BISOCIATION of Arthur Koestler in the ACT of CREATION (1964)
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Mathematical Description of the Creative Process
Stephen J. Merrill Department of Math, Stats & Comp Sci Program in Computational Sciences Marquette University Milwaukee, Wisconsin USA Goal and Purpose of Talk To better understand the successes and failures of the creative process 1) Usually, only instances of success of the process are related. You can usually say what happened when it worked. And, now, why one may have failed. 2) One would also like to teach this process and help others to access the creative problem- solving process. 3) A nice example where nonlinear dynamics language makes sense. Math Description of the Creative Process – Barcelona 2012 2 Starting point Will be looking at the solving of “hard” problems – where a frontal direct (analytical) approach is not likely to succeed. These problems require a process that several (including Poincaré) have described: 1) Preparation – deep immersion into the problem 2) Incubation – sleeping & waking focus on the problem 3) Illumination – realization that “a solution” may have been found. In a dream, upon waking, or popping into your head. 4) Verification – testing of the proposed solution. Math Description of the Creative Process – Barcelona 2012 3 Early Work in this area Poincaré (1915) The Foundations of Science. Wallas (1926) The Art of Thought. Hadamard (1945) The Psychology of Invention in the Mathematical Field. Beveridge (1951) The Art of Scientific Investigation. (See Merrill (2007) for a more complete discussion) None of these proposed a mathematical (conceptual) description until Arthur Koestler (1964) The Act of Creation Math Description of the Creative Process – Barcelona 2012 4 Arthur Koestler • Born in Budapest, educated in Austria, 43 years in Great Britain as a political commentator who wrote novels, essays, memoirs and biographies, and lectured widely. -
Arthur Koestler's Hope in the Unseen: Twentieth-Century Efforts to Retrieve the Spirit of Liberalism" (2005)
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 Arthur Koestler's hope in the unseen: twentieth- century efforts to retrieve the spirit of liberalism Kirk Michael Steen Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Steen, Kirk Michael, "Arthur Koestler's hope in the unseen: twentieth-century efforts to retrieve the spirit of liberalism" (2005). LSU Doctoral Dissertations. 1669. https://digitalcommons.lsu.edu/gradschool_dissertations/1669 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. ARTHUR KOESTLER’S HOPE IN THE UNSEEN: TWENTIETH-CENTURY EFFORTS TO RETRIEVE THE SPIRIT OF LIBERALISM A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Kirk Steen B. A., University of New Orleans, 1974 M. A., University of New Orleans, 1986 August 2005 ©Copyright 2005 Kirk Michael Steen All rights reserved ii Arthur Koestler at his desk during the 1930s iii Dedication The efforts that produced this investigation of Arthur Koestler I offer to my wife, Christel Katherine Roesch, for her patient support and for the value and respect she holds for liberal education. The two of us share one fundamental belief that justifies the changes in our lifestyle necessitated by my earning a terminal degree and completing the narrative that follows. -
“Straight out of the Button-Molder's Own Ladle”: on the Complexity of Characters in Arthur Koestler's Thieves in The
International Journal of IJES English Studies UNIVERSITY OF MURCIA http://revistas.um.es/ijes “Straight out of the button-molder’s own ladle”: On the complexity of characters in Arthur Koestler’s Thieves in the Night ZÉNÓ VERNYIK* Technical University of Liberec Received: 18/12/2015. Accepted: 5/04/2016. ABSTRACT This paper discusses the complexity of female and Arab characters in Arthur Koestler’s Thieves in the Night. Through an analysis of three main characters (Dina, Ellen and the Mukhtar of Kfar Tabiyeh) and several minor ones, it shows that the allegation of contemporary reviews, and some works on Arthur Koestler ever since, that the novel is excessively built on stock characters is untenable. In fact, the representation of women and Arabs is both specific and detailed, in addition to the fact that these characters show a clearly detectable line of development, even if their initial presentation might in some cases be reminiscent of Petrarchan or other types. KEYWORDS: Koestler, characters, stock, type, Arab, women. 1. INTRODUCTION Although after decades of relative silence there has been a renewal of interest in research on Arthur Koestler since the late 1990s (most recent works being biographies1 or pseudo-biographies2), they have neither significantly changed the picture that, as far as his fiction is considered, Koestler is remembered as a one-book author, nor provided detailed analyses of his literary texts.3 Yet, regardless of their somewhat forgotten status, I am convinced that some of his books, and in particular Thieves in the Night (1949a),4 are comparable in literary interest to his canonized novel, Darkness at Noon (1940). -
REED MERRILL and THOMAS FRAZIER, COMP. Arthur Koestler: an International Bib- Liography Ann Arbor: Ardis Publishers, 1979. Pp. 1
