In Moral Creativity, John Wall argues that moral life and thought are inherently and radically creative. Human beings are called by their own primordially created depths to exceed historical evil and tragedy through the ongoing creative transformation of their world. This thesis challenges ancient Greek and biblical separations of ethics and poetic image-making, as well as contemporary conceptions of moral life as grounded in abstract principles or preconstituted traditions. Taking as his point of departure the poetics of the will of Paul Ricoeur, and ranging widely into critical conversations with Continental, narrative, feminist, and liberationist ethics, Wall uncovers the profound senses in which moral practice and thought involve tension, catharsis, excess, and renewal. In the process, he draws new connections between sin and tragedy, practice and poetics, and morality and myth. Rather than proposing a complete ethics, Moral Creativity is a meta-ethical work investigating the creative capability as part of what it means, morally, to be human. This capability is explored around four dimensions of ontology, teleology, deontology, and social practice. In each case, Wall examines a traditional perspective on the relation of ethics to poetics, critiques it using resources from contemporary phenomenology, and develops a conception of a more original poetics of moral life. In the end, moral creativity is a human capability for inhabiting tensions among others and in social systems and, in the image of a Creator, creating together an ever more radically inclusive moral world.

In Moral Creativity, John Wall argues that moral life and thought are inherently and radically creative. Human beings are called by their own primordially created depths to exceed historical evil and tragedy through the ongoing creative transformation of their world. This thesis challenges ancient Greek and biblical separations of ethics and poetic image-making, as well as contemporary conceptions of moral life as grounded in abstract principles or preconstituted traditions. Taking as his point of departure the poetics of the will of Paul Ricoeur, and ranging widely into critical conversations with Continental, narrative, feminist, and liberationist ethics, Wall uncovers the profound senses in which moral practice and thought involve tension, catharsis, excess, and renewal. In the process, he draws new connections between sin and tragedy, practice and poetics, and morality and myth. Rather than proposing a complete ethics, Moral Creativity is a meta-ethical work investigating the creative capability as part of what it means, morally, to be human. This capability is explored around four dimensions of ontology, teleology, deontology, and social practice. In each case, Wall examines a traditional perspective on the relation of ethics to poetics, critiques it using resources from contemporary phenomenology, and develops a conception of a more original poetics of moral life. In the end, moral creativity is a human capability for inhabiting tensions among others and in social systems and, in the image of a Creator, creating together an ever more radically inclusive moral world.

Dimensions of Moral Agency addresses and exemplifies the multi-dimensionality of modern moral philosophy. The book is a collection of papers originally presented at the Northwest Philosophy Conference in October 2013. The papers encompass a wide variety of topics within moral philosophy, including metaethics, normative ethics, and applied ethics, and broadly fall within the areas of the nature of moral agency and moral agency as it is played out in particular aspects of people’s lived experiences. The papers include assessments of the contributions of historical figures, such as Aristotle, Epictetus, Confucius, Berkeley, and Descartes, as well as analyses of agency as it relates to individual and social moral issues like mental illness, the ethics of debt, prostitution, eco-consumerism, oppression, and species egalitarianism, among others. Also covered are concerns related to the nature of moral reasoning at the individual and social level, the relevance of love and emotion to moral agency, and moral responsibility and efficacy. Interwoven with these topics and issues are concerns related to what sorts of things are, or could be, moral agents and what constitutes a moral good; the possibility of the existence of moral knowledge or moral facts or moral truth; and what constitutes moral motivation and how that is, or is not, related to questions of moral justification.

In The Art of Moral Protest, James Jasper integrates diverse examples of protest—from nineteenth-century boycotts to recent movements—into a distinctive new understanding of how social movements work. Jasper highlights their creativity, not only in forging new morals but in adopting courses of action and inventing organizational forms. "A provocative perspective on the cultural implications of political and social protest."—Library Journal

The Ethics of Creativity illuminates the thorny issues that arise when novel creative ideas collide with what we believe to be 'right' or 'good'. This book tackles questions of when creativity and ethics tend to coincide and when conflict, and how both might be harnessed to support a brighter future for all.

The co-founder and longtime president of Pixar updates and expands his 2014 New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve. “Might be the most thoughtful management book ever.”—Fast Company For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout. Pursuing excellence isn’t a one-off assignment but an ongoing, day-in, day-out, full-time job. And Creativity, Inc. explores how it is done.