Hugur - 01.01.2016, Blaðsíða 179

Sköpun, kerfi og reynsla 179
Boden, Margaret A. 2010. The Turing test and artistic creativity. Kybernetes, 39, nr. 3,
409–413.
Boden, Margaret A. 2005. What is Creativity? Creativity and Imagination (bls. 242–
254). Ritstj. Michael Beaney. London: Open University Worldwide.
Frankfurt, Harry G. 1988. The Problem of Action. The Importance of What We Care
About (bls. 69–80). New York: Cambridge University Press.
Millikan, Ruth Garrett. 1995. Pushmi-Pullyu Representations. Philosophical Perspect-
ives 9, 187–200.
Strawson, P. F. 1964. Intention and Convention in Speech Acts. The Philosophical
Review 73, nr. 4, 439–460.
Stokes, Dustin. 2011. Minimally Creative Thought. Metaphilosophy 42, nr. 5, 658–681.
Abstract
Creativity, systems and experience
In this paper I make use of an analysis of the concept system on the one hand,
and the concept of experience on the other, to argue that any agent (human
or otherwise) that is rightfully credited as an agent in a creative act, must
have the ability to undergo a specific kind of agentive experience. Margaret
Boden and Dustin Stokes have both put forward related or similar analysis of
creativity which I make use of in the paper, and expand on. My conclusion is that a
creative act is best defined using experience and agency as defining features,
rather than any specific features of the outcome, be that a work of art, a sentence
or something else. In the paper I develop the idea that the agentive experience
of a creative act is best described as a Pushmi-Pullyu representation (Millikan). I
also put forward the first steps in how to make a distinction between creative acts
and other acts, based on this Pushmi-Pullyu model.
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