Abstract:Research into the role of explanation on the categorization process has yielded conflicting conclusions. Some theorists stress the importance of explanation, arguing that explanations provide a causal structure necessary to the categorization process. Others discount its significance, arguing that explanation is neither necessary nor sufficient for categorization. Experimentally, explanation has shown modest success in accounting for some categories but not others. Across three experiments, we test whether the… Show more
“…This skeletal system of governing concepts is constructed by the process of similarity to existing mental categorises and by rules of valuation. Stibel (2006) argues that categorisation of something new involves both the use of similarity and pre-determined rules. These processes work together.…”
“…This skeletal system of governing concepts is constructed by the process of similarity to existing mental categorises and by rules of valuation. Stibel (2006) argues that categorisation of something new involves both the use of similarity and pre-determined rules. These processes work together.…”
“…An innovative idea may not be truly original but it must have an "epiphany element"; which means there must be an element of surprise and of awe which is simultaneously recognised and appreciated, like finding, in the next day's newspaper, the crossword clue you failed to get and admiring the inventiveness of the composer. Categorisation theory (Tajfel,1969;Turner,, 1985) tells us that new knowledge will be evaluated by existing knowledge categories but that does not mean that it is immediately normalised; something innovative may not immediately have the quality of "spread" necessary to turn it instantly into a generalised norm (Keil, 2005;Stibel,, 2006). In other words, the appraisal of the object, the placing of it in the person's cognitive world, is delayed when an object or service is original and surprising.…”
Section: Transgressing Borders Rules and Norms; Criteria For Innovationmentioning
This conceptual paper uses a historical and psychological analysis of luxury to argue that it is has been, and continues to be, a driver of innovation in the tourism and hospitality industries. In examining the relationship between creativity and innovation, the paper identifies four paradoxes which, it argues, are embedded in the decision-making processes that create new objects and services. The paper argues that, if innovation and creativity are separated from the hegemony of change, then it is possible to devise a set of criteria as to what may be judged to be innovative. A set of seven criteria are postulated.
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