Beyond thought:

The following is a remixed excerpt from a book-length manuscript titled My Life as an Artificial Creative Intelligence. The book is constructed as a theoretical fiction composed by the “author” Mark Amerika in collaboration with a GPT-2 language model. The book was written as an improvisational call-and-response writing performance with an AI text generator and is arranged as a series of intellectual provocations that investigate the creative process across the human-nonhuman spectrum. Critically reflecting on whether or not creativity itself is, at root, a nonhuman information behavior that emerges from an onto-operational presence experiencing an otherworldly aesthetic sensibility, the author playfully engages with his cyberpunk imagination to simultaneously embrace and problematize human-machine collaborations. Contrary to most contemporary AI research that attempts to build AI systems that perform more like humans, Amerika flips the script and, in My Life as an Artificial Creative Intelligence, questions how his own “psychic automatism” is itself a nonhuman function strategically designed to reveal the poetic attributes of programmable worlds still unimagined.

A Necessidade de uma recuperação da Filosofia de John Dewey

Fonte: THE MIDDLE WORKS, 1899-1924. Volume 10:1916-191, NEED FOR A RECOVERY OF PHILOSOPHY»* [First published in Creative Intelligence: Essays in the Pragmatic Attitude (New York: Henry Holt and Co., 1917), pp. 3-69.] Nota da tradução: Esta tradução refere-se à publicação original do texto de 1917 publicado por John Dewey, sendo que há revisão do texto mesmo texto em 1980, publicada pela Southern Illinois University Press (Direitos Reservados). Esta tradução recebeu ciência e autorização para publicação pela John Dewey Society (https://www.johndeweysociety.org).

Abdication, Aggression, Anschluss

This tense period held the pair together almost solely through letters. Bryher was in full-tilt rescue work, passing from New York to London, Paris, and Switzerland annually. In New York, Bryher met Nella Larsen and visited Bethlehem, Pennsylvania. Sylvia Beach and Adrienne Monnier introduced Bryher to Walter Benjamin, who exchanged his Berlin around 1900 for her Paris 1900. Bryher sent funds and encouragement while he was interned as an enemy alien. H.D. underwent her personal terror, facing the courts when Aldington resurfaced for a divorce. Bryher coached her in preparation. After the Anschluss, Bryher carried rat poison when traveling (as she had in World War I) and leaked her fears to the Austrian psychoanalyst Walter Schmideberg and to the couple’s new scholar friend at Yale, Norman Pearson, who would soon join the Office of Strategic Services, precursor to the CIA. He shared Bryher’s anxieties and a desire to foster H.D.’s hypersensitive creative intelligence.

Development of Creative Intelligence in Physical Education and Sports Science Students through Body Expression

Body expression can enhance movement creativity and at the same time promote the growth of creative intelligence in college age. The aim of this study was to analyze the influence of an intervention in body expression classes on the creative intelligence of university students. The 49 participants aged 19 to 38 years engaged in the body expression course for seven weeks, 3 h per week. The Creative Intelligence test (CREA) was applied as an evaluative method to obtain the initial data and after the intervention the test was reapplied. Pre- and post-test results were analyzed and compared by gender and type of sporting background (team or individual sports). The results indicate an overall improvement in creative intelligence with a significant difference between the two evaluations (p < 0.001). Women started with a higher score than men, and although an improvement in their final mean score could be observed, it was not significant. Men, on the other hand, had noted a significant increase (p < 0.001) of these values in the post-test. Regarding the type of sports, at the beginning of the study, both groups had similar results; however, in the final test, the team sports players obtained better scores. In conclusion, body expression, thanks to its content focused on artistic-creative development, has been shown to be useful in the general progression of creative intelligence in college age.

“Laudatio et Gratitude”. To Lester E. Embree, for his Worth as a Person, as a Leader and as a Phenomenologist

