Podcasts about cambridge handbook

A Senior Research Scientist at the Yale University Center for Emotional Intelligence where she currently serves as the Director of the Creativity and Emotions Lab. Zorana is the author of the new book The Creativity Choice: The Science of Making Decisions to Turn Ideas into Action. She is a regular contributor to Psychology Today and Creativity Post and co-editor of The Cambridge Handbook of Creativity and Emotions and Crisis, Creativity and Innovation. Her work has been featured in the Harvard Business Review, ArtNet, US News, Education Week, Science Daily, El Pais, and others.

In this conversation, Jessica Huancacuri shares her journey as a Quechua woman adopted into a family of European descent. She discusses her research on the Quechua people of Peru, focusing on identity, cultural context, and the role of family in children's education. Jessica highlights the rich mathematical practices embedded in Quechua culture and emphasizes the importance of Indigenous perspectives in developmental psychology. She also reflects on her experiences with adoption, language learning, and the Quechua diaspora.   Watch the video of this conversation here! https://youtu.be/W8l2EOQyDSA   Continuing Education Credits (https://www.cbiconsultants.com/shop) BACB: 1.5 Ethics IBAO:  1.5 Cultural QABA: 1.5 Ethics We also offer certificates of attendance! Follow us! Instagram: https://www.instagram.com/behaviourspeak/ Bluesky: https://bsky.app/profile/benreiman.bsky.social.bsky.social LinkedIn:  https://www.linkedin.com/in/behaviourspeak/ Contact: Jessica Huancacuri https://www.linkedin.com/in/jessica-huancacuri/ https://steinhardt.nyu.edu/programs/developmental-psychology/student-experience/jessica-huancacuri https://www.cfdmelzi.org/current-members Links: Exploring Indigenous child development in the Quechua Runa  https://as.nyu.edu/research-centers/clacs/research/field-notes/exploring-indigenous-child-development-in-the-quechua-runa.html Narratives from the Ayllu: A Look Inside Qoricha https://www.loc.gov/item/2024698068/?loclr=blogloc Living Quechua Short Film https://film.twn.org/products/living-quechua Quechua Collective of New York https://www.nyquechuacollective.org/ https://www.facebook.com/QuechuaCollective/#  Inka Kusi Sonqo https://queenseagle.com/all/queens-based-inkarayku-brings-andean-arts-and-culture-to-beat-of-the-boroughs https://inkarayku.bandcamp.com/album/inkarayku-inka-kusi-sonqo Kichwa Hatari Radio https://www.kichwahatari.org/ Quechua Project https://quechuaproject.com/ Quechua Alliance https://thequechua.org/ https://www.instagram.com/thequechua/?hl=en Americo Medoza-Mori https://web.sas.upenn.edu/quechua/americo-mendoza-mori/ https://scholar.harvard.edu/americo/home   Articles Referenced: Halpin, E., Huancacuri, J., & Melzi, G. (2024). Exploring the Language Attitudes of Dual-Language Latine Preschoolers. Hispanic Journal of Behavioral Sciences, 46(3), 150-175. https://doi.org/10.1177/07399863241283065 Gallagher, G., Huancacuri, J., & Condori Arias, N. (2024). Phonetic variation in Southern Bolivian Quechua: dorsal lenition and vowel elision. Letters (Lima) , 95 (142), 74-90. http://revista.letras.unmsm.edu.pe/index.php/le/article/view/2586   Melzi, G., Prishker, N., Kawas, V., & Huancacuri, J. (2022). Multilingual Parenting in the United States: Language, Culture and Emotion. In A. Stavans & U. Jessner (Eds.), The Cambridge Handbook of Childhood Multilingualism (pp. 515–536). chapter, Cambridge: Cambridge University Press.   Behaviour Speak Podcast Episodes on Related Topics 172 Qienes Somos - An Exploration of Latinidad with Dr Corinia Jimenez Gomez,  Dr. Sarah Lechago and Dr. Denice Rios https://www.behaviourspeak.com/e/ep-172-quienes-somos-an-exploration-of-latinidad/ Episode 173 The Science of Learning Foreign Languages with Dr. Juliana Sequeira Cesar De Olveira  https://www.behaviourspeak.com/e/episode-173-the-science-of-learning-foreign-languages-with-dr-juliana-sequeira-cesar-de-oliveira/ Episode 182: Healing the Disconnect: Culture Climate, and Community with Dr. Emma Elliott https://www.behaviourspeak.com/e/episode-182-healing-the-disconnect-culture-climate-and-community/  

This conversation is part of the podcast series 'Corporate Sustainability: A Philosophical Perspective'. GUEST INFO: Christopher M. Bruner is the Stembler Family Distinguished Professor in Business Law at the University of Georgia School of Law and serves as a faculty co-director of the Dean Rusk International Law Center. He holds a courtesy appointment at the UGA Terry College of Business. Bruner teaches a range of corporate and transactional subjects, and he has received the School of Law's C. Ronald Ellington Award for Excellence in Teaching. BOOKS BY PROFESSOR BRUNER: The Corporation as Technology Re-Calibrating Corporate Governance for a Sustainable Future - https://global.oup.com/academic/product/the-corporation-as-technology-9780197635179?q=bruner&lang=en&cc=us The Cambridge Handbook of Corporate Law, Corporate Governance and Sustainability - https://www.cambridge.org/core/books/cambridge-handbook-of-corporate-law-corporate-governance-and-sustainability/34E428DB18C05F02B9E8CB19E22437DA - Corporate Governance in the Common-Law World The Political Foundations of Shareholder Power - https://www.cambridge.org/us/universitypress/subjects/law/corporate-law/corporate-governance-common-law-world-political-foundations-shareholder-power?format=PB A Research Agenda for Corporate Law - https://www.e-elgar.com/shop/gbp/a-research-agenda-for-corporate-law-9781800880436.html HOST INFO: https://www.rug.nl/staff/f.m.corver/?lang=en

Keith Frankish is a Honorary Reader in Philosophy at the University of Sheffield, a Visiting Research Fellow at The Open University, & an Adjunct Professor with the Brain & Mind Programme in Neurosciences at the University of Crete. He is the author of "Mind and Supermind" & "Consciousness", as well as numerous journal articles & book chapters. He is the editor of "Illusionism as a Theory of Consciousness" & the co-editor of "In Two Minds: Dual Processes and Beyond", "New Waves in Philosophy of Action", "The Cambridge Handbook of Cognitive Science", & "The Cambridge Handbook of Artificial Intelligence". Keith's research interests lie mainly in philosophy of mind, and he is known for defending an illusionist theory of phenomenal consciousness, an action-based account of conscious thought, and a two-level view of the human mind. Lecture title: "The Reactivity Schema Theory of Consciousness" EPISODE LINKS: - Keith's Round 1: https://youtu.be/QxDYG0K360E - Keith's Round 2: https://youtu.be/jTO-A1lw4JM - Keith's Website: https://www.keithfrankish.com/ - Mind Chat Podcast: https://youtube.com/@MindChat - Keith's Twitter: https://twitter.com/keithfrankish?s=20 - Keith's Illusionism Lectures: https://tinyurl.com/bddbcyyu CONNECT: - Website: https://tevinnaidu.com - Podcast: https://podcasters.spotify.com/pod/show/drtevinnaidu - X: https://twitter.com/drtevinnaidu - Facebook: https://www.facebook.com/drtevinnaidu - Instagram: https://www.instagram.com/drtevinnaidu - LinkedIn: https://www.linkedin.com/in/drtevinnaidu ============================= Disclaimer: The information provided on this channel is for educational purposes only. The content is shared in the spirit of open discourse and does not constitute, nor does it substitute, professional or medical advice. We do not accept any liability for any loss or damage incurred from you acting or not acting as a result of listening/watching any of our contents. You acknowledge that you use the information provided at your own risk. Listeners/viewers are advised to conduct their own research and consult with their own experts in the respective fields.

As we embark on our exploration of the imagination, we start by exploring just how we should conceptualize and talk about this phenomenon. We also begin to think through just how useful the imagination is. Our guest scholar this episode is Dr. Anna Abraham, E. Paul Torrance Professor in the Department of Educational Psychology at the University of Georgia and the Director of the Torrance Center for Creativity and Talent Development, who guides us through these first steps on our journey. --- Dr. Anna Abraham studies the psychological and neurophysiological basis of creativity and other aspects of the human imagination. Her educational and professional training has been within the disciplines of psychology and neuroscience, and she has worked across a diverse range of academic institutions and departments the world over, all of which have informed her multidisciplinary focus. She is the Founding Editor of the Cambridge Elements in Creativity and Imagination, an innovative academic short book series from Cambridge University Press. Within the Department of Educational Psychology, Professor Abraham serves as a primary faculty member in the Gifted & Creative Education program and as an affiliated faculty member in the Applied Cognition & Development program and the School Psychology program. She advises graduate students across all these three programs. She also collaborates on research projects with faculty and students in the Quantitative Methodology program. Professor Abraham also directs the CREATIVITY & IMAGINATION LAB at UGA. Prospective students and collaborators can find information on current studies and opportunities within the detailed lab webpage. --- While her full catalog of articles and books is far too long to list here, the publications below provide a useful introduction to her scholarship addressing the topic of imagination: Abraham, A., & Bubic, A. (2015). Semantic memory as the root of imagination. Frontiers in Psychology, 6, 325–325. Abraham, A. (2020). The Cambridge Handbook of the Imagination. Cambridge University Press. Abraham, A. (2024). The Creative Brain: Myths and Truths. MIT Press. --- The Social Science for Public Good Podcast is a project of the Virginia Tech Institute for Policy and Governance and VT Publishing intended to make social science theories accessible and available to individuals and organizations seeking to promote social change. Music: Purple-planet.com

