CREATIVITY IS NOT ONE THING--IT IS AT LEAST 60 THINGSLEARN AND APPLY ALL OF THEM IN THIS COURSE SERIES

EMAIL--richardtgreene@alum.mit.edu

THE CREATIVITY FOREST

Learn and Apply 6 Creativity Models inEach of Ten Monthly 3-days-each Courses

Designs that Lead; Leaders that Design.

CREATIVITY IS NOT ONE THING--IT IS AT LEAST 60 THINGSLEARN AND APPLY ALL OF THEM IN THIS COURSE SERIES

EMAIL--richardtgreene@alum.mit.edu

THE CREATIVITY FORESTSide Curriculum Woven Throughout the Lectures/Exercises/Projects

30 CREATIVITY & NOVELTY SCIENCES CREATIVITY MODELS 1. Identify new creativity models with which to extend your design

NEW MEDIA & INTERFACES

INTELLECTUAL INTERFACES 2. Shape your design to use, work in, and enable some new interfaces

CAUSAL INTERFACES 3. Shape your design to use, work in, and enable new causal interfaces

SOCIAL INTERFACES 4. Shape your design to use, work in, and enable new social interfaces

CREATION OPERATORS

SELF DYNAMICS 5. Shape your design to enable changing being X to having X

KNOWLEDGE DYNAMICS 6. Shape your design to use and support particular knowledge dynamics

EXPERIMENT & DISCOVERY 7. Shape your design to foster particular experiment & discovery types

ART & INVENTION 8. Shape your design to entice users to invent devices, ways, & arts

EXPRESS & EXPLORE 9. Shape your design to elicit exploring & expressing current unknowns

CREATION OPERANDS

SELF DYNA-MICS

EDUCATEDNESS 10. Shape your design to invite people beyond Initial Factory Settings

CAREERS 11. Shape your design to foster powerful career build dynamics

PARENTING & LEADERSHIP 12 Shape your design to release pent up forces, avalanches of change

KNOW-LEDGE DYNA-MICS

SYSTEMS 13. Shape your design to handle non-linear reactions to its first outputs

CULTURE 14. Shape your design to change, penetrate, improve latent cultures

QUALITY 15. Aim your design at enabling core essences of quality business

EXPERI-MENT & DISCOV-ERY

INNOVATION 16. Identify additional innovation models for your design to embody

FOUNDING VENTURES

17. Identify venture techs your design can commercialize

ART & INVEN-TION

DESIGN 18. Extend to any of 20+ alternative design approaches

COMPOSING19. Extend your design so use of it leads to good composings by users

EXPRESS & EX-PLORE

FASHION 20. Extend your design so it extends brand image identities of users

PERFORMANCE 21. Turn finding, purchase, use, repair, upgrade of your design into performances and shows

EVOLUTION DYNAMICS 22. Turn the evolution dynamics of your design and its use community into stories, comedies, histories, dramas.

REALITY SCIENCES

STORY DYNAMICS 23. Turn the development and use of your design into dramatic stories

COMEDY DYNAMICS 24. Generate amazing incidents and comedic events in your design and commercial release processes

GAME DYNAMICS 25. Embed game dynamics into the design, commercialization, and use dynamics of your product

HISTORY & VALUE DYNAMICS

26. Challenge the fake and harmful product traditions of Coke colas, Wall Street, and other venal horders

COMMONSENSE SHIFT DYNAMICS, biosense, socialware, software 27. Entice users of your design into biologic ways of thinking/operating

CREATIVITY & NOVELTY SCIENCE INTER-RELATION DYNAMICS

THE 30 CREATIVITY SCIENCES--INTER-RELATIONS

228. Link each creativity science your design engages via good interfaces to others

NOVELTY AMOUNTS & TYPES ACHIEVED

29. Design for getting users generating more and better forms of creativity from use of your design

THE MORAL DIMENSIONS Creativity & Innovation Noise Dynamics

30. Design all around and in your product to counter fake “for show”creativities generated by career, product planned obselence systems

Lecture on One Creativity Model:history, examples, steps, results

Exercise: finding examples inhistory and your current field

Assessing Yourself: when haveyou used/can you use the model

Tools for applying the model:changing minds, views, steps

Exercise: applying the modelvia the tools to team project

Lecture on One Creativity Model:history, examples, steps, results

Exercise: finding examples inhistory and your current field

Assessing Yourself: when haveyou used/can you use the model

Tools for applying the model:changing minds, views, steps

Exercise: applying the modelvia the tools to team project

MORNINGSESSION:

AFTERNOONSESSION:

The Structure of Each of the 3-Days of 1 Course:

POSTING by allat any time of: Questions, Learnings, Tools

POSTING by allat any time of: Questions, Learnings, Tools

Partici-pants taketurns doing in-process interviews.