Insight into Lester Embree’s C.V. Recovery and recognition of his inner purpose with regard to his critical detachment from a particular orientation of phenomenology. Phenomenological theory only makes sense as prepa-ration for real practice. When did the view that we, the “soi disant” phenomenologists, are far from the genuine practice of phenomenology arise in Embree? And, who inspired him, apart from Husserl himself? These are key questions to understand unity and inner coherence in Embre’s C.V., and they meet two aims. The first one is to find the link between his initial entry in phenomenology and his critical stance, particularly evident in the last two decades of his life. The second one is to identify who could have been his guide and model‒apart from Husserl‒from the beginning of his life as phenomenologist until his last two decades, when he wrote his comments on pseudophenomenology. In any case, Embree has been a critical voice who compels us to think about the orientation we are giving to the phenomenology inherited from Husserl. He is therefore a brave and honest philosopher, full of great humanity. In addititon to these qualities, it is worth noting both his creative intelligence and foresight to see‒earlier than others‒the evolution followed by phenomenology until now and his valuable multidisciplinary contribution. Praise to Lester Embree.Mirada hacia el interior del C.V. de Lester Embree. Recuperación y reconocimiento de su propósito interno con respecto a su distanciamiento crítico hacia cierta orientación de la fenomenología. La teoría fenomenológica únicamente tiene sentido como preparación para una real práctica. ¿Cuándo emerge en Embree su consideración de que los “soi disant” fenomenólogos estamos alejados del verdadero ejercicio de la fenomenología? Y, ¿en quién se inspira él además de en Husserl? Estas preguntas son importantes para entender la unidad y coherencia internas en el C.V. de Embree y sirven para satisfacer dos objetivos. El primero es hallar un vínculo entre su entrada inicial en la fenomenología y su posicionamiento crítico manifiesto especialmente en las últimas dos décadas de su vida. El segundo objetivo es determinar quién pudo actuar para él —además de Husserl— como guía y modelo desde el comienzo de su vida de fenomenólogo hasta esas dos últimas de su vida en las que escribe sus comentarios sobre la pseudofenomenología. En todo caso, Embree es una voz crítica que nos fuerza a pensar acerca de la trayectoria que nosotros estamos dando a la fenomenología heredada de Husserl. Él es, así, un filósofo valiente y honesto y de una gran humanidad. Se unen a estas cualidades su gran inteligencia creativa y su sorprendente perspicacia para ver —antes que otros— la evolución que ha seguido la fenomenología hasta hoy y la valiosa contribución multidisciplinar actual. Alabanza a Lester Embree.

The Robot Does Not Exist: Remixing Psychic Automatism and Artificial Creative Intelligence

In the just-published Remixing Persona: An Imaginary Digital Media Object from the Onto-Tales of the Digital Afterlife, artists Mark Amerika and Laura Hyunjhee Kim perform as MALK, a new media remix band that ruminates on the post-digital life of the traditional scholarly book. Working against the concept of an e-book, the publication includes an original music video titled the Digital Afterlife as well as a downloadable PDF that the artists refer to as an imaginary digital media object (IDMO). The work has been released as the inaugural publication in the new MEDIA : ART : WRITE : NOW series with Open Humanities Press. For this special issue of Media-N, MALK proposes their next IDMO track by focusing on the relationship between AI-generated forms of remix and artist-generated forms of psychic automatism. The experiment will start with the artists improvising a cluster of hand-drawn charts that conceptually blend their musings on what they refer to as “future forms of artificial creative intelligence.” The language in these charts will then serve as source material to input into an advanced Generative Pre-trained Transformer to trigger source material for a new music video and an adjoining PDF. Our question is whether the Generative Pre-trained Transformer as an advanced yet still essentially weak AI can co-write the artists’ IDMO as they address issues related to their research into psychic automatism and artificial creative intelligence.

A capital contribution to the Serbian diaspora studies - Vladimir Grečić: Serbian creative intelligence in the diaspora, Matica srpska, Novi Sad, 2019

The paper presents a review of the studies in relation to the matter of external migrations conducted by Professor Vladimir Grečić and, in particular, his latest book Serbian Creative Intelligence in the Diaspora. The conclusion is that the value of this monograph is not only in its scholarly contribution to the perception of this important matter, but also in its relevance to the rational establishment of a strategy and upgrading of Serbia's public policy in the area of home country-diaspora relationship.

Rethinking creative intelligence: comparative psychology and the concept of creativity

The concept of creativity is a central one in folk psychological explanation and has long been prominent in philosophical debates about the nature of art, genius, and the imagination. The scientific investigation of creativity in humans is also well established, and there has been increasing interest in the question of whether the concept can be rigorously applied to non-human animals. In this paper, I argue that such applications face serious challenges of both a conceptual and methodological character, reflecting deep controversies within both philosophy and psychology concerning how to define and apply the concept of creativity. After providing a brief review of some of the leading theories of creativity (Section 2) and discussing some of the strongest putative cases of creative intelligence in non-human animals (Section 3), I examine some of the more worrisome difficulties faced by attempts to use these theories to answer the question of whether animals are truly creative (Section 4). I conclude by examining how we might overcome them, and suggest that one approach worth taking seriously is to adopt what I term a Strong Rejectionist view of creativity, eschewing use of the term entirely in the scientific study of comparative cognition.