a much-studied subject, and the topic of a great many case-studies, the field of creativity research is still very much an open one. Creativity remains a field where absolute definitions hold very little water, and where true insight can only emerge when we properly appreciate - from a nuanced, multi-disciplinary perspective - the crucial distinction between the producer's perspective and the consumer's perspective. Theories that afford us a critical appreciation of a creative work do not similarly afford a explanatory insight into the origins and development of the work. As researchers, we must approach creativity both as producers - to consider the vast search-spaces that a producer encounters, and to appreciate the need for heuristic strategies for negotiating this space - and as consumers, to appreciate the levels of shared knowledge (foreground and background) that is exploited by the producer to achieve a knowingly creative effect in the mind of the consumer. This volume thus brings together both producers and consumers in a cross-disciplinary exploration of this complex, many-faceted phenomenon.

This handbook examines what education would look like if it prepared gifted students to transform the world—to make it a better place for all, not just for those who receive extra resources from schools in return for being labeled as “gifted.” The editors explore how transformationally gifted people can seek to make the world a better and more just place: they try to make a positive, meaningful, and possibly enduring contribution to changing things in the world that are not working. They do not view “giftedness” merely as a transaction whereby, in exchange for being labeled as “gifted,” they accrue benefits to themselves: such as a more prestigious education, more income, or residence in a more exclusive community. The overarching aim of this book is to present conceptions of what identification and instruction of the gifted would look like if the focus of gifted education was transformational rather than transactional. What if gifted education did not focus so much on acceleration vs. enrichment, or pull-out versus in-class integration, but rather on how to be gifted in giving back—in using one’s gifts to create a better world?

Drawing from philosophy, religion, biology, behavioral and social sciences, and the arts, The Routledge International Handbooks of Multidisciplinary Perspectives on Character Development, Volumes I and II, present cutting-edge scholarship about the concept of character across the life span, the developmental and contextual bases of character, and the key organizations of societal sectors, within and across nations, that promote character development in individuals, families, and communities. This second volume, Moderators, Threats, and Contexts, focuses on the moderators and covariates of character development with chapters pertaining to cultural- and contextual-based exemplars of character development; grit, achievement, and resilience; hope for the future; and parenting and self-regulation. With contributions from international experts, Volume II goes on to discuss threats to moral, positive, or virtuous character development, as well as the different contexts wherein the character is studied and promoted. Special attention is paid to the centers of excellence at universities around the world that specialize in character development research and character education. This comprehensive publication is an essential reference for researchers and graduate students in behavioral sciences, biology, philosophy, theology, and economics, as well as practitioners leading or evaluating character education or character development programs around the world. Find Volume I: Conceptualizing and Defining Character here: www.routledge.com/9781032169491

This book approaches Hobbes's philosophy from a completely new perspective: his creativity. Creativity is the production of something which experts consider to be original, valuable and of high quality. James Hamilton explores Hobbes's creativity by focusing on his development, personality, and motivation in the context of his culture and environment, and on the ways in which he thought creatively, as inferred from his writings. Identification of the ideas which Hobbes drew upon is an important part of the study for two reasons. First, they are necessary to determine which of Hobbes's ideas and theories are original and which are not. Second, analysis of his creativity requires an understanding of the ideas from which he drew. Hamilton concludes that Hobbes became a great philosopher because of his creative virtuosity.