WATCH: https://youtu.be/IbjGRcqD96Q Keith Frankish is a Honorary Reader in Philosophy at the University of Sheffield, a Visiting Research Fellow at The Open University, & an Adjunct Professor with the Brain & Mind Programme in Neurosciences at the University of Crete. He is the author of "Mind and Supermind" & "Consciousness", as well as numerous journal articles & book chapters. He is the editor of "Illusionism as a Theory of Consciousness" & the co-editor of "In Two Minds: Dual Processes and Beyond", "New Waves in Philosophy of Action", "The Cambridge Handbook of Cognitive Science", & "The Cambridge Handbook of Artificial Intelligence". Keith's research interests lie mainly in philosophy of mind, and he is known for defending an illusionist theory of phenomenal consciousness, an action-based account of conscious thought, and a two-level view of the human mind. Lecture title: "The Reactivity Schema Theory of Consciousness" EPISODE LINKS: - Keith's Round 1: https://youtu.be/QxDYG0K360E - Keith's Round 2: https://youtu.be/jTO-A1lw4JM - Keith's Website: https://www.keithfrankish.com/ - Mind Chat Podcast: https://youtube.com/@MindChat - Keith's Twitter: https://twitter.com/keithfrankish?s=20 - Keith's Illusionism Lectures: https://tinyurl.com/bddbcyyu CONNECT: - Website: https://tevinnaidu.com - Podcast: https://podcasters.spotify.com/pod/show/drtevinnaidu - X: https://twitter.com/drtevinnaidu - Facebook: https://www.facebook.com/drtevinnaidu - Instagram: https://www.instagram.com/drtevinnaidu - LinkedIn: https://www.linkedin.com/in/drtevinnaidu ============================= Disclaimer: The information provided on this channel is for educational purposes only. The content is shared in the spirit of open discourse and does not constitute, nor does it substitute, professional or medical advice. We do not accept any liability for any loss or damage incurred from you acting or not acting as a result of listening/watching any of our contents. You acknowledge that you use the information provided at your own risk. Listeners/viewers are advised to conduct their own research and consult with their own experts in the respective fields.

WATCH: https://youtu.be/jTO-A1lw4JM Keith Frankish is a Honorary Reader in Philosophy at the University of Sheffield, a Visiting Research Fellow at The Open University, & an Adjunct Professor with the Brain & Mind Programme in Neurosciences at the University of Crete. He is the author of "Mind and Supermind" & "Consciousness", as well as numerous journal articles & book chapters. He is the editor of "Illusionism as a Theory of Consciousness" & the co-editor of "In Two Minds: Dual Processes and Beyond", "New Waves in Philosophy of Action", "The Cambridge Handbook of Cognitive Science", & "The Cambridge Handbook of Artificial Intelligence". Keith's research interests lie mainly in philosophy of mind, and he is known for defending an illusionist theory of phenomenal consciousness, an action-based account of conscious thought, and a two-level view of the human mind. TIMESTAMPS: (0:00) - Introduction (0:50) - Philosophy of Philosophers & Ethics of Ethicists (7:48) - Daniel C. Dennett (a tribute) (19:24) - The Four Horsemen (New Atheism) (25:12) - Consciousness & Illusionism Explained (33:06) - Illusionism vs Surrealism (Redder than Red) (43:13) - Descartes' Prison (47:54) - Ethical Implications of Illusionism (51:20) - François Kammerer's work on Illusionism (1:09:32) - Robert Lawrence Kuhn's "Landscape of Consciousness" (1:12:00) - Reactivity Schema Theory (answer to the "Illusion Problem") (1:32:36) - Questions for Keith from X (2:09:25) - Idealism (2:11:31) - Is IIT pseudoscience? (2:21:15) - Illusionism is an Intuition Pump for Consciousness (2:27:40) - Tricks of the Mind (2:35:15) - Free Will Compatibilism (2:43:08) - Keith's final thoughts EPISODE LINKS: - Keith's Website: https://www.keithfrankish.com/ - Keith's Round 1: https://youtu.be/QxDYG0K360E - Mind Chat Podcast: https://youtube.com/@mindchat - Keith's Twitter: https://twitter.com/keithfrankish?s=20 - Keith's Illusionism Lectures: https://tinyurl.com/bddbcyyu CONNECT: - Website: https://tevinnaidu.com - Podcast: https://podcasters.spotify.com/pod/show/drtevinnaidu - X: https://twitter.com/drtevinnaidu - Facebook: https://www.facebook.com/drtevinnaidu - Instagram: https://www.instagram.com/drtevinnaidu - LinkedIn: https://www.linkedin.com/in/drtevinnaidu ============================= Disclaimer: The information provided on this channel is for educational purposes only. The content is shared in the spirit of open discourse and does not constitute, nor does it substitute, professional or medical advice. We do not accept any liability for any loss or damage incurred from you acting or not acting as a result of listening/watching any of our contents. You acknowledge that you use the information provided at your own risk. Listeners/viewers are advised to conduct their own research and consult with their own experts in the respective fields.

Today we will discuss the history of western hermeticism, mysticism and esotericism from the recently published Cambridge Handbook of Western Mysticism & Esotericism. This is the first half of my analysis, while the full talk can be obtained at my site below or at my R0kfin. Send Superchats at any time here: https://streamlabs.com/jaydyer/tip Get started with Bitcoin here: https://www.swanbitcoin.com/jaydyer/ The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Set up recurring Choq subscription with the discount code JAY44LIFE for 44% off now https://choq.com Lore coffee is here: https://www.patristicfaith.com/coffee/ Orders for the Red Book are here: https://jaysanalysis.com/product/the-red-book-essays-on-theology-philosophy-new-jay-dyer-book/ Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyerBecome a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

This talk covers the Cambridge Handbook again and touches on many more chapters that tie ancient mysteries, medieval mysticism and modern day espionage. Send Superchats at any time here: https://streamlabs.com/jaydyer/tip Get started with Bitcoin here: https://www.swanbitcoin.com/jaydyer/ The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Set up recurring Choq subscription with the discount code JAY44LIFE for 44% off now https://choq.com Lore coffee is here: https://www.patristicfaith.com/coffee/ Orders for the Red Book are here: https://jaysanalysis.com/product/the-red-book-essays-on-theology-philosophy-new-jay-dyer-book/ Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyerBecome a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

Today we will discuss the history of western hermeticism, mysticism and esotericism from the recently published Cambridge Handbook of Western Mysticism & Esotericism. This is the first half of my analysis, while the full talk can be obtained at my site below or at my R0kfin.Become a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

Is consciousness an illusion? Is it just a complex set of cognitive processes without a central, subjective experience? How can we better integrate philosophy with everyday life and the arts?Keith Frankish is an Honorary Professor of Philosophy at the University of Sheffield, a Visiting Research Fellow with The Open University, and an Adjunct Professor with the Brain and Mind Programme in Neurosciences at the University of Crete. Frankish mainly works in the philosophy of mind and has published widely about topics such as human consciousness and cognition. Profoundly inspired by Daniel Dennett, Frankish is best known for defending an “illusionist” view of consciousness. He is also editor of Illusionism as a Theory of Consciousness and co-edits, in addition to others, The Cambridge Handbook of Cognitive Science.“There is magic everywhere. There's wonder everywhere. There's wondrous complexity that is so complex, so difficult to conceptualize, to grasp, to articulate that it might as well be magic for all intents and purposes, but we can gradually start to unpick how the tricks are done, how nature learned to do these wonderful tricks. And that's the wonder of science, gradually learning what's happening behind the scenes and how these marvelous effects are produced.I'm probably best known for my work on consciousness. My view about this is often caricatured, I think, as a kind of heartless, materialist one, because I'm resistant to all forms of dualism about the mind. I think that's a very unhelpful way of thinking.Some people think that I do that because I have a sort of crass materialist attitude to the world, that there's only things you can measure and weigh and bump into and everything else is just nonsense and fancy and different. What I like about the sort of view I have is that it represents us as fully part of the world, fully part of the same world. We're not sealed off into little private mental bubbles, Cartesian theaters, where all the real action is happening in here, not out there. No, I think we're much more engaged with the world… Another one of my heroes is Daniel Dennett's great friend, Nicholas Humphrey, who has a wonderfully rich range of experience. He's been described as a scientific humanist. What he does is he knows his science, including cognitive neuroscience and psychology, but he's also steeped in literature, art, music, and painting, and he brings all this together in his wonderful book on consciousness Soul Dust, published in 2011, suggests the idea that the soul is actually made of dust, which is a fantastic concept.”www.keithfrankish.comwww.cambridge.org/core/books/cambridge-handbook-of-cognitive-science/F9996E61AF5E8C0B096EBFED57596B42www.imprint.co.uk/product/illusionismwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“There is magic everywhere. There's wonder everywhere. There's wondrous complexity that is so complex, so difficult to conceptualize, to grasp, to articulate that it might as well be magic for all intents and purposes, but we can gradually start to unpick how the tricks are done, how nature learned to do these wonderful tricks. And that's the wonder of science, gradually learning what's happening behind the scenes and how these marvelous effects are produced.I'm probably best known for my work on consciousness. My view about this is often caricatured, I think, as a kind of heartless, materialist one, because I'm resistant to all forms of dualism about the mind. I think that's a very unhelpful way of thinking.Some people think that I do that because I have a sort of crass materialist attitude to the world, that there's only things you can measure and weigh and bump into and everything else is just nonsense and fancy and different. What I like about the sort of view I have is that it represents us as fully part of the world, fully part of the same world. We're not sealed off into little private mental bubbles, Cartesian theaters, where all the real action is happening in here, not out there. No, I think we're much more engaged with the world… Another one of my heroes is Daniel Dennett's great friend, Nicholas Humphrey, who has a wonderfully rich range of experience. He's been described as a scientific humanist. What he does is he knows his science, including cognitive neuroscience and psychology, but he's also steeped in literature, art, music, and painting, and he brings all this together in his wonderful book on consciousness Soul Dust, published in 2011, suggests the idea that the soul is actually made of dust, which is a fantastic concept.”Keith Frankish is an Honorary Professor of Philosophy at the University of Sheffield, a Visiting Research Fellow with The Open University, and an Adjunct Professor with the Brain and Mind Programme in Neurosciences at the University of Crete. Frankish mainly works in the philosophy of mind and has published widely about topics such as human consciousness and cognition. Profoundly inspired by Daniel Dennett, Frankish is best known for defending an “illusionist” view of consciousness. He is also editor of Illusionism as a Theory of Consciousness and co-edits, in addition to others, The Cambridge Handbook of Cognitive Science.www.keithfrankish.comwww.cambridge.org/core/books/cambridge-handbook-of-cognitive-science/F9996E61AF5E8C0B096EBFED57596B42www.imprint.co.uk/product/illusionismwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“One thing I love about living in Crete is that the sense of the presence of nature is always here. I walk out the door and I can see the mountains around the city. I can see the White Mountains (Lefka Ori), which for half the year are covered in snow. I can see the sea. If you walk out in the summer, you're immediately aware of your physicality. You become dehydrated very quickly. It's not necessarily a kind environment for humans. It's not if you engage in any vigorous activity, but it's one that makes you feel vividly alive."Keith Frankish is an Honorary Professor of Philosophy at the University of Sheffield, a Visiting Research Fellow with The Open University, and an Adjunct Professor with the Brain and Mind Programme in Neurosciences at the University of Crete. Frankish mainly works in the philosophy of mind and has published widely about topics such as human consciousness and cognition. Profoundly inspired by Daniel Dennett, Frankish is best known for defending an “illusionist” view of consciousness. He is also editor of the journal Illusionism as a Theory of Consciousness and co-edits, in addition to others, The Cambridge Handbook of Cognitive Science."The area where I grew up, which is a very low-lying area, in a river valley, it was a landscape where nature felt very dormant. The skies would be gray. The landscape would be flat. There was also a lot of human activity in it. Canals, railway lines, coal mines. It was a land that felt as if it had been depressed, as if it had not been allowed to express itself somehow. And it's been carved up into fields and so on by humans.And so now here, it's the opposite. Although there is a lot of building in the particularly tourist areas, drive five minutes out of the city, and you're in a land of rugged land with almost desert in places. A land where you couldn't survive very long without proper water, in particular. It's a land where you feel the presence. And, also, another thing you feel here is periods of frequent earthquakes, and that again, is quite a salutary thing. When the Earth shakes like that, and you suddenly realize that this building, which seems wonderfully strong and well-equipped, is suddenly moving from side to side under Poseidon's influence. It makes you see how people could animate this landscape. It's a landscape that feels animated with presences, with gods, with non-human entities. There's a way of living, which involves engaging more deeply with the meaning of things, engaging not just living life on the surface, but trying to look for the deeper, for the real patterns, and living with that, not without pleasure, not without relishing life, but with relishing it for its complexity.”www.keithfrankish.comwww.cambridge.org/core/books/cambridge-handbook-of-cognitive-science/F9996E61AF5E8C0B096EBFED57596B42www.imprint.co.uk/product/illusionismwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“There is magic everywhere. There's wonder everywhere. There's wondrous complexity that is so complex, so difficult to conceptualize, to grasp, to articulate that it might as well be magic for all intents and purposes, but we can gradually start to unpick how the tricks are done, how nature learned to do these wonderful tricks. And that's the wonder of science, gradually learning what's happening behind the scenes and how these marvelous effects are produced.I'm probably best known for my work on consciousness. My view about this is often caricatured, I think, as a kind of heartless, materialist one, because I'm resistant to all forms of dualism about the mind. I think that's a very unhelpful way of thinking.Some people think that I do that because I have a sort of crass materialist attitude to the world, that there's only things you can measure and weigh and bump into and everything else is just nonsense and fancy and different. What I like about the sort of view I have is that it represents us as fully part of the world, fully part of the same world. We're not sealed off into little private mental bubbles, Cartesian theaters, where all the real action is happening in here, not out there. No, I think we're much more engaged with the world… Another one of my heroes is Daniel Dennett's great friend, Nicholas Humphrey, who has a wonderfully rich range of experience. He's been described as a scientific humanist. What he does is he knows his science, including cognitive neuroscience and psychology, but he's also steeped in literature, art, music, and painting, and he brings all this together in his wonderful book on consciousness Soul Dust, published in 2011, suggests the idea that the soul is actually made of dust, which is a fantastic concept.”Keith Frankish is an Honorary Professor of Philosophy at the University of Sheffield, a Visiting Research Fellow with The Open University, and an Adjunct Professor with the Brain and Mind Programme in Neurosciences at the University of Crete. Frankish mainly works in the philosophy of mind and has published widely about topics such as human consciousness and cognition. Profoundly inspired by Daniel Dennett, Frankish is best known for defending an “illusionist” view of consciousness. He is also editor of Illusionism as a Theory of Consciousness and co-edits, in addition to others, The Cambridge Handbook of Cognitive Science.www.keithfrankish.comwww.cambridge.org/core/books/cambridge-handbook-of-cognitive-science/F9996E61AF5E8C0B096EBFED57596B42www.imprint.co.uk/product/illusionismwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Is consciousness an illusion? Is it just a complex set of cognitive processes without a central, subjective experience? How can we better integrate philosophy with everyday life and the arts?Keith Frankish is an Honorary Professor of Philosophy at the University of Sheffield, a Visiting Research Fellow with The Open University, and an Adjunct Professor with the Brain and Mind Programme in Neurosciences at the University of Crete. Frankish mainly works in the philosophy of mind and has published widely about topics such as human consciousness and cognition. Profoundly inspired by Daniel Dennett, Frankish is best known for defending an “illusionist” view of consciousness. He is also editor of Illusionism as a Theory of Consciousness and co-edits, in addition to others, The Cambridge Handbook of Cognitive Science.“There is magic everywhere. There's wonder everywhere. There's wondrous complexity that is so complex, so difficult to conceptualize, to grasp, to articulate that it might as well be magic for all intents and purposes, but we can gradually start to unpick how the tricks are done, how nature learned to do these wonderful tricks. And that's the wonder of science, gradually learning what's happening behind the scenes and how these marvelous effects are produced.I'm probably best known for my work on consciousness. My view about this is often caricatured, I think, as a kind of heartless, materialist one, because I'm resistant to all forms of dualism about the mind. I think that's a very unhelpful way of thinking.Some people think that I do that because I have a sort of crass materialist attitude to the world, that there's only things you can measure and weigh and bump into and everything else is just nonsense and fancy and different. What I like about the sort of view I have is that it represents us as fully part of the world, fully part of the same world. We're not sealed off into little private mental bubbles, Cartesian theaters, where all the real action is happening in here, not out there. No, I think we're much more engaged with the world… Another one of my heroes is Daniel Dennett's great friend, Nicholas Humphrey, who has a wonderfully rich range of experience. He's been described as a scientific humanist. What he does is he knows his science, including cognitive neuroscience and psychology, but he's also steeped in literature, art, music, and painting, and he brings all this together in his wonderful book on consciousness Soul Dust, published in 2011, suggests the idea that the soul is actually made of dust, which is a fantastic concept.”www.keithfrankish.comwww.cambridge.org/core/books/cambridge-handbook-of-cognitive-science/F9996E61AF5E8C0B096EBFED57596B42www.imprint.co.uk/product/illusionismwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“One thing I love about living in Crete is that the sense of the presence of nature is always here. I walk out the door and I can see the mountains around the city. I can see the White Mountains (Lefka Ori), which for half the year are covered in snow. I can see the sea. If you walk out in the summer, you're immediately aware of your physicality. You become dehydrated very quickly. It's not necessarily a kind environment for humans. It's not if you engage in any vigorous activity, but it's one that makes you feel vividly alive."Keith Frankish is an Honorary Professor of Philosophy at the University of Sheffield, a Visiting Research Fellow with The Open University, and an Adjunct Professor with the Brain and Mind Programme in Neurosciences at the University of Crete. Frankish mainly works in the philosophy of mind and has published widely about topics such as human consciousness and cognition. Profoundly inspired by Daniel Dennett, Frankish is best known for defending an “illusionist” view of consciousness. He is also editor of the journal Illusionism as a Theory of Consciousness and co-edits, in addition to others, The Cambridge Handbook of Cognitive Science."The area where I grew up, which is a very low-lying area, in a river valley, it was a landscape where nature felt very dormant. The skies would be gray. The landscape would be flat. There was also a lot of human activity in it. Canals, railway lines, coal mines. It was a land that felt as if it had been depressed, as if it had not been allowed to express itself somehow. And it's been carved up into fields and so on by humans.And so now here, it's the opposite. Although there is a lot of building in the particularly tourist areas, drive five minutes out of the city, and you're in a land of rugged land with almost desert in places. A land where you couldn't survive very long without proper water, in particular. It's a land where you feel the presence. And, also, another thing you feel here is periods of frequent earthquakes, and that again, is quite a salutary thing. When the Earth shakes like that, and you suddenly realize that this building, which seems wonderfully strong and well-equipped, is suddenly moving from side to side under Poseidon's influence. It makes you see how people could animate this landscape. It's a landscape that feels animated with presences, with gods, with non-human entities. There's a way of living, which involves engaging more deeply with the meaning of things, engaging not just living life on the surface, but trying to look for the deeper, for the real patterns, and living with that, not without pleasure, not without relishing life, but with relishing it for its complexity.”www.keithfrankish.comwww.cambridge.org/core/books/cambridge-handbook-of-cognitive-science/F9996E61AF5E8C0B096EBFED57596B42www.imprint.co.uk/product/illusionismwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"Imagination has a central role in teaching philosophical thinking because it's only imagination that can get us out of our biases and out of the fixating on the patterns that we've been tuned to."Keith Frankish is an Honorary Professor of Philosophy at the University of Sheffield, a Visiting Research Fellow with The Open University, and an Adjunct Professor with the Brain and Mind Programme in Neurosciences at the University of Crete. Frankish mainly works in the philosophy of mind and has published widely about topics such as human consciousness and cognition. Profoundly inspired by Daniel Dennett, Frankish is best known for defending an “illusionist” view of consciousness. He is also editor of Illusionism as a Theory of Consciousness and co-edits, in addition to others, The Cambridge Handbook of Cognitive Science.www.keithfrankish.comwww.cambridge.org/core/books/cambridge-handbook-of-cognitive-science/F9996E61AF5E8C0B096EBFED57596B42www.imprint.co.uk/product/illusionismwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Keith Frankish is an Honorary Professor of Philosophy at the University of Sheffield, a Visiting Research Fellow with The Open University, and an Adjunct Professor with the Brain and Mind Programme in Neurosciences at the University of Crete. Frankish mainly works in the philosophy of mind and has published widely about topics such as human consciousness and cognition. Profoundly inspired by Daniel Dennett, Frankish is best known for defending an “illusionist” view of consciousness. He is also editor of the journal Illusionism as a Theory of Consciousness and co-edits, in addition to others, The Cambridge Handbook of Cognitive Science.www.keithfrankish.comwww.cambridge.org/core/books/cambridge-handbook-of-cognitive-science/F9996E61AF5E8C0B096EBFED57596B42www.imprint.co.uk/product/illusionismwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Is consciousness an illusion? Is it just a complex set of cognitive processes without a central, subjective experience? How can we better integrate philosophy with everyday life and the arts?Keith Frankish is an Honorary Professor of Philosophy at the University of Sheffield, a Visiting Research Fellow with The Open University, and an Adjunct Professor with the Brain and Mind Programme in Neurosciences at the University of Crete. Frankish mainly works in the philosophy of mind and has published widely about topics such as human consciousness and cognition. Profoundly inspired by Daniel Dennett, Frankish is best known for defending an “illusionist” view of consciousness. He is also editor of the journal Illusionism as a Theory of Consciousness and co-edits, in addition to others, The Cambridge Handbook of Cognitive Science.www.keithfrankish.comwww.cambridge.org/core/books/cambridge-handbook-of-cognitive-science/F9996E61AF5E8C0B096EBFED57596B42www.imprint.co.uk/product/illusionismwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“There is magic everywhere. There's wonder everywhere. There's wondrous complexity that is so complex, so difficult to conceptualize, to grasp, to articulate that it might as well be magic for all intents and purposes, but we can gradually start to unpick how the tricks are done, how nature learned to do these wonderful tricks. And that's the wonder of science, gradually learning what's happening behind the scenes and how these marvelous effects are produced.I'm probably best known for my work on consciousness. My view about this is often caricatured, I think, as a kind of heartless, materialist one, because I'm resistant to all forms of dualism about the mind. I think that's a very unhelpful way of thinking.Some people think that I do that because I have a sort of crass materialist attitude to the world, that there's only things you can measure and weigh and bump into and everything else is just nonsense and fancy and different. What I like about the sort of view I have is that it represents us as fully part of the world, fully part of the same world. We're not sealed off into little private mental bubbles, Cartesian theaters, where all the real action is happening in here, not out there. No, I think we're much more engaged with the world… Another one of my heroes is Daniel Dennett's great friend, Nicholas Humphrey, who has a wonderfully rich range of experience. He's been described as a scientific humanist. What he does is he knows his science, including cognitive neuroscience and psychology, but he's also steeped in literature, art, music, and painting, and he brings all this together in his wonderful book on consciousness Soul Dust, published in 2011, suggests the idea that the soul is actually made of dust, which is a fantastic concept.”Keith Frankish is an Honorary Professor of Philosophy at the University of Sheffield, a Visiting Research Fellow with The Open University, and an Adjunct Professor with the Brain and Mind Programme in Neurosciences at the University of Crete. Frankish mainly works in the philosophy of mind and has published widely about topics such as human consciousness and cognition. Profoundly inspired by Daniel Dennett, Frankish is best known for defending an “illusionist” view of consciousness. He is also editor of Illusionism as a Theory of Consciousness and co-edits, in addition to others, The Cambridge Handbook of Cognitive Science.www.keithfrankish.comwww.cambridge.org/core/books/cambridge-handbook-of-cognitive-science/F9996E61AF5E8C0B096EBFED57596B42www.imprint.co.uk/product/illusionismwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“Generative AI, particularly Large Language Models, they seem to be engaging in conversation with us. We ask questions, and they reply. It seems like they're talking to us. I don't think they are. I think they're playing a game very much like a game of chess. You make a move and your chess computer makes an appropriate response to that move. It doesn't have any other interest in the game whatsoever. That's what I think Large Language Models are doing. They're just making communicative moves in this game of language that they've learned through training on vast quantities of human-produced text.”Keith Frankish is an Honorary Professor of Philosophy at the University of Sheffield, a Visiting Research Fellow with The Open University, and an Adjunct Professor with the Brain and Mind Programme in Neurosciences at the University of Crete. Frankish mainly works in the philosophy of mind and has published widely about topics such as human consciousness and cognition. Profoundly inspired by Daniel Dennett, Frankish is best known for defending an “illusionist” view of consciousness. He is also editor of Illusionism as a Theory of Consciousness and co-edits, in addition to others, The Cambridge Handbook of Cognitive Science.www.keithfrankish.comwww.cambridge.org/core/books/cambridge-handbook-of-cognitive-science/F9996E61AF5E8C0B096EBFED57596B42www.imprint.co.uk/product/illusionismwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Is consciousness an illusion? Is it just a complex set of cognitive processes without a central, subjective experience? How can we better integrate philosophy with everyday life and the arts?Keith Frankish is an Honorary Professor of Philosophy at the University of Sheffield, a Visiting Research Fellow with The Open University, and an Adjunct Professor with the Brain and Mind Programme in Neurosciences at the University of Crete. Frankish mainly works in the philosophy of mind and has published widely about topics such as human consciousness and cognition. Profoundly inspired by Daniel Dennett, Frankish is best known for defending an “illusionist” view of consciousness. He is also editor of Illusionism as a Theory of Consciousness and co-edits, in addition to others, The Cambridge Handbook of Cognitive Science.“Generative AI, particularly Large Language Models, they seem to be engaging in conversation with us. We ask questions, and they reply. It seems like they're talking to us. I don't think they are. I think they're playing a game very much like a game of chess. You make a move and your chess computer makes an appropriate response to that move. It doesn't have any other interest in the game whatsoever. That's what I think Large Language Models are doing. They're just making communicative moves in this game of language that they've learned through training on vast quantities of human-produced text.”www.keithfrankish.comwww.cambridge.org/core/books/cambridge-handbook-of-cognitive-science/F9996E61AF5E8C0B096EBFED57596B42www.imprint.co.uk/product/illusionismwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

