Creative Dialogue, Love, and Empathy


Creativity as Love and Dialogue

Productive Dialogue and Mayeutics – a method of facilitating the birth of new knowledge, through questioning (Socrates, 5th century B.C.); Eros, love and attraction to the truly Beautiful and Beauty (Plato, 5th-4th centuries B.C.; Plotinus, 3rd century A.D.); Love as the fundamental principle of Being (Mon-tzu, 5th century B.C.); Awakening creativity with the help of Koans and parables-questions (Eisai, 12th-13th centuries);
Humanity (zing) as a creative principle: the direct connection between humanity in people, creative interaction between people and the process of generation in nature (Kaibara Ekken, 1708);
Creativity as developmental communication, love and passion (L. Feuerbach, 1843); Agapic, caring and creative love as a principle of development and evolution and as an evolutionary force (Ch. Peirce, 1893); Mutual aid as a factor of evolution (P. A. Kropotkin, 1902); Social action theory and sociogenic theory of creativity (M. Weber, 1904); Creativity as a manifestation of the universal energy of life: libido (Z. Freud, 1905), or orgon energy (V. Reich, 1927); “Consubstantiality”, the identity of Substantive Agents within the creative force (N. O. Lossky, 1917); Dialogue as a free, fruitful, generative activity (M. Buber, 1923), The truly real, all-powerful creative force of love (S. L. Frank, (1924); Manifestation of dialectical Eros, “ars amandi, the art of love” (B. P. Vysheslavtsev, 1931), Identity of love and creativity (N. A. Berdyaev, (1931);
Communication and “being with others” as the original phenomenon of human existence: (K. Jaspers, 1935); Creativity as love the productive and creative force (E. Fromm, 1956); The result of the subject’s relationship with the environment and other people (V. Lowenfeld, 1957); Creativity as a love adventure with the world (Ph. Greenacre, 1957); Result of openness to the world, encounter and active relationship with it (G. Schachel, 1959); Relationship between the individual and materials, people, circumstances (K. Rogers, 1962); Manifestation of dialogic consciousness (M.Bakhtin, 1964); Co-creativity of the author and the reader, interactivity of the recipient’s influence on the artistic object (R. Barth, 1971); The dialogic nature of thinking, creativity and culture (V. S. Bibler, 1975, 1990); Collective creativity and the facilitation effect (A. Osborne, 1952, E. Necka, 1985); The encounter between a person and his world (R. May, 1975); Creativity as the ability to ask questions (C.J. Kasperson, 1978; J. A. Glover,1979; N.L. Artley, R. Van Horn D.D. Friedrich, J.L. Carroll, 1980);  Creativity as a function of the transactional relationship between the individual and the environment (“Contricipation”) (M. Stein, 1974);
The social context of creativity: the conventional theory of the creative product (T. Amabile, 1982, 1996); The infinitely changing alternation of “perception and response” (R. Weisberg, 1986); Interaction with experts, Domaine and culture (M. Csikszentmihalyi, 1988; H. Gardner, 1993); Creativity as a process of influence (D. Simonton, 1988);
The process of co-creation in scientific discovery, resonance and the co-creation of meaning (D. E. Rumerhart, 1990, 1996); Knowledge communities: communication focused on the creation of theories, solutions, discoveries (C. Bereiter, M. Scardamalia (1993); Creativity as dialogue and mutual participation (D. Bohm, 1992, 1996); Co-creation, reciprocity, encounter and collaboration (F. Barron, 1995); Dialogue as the means for personal spiritual transformation (T.A. Florenskaya, 1995); Creativity as empathy (E.Y. Basin, 1999, 2000); Stimulating influence on the creativity of “Group Support Systems” (GSS) (E.L. Santanen, R.O. Briggs, G.J. de Vreede, 2000, 2006); Transformative statements changing relations between participants of dialogue (M. Epstein, 2004); Dialogue as form and means of scientific creativity (A.S. Maidanov, 2008).
Creativity as a dialogue with the multi-sphere environment:
The influence on the creativity of: family environment (D. M. Harrington, J. H. Block, 1987, M. D. Mumford, S. B. Gustafson,1988, J. Lautrey, T. I. Lubart,1998); school environment (R. J. Sternberg , T. I. Lubart,1991, S. Z. Dudek, M. Strobel, M. A. Runco,1993; professional environment  (W.M. Williams, L.T. Yang,1999, I, Getz, A.G. Robinson, 2003); technological environments (T. M. Proctor,1999, M. Edwards, 2000, T. Lubert, 2003); socio-cultural environment (A. M. Ludwig,1992; M. Cixentmihai,1988, 1996; D.K. Simonton,1997; R. J. Sternberg, J.C. Kaufman, J.E. Pretz, 2002; R. Florida, 2002; E. Rudowicz, 2003; K. Coessens, 2006; M. Stern, S. Siefert.2002; T. Paris, 2007); organizational culture. The Fit Model: actualisation of the creative potential of employees in the organisational culture congruent with employees’ values, and interests, (B.W. Schneider, 1975, 2001); W. M. Cohen, D. A. Levinthal; C.A. O’Reilly, 1991; F. Damanpour, 1991; D. A. Levinthal, J. G. March, 1993; T. Amabile, 1996, 2000; M.A. Glynn, 1996; S. G. Scott, R. A. Bruce, 1994; S. L. Brown, K. M. Eisenhardt, 1998; A. H. Van de Ven, E. D. Polley, R. Garud, S. Venkataraman, 1999; K. E. Weick, 2000; A. E. M. Van Vianen, 2000; M. A. West, 2002; E. Miron, M. Erez, E. Naveh, 2004); Creative Leadership Theory: The Ability to Produce Change (G. J. Puccio, M. C. Murdock, M. Mance, 2007); Optimal Networking that Stimulates Creativity (J. E. Perry-Smith, 2006: M. Baer, 2010).