By Denis Dutton, Michael Krausz (eds.)
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Extra resources for The Concept Of Creativity Science Art, 1st Edition
How could Darwin and Wallace describe the process of evolution in such detail if they had never, and given the time span of the process never could, observe it? What were they describing? What stood between them and the almost untold aeons of minute changes in millions of species on millions of hectares of the earth's surface that they reduced to order? Clearly they shared an imaginative conception of the organic history of the earth and the natural forces and processes that shaped it. I am not interested, for the moment, in the question of from whence they derived that conception, but in the role of the conception itself.
So the dispositions we assign to reality in our imagination must be closely analogous to the dispositions we find the real world to have. But if these dispositions are to be grounded, that is, to be powers and liabilities, dispositions grounded in the nature of things, must we not try to conceive of natures of things the details of which must lie beyond the boundary of all possible experience, and if that nature is beyond all possible experience, how are we to conceive it? Yet it is my contention that physicists, cosmologists, and psychologists both can and do achieve creative acts of the imagination in the transcendental phase of activity, and that we can follow them.
But by what sort of environment are they selected? We must acknowledge the complexity of that environment. New ideas are contemplated, deliberated upon by people, and in the course of these deliberations are accepted or rejected, or sometimes merely forgotten, or abandoned because of the appearance of a novelty more in fashion. Sometimes they are tested, as to what further intelligibility they lend to what we think goes on, and sometimes even as to what they lead us to think there is. Sometimes ideas are rejected out of hand, as silly, threatening, "unintelligible," obscene, and so on.