What affords being creative? Opportunities for novelty in light of perception, embodied activity, and imaginative skill

Re-thinging Embodied and Enactive Psychiatry: A Material Engagement Approach

Emerging consensus among enactivist philosophers and embodied mind theorists suggests that seeking to understand mental illness we need to look out of our skulls at the ecology of the brain. Still, the complex links between materiality (in broadest sense of material objects, habits, practices and environments) and mental health remain little understood. This paper discusses the benefits of adopting a material engagement approach to embodied and enactive psychiatry. We propose that the material engagement approach can change the geography of the debate over the nature of mental disorders and through that help to develop theoretical and practical insights that could improve management and treatment for various psychiatric conditions. We investigate the potential role of Material Engagement Theory (MET) in psychiatry using examples of aetiologically different mental illnesses (schizophrenia and dementia) in respect of their shared phenomenological manifestations, focusing particularly on issues of memory, self-awareness, embodiment and temporality. The effective study of socio-material relations allows better understanding of the semiotic significance and agency of specific materials, environments and technical mediations. There is unrealised potential here for creating new approaches to treatment that can broaden, challenge or complement existing interventions and practices of care.

Reaching conceptual stability by re-articulating empirical and theoretical work on affordances

Theoretical developments on affordances have proliferated, resulting in a lack of conceptual stability and a potential compromise in scientific validity. However, affordances should not be discarded, given their centrality in post-cognitive theories and their widespread reuse across various research domains. Empirical research on affordances remains sparse, out of sync with theoretical advancements, and thus unable to contribute effectively to scientific progress due to its disarticulation with theoretical work. That is why re-articulating theoretical and empirical investigations on affordances is needed to pave a more fruitful path for the concept's advancement. To accomplish this objective, emphasis must be placed on empirical research, leveraging recent theoretical propositions and devising corresponding empirical methodologies. The proposed requirements and framework represent a step in this endeavor.

An "in vivo" analysis of crafts practices and creativity-Why affordances provide a productive lens

Scholars are increasingly recognizing that creativity is grounded in the active sensorimotor engagement with the environment and materiality. Affordances-recognizable pointers to action opportunities in the ecology-provide a helpful prism for analyzing how this happens. Creative practitioners, as they seek aesthetic opportunities or innovation, depend on their sensitivity toward potentialities in their action space. Presently, we apply a high-zoom lens to a crafts process, giving our micro-genetic research design an affordance focus. By investigating one of the authors, a ceramicist and a practitioner-researcher, through her process of making of a vase, we tracked how affordances are responded to, developed, shaped, invited or, where necessary, rejected, as the ceramicist "routes" her creative trajectory. Several insights emerge: (1) The ceramicist's decisions-initially about general directions, then about aesthetic details-unfold while engaging with the clay; they emerge in stepwise fashion, but with a holistic orientation. (2) Choosing among affordances requires parallel sensitivities to object functionality, aesthetics and creativity, as well as technical feasibility; adhering to the proper technical procedure that provides the very basis for creatively relevant affordances to later arise. (3) While the hands and eyes engage with short-lived affordances the ceramicist must keep in view higher-timescale affordances that ensure a good task progression for making a vase, and affordances for the material's overall "workability". (4) The ceramicist typically relates to momentary affordances in light of expected as well as imagined others, to ensure a coherent end product. (5) Affordances contribute to material creativity in more ways than typically recognized in the literature. They range from serendipitous "finds" to options developed with a large degree of creative autonomy; affordances may also be indirectly invited and practitioners strategically change probability distributions as well as providing an enabling background for generative action. Thus, a crafts practitioner brings forth unconventional affordances through active engagement, using a mix of exploration, strategy, and imaginative potential. Affordance theorists err when stressing the possibility to just "find" creative options or that perceptual acuity is the sole skill.