Knowledge is generated through the interaction of critical and Coursework

Knowledge is generated through the interaction of critical and creative thinking. appreciate this statement in two areas of knowledge - Coursework ExampleIt is this process of creating and examining ideas that validates knowledge. It is, therefore, essential to discuss the works of certain philosophers in order to prop the main argument. Thereafter, nonchalant life instances can be evaluated to bring to light the link between creative thinking and knowledge. The two fields of knowledge that would come into consideration are mathematics and ethics.To engender with, Rene Descartes epistemological theory comes into practice. In his discourse theory, Descartes strives to arrive at true knowledge. True knowledge, in this instance, suggests knowledge that cannot be subjected to any skepticism. To begin with his discourse, he subjects all previous knowledge to doubt (Timmons and Shoemaker 284). Thereafter, he strives to affirm whether such knowledge is credible. Skepticism forms an indi spensable core of critical thinking. Rene Descartes finds that roughly all of preexisting knowledge, with exception of mathematical principles, is liable to doubt (Timmons and Shoemaker 284). He arrives at one single idea that the only thing he cannot question its existence is his very existence. The argument he relays for the proof of his existence is the idea that he thinks. This is because doubt is a form of thought and, therefore, the doubting universe is him. The only knowledge that is free from doubt is that he thinks. According to him, thinking becomes the item of which he is immediately aware.Apart from this argument, Rene Descartes proved the shortcoming of senses in decision and examining knowledge. In proof of his claim, he uses the example of wax to illustrate the unreliability of senses as a guide to knowledge. He considers characteristics like color, texture and smell to be deceiving. When he watches wax from various directions, he records different data about it. He dismisses senses as to rely on sensations to achieve their effect. Sensations are pre-established notions about the style of objects. He, then, asserts