In der letzten Folge vor der Sommerpause widmen sich Sinja und Boris dem Thema "Weisheit": Was bedeutet Weisheit eigentlich? Welcher Weg führt zur Weisheit? Und wie sieht die Studienlage aus? Antworten auf diese Fragen und weitere findet ihr in dieser Folge!Wie gefällt dir Verstehen, fühlen, glücklich sein? Erzähle es uns hier.Hintergründe und Studien: Robert J. Sternberg, Judith Glück: Wisdom. The Psychology of Wise Thoughts, Words, and Deeds. Cambridge University Press 2021 Link zur Studie Robert J. Sternberg, Judith Glück (Hg.): The Cambridge Handbook of Wisdom. Cambridge University Press 2019 Link zur Studie Glück, J. (2016). Weisheit-: Die 5 Prinzipien des gelingenden Lebens. Kösel-Verlag. Link zur Studie Glück, J. (2018). Measuring wisdom: Existing approaches, continuing challenges, and new developments. The Journals of Gerontology: Series B, 73(8), 1393-1403. Link zur Studie Banicki, K. (2009). The Berlin wisdom paradigm: A conceptual analysis of a psychological approach to wisdom. Staudinger, U. M., Maciel, A. G., Smith, J., & Baltes, P. B. (1998). What predicts wisdom‐related performance? A first look at personality, intelligence, and facilitative experiential contexts. European Journal of Personality, 12(1), 1-17. Link zur Studie Jeste, D. V., & Lee, E. E. (2019). The emerging empirical science of wisdom: definition, measurement, neurobiology, longevity, and interventions. Harvard review of psychiatry, 27(3), 127-140. Link zur Studie Dong, M., Weststrate, N. M., & Fournier, M. A. (2023). Thirty years of psychological wisdom research: What we know about the correlates of an ancient concept. Perspectives on Psychological Science, 18(4), 778-811. Link zur StudieArdelt, M., Gerlach, K. R., & Vaillant, G. E. (2018). Early and midlife predictors of wisdom and subjective well-being in old age. The Journals of Gerontology: Series B, 73(8), 1514-1525. Link zur Studie Lee, E. E., Bangen, K. J., Avanzino, J. A., Hou, B., Ramsey, M., Eglit, G., ... & Jeste, D. V. (2020). Outcomes of randomized clinical trials of interventions to enhance social, emotional, and spiritual components of wisdom: a systematic review and meta-analysis. JAMA psychiatry, 77(9), 925-935. Link zur Studie Unsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