Partici-pants editvideo inter-views into tools,insights, document.

DINNER-TIME--One new team, mix of above, makes comedy,another makes songs, on New Creativity Education insightsof the day, and of the course thus far--performed 3rd day.

BUILDING IS NOT ENOUGH--Schools as rows of sitters, memorizers,isolated from work and the world, making trash (homework thrownaway)--are the WORST POSSIBLE preparation for contributing to life.SO design work in class FEELS creative, but just making things, howeverfun, does not reach the level of creativity till it changes a field.MAKING IS FUN, CREATING IS TOUGH--Think Edison testing light bulbmaterial 8,994, 8,995, 8996--was he having lots of fun?THE DESPAIR DOORWAY--only when all that you know and have triedfails, again and again, when you are CERTAIN, you as presently con-stituted cannot solve a problem, reach a goal, so something in YOUis going to have to change if you are to create--THEN you truly create.All creating is, in this deep way, self-transformation. THE EDUCATEDNESS CONNECTION--teaching/learning induces you into a world, already there; educating draws you (e-duco in Latin)out of the world of parents-peers-media-teachers that raised you,into Confucius’ multi-decade journey of making your own self contents.Creating in the beyond-craft beyond-impressing-friends sense, requireseducatedness--being able to see, feel, think beyond where others do so. STRUCTURAL COGNITION TOOLS--(found by Richard Greene at MIT-Harvard) enable ordinary mental operators to be applied to 40 to 100 ideas at a time, not just 4 to 6 at a time = the fantastic levels of pro-duction that enable lots of diverse tries that become true creations.

SOME SURPRISES ABOUT CREATIVITY EDUCATING:

ENVIRONMENT SUPPORTS CANCEL MORE CREATIVITY THAN THEY HELPfor firms imagine only 1 or 2 familiar models of creating, with supportsfor them, but those supports hinder a dozen other, unknown unusedso-far, models of creating. Also more creativity comes from trying newor unused models of creating than from doing known models better.

creativity is tough

you must change to create

building things & fun are not enoughuneducated people

tools for vast increases inmental productivity

make not create

supports reduce more creating than they foster

GRIT out-creates

creative people

CREATIVITY IS NOT ONE THING--IT IS AT LEAST 60 THINGSLEARN AND APPLY ALL OF THEM IN THIS COURSE SERIES

EMAIL--richardtgreene@alum.mit.edu

THE CREATIVITY FOREST

What made Steve Jobs’ APPLE the world’s most valuable company was Steve’ssimultaneous deployment of five or more Creativity Sciences, where others proudlydeployed only one. The product-announcement PERFORMANCES, the white clearcollegial retail store choreographed COMPOSITIONS, the unused space in phonesfilled with liquid batteries INVENTION, the failing music industry new business modeliTunes SYSTEM, the elegant, lean, clutter-less interface ART

Stratified Responding

Conversations

Social Design

Automata

Fractal Model Expansions

Response to Response Matrices

Tipping

PointFinding

ContradictionPoint

Inventing

TuningInteracting

IdeaPopulations

Dimensions of

DifferenceInterpolations/

Extrapolations

8 of Many

NEW TOOLS

introduced &used in the courses

NEW TOOLS FORTHOUGHTbecome

INCREASES IN YOUR

MENTALPRODUCTIVITY

Fractal of Contents

Are You Creative?60 Models of Creativity and the 960 Ways to Improve Your Creativity that They Suggest

By Richard Tabor Greene

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272829

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SO

CIA

L

KNOWLEDGE

EVOLUTION

Compilation

FractalRecurrence

Cycle

SystemModel

60Models of

CreativityCopyright 2002 by

Richard Tabor GreeneAll Rights Reserved

US Government Registered

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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

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21

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GR

OU

P

MassSolving

ProcessDeploy-

ment

OptimizeIdealFlow

Meta-

SocialConnec-tion-ism

Demyst-

ification 525

26

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KNOWLEDGE

EVOLUTIONRelocating

Idea

ProgramsSimple

Dialectics

FractalRecurrence Idea

Waves

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36

EXPERIMENT

Solution

Culture

Policy by Experiments

Creation Events

FractalModelExpan-

sion

SocialAutomata

Create by Balancing

7373839

40

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42

SYST

EM

Non-

Linear Systems

Darwin-ian

System

Effects

Surprise

AdjacentBeyond

PopulationAutomaton

843

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PU

RIT

Y

Sub-creations

Produc-tivity

Perfor-mance

Influence

Investing

Info

Design

SE

LF

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50

51

52

5354

Courage

AnxietyChannel

ExtendedSelfDeve-

lop-ment

InterestEcstasy

CareerInvent

Perfor-manceCrea-tivity

MIND

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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 amongideas 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

extendedresult increativity.

Within the mind dynamics or constructs that “create”.

Thesemodels are

mixtures, blends,and combinations

of things.

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p33p44

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Page 8 Overview of the 60 ModelsPage 22 Catalog Models HexagonPage 32 128 box Recommendations ModelPage 70 to 74 Scientific Creativity Quad-HexagonsPage 93 48 Culture Dimensions TrianglePage 100 Career 64 QuadPage 114 64 Social Processes QuadPage 121 Catalog Models CombinedPage 124 Blend Models HexagonPage 173 Power Creation Quad 64Page 168 Social Automaton TablePage 202 Blend Models CombinedPage 205 Social Models HexagonPage 260 Cluster Creation SpacePage 281 Social Models Combined

Page 533 System Models HexagonPage 559 Simonton HexagonPage 573 System Effects 128 TrianglePage 579 326 System Effects HexagonsPage 604 Adjacent Beyond 64 QuadsPage 641 Systems Models CombinedPage 644 Purity Models Hexagon

Page 711 Creation Engineering 128 TrianglePage 712 Purity Models CombinedPage 716 Self Models HexagonPage 805 Composing/Performing 128 TrianglePage 806 Self Models Combined

Page 809 Mind Models HexagonPage 876 Mind Models CombinedPage 879 Flow Diagrams of All 60 ModelsPage 982 Grounding Example Tables for All 60 ModelsPage 1056 ReferencesPage 284 Group Models Hexagon

Page 329 General Computation Page 331 Social Process Event Types

Page 332 Ways Orgs Learn 64 QuadPage 336 Organizing for Meta-CognitionPage 344 64 Ways Orgs Learn TablePage 367 Rise of Science TablePage 373 Group Models Combined

Page 376 Knowledge Evolution HexagonPage 444 96 Simple Program IntuitionsPage 457 Knowledge Evolution CombinedPage 461 Experiment HexagonPage 530 Experiment Models Combined

Introducing:

Fractal Concept

Models

Covers:Kaufmann’s InvestigationsWolfram’s Simple ProgramsAbbott’s Chaos of DisciplinesSimonton’s Origins of Genius

and many othersRoot-Bernstein’s Discovering

A Self-Study Text

on Creativity that Any

Person & Any Course

in Any Discipline

in Any College or

Company Can Use

Today!

The MostComprehensiveBookon Creativitythat hasEver beenPublished!

The Next StageAfter R&DArts & Sciences

Individuals & Groups

NGOs & Companies

Ventures & Styles

Fashion & Tradition

P66

Page 30 Copyright 2001 by Richard Tabor Greene, All Rights Reserved, Government Registered Email: richardtgreene@alum.mit.edu

WHAT THE 60 MODELS ARE LIKE, SEE THE EXAMPLE BELOW:Each model purports to explain ALL ofcreativity, yet each is very different than the others. As you master one thenanother, your Personal Repertoire of waysto create, grows wonderfully.

MASTER THEWORLD’S BEST BOOK ON CREATIVITY INALL ITS FORMS:As you take,one by one,each of the ten 3-day-eachcourses in thisseries, you master 6 modelsfrom the bookat right, in eachcourse. Yougraduate fromthe course seriesmaster of 60 ways the worldcreates, givingyou enormousteaching optionsand detailedmaterials otherslack.

Each 3-daycourse in thisseries introducesone or more toolsfor greatly increasingmental productivity.More thoughts per unittime, more diverse ones,becomes more experi-mental tries becomes morehistoric scale creativity(the Productivity Modelof creativity this is called).

SOCIAL DESIGN AUTOMATAa replacementfor brainstorms,uses people asprocessors in acomputer-likearray, handingpartial productsto each other,each person ap-plying their assign-ed operation to partial resultshanded to them.

CREATIVITY IS NOT ONE THING--IT IS AT LEAST 60 THINGSLEARN AND APPLY ALL OF THEM IN THIS COURSE SERIES

EMAIL--richardtgreene@alum.mit.edu

THE CREATIVITY FOREST