Creative product and creative process in science and art

Philosophy of History and Culture

Volumn 28, Issue , 2009, Pages 17-41

  Briskman, Larry ^a  

^a UNIVERSITY OF EDINBURGH   (United Kingdom)

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EID: 84966657762     PISSN: 09226001     EISSN: None     Source Type: Book Series    
DOI: None     Document Type: Chapter

References (31)

1. Reprinted from Inquiry 23(1980):83-106
2. and The Concept of Creativity in Science and Art, eds. D. Dutton and M. Krausz (The Hague, Boston, London: Martinus Nijhoff Publishers, 1981), 129-155, all rights reserved.
3. A similar point has been made by Vincent Tomas in his article "Creativity in Art", reprinted in Creativity in the Arts, ed. V. Tomas (Englewood Cliffs: Prentice-Hall, 1964), 97-109.
4. From a letter, reprinted in Creativity: Selected Readings, ed. P. E. Vernon (Harmondsworth: Penguin, 1970), 55 (Italics in the original).
5. Quoted in R. S. Woodworth, Experimental Psychology (New York: Holt, 1938).
6. Quoted in Jacques Hadamard, The Psychology of Invention in the Mathematical Field (Princeton: Princeton University Press, 1949), 15.
7. In H. A. Krebs and J. H. Shelly, eds., The Creative Process in Science and Medicine (Amsterdam: Elsevier, 1975), 31.
8. See J. Monod, Chance and Necessity (New York: Knopf, 1971), especially chap. 2.
9. In his "Indeterminism in Quantum Physics and in Classical Physics", British Journal for the Philosophy of Science 1(1950), and elsewhere.
10. For Popper's World 3 theory, see his Objective Knowledge (Oxford: Oxford University Press, 1972), especially chap. 3, 4, 6.
11. From J. P. Sartre, Existentialism, trans. Bernard Frechtman (New York: The Philosophical Library, 1947).
12. A propos of this, Popper writes, "A t any moment we are prisoners caught in the framework of our theories; our expectations; our past experiences; our language. But we are prisoners in a Pickwickian sense: if we try, we can break out of our framework at any time" ("Normal Science and its Dangers", in Criticism and the Growth of Knowledge, eds. I. Lakatos and A. Musgrave (Cambridge: Cambridge University Press, 1970), 56.
13. J. P. Guilford, "Traits of Creativity", reprinted in Creativity, ed. P. E. Vernon, 167-188. Quote from 167.
14. N. E. Golovin, "The Creative Person in Science", in C. W. Taylor and F. Barron, eds., Scientific Creativity: Its Recognition and Development (New York: Wiley, 1963), 7-23 (Quote on 8).
15. T. A. Razik, "Psychometric Measurement of Creativity", reprinted in Creativity, ed. 155-166.
16. As Liam Hudson has pointed out in his book Contrary Imaginations (Harmondsworth: Penguin, 1967), 126: "Open-ended tests are known throughout the United States as creativity tests. Yet⋯ there is scarcely a shred of factual support for this." For the severe problems involved in validating such tests (that is, in showing that they are actually testing creativity!)
17. see R. J. Shapiro's, "Criterion Problem", in Creativity, ed. P. E. Vernon, 257-269.
18. The notion of a 'research program' is due largely to the writings of Popper, Agassi, and especially Lakatos. For a discussion of psychology's dominant modern metaphysical research program-behaviorism- and some suggested reasons for its current demise, see my "Is a Kuhnian Analysis Applicable to Psychology?" Science Studies 2(1972):87-97.
19. For further reflections on behaviorism, see my "Skinnerism and Pseudo-Science", Philosophy of the Social Sciences 9(1979):81-103.
20. For some rather disastrous consequences of ignoring the evaluative aspect of knowledge, and of blurring the fact/value distinction, see my "Toulmin's Evolutionary Epistemology", Philosophical Quarterly 24(1974):60-69.
21. The Japanese painter, Yasuo Kuniyoshi, reports (in The Creative Process: A Symposium, ed. B. Ghiselin [Berkeley: University of California Press, 1952], 55) that this was, in fact, an artistic problem which he tried to solve.
22. The idea that the artist confronts objective problems is well known to any reader of Gombrich's brilliant Art and Illusion (Princeton: Princeton University Press, 1960).
23. Ben Shahn, "The Biography of a Painting", in Creativity in the Arts, ed. V. Tomas, 32.
24. Quoted in Banesh Hoffmann and Helen Dukas, Albert Einstein: Creator and Rebel (New York: Viking, 1972), 124.
25. Karl Popper, "Replies to my Critics", in The Philosophy of Karl Popper, ed. P. Schilpp (LaSalle: Open Court, 1974), vol. 2, 1061.
26. See Joseph Agassi, "Criteria for Plausible Arguments", Mind 83(1974):406-416.
27. For further elaboration of, and suggested modifications to, Agassi's idea of bootstrap rationality, see my "Historicist Relativism and Bootstrap Rationality", The Monist 60(1977):509-539.
28. E. Vivas, "Naturalism and Creativity", in Creativity in the Arts, ed. V. Tomas, 90.
29. The psychologist Donald Campbell has already suggested a Darwinian model of the creative process in his paper, "Blind Variation and Selective Retention in Creative Thought as in Other Knowledge Processes", Psychological Review 67(1960):380-400.
30. Reported in Popper's Objective Knowledge, 180.
31. The idea of self-transcendence has been beautifully explored in Gombrich's paper, "Art and Self-Transcendence", in The Palace of Value in a World of Facts, eds. A. Tiselius and S. Nilsson (New York: Wiley Interscience Division, 1970) 125-133.