Taylor Swift's newest album, The Tortured Poets Department, comes out Friday. So this hour, we are taking a look at the idea of the actual tortured poet. We talk about where the idea of tortured poets came from, learn about the nature of creativity, and hear from a poet about where their inspiration comes from. GUESTS:  Roland Greene: Professor of English and Comparative Literature and Director of the Humanities Center at Stanford University. He is editor in chief of the Princeton Encyclopedia of Poetry and Poetics. His newest book is Five Words: Critical Semantics in the Age of Shakespeare and Cervantes  James C. Kaufman: Professor of Educational Psychology at the Neag School of Education at the University of Connecticut. He is the author or editor of more than 50 books, including The Creativity Advantage and The Cambridge Handbook of Creativity Sandra Simonds: Writer, professor, and author of eight collections of poetry, the most recent of which is Triptychs. She is also the author of the novel Assia Join the conversation on Facebook and Twitter. Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode.  Colin McEnroe and Dylan Reyes contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

In this program, we compare dreaming and improvisation focusing on creative synergies, experiential similarities, and the underlying neurophysiology. These states of mind are mutually illuminating. That is, learning about one provides insights into the other. A key insight here is that we can deepen our understanding of improvisation by exploring other states of mind that have overlapping experiential qualities or brain states. In his book Dreams of Awakening, Charlie Morley writes that “…there are many different ways to tell the difference between [different states of experience], but the easiest way to get to grips with these differences is to spend as much time as we can in these states.” I propose that this is the case for improvisation, as well. By paying more attention to our dreaming experiences, we may deepen our knowledge of the experience of improvisation. References: The Case of the Three-Sided Dream: https://tv.apple.com/us/movie/the-case-of-the-three-sided-dream/umc.cmc.2no74bniyii0qtz63oc0wrmih Bashwiner, D. (2018). The neuroscience of musical creativity. The Cambridge Handbook of the neuroscience of creativity, 51, 495-516. Link to Albert Ayler's New Grass liner notes: https://lavelleporter.com/2010/08/22/message-from-albert-ayler/ I Called Him Morgan documentary: https://tv.apple.com/us/movie/i-called-him-morgan/umc.cmc.4cip1f47gqxk6qigg0mb1hiny Arrows to Infinity documentary: https://tv.apple.com/us/movie/charles-lloyd-arrows-into-infinity/umc.cmc.3ldicyne96kj1hrewd9w3dmvj Kansas City PBS documentary Bird: Not Out Of Nowhere | Charlie Parker's Kansas City Legacy: https://www.youtube.com/clip/Ugkx9Z02xiRacQxWEtx5eSmeucx-t6lB5kYZ Zadra, A., & Stickgold, R. (2021). When brains dream: Understanding the science and mystery of our dreaming minds. WW Norton & Company. Oliver Sach's article about the jazz drummer with Tourette's Syndrome: https://medhum.med.nyu.edu/view/12034 Hank Green of the SciShow Psych: https://www.youtube.com/watch?v=KwOhfmygHyM Braun, A. R., Balkin, T. J., Wesenten, N. J., Carson, R. E., Varga, M., Baldwin, P., ... & Herscovitch, P. (1997). Regional cerebral blood flow throughout the sleep-wake cycle. An H2 (15) O PET study. Brain: a journal of neurology, 120(7), 1173-1197. Kraehenmann, R. (2017). Dreams and psychedelics: neurophenomenological comparison and therapeutic implications. Current neuropharmacology, 15(7), 1032-1042. Limb, C. J., & Braun, A. R. (2008). Neural substrates of spontaneous musical performance: An fMRI study of jazz improvisation. PLoS one, 3(2), e1679. Liu, S., Chow, H. M., Xu, Y., Erkkinen, M. G., Swett, K. E., Eagle, M. W., ... & Braun, A. R. (2012). Neural correlates of lyrical improvisation: an fMRI study of freestyle rap. Scientific reports, 2(1), 834. Rosen, D. S., Oh, Y., Erickson, B., Zhang, F. Z., Kim, Y. E., & Kounios, J. (2020). Dual-process contributions to creativity in jazz improvisations: An SPM-EEG study. NeuroImage, 213, 116632. Walker, M. P., & van Der Helm, E. (2009). Overnight therapy? The role of sleep in emotional brain processing. Psychological bulletin, 135(5), 731. Trehub, S. E., Ghazban, N., & Corbeil, M. (2015). Musical affect regulation in infancy. Annals of the New York Academy of Sciences, 1337(1), 186-192. Shenfield, T., Trehub, S. E., & Nakata, T. (2003). Maternal singing modulates infant arousal. Psychology of music, 31(4), 365-375. Terry, P. C., Karageorghis, C. I., Curran, M. L., Martin, O. V., & Parsons-Smith, R. L. (2020). Effects of music in exercise and sport: A meta-analytic review. Psychological bulletin, 146(2), 91. Seppälä, E., Bradley, C., & Goldstein, M. R. (2020). Research: Why breathing is so effective at reducing stress. Harvard Business Review. Diakses dari https://hbr. org/2020/09/research-why-breathing-is-so-effective-at-reducing-stress. https://hbr.org/2020/09/research-why-breathing-is-so-effective-at-reducing-stress

In order to understand learning, we need to understand the result of learning - expertise. This is much easier to approach in so-called "kind" domains, such as chess, where the rules are fixed and all information is available. However, there exist more "wicked" domains than this, such as tennis (where your opponent changes each match) or stock market investment (where the world is different each time). How do we study the development of expertise in fields such as these? Chapter 22 of The Cambridge Handbook of Expertise and Expert Performance, entitled Toward Deliberate Practice in the Development of Entrepreneurial Expertise: The Anatomy of the Effectual Ask, concerns expertise in the art of entrepreneurship. This is a wicked domain par excellence, so much so as to throw into doubt the applicability or at least the generalisability of ideas about expertise from other domains, and yet the Handbook has a chapter approaching this topic, which is commendable.  In this episode, you will hear about two key concepts that have arisen out of research on expert entrepreneurship - the Effectual vs. Predictive Frame; and the Entrepreneurial Ask. In other words, we will look at what research has to say about successful entrepreneurs' true attitudes vs. the popular conception in the media, and how they develop their skills. Enjoy the episode. *** RELATED EPISODES 125. Entrepreneurship education and conspicuous consumption 125+. Interview with Rasmus Koss Hartman

Pat is joined by Dr. Tyler McNabb for a discussion on religious epistemology. PS - check out the new Cambridge Handbook of Religious Epistemology: https://www.cambridge.org/core/books/cambridge-handbook-of-religious-epistemology/1F03540692F28C8EB49AF0B5A8367CBB

#sufi #sufism #esotericism When was Sufism incorporated into esoteric magic traditions? Sufi practices of Tariqa and occult reinterpretations. René Guénon, Theosophical Society, Ouspensky, Gurdjieff, Ibn al-ʿArabī, Neoplatonism, Hermetic Philosophy. CONNECT & SUPPORT

What are the principles of Magick? Which are the laws of witchcraft? What's the philosophy of magick and witchcraft? In this video, we will cover the main theoretical approaches to understanding magical practices and the philosophical foundational elements underpinning magick. CONNECT & SUPPORT

Have you ever wondered how creativity can help you improve your wellbeing? This episode is also for you if you don't even believe that you are creative. We all have it in us!  My guest this week, James C. Kaufman, will share his wisdom on creativity and wellbeing as well as how to ignite the fire of creativity! Curious? Then tune in! James is a Professor of Educational Psychology at the Neag School of Education at the University of Connecticut. He has written or edited more than 50 books. These include the forthcoming The Creativity Advantage (Cambridge) and Lessons in creativity from musical theatre characters (with Dana P. Rowe; Routledge);as well as the Cambridge Handbook of Creativity (with Robert J. Sternberg) and Creativity 101.  James has won many awards, including Mensa's research award, the Torrance Award from the National Association for Gifted Children, and APA's Berlyne, Arnheim, and Farnsworth awards. He co-founded two major journals, Psychology of Aesthetics, Creativity, and the Arts and Psychology of Popular Media Culture. He has tested Dr. Sanjay Gupta's creativity on CNN; written the book and lyrics to the musical Discovering Magenta (which played NYC and has a cast album); and appeared onscreen, complete with white lab coat, in the comic book documentary Independents.   James lives with his wife, Allison, his sons Jacob and Asher, and a menagerie currently containing two dogs, an African Grey Parrot, five rats, and an axolotl in Connecticut in the US.    Stay in touch with James: LinkedIn: https://www.linkedin.com/in/kaufmania/ Website: https://education.uconn.edu/person/james-kaufman/ #creativity #wellbeing #careeradvice #reachingyourgoals #delygate   If you have comments on the show or like to work with Johanna, you can reach her at Johanna.Herbst@delygate.com. You will also find more information on the show at https://www.delygate.com/podcast.  Lastly, to get inspiration in your inbox, please sign up for our newsletter (https://delygate.substack.com/).  

