A Discourse on Novelty and Creation by C.R. Hausman

By C.R. Hausman

Over the earlier 20 years, the variety of reviews of creativity has in­ creased tremendously. even though those stories symbolize a wide selection of views, the biggest percentage of them falls in the province of the social and behavioral sciences. probably this can be as a result of the impetus of experimental psychologists, who well-known the exact difficulties that come up while originality is taken care of lower than a common thought of cognition. yet what­ ever the explanation, human creativity has turn out to be seen as one of many significant matters of the 20th century. it's been often called the main urgent challenge of our time. despite the significance of the subject, few philosophers have both analyzed or speculated systematically approximately creativity, as a different subject. This overlook could be the expression of a tacit and occasionally specific con­ viction that creativity needs to be taken with no consideration and never subjected to analytic scrutiny. as a minimum, the decision of such a lot of behavioral and social scientists to not fall at the back of within the look for figuring out creativity has ended in a proliferation of guides which are unrelated to each other and that lack dearly ordered and reflective attention of what creativity is. Too few writers have both said or tested what they presuppose approximately artistic acts, approximately human task, and a­ bout the character of rationalization once they specialise in so complicated a phenome­ non as creativity.

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One might ask about reproductions of the so-called same painting. One might ask whether or not I must treat the work of art as something that is not completely restricted to being a single physical object hanging in an art gallery. And one might ask whether the singularity of a poem or a musical composition is not basically different from that of a painting. These are questions that I must waive at the moment. Yet it is necessary to nod in their direction. I think that if one takes an empirical or a physicalist interpretation of works of art, or of aesthetic objects in general, what I have said about the uniqueness of kind of a work of art holds just as well on this interpretation as it does for an idealistic view of aesthetic objects - or, closer to my own interpretation, for a kind of Platonic realism applied to aesthetic objects.

The features of the process give the process a character, and it is the process with a certain character to which "continuity" is attributed. It should be observed, however, that even if it were appropriate to identify a continuum with a process as a whole, I see no way of identifying Novelty Proper either within, or at the terminus of, the continuum without acknowledging a difference between a new aspect of the process and all aspects of the process prior to the advent of what is new in the process.

Each is a kind of its own, and what it is in its distinctive organization does not depend on a preconceived general purpose for which it is designed. Its boundaries mark off a domain that can in a sense be entered, explored, and that controls our understanding of it, not only because of its boundaries, but also because of a central focus or concentration around which the characteristics in the work cluster. It is probably obvious that one of the points that can be seen in this this acknowledgement.

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