1. Innovativeness and Creativity in Science Ronald LaPorte, Ph.D. University of Pittsburgh

2. What is creativity? The problem with creativity is that we know it when we see it, but it is hard to define.

3. Creative stuff Frank Lloyd Wright

4. “ There is nothing more difficult for a truly creative painter than to paint a rose, because before he can do so he has first to forget all the roses that were ever painted. Henri Matisse

5. Dangers of looking at Creativity –There are many myths that grow up around great inventions. –The significance of inventions is not realized until much later Stories must be told in retrospect. People tend to dramatize the story. Most creative acts are rather mundane –Invention is 99% perspiration and 1% inspiration. -Thomas Alva Edison

6. Creativity requires the courage to let go of certainties. Fromm Every act of creation is first of all an act of destruction. Picasso

7. Why is invention incremental? How can a creative idea come about? It must be related to existing ideas –Otherwise, how would people think it up? –How could it be implemented? What does it mean for an idea to be ahead of its time? –A creative idea must be comprehensible to others What good is an invention that nobody wants? Suggests that existing ideas may constrain creativity.

8. New inventions Innovative inventions are often based on known products. Early railroad cars were designed like stagecoaches on tracks. Engineer and brakeman were not moved inside until later. Stagecoaches were a good solution to initial problems Other problems were not discovered until later.

9. Creativity and Concepts Draw an animal that does not exist. –Ward –Karmiloff-Smith Novel animals have many properties of real animals Often have bilateral symmery Sense organs on head Similar sense organs to humans.

10. You can never solve a problem on the level on which it was created. Einstein

11. Where do examples come from? People select common concepts as examples –They seem to use specific items –When asked to create novel intelligent beings Animals typically walk upright Animals typically have two arms and two legs People seem to be using humans as a basis. Even sci-fi authors and movies seem to have the same constraints.

12. What makes people more creative? A paradox –People access categories when being creative –Categories are retrieved on the basis of cues during the creative process –The more cues available, the more access –More specific situations lead to less creativity. –Forcing people into strange situations can lead to higher levels of creativity

13. You need chaos in your soul to give birth to a dancing star. Nietzsch

14. Social Factors Creativity is fostered by an environment –Creativity must be valued by a community –Creativity is shaped by those who evaluate it Creator (the individual) –Individuals must be experts Domain (what is being worked on) Field (the collaborators, colleagues, and audience)

15. Group creativity Brainstorming –Are N minds better than one? –Often not Groups often come up with a smaller number of possible solutions than the individuals would alone One person’s output interferes with other people’s memories Growing conformity within a group

16. OTHER TRAITS IDENTIFIED IN CREATIVE PEOPLE The ability to find appropriate problems (Getzels & Csikszentmihalyi,1976). The ability to defer judgement (MacKinnon, 1962). Desire for originality Failure to conform to social pressure (self sufficiency) Tolerance of ambiguity Legislative (rule creating), rather than an executive (rule following), or judicial (rule assessing),mental self- government (Sternberg, 1988). Deep commitment (not least because it is needed to acquire sufficient domain specific knowledge).

17. Creativity is the ability to see relationships where none exist. Disch

18. WALLIS'S (1928) FOUR STAGE THEORY Based largely on autobiographic reports (e.g. Helmholtz; Poincaré) –Preparation –Incubation –Inspiration –Verification

19. ENVIRONMENTS FOR CREATIVITY Good working conditions helpful, but environment more generally is important. Csikszentmihalyi (1988): three main forces shape creative achievement –The creative individual –A social field - determines which new ideas are worth retaining –A stable cultural domain - preserves ideas selected by the field.

20. Creativity is more than just being different. Anybody can be weird; That’s easy. What’s hard is to be as simple as Bach. Making the simple, awesomely simple, that’s creativity. Mingus

21. ENVIRONMENTS FOR CREATIVITY (cont.) Social field/cultural domain likened to natural selection in the theory of evolution. Thus, problem finding is important. Problem finding produces more, and more extreme, variations from current norms for the field to operate on.

22. BODEN'S IMPOSSIBILITY THEORY Boden (1990) suggests that an idea is creative (for a particular person) if that person could not have had that idea before. The “could not” is defined in terms of what the person's mental representations and processes allow.

24. Chapter 10: Creativity 24 Creativity across domains Creativity is a gift, a way of seeing the world Mozart, DaVinci, Keats, Ogilvy? Creatives are unconventional, showing total commitment to their craft

25. Chapter 10: Creativity 25 Creativity across domains Howard Gardner studied seven creatives: –Freud, Einstein, Picasso, Stravinsky, Eliot, Graham, Gandhi. Found these common characteristics: –Self-confident, alert, unconventional, hardworking, obsessive.

26. How would you rate the creativity of this ad?

27. Creativity Creativity and problem solving can be taught. Motivation and creativity are related. Convention and upbringing inhibit originality. Creativity is the act of an individual.

28. Problem Selection and Definition What really makes an invention is that someone decides not to change the solution to the known problem, but to change the question. Dean Kamen

29. Individual Creativity Role of creativity for researchers What is creativity? – What is the need for creativity? – How to enhance individual creativity? – What is the role of teams?

30. Creativity

31. Graham, S.,Enhancing creativity in epidemiology, Amer. J. Epid. 1988;128:249-253 Einstein: “To raise new questions, new possibilities, to regard old problems from a new angle requires creative imagination and marks real advances in science” “Our problem is how to enhance the production of creative works in our field”

32. Graham, S.,Enhancing creativity in epidemiology, Amer. J. Epid. 1988;128:249-253 “We need to go beyond cultivating informed epidemiologists and develop creative ones.” Intelligence and creativity?

33. Graham, S.,Enhancing creativity in epidemiology, Amer. J. Epid. 1988;128:249-253 “We feel we have an advantage over some other groups because we are not confined to conventional thinking. We think wildly. (Paul Chu) The Critical need for being exposed to new ideas, currents of thought and new methods

34. Graham, S.,Enhancing creativity in epidemiology, Amer. J. Epid. 1988;128:249-253 Criticism Potential value of a study

35. Graham, S.,Enhancing creativity in epidemiology, Amer. J. Epid. 1988;128:249-253 Science in general is Risk Aversive Only as tolerant of creativity as its most conservative member Low-Risk, Low Gain

36. Epidemiology Genetics Computer Science Interdisciplinary Training Hypothesis Generation Hypothesis Testing Observation Computer Science Epidemiology Genetics Stove Pipe Training Hypothesis Testing Hypothesis Generation Observation Hypothesis Testing Hypothesis Generation Observation Cutting across Fields of Training

37. NU Yale Pittsburgh Interdisciplinary Training Hypothesis Generation Hypothesis Testing Observation NU Yale Pittsburgh Stove Pipe Training Hypothesis Testing Hypothesis Generation Observation Hypothesis Testing Hypothesis Generation Observation Cutting across Universities

38. Uni. Pittsburgh Stanford NU Uni. Pittsburgh Stanford NU Stove Pipe Training Breaking Down Educational Walls

40. Creativity is inventing, experiment, growing, taking risks, breaking rules, making mistakes, and having fun. Cook