1. McNair Scholars Advised by Dr. Michelle Gilmore-Grier Department of Philosophy University of San Diego CONTINUITY, DISRUPTION, AND CREATION: SUNRISE FROM INSIDE EXPERIENTIAL CREATIVITY BY THEODORE DAVIS

2. CURRENT LITERATURE Critical scholarly work in the field of creativity in the early 80’s by C.R. Hausman suggest that novelty is necessary in any explication of creative acts. In this, contemporary philosophers (e.g. Berys Gaut, Elliot Samuel Paul, and Dustin Stokes) have made major contributions to the cannon of The Philosophy of Creativity, thereby resuscitating a significant area of study in aesthetic theory.

3. CURRENT LITERATURE Dustin Stokes definition for minimal creativity is : Some thought (or action) x is minimally creative only if, for some agent A, x is the non- accidental result of the agency of A and x is psychologically (or behaviorally) novel relative to A. Carl Hausman claims a creative act must meet three conditions : It must appear to be discontinuously directed or controlled, at least in being found acceptable by critical selection. It must issue in Novelty Proper that exhibits inherent value independently of a tradition and that may be relative to a tradition which it enhances, advances, or initiates. Finally, it must yield a product which is valuable in at least two ways, that is, it must be inherently valuable as a determination of a new being and as a kind of determination which merits sustenance.

4. PURPOSE The truth is that a definitive definition of creativity may never be agreed upon. My objective here is to provide the foundations for a template that can support a theory of creativity. It is my hope to explore abstract philosophical concepts by emphasizing the experience of the artist. To assist in explaining philosophical terminology and concepts, I will utilize concrete artistic media.

5. PURPOSE Sometimes philosophical explanations are to abstract. And a holistic experiential account of creativity is I contend an incredibly fruitful way to explain a phenomenon, one that is shared by so many. I suggest that an experiential account of creativity will be applicable to any Philosophy of Creativity.

6. KEY TERMS Intelligibility Continuity Disruption Novel Totality Judgment Satisfaction Experiential

7. KEY TERMS Intelligibility Continuity Disruption Novel Totality Judgment Satisfaction Experiential

8. DISCUSSION Continuity, Disruption, and Creation

9. FUTURE RESEARCH My aim is to investigate the standards of intelligibility, and the degrees of which it motivates creative processes.

10. LIMITATIONS The subjectivity of the experience

11. REFERENCES Immanuel Kant Qritique of Judgment Translated by J.H. Bernard 1951 Arthur Schopenhauer Essays and Aphorisms Translated by R.J Hollingdale 1970 Friedrch Nietzsche Twilight of the Idols and The Anti-Christ Translated by R.J. Hollingdale 1968 Friedrch Nietzsche On The Genealogy Of Morals Ecce Homo Translated by Walter Kaufmann and Rj Hollingdale 1967 The Philosopy of Creativity New Essays 2014 Elliot Samuel Paul Editor Assistant Professor of Philosophy (Banard College, Columbia Unversity) 2014 Bence Nanay An Experiential Account of Creativity BOF Research Professor (University of Antwerp) and Senior Research Associate (Cambridge University) 2014 Gregory Currie Creativity and the Insight That Literature Brings Professor of Philosophy (University of York) 2014 Noel Carroll The Creative Audience Distinguished Professor of Philosophy (Graduate Center of the City University of New York) 2014 Christopher Peacocke Musical Style and the Philosophy of Mind Johnsonian Professor of Philosophy (Columbia University) and Wollhem Professor of Philosophy (University College London) 2014 Owen Flanagan Performing Oneself James B Duke Professor and Professor of Neurobiology (Duke University) 2014 Matthew Kieran Creativity as a Virtue of Character Professor of philosophy and the Arts (University of Leeds) 2014 Simon Blackburn Creativity and Not so Dumb Luck Distinguished Research Professor (University of North Carolina, Chapel Hill) and Professor of Philosophy (Cambridge University) 2014 Dustin Stokes The Role of Imagination and Creativity Assistant Professor of Philosophy (University of Utah) 2014 Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan Dewall Creativity and Consciousness 2014 Elizabeth Picciuto And Peter Carruthers The Origins of Creativity 2014 Margret A Boden Creativity And Ai Research Professor of Cognitive Science (University of Sussex) 2014 Dean Keith Simonton Hierarchies of Creative Domains Distinguised Professor of Psychology (Texas A&M University) 2014 Berys Gaut Educating for Creativity Professor of Philosophy (University of St. Andrews) 2014 Alan Hajek Philosophical Heuristics and philosophacal creativity Professor of Philosophy (Australian National University) 2014 Essays over Brian R. Clack Love, Drugs, Art, Religion Professor of Philosophy (University of San Diego) 2014 Author Koestler The act of Creation 1975 Carol R. Hausman A Discourse on Novelty and Creation 1984 Robert W. Weisberg Creativity: Genius and other Myths 1986 Berys Gaut The philosophy of creativity 2011

12. ACKNOWLEDGEMENTS Thanks … The University of San Diego, Trio McNair Scholars, Mom, Dad, Germs, KD, L Tran, Big Dave, Little Dave, DD, Nick Names, Andrea Tucker, my STL Assistant K.T Tucker, Shelley Barajas-Leyva, Ramiro Frausto, Dr. Michelle Gilmore-Grier, USD art dept, my Scholarly McNair Cohort and last but not least the city of Saint Louis along with the city museum.

13. IN CLOSING

14. QUESTIONS?