16鈥�17 April 2019, Bristol
Conference Report
Alexander Bird
The conference was organised by Anthony Everett (Bristol), Joanna Burch-Brown (Bristol), and Alexander Bird (King鈥檚 College London), with administrative support from Elle Chilton-Knight (Bristol). The conference took place in Cotham House, Bristol, the home of the University of Bristol Department of Philosophy, and was preceded by a workshop on 15 April for early career researchers.
Pre-conference workshop
This allowed ECRs to present their work in association with the conference, which in turn will have enabled some to obtain funding to attend the workshop and conference. The workshop was cost-neutral (lunch, tea, coffee were covered by the workshop registration fee).
The advertised workshop speakers were:
鈥� Claire Anscomb (Kent) 鈥淐reative Agency and Co-Working in Art and Science鈥�
鈥� Lucy Barry (Warwick) 鈥淭he Potential for Radical Novelty in Human Creation鈥�
鈥� Caterina Moruzzi (Nottingham) 鈥淕enerative Adversarial Networks as a Creative Model of Music Composition鈥�
鈥� Julia S谩nchez Dorado (UCL) 鈥淭he Creative Similarity Account of Representation鈥�
鈥� Sylvia Solakidi (Surrey) 鈥淧erformance Philosophy Approach to ontological Aspects of Creativity鈥�
鈥� Jens Ziska (Warburg Institute) 鈥淎rtificial Creativity and Adversarial Networks鈥�
(Jeremy Page, Uppsala, had to withdraw a few days before the workshop).
Conference
The speakers and papers delivered at the conference (over two days) were as follows
鈥� Hanne Andersen (University of Copenhagen) 鈥滳reativity and Innovation in Contemporary Science鈥�
鈥� Angela Breitenbach (University of Cambridge) 鈥淚magination in Aesthetic Experience and Scientific Understanding鈥�
鈥� Noel Carroll (The Graduate Center CUNY) 鈥滱vant-Garde Art and the Creative Process: A Gricean Account鈥�
鈥� Alison Hills (University of Oxford) 鈥滱gainst Romanticism. On the Value and Disvalue of Creative Imagination in the Arts and Sciences鈥�
鈥� Paul Hoyningen-Huene (Leibniz Universit盲t Hannover) 鈥滿arcel Duchamp, Creativity, and the ‘Fountain’鈥�
鈥� Matthew Kieran (University of Leeds) 鈥淐reativity, Procrastination and Courage鈥�
鈥� Maria Kronfeldner (Central European University) 鈥漁n Academic Freedom as a Prerequisite for Scientific Creativity鈥�
鈥� Elisabeth Schellekens (Uppsala University) 鈥滲eing Creative and Being Reflective: Making Contemporary Art鈥�
鈥� Dustin Stokes (University of Utah) 鈥滶xpertise, Skill, and Creativity鈥�
鈥� Michael Stuart (Universit茅 de Gen猫ve) 鈥漌hat Can the Study of Imagination Tell Us 糖心视频 Creativity?鈥�
鈥� Paul Thagard (University of Waterloo) 鈥漃rocedural Creativity in Art and Science鈥�
(Margaret Boden had agreed to speak but had to withdraw for health reasons. We invited Michael Stuart in her place.)
The purpose of the conference was to encourage discussion of creativity in relation to both the arts and the science. The was achieved very effectively with speakers and participants from both aesthetics and from philosophy of science contributing to the discussions, and with several papers explicitly addressing both the arts and the sciences.
There were 39 participants at the conference.
Gender inclusiveness
62% of participants were women. 5 out of 6 workshop speakers were women. 5 out of 11 conference speakers were women (this would have been 6 out of 11 had Margaret Boden been able to speak). We did offer financial and other assistance with childcare. This was not taken up, except that in the case of one student the costs of childcare (at home) were taken into consideration in the bursary given. We ensured that the BPA/SWiP good practice guidelines were followed in the planning of the conference and in the management of the talks.