A Model of 60 Models of Creativity

Page 1; Copyright 2004 by Richard Tabor Greene, All Rights Reserved, US Government Registered

60 Models of CreativityFor Studying How Particular Repertoires of Such Models in Creators Affect Their Creativity

A One Sentence Overall Synopsis: This paper presents 60 models of creativity, organized as ten sets of six each, found in the minds and work procedures of 150 highly creative people, from 41 nations and 63 professions. Quite general ineffectiveness of the single right-y models, academics offer, (“my model is better than yours” adolescence), even fully reliable and validated ones (Amabile), when fully applied by powerful organizations (P&G see HBReview in 2009 and 2010), is a hint that NO single right-y model will ever be powerful when applied in noisy environments of use. Power (not mere correlational “effect”) may only be available to well balanced diverse repertoires of models of creativity, this article suggests.

Research Questions:the Primary Questions:A. What are the various models of creativity in any way now operative in the minds of all creators? How do these differ from academic models of cre-

ativity?B. What distinguishes creativity from effectiveness, educatedness and the other 52 orthogonal disciplines--ones cutting across traditional fields and

determining who rises to their tops? What relationally and representationally define “creativity” as one of those routes to excellence shared by most fields?

the Secondary Questions:1. Is creativity one thing or many diverse things? Is creativity one process or many diverse processes? 2. How much of creativity is domain dependent and how much is domain independent?3. Is the quite general impression and assumption that creativity is one thing not diverse things a result of people going to and depending on the psychol-

ogy literature too much and missing research on creativity in mechanical engineering, fine arts, performance, media, system bio and other fields?4. If creativity is diverse things or processes, are they in trade-off relations to each other so that supports for one or a few, hinder a few or many others?5. Would creativity improve more by perfecting one’s existing model of creating or by adding new models one does not now use or know about?6. How do scholar models of creativity differ from creator models of their own creativity? 7. Do knowledge models found in experts have an analog found in creators?8. Does meta-cognition in cognitive psychology have an analog in creativity, namely, some sort of meta-creation?9. Do creators who are more meta-creative out-create creators who are less meta-creative?10. How many models of creating are there, if creativity turns out to be diverse things not one thing?11. How do the models of creativity published by academics differ from the models of creativity we obtain from creators via categorical modeling of

interview and questionnaire results?The primary reason this study of creativity models was done was to answer the above questions. The questions above are linked. If creativity is plural

things not a single thing, then how you “support” and “encourage” it will be much more complex than if it is merely one thing that one simple environment can “support”. The results of this study show that when experts measure how well organization environments support “creativity”, unless they distinguish which of the 60 different modes of “being creative” found in the research that this paper reports, they end up assessing very thoroughly how such environments support 1/60th or 3/60ths of the modes of being creative actually there--that is, they miss how well many other modes of being creative are supported, how many such modes are actually there, and how much creativity might improve were modes of being creative not there now to be installed in the future. This paper provides an important tool for assessing just how many types of being creative any one organization has and then, how well each is supported by particular environments.

Furthermore, the results of this study show that models of creativity, that creators have, influence how they create and how their ability to create evolves. Therefore, finding models of creating that creators have, as done in this study, adds value missed when we instead just depend on models of creativity from schol-ars studying it. Knowledge models found in experts, in artificial intelligence research, have their analogs in creation models in creators, in creativity research. Meta-cognition, in psychology in general, has an analog in meta-creation, in creativity, where a creator notices the models of creativity he/she has and how he/she uses them. Since meta-cognition in general improves intelligence and work performance, we can suppose that meta-creation, that is, creators noticing and using creation models in their work, would improve creativity. To test this we need to know what models of creativity any particular creator uses compared to such models used by other creators (and compared to models of creating from academic research). Research Method:1. My strategy is to use what artificial intelligence “expert systems” research found about determining models inside minds of experts to understand

models of creating inside minds of creators and combine those results with using what total quality found about “pleasing” and “satisfying” custom-ers to understand how creators “please” and “satisfy” customers of their creations.

2. A dual recommendation system (from artificial intelligence expert systems research) of 315 eminent people (5 in each of 63 diverse strata of society) nominating 150 “highly creative people” in their own and other fields

3. Total quality customer satisfaction and artificial intelligence protocol analysis combined to make interviews and questionnaires given to these 150 cre-ators (the interviews were mainly to motivate creators to fill in the questionnaires completely), asking them how they create, how that evolves, how much they know about how they create, and encounters with each of these in creators they know

4. Bottom up grouping of similar items in both questionnaires and interview transcripts produces successively smaller, more abstract levels of creativity models

5. The resulting model of 60 models of creativity compared with models of the research literature on creativity and edited to reflect common ideasA stratified sample of 150 creative people, half American, half global, in 63 widely different fields of endeavor were interviewed, using techniques modi-

fied from “protocol analysis” techniques of artificial intelligence expert systems building, to obtain models, explicit or implicit in practices, of what “creation” was for each creator. The interview used had twelve specially designed “doorways” intended to be diverse approaches to getting beyond unthinking, mystifying, automatic, and stereotyped ideas about “creation” to actual key factors in models the creators themselves used. Content analysis of transcripts produced 111 cre-ation models that, when categorized by similarity, reduced to 60 creation models organized in ten groups of six models each. Where similar models in the research literature on creativity were found, terminology in the models was modified to make such similarities evident, and elaborations on key concepts from research literature were added to the models. A book summarizing all 60 models was built, with one chapter per model, all chapters using the same format of headings and subheadings. Results:1. A model of 60 models of creativity, with each model having at least 10 variables defining it

This paper has only enough space to present the model of 60 models of creativity and the research that produced that model, along with hypotheses about the role of traits (of the repertoires of models of creativity in creators) in making them creative, to be explored in future research. This paper’s result, a model of 60 models of creation, is a prerequisite for verifying the hypotheses.

Keywords: models of creativity, creativity trade-offs, meta-creation, meta-cognition, theories of creation, creator theories

From Knowledge Models to Creation Models

In previous work, I published knowledge model types found in building software expert systems of the heuristics used by experts in various fields (Greene, 1993, p. 512):

22 Knowledge Model Types from Artificial Intelligence Research and Practice, Greene, 1993--- Any Knowledge Can Appear in Any of the Below Formats, Being Mistaken for Different Knowledge

type name example type name example

selection facing A/B/C select A, facing D/E avoid E, decision tree if X is true, is A big, if A big, did C go, if yes do V

symptom diagnosis if A is present do test M, else do test V protocol analysis now I am considering Y, I wonder if Z would do

causal diagnosis B present rules out M cause, makes P likely object message when X receives A it sends D to Y which does P

composition the parts of X are A, B, and C state transition signal A moves us to state M, signal B to state N

monitoring when you spot A, do B, looking for any M search space from these 100 alternatives, let’s explore A & B

scientific method M’s evidence P more credible than N’s Q & R knowledge flow fact A in form Z converts to doing M aiding P

case based reasoning case X is like old case B with difference M concept ordering A contributes to B and C, X to A and D,

data type X type of data gets handled M way, not N way philosophic argument Z implies not X and weak Y, D rules out Z and A

group mind all of us X’s believe and do Y when M is true narrative A did Z to M making Y till B did X ruining A

problem decomposition to do goal A first do goal M and P, to do P do V cognition model input M blended with X makes Z stored in F till V

flowchart when X is B do Y, else do Z, next do M association A reminds me of fat V, B suggests old M feels P


Each expert used and presented knowledge of his or her domain organized in these types of formats--diagnostic rules, modules that messaged each other, hierarchies of components and subcomponents, and the like. Arguments and failed collaborations among experts often stemmed from the same knowledge appearing in different knowledge model types that the vari-ous parties used. Re-invention of concepts when organizations try to move ideas across “practices” consists largely, though not entirely, of translation from the knowledge model types favored by one practice to those favored by others (Brown and Duguid, 2000).

Some of the experts I interviewed for building expert systems appeared creative and some did not, but all were distinguished in their fields, respected and emulated. I wondered at that time what would happen if, instead of experts, we built expert systems of “creators”--artists, successful social activists, scientific discoverers, venture business founders, device inventors, or, merely, people in the same field as my experts but who were said to be “creative” rather than “expert”. In particular, I assumed creators would have personally-favored knowledge model types as experts: would they also have personally-favored creation model types? This paper reports research to answer that question.

Experts have models, explicit or implicit in practices, of what knowledge is, in their domain: “knowing X” means being able to diagnose A, B, or C, “knowing X” means knowing the components of A, B, or C, and similarly for other types of knowledge. Creators seem to have models of what “creating X” is that are similar. Does whether such models are explicit or implicit affect creativity of output by the creator? Does the presence of multiple such models in a creator increase or otherwise affect his or her creativity of output? Does which partic-ular models of creativity are in a particular creator’s repertoire affect his or her creativity of output?

Key here is getting models of creating that creators use, consciously or unconsciously in their work, rather than depending on models of creativity that scholars of creativity use for doing their research. My work building expert systems convinced me that there were many more models of creating inside minds of experts than scholars had published in their journals.

A search of published research on creativity in common fields like sociology, psychology, political science, mechanical engineering, cognitive science, human-computer interface design, artificial intelligence (over 1600 books and 552 journal articles were scanned, too numerous to list bibliographically here, see the references in Greene, 2003, 2) produced virtually no prior research on this issue (we must distinguish models of creation that scholars devise from studying creators from models of creating inside the minds of creators). Instead what was published was a tendency for creators to mystify the origins of their amazing outcomes--”well, gosh, I just went to work as usual and suddenly this idea appeared”, “I don’t have any idea how such a wonderful thing happened, really”, and the like. There were a few stories--the insight story (“this idea just appeared from nowhere”), the no-responsibility story (“I just did what I always do and a strange wonderful result suddenly appeared”), and others--that appeared again and again. Rare creators, like Piccaso, treated in books by successive wives and collaborators, were quoted supporting a productivity, a marketing, an influence, or a paradigm type model of creating. Few if any creators could articulate coherent models of what cre-ativity actually was, except for a few Nobelists and similar others forced by fame to give speeches (whereupon they hit the books to come up with coherent models of what they had for decades before been doing without benefit of explicit creation models in most cases). A few creators, in moving from one field to another had to transpose past approaches to creativity in themselves into terms that made sense in their new domain--forcing them to invent somewhat coherent models of what creating was for them. Overall, however, rather trite models of what creation was dominated the literature and probably caused serious researchers to show little interest in whatever models of creativity were in creators.

This is similar, however, to knowledge model types in experts. Few if any experts knew that they favored particular types of knowledge formatting over others and considered knowl-edge not in those formats not really useful or even not really knowledge in their field. When artificial intelligence people protocol analyzed them, however, they found very particular formats of knowledge preferred, even used exclusively by them (Greene, 1993, p. 525). One of the skills that made experts expert at what they did was their facility putting bits and pieces of knowledge into usable formats rapidly and accurately, where novices were slow to do this (Chi et al, 1988). Some experts, when shown the knowledge types they preferred and excluded, were interested and reported later that it improved how they worked (Greene, 1993, p. 525). They had been unaware of it. This suggested to me that creators, if shown what creation models they used and excluded, might improve their overall creativity of output. I wanted to confirm this with research. The obvious first step was mapping all the models of creation explicitly or implicitly used by actual creators of diverse types. That is what this paper reports.

From Meta-Cognition to Meta-Creation, from More Models to More Creativity

A creator who creates while unaware of the model of creation he uses (it is implicit in his practices of creating) is not meta-creative, we can say. Meta-cognition is a well known ability that people have to monitor how their own thinking is going, paying attention to how well their mind is working, how many alternatives it has just considered, observing what operations it has performed already and what ones it has yet to perform, and the like (Flavell, 1977). Higher levels of meta-cognition have been found to be a part of intelligent and good perfor-mance in a number of domains (Sternberg, 1996; Sternberg and Horvath, 1999). Meta-creation, we can say, is creators observing how they create and modifying actively how they cre-ate. This inevitably involves having a model of how they create specifying possible points where they can intervene to modify how they create. Meta-creation, thusly defined, is merely general meta-cognitive activity applied to the mental work of creating, so, we can extend existing results on how meta-cognition improves intelligent and good performance to say that meta-creation (meta-cognition of activities involved in creating) will improve the intelligence and goodness of creative performance, that is, will improve creativity achieved (goodness of creation being creativity here).

The quality of meta-cognition, like the quality of any observational mental activity, is improved when a person can notice more patterns and phenomena (Sternberg, 1999, Chapter 18). Having more frameworks and more abstract frameworks to apply to a stream of inputs to the mind, allows people to spot more patterns and more subtle patterns in those streams (Holyoak and Thagard, 1995). We can expect, then, that creators having more frameworks applicable to creation itself, will spot more patterns in their creation work and have more pos-sible places to intervene to change creativity of outcomes. Models of creation itself are these frameworks applicable to creation itself. Creators having more models of creation spot more patterns in their creation work and have more places to intervene to affect creativity of outcomes.

We can expect, then, that more such models, more diverse such models, more consciously perused such models improve creativity of outcome. Before we can explore such hypotheses we have to have a model of models of creativity in most or in a great many creators of diverse fields. Being able to specify how many such models, how diverse they are, how explicitly used they are for each creator is a prerequisite for confirming these hypotheses. This paper reports the building of just such a model of models of creativity operating in a rather diverse stratified sample of American creators.

From Protocol Analysis of Experts to Doorway Analysis of Creators

Anyone who has actually done protocol analysis of experts knows what a huge undertaking it is (and hence why there is little research involving it or on doing it). Asking an expert every 15 seconds what is on his or her mind, while he or she does hours of design work or inventing work, then coding the huge resulting transcript into cognitive operators operating on cognitive operands, is an immense amount of painstaking work (Ericsson and Simon, 1980). That no one has done this for any single creator is not surprising and I have to admit I myself was daunted at the prospect. I wanted a short cut that would avoid that immensity while allowing me to determine models of creation explicit or implicit in the work of nearly all creative people.

