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Post-Anthropocentric Creativity; Call for Submissions, special issue of Digital Creativity, 27:1, January 2016; Guest editors: Stanislav Roudavski and Jon McCormack. This special issue aims to audit existing conceptions of creativity in the light of non-anthropocentric interpretations of agency, autonomy, subjectivity, social practices and technologies. Specifically, it seeks to explore how 1) the agents, recipients and processes of creativity and 2) the purpose, value, ethics and politics of creativity relate to phenomena of computation. The editors encourage innovative narrative or visual strategies that can express relevant scenarios better that more typical forms of academic writing. Dialogues, conversations, plays, scripts, instruction sets, games or visual essays (for example) might be suitable alongside logical arguments or formulae.
Qualitative Inquiry
With the emergence of Western posthuman understandings, new materialism, artificial intelligence (AI), and the growing acknowledgment of Indigenous epistemologies, an ongoing rethinking of existing assumptions and meanings about creativity is needed. The intersection of new technologies and philosophical stances that upend human-centered views of reality suggests that creativity is not an exclusively “human” activity. This opens new possibilities and assemblages for conceiving of creativity, but not without tensions. In this article, we connect multiple threads, to reimagine creativity in light of posthuman understandings and the possibilities for creative emergence beyond the Anthropocene. Creativity is implicated as emerging beyond non-human spaces, such as through digitality and AI or sources in the natural world. This unseats many understandings of creativity as positioned in Euro-Western literature. We offer four areas of concern for interrogating tensions in this area, aiming ...
2016, Digital Creativity
Can matter, things, nonhuman organisms, technologies, tools and machines, biota or institutions be seen as creative? How does such creativity reposition the visionary activities of humans? This article is an elaboration of such questions as well as an attempt at a partial response. It was written as an editorial for the special issue of the Digital Creativity journal that interrogates the conception of Post-Anthropocentric Creativity. However, the text below is a rather unconventional editorial. It does not attempt to provide an overview of the issue’s theme but, instead, samples it via a particular example. The idea of the issue was to think about post-anthropocentricism by considering (1) agents, recipients and processes of creativity alongside with its (2) purpose, value, ethics and politics. This article addresses the first subtheme by puzzling at the paradoxes of “field learning” and picks at the second by considering the texture of “automated beauty”. Both of these parts use chess for an example. The narrative on chess is intermitted by a section “on creativity” that attempts to contextualize the case-based discussion in the wider context and to consider motivations and implications.
2018, Adaptive behavior
This article proposes a philosophical foundation for a new understanding of natural and artificial creativity based on a notion of relational creativity that encompasses both human and nonhuman creativity. We combine the inspiration from computational creativity with proposals from philosophy of technology and philosophy of organisms and discuss the ideas presented through an imaginary scenario based on the interaction between a creative machine and a locked-in syndrome patient. By doing so, we attempt to discuss why it is valuable to incorporate Gilbert Simondon's notions of autonomy, integration, and amplification, as creativity features that can be candidates to substitute categories as hard to assess as novelty, surprise, and value.
2022, Nodes
Suppose human creativity could be potentially replicated by mechanical processes. In that case, we would face a crossroads: either we could give up using the concept of creativity altogether, or if we hold to our common understanding of what creativity is, we could agree to apply this concept to non-human phenomena as well, as world champion Lee Sedol did when judging the performance of AlphaGo. However, the idea that artificial creativity discloses the mechanic nature of human creativity should also be met with a bit of critical detachment, particularly if we consider the specific case of the arts. In fact, artificial reproductions of human artifacts do not follow the same processes with which humans actually produced those artifacts. Nobody thinks that Mondrian followed procedures similar to the algorithm used in 1966 that generated pseudo-Mondrian, even though the public appreciated the artificial images more than the original ones....
2020, Eleventh International Conference on Computational Creativity, ICCC'20
In this paper, we provide a philosophical account of the value of creative systems for individuals and society. We characterize creativity in very broad philosophical terms, encompassing natural, existential, and social creative processes, such as natural evolution and entrepreneurship, and explain why creativity understood in this way is instrumental for advancing human well-being in the long term. We then explain why current mainstream AI tends to be anti-creative, which means that there are moral costs of employing this type of AI in human endeavors, although computational systems that involve creativity are on the rise. In conclusion, there is an argument for ethics to be more hospitable to creativity-enabling AI, which can also be in a trade-off with other values promoted in AI ethics, such as its explainability and accuracy.
2020, ArXiv
Creativity is a deeply debated topic, as this concept is arguably quintessential to our humanity. Across different epochs, it has been infused with an extensive variety of meanings relevant to that era. Along these, the evolution of technology have provided a plurality of novel tools for creative purposes. Recently, the advent of Artificial Intelligence (AI), through deep learning approaches, have seen proficient successes across various applications. The use of such technologies for creativity appear in a natural continuity to the artistic trend of this century. However, the aura of a technological artefact labeled as intelligent has unleashed passionate and somewhat unhinged debates on its implication for creative endeavors. In this paper, we aim to provide a new perspective on the question of creativity at the era of AI, by blurring the frontier between social and computational sciences. To do so, we rely on reflections from social science studies of creativity to view how curren...
2021, Institute of Arts and Ideas
Computer programs are generating artworks of astonishing novelty and aesthetic value. By the standard definition of creativity, these programs would count as being creative. But if you still hesitate to call a program creative, that's for good reason, we argue. It's because real creativity requires AGENTS who are responsible for what they make, and it's not at all clear that these programs are agents. (The title was imposed by the editor. It was supposed to be called, "ARE COMPUTERS CREATIVE?")
