1. Creativity and the Agile Mind

Abstract

It is always best to open a volume such as this with a statement that, if not controversial, is at least provocative. After all, this is a volume whose chapters are all dedicated to the topic of creative behaviour, whether in image, word or deed. Moreover, all of the contributions share a common paternity in a 2008 event on creativity hosted by the Flemish Academy of Arts and Sciences in Brussels, whose title – The Agile Mind – currently graces this volume as well. With this event and three years of interdisciplinary discussion already behind us, we should surely be able to open this volume with a thought-provoking definition of the object of our study: creativity. Yet the fact is that we cannot is, in itself, the provocative opening we desire, for we are about to claim that this lack of a firm definition is entirely to the good of our study here, and of creativity more generally. Why so? A historical example should illustrate our point nicely. In 1917, the avant-garde artist Marcel Duchamp submitted a urinal to an

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