Thinking Inside the Tool Box: Creativity,Constraints, and the Colossal Portraits of Chuck Close

This article presents a problem‐solving model to examine the often problematic relationship between expertise and creativity. The model has two premises, each the opposite of a common cliché. The first cliché asserts that creativity requires thinking outside‐the‐box. The first premise argues that experts can only think and problem solve inside the tool boxes of their expertise. The second cliché, that creativity requires freedom from constraints, points to the problem with expertise. Free to do anything, experts repeat what has worked best in the past. A solution is suggested by the second premise: to circumvent the liabilities of expertise, creativity requires constraints of a particular paired kind. The model is introduced as an expansion of prior process models focused on problem identification and construction. Problem‐finding is reanalyzed as constraint‐finding. A case study shows how one recognized creator, painter Chuck Close, uses constraints as a tool to solve the expertise‐creativity problem.     

THE BLOSSOMS OF LOSS: OVID'S FLORAL METAMORPHOSES AND POUSSIN'S REALM OF FLORA

Alluring and fertile, the flower connotes a locus of desire. The floral metamorphic myths narrated in Ovid's Metamorphoses (AD 8a) thematize the price of desire—the shame, grief, and rage of rejection and rivalrous defeat—and symbolize the generative transformation that frustrated desire and competitive loss can promote. In the deceptively beautiful painting Realm of Flora of 1631, Nicolas Poussin enlists these myths as allegories of his own great creative leap, an aesthetic metamorphosis that followed shattering defeats. Extending the association between creativity and object loss to competitive loss, Poussin holds a mirror to our powerful drive to prevail and create anew from the ashes of loss.     

DIFFERENT ARCHITECTURES OF CREATIVITY: LOUIS AND NATHANIEL KAHN

The author analyzes Nathaniel Kahn's documentary film My Architect: A Son's Journey, a tribute to the writer‐director's father Louis, the famous architect, who died suddenly when Nathaniel was eleven years old. The film's poetic, evocative images form a testimony to the silent working through that Nathaniel did in searching for his lost father and to the complex intertwining of mourning and creativity. Creativity is seen as both the cause and the effect of working through, as it gives life to a new meaning and allows replacement of the lost object by an object found again. Bereavement, symbolization, and the birth of representation appear to be connected with one another, both when the most elementary representations are involved and when the more complex and artistic ones are. Where and when it is possible to recover a representation that can survive the absence of the lost object, there is a potentially creative psychic space that can be made fertile again.     

Linking job control to employee creativity: The roles of creative self‐efficacy and regulatory focus

Providing job control to employees has been used to improve employee creativity in many organizations. However, the underlying psychological mechanism between job control and employee creativity has not been sufficiently examined. Whether the mechanism is consistent among different individuals rarely has been studied. Drawing on social cognitive theory and regulatory focus theory, we propose a moderated mediation model to investigate the relationship between job control and employee creativity as well as the mechanism and boundary condition of this relationship. We test our model using survey data from 182 supervisor–subordinate dyads collected from China. The results reveal that job control is positively related to employee creativity via creative self‐efficacy. A promotion focus moderates the indirect effect of job control on employee creativity via creative self‐efficacy such that the positive relationship between job control and creative self‐efficacy is stronger among high promotion focus employees, but a prevention focus does not moderate the relationship. Theoretical and practical implications are discussed in this study.     

Performing the imago Dei: human enhancement,artificial intelligence and optative image-bearing

If the imago Dei is not a taxonomic definition but rather something that is performed in context, what are the implications for questions of human enhancement and the development of artificial intelligence (AI)? The author considers Alistair McFadyen’s performative vision of the imago Dei, one that actively seeks humanity in concrete situations, in the context of human enhancement and AI, asking the questions, ‘Does becoming cyborg through human enhancement make us less bearers of the divine image?’ And, ‘Can AI ever be considered to be in the image of God?’ Briefly tracing the shift in perspectives on the imago Dei, before considering what a performance of the image might look like, the author proposes three performances that have significant implications for questions about what it means to be human. To be an image-bearer is not dependent upon human DNA or species membership, but on an optative performance of the imago Dei.     

Conceptual engineering for mathematical concepts

In this paper I investigate how conceptual engineering applies to mathematical concepts in particular. I begin with a discussion of Waismann’s notion of open texture, and compare it to Shapiro’s modern usage of the term. Next I set out the position taken by Lakatos which sees mathematical concepts as dynamic and open to improvement and development, arguing that Waismann’s open texture applies to mathematical concepts too. With the perspective of mathematics as open-textured, I make the case that this allows us to deploy the tools of conceptual engineering in mathematics. I will examine Cappelen’s recent argument that there are no conceptual safe spaces and consider whether mathematics constitutes a counterexample. I argue that it does not, drawing on Haslanger’s distinction between manifest and operative concepts, and applying this in a novel way to set-theoretic foundations. I then set out some of the questions that need to be engaged with to establish mathematics as involving a kind of conceptual engineering. I finish with a case study of how the tools of conceptual engineering will give us a way to progress in the debate between advocates of the Universe view and the Multiverse view in set theory.