Chapter 3 on "The Problem of the Mr. Ramsay and echoed by Lily Briscoe re Fiction," introduces the author's central presents order and fulfillment, a final thesis and could, then, perhaps have served symmetry. Mr. Carmichael, like a pagan as Chapter 1. Rosenthal rejects interpreta deity, extends his benediction over these tions of Woolf s novels as seen through the personal triumphs. At the end of The feminist lens, stating that this politicized Waves, it is the rhythm of the continual focus tends to distort the fiction. He rise and fall of life, represented symbolically dispenses also with the "androgynous vi by waves, that formulates Bernard's accept sion" emphasized by other critics. Rather, ance of his own mortality, resulting^ in he sees Virginia Woolf s work as radical in "harmony and completion." And in Between the sense that it is dissociated from the the Acts, the power of individuals to create "story-telling tradition." As an artist, writes art, relationships, and life out of disorder, Rosenthal, "Woolf was obsessed with what that is, Miss La Trobe's ability to create, par we call formal rather than thematic con alleled by Giles and Isa's creative struggle cerns" and "absorbed primarily in creating to renew their love, is the key whereby shapes." Woolf s "reality" has to do with the Virginia Woolf affirms her vision. "texture of human life" and the effort to "orchestrate" the quality of personal rela Michael Rosenthal's book is valuable in tionships. Like Woolf, her characters (for many ways, among them as a consistent example, Lily Briscoe, Bernard, Miss La development of a new point of view toward Trobe), are trying to form coherency from the novels; as an exemplar of that very the chaos around them. -
H. BRUCE FRANKLIN Future Perfect: American Science Fic- Tion of the Nineteenth Century Revised Edition. Oxford: Oxford Universit
also sets out separate sections for Lectures [London: St. James Press, 1972], p. 726). and Broadcasts, Contributions to Books, Since then, the fraction has changed only and Contributions to Periodicals. The Ency slightly—6 novels out of 31 volumes—and clopaedia of Sexual Knowledge and the Bantam editions of Darkness at Noon L'Encyclopédie de la Famille, both published now number 10. The bibliography makes under the pseudonym Dr. A. Costler, and a clear just how international the interest in diatribe. Von Weissen Nächten und Roten his fiction really is: The Gladiators (1939) Tagen (1933), the original title of which was exists in 9 languages, Darkness at Noon to have been The Soviet Land through (1940) in 32, Arrival and Departure (1943) in Bourgeois Eyes, are mentioned in the'pre 12, Thieves in the Night (1946) in 10, and The face, but, at Koestler's request, are exclud Age of Longing (1951) and The Call Girls ed from the bibliography. In "Works (1972) each in 9. The fact that translation about Arthur Koestler" (403 items), pre of early Koestler fictions continues into the pared by Thomas Frazier, arrangement is seventies implies the breadth, currency, by topic as well as by the individual Koestler and importance of his imaginative thought. works considered. Theses and dissertations Darkness at Noon, for example, appears as are included. Annotated references to C. E. Slepiashchaia t'ma in 1978 (New York: M. Joad's Decadence: A Philosophical Inquiry Chekhov); Arrival and Departure, as Hacsiz (1948), Langston Hughes's I Wonder as I haclilarm 1973 (Istanbul: Varlik Yayinevi). -
Towards Creative Information Exploration Based on Koestler's
Towards Creative Information Exploration Based on Koestler’s Concept of Bisociation Werner Dubitzky1, Tobias K¨otter2, Oliver Schmidt1,andMichaelR.Berthold2 1 University of Ulster, Coleraine, Northern Ireland, UK [email protected], [email protected] 2 University of Konstanz, Konstanz, Germany {tobias.koetter,michael.berthold}@uni-konstanz.de Abstract. Creative information exploration refers to a novel framework for exploring large volumes of heterogeneous information. In particular, creative information exploration seeks to discover new, surprising and valuable relationships in data that would not be revealed by conven- tional information retrieval, data mining and data analysis technologies. While our approach is inspired by work in the field of computational cre- ativity, we are particularly interested in a model of creativity proposed by Arthur Koestler in the 1960s. Koestler’s model of creativity rests on the concept of bisociation. Bisociative thinking occurs when a problem, idea, event or situation is perceived simultaneously in two or more “ma- trices of thought” or domains. When two matrices of thought interact with each other, the result is either their fusion in a novel intellectual synthesis or their confrontation in a new aesthetic experience. This arti- cle discusses some of the foundational issues of computational creativity and bisociation in the context of creative information exploration. “Creativity is the defeat of habit by originality.” – Arthur Koestler 1 Introduction According to Higgins, creativity is the process of generating something new that has value [19]. Along with other essentially human abilities, such as intelligence, creativity has long been viewed as one of the unassailable bastions of the hu- man condition. -
Democratizing Mathematical Creativity Through Koestler's Bisociation Theory