First interviews with real creators to obtain what models of creation were explicit and implicit in their work were dismal undertakings at best--nearly all creators interviewed stopped at the insight story or no responsibility story stage. Either their creativity was magical or so much outside-of-them that they knew nothing about it, they said. This happened so often I began to notice that perhaps creators were deliberately hiding or mystifying the basis of their work. Whereas many of them insisted they wanted their works to speak for them, I sus-pected ulterior motives at work (hiding how they achieved things made their performances more magical and impressive). I also noticed that the more famous and accomplished a creator was, the less he or she depended on hiding or mystifying his/her work and the more interest he/she showed in seriously introspecting to find what models of creation he/she actually depended on. Such creators also showed interest in finding models of creation entirely absent from their own lives and work.

Initial experiments with various interview strategies gradually uncovered what I later called “doorways” in interviews that got people past their own hiding, mystification tendencies, that is past their own insight or no responsibility stories. Each doorway worked with some creators not others and often with some parts of a person’s work and not others.

Doorway 1: MetaphorWhat is your process of work like? What is like your process of work?

Doorway 2: DifficultyWhat stymies or stops or defeats you in creating what you create? How? Why? When? Where?

Doorway 3: UniquenessWhat do you do, in each of your works, that no one else in the world does? What is done in this step of your creation process that is done in no other step in that process?

Doorway 4: EvolutionHow does your current process of work differ from how you worked years ago? What direction is your way of work evolving in/toward? Why?

Doorway 5: SurpriseWhat surprises happen to you while doing your work? Why? When? What does each mean?What does each result in?

Doorway 6: Wit, InventivenessWhat is clever about how you do what you do? What do you do in clever ways that ordinary or average people would not think of or be willing to try?

Doorway 7: RevoltWhat mistake of your field’s way of working did you and your work fix, reveal, avoid, transform?

Doorway 8: Alternative WayWhat is another way of doing that X that you do? What gets lost in using that alternative? How? Why? What others ways have you tried and failed with? What other ways do you want to try out in the future? Why?

Doorway 9: FactorsWhat influences you while you work and how your work turns out? What sorts of things influence you while you work and how your work turns out?

Doorway 10: Alien ViewpointWhat would an alien from another world notice about how you do what you do? What would “it” or “they” observe you doing?


Doorway 11: ConquestWhat do you overcome, defeat, vanquish as you work?

Doorway 12: EmergenceWhat emerges, as if from nowhere, as you work? When and how and where are you transported emotionally while working?

In the actual interviews as delivered, each doorway was attempted four times in different ways, at different points during the interview. One of those ways, for each of the 12 doorways, was a game way of delivering a question, where a prop was given the interview subject and they were asked to represent something about how they create using that prop.

The Stratified Sample of American Creators

Having neither the time nor money for a representative national sample of creators and there being no affordable way to even nominate such a sample, I decided on a stratified sample, using highly abstract models of society components to insure a certain minimum amount of dispersion, variety, and unbiasedness to the sample obtained. Lists of the most famous five people in each of the 63 boxes in the matrix below, half Americans, half global, were made (nominated by socially well connected MBA students from my University of Chicago classes, and from print media, mostly, plus a few association lists), and they by phone, email, or regular mail were asked to nominate who in their field were now the most creative two people. They were also asked to name the two creative people in the field they currently most disagreed with the work of. One person nominated as most creative and one person nominated as most disagreed with (of a total of ten such people, respectively, of each sort per box) were then randomly chosen and interviewed for each of the 63 boxes below. In some cases a third person was interviewed as a matter of appropriateness and convenience resulting in 150 subjects interviewed in a period of five years. All interview questions were asked in the same phrasing and order in each interview with no exceptions (the few interviews that were exceptions to this were dropped from the dataset). A questionnaire repeating what was asked in the interviews, but with format differences, was administered after each interview.

Transcripts were content analyzed with variables affecting how creation was achieved, what was the core of creating, and what was considered creative, marked and categorized, first for each of the 12 doorways, then results across doorways merged. Similar results across creators were grouped resulting in 111 creation model types. A further more painstaking analysis of similarities among models reduced that number to 60 (this mostly involved spotting overly elaborate models in individual creators and treating them as combinations of two or more simpler models near to models found in other creators already). These were then grouped and groups named resulting in ten sets of six models each (Greene, 1, 2003). The ten sets were then ordered and the six models within each set ordered, following similar principles of ordering. Flowchart models of each model were made and a book (Greene, 2, 2003), with fifteen pages per model for all 60 models, created for future use with research collaborators and organizations wanting their creativity-models-in-use situations mapped. Research literature in many fields was then surveyed for models of creation similar to those found in interviews. Where such similar models were found, terminology of the models was changed to make such similarities evident. In many cases interview subjects combined multiple creation models, or used one model early in creating and another later, or elaborated variables beyond what cre-ativity research literature mentioned in similar models. The illustrations at the end of this article present the model of 60 models as completely as present space allows. Uses of the model, to be explored in future research are discussed immediately below. The research process is summarized in the diagram below.

Hypotheses Concern-

ing the Role in Creat-

ing of Particular

Traits of the Particu-

lar Repertoires of

Creation Models that

Various Creators

Have

Now that a comprehensive model of models of creating from actual creators exists, refined by similar models from the research litera-ture on creativity, we can use that model for research. The follow-ing hypotheses can be explored by using models such as the one this paper presents.

TRIVIAL HYPOTHESESHypothesis 1: Implicit Models ExistEvery creator implicitly uses at least one model of what “creat-ing” is. Most such creators are unaware of that model con-sciously.

Hypothesis 2: Changing Fields Explicitizes Creation ModelsCreators who create in one field and move from that to creating in another have more explicit knowledge of the model of creat-ing they use than creators staying in one field for their entire career.

Science Art Humanities Social Science Engineer-ing Professions Fad & Fashion Lifestyle Systems

Eco

no

mic

technology ventures,

idea markets,

invention markets

museums, exhibitions,

concerts, tours, coffee

houses, clubs

resource limitation man-

agement; mystifica-

tions, historic

preservation

economics: markets,

pricing, regulation,

trade regimes & orgs

financial engineering,

inventors

agriculture

business and manage-

ment

advertising & marketing

fashion designers,

branding, multi-indus-

try marketing by events

housing, communities

locale type

technical innovation,

quality movements

Po

liti

cal voting

gaming

representation

campaigning

awards, cannons agreement limitation

management,

power embeddings

realization

political science: elec-

tions, campaigns,

administrating, consen-

sus

cyberdemocracy,

internet funding of cam-

paigns, net volunteer

management

administration

military

party politics, third

party movements

involvement dimensions policy deployment, dis-

satisfaction deployment

Cu

ltu

ral ethics and religion

policy making

social clubs

charities

art venture districts meaning limitation man-

agement. false con-

sciousness identifying

anthropology: deliber-

ate culture invention,

community enhance-

ment

community organizing,

environmental,

religion

education

lifestyle inventions,

green movement

performing-consuming

balance; diet, videogam-

ing, manga

diversity management &

expansion

So

cia

l C

ha

nge democratization

globalization

social cabarets confidence and direction

limitation management,

frame-limited revolts

sociology: social pro-

cess and structure--

decline, fixing, inven-

tion

innovation

venture districts/clusters

movement builders intellectual movements,

liberation movements

social entrepreneurs,

self funding “profitable”

charities

coalition building, foun-

dation grants

Tra

dit

ion

al

astronomy

geology

meterology

oceanography

space sciences

painting, music (song writers, performers, conductors), sculpture, dance, comedy, drama (theatre stars, movie stars), poetry,

history

philosophy

tribal community:

festivals, calendars,

wealth inheritance,

bias in laws

exploration,

civil,

architecture

medicine, nursing

welfare

crowd generation, trend

riding marketing, trend

seeding,

social imbalance exacer-

bations

festival organizers,

theme parks, global

event organizers

value sharing, negotia-

tion, non-medical heal-

ing, reputation networks

Est

ab

lish

men

t

physics

biology

chemistry

math

performance, design literature,

counseling regimes,

critics, awards,

theatre industries

rise and fall of civiliza-

tions, rutted cultures

mechanical, electrical,

aeronautics & space

law & justice epidemic generation,

rights movements

(human rights etc.)

consumer movement value sustaining/imposi-

tion

Em

erg

ing information

media

silicon and non-silicon

computing h/w

digital art,interactive art,socially composed art, cyberart, virtual worlds

applied humanities,

group composing,

composing contests

networks, social virtual-

ity

biological & genetic, computer,internet society,nano tech--their blends

info tech, quantum

devices

internet options: 6 bil-

lion channel TV broad-

casting, agile economy

lifestyle inventors,

micro institution devel-

opment via viral growth

regimes

complex adaptive sys-

tems research

150

U of Chicago

MBA Students

315Eminent

Nominators5 each from 63

distributed strata

150 Highly Educated-Acting People150 Highly Effective People150 Highly Creative People150 Great Leaders150 Greatly Led People150 Highly Artful People150 Greatly Affected by Art People 150 People Who Produce High Quality & 48 other sorts of high performance

7x9=63 Strata Stratified Sample

50 Item Questionnaire50 Item Interview

Artificial Intelligence

Protocol Analysis of Mental Processesof cases: hard, easy, freq., rare

Total Quality

Dimensions of Products that Determine Customer Satisfaction

Induce hierarchy of categories (group similar

Regularize branch factor, name formats, ordering principle;

= Fractal Concept Modelof traits of X People

The Excellence Science Projeect: Research Process Flowchart

Sets of Nominees

Results:

Categorical Models

The 315 nominators named

Purpose:Supplant old talent vs. practice theories ofcapability with what total quality and arti-ficial intelligence methods produce from highly distributed sets of high performers.

Talent Practice

Structure

Non-LinearAmplification

Marked TranscriptsAnalyzed Questionnaires

Each student selected 1 eminent

person per box for 63 strata times150 students = 150 eminent people

per box/stratum; delphi processused to reduce 150 per stratum to5 “most eminent”; international

students mixed with US produced315 nominators also globally mixed.

Each nominator

Nominators suggested20 questionnaire items

and 20 of the interviewitems, to fill gaps left ininstruments that I designed

using AI, TQ, and MBA student suggestions. They

1

2

3

4

5

6

7Not determinants ofaverage performance

but of high perfor-mance.

Subjects distinguish

types of high per-formance themselves.

New assessment

instruments.

Trade-offs of howeach environment

variable helps somehigh performancetraits and hurts others for each

type of high perfor-mance.

A New Mediate Variable Found Between Talent-Practiceand Non-linear Amplifiers of Them into High AbilityA

B

C

D

Emean age = 41 yearsmale = 61%mean education = 6.2 years of collegeUS residents or citizens = 52%

subjects having Nobel Prize = 22 individual person new to you = 7 monthsmean elapsed time since last met extrordinarymean # of books read in last month = 3.2 = 9.5 mean years since last major career change = 5.8 mean years in present job/position/role nationality = 1.8mean # of long term friends not of own of more (other than birth nation) = 2.3mean # of nations lived in for 1 year other nationalities = 48%

named 54 orthogonol fields.

54 Orthogonal Fields +

56 Sets of People:150 MBAs find 315 eminent nominators who nominate: 54 orthogonal fields +

2 people each in each orthogonal field as found in their own field: 150 educated-acting people, 150 effective people, 150 creative people;150 great leaders, 150 people greatly led, 150 artful people, etc.

Compare:categorical model from high performers with categorical model fromtheoretical/research literatures--how do those liviing an idea differ intheir view of it from those who research it, when protocol analisys from

AI and customer requirements methods from TQ are applied.

items; name groups, groupgroups; name super-groups)

answers surveyon top people in

their field andbasis of top-ness;

cagorizing theseproduces 54 ortho-gonal fields; each

nominator namespeople good at

each orthogonalfield = 150 per

orthogonal due tomissing data

150 people good at each of the54 orthogonal fields, who were

surveyed for key capabilities.


INDIVIDUAL HYPOTHESESHypothesis 3: Model Explicitization Increases CreativityCreators who are conscious of the model of creativity that their creative work is based on are more creative, overall, than creators unaware of their model and the work they do after becoming conscious of their model of creativity is more creative than the work they do before that.

Hypothesis 4: Model Pluralization Increases CreativityCreators who have more than one model of creating are more creative than creators who have only one model, regardless of degree of explicitness of the models.

Hypothesis 5: Model Diversity Increases CreativityCreators who have more diverse models of creating are more creative than creators who have only various models similar to each other, regardless of how many and how explicit those models be.

Hypothesis 6: Model Progression Conformance Increases Creativity with Rare ExceptionsThere are certain progressions among models of creativity characteristic of the careers of creators in particular fields. People violating the sequence among such models in such fields are less creative than people conformant to them, in general, but rare exceptions to this, in effect invent new sequences that others in the field later follow.

Hypothesis 7: Explicit Model Introduction Increases CreativityIntroducing creative people to models of creation that they are unaware of, increases their creativity if they find interesting the models. The more such models they use and the more diverse the models the more improvement in their creativity results.

Hypothesis 8: Particular Model Combines Out-Create OthersParticular combinations of creation model are more “creative” in results than others, even when in different creators.

GROUP HYPOTHESESHypothesis 9: Organizations Have Repertoires of Creation ModelsOrganizations have sets of creation models implicit in their practices or explicit in their most creative people or subgroups.

Hypothesis 10: Individual/Group Non-Difference in Creation Model EffectsThe same changes in model explicitness, number, and diversity that increase individual creator creativity also increase organization creativity when applied to models in the organization.

Hypothesis 11: Creation Model ConflictsSubgroups assigned to cooperate or co-invent if using different creation models will fail, falter, or be less creative than subgroups assigned to cooperate or co-invent that use the same cre-ation models.

Hypothesis12: Creation Model SynergiesSubgroups assigned to cooperate or co-invent if using different creation models that, for some reason, do not mesh, will be less creative than subgroups assigned to cooperate or co-invent that use different creation models that do mesh well (“mesh” here will, as a research construct require a great deal of definitional work).

Hypothesis 13: Environment Supports are Only Meaningful When Specific to Particular Creation Models of an OrganizationMeasuring environment supports for any sort of “in general” creativity, though done by many organizations, has little value because it does not identify the models of creativity in the organization and distinguish environment support levels for each part of each such model--to have value you have to measure environment supports for each part of each model of cre-ativity in an organization as well as supports for models elsewhere not now in the organization but that would be good additions to the models it already has.


Minimalist Definitions of the 60 Models of Creativity Plus Instant Assessment Column

Model Name Model Minimal Definition Circle One Number

CA

TA

LO

G

Recommendations I collect recommendations from mentors, peers, and others on how to be creative in general or on how I can be more creative, organize them, and regularly review them to

improve the creativity of my work.

