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1.Explain the ways in which the opening “Interlude” relates to the material in this chapter.

2.Read over the five-step process of creativity (pp. 2-3). How have you experienced it yourself, either while working on class assignments or creating for fun? Are the stages different for you? For instance, do you sometimes return to an earlier stage such as incubation when you have already had some “eureka moment”?

3.In your experience, when has extrinsic motivation (such as working for a grade) interfered with intrinsic motivation (creating for the sheer pleasure)? Is it different in different courses? Is it different in school than in other contexts? How would you advise teachers to draw on intrinsic motivation while still being required to provide a grade?

4.Read over the discussion of the “creative personality” (pp. 9-10). How would you apply these characteristics to yourself and/or someone else you know or know about?

5.How does the “Wind Theory” of creativity apply to you? How does the “Sweat Theory” apply? Explain examples.

6.Have you ever felt vulnerable to attack while expressing your creativity? If so, describe an example or two.

7.List some of the puzzling or unclear ideas in Chapter 1. Ask questions about them.

8.Explain what you think is most important in Chapter 1.

9.React to some of the ideas in Chapter 1. Debate, support, analyze, and/or reflect.

10. Give evidence from your own life or background experience about the ideas in Chapter 1. (Don’t repeat what you have written in another exercise.)

11. Watch the film Hearts of Darkness, and analyze Francis Ford Coppola’s creative process as he made Apocalypse Now. How did he use the stages of creativity? How did he exemplify the creative personality?

19See, for example, Rosanoff and Campbell.

20I have seen the number mentioned as both ten thousand and forty-three thousand.

21See, for example, Simonton, “Creativity as a Constrained Stochastic Process,” 91-92; Weisberg.

22Randall Stross, The Wizard of Menlo Park: How Thomas Alva Edison Invented the Modern World (New York: Crown, 2007), 66.

23Isaacson, Einstein, 39.

24Henri Poincaré, “Mathematic Creation,” in The Creative Process: Reflections on the Invention in the Arts and Sciences, ed. Brewster Ghiselin (New York: Mentor Books, New American Library, 1952), 38. The three facets, based on his triarchic theory of intelligence, are “its relation to the internal world of the individual, its relation to experience, and its relation to the external world of the individual.” (p. 132)

25Poincaré, “Mathematical Creation,” 38.

26Nathaniel C. Comfort, The Tangled Field: Barbara McClintock’s Search for the Patterns of Genetic Control (Cambridge, MA: Harvard University Press, 2003), 68.

27Ibid., 67.

28Mihaly Csikszentmihalyi, Creativity: Flow and the Psychology of Discovery and Invention (New York: HarperCollins, 1996), 28.

29On the importance of the validation phase to engineers, see Petroski.

30Stross, The Wizard of Menlo Park, 194, 199, 181, 197-198, 253.

31Harold Bloom, Genius: A Mosaic of One Hundred Exemplary Minds (New York: Warner, 2002), 12.

32Harold Bloom, 20^th Anniversary Edition: Dramatists and Dramas (New York: Readers Subscription Book Club, 2006), ix.

33G. H. Hardy, “A Mathematician’s Apology,” cited in Robert P. Crease, The Prism and the Pendulum: The Ten Most Beautiful Experiments in Science (New York: Random House, 2003), xxvi.

34Paul Strathern, The Big Idea Collected: 6 Revolutionary Ideas That Changed the World (New York: Quality Paperback Book Club, 1999), 54-56; Crease, The Prism and the Pendulum, 64-76.

35Robert J. Sternberg, “Creativity as a Decision.” American Psychologist 57, no. 5 (May 2002): 376.

36Quoted in Isaacson, Einstein, 17.

37Discovering Psychology, Annenburg/CPB Collection featuring Philip Zimbardo, video 4, program 20: Constructing social reality (WGBH, Boston: PBS Educational video in association with the APA, 1989), VHS tape.

38Teresa M. Amabile, Creativity in Context (Boulder, CO: Westview Press, 1996), 117-19.

39Amabile, Creativity in Context, 119.

40Ibid., 132-33.

41Csikszentmihalyi, Creativity: Flow and the Psychology of Discovery and Invention, 55.

42See Howard Gardner’s discussion of this theory in Intelligence Reframed: Multiple Intelligences for the 21^st Century (New York: Basic Books, 1999), 117-19.

43David Campbell, Take the Road to Creativity, (Allen, TX: Argus, 1977), 43-71.

44Amabile, Creativity in Context, 35, 36.

45Michael J. Gelb, How to Think Like Leonardo da Vinci: Seven Steps to Genius Every Day (New York: Delacorte, 1998), 48-75.

46Quoted in Gelb, How to Think Like Leonardo da Vinci, 50.

47Richard Feynman, Classic Feynman: All the Adventures of a Curious Character, ed. Ralph Leighton (New York, London: Norton, 2006), 5.

48The quote is from Classic Feynman, 168; the safecracking episodes are narrated in 154-71, with the quoted note on 165; the plate spinning episode on 190-91.

49Albert Rothenberg, “The Process of Janusian Thinking in Creativity,” Archives of General Psychiatry 24 (1971): 195.

50Isaacson, Einstein, 15.

51Silvano Arieti, Creativity: The Magic Synthesis (New York: Basic Books, Harper Colophon, 1976), 136.

52Amabile, Creativity in Context, 82-83, 77.

53Csikszentmihalyi, Creativity, 27-28.

54Dean Keith Simonton, “Creativity as a Constrained Stochastic Process,” in Creativity: From Potential to Realization, ed. Robert J. Sternberg, Elena L. Grigorenko, and Jerome L. Singer, (Washington, D.C.: APA, 2004), 84.

55Ross King, Brunelleschi’s Dome: How a Renaissance Genius Reinvented Architecture (New York: Walker, 2000), 57-62, 70-75.

56Albert and Runco, 1999; Sternberg, 1999; Simonton, 2004. Sheldrake, 310-16, has a good overview of the mechanistic philosophy of the seventeenth century. See also Bunny Paine-Clemes, “The Yugas: Divine Agents of Change,” Joy: The Journal of Yoga, 4, No. 3 (Summer 2005). (Posted July, 2005, at www.journalofyoga.org/).

57Bloom, Genius, 11.

58Federico Fellini, Fellini: I’m a Born Liar, (First Look Media: 2003), documentary movie.

59Emerson’s Journals: October 27, 1831, quoted in Bloom, Genius, 3.

60These statistics are quoted in Feist and Runco, 1993, 272, as cited in Albert and Runco, 1999, 17.

61Amabile, Creativity in Context, 3-41.

62For instance, see Seligman, 110; Sternberg, “What is the Common Thread of Creativity?” 360.

63Jacques Barzun, “The Paradoxes of Creativity,” American Scholar 58, no. 3 (Summer 1989): 341.

64Sternberg, “What is the Common Thread of Creativity?”, 361.

65Vera John-Steiner, Notebooks of the Mind: Explorations of Thinking, rev. ed. (1985; New York Oxford University Press, 1997), 79.