TERMINOLOGY
MUSE
1. (Class. Myth.) One of the nine goddesses who presided over song and the different kinds of poetry, and also the arts and sciences; -- often used in the plural.
DAEMON
1. The demon kind is of an intermediate nature between the divine and the human.
2.One's genius; a tutelary spirit or internal voice; as, the demon of Socrates.
LATERAL THINKING - Thinking correctly about a problem in order to solve it; questioning the question itself. ("Wait a minute, is this the right question to be asking, or is there a different one that needs to be asked?")
LINEAR THINKING Using prior knowledge and Logic to solve a problem; assumes the question is valid; ("Well there is a question and I need to solve it") Autopilot thinking mode.
BRAINSTORMING - a group problem-solving technique in which members sit around a let fly with ideas and possible solutions to the problem
CREATIVITY the generation of ideas that are both novel and useful for solving problems.
RECURSIVE ability to return to an earlier stage [in the process] if necessary. Only in J.P. Gilford's "Structure of Intellect Model"
INTELLIGENCE - knowledge imparted or acquired, whether by study,
research, or experience
INTELLECT - the ability to learn and reason; the performance
of cognitive operations; the capacity for knowledge
and understanding
CONVERGENT THINKING - There is only one right answer,
and we have to find it.
DIVERGENT THINKING - There are many possible "right"
answers. There are many paths to
the solution.
PRODUCTION - Thinking (reference to J.P. Guilford's Structure of Intellect Model)
FLOW - "…being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement, and thought follows inevitably from the previous one…your whole being is involved, and you're using your skills to the utmost."
DOMAIN SPECIFICITY His theory: The creative process looks different depending upon the field (or domain) in which it is applied.
INTRINSIC MOTIVATION - "to engage in an activity primarily for its own sake" based on "how interesting, involving, satisfying, or personally challenging" we find the activity to be .
EXTRINSIC MOTIVATION - to engage in an activity "in order to meet some goal external to the work itself, such as attaining an expected reward, winning a competition, or meeting some requirement."
DOMAIN-RELEVANT SKILLS (Csikszentmihalyi component in Amabile's Componential Model of Creativity) - example proficiency with computer software (depending on what your doing, different relevant skills will be used)
CREATIVITY-RELEVANT SKILLS (Wallas & Gilford's influence in Amabile's Componential Model of Creativity) - critical thinking, brainstorming, questioning, etc. (everybody has to have these)
PERFORMANCE ORIENTED LEARNERS - are most concerned about appearing successful or competent instead of making real progress; motivation is primarily extrinsic.
MASTERY ORIENTATED LEARNERS - are highly focused on understanding; don't fear failure and don't compare themselves to others; motivation is Primarily intrinsic.
HEMISPHERIC DOMINANCE - Proven wrong, no empirical basis for it.
Left Hemisphere: speech, reading and writing; logical, analytical and rational (processes parts or pieces of information )
Right Hemisphere: intuition and creativity; tuned to images rather than words
(puts the pieces together as needed)
As far as creative and cognitive skills go, there is no real measure; it is junk science, popular psychology.
Evidence that creative ability is "seated" in the right hemisphere of the brain is speculative and/or anecdotal. Complex cognitive processes can't be "lumped together" in one hemisphere; creative thought clearly involves processes attributed to each hemisphere. Assumption that "creative people" are "right brained" is rooted in much of the mythology surrounding creativity itself.
MYTHS
1. Myth: You can't learn to be more creative than you are now.
SANDRA MORIARTY, Advertising Professor, Univ. of Colorado at Boulder.
Creativity CAN be taught! But how? Who else agrees? OSBORN AMABILE & GUILFORD
2. Myth: "Creative people" use the right side of their brain more than the left side.
Evidence that creative ability is "seated" in the right hemisphere of the brain is speculative and/or anecdotal.
Complex cognitive processes can't be "lumped together" in one hemisphere; creative thought clearly involves processes attributed to each hemisphere.
Assumption that "creative people" are "right brained" is rooted in much of the mythology surrounding creativity itself.
3. Myth: Creativity is positively correlated with intelligence.
• research indicates most "creative persons" score average or better I.Q.
• no positive correlation between creativity and intelligence correlation: simultaneous change in value of two random variables
MULTIPLE INTELLIGENCES It suggests that the traditional notion of intelligence, based on I.Q. testing, is far too limited. Instead, Dr. Gardner proposes eight (Naturalistic Intelligence is the 8th) different intelligences to account for a broader range of human potential in children and adults.