0..1..2..3..4..5..6..7..8..9..10

not true of me true of me

Traits I collect traits that creative people, works, domains, and fields have, organize them, and regularly review them to improve the creativity of my work. 0..1..2..3..4..5..6..7..8..9..10


Question Finding I collect ways that creative people find great questions to tackle, organize the, and regularly review them to improve the creativity of my work. 0..1..2..3..4..5..6..7..8..9..10


Darwinian Sys-

tems

I notice how persons and works in my domain, and how my domain itself and the people who run it, all four, foster the basic evolution functions of variation, combination,

selection, and reproduction. I use the result to position myself for maximal creativity.

0..1..2..3..4..5..6..7..8..9..10


Combined

Thought Types

I select certain types of thinking and develop them individually as well as exploring possible combinations of them till creativity results. 0..1..2..3..4..5..6..7..8..9..10


Garbage Can I use nearly all fundamental parts of my existence from personal identity to social dynamics around me to ways of work to develop partial creations of life and work style

that become tools for making creative works.

0..1..2..3..4..5..6..7..8..9..10


2526

272829

30

SO

CIA

L

KNOWLEDGE

EVOLUTION

Compilation

FractalRecurrence

Cycle

SystemModel

60Models of

CreativityCopyright 2002 by

Richard Tabor GreeneAll Rights Reserved

US Government Registered

11

23

4

56

CATALOGRecommen-dations

Traits

Question Finding

Darwinian Systems

CombinedThought

TypesGarbage Can

27

8

9

10

11

12

BLEN

D

Culture

Mixing

Disci-pline

Com-bines

Tuning

Paradox

Door-way

ScaleBlend

IdeaMarket-

ing

3 13

14

15

16

17

18

Com-munity

ofIdeas

SocialCompu-tation

Social

Move-ment

SpaceShare

Parti-cipatoryArt & Design

419

20

21

22

23

24

GR

OU

P

MassSolving

ProcessDeploy-

ment

OptimizeIdealFlow

Meta-

SocialConnec-tion-ism

Demyst-

ification 525

26

272829

30

KNOWLEDGE

EVOLUTION RelocatingIdea

ProgramsSimple

Dialectics

FractalRecurrence Idea

Waves

631

3233

3435

36

EXPERIMENT

Solution

Culture

Policy by Experiments

Creation Events

FractalModelExpan-

sion

SocialAutomata

Create by Balancing

7373839

40

41

42

SYST

EM

Non-

Linear Systems

Darwin-ian

System

Effects

Surprise

AdjacentBeyond

PopulationAutomaton

843

44

45

46

47

48

PU

RIT

Y

Sub-creations

Produc-tivity

Perfor-mance

Influence

Investing

Info

Design

SE

LF

949

50

51

52

5354

Courage

AnxietyChannel

ExtendedSelfDeve-

lop-ment

InterestEcstasy

CareerInvent

Perfor-manceCrea-tivity

MIND

1055

56

57 58

59

60Insight

CognitiveOperator

Extremes

MakingSense

PerceptInvent

ExperienceRealizatn.

SubstrateUpdate

Cognition

Ecosystems

These models aregiant collectionsbased on single themesor matrix frameworks.

These modelssee creativity as social relations & dynamics of sorts.

Thesemodels see

group-nessmaking

procedurescreative

Thesemodels see

dynamics amongidea themselves that

become creativity

These models seesolids disolved into hypotheses making creativity.

These modelssee non-linearaspects of realitythat make creativityinevitable inthe universe

Thesemodels see

some singlefunction or

aim that donepurely resultsin creativity.

Thedynamics

of creatinga self if

extendedresults increativity.

Within the mind dynamics or constructs that “create”.

Thesemodels are

mixtures, blends,and combinations

of things.

p23

p33p44

p56

p75

p89

p125

p134

p142

p162

p183

p192

p206p216 p225

p239

p250

p262

p285

p300

p314

p323

p349

p358

p377

p388

p401

p411

p426

p439

p462

p473

p489

p499

p511

p520

p534

p544p562

p587

p599

p617

p645

p656

p664

p674

p686

p700

p717

p734p749

p763p775

p787p810p823

p836

p846 p854

p866


BL

EN

D

Culture Mixing I use the various cultures I have been exposed to, have within me, or live among now, blending them till creation emerges. 0..1..2..3..4..5..6..7..8..9..10


Discipline Com-

bines

I use the various fields I have been exposed to, have mastered, or live among now, blending them till creation emerges. 0..1..2..3..4..5..6..7..8..9..10


Tuning I position myself between extremes and polar opposites, tuning my approach toward subtle points between extremes where creativity happens. 0..1..2..3..4..5..6..7..8..9..10


Paradox Doorway I seek out paradoxes and force myself against them till they, in turn, force my thinking out of its ruts and into lateral, peripheral new paths that open up creativity to me. 0..1..2..3..4..5..6..7..8..9..10


Scale Blend I seek out phenomena on multiple size scales, aligning them by similarities of various sorts, till phenomena on one size scale solve major problems on other size scales. 0..1..2..3..4..5..6..7..8..9..10


Idea Marketing I market ideas within my own mind to various viewpoints I can develop mentally, then select best fit ideas to market, again within my own mind to representations of actual

social market forces in my field, till I come up with a creative work as the package that transmits that idea to those social market forces in my field effectively.

0..1..2..3..4..5..6..7..8..9..10


SO

CIA

L

Community of

Ideas

I assemble possibly relevant ideas and let them interact as their own natures dictate, noticing how they pair up, conflict, sequence themselves and in general inter-relate, till

powerful interesting such idea assemblages come to my attention as possible creations.

0..1..2..3..4..5..6..7..8..9..10


System Model I influence the social judgement dynamics of that field of people who judge what works are creative or not in the domain in which I work by tuning the dialog among

myself, my creative work, those judges, and rules of the domain till creation appears.

0..1..2..3..4..5..6..7..8..9..10


Social Computa-

tion

I am in the midst of a community of people among whom flow various social computations having inputs, outputs, and processors consisting of layers each more flexible

than the next of hardware, firmware, software, in each layer of which are operations each having input, output, and processor (repeating the above endlessly). I manage

that flow till at where I am in the community a critical mass of ideas appears that becomes creativity.

0..1..2..3..4..5..6..7..8..9..10


Social Movement I am in the midst of a community of people among whom frustration builds up till released into a social movement of new ideas by the slightest particular new idea, ava-

lanching the entire community into a new overall idea configuration.

0..1..2..3..4..5..6..7..8..9..10


Space Sharing I share the same intellectual space with a community of like-minded others, inventing tools that intensify that sharing and pursuing competitively similar intellectual goals

till rather unpredictable slightnesses among us and the ideas we work with cause creativity to appear somewhere among us.

0..1..2..3..4..5..6..7..8..9..10


Participatory

Design

I notice how in modern societies specialization of function has stripped certain kinds of thought, thinking, collaboration, feeling, from entire populations concentrating it in

profit-making centralized industries and create by undoing important pieces of that harmful over-centralization and over-concentration.

0..1..2..3..4..5..6..7..8..9..10


GR

OU

P

Mass Solving I define a certain solving process and get many people to simultaneously apply it while interacting with each other tuning their motivations, interactions, and configurations

till creativity emerges.

0..1..2..3..4..5..6..7..8..9..10


Process Deploy-

ment

I come up with one interesting process after another and deploy them across certain social configurations of people, tuning motivations, interactions, and configurations till

creativity emerges.

0..1..2..3..4..5..6..7..8..9..10


Optimize Ideal

Flow

I identify the intended flow of energy through particular systems and optimize the design, environments, conditions, and controls of the system to get as close as possible all

of the energy to flow in the intended path through the system till performance or qualities never seen before emerge.

0..1..2..3..4..5..6..7..8..9..10


Meta-Cognition I organize my tools, facilities, collaborators, associated institutions and relationships for heightened meta-cognition--awareness of how we think and work till creativity

emerges.

0..1..2..3..4..5..6..7..8..9..10


Social Connection-

ism

I work in certain idea layers and social relationship layers combining and selecting what comes both to my conscious symbolic mind and what comes to my unconscious

associative mind, coaxing ideas and relationships through phase changes till creative new patterns emerge.

0..1..2..3..4..5..6..7..8..9..10


Demystification I return power to people who have been habituated to giving power to things outside themselves via creating works that communicate a demystifying-of-the-world-mes-

sage--that makes people conscious of how they have given power and options to things outside themselves that rule them unwholesomely.

0..1..2..3..4..5..6..7..8..9..10


KN

OW

LE

DG

E

Dialectics I find myself embedded in large evolving forces and patterns, defining myself by opposing large established ways, as younger ones gradually define themselves by oppos-

ing my work as large established way.

0..1..2..3..4..5..6..7..8..9..10


Compilation Cycle I work with many different traits that knowledge has, compiling knowledge from one format to another watching how that affects those traits till gaps, distortions, elabora-

tions or the like in those traits reveal creative possibilities to me.

0..1..2..3..4..5..6..7..8..9..10


Relocating Idea

Ecosystems

I work in several different ecosystems of ideas and by bridging particular ideas from one ecosystem to another or from one idea ecosystem to a different social ecosystem, I

turn them into creations.

0..1..2..3..4..5..6..7..8..9..10


Idea Waves I find myself in an ocean of ideas where waves of coherent different sets of ideas wash over the diverse parts of society, including me, regularly such that by setting up tools

and workstyles that catch these passing waves and combine ideas across them, I end up creating.

0..1..2..3..4..5..6..7..8..9..10


Fractal Recur-

rence

I live among different schools of thought that arise and oppose one another, fuse and split, so that I use how very abstract idea polarities and oppositions keep reappearing

through time and on different scales of thinking to, by doing the next inevitable step in this process, create.

0..1..2..3..4..5..6..7..8..9..10


Simple Programs I analyze situations till I find a way to model all the interesting and important complexity of the situations using the simplest thinkable system types yet capable of generat-

ing all that complexity, then by changing such simplest system parameters I generate hosts of creations.

0..1..2..3..4..5..6..7..8..9..10


EX

PE

RIM

EN

T

Solution Culture I notice how people often choose exactly those solutions guaranteed to perpetuate their problems, how failures and missed opportunities are not accidents so much as logi-

cal extensions of entire “cultures of failing” that build up unseen in people--by reversing traits of such failure cultures I invent and apply solution cultures that then create

solutions to long standing recalcitrant problems.

0..1..2..3..4..5..6..7..8..9..10


Policy by Experi-

ments

I try certain strategies or policies in order to generate data about how reality is really working, then use that revealed data to redefine the problem and devise better strategies

and policies revealing in turn better data on the basis of which to devise better strategies and policies, repeated endlessly till creation emerges.

0..1..2..3..4..5..6..7..8..9..10


Creation Events I gradually find and combine components of an idea or approach, assembling various people, resources, ideas into a series of events, designed around particular idea or peo-

ple combination procedures, taken from experts, from which emerges a final creation.

0..1..2..3..4..5..6..7..8..9..10


Fractal Model

Expansion

I organize ideas into multi-scale hierarchies, tightly ordered vertically in layers and horizontally in idea-categories, then I expand the geometry configuration of the ideas,

inventing new ideas at every level and category, coming up with dozens of creations at once.

0..1..2..3..4..5..6..7..8..9..10


Social Automata I tune the interactions among many interacting people, arranged in certain neighborhoods and trained in certain behaviors of interacting, adjusting connectedness, diversity,

and deployment of initiative-taking in the system till creations emerge.

0..1..2..3..4..5..6..7..8..9..10


Create by Balanc-

ing

I envision my domains of thinking and work using very comprehensive abstract models to spot slighted dynamics and over-emphasized one, then create by devising tactics

that rebalance the domain by emphasizing slighted dynamics on my abstract models or slighting over-emphasized ones.

0..1..2..3..4..5..6..7..8..9..10


SY

ST

EM

Non-Linear Sys-

tems

I build models of my domain as a network of non-linear interactions among populations of agents with butterfly effects, system avalanches from one attractor to another,

first mover advantage, and I tune interactions among agents till better than expected results simply emerge from sudden system-wide avalanche events.

0..1..2..3..4..5..6..7..8..9..10


Darwinian I set up competing ideas, approaches, relationships, or events, such that traits of successful ones combined with variants I invent populate a new population of competing

entities, the whole system evolving till a creation emerges from this natural selection like process.

0..1..2..3..4..5..6..7..8..9..10


System Effects I, like everyone else, suffer from surprises as system effects, unanticipated and unanticipatable in the non-linear realities of our lives, intrude, but, unlike everyone else, I

catalog, explore, and develop tools for using these non-linear effects till they become dependable creations.

0..1..2..3..4..5..6..7..8..9..10


Surprise I catalog and study system effects and I catalog and collect unusual frameworks for viewing matters in my domains, using the former to anticipate surprise types and the lat-

ter to reveal surprising phenomena, till one such surprise turns into my creation.

0..1..2..3..4..5..6..7..8..9..10


Adjacent Beyond I start with small tiny creations, that accumulate and combine with each new such creation I make, to make myriad new combinations, some of which are creative, which

when identified, pruned of noise, and combined with my past creations, spawn still more combination possibilities, some of which turn out to be creations, exponentially

continuing my stream of creations.

0..1..2..3..4..5..6..7..8..9..10


Population

Automaton

I manage populations of interacting ideas on multiple levels of ideas-in-mind, feeling responses, performance moves and improvs, parts of organizations till insights as non-

linear system avalanche events happen, generating creations.

0..1..2..3..4..5..6..7..8..9..10





References

Chi, Glaser, Farr, editors, The Nature of Expertise, LEA, 1988Ericsson and Simon, Verbal reports as data. Psychological Review, 1980, 87, 215-251.Flavell, “Cognitive Monitoring” in Dickson, editor Children’s Oral Communication Skills, Academic, 1977Greene, Global Quality, ASQC and Business One Irwin, 1993.Greene, Are You Creative? 128 Steps to Becoming Creative, Bestest Mostest, Sanda, Japan, 2003, 1.Greene, Are You Creative? 60 Models of Creativity & the 960 Ways to Improve Your Creativity They Suggest, Bestest Mostest, Sanda, Japan, 2003, 2Greene, Are You Effective? Towards Procedural Literacy, 100 Methods Everyone Should Know, Bestest Mostest, Sanda, Japan, 2001Holyoak and Thagard, Mental Leaps, Analogy in Creative Thought, MIT, 1996Sternberg and Horvath, editors, Tacit Knowledge in Professional Practice, LEA, 1999.Sternberg, editor, The Nature of Cognition, MIT, 1999.Sternberg, Successful Intelligence, Plume, 1997.

