Idea in the context of "Concept"

Creativity is the ability to form novel and valuable ideas or works using one's imagination. Products of creativity may be intangible (e.g. an idea, scientific theory, literary work, musical composition, or joke), or a physical object (e.g. an invention, dish or meal, piece of jewelry, costume, a painting).

Creativity may also describe the ability to find new solutions to problems, or new methods to accomplish a goal. Therefore, creativity enables people to solve problems in new ways.

A symbol is a mark, sign, or word that indicates, signifies, or is understood as representing an idea, object, relationship, or mathematical formula. Symbols allow people to go beyond what is known or seen by creating linkages between otherwise different concepts and experiences. All communication is achieved through the use of symbols: for example, a red octagon is a common symbol for "STOP"; on maps, blue lines often represent rivers; and a red rose often symbolizes love and compassion. Numerals are symbols for numbers; letters of an alphabet may be symbols for certain phonemes; and personal names are symbols representing individuals. The academic study of symbols is called semiotics.

In the arts, symbolism is the use of a concrete element to represent a more abstract idea. In cartography, an organized collection of symbols forms a legend for a map.

A tradition is a system of beliefs or behaviors (folk custom) passed down within a group of people or society with symbolic meaning or special significance with origins in the past. A component of cultural expressions and folklore, common examples include holidays or impractical but socially meaningful clothes (like lawyers' wigs or military officers' spurs), but the idea has also been applied to social norms and behaviors such as greetings, etc. Traditions can persist and evolve for thousands of years— the word tradition itself derives from the Latin word tradere literally meaning to transmit, to hand over, to give for safekeeping. While it is reportedly assumed that traditions have an ancient history, many traditions have been invented on purpose, whether it be political or cultural, over short periods of time. Various academic disciplines also use the word in a variety of ways.

The phrase "according to tradition" or "by tradition" usually means that what follows is known only through oral tradition and is not supported (and might even be refuted) by solid evidence. Here, "tradition" describes the source or nature of the information. For example, "According to tradition, Homer was born on Chios, but many other places have historically claimed him as theirs." This tradition may never be proven or disproved. Another example is, "King Arthur, according to history, a true British king, has inspired many well loved stories." Whether the claims are supported by evidence or not does not reduce their value as cultural history and literature.

An ideogram or ideograph (from Greek idéa 'idea' + gráphō 'to write') is a symbol that is used within a given writing system to represent an idea or concept in a given language. (Ideograms are contrasted with phonograms, which indicate sounds of speech and thus are independent of any particular language.) Some ideograms are more arbitrary than others: some are only meaningful assuming preexisting familiarity with some convention; others more directly resemble their signifieds. Ideograms that represent physical objects by visually illustrating them are called pictograms.

• Numerals and mathematical symbols are ideograms, for example ⟨1⟩ 'one', ⟨2⟩ 'two', ⟨+⟩ 'plus', and ⟨=⟩ 'equals'.
• The ampersand ⟨&⟩ is used in many languages to represent the word and, originally a stylized ligature of the Latin word et.
• Other typographical examples include ⟨§⟩ 'section', ⟨€⟩ 'euro', ⟨£⟩ 'pound sterling', and ⟨©⟩ 'copyright'.

Conceptual art, also referred to as conceptualism, is art in which the concept(s) or idea(s) involved in the work are prioritized equally to or more than traditional aesthetic, technical, and material concerns. Some works of conceptual art may be constructed by anyone simply by following a set of written instructions. This method was fundamental to American artist Sol LeWitt's definition of conceptual art, one of the first to appear in print:

Tony Godfrey, author of Conceptual Art (Art & Ideas) (1998), asserts that conceptual art questions the nature of art, a notion that Joseph Kosuth elevated to a definition of art itself in his seminal, early manifesto of conceptual art, Art after Philosophy (1969). The notion that art should examine its own nature was already a potent aspect of the influential art critic Clement Greenberg's vision of Modern art during the 1950s. With the emergence of an exclusively language-based art in the 1960s, however, conceptual artists such as Art & Language, Joseph Kosuth (who became the American editor of Art-Language), and Lawrence Weiner began a far more radical interrogation of art than was previously possible (see below). One of the first and most important things they questioned was the common assumption that the role of the artist was to create special kinds of material objects.

A creative work is a manifestation of creative effort in the world through a creative process involving one or more individuals. The term includes fine artwork (sculpture, paintings, drawing, sketching, performance art), dance, writing (literature), filmmaking, and musical composition. Creative works require a creative mindset and are not typically rendered in an arbitrary fashion, although works may demonstrate (i.e., have in common) a degree of arbitrariness, such that it is improbable that two people would independently create the same work.

At its base, creative work involves two main steps – having an idea, and then turning that idea into a substantive form or process. Typically, the creative process results in work that has some aesthetic value, identified as a creative expression. Naturally, this expression generally invokes external stimuli (e.g., influences and experiences) which a person draws on because they view the source as creative or inspirational; the degree to which this is reflected may be used in determinations of the derivativeness of the created work. Alternatively, the creator may draw on imagination, and their references may be clouded even to them, for the nature of imagination is as yet not fully understood philosophically, and the level of necessary self-examination of an artist's internal processing is a challenge for even those most self-aware of their minds and mental processes.

In their most common sense, thought and thinking refer to cognitive processes that occur independently of direct sensory stimulation. Core forms include judging, reasoning, concept formation, problem solving, and deliberation. Other processes, such as entertaining an idea, memory, or imagination, are also frequently considered types of thought. Unlike perception, these activities can occur without immediate input from the sensory organs. In a broader sense, any mental event—including perception and unconscious processes—may be described as a form of thought. The term can also denote not the process itself, but the resulting mental states or systems of ideas.

A variety of theories attempt to explain the nature of thinking. Platonism holds that thought involves discerning eternal forms and their interrelations, distinguishing these pure entities from their imperfect sensory imitations. Aristotelianism interprets thinking as instantiating the universal essence of an object within the mind, derived from sense experience rather than a changeless realm. Conceptualism, closely related to Aristotelianism, identifies thinking with the mental evocation of concepts. Inner speech theories suggest that thought takes the form of silent verbal expression, sometimes in a natural language and sometimes in a specialized "mental language," or Mentalese, as proposed by the language of thought hypothesis. Associationism views thought as the succession of ideas governed by laws of association, while behaviorism reduces thinking to behavioral dispositions that generate intelligent actions in response to stimuli. More recently, computationalism compares thought to information processing, storage, and transmission in computers.

In philosophy and the arts, a fundamental distinction exists between abstract and concrete entities. While there is no universally accepted definition, common examples illustrate the difference: numbers, sets, and ideas are typically classified as abstract objects, whereas plants, dogs, and planets are considered concrete objects.

Philosophers have proposed several criteria to define this distinction: