Abstract
In this essay the focus will be put on sketching out the ontological circumstances of the creative process typical for creative activity and for natural evolutionary processes. Thus, the basic aim is to describe and present an outline of possible ways of existence of all the elements in the process resulting in a work of art and a quite new form of biological existence, incarnated in a species, stemming from its genotype and contained in its m-DNA.
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Notes
Comp. R. Dawkins, The Blind Watchmaker (London: 1986).
Comp. R. Penrose, The Emperor’s New Mind: Concerning Computers, Minds and Laws of Physics (London: 1989).
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Comp. G. Brauer, Das Findes als Moment des Schüpferischen (Tübingen: 1966).
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W. Stróżewski, W kręgu wartości, op. cit., p. 60.
Ibid., p. 65.
Comp. B. Goodwin, How the Leopard Changed its Spots (London: 1994).
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Comp. S. J. Gould, R. C. Lewontin, “The Spandlers of San Marco and the Panglossian Paradigm: A Critique of the Adaptationist Programme,” Proceeding of the Royal Society of London (B), 205 (1979), pp. 581–598.
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Comp. K. R. Popper, A World of Propensities (London, New York: 1990).
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Stanisław Fiut, I. (2002). The Ontology of the Creative Process. In: Tymieniecka, AT. (eds) The Creative Matrix of the Origins. Analecta Husserliana, vol 77. Springer, Dordrecht. https://doi.org/10.1007/978-94-010-0538-8_25
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DOI: https://doi.org/10.1007/978-94-010-0538-8_25
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