PU

RIT

Y

Subcreations I invent little tools and processes, decor and arrangements of my personal living and workplaces to help me create still more creative tools, processes, decor, and work

arrangements, in a continuing exponential stream till later ones turn out to be creations or to enable me, using them, to create what others, lacking such tools and work

arrangements, cannot imagine or produce.

0..1..2..3..4..5..6..7..8..9..10


Productivity I generate a lot of ideas and throw away the bad ones, and, by generating ways of producing more ideas than nearly anyone else in the same periods of time, and accumulat-

ing experience from throwing away bad ones, more and more of my ideas become creations.

0..1..2..3..4..5..6..7..8..9..10


Performance I understand that I am a performer, and my performances are the ideas I produce, which perform before various audiences, using an anthropological stance of seeing the

limitations of culture of my audiences and the theological stance of seeing the limitations of life itself and how my audiences position themselves within them to make my

ideas creations.

0..1..2..3..4..5..6..7..8..9..10


Influence I seek to influence people and the world via explosively producing disillusionment with existing frameworks with what I create which must be timed and positioned, pack-

aged and expressed so as to influence the field of people in my domain.

0..1..2..3..4..5..6..7..8..9..10


Investing I manage a portfolio of diversified investments of time, idea, and effort in parallel simultaneous projects attempting unlikely outcomes, mixing venturesome and conserva-

tive strategies, till one is a hit, and turns creative.

0..1..2..3..4..5..6..7..8..9..10


Info Design I find myself in webs and configurations of structured information such that particular structural features of these information distributions result in creativity--so I work to

locate such webs and locate my self and my work in such webs till I am where creativity emerges in them. I study operations on accumulated past creations that produce

new ones then extrapolate them to invent my own creations.

0..1..2..3..4..5..6..7..8..9..10


SE

LF

Courage I have the strange ability to fully appreciate the worth and inventiveness of others and traditions around me while simultaneously challenging and overthrowing all of

that in everything I do, resulting in occasional creations where my challenges get accepted.

0..1..2..3..4..5..6..7..8..9..10


Anxiety Channel I notice how the fundamental anxieties of existence inevitably get side-stepped, omitted, and slighted by people in my domain and the works they generate till I spot

such slightings and by correcting them reconnect my domain to the deep realities of life, hence, a creation.

0..1..2..3..4..5..6..7..8..9..10


Extended Self Develop-

ment

The first creation I made was myself, which I made by undoing automatic parts of me put there by where and how I grew up, substituting the best from history and the

contemporary world, and continuing this invention of myself seamlessly turned into creating in every field I entered as the idea of extending my self via works I cre-

ate.

0..1..2..3..4..5..6..7..8..9..10


Interest Ecstasy I pursue interest in everything I do, balancing myself at the very edge of all my capabilities and motives, till I am transported beyond myself where forces of the uni-

verse take hold of me and use me as a vehicle for their own creating.

0..1..2..3..4..5..6..7..8..9..10


Career Invent I create my self, then I create my own career through this world, then as I transition to bolder and more interesting career paths, I run out of pre-made ones and start

inventing new career paths never seen before, till one of these transitions becomes creation.

0..1..2..3..4..5..6..7..8..9..10


Performance Creativity I get ideas to perform before me till one set of them captures my interest then I organize ideas into performances before others in the form of works that audiences

respond to till creation emerges.

0..1..2..3..4..5..6..7..8..9..10


MIN

D

Insight I alternate engagement and detachment as I apply known frames to a challenge, till I run out of existing frames and have to invent new ones, accumulating failures till

they begin to specify, inversely, what eventual solutions must be like, till a slight new idea avalanches the entire set of ideas before me into an emergent sudden

insight, that when carefully pruned of noise, reveals a creation.

0..1..2..3..4..5..6..7..8..9..10


Cognitive Operator

Extremes

I drive my use of certain common cognitive operators in the mind far beyond the intensities of use of them by others till results that no one has seen before obtain,

some of them later being judged creative.

0..1..2..3..4..5..6..7..8..9..10


Making Sense I find nearly everything in the world flawed, sloppy, half baked, deeply unsatisfactory, and lacking basic sense, and I cultivate this negative vision capability till I see

hundreds of ways to improve virtually everything in life around me, focussing on a few which I actually fix till judged creative.

0..1..2..3..4..5..6..7..8..9..10


Percept Invent I am drawn to the paradoxes, contradictions, gaps, omissions, anomalies, circular arguments in everything around me, seeing spaces where everyone else sees objects

in scenes, till I dislocate my own perceptions enough that I see things to fix that when I fix them become creations.

0..1..2..3..4..5..6..7..8..9..10

True of me Not true of me

Experience Realization I keep careful track of my experiences accepting no common thoughts, explanations, without making sure they make complete sense to me and completely explain my

experience of things, till I find something everyone else accepts and depends on that has a deep gap in it that does not fit my experience--by fixing it I do what others

judge creating.

0..1..2..3..4..5..6..7..8..9..10


Substrate Update I watch as a never-ending stream of new substrates for doing functions enters the world, from global commerce, research, and technology every day and year, and

observe when existing functions and institutions hold onto past substrates at great cost way past the time when there are good alternatives substrates--by pioneering

replacement of past substrates for doing functions with new ones from that never-ending stream, I create.

0..1..2..3..4..5..6..7..8..9..10





APPENDIX: 1st Six Models: Catalog Models of Creativity

make interior room

make exterior room

far-rangingmental travel

findparadoxes

create creationmachine

use that machine to think

conqueremergent failures

manage emergentinsights & partial

solutions

Create creative life Create creative works

the arrow sign should be read as “allows” or “is used for creating” in the above diagram

anomalies

The Recommendations Model of Creativity

Creation1

Vary

Combine

Select

Reproduce

findproblems

bricolage

violate

ingenue

metaphor

abstraction

index

multipleworlds

saturatedfield find

counterintuition

articulate

applyaesthetics

pluralistzeitgeist

explanatorypower

tool/frameinvent

inventquestions

The Traits Model of Creativity

2The Question Finding Model of Creativity

FindOpportunityGaps

FindLeverage

ChangeRepresen-tation

ChangeLogic

reverse

depersonalize

undo successes

expand models

fully represent

socially index

seek intersections

mentally index

change measures

change scales

change causes & effects

change models

relate

imply

unify

cross domains

Situation:Problem or

Opportunity

Great

Questionsto

Tackle

3

Person

Work

Field

Domain

Variation Combination Selection Reproductionde-ruttingoutside framessub-worlding

pluralityparallelitymetaphorproductivity

failure indexesmake-eval cycleamong-lines of dev.t extrapoln.

competitive marketingcompetitive tightknit groupsemulate hot fieldsestab & dis awards

de-ruttingoutside framessub-worlding












The Darwinian Systems Model of Creativity

make

judge4

Inputs Outputs

Abstract Operations

Grounding Operations

Type

The Combined Thought Types Model of Creativity

Combinations

empathize

doubt

observe

recognizepatterns

image

analogy

synthesis

model

associate

arrange

play

represent

abstractfrom case

concretizein

case

extractfrom

routine

turn ideainto

routine5

culture (48)

subcreations (22) (as 22 10-point scales)

(as 48 10-point scales)

workstyle (14) (dept-proc-event select one; workspace locale choice list;

career (9)(obstacles, choice list; career types fill ins;

self type (11)(fill in strengths, weaknesses;my typical functions, choice list;my life is choice list

creativity dynamics (32)(16 of the select one lists; 16 of the select several lists;

question finding functions (16)(16 of the select one lists)

environment influence (80)(20 5-point scales for help/hinder; present env.t support quality choice list;20 5-point scales for control me/I control;16 10-point scales for E helps/hinders 16 population automaton creativity functions;16 10-point scales for how 16 social process types help/hinder creativity

cognitive flex and breadth (5)(kite 3 steps fill in,

philosophy fill ins, change life fill in;

creative output (4)(best in world fill ins,

creativity obstacles fill ins; environment relation to creativity choice list pairs;

recognition choice list;hot topics (3)(best books, ideas,

daily/weekly lifestyle balance choice list;

upbringing richness choice list;

creativity process (3)(steps fill ins;

needed work changes fill ins; time periods challenge to being creative fill ins;best work situations fill ins; like/dislike aspects fill ins;

general data (11)(age, gender, output type,health, days outside, family, number of homes/jobs/nations/mentors;individuality of work)

tea cup choice list & fill in;association fill ins; Galileo similarities fill ins,

and people fill ins)

functions having friend choice list; intrinsic motive choice list;workspace types rankings--importance & satisfaction 6 items; arch-furn-apparel modifications choice listssocial indexing--interests/needs/ ability per cents;power source design/emerge choice list;collections-library contents counts & rankings; mind extensions choice list; virtuality types ranking;

type of day choice list; file contents choice list;

cross domain fill ins; analogies type ranking among 6)

evidence fill in; creativity of

The 4 Cycle “Garbage Can” Model of Creativity

Cycle A

Cycle B

Cycle C

career dynamics choice lists;career improvements needed fill ins;sources of help in career choice list;why blocked choice list;

life purpose choice list; how change life fill in;

group not improve creativity reason fill ins)

work characteristics choice list pairs;

borrowed concept fill ins)

overcome in life choice list;

people who help your creativity fill ins)

how treat others choice list)

situations in which you feel fill ins)

becoming more creative org parts fill ins;

useful in career choice list;career event contents choice list)

present work quality choice list)

Cycle D

6


The Culture Mix Model of Creativity: Creating is Penetrating a Problem’s/Opportunity’s Culture

CultureTypes

MixTypes

Penetration Stages

CreativityEffects

age, gender,family, era,community,organization,social class,profession,nation

mixeswithinbirth

culture

typesconstrainingother types

in birth culture

forcedexperienceof alternativeper type

deliberateraising to

consciousness

of culturecontents

of self

& fixing

seeking newcultures toexpand own

repertoires of response

The newculture isall wrong

The newculture isall right

I don’t know:the newculture & my old oneare bothright andwrong in places

FocussedChoice:I’ll use X partof A cultureand Z part ofB culture insituation M.

ExpandedRepertoires

Exercises:handling of

surprise anddifference

ProvidesVacuum:that draws

out new visions, ideas

Metaphor Mapping:

creating ispenetrating

cultures

and feelthink and actof ways to

& RelativizedValues:

& mapping7

The Discipline Combinatorics Model of Creativity

Happenstance Encounter

IntentionalMapping

What isBorrowed

CombinationTypes

FakeBorrowingWarnings

similar itemssimilar relatonssimilar structures among relationssimilar operations on: items, relations, structures

spotted

develop discipline repertoireselect discipline to borrow fromfollow hot baby fieldsmap precisely and naturalize borrowings

questionsmethods or processestoolsresults

fill gapblend near equivalentsadd non-corresponding itemsreplace

from higher status, is suspectwith unfitting data, is suspectentire symbol system, is suspectunreal assumptions, is suspect

Intellectual History Forces:Evolving Ecosystem of Fields of Knowledge

Tool and Technology Forces:Evolving Ways to Get Data& Parts of Reality to Access

what fieldgave birth tothis field?

what field does thisfield give birth to?

what examined and notexamined assumptionsaccompanied each field birth?

what can we see that we could not see with old tools? what data about what we see can we now get that we could not get with old tools?

8

The

Creative

Work

TheCreationProcess

TuningProcess

What Gets Tuned

optimize A whilemaintaining okay B;optimize B whilemaintaining okay A;see costs of extremeA do not underminevalue of extreme A;

relations between youand your field:

relations between youand your work:

relations between levelsof detail in your work:

relations between thoughts in your mind:

The Tuning Model of Creativity

ignore field::be understoodintrinsic motive::compete wellauthorities compete::cooperatecognitive extremes::appeal

problem: engage::set asidecommitment::flexibilityintense engage::semi-consciousproductivity::luck,reources

problem: explore::solvediverse frames::master detailsdeviations: amplify slight::reduce biglocal explore::global optimum

ambiguity: tolerate::reduceincrease: risk/surprise::orderconnect::splitanomaly: seek::reduce

PeopleEncountering

theWork

9

Paradox Generators

Paradox Forced Associative Breadth

Reality’s Non-Linear

Naturepath dependence

stickiness

centrality

fetishes

we can’t do it his way

getting ideas to affect things

illusion of control at center

attraction of magic solving

forced peripheral vision, forced emotional laterality-- jokes

forced abstraction = forced alternative frameworks

forced repertoires of frame-works, manage by balancing

circularity of

definition & argument

assumed

solutions and solution attributes

error and anomaly

incompletenesses

negation spawnedcognitive gaps

defenses againstanxieties of existing

identity developingamid social talk, social

not mental successes

unmeasured costs oftalents, system effectsmissed

Finding Paradox Generating Paradox

The Paradox Doorway Model of Creativity

mental laterality

Anihilationof

Self

Extinction of all of “you”,

attitudesand

approaches

The Courage &

Ability to SeeNonlinear Reality

10

Measurement

Observation &Tool Changes

Scale Specific

Inter-Scale Inter-Level Effects

All Scale Theorizing

better measuresmeasure unmeasuredsbetter adjustmentsadjust unadjustables

inductive exists theoriesdeductive implies theoriescausal theoriesconditions influencing causal realtions theories

fractal growthconstraints from system effectsdesigned emergents, populations tuned into wanted emergentautonomous emergents, populations self tuning into any emergent that’s unusual

fractal representation of individual phenomenascale-specific theory blendingidentifying scale-caused theoretical impassestheories of emergence on all scales

The Scale Blending Model of Creativity

discoveredscale effectsremaining within

scale anomaliesremaining betweenscale anomalies

Creativity

invention of new scales

Theorizing

11

Idea ExchangeInside Creator’s

Mind

market ideato yourself’as creator

the creative workas package of

the idea

tailor for self

tailor for field

tailor for

tailor for nearestcompetitors

tailor for

being history

changing history

price of each idea

market demandfor each idea

investment ineach idea

modify thepackage, thecreative work

modify thetarget audience

modify themessage

modify thechannel

Idea Exchange in the Field

the

creative work

The Idea Marketing Model of Creativity

of problems, approaches, solution criteria,partial solutions, creative works, creators

completed

This exchange is both imagined and participated in

Tailorfor selffor fieldfor being

forcompetitors

for makinghistory

history

Modifythe work

“package”the target

audiencethe

messagethe channel

and Among Different Fields

12

APPENDIX: 2nd Six Models The Blend Models of Creativity


APPENDIX: 3rd Six Models: Group Models of Creativity

Idea MarketsIdea CourtsIdea ConcertsIdea Revolutions

Idea Blends:breadth: interests, needs, capabilitiesdepth: idea numberslevel: era, gender, approach, problemrole blends: power, role, task, person

Structure/FrameEmergence:

breadth: idea numberstructure depth: abstraction levelsprocessing depthstructure mutants: copy errors

Meta-Cognition

monitor interestmonitor frames usedmonitor interaction type and depthmonitor engagement detachment cycles

experience: ideas associating ontheir own, configurations appear

experience: ideas fuse on theirown inventing new ideas

experience: idea relations/associa-tions self-emerge into structures

The Community of Ideas Model of Creativity

then: intervene to tilt emergent outcomes

Idea Associations:

intervention

intervention

inte

rven

tion

EcstaticFlow

Experiences

from full engagementof all capabilitieswhile shunning allfaults

It happened thru me; itused me to “write” etc.

letting go & observing

letting g

o &

ob

servin

g

letting go & observing

Brain Two: associative,unconscious neural hardwarebrain

Brain One: calculative, symbolicconscious software brain

The entire above model recurs for problemfinding, approach selecting, solution criteriaimagining, partial solution generating, etc.

