Now up to the family of 4E Cognition – knowing also there’s a 5th E (Ecological, on top of embodied, embedded, enactive, and extended): I can temporarily “renormalize”, call this a boundary and a concept. (which is a theory of a category). From that, I can see “How does dance fit in?”
Prior, I’d be stuck in mind, mind/body, mind/body/environment, mind/body/environment/social, mind/body/environment/social/frames… but now I put that all in a single bucket and build upon it. 4E Cognition. I must’ve known it had a broad category before. But I guess I didn’t need it ’til now.
Survey of Creativity from a 4E Cognition view.
4E Cognition – going to survey articles with my hopeful skeptic meter running. I do this with anything I get too excited about, looking for flaws.
As I’m always curious where my musical abilities come from, this article should be a good “taste test” and I’ll be able to compare the taste of my experience to the taste of this article’s conjectures and how they attempt to fit musical creativity into a 4E Cognition (embodied mind) framework.
“Here, creativity tends
to be explored in terms of categories such as “big-c”
“little-c”—where the former refers to eminent, domain-
changing outputs, and the latter to creativity in everyday
problem-solving situations and creative expressions, which
include the forms of wishful, imaginative, or counterfactual
thinking that occur in everyday life”
“in addition to “big-c” and “little-c,” Kaufman and
Beghetto (2009) add “mini-c” and “pro-c.” The former
describes the novel abilities and understandings that stem
from an agent’s learning processes (e.g., a music student),
while the latter concerns the types of products exhibited by
professional creators (e.g., a music composer) who have
not achieved eminent domain-changing (or big-c) accom-
plishments in society.”
“creativity may also be understood in terms of a spectrum
between adaptation and innovation. Adapters develop and
improve pre-existing methods and conditions, while innovators initiate more radical changes that may revolutionize the way things are done in a given domain.”
Another important approach is offered by Boden (1998, 2004), who posits three sub-types of creativity: combina- torial creativity, which entails the ability to combine pre- existing concepts and items in novel ways; exploratory creativity, which arises from the exploration of a given conceptual background; and transformational creativity, which involves a redefinition of a given theoretical or cul- tural framework. These forms of creativity are enhanced by another distinction put forward by Boden. This involves a personal-psychological creativity novel to the cognizer who generates it, and an historical creativity that is recog- nized by the cultural norms of the society in which the agent is situated.
Oh this is good. It might not help explain what it’s like to be creative but it does provide a very helpful guide in categorizing existing creative styles objectively.
“These approaches can be applied to musical contexts in
interesting ways. Consider, for example, the work of
Arnold Schoenberg, who famously forged a new approach
to composition. His work might be placed in the “big-c”
category, be situated towards the “innovator” side of Kir-
ton’s spectrum, and be representative of transformational
and historical creativity in Boden’s model. “
“By contrast, the
output of film composer John Williams—who tends to
juxtapose pre-existing styles in highly effective ways—
might be situated as “adaptive,” categorized as “pro-c,” and
reflect the combinatorial creativity discussed by Boden.”
Combining two distinct concepts normally orthogonal to each other. (have nothing to do with one another)
The :”pun” is a common form of Bisociation.
The concept of bisociation is part of creativity.
Putting this to the test, I’m on https://journals.sagepub.com/doi/10.1177/2059204318792319 and seeing if “4E Cognition” (which is the category of these concepts) works with creativity in music.