Have you ever wondered about your emotions along the creative journey and how to leverage them? For example, did you know that the best time to proofread your work is when you feel grumpy? If you are curious about the link between emotions and creativity, then you got to meet my guest, Zorana Ivcevic Pringle. Zorana Ivcevic Pringle, Ph.D., is a Senior Research Scientist at the Yale Center for Emotional Intelligence. Zorana studies the role of emotion in creativity and well-being. She is the Associate Editor of Creativity Research Journal, has published research in personality psychology, creativity studies, and organizational behavior journals, and has edited the Cambridge Handbook of Creativity and Emotion. Zorana received the Award for Excellence in Research from the Mensa Education and Research Foundation and the Berlyne Award for Outstanding Early Career Achievement in the psychology of aesthetics, creativity, and the arts from the American Psychological Association.   Stay in touch with Zorana: Website:  https://www.zorana-ivcevic-pringle.com/ LinkedIn:   https://www.linkedin.com/in/zorana-ivcevic-pringle/ Instagram: https://www.instagram.com/dr.z.i.pringle/ Facebook:  https://www.facebook.com/ZoranaIvcevicPringle   #creativity #emotions #career #reachingyourgoals #delygate   If you have comments on the show or like to work with Johanna, you can reach her at Johanna.Herbst@delygate.com. You will also find more information on the show at https://www.delygate.com/podcast.  Lastly, to get inspiration in your inbox, please sign up for our newsletter (https://delygate.substack.com/).

Jules Polonetsky is the CEO of the Future of Privacy Forum, a nonprofit organization advancing principled data practices to support emerging technologies. FPF is supported by more than 180 leading companies and foundations. Jules has led the development of numerous codes of conduct and best practices and assisted in drafting data protection legislation. He is an IAPP Westin Emeritus Fellow, the 2023 recipient of the IAPP leadership award, and the Co-editor of The Cambridge Handbook of Consumer Privacy. With 30 years of experience in consumer protection, Jules has served as Chief Privacy Officer at AOL and DoubleClick, a consumer affairs commissioner for New York City, and an elected New York State Legislator. In this episode… The emergence of ChatGPT and other AI chatbots has added another layer to the convoluted privacy landscape, further solidifying the need for comprehensive regulations. So what should corporations and lawmakers consider when protecting consumer and public privacy? Companies often have a superficial understanding of customer data, lacking consideration for the nuances and categories of each set. But ChatGPT has introduced additional bias, which can lead to legal consequences. Privacy law advocate Jules Polonetsky says that to ensure AI remains compliant, organizations must apply data protection laws to public data sets. The Future of Privacy Forum offers a collaborative space to create and enforce policies and resolve pressing issues in the space. In this episode of She Said Privacy/He Said Security, Jodi and Justin Daniels welcome CEO of the Future of Privacy Forum Jules Polonetsky to discuss AI's privacy ramifications. Jules explains how to incorporate AI into global data protection laws, privacy's nuances and industry developments, and how to protect privacy when using AI chatbots.

What role do emotions play in creativity? Are we more creative when we're happy? In this episode of the Fueling Creativity in Education podcast, Dr. Cyndi Burnett and Dr. Matthew Worwood continue their discussion with Zorana Ivcevic Pringle, Ph.D., a Senior Research Scientist at the Yale Center for Emotional Intelligence. In part 1 of this double expresso, Zorana talked about how people engage in the creative process and how that applies to the classroom environment.   In part 2, you'll learn more about the emotional side of creativity along with strategies for supporting students as they navigate emotions and creativity in the k-12 classroom. Zorana highlights the Theory of Emotional Intelligence, detailing how we can harness the power of our emotions to express creativity and achieve our creative goals. This insight is very helpful for teachers in helping students be more creative and more in touch with their feelings, moods, and emotions.   Zorana also shares insights from her new book, The Cambridge Handbook of Creativity and Emotion, and how they apply to creativity in education.   “What we have learned from these studies is pretty unanimous, actually - that positive, pleasant, highly energized moods, such as being happy, is helpful for creative thinking. People come up with more ideas and more original ideas in these states.” – Zorana Ivcevic Pringle   Zorana's Tips for Teachers and Parents: Creativity is full of emotions. From anxiety in front of an empty screen to frustrations when you're facing obstacles to the joy and pride of success. All are part of the creative process. Remind yourself and your students that challenging feelings are not a sign of lack of creativity skills, but they are a normal part of the creative process and can be expected. When teaching for creativity, it's important to model and support the process of transforming ideas into an end product. That process may be long and will require flexibility, adjustment, and facing frustrations. Teach students how to regulate their work on creative projects. They need to be aware that they will have to persist through difficulties, but they can use the emotions they experience in service to their project.    “The advice shouldn't be that we have to be happy or joyful in order to be creative, but it oftentimes happens like that. There are also other people who got inspired by grief and by pain and by anxiety, so that is possible too and we shouldn't discount it, especially when we are giving advice of how to be inspired.” – Zorana Ivcevic Pringle   Recommended Resources: Listen to Part 1 with Zorana Ivcevic Pringle The Cambridge Handbook of Creativity and Emotion by Jessica D. Hoffmann, James C. Kaufman, and Zorana Ivcevic Listen to the episode with Dr. James Kaufman GoNoodle   Eager to bring more creativity into your home or classroom?  Access a variety of creativity resources and tools & listen to more episodes of The Fueling Creativity in Education Podcast by visiting our website,  www.CreativityandEducation.com.   How can you promote Teacher Creativity?  Read and watch how the concept of Teacher Creativity and Design Thinking can increase teacher agency using new technology, help build a culture of innovation, and support diversity and inclusion and social-emotional learning at your school. Visit WorwoodClassroom.com.   Subscribe to our monthly newsletter!   Have a question? Email Dr. Burnett and Dr. Worwood at questions@fuelingcreativitypodcast.com!   You can also find The Fueling Creativity in Education Podcast on Apple Podcasts, Spotify, Audible, and PodBean! Please rate, review, and share the podcast if you enjoy it!   About Zorana Ivcevic Pringle: Zorana Ivcevic Pringle, Ph.D., is a Senior Research Scientist at the Yale Center for Emotional Intelligence. Dr. Ivcevic studies the role of emotions in creativity and well-being, as well as how to use the arts (and art-related institutions) to promote emotion and creativity skills. She has served as Associate Editor of Psychology of Aesthetics, Creativity, and the Arts, International Journal of Creativity and Problem Solving, and Creativity Research Journal. Her work has been featured in the Harvard Business Review, ArtNet, US News, Education Week, Science Daily, El Pais, and others, and is a regular contributor to Psychology Today and Creativity Post. Dr. Ivcevic received the Award for Excellence in Research from the Mensa Education and Research Foundation, the Berlyne Award for Outstanding Early Career Achievement from the Society for the Psychology of Aesthetics, Creativity and the Arts, and has been elected Fellow of the American Psychological Association.   Visit Zorana's website Follow her on Instagram Follow her on Twitter Connect with her on Facebook Connect with her on LinkedIn  

My friend Zoë (hi Zoë!) is taking a course on learning design. In it, she heard about Behaviourism, Cognitivism, and Constructivism, and while she said that she found it confusing, her main takeaway is that "you need a bit of each". I recorded this episode to help her have a clearer sense of what these three words really mean, and that "a bit of each" is emphatically not the right message. I thought that others might benefit from the same summary. This is a frequent topic in education courses, and I think it generally gets a pretty poor treatment. Hopefully this will clear things up for a lot of people. Enjoy the episode. *** RELATED EPISODES Note how the distribution of episodes reflects the importance of topics. Behaviourism is important to know about but it really isn't current as a way of thinking about learning, it's more of a historical relic with some lasting applicability to animal training. Constructivism is a mistaken and misleading theory that keeps negatively affecting educational practice and never seems to go away, so I keep having to talk about it. Cognitivism is a really effective approach which deserves to be known more widely - it took me a long time to find out about it, hence why the episodes about it tend to be more recent. Behaviourism: 3. Don't Shoot the Dog! The New Art of Teaching and Training by Karen Pryor Constructivism: 42. Do Schools Kill Creativity? by Ken Robinson; 65. Beyond the Hole in the Wall by Sugata Mitra; 87. Experiential Learning by Colin Beard and John Wilson; 88. The Failure of Constructivist, Discovery, Problem-based, Experiential, and Inquiry-based Teaching; 90. Discovery learning: the idea that won't die; 124. The Cambridge Handbook of the Learning Sciences Cognitivism: 79. What learning is; 80. The Chimp Paradox by Prof Steve Peters; 82. Memorable Teaching by Pepps McCrea; 85. Why Don't Students Like School? by Daniel Willingham; 95. The Reading Mind by Dan Willingham; 132a. Direct Instruction and Project Follow Through; 132b. Direct Instruction: the evidence; 135. Professional writing expertise; 136. Congitive architecture and ACT-R; 136+. Interview with Prof. Christian Lebiere on ACT-R and Cognitive Architecture REFERENCES I mention the following article as one where the authors (eminent figures in cognitive architecture, one of whom is a Nobel Prize winner) ask Constructivists to stop misrepresenting their work and saying things in direct contradiction to the evidence. Anderson, Reder, & Simon (1999). Applications and Misapplacations of Cognitive Psychology to Mathematics Education. SUPPORT You can support the podcast and join the community forum by visiting https://www.buymeacoffee.com/edubookcast.

Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020).“I love podcasts and things like that, if only to listen to people who've done incredible things. We live in a kind of unusual time where we can hear firsthand people talking about their own experiences, and what they went through when they were creating something. And while artists differ greatly from one another in terms of the specifics of their process, what certainly seems to be the case is that they're extraordinarily interested in their own mind, and they have what we would call a metacognitive awareness. They know almost quite precisely, at least what doesn't work for them. They're very cued into what to avoid and how to sort of generate the mental conditions that are necessary in order to be as generative or as creative as they're likely to be in a specific situation. So that is a deep medical awareness that they have about their own process that is really quite something. They know themselves very well.”www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“I love podcasts and things like that, if only to listen to people who've done incredible things. We live in a kind of unusual time where we can hear firsthand people talking about their own experiences, and what they went through when they were creating something. And while artists differ greatly from one another in terms of the specifics of their process, what certainly seems to be the case is that they're extraordinarily interested in their own mind, and they have what we would call a metacognitive awareness. They know almost quite precisely, at least what doesn't work for them. They're very cued into what to avoid and how to sort of generate the mental conditions that are necessary in order to be as generative or as creative as they're likely to be in a specific situation. So that is a deep medical awareness that they have about their own process that is really quite something. They know themselves very well.”Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020).www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020)."Well, I think if it's 'closer to the surface' as you so beautifully put it, it's usually that you see it through their personality a lot more. It's just not just their actions or the products that they create, but they somehow are sort of glowing with it, in a sense. And you usually see that when they essentially embody specific traits that we know to be very important for creativity. And one is a sort of openness to new experiences that is one of the most consistent findings of creativity research that people across the board, whether you're looking at artists or scientists who've reached some level of creative eminence, they're all marked by a specific kind of openness to new experience. Very deeply curious and game for anything, if you want, for what a possibility can tell them, or the level which you can take them to next. So they are open to it, and excited by it.And the second thing is that they exude a certain kind of confidence. Creative confidence is something that really can't be taught. And you can tell people 'you should be more confident,'' but it's something that they have to...that can be cultivated by the person themselves. But usually what you see is this enormous confidence. Sometimes they'll say it with these sort of destiny kind of words. Like 'I was put here for this reason. I know that I have a purpose in life and that is...' And that stems from a sort of profound confidence about what they have to offer the world and what lies within them. And so I would say those two features are perhaps the things that those sorts of people embody."www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"Well, I think if it's 'closer to the surface' as you so beautifully put it, it's usually that you see it through their personality a lot more. It's just not just their actions or the products that they create, but they somehow are sort of glowing with it, in a sense. And you usually see that when they essentially embody specific traits that we know to be very important for creativity. And one is a sort of openness to new experiences that is one of the most consistent findings of creativity research that people across the board, whether you're looking at artists or scientists who've reached some level of creative eminence, they're all marked by a specific kind of openness to new experience. Very deeply curious and game for anything, if you want, for what a possibility can tell them, or the level which you can take them to next. So they are open to it, and excited by it.And the second thing is that they exude a certain kind of confidence. Creative confidence is something that really can't be taught. And you can tell people 'you should be more confident,'' but it's something that they have to...that can be cultivated by the person themselves. But usually what you see is this enormous confidence. Sometimes they'll say it with these sort of destiny kind of words. Like 'I was put here for this reason. I know that I have a purpose in life and that is...' And that stems from a sort of profound confidence about what they have to offer the world and what lies within them. And so I would say those two features are perhaps the things that those sorts of people embody."Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020).www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020).“In the case of improv, where it's physical, it might be a slightly different experience as well compared to someone sitting in front of a page and trying to write because like those physical embodiments, whether it's in a sporting arena or any sport or where you're trying to improvise in front of a group of people... And verbally, of course, if it's standup comedy or that kind of improv, you are in a collective space.Creative confidence is something that really can't be taught. And you can tell people 'you should be more confident,' but it's something that they have to...that can be cultivated by the person themselves. But usually what you see is this enormous confidence. Sometimes they'll say it with these sort of destiny kind of words. Like 'I was put here for this reason. I know that I have a purpose in life and that is...' And that stems from a sort of profound confidence about what they have to offer the world and what lies within them. And so I would say those two features are perhaps the things that those sorts of people embody.”www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“In the case of improv, where it's physical, it might be a slightly different experience as well compared to someone sitting in front of a page and trying to write because like those physical embodiments, whether it's in a sporting arena or any sport or where you're trying to improvise in front of a group of people... And verbally, of course, if it's standup comedy or that kind of improv, you are in a collective space.Creative confidence is something that really can't be taught. And you can tell people 'you should be more confident,' but it's something that they have to...that can be cultivated by the person themselves. But usually what you see is this enormous confidence. Sometimes they'll say it with these sort of destiny kind of words. Like 'I was put here for this reason. I know that I have a purpose in life and that is...' And that stems from a sort of profound confidence about what they have to offer the world and what lies within them. And so I would say those two features are perhaps the things that those sorts of people embody.”Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020).www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020)."How do you know that you're talented at something? At some point you encountered it or you were around it and you felt the pull, the drive towards it. Some people have it very early on. And other people do not. And the question of how do you know what works for you is a very big one. And partly it has to do with the opportunities that you have, the house you grew up in, and so on. And that's not to say that those are determining factors because there are plenty of examples of people who didn't come from any sort of background of artistry and then went on to become incredible artists. And the same for the sciences.So, how to identify it is really based on what you encounter in the world and what you're aware of, and your awareness of your own skills. But for anyone who takes to art, they just understand that when you first did it or the early encounters with it were a sort of almost spiritual phenomenon. This is also true of scientists. They feel like they're part of something larger and it's impossible to define it for any one person, but you know it when you're in it. You discover for yourself that when you're writing a diary at night, that when you twist the words a specific way, it gives you incredible joy. And then you realize that this is your own private thing, that you can do really well, and you choose to pursue it more and more. But I think one way to do it is when they're young enough to sort of expose children to as many different things as possible."www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"How do you know that you're talented at something? At some point you encountered it or you were around it and you felt the pull, the drive towards it. Some people have it very early on. And other people do not. And the question of how do you know what works for you is a very big one. And partly it has to do with the opportunities that you have, the house you grew up in, and so on. And that's not to say that those are determining factors because there are plenty of examples of people who didn't come from any sort of background of artistry and then went on to become incredible artists. And the same for the sciences.So, how to identify it is really based on what you encounter in the world and what you're aware of, and your awareness of your own skills. But for anyone who takes to art, they just understand that when you first did it or the early encounters with it were a sort of almost spiritual phenomenon. This is also true of scientists. They feel like they're part of something larger and it's impossible to define it for any one person, but you know it when you're in it. You discover for yourself that when you're writing a diary at night, that when you twist the words a specific way, it gives you incredible joy. And then you realize that this is your own private thing, that you can do really well, and you choose to pursue it more and more. But I think one way to do it is when they're young enough to sort of expose children to as many different things as possible."Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020).www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"Well, I think if it's 'closer to the surface' as you so beautifully put it, it's usually that you see it through their personality a lot more. It's just not just their actions or the products that they create, but they somehow are sort of glowing with it, in a sense. And you usually see that when they essentially embody specific traits that we know to be very important for creativity. And one is a sort of openness to new experiences that is one of the most consistent findings of creativity research that people across the board, whether you're looking at artists or scientists who've reached some level of creative eminence, they're all marked by a specific kind of openness to new experience. Very deeply curious and game for anything, if you want, for what a possibility can tell them, or the level which you can take them to next. So they are open to it, and excited by it.And the second thing is that they exude a certain kind of confidence. Creative confidence is something that really can't be taught. And you can tell people 'you should be more confident,'' but it's something that they have to...that can be cultivated by the person themselves. But usually what you see is this enormous confidence. Sometimes they'll say it with these sort of destiny kind of words. Like 'I was put here for this reason. I know that I have a purpose in life and that is...' And that stems from a sort of profound confidence about what they have to offer the world and what lies within them. And so I would say those two features are perhaps the things that those sorts of people embody."Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020).www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020)."Well, I think if it's 'closer to the surface' as you so beautifully put it, it's usually that you see it through their personality a lot more. It's just not just their actions or the products that they create, but they somehow are sort of glowing with it, in a sense. And you usually see that when they essentially embody specific traits that we know to be very important for creativity. And one is a sort of openness to new experiences that is one of the most consistent findings of creativity research that people across the board, whether you're looking at artists or scientists who've reached some level of creative eminence, they're all marked by a specific kind of openness to new experience. Very deeply curious and game for anything, if you want, for what a possibility can tell them, or the level which you can take them to next. So they are open to it, and excited by it.And the second thing is that they exude a certain kind of confidence. Creative confidence is something that really can't be taught. And you can tell people 'you should be more confident,'' but it's something that they have to...that can be cultivated by the person themselves. But usually what you see is this enormous confidence. Sometimes they'll say it with these sort of destiny kind of words. Like 'I was put here for this reason. I know that I have a purpose in life and that is...' And that stems from a sort of profound confidence about what they have to offer the world and what lies within them. And so I would say those two features are perhaps the things that those sorts of people embody."www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"Well, I think if it's 'closer to the surface' as you so beautifully put it, it's usually that you see it through their personality a lot more. It's just not just their actions or the products that they create, but they somehow are sort of glowing with it, in a sense. And you usually see that when they essentially embody specific traits that we know to be very important for creativity. And one is a sort of openness to new experiences that is one of the most consistent findings of creativity research that people across the board, whether you're looking at artists or scientists who've reached some level of creative eminence, they're all marked by a specific kind of openness to new experience. Very deeply curious and game for anything, if you want, for what a possibility can tell them, or the level which you can take them to next. So they are open to it, and excited by it.And the second thing is that they exude a certain kind of confidence. Creative confidence is something that really can't be taught. And you can tell people 'you should be more confident,'' but it's something that they have to...that can be cultivated by the person themselves. But usually what you see is this enormous confidence. Sometimes they'll say it with these sort of destiny kind of words. Like 'I was put here for this reason. I know that I have a purpose in life and that is...' And that stems from a sort of profound confidence about what they have to offer the world and what lies within them. And so I would say those two features are perhaps the things that those sorts of people embody."Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020).www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020)."Well, I think if it's 'closer to the surface' as you so beautifully put it, it's usually that you see it through their personality a lot more. It's just not just their actions or the products that they create, but they somehow are sort of glowing with it, in a sense. And you usually see that when they essentially embody specific traits that we know to be very important for creativity. And one is a sort of openness to new experiences that is one of the most consistent findings of creativity research that people across the board, whether you're looking at artists or scientists who've reached some level of creative eminence, they're all marked by a specific kind of openness to new experience. Very deeply curious and game for anything, if you want, for what a possibility can tell them, or the level which you can take them to next. So they are open to it, and excited by it.And the second thing is that they exude a certain kind of confidence. Creative confidence is something that really can't be taught. And you can tell people 'you should be more confident,'' but it's something that they have to...that can be cultivated by the person themselves. But usually what you see is this enormous confidence. Sometimes they'll say it with these sort of destiny kind of words. Like 'I was put here for this reason. I know that I have a purpose in life and that is...' And that stems from a sort of profound confidence about what they have to offer the world and what lies within them. And so I would say those two features are perhaps the things that those sorts of people embody."www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“I love podcasts and things like that, if only to listen to people who've done incredible things. We live in a kind of unusual time where we can hear firsthand people talking about their own experiences, and what they went through when they were creating something. And while artists differ greatly from one another in terms of the specifics of their process, what certainly seems to be the case is that they're extraordinarily interested in their own mind, and they have what we would call a metacognitive awareness. They know almost quite precisely, at least what doesn't work for them. They're very cued into what to avoid and how to sort of generate the mental conditions that are necessary in order to be as generative or as creative as they're likely to be in a specific situation. So that is a deep medical awareness that they have about their own process that is really quite something. They know themselves very well.”Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020).www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Andy and Dave discuss the latest in AI news and research, starting with an education program from AI that teaches US Air Force personnel the fundamentals of AI across three types: leaders, developers, and users. The US Equal Employment Opportunity Commission unveils its draft Strategic Enforcement Plan to target AI-based hiring bias. The US Department of State establishes the Office of the Special Envoy for Critical and Emerging Technology to bring “additional technology policy expertise, diplomatic leadership, and strategic direction to the Department's approach to critical and emerging technologies.” Google calls in its founders, Larry Page and Sergey Brin, to help with the potential threat over ChatGPT and other AI technology. Researchers from Northwestern University publish research that demonstrates how ChatGPT can write fake research paper abstracts that can pass plagiarism checkers, and that human reviewers were only able to correctly identify 68% of the generated abstracts. Wolfram publishes an essay on a way to combine the computational powers of ChatGPT with Wolfram|Alpha. CheckPoint Research demonstrates how cybercriminals can use ChatGPT for nefarious exploits (including people without any experience in generating malicious tools). Researchers at Carnegie Mellon demonstrate that full body tracking is now possible using only WiFi signals, with comparable performance to image-based approaches. Microsoft introduces VALL-E, a text-to-speech AI model that can mimic anyone's voice with only three seconds of sample input. The Cambridge Handbook of Responsible AI is the book of the week, with numerous essays on the philosophical, ethical, legal, and societal challenges that AI brings; Cambridge has made the book open-access online. And finally, Sam Bendett joins for an update on the latest AI and autonomy-related information from Russia as well as Ukraine.