Ladder of Self Emergence

13dialogsocial judgementgroup processproperty of groups

dialogsocial judgementgroup processproperty of groups




Person Work

FieldDomain

Population

Diversity

Population

Connectedness

Population

Patchings

Population

Reflexivity

Tuning

Tuning

TuningTuning

SocialPsych

PowerPolitics

CultureTrans-mission

Encounter

“Other”the

The System Model of Creativity

Tuning

TuningTuning

TuningTuning

Tuning

Tuning

Tuning

Dialog Level

Social Automaton Level

Reflexive

KnowingLevel

Reflexive

KnowingLevel

diversityconnectednesspatchingsreflexivity




14

Interest EventsSocial Computation

StrategyFormation

ProcessEvent Design

Events

Island

Process

CoordinationEvents

Events

Research Events

simple event sequenceall events at oncesequence of event setshorizontal event cascadesvertical event cascades

system element unitingcustmr-producer-supplierproblem finding workoutsviable marginals eventsperiphery legitimate

select island-link typedetermine capabilitiesset capability deploymentset initial island-linkssetup island-link process

leadership shiftpre-, event, post-eventfractal themesleadership pairsdaily results exchangeprob/soln call events

spot emergent resultsselect apropos eventsstudy event resultsspecify new event types needing inventing

steerage eventsevent invent eventslaunch-close eventscommunity cabaretquality eventsreverie punctuations

expert-novice difference

research assembliesphone research workout

best-in-world protocol eventsred team skeptic eventsmodel building eventsmodel using events

Production

result finding events

data gathering workoutsdata analysis workoutsdata challenge workoutss

specify next events

The Social Computation Model of Creativity

Input OutputProcessor

Memory

select mediate goals

What to do nextMeta-Cognition

Overall flowMeta-Cognition

Linking(Event)

The Interest Development Process

Did we getthe resultswe wantedor expected?

key to creativity

key to creativity

Develop Interests Profoundly

DevelopProfoundInterests

15

DetectWhistle

Point

InventWhistle

PointRelease

DesignSolving

Seed

PublicDialog

PrivateDialog

Institutionalize Emergence

find wideassumption

network

find wideanomaly

network

find deep& wide

pent up

latentforces

find

overlappoints of

above 3

relate point of overlap to domain dynamics

find smallestinput thatundoes:

assumptions,anomalies,

& releasespent up

forces

find overlappoints of above 3

demoneeds

demo old answer

inadequacy

demoworkablealternatives

formulateelicited

firstsupporters

leverage threat factor of your alternative

negotiateplace for

your innovation

negotiate

blend ofinnovations

allow stealing

andnormaliza-

tionof your

innovation

generate & test alternativespackage winner

build in self replication

observe dialog evolution in self & othersmeasure unplanned emergentssupport what emergesencourage being copied and co-opted your agend becomes their agenda

The Social Movement Model of Creativity

Fin

d M

ovem

ent Sp

awni

ng P

oint

Manage the M

ovement that Em

erges

The A

utomatic Interest

The

Dev

elop

ed In

tere

st

The Second Discovery--Finding New Things in

the Work from How

Others React

16

Space Types: Membership Types:

Sharing Modes:

Tuning

incentivebalances: relationship

traits:

meta-contributing

traits:

Space Decor:

Creativity

The Space Sharing Model of Creativity

share/hoard ideas, credit, resources, levels of sharing;openness & accomplishment;

sharing mode incentives

converging/divergingcumulativeness/dissipationadding value/emotive reaction

social vs. indivl. computatn. issues: content vs.

resource/credit

intellectualsocialtoy-playfield

attention contributionsdiscourse contributionsoperations contributionsmeta-contributions

collaborationrivalryco-discovery netmodels/simulations

distributed/central;constructive/destructive;pro-paradigm/con-paradigm;

meta-contributors: rep/factionself-improve/tradnl meta-contributions

information expansioninformation reductioninformation framingframe invention

Shared Space

happenstance or intentionaldistributed or focal

17

UndoMediaSicknesses

Re-LocusPerforming

New Rulesof

Expression

AudiencesPerforming

HealingArt &

Performance

Demytho-logizingMedia

ExpressionRules

Blends

AudienceParticipationTechnologies

UndoPersonal

Traditionsof

Anonymity

Self EmergentPerformer

Techniques

De-Media-

izingLives

de-center-ing de-profession-ing democratized broadcasting,

local experience capture;

sincere vs. commercial audiences;

communicating vs.

performing;

fairy taleconstraint

release;

hero with1000 faces;

emergenceof public

happiness;

performance asemergence;

wiredaudiences;

performance

pre-composing kiosks;

Pinsky’s people’s poetry

performer audience

antiphony; bottom up poetry/song

composition events;

whole audience tooling;

personal coached internet TV channels;

art targetinghuman needs;

fractal themeexpression;

novice-expertperformer pairs;

deploying regularemployee-designedarts annually;

family artcomposing;

experience challenge targeting;

persondirectedordinary

improvcomposing;

structurallyreading

movies/songs/ etc.;

demystifyingmedia

messages;

assessing mediaculture’s personal

impact;

trialisolations;

mediasubstitutions;

hermiteffects;

input zen;

isolatingvalidmedia;

Creativity Becoming a PerformerAudience Composed Myths

Com

mun

ity S

pirit

Ana

lysis

Community Analysis Spirit

The Participatory Art and Design Model of Creativity

weekly neighborhood comedy nights;

from art to design to invention to discovery

Extending a Production Processto Wider Populations Causes

Creation

18


APPENDIX: 4th Six Models: Social Models of Creativity

Ultimate Concerns:

root factors

distributed factors

expand solution culture

bottom up aglomeration

evolve from waste causes

top-bottom alliance vs. middle

Deployment Aspects:

bottom up aglomerationpeer-to-peerleader-to-followerfactionalized idea marketsdialectical solvingrole distribution

Meta-Cognition:step redeploymentstep transition invitescriteria evolutionsolving community extensionunrutting a solving community

Individual Solving Emotions: Implicit Social Critique:

total quality as fix of Japanese management weaknessesdemocratizing thoughtline centered organization ideal

shared intuitions discovery unshared success criteriaother’s next step discoveryothers have your next stepenvy & competition dynamics“being first” as distortionhistory evolution of credit

Problem Cause Solution Implementation Impact Effect Error Normalization

model

key steps

qual anal.

quant. anal.

prioritize

storyboard

model

key steps

qual anal.

quant. anal.

prioritize

storyboard

model

key steps

qual anal.

quant. anal.

prioritize

storyboard

model

key steps

qual anal.

quant. anal.

prioritize

storyboard

model

key steps

qual anal.

quant. anal.

prioritize

storyboard

model

key steps

qual anal.

quant. anal.

prioritize

storyboard

model

key steps

qual anal.

quant. anal.

prioritize

storyboard

model

key steps

qual anal.

quant. anal.

prioritize

storyboard

tool

gen

era

tion

1:

vis

ion

tool

gen

era

tion

2:

mob

iliz

ati

onto

ol g

ener

ati

on 3

: p

rod

uct

ivit

yto

ol g

ener

ati

on 4

: a

lign

men

tto

ol g

ener

ati

on 5

: re

qu

irem

ents

Creation

The Mass Solving Model of Creativity

Finding Processes

19

framework

framework

framework

framework

1 2 3 4

group group group group

1 2 3 4

Process

Process

Inside Mind Deployment

Outside Mind Deployment

Inductive Abductive Deductive

Inductive Abductive Deductive

Process Deployment Definition

Preparing Process for Deployment

Process Types

Process Repertoire and Sequence

Deployment Quality

Deployment Modes

Trade-offs

Creativity

The Process Deployment Model of Creativity

plural partsspecific functionsdefined sequenceall maintained in deployment

Prune: waste, order, complexityAnticipate learning blocks across professionsMotivate acquisition

performancedirectionperceptionframingpruning

virtuality

build on strengthfix weaknesssurprise competitorschange representationmeet exigencychange scopefunction sequence

execution uniformityrecognize localityexecution sincerityautomationcreativity evolution

horizontal-verticalone/bi-directionalautomaton boilmarket bid

layer-scopecustomer-suppliergoal-capabilityus-competitorenvy-emulation

Managing

variety deployed toagglomerated local effectsastute selection from unique local frameworks

need people correcting seed peopletrade-off erosions counteredimmense numbers of frameworks applied to one process

Sources of Creativityfrom Deployment

sequence of what’s deployed

Source of Creativity from Deployment20

ideal energy

signal andnoise

optimize

ideal energy

flow

optimizesignal to noise

ratio

tuning factors

find tuning factorsusing experiment,

do not optimize

away faults

do not optimizesignal alone

do not experiment

to find best point

values of parameters

linear functions ofparameter values all of which achieveoptimal outcomes

removes freeenergy so it can’t

shift around causing

flaws

best outcome is

reliably obtained

under many different

conditions of use

allows subsystemsto attain individualoptima while notpreventing nearbysubsystems fromobtaining their own

optima

IdentifyOptimize

Avoid Result& Find

The Optimize Ideal Flow Model of Creativity

Creativity

optimizing ideal flowgets us beyond fixingnoise from inventingand implementing;optimizing signal to noisegets us beyond idealityonly handling by including noise.

optimizing signal to noiseinsures flexibility is notobtained at a cost of lackof reliable results;finding tuning factorsnot point values insureshanding noise is not doneat a cost of rigidity that hurts other subsystems.

Careers as ExperimentsOrganization Forms as ExperimentsPolicies as ExperimentsSelves as ExperimentsLeading as Experiment

flow

21

Fascinationwith Thought

Organizing forMeta-Cognition

Within & BetweenMinds

Meta-CognitionTargeting

Ways People Learn

Ways People Create

Tools ofMeta-

Cognitive Technologies

Compu- tational Socia- lity

ThoughtObser- vation

Manage ByEvents

General

Empirical

Compu- tation

Creativityself/others’ processesself/others’ resultsreplication way discoveryyearning to replicate more

compile input to

modelsplurify models & structure readingtooling for thought

compile procedures to models

discover own/ other mental process to studymap how field/ leaders think an issuemap how you are thinking an issue

experience formationborder violationscontent evolutioneducative sociality

catalogblendsocialgroupknowledge evolutionexperimentsystempurityselfmind

The Meta-Cognitive Organization Model of Creativity

StructuralCognition

Cognition

22

Idea

Phase Changes

Social P

hase Changes

Solid

Liq

uid

Gas

Plasm

a

Creativity

AgilityPerformance

Indexing

Neural

Holograph

Flow

Agility

Performance

Indexing

NeuralHolograph

Flow

Change

Dimensions

Change

Dimensions

Struct

ure

Rig

idity

Stabili

ty o

f Form

over

Tim

e

Functio

n in S

table

Fra

me

Strea

ms

Vicosit

y

Stability of D

irecti

on over T

ime

Functio

n in E

volvin

g Fra

me

Stoch

astic L

ocati

onTem

perature

Stabili

ty of P

ressu

re over

Tim

e

Function in

Stoch

astic F

ram

es

Strip

ped o

f Soci

al Iden

tity

Core

Fusio

n & S

plittin

gs

Stabili

ty o

f Ener

gy Incr

ease

Functio

n as F

ram

e Inven

tion

Struct

ure

Rig

idity

Stabili

ty o

f Form

over

Tim

e

Functio

n in S

table

Fra

me

Strea

ms

Vicosit

y

Stabili

ty of D

irecti

on over T

ime

Functio

n in E

volv

ing F

ram

e

Stoch

astic

Locati

onTem

perature

Stabili

ty of P

ressu

re over

Tim

e

Functio

n in S

toch

astic F

ram

es

Strip

ped o

f Soci

al Iden

tity

Core

Fusio

n & S

plittin

gs

Stabili

ty o

f Ener

gy Incr

ease

Functio

n as F

ram

e Inven

tion

The Social Connectionism Model of Creativity

Framed

Idea

sBetw

een Frame

Framele

ss Coales

cing

Bureaucrat

ic Creat

orsCollaborating

Bureaules

s

Coalescin

g

Idea Flows

Idea Clouds

Creator F

locks

Among Bureaus

New

Bureaus

New Frames

Yoga

Game

Yoga

Game

SWATauthority

JIT manageJIT form

boundaryimprovignoretrans-

lifespan

recognize recall

use: needs,

interests, abilities

agon alea ilinx

mimicry

pratyahara dharana

dhyana samadhi

unit types training cycle non-representa- tional

all parts all functionsmass policy formationpartenogenesis

noveltyperformanceautonomyfeedback

SWATauthorityJIT manageJIT form

boundaryimprovignoretrans-lifespan

recognizerecalluse: needs, interests,

abilities

agonaleailinxmimicry

pratyaharadharana

dhyana samadhi

unit typestraining

cycle non-repre-

sentation- ality

all parts = all fns. mass

policy formatn. parteno-

genesis

novelty perfor-

mance auto-

feedback

“Gel”