SCRIPTS/ FORMULAS/ STEREOTYPES
Early in life, we decide (or others tell us) who we are and what we believe. Once we adopt this identity, we have to (and actually prefer to) FEED our own scripts, formulas and stereotypes.
EXPERT (GARDNER'S DEFINITION)
One who is filled with multiple perspectives.
INTERTEXTUALITY - Layers of meaning; ; a theory about how we understand and interpret cultural texts; individuals apply existing textual knowledge whenever they encounter new texts; intertextuality refers to the understanding and interpretation derived from connecting old and new cultural texts
CULTURAL TEXTS - cultural texts are always 'read' in relationship to other cultural texts
HORIZONTAL INTERTEXTUALITY - how connections between old and new cultural texts within a single genre create meaning
VERTICAL INTERTEXTUALITY - how connections between old and new cultural texts across multiple genres create meaning
GENRE - a category of texts based on a provisional set of characteristics.
CONVENTION - a characteristic typical of a given genre.
TERTIARY TEXTS - personal or public commentary on cultural texts that influences our understanding and interpretation of those texts.
OPTIMIZATIONS - Changes made in an Advertisement (generally Digital Media) to keep the number of hits high; usually made when an advertisement's effectiveness begins to diminish.
DIRECT MEASUREMENT - The ability (in Digital Media) to directly measure how many people view the add, click on the add, spend time on the website destination, etc.
"BRAIN DRAIN" - The phenomenon which occurs when people (ie brainpower) leave the area they are living in for a "faster" city, leaving the area with less knowledge to impart to future generations.
AMENITIES - comforts: things that make you comfortable and at ease; "all the comforts of home," (For example, public parks, restaurants, movie theaters, museums, active performing arts communities, etc.)
"FAST" CITIES - Cities undergoing the "Brain Gain" phenomenon, the opposite of "Brain Drain." Examples: WASHINGTON, D.C., RALEIGH-DURHAM, NC, BOSTON, MA, AUSTIN, TX, SAN FRANCISCO, CA
MONOLITHS - Big Service Firms
PURVEYORS - Small Service Firms; local firms serving small local clients; clients get exactly what they want and the bills get paid
INNOVATORS - Big Creative Firms
RADICALS- Small Creative Firms
DOMAIN/ FIELD/ INDIVIDUAL
• THE INDIVIDUAL - the initial source of the creative idea
• THE FIELD - evaluates the quality/viability of the idea
• THE DOMAIN - implements and perpetuates the useful idea
POSITIVE AFFECT
="fun" ; confidence, optimism, self-efficacy, likability, sociability
TEAM - A group organized to work together.
NOMINAL GROUP - Individuals work alone before teamwork begins.
DYAD - two individuals work together who are considered partners
SYNERGY - The effect created in a group when
• individual knowledge
• personality differences, and
• interaction
are combined.
ADAPTOR - One who likes working within defined boundaries and in a slow, methodical manner.
INNOVATOR - One who likes to "play" with problems and may even redefine a problem they don't like.
BRIDGER - "translates" between the innovator and the adaptor
GROUPTHINK - pressure to achieve a consensus results in agreement to adopt a bad idea
SOCIAL LOAFING - underperformance by a team member when that team member believes that someone else will "take up the slack"
PRODUCTION BLOCKS - some team members' ideas get lost
while others are sharing their own ideas
TASK-BASED CONFLICT - can happen when the discussion is about the work (i.e., the ideas that are offered) ("I think that idea sucks!")
PROCESS-BASED CONFLICT - disagreements about strategies, plans, divisions of labor and responsibilities for getting the work done (Boss becomes a control freak that stresses out and upsets the other members)
RELATIONSHIP-BASED CONFLICT - negative interpersonal interactions among team members
CREATIVE DIRECTOR
• (prefixes: executive, senior, V.P., group)
• Career track: art director or copywriter
• Responsibilities: oversees work of creative teams; ensures quality of the work; creative liaison to client; hires and fires Art Directors and Copywriters; ultimately gives red/green light, takes most responsibility for good/ bad ads released; Managers
• Day-to-day: new business development; meetings with creative team(s); broadcast work (shoots, recording sessions, editing); travel; managerial concerns
ART DIRECTOR
• (prefixes: senior, junior)
• Career track: Graphic designer/ production artist; (vision and big ideas, no artistic ability required)
• Responsibilities: conceptual