Introductory course notes for seminary students on Hermeneutics: Introductory thoughts: Even though our focus will be Biblical Hermeneutics, hermeneutics is central to the whole of life, for it is the medium, the matrix, the means to have meaning and understanding in all human communication. We are engaged in hermeneutics all our waking hours. It involves interpretation of life, and thus all of life is involved in hermeneutics. Everyone is engaged in the process of interpretation and understanding all of the time. This is because we are created with a mind by the LOGOS of the universe (see pp. 49), whose mind is beyond our comprehension, yet who has spoken his mind in revelation, and we can know and understand his mind and Person. Considering this, it is evident that hermeneutics in every sense is a life and death matter of the utmost seriousness for all people since it determines whether we come to believe and receive his truth or whether we harden our hearts in rejection. In this case, biblical hermeneutics may challenge us to revise our reading strategies of Scripture; yet it is not a magic wand that makes all things suddenly clear. Biblical interpretation takes much careful thought and work, prayer and diligence; it requires willingness to be challenged and molded and revised in our attitudes and perspectives. Biblical hermeneutics in this course is approached as a correlate to biblical theology in the assumption that a properly biblical hermeneutic must lead to a redemptive-historical, Christological, gospel-centered reading of the whole Bible communicating the whole gospel for the whole person for the whole world to be proclaimed by the whole church. In this view, the gospel of Jesus is the hermeneutical key to the whole universe and as such is the true story of the world. There is nothing in all creation that does not relate to, and find its meaning, in relation to that story. Biblical hermeneutics therefore demands that we gain significant knowledge of the principles, and learn skill in applying those principles, but these are not its primary goal: the goal is to grow as disciples with the mind of Christ so that his interpretation of reality increasingly becomes ours, and that his heart becomes ours. We want to know his mind, but we must ask whether we are truly open to God revising our understandings, our theories, our interpretations, and our hearts?
2019, Plos One
2022, Volumen, revue d'études antiques
Parmi les êtres fantastiques les plus emblématiques de la mythologie grecque se trouve en bonne place le Cyclope, ou plutôt les Cyclopes. Car il convient de faire une distinction entre ceux qui appartiennent à la famille ouranienne et leurs homologues terriens. Actuellement, deux théories prévalent sur l’origine de la figure mythologique de cet être monstrueux, de taille gigantesque et pourvu d’un seul œil. La première fait de la cyclopie, une maladie génétique, la source d’inspiration de cette créature terrifiante quand la seconde donne la découverte de fossiles d’éléphants nains dans des grottes de Sicile comme point de départ de leur conception mythologique. Cet article remet en perspective ces deux théories en apportant un regard nouveau sur l’interprétation de la figure du Cyclope.
2012, Türk-İran İlişkileri
Safevi devletinde yönetenler ve yönetilenler arasında görev dağılımı geleneksel bir yapıda kendini gösterir. Öyle ki, Safevi devletini yönetenler ve şahın da yer aldığı örgütün başında duranlar Türk boylarının önemli beyleri iken, bu yapının işleyişini; kayıtlarını, mühasebesini tutanlar geleneksel olarak İran (Ehemeni, Sasani, Selçuklu vb) devletlerinin idaresinde oluşan üslubun takipçileri olan «Tacikiyye» denilen Fars kökenli veya Fars dilli kadrolar idi. Zamanla bu ikinci grubun içerisine Türk asıllı kadrolar girmiş olsa da, onlar da kurumlaşan brokratik üslupları sürdürmüş ve Safevi şahların tarihi ile ilgili eserlerini Farsça yazmışlardır. Bu düalist yapı modern döneme kadar devam etmiş ve Nadir, Kaçar devletlerinde de aynen tekrarlanmıştır.
2024, Schwäbische Heimat
Please touch! An inclusive exhibition on Ice Age art at the Württemberg State Museum Today, around fifty small sculptures from the early phase of the later Palaeolithic period (Aurignacian, approx. 43,000 to 35,000 years ago) are known from the Swabian Jura. The Landesmuseum Württemberg is focussing on the aspect of picking up and touching the figurines in the inclusive special exhibition ‘Urformen. Ice Age art you can touch’. The needs of visually impaired and blind visitors are at the centre of the exhibition.
2020, PLOS ONE
2016
Bitte zitieren als: Schurter T, König B, Vichard E, van Gessel E, Bonvin R, Maier V, Keller U, Kropf R, Beyeler C, Guttormsen S, Huwendiek S. Zentrale Erkenntnisse der Qualitätssicherung des schriftlichen Teils der Schweizer Schlussprüfung Humanmedizin nach 6 Jahren. In: Jahrestagung der Gesellschaft für Medizinische Ausbildung (GMA). Bern, 14.-17.09.2016. Düsseldorf: German Medical Science GMS Publishing House; 2016. DocV33-224. DOI: 10.3205/16gma179, URN: urn:nbn:de:0183-16gma1799 Frei verfügbar unter: http://www.egms.de/en/meetings/gma2016/16gma179.shtml
2006, Medical Hypotheses
2023, International Journal of Modern Manufacturing Technologies
2017
The researcher aimed to construct a tool to assess the Utilization of Dictionary among the students of Higher Secondary. The main purpose of the paper is to assess the utilization of dictionary and well structured questionnaire by using Cronbach Value and Kolmogrov Smirnov value. So this is an attempt to fulfil the aforesaid.
2024, E/C
The Waterloo episode in Stendhal’s La chartreuse de Parme seems to present all those traits that we might trace to a general model of the functioning of reason and passion in wartime. Indeed, the approach to the battlefield of the protagonist Fabrizio del Dongo corresponds to his progressive breakdown as a subject on the sensory, passionate, cognitive, and pragmatic levels. The paper analyzes two excerpts from the book by exploring the notions of sensoriality and figurativeness underlying the construction and prehension of meaning.