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Singing Goddesses in the Himalayan Foothills

Inspiration, Imitation, Accident There are three ready ways of dismissing human creativity: reducing it to the play of chance, declaring seemingly new ideas mere copies of old ones, or calling them products of inspiration. A mild schadenfreude heightens the charm of the accident narrative, portraying artists, poets, or inventors as lucky bumblers. Charles Lamb treats his readers to an ironic pleasure by picturing the swine- herd Ho- ti learning the joys of roast pig by accidentally burning down his cottage. Lamb redoubles the delight by proposing it was

The Dilemmas of Innovation in an Accelerated Age

165 E I G H T Freedom, Necessity, Creativity Philosophical reflections such as Humboldt’s and Dewey’s are one thing. The other are investigations of modern scien­ tific pedagogy and developmental psychology whose em pir­ ical research ascertains data about which form of in terac­ tion between students, respectively between educators and students, is the most successful. As we shall see, the difference between the philosophical doctrine of schooling developed with a utopian intent, and scientific pedagogy depends on what in this context is meant by

imaginário social da loucura: Relatos de experiências em saúde mental, ed. Gina Ferreira and Ana Maria Jacó- Vilela (São Paulo: All Print Edi- tora, 2012), 55. 2 COMMON CREATIVITIES In the fall of 1949, French artist Jean Dubuffet penned his text “L’art brut préféré aux arts culturels” (Art brut preferred to the cultural arts) to accom- pany an exhibition at the Galerie René Drouin in Paris. The exhibition was not a conventional avant- garde exhibition but one of what Dubuffet called art brut, a term he had coined in 1945 to designate “drawings, paintings, all works

T w o Contagion and the Creativity of Affect A core contention in this book is that a political theory of affect needs to account for its elusive, ephemeral, and unpredictable effects. IR scholars have tapped various frameworks to understand how foreign policies, insti- tutional innovations, and legal norms travel in an interconnected world— for example, through learning, path dependency, and moral argument. As significant as these social mechanisms are, none captures the fluidity of emotional interaction in cases of concern in global politics, such as those

140 Logical Induction, Machine Learning, and Human Creativity Jean-GaBrIel GanascIa Creative Machines The ability of machines to create new ideas has long been controversial. In the mid-nineteenth century, Ada Byron-Lovelace argued that a computer was definitely not creative. As Lord Byron’s daughter she was well placed to speak about creativity, and she is considered to be the first software engineer, as she wrote programs for Charles Babbage’s analytical engine, which is consid- ered to be the world’s first computer. According to her, “The Analytical

chapter one Citizenship, Creativity, and the Democratic Imagination Imagine that you are reading your hometown paper one morning andcome across a short item, buried on page 4A: Since Mayor Jones’s election three years ago, crime rates in our area have been cut almost in half. Jones credits his get-tough approach to crime along with the license he has granted to the police department to cut crime however it sees fit. One controversial step the police department has taken is so-called “profile stops”: pulling cars over for minor infractions in the hope that they

96 C h a p t e r S e v e n Conclusion: The Particularities of Aging and Creativity It is difficult enough to make convincing models to account for the ev- eryday behavior and activity of people who we might describe, rightly or wrongly, as “normal”— how much more difficult, and perhaps even fruitless, to make generalizations about artists whose individuality is their calling card. —Michael Beckerman, “Leoš Janáček and ‘The Late Style’ in Music” In exploring the lives of these four composers, we were struck by how, as they aged, their creativity functioned

231 The point of a proper and eff ective intersection of the labels, publishers and advertisers is on the not too distant horizon. Hopefully, the actual music, as opposed to the commodity of the music, will be king again. —Josh Rabinowitz, senior vice president / director for music at Grey Worldwide (advertising agency), 2007 If you don’t have originality, you’re not in the advertising business. —Steve Karmen, interview by author, 2009 9 New Capitalism, Creativity, and the New Petite Bourgeoisie In this fi nal chapter, I analyze the world of the production