Group Mind

The ConsciousCalculativeSymbolicMind

The UnconsciousAssociativeNeuralMind

TheUnconsciousAssociativeNeuralMind

TheConsciousCalculativeSymbolicMind

nomy

23

Formalist

Demystification

DialecticDemystification

StructuralistDemystification

Deconstructionist Demystification

Phenomenological Demystification

ResponsistDemystification

Creator CreateeCreative Work as Communication

unadmitted/unseen ASSUMPTIONS

unadmitted/unseenREPERTOIRE LIMITS

unadmitted/unseenMOTIVES/INTERESTS

unadmitted/unseenPRIORITY/CENTER

unadmitted/unseenFILTERING

unadmitted/unseenSITUATEDNESS

Context Message

Contact Code

Demystification Dynamics

simulacra selfmystificationmystification blindness

demystificationde-solid-ificationself enemy discovery

power surge

The Demystification Model of Creativity

creativity via devices

creativity via contradiction resolution

creativity via systems of differences

creativity via new blindness inventions

creativity via suspension of interpretation

creativity via audience co-creation

defamiliarize to create

de-alienate to create

find vertical repertoire from horizontal one to create

paradox of relational vs. indicative meaning

find figurality of truth/fact to create

paradox of all creations violate the laws they set for themselves

slow and stratify reactions to create

paradox of plot as

operation on story

paradox of creativity’s dependence on expectation, creations self-extinguish

paradox of meaning as something you project not find

read a work, note sequence of adjustments to expectations as each trait is encountered to createparadox of linking questions

work answers for creator to questions audience asks

Demystified into:

in process “I”plural “I”self discovering “I”self interested “I”demystifying “I”

Demystified into:

socially influencedpartly self consciousin process “I”plural “I”self interested “I”demystifying “I”

24


APPENDIX: 5th Six Models: Knowledge Evolution Models of Creativity

The Dialectic Model of Creativity Conceptual Contradictions Emotive Contradictions

Social Relations Contradictions System Effects Contradictions

ContradictionGeneralization Result

TheDialecticProcess

TheDialecticProcess

Thesis Counter-Thesis

Synthesis

Xnot X

(X not there;all but X)

not-X andnot not-X;some X andsome not-X

immanent formaltranscendent formal

existential

circular formal

counter-effectseffect modality shift

double binddistractiveattention decay

pattern/emergence

neurosis

posturalbalance

emotional defense prospect theory

historic forces

from polar pairs ofopposites to fractallyordered comprehen-sive categories visited;

from blends of twochronologically adja-cent ideas to blendsof all previous ideas

idea oneidea two = opposite of itidea three = blend of idea one and twoidea four = opposite of threeetc.

CreativeEvolution of Ideas

25

Knowledge Traits

Compilation Cycle

Compilation

Creativity

The Compilation Cycle Model of Creativity

modelsaggregationexplicitnessconsciousness

trait 1 to trait 1trait 1 to trait 2trait 2 to trait 2trait 2 to trait 1 Gaps:

contextsizesequence

Surprises fromtarget viewpoint

Creativity Sources

26idea ecosystem dynamics idea social system dynamics

cluster (venture take-off) dynamics

flow 2: idea ecosystem to idea social system and back

flow

3:

idea

s bet

wee

n idea

soci

al sy

stem

dim

ensi

ons

flow

1: id

eas b

etween

differen

t

idea

ecosy

stemsCreation Innovation

Invention

The Relocate Idea Ecosystem Model of Creativity

matrix of social dimensions

flow 4: ofpeople, ideas,firms

among cluster’smatrix of socialdimensions

idea/species successionidea/species random mutationsidea/species adapt to contextsidea/species niches for othersidea/species symbiosisidea/species diversity minimumidea/species as food for othersidea/species progeny find nichesidea/species exaptationidea/species geometric combine

structures contexts for practicespractices contexts for ideaswithin context transmission easybetween context transmission needs reframing/re-inventingparadox of creating/innovating: uniformity helps innovation, kills creationideas flow across matrix of social dimensionsnew techs recontext not replacestructure enables self organizing

structures, processes, practices,improv spaces/events, teaming(cross-function/level/firm),venturing;

structure vs. process weaveprocess vs. practice weavepractice vs. improve weaveimprove vs teaming weaveteaming vs venture weaveand others

levels of selection, punctuatedequilibrium, order for free

idea, technology, industry: combinatorics & virtualitymanagement liquefaction: JIT management, JIT organization, JIT eventstuning competitive pressures and interaction intensities

27

The Idea Waves Model of CreativityReasons for Idea Waves Basics of Idea Waves Effects of Idea Waves

Positioning Self as Idea Wave Concentrator Concentrate Idea Wave Forces

Societal Creativity Effects of Concentrated Idea Waves

Group Dynamics Mind Dynamics Use Dynamics Wave-ability TraitsWave-ability Traits Wave-ability Traits

attention decayidea market saturationentool next generation to wincompetitors copy your toolsenvironment jerks focusstatus pressure to “out do”leader pressure to “do some thing”

8 year lifespancontents, providers, generatorswave interactionslevelspersonal positioning optionsidea impact locations

passing frames on 1 problemaccumulated repertoirepractice repackaging own systemsnew hope for recurrent problemsexcuse for seeming in control

find and apply coreapply to multiple domains of personal engagementpersist from creation to invention, to innovationcreate wave overlaps so 3 waves are co-present

spot wave pole, use oppositesee now wave as fixing last wave’s faults and usespot where wave directs attention away from and work thereinvent where waves overlap

whole society deployment of 1 idea shows hits/missesideas pruned for applicationpractice rearticulating mission and means from wave viewpointsinter-wave relations rebalance wave imbalances

anxiety/yearning as packagepower to find key factors/futurestap absolution/redemption of sinsmake world more predictable/ controllabledo 80/20 figure/ground shiftschallenge unseen assumptionsview from wonderful viewpoints

integrate ideas under 1 macrospecific applicable recipevague issues into precise scientific terminologyconnect unprestigious ideas to prestigious ideastap prejudices/ideologies and desire for salvationstun with articulation of experiences that all havethreaten with failure if ideas not used

communicable, application focus,people change faith, legitimate roles,universalism power, unwrap own,support leadership/control myths,clear steps, tools for influence;pilot-able, un-doable, stage-able,consistent with sunk costs/sunk experiencesfits organization & yearnings,gives uniqueness, status, visibility

Making an Idea Wave-able

Waves as Wind Power for Creativity Concentrators

Wave Dynamics

TheCreativity

of

WaveReception

TheCreativity

of

WaveGeneration

Fields

28

Types of Fractal PatternProcesses Producing Fractal Patterns

Qualities of Fractals & Fractal Arguments

Fractal Sources of Creativity:

The Fractal Recurrence Model of Creativity

Creativity

hierarchydifferentiation by partenogenesiscontraction mapping of functionsdesigned microcosmsfission (by division of labor, contradictions, schizmosis)fission by ossificationsuspicion from capture of regulators by regulatedfractal cycles (one child only repeats parent dichotomy)creaming processes (bank for best, bank for best of best)

parent distinction repeated in some children at each levelorder of lower level terms is analog of parent level termsfractal cycles--one child only repeats parent distinctionnot syncresis: two opposites blended in each parent and child term ambiguouslynot alternation: field goes to one pole of dichotomy till blocked then other polenot differentiation: extremal splits from mainstream at each level

compact description--one dichotomy explains nearly linear variable relationsrootlessness--he is “conser- vative” but relative only to term at his level, often unknownnot linear--child poles can overlap non-monotonicallyvictory perpetuates defeated-- winner extends to cover idea turf of defeated, eroding victor way/focusremapping causes constant generation of new terms for same old meaningssibling and progeny similarityshorter range gives steeper relations among termsreparameterization--”deviant to what” redefined at each sibling/nesting

generational conflict--every 20 years old ideas reappear as way youth can attack eldersreframing--knowledge experts compete by redefining each other’s worktotalizing claims--each field has, invades other fields, who are ecosystem so novel reactionsfission--subfields split from mainstreams they consider ossifiedfractal combination--defeated pole reappears within victor pole as subfieldsfractionation--subgroup splits off and fractally subdivides by itself not relative to mainstreambreaking linked multiple fractal distinctions--when several dichotomies link little of conceptual space gets explored, unlinking them opens new conceptual territory for explorationindigestability of alien turfs--victory embodies distinctions of loser as subfields but empirical work resists new frameworks, forcing new empirical work or new frameworksreseeing linear relations as fractals--much past linear relationship is gloss on true fractal patternredoing scales for referents--fractal culture location of people makes scale answers have different referents so much old scaled research is invaliderrors of copying--we attempt to copy but unwittingly focus, improve, distort, reframe in processengulfed ideas recontexting the engulfer--foreign turf embedded challenges customary frameslaw of small numbers--at least 3 schools debate, more than 6 cause synthesis, fusion, engulfmentemotional energy from membership in the pre-publication core of an intellectual school

29

The Simple Programs Model of Creativity

Apply New Commonsense’s 96 Intuitions

Imagine a Basic Exploration Procedure

Choose and Design Substrate

Components of Simple Programs

Select Appearance of Simple Programs

Apply Simple Programs

Analyze Effects of Simple Programs

Crea

tivity

Drop Traditions

Explore Simplest Universal Systems

discovery--8 intuitionssimple programs--8 intuitions

a new math--8 intuitionsa new randomness--8 intuitions

continuity overthrown--8 intuitionsnatural selection overthrown--8

intuitionsphysics overthrown--8 intuitionsuniverse as a simple program--8

intuitionsmind overthrown--8 intuitionsa new physical law--8 intuitionsa limit on knowing--8 intuitions

free: will, math, & applications--8 intuitions

model your project as at rightdefine all possible initial conditionsdefine all possible rule sets(run your model with all possible

combinations of initial conditions and rulesets, watching for: which of 256, IC recurrence, boundary emergence,

classes 1 to 4, signs of universality)

purpose (what intend to invent)allowed transformations (rulesets)allowed initial conditionschoose/design automaton substratebuild automaton(run automatonscan results of automaton runsspot interesting emergents and universalities)

initial conditions = programrules of transformation = computer hardwarelayout optionspoint-of-action options

start with cellular automata modelremove assumptions in turn to get:

totalistic cellular automata mobile automata turing machines substitution systems sequential substitution systems tag systems cyclic tag systems register machines symbolic systems operator systems

look for layers feeding adjacent layerslook for variety that could be

made emergent from one automaton substrate

look for complicated layouts, rules of transform, points of action that add nothing

remember universal systems can emulate each other but some are very cumbersome and slow ways to do things easy in others

most existing concepts and relations are emergents from simpler substrate automatonsmost continuity is randomness masking underlying discrete automatonslook for randomness assumed from environment but really inherentlook for repetition and nesting handled by existing models that ignore randomness and complex resultsidentify which of 256 elementary programs your results resemble

The Discipline of Mental Assumption Scouring

The Discipline of Adding Minimal New Ideas30


APPENDIX: 6th Six Models: Experiment Models of Creativity

The Create by Balancing Model of Creativity

Cre

ativ

ity

The Balancing Process

Balanced Model Types Fractal Balancing

Balancing What Model Formation

The Costs ofAttention

MarketContrarian

The Origins of

Imbalance

Choosing the RightImbalance

find or create comprehensive model; diagnose present imbalances on the model;prescribe counter-balancing actions and implement them;update model from implementation learnings

dichotomiesfractal hierarchiesstochastically balanced traversal pathsstatistically sampled populations

time fractalityspace fractalitysocial role fractalityidea model fractality

resources/interests/needs/abilities;structure/process/practices/events;ideas/emotions/value/commitment;

survey all obvious sources;interviews to correct

source survey results;survey unobvious

sources;inductively order;deductively order;relational/representative

naming

talent cost;mispredict--cost of optimism;distraction--cost of focus;side-effects--cost of purpose;for show leading--cost of longing for control;forgetting whatwe forgot--cost of time;poor implementation--cost of launches;poor launches--cost of implementation;

neurosis--if popular-- too late;if supported-- worthless;if funded-- dated;if horrifying-- possibly great;

20 generation changes;rising generation overthrowing established

generation;

the motivated overtake the

wealthy;

winners bore;

31

reversing a failureculture

culture penetrationprocess

cultural figure/ground

seeing via anotherculture’s viewpoint

culture fusion

the solution culture as:





Culture CharacterizationDimensions

Culture Penetration Stages

SolutionCultureApproaches:

The Solution Culture Model of Creativity

social psychgender styleexistential questionscommunity

all is wrong

all is right

complex mix relativism

use X from A, Y from B

reversal

32

Cre

atio

n

Redefining Leadership

Provisionalizing Policy

The Experiment Cycle

Structuring for Experiment

Emergent Creation

Principles of Experiment Design

The Policy By Experiment Model of Creativity

from social class to a functionalternative ways to deliver managing functionsexperimental tests of what type of leading when, by whom has actual impacts of what size

from correct by opinion (rank intimidation) to correct by valid datafrom designs for success to designs to produce the rules of succeedingfrom confounding leader effects and environment shift effects to valid data

select a functionenvision it as experimentselect policy to exploreselect how to measure policy valueinvent policy alternatives/ inventions to test select parameter values that stress the designset up orthogonal arrayorganize for experimentrun and analyze results

main functions tested for: product alternatives

sales methods alternatives management method alternatives finance and other alternativessupport functions: sales as data salespersons as data collectors

designers as alternative inventors management as runners of experiment conditions

hypothetical-deductive mindsetexisting structures as experiments producing useless datacreativity as inventing alternatives to testresults data sometimes reveal new way to go “invention” “discovery”

stress design using extreme parameter valuesoptimize ideal intended energy flow not to eliminate faults customers seeorthogonal arrays for maximal data impactoptimize signal to noise not signal aloneexperiment to find tuning factors