DEMOCRATIZING MATHEMATICAL CREATIVITY THROUGH KOESTLER’S BISOCIATION THEORY Vrunda Prabhu1*, Bronislaw Czarnocha2 1BCC, CUNY, 2Hostos CC, CUNY The presentation challenges a frequently-expressed assertion: “There is no single, authoritative perspective or definition of creativity [in mathematics]” Kattou et al. (2011). It points to difficulties resulting from using accepted definitions in educational research (Wallas, 1926; Thorance, 1975). In this paper, the authors express concern about joining research on creativity with the research into giftedness and suggest the need for democratizing that approach. To that end, they introduce an alternative definition of creativity - bisociation, that is “a creative leap of insight” or an Aha moment (Koestler, 1964). Prabhu and Czarnocha argue for adopting Koestler’s bisociation as “the authoritative perspective or definition of creativity.” THE STATE OF THE FIELD Mathematical creativitY maY be the onlY gate through which to reactivate the interest and the value of mathematics among contemporary Youth whose engagement in the field is hampered by disempowering habits expressed as “I can’t do it,” “I am not good in math,” “thinking tires me” (Czarnocha et al., 2011). This teaching-research observation is in agreement with the research communitY: Lamon (2003) emphasizes the need for creative critical thinking and Mann (2005) asks for the explicit introduction of creativitY as the component of learning in general. However, the conceptualization of creative learning varies due to the diversitY of the proposed definitions of creativitY. (Kattou et al., 2011) There is no single, authoritative perspective or definition of creativitY (Mann, 2006; Sriraman, 2005; Leikin, 2011, Kattou et al., 2011) leaving practitioners without a clear and supportive viewpoint. -
Working Paper by Professor Roger Smith, University of Western Australia
WORKING PAPER BY PROFESSOR ROGER SMITH, UNIVERSITY OF WESTERN AUSTRALIA KOESTLER THE CATALYST - CONNECTIONS TO MANAGEMENT AND LIFE FROM A 20th CENTURY POLYMATH (Presented for UWA Extension Services "Great Dates in History" lecture series, September 2001) September 5, 1905 is a date I consider to be significant because it is the day Arthur Koestler entered this mortal coil. As I hope to show, Arthur not only had a remarkable life, but he also had a significant impact on his world as one of the great men of letters of the 20th century. My caveat for this talk is that I am not an expert on Koestler or his works but rather someone who understands a little about him and who stands in awe of his achievements. I met Arthur Koestler, via his writing rather than in person, in 1966. In my role as a training officer at that time with WA company CSBP & Farmers Ltd, I was designing and conducting supervisor and manager courses. When looking for information for a particular session on creativity my manager, a person of wide ranging interests and a rather formidable intellect, suggested I read Koestler's book "The Act of Creation". It blew my mind both as a brilliantly written explanation of the creative process and as a source of some very useful examples of creative thought. I still use the Buddhist monk problem in my classes on entrepreneurialism. I suspect that Edward De Bono owes not a little to the ideas espoused by Koestler. Since that time I have read a number of Koestler's works and incorporated many of his concepts and ideas into my teaching of management, particularly when I want to present alternative views to the logico-quantitative approach that is so prevalent in our education system and in academic research on management and its associated disciplines. -
Understanding Creative Interaction: a Conceptual Framework for Use in the Design of Interactive Systems for Creative Activities
Understanding Creative Interaction: A Conceptual Framework for Use in the Design of Interactive Systems for Creative Activities Tim Coughlan A thesis submitted for the degree of Doctor of Philosophy University of Bath Department of Computer Science September 2009 COPYRIGHT Attention is drawn to the fact that copyright of this thesis rests with its author. A copy of this thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and they must not copy it or use material from it except as permitted by law or with the consent of the author. This thesis may be made available for consultation within the University Library and may be photocopied or lent to other libraries for the purposes of consultation. 1 Table of Contents Part 1: Introduction ......................................................................................10 1.1 : Overview ........................................................................................................... 11 1.1.1 : Research Contribution................................................................................ 14 1.1.2 : Thesis Outline ............................................................................................ 15 1.2 : Research Questions and Objectives ................................................................. 16 1.2.1 : Research Questions................................................................................... 16 1.2.2 : Research Objectives .................................................................................