Andy and Dave discuss the latest in AI news and research, starting with an education program from AI that teaches US Air Force personnel the fundamentals of AI across three types: leaders, developers, and users. The US Equal Employment Opportunity Commission unveils its draft Strategic Enforcement Plan to target AI-based hiring bias. The US Department of State establishes the Office of the Special Envoy for Critical and Emerging Technology to bring “additional technology policy expertise, diplomatic leadership, and strategic direction to the Department's approach to critical and emerging technologies.” Google calls in its founders, Larry Page and Sergey Brin, to help with the potential threat over ChatGPT and other AI technology. Researchers from Northwestern University publish research that demonstrates how ChatGPT can write fake research paper abstracts that can pass plagiarism checkers, and that human reviewers were only able to correctly identify 68% of the generated abstracts. Wolfram publishes an essay on a way to combine the computational powers of ChatGPT with Wolfram|Alpha. CheckPoint Research demonstrates how cybercriminals can use ChatGPT for nefarious exploits (including people without any experience in generating malicious tools). Researchers at Carnegie Mellon demonstrate that full body tracking is now possible using only WiFi signals, with comparable performance to image-based approaches. Microsoft introduces VALL-E, a text-to-speech AI model that can mimic anyone's voice with only three seconds of sample input. The Cambridge Handbook of Responsible AI is the book of the week, with numerous essays on the philosophical, ethical, legal, and societal challenges that AI brings; Cambridge has made the book open-access online. And finally, Sam Bendett joins for an update on the latest AI and autonomy-related information from Russia as well as Ukraine.

I should start by telling you that Jules Polonetsky is an optimist. Second, in the area of privacy and consumer protection, Jules is the man. He knows as much about privacy as Facebook knows about you. Jules serves as CEO of the Future of Privacy Forum, a Washington, D.C.-based non-profit organization that serves as a catalyst for privacy leadership and scholarship, advancing principled data practices in support of emerging technologies. FPF is supported by the chief privacy officers of more than 200 leading companies, several foundations, as well as by an advisory board composed of the country's leading academics and advocates. FPF's current projects focus on AI and Ethics, Connected Cars, Health, Research Data, Smart Communities, Ad Tech, Youth, Ed Tech, Privacy Legislation and Enforcement, and Global Data Flows.  We've known each other for nearly 40 years, and while our mutual admiration is the foundation of this conversation, our objective is to help you thrive in today's crazy world.Key Takeaways:If an app is "free," you're the product.If we act based on democratic and social values, AND we are honest about our point of view, thing might improve dramatically. Anytime you question your self-worth, just think about the multi-million-dollar high speed auction going on for your data. More About Jules:Jules also serves as Chairman of the International Digital Accountability Council and as Co-Chairman of the Israel Tech Policy Institute. Jules is co-editor of The Cambridge Handbook of Consumer Privacy, published by Cambridge University Press (2018). More of his writing and research can be found at the www.fpf.org and on Google Scholar and SSRN.Jules's previous roles have included serving as Chief Privacy Officer at AOL and at DoubleClick, as Consumer Affairs Commissioner for New York City, as an elected New York State Legislator and as a congressional staffer, and as an attorney.Jules has served on the boards of a number of privacy and consumer protection organizations including TRUSTe, the International Association of Privacy Professionals, and the Network Advertising Initiative. From 2011-2012, Jules served on the Department of Homeland Security Data Privacy and Integrity Advisory Committee. Jules is a member of The George Washington University Law School Privacy and Security Advisory Council. He also currently sits on the Advisory Boards of Open DP | Harvard University Privacy Tools Project and the California Privacy Lab (University of California).More at https://www.linkedin.com/in/julespolonetsky/If you enjoyed listening to Truth Tastes Funny, please leave a 5-star rating and a 300-word review on Apple Podcasts (click Listen on Apple Podcasts to access review option)Follow us on Instagram: @truthtastesfunnyFollow Hersh on Instagram: @Hersh4allon LinkedIn: HershRephunon YouTube: HershRephunon Twitter: @TruthTstsFunnyOur Website: TruthTastesFunnyContact UsExplore Branded Ventures with Truth Tastes Funny and Hersh's YES, BRAND Podcast