Hypothetico-DeductiveLife & Work Style

if we tried X what would that entail?taking established things as hypothesesliving life as experimentwork arrangements as hypothesesthe style of trying and confirming

33

IntentionalizingCreation

The ProtocolCycle Event Workshop

Dynamics Dynamics

Designed

Emergent

DataGrounding

Tuning

Abstract Event

cumulating transaction sequences

massed parallel endeavors

Creati

on

The Creation Event Model of CreativitySocial Automaton

Forms

history: court, R&D, eventscan we: speed up

creativity;

make bigger leaps;

use less rare human

inputs;

direct invention; invent

creative groups;

protocol analysis;

subcreation replicate;

translate, simplify, groupize;

test;tune for

generalized creation;

find creation experts or

models;set up, pre-work,parallel workshops,process weaves,detach/engage,feedback & tuning,satisfaction/capability,closing, after work,follow up

accumulate: failure

partial solution

frameworkrecognize patternsfractal accumulation

interaction mode change every 20 min.formal leaders consult;talents used/developed;3 day day, 3 week week;talent-novice pairs;fractal procedures;rational/emotional/ interactive goals;

protocol, framework, partial result: compare, share, blend;message channel isolation balance;talent spot and develop balance;

structural cognition toolsphone research tools

fractal concept modelsworld directory tool built

system parametersinverse U functionscombination: process: weaves, propinquity,

combine events34

Categorical Model

Conceptual Model

Population Automaton Model

Simple Program Model

Build Fractally

Expand Fractally

effecttypes

causetypes

niches from niches

subsystem specialization/accumulation source of

elements captured and recombined assoftware source of

simple program output alone or mixed

The Fractal Model Expansion Model of Creativity

source of complexity complexity

source of complexitycomplexity

categories of categories

paths of causes

population of basicunits in neighborhoodswith iterated rules ofinteraction

initial condition row,rules of transform forneighbors iterated

Cre

ativ

ity

duplication diverging

symbiosis enclosed andco-replicated

epigenesis--differentgenes active in differentlineages

selected combinations ofsimple programs

35

Creativity

The Social Automaton ProcessSet Up

Automaton

Basics

EstablishReflexivity

Tune

Interactions Prune

Noise

Social Automaton

Styles

Frequently Encountered Obstacles

TheoreticalApplications

initial conditionsrules of transform

basic unit behaviors

neighborhoods(layouts, action sites)

interactions (within/betweenneighborhoods)

purpose setter

fitness recognizer

fitness replicator

emergent patternrecognizer

systemparameters;

connectedness

diversity patchings

creativity inverse U

functionshumanity

degree

debuffer functions

deploy functions

highlight best practice

virtualize interactions

rigid vs. flex

space vs. time

authority vs. free

protocol rebelsmissed emergentsslow executiontransform vs. message pass rules

organizations as latent social

automatonscreators as

emergents from’ latent social automatonstestbed for any creation protocolautomating creating

The Social Automaton Model of Creativity

design vs. emerge

36


APPENDIX: 7th Six Models: System Models of Creativity

Components EffectsParametersOptimizations

Self

Organized

Criticality

CriticalParameter

Values

*

*

The Non-Linear Systems Model of Creativity

state space of all possible states of systemtrajectories of sequence of states system actually occupiesattractors that draw many trajectories toward one area in state spacetypes of attractors as ways to characterize systems & intervention effects

butterfly: slightly different inputs have entirely different effectsavalanche: similar inputs similar effects till one causes whole system avalanchefractal growth: when future growth is best where past growth took placeat critical parameter values unplanned ordered patterns spontaneously emerge

adjust:neighborhoodsconnectednessdiversitypatchingsreflectiveness

adjustments types:by outsiderby something within the system

finite element analysisrenormalizationgenetic competitionback propagation

system automatically tunes its parametersto return itself to critical state where unplanned

ordered patterns spontaneously emerge

simulated annealing

37

Reproducing bytransferring code to

peer entities; software

Reproducing bytransferring code tonew replicated “child” entities;

Errors of copying/instructing learning

Transcribing errors,mixing, or mutationlearning

Code that specifies traitsCode that specifies development processwherein firmware is specified by dialogbetween developingentity hardware andenvironment traits encountered

Challenging Environment

Population of Competiting Entities

hardware codecode

Evolvingsearch forniche into

ability tobuild & sustain ownniche even when

environmentdoes notprovide it--

Evolvingsoftwaretraits into

hardware traits, sosoftware learning

means becomehardware learning

machines,

Evolvinghardware

traits intomanaginggroups of

relatedsuch traits, then

managingmanagers

of such traits.

Evolvinghardware

traits into managersof natural selection

machines in entitiesthat plurify such traitcapabilities at faster

environmentchange speeds

Natural Selection Recursion

artificialworlderectingcapability {Tuning Natural Selection’s Trade-Offs

Variation: enough mutation for adapting better not so much past learnings are droppedCombination: enough mixing of differently developed traits to escape local optima without so much mixing that global optima are lost in excess variationSelection: enough partiality in a solution and variety of partial solutions tried to learn solution phase space topology without so much partiality/variety that deep optima are missedReproduction: enough favor in replication for fittest items that overall population capabilities improve without so much favor that evolution stops and settles into local optimum

The Darwinian Model of Creativity

Baldwin Effect

Evolution of Natural Selection

Components, Processes, Recursions

(note: this tuning can be done from outside or by a NS system evolving its own tuning-of-itself capabilities--organisms that increase their own mutation rates have been found recently)

findingniche

makingniche

software

firmware

hardware

hardwaretrait

hardwaremanager of

traits

hardwaremanager of managers of

traits

hardware trait

naturalselectionhardware

componentof entitydoing the

trait

outsidertuning ofa natural

selectionsystem

evolutionof the NSsystem

capabilityto tune itself

entities inthe NS system

evolve capabilityto tune the

NS systemthemselves

Evolving ability of a natural selection system to tune itself, changing its own speeds and ratios of discovering/preserving, mutation, crossover-scope, levels of mutating, and like ratios (explained below in this page).

38

SEE TIM

E EFFECTS

find m

issed effe

cts

find co

unter effe

cts

find su

rprising re

sults

find delay

ed effe

cts

SEE SPACE EFFECTS

find missed causes

find missed environments

find counterproductive supports

find excess order/disorder

SEE HUMANS

find others’ responses

find customer responses

find production effects

find profession effects

SEE INTER-LEVEL

EFFECTS

find attitudes d

enying non-linearity

find over and under re

actions

find over and under f

lexibility

find over and under is

olation

SEE SELF EFFECTSfind home run attemptsfind missed requirementsfind unknown capabilitiesfind habits of quitting

SEE OTHERS’ REACTIONSfind missing coordinationfind for show solutionsfind for show relationshipsfind refusal of learning

SEE FULL PROBLEMfind social not real resolutionsfind crowd effect resolutionsfind ideals replacing realsfind unfashionableness of issues

SEE REALITY IN FULLfind paid-for problemlessnessfind for show solvingfind for show interactionsfind solving of surfaces

See system effects Overtly seek goal while covertly seeking sid-effectPlan for both main effect and side-effectsUse others’ side effects as your main effectsUse unexpected reactions as your discoveryDo main effects only to discover side-effects

System Effects As

Discoveries, Inventions, Creations

The System Effects Model of Creativity

The System Physics Level

The System Psyche Level The System Psyche Level

The System Physics Level

Many different frameworks for viewing

Many different frameworks for viewing

39

liberation

negative power

individalistsurprise

similar inputsdifferent outputs

of repressed emotionof unacknowledged self conceitsof latent concerns and agreementsof unconscious shared visions/dreams

freedom

assertionpower

egalitariansurprise

surprise ofemergence

emergence of public happinessemergence of entirely newemergence of “flow”emergence of immortality

historicdream

partneringpower

hierarchistsurprise

systemavalanches

haven effectemulation effectreframe effectcross-scale

emergence effect

conservingnovelty

transformativepower

fatalistsurprise

butterflyeffect

fight powers that befight sloppy implementationfight conserving the past not the newfight liberal ideas unpreserved

Whichstraw isthe laststraw?

How didwhat Idesignedend upproducingthat?

How did I changethe wholeworld bysimplelocal thingsI did hereand now?

How do Iprotectmy babyfrom thepiled upforces ofthe past?

The Surprise Model of Creativity

40autonomous

agents un-pre-state-ability

Present laws of physicsPresent laws of economicsPresent laws of biology

Need for new Laws

CONTENTS OF UNIVERSE

Incomplete

need pre-state-ability so

function subset ofconsequences socannot know w/oknowing all possiblefuture environments

actualin reaction

graph

adjacentpossible

in reactiongraph

imbalanceof substratesto result foreach reaction

createsdisequilibrium

drive forreaction =

more diversity

agentsexploreadjacentpossible

without losingstructure that

allows exploring

slow enoughfor selectionto weed out

losers

as fast aspossible

Tune toself

Tune toboundaryof supra/

sub criticality

Tune toedge ofchaos

power lawdistribution of extinction/ speciation avalanches

power lawdistribution of

species lifetimes

wheremaximaldiversity of actionis possible

Tuneownenvironment/

fitnesslandscape

maximumsustainableexplorationof adjacent possible

organizedcriticality

co-evolvingagents,search

procedures,fitness

landscapes

Self TuningPopulations of Agents

Gated Drive for Exploring Adjacent Possible

Evolving Populations Tuning Themselves to Criticality/Chaos/Searchability Boundary

adjust polygeny:how many genes

affect 1 trait

adjust pleiotropy:how many traitseach gene affects

Law 1: Law 2: Law 3: Law 4:

The Adjacent Beyond Model of Creativity

41

Non-Linear System Human Nature:Paradox GeneratorsDynamics

trajectories in state spacesattractorsedge of chaos critical pointsfractal avalanchesorder for freespontaneous emergence of unplanned pattern

negation: simultaneous oppositeshubris: broken illusions

feedbacks: chicken and egg delimmasparallel projects: focus from plural engagements

among thoughts

among failed solution attempts

among voices/works in a field

among domains

negation: simultaneous opposites

hubris: broken illusions

feedbacks: chicken and egg delimmas

parallel projects: focus from plural engagemts.

thoughts:StructuralCognition

emotionalreactions:Group Dynamics,Emotional Intelligence

moves & improvsin performance:Leadership,Innovation,High Performance

parts of organizations:Org Learning,Knowledge Management,Network Economics

GeneticAutomatonLevels:

ParadoxGeneratorLevels:

ApplicationAutomaton/FieldsLevels:

Social Levels

psychic non-linearitiesuniversal non-linearities

Emergent

Insights

Emergent

Solutions/

Emergent

Creators

Emergent

Domains

Works

The Population Automaton Model of Creativity

A Non-Linear SystemHandling Non-Linear Systems

Fractally on Social Levels

SocialNon-Linearity

PsychicNon-Linearity

Set up GeneticAutomatons:

Tune Automatontill Emergence1 2

3 on Plural Social Levels

42


APPENDIX: 8th Six Models: Purity Models of Creativity

SPACES

ENVIRONMENTS

PEOPLE

CREATION TOOLSCreate ACreation

Way of Life

Way of Work

The Subcreations Model of Creativity

for making,for combining,schedule & rhythmwithout distractions

mental tools,work environmentsliving environmentspresence to audiences

canon operations,question finder,alternative generator,breakthru impact

students,peers,recruits,schools 43

same outputs,fewer inputs

same inputs,more outputs

same outputs,less time required

same time required,more outputs

same outputs,less quality of inputs

same quality of inputs,higher quality outputs

re-engineerprocesses

actual versus

theoretical times

Taguchi

optimizations

total quality

require/supply

Mental Operations

Used in Creating

The Productivity Model of CreativityProductivity TypesProductivity Improvement

Means

Creatio

n

44

The Creation as

Performance

The Creation as

Performance

The Audience

The PerformanceBefore Self

The Contradictions ofPerformance

The Stances of Performing

The Moves of Performing

interior audiencefield as performerpeers as performersideas performingperforming inventing as a performance

repeat the uniquego exterior by going interiormastered unrehearsed moves

anthro stance: audience

as tribe of limited viewstheo stance: yearnings to be rid of limits of human existencesocial stance: groups erode possibility

capturing attentionmasterful gesturevessel of the godshero with 1000 faces

The Performance Model of Creativity

Performance 1

Performance 2

(from J. Campbell’s book of that name)

PerformerSelf Splitting Projections

self to character;stage moves to audience;character to story;story to re- lived own

till balances tuning above allself detached the gods; contact with story into experience; & audience

avalache

45

Social Influence

Context Powers Message Stickiness

Selling Dimensions

20/80 People/Idea Types System Non-Linearities

creatorspioneerstranslators

persuadersmavensconnectors

reciprocityconsistencyvalidationlikingauthorityscarcity

grafittiout-in emotionblame blindnessimmediacysocial channel capacitysocial mind extensions

capacityconfidencdaily lifepurposeparticipationplurality

non-verbalsubtletyemotioninfectionmimicryrhythms

supercriticalitybutterfly effectfractal growthsystem avalanchescatastrophespath dependencefirst mover advantagereflexivity: acts then become envt. now

Creatio

n

The Influence Model of Creativity

Inside the mind: idea influencing ideaOutside the mind: work influencing work

This process done twice: once inside your mind where ideas influence you and other ideas, then, again,when you fashion a work to embody ideas you come up with so the work influences a field and other works in it including future works by you and others.

