Table of Contents

Handbook of Research on Creativity

Handbook of Research on Creativity

Elgar original reference

Edited by Kerry Thomas and Janet Chan

In this timely work, creativity is not defined by an ideal, rather it encompasses a range of theories, functions, characteristics, processes, products and practices that are associated with the generation of novel and useful outcomes suited to particular social, cultural and political contexts. Chapters present original research by international scholars from a wide range of disciplines including history, sociology, psychology, philosophy, cultural studies, education, economics and interdisciplinary studies. Their research investigates creativity in diverse fields including art, creative industries, aesthetics, design, new media, music, arts education, science, engineering and technology.

Chapter 9: Attributing creativity in science and engineering: the discourses of discovery, invention and breakthrough

David Philip Miller

Subjects: business and management, organisation studies, innovation and technology, innovation policy

Extract

In common-sense terms, which suffice for many everyday purposes, the meanings of ‘discovery’ and ‘invention’, and the differences between them are simple and straightforward. To discover is to uncover, as we might reveal what lies on a table by removing the cloth covering it. Such an act of uncovering involves an existing entity being first hidden from us but then being made evident to us by the act of an individual. The entity pre-exists the act of its revelation, and the revelation does nothing to constitute or affect the nature of the entity. The most common view of scientific discovery sees it in this way. Scientists see novel features of the natural world, or they indirectly, but still securely, apprehend them through processes of observation, experiment and reasoning. Discovery is pictured as an individual act of cognition in which an external reality is cognitively grasped.

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