46

map markets

spot gaps

understand field-market non-linearity

diversifyinvestment risks

diversifydevestment risks

time market attacks manufacture creation

The Investment Model of Creativity

enthusiasmsemulationsansweredsinterestsdirections

supercriticalitybutterflyavalanchespath dependence1st mover advantagefractal growthreflexivity

unexaminedassumedunfavoredunnoticedunfundedbiasblindnessesdifference dimensions

project portfoliofield portfoliohedgesarbitragederivative inventions

ally co-creationestablished co-createblend into new fieldsbridge hostile campsframe overthrow as natural next steptime bomb ideas

before recognitionunsupportedoverthrow basicsoverthrow paradigmstip incipient trendsbe the last straw

populations of: creators, collaborations, sole projectsmanage population objects & spaces between thembalance in/out, sky/groundInventive: structure, process, events

Glass Bead Game

Opportunity Risk ManagementManagement

Creation

Management

crowds

be the seed crystal

The Research & Development

produce a lot, wait forchanges in markets tomake some creative

piggyback on particularmarket forces and ride one to creativity

Creation Mode 1: The Wait Mode

Creation Mode 2:The Trend Rider Mode

47

Representation

Info properties

Info topologies

Info moves Insight explosions

Cre

ativ

ityabstracting or

concretizing: objects properties relations patterns evolution

causalconfiguralqualitativequantitativevalidativeinclusional

hierarchiesnetworksgeometriesfiguresdistributionsfractalscounterpoisecodes

ontologicalconfiguralmatchingsdiscoverysupportinversionassembly

semanticconfiguralsequenceaestheticlogicconcentrationscalecomplement

fits:

The Information Design Model of Creativity

48


APPENDIX: 9th Six Models: Self Models of Creativity

the Wonder of It All

the Wonder of It All

The Drive for Truth

Encounter Locating Courage

Courage Inventions

Product

Courage Combines

Oedipal Courage

Craft Courage

The Courage Model of Creativitycasual and intended encounterexperience/witness/hearinginterest in being a lensfocussing powers

path departurebirth of truth seeking

daily life/convention as surfacelonging for depthroutinizing fractally conquesttuning involvement exquisitelykeeping encounter honest

holes in daily life

that lead to historyAlice falling thru rabbit holesamong the godsreturn to earth

setting; polishing conscious-

subcreations way; oedipal cultures way; counter-culture way; audienceless way;gradually ungradual way; creative community way; leap to craft way

quitting when the world has changed giving birth to creative works parenting the world

Creating as:

Creating as:

exorcismfrom tensionfrom lackas leap

creating selfself expressioneruption/erectioncompulsive

early traumaredirects bodyenergy to head

ascent fromfallen world to heavens

art as elites self negatingcultures

the extraordinary

high cost

not doingfrom peacefrom havesas undistraction

the ordinaryrevisited

losing selfworld expressionemerging polish

high rewardeveryone artist

renunciative

pre-ejaculative

post-ejaculative

slay tradition“father”

keep traditionliving

unbrokenchain of eroticsatisfaction from breast toeasily guiltlessavailable sexdivine worldfilled withmeaningself repeatingcultures

things that don’t make sense

holes in truth itself

Male Societies

Female Societies

(parenting gestation + development)

Assertive Courage

Renunciative Courage

for guilty sex

Style 1

Style 2

getting beyond appearances

persisting; refacing; neverletting go; ultimate effort;losing distraction; standing outside self; continual stage

ness; the world & I are other

49Field conversion: converting yourself topology switch visualization tools anchors for

Reading field cores: representation change upping literacy minima swap human scale/center

Surprise critical mass: expand contribution unit surround not puncture implication fractals intellectually weave social

Field characterizing: puncturing pomposities--pierot refusing assumptions--rebel fitting concepts--theorist breaking narcissisms--therapist subtracting politics--marginal outsider finding deep fears--fortune teller sifting contemporary knowledge ruins

Evolving images: stealing from the gods in but not of

between worlds worrying the wound revisiting defeats and victories

Tapping anxiety: which anxiety you tap which features tap it

Using anxiety: for self and field the anxieties embraced by a field the anxieties fled by a field lightning strike welding a field to unacknowledged anxieties

The embrace process: finding anxiety facing anxiety befriending anxiety harnessing anxiety riding anxiety

for traces--intellectual archaeologist

insight savings plan weave of field dissent

standing on shoulders with knowledge ones

ritual repetition transforming imagination

The Anxiety Model of Creativity

ManageAnxiety

ManageField

Creation

Lightning

Twelve Types of Anxiety:

Mystery: why something exists: people or institutions eternalArbitraryness: why here, now: ethnic vs. function basisEmptiness: where is meaning: found or made meaningFreedom: you can’t see me: role or intent = identityLoneliness: why love dies: love role or personInauthenticity: why does possessing person make me object: adapt or revolutionMortality: must I die: death or life is most realNausea: why engage ugly life: ingratitude or unfree is flawContingency: why can’t I make my own story: don’t both others or selfTragedy: how could I have known: action or workSin: why I don’t do my plans: blame situation or selfNo Escape: why is not choosing also choosing: groups act or selves act

50Self of Person

Self of Idea

Self of Field

Creativity GatesDrive Source of Development Creation StagesSelf Development Stages

The Extended Self Development Model of Creativity

audience extensionknowledge extensionexcel margin extendfield self development extension

dependencies shrunksubject into objectwhat I be, I havehave one, have manyremoter standpointwider viewpointmore complex operandoutgrow homes, localesself replaces envt determination

dependencies shrunksubject into objectwhat it bes, it hashave one, have manyremoter standpointwider viewpointmore complex operandoutgrow homes, localesself replaces envt determination

dependencies shrunksubject into objectwhat it bes, it hashave one, have manyremoter standpointwider viewpointmore complex operandoutgrow homes, localesself replaces envt determination

object thoughtcategory thoughtabstract thoughtrelationship thoughtdiversity thoughtclear mind thoughtglobal eco thought

what I am blocksmy type of person blocksmy automatic reactions/behaviors blockmy goals/aspirations puny next to others’find I am type not individual

self birthdesigned selfpolis choosingdistinguished selfextended selfdistinguished polisimmortal selfimmortal polis

encounter anxietyof existence

51

Interest Causes

Interest Traits Interest Operations

Interest Core

Search Expectations/Interests

Interest Levels

The Interest Ecstasy Model of Creativity

Creation

counter expectationsexplosive packingsubtle distributionchange expectation

emotivecognitiveperceptiveactive

competit

ive

decays with

tim

e

repetition ero

des

inverted U

from

fram

eworks

more fr

ames m

ore

shows v

iewer min

d

workin

gs

intere

st th

em in

terest

me

affects

judgem

ents,

mem

ory, cogniti

on

have interest

interest self in

interest others in

interest into

amazement

explosive

re-interpretation

accomplishment:

associative:

implicative:

surprises

expectation:constraint:possibility:implication:probable reaction: spacestest/validate/elaborate findingsnarrow the spaceexpand search operatorsmap spaces

interesting fieldsinteresting problemsinteresting approachesinteresting ideasinteresting traits of creative worksinteresting creative worksinteresting inter- pretations of creative works

Interest

Yourself

InterestOthers}{Develop Idea Develop Traits of a

Creative Work

which expectationbeyond it howhow far beyond

4 Critical Judgements:

change it how

Show of the mind’s wonders to the mindStimulated by traits of the creative work = Interest Ecstasy

1 2

52

Career Definition

Careering Entities

Career Staging

Career Ontology Career Sources

Career Strategies Alternations

possible pathsself definition/displaycompetitive evaln.balancesaccumulated ability/ roles/reputeaccumulated partners/ mentors/associatesopportunities/ opportunismemergent success

ideastraits in works

love and willpower and innocencefreedom and destinycommunity of solitaries

personal abilities/ interestsfield possibilities/

interestscompete for self/ for works/ for field

mentors/allies/disciplesfield isolations/omissions/ biases/logistic gaps

support/undermine/overthrow/ install: paradigmshooting star/style changes/ field changes: consistencyelaborate/self-negate/ punctuated equilibrium/ works consistencyjob/lifework/hobby/professioninvent/publish/teachchallenge/chapterize/form/co-opt

engagement/detachmentabstraction/concretionown field/other fieldapproximate/exact

launch padself launch--exploreself launch--commitfield mastery

field marginalityhold hassles at baycreate creative workcreate creative career

Cre

ativ

ity

The Career Invention Model of Creativity

Drive Chance

Sequence Exploration

personscreatorscreative works

53

Ideas Performing in Mind Traits Performing in Work Work Performing in FieldComposing, The Creator Imagined Performances

Performing, The Performer Imagined PerformancesIdeas Performing in Mind Traits Performing in Work Work Performing in Field

Attending, The Audience Imagined PerformancesTraits Performing in Work Ideas Performing in Mind Work Performing in Field

The Nine Performances of Performing Creativity

The Performance Creativity Model of Creativity

The Secular Divine

The Secular Divine

The Secular DivineThe S

ecular

Divin

e

7

WLintoD CStoA

produce

MRforE

DEmergc MParadox

PParts

DPerfmcs

Real TimeImprove

Compose

Real TimeImprove

Perfmce

Off LineCompose

8

WLintoD CStoA

produce

MRforE

DEmergc MParadox

PParts

DPerfmcs

Real TimeImprove

Compose

Real TimeImprove

Perfmce

Off LineCompose

9

WLintoD CStoA

produce

MRforE

DEmergc MParadox

PParts

DPerfmcs

Real TimeImprove

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Real TimeImprove

Perfmce

Off LineCompose

4

WLintoD CStoAproduce

MRforE

DEmergc MParadox

PParts

DPerfmcs

Real TimeImprove

Compose

Real TimeImprove

Perfmce

Off LineCompose

5


MRforE

DEmergc MParadox

PParts

DPerfmcs

Real TimeImprove

Compose

Real TimeImprove

Perfmce

Off LineCompose


MRforE

DEmergc MParadox

PParts

DPerfmcs

Real TimeImprove

Compose

Real TimeImprove

Perfmce

Off LineCompose

1


MRforE

DEmergc MParadox

PParts

DPerfmcs

Real TimeImprove

Compose

Real TimeImprove

Perfmce

Off LineCompose

2


MRforE

DEmergc MParadox

PParts

DPerfmcs

Real TimeImprove

Compose

Real TimeImprove

Perfmce

Off LineCompose

3


MRforE

DEmergc MParadox

PParts

DPerfmcs

Real TimeImprove

Compose

Real TimeImprove

Perfmce

Off LineCompose

54


APPENDIX: 10th Six Models: Mind Models of Creativity

AccumulationAlternationDistinctionIndexing

ExhaustingEnd of the Road









Managing Minds: Calculative & Associative

Frame Invention Direction

Str

ayin

g D

irectio

n

Str

ayin

g D

irectio

n

Str

ayin

g D

irectio

n

Str

ayin

g D

irectio

n

Insight Event

The Insight Model of Creativity

The Insight Process: Vertical and Horizontal Dimensions 55

The Cognitive Operator Extremes Model of Creativity

Benchmarks

Meta-creation Tools

Extremes TypesMental Operator Types

Role of created work

Three application periods

field historyself historyfield mental operator historyother field operator extremesstretched/omitted operators

scale: structural cognitionforce: root analysisagility: population automatonsconvention: whistle pt. analysisbias: culture demystificationexpression: stratified respondingpacking: fractal packaging

scaleforceagilityunconventionalitybiasexpressionpacking

input typesoutput typesabstraction typesgrounding types

extremes into:trait balancescognitive whistle pts.audience impactnew trait inventionsfield fusings/inventing

mind of creator at project conceptionmind to hand of creator during process of creationmind of viewers/users of completed work (of Traits Demystified

into Operators thatCreated Them)

mental operator

Or the Trait Demystification Model of Creativity

56

Making senseLevels of sense

Levels of causal flow

Truth as career

Falsehood as career

The creative turn

Cre

ati

vit

y

The Making Sense Model of Creativity

mystery intriguefalsehood intrigueactingclue spottingpattern spottinggrounding patternspro/retrospective pattern argumentssolutions seek problemsproblems seek solutionsexperimental actsresult interpretationemergent: results, purposes, selves

worldfield/domainworksideas

abstract ideasimagesemotionstactical acts (political savvy)

as grow up storiesnew jarring storiesstory choice dilemmacohere vs. correspondespoused vs. enactedemergent stories

removed viewpointwaste/error spotting talent/bent/tasteimprove alldeep improvements become creationsno situation untouched

loyalty: from roles to ideaschase mysteries into unknownchase falsehoods into inventionsideas not career rightin but not of

The naturalscientist inall minds

Otherworldly Loyalty

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Nature of perception Creation as perception

Perception invention

Perception quality

Creation process

frameworks determine

representations summarize what sawrepresentations become new frameworks

what we see

expected vs emergent patterns = peripheral vision

see actualities no one saw before = discovery

see possibilities no one saw before = invention

more frameworks more diversemore articulateddeeper fractalitymore interknitmore implicativemore self consistentmore rough edges

see past work’s valuesee criteria evolution in fieldsee openings for new forms of excellencesee unrealized as yet possibilities in field

coherence with what is already in mindcorrespondence with what is already in reality

Cre

ati

on

meta-perceiving: seeing frames inside you

The Perception Invention Model of Creativity

58 Insight asthe Hero’s Journey

Life-Creation Role

Archetypes

TruncatedHero Stories

StratifiedResponding of Creator

Stratified Responding ofViewers/Users

Creationcomplementarymeanspartnerscriptedexperience

noticingsfeelingspatternsremindingsinterpretingschanges

noticingsfeelingspatternsremindingsinterpretingschanges

call to adventurecall refusalhelperdeparture thresholdjourneytestshelpertemptresssupreme ordealreturn refusalflightrescue from withinre-entry opositionelixir appliedworld renewed

unawakened selfheraldfalse mentormentorminionskoma-inuallies

shapeshiftertricksterclownshadowawakened selfcomitted selfhero

The Experience Realization Model of Creativity

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Changes in Creating

Idea FarmingIdea Ecosystem Dynamics

Substrate Appearance Translating Ideas

Transplanting Ideas Across Domains

New Creation Process

Creation Normalization

The Substrate Update Model of CreatingR&D automating inventingglobal R&D bandsnew infras make work creatingflood of invention, variation for freecreating becomes combininginventing without global scan dangerous

find questionfind substrates that make it unansweredidentify other fields generating such substratesscanning changes in such other field substratesfind new substrate that answers your questiontransplant those ideas into your domain

typesnon-local inventionsnon-local new applicationsnovel combinationspotential new systems

device’s function in origin culture:: device’s new function in application culture

new substrate for doing that function from other domain

function in culture of application::

origin culture of an ideaapplication culture of an ideamap support/resistance differencescompensate for missing supports and resistances in both origin and application culture

niches create nichesincreasing returns to scalepresent inventions as substrates causing hundreds of add-on inventionsglobal niche and species competitionimbalances of nature: avalanche waves

raising idea cropsraising creator cropsfertilizing/rotating/fallow creation cropsbreeding idea cropsparasite/pest ideascompetitive idea farming ecosystems

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Documents

A Model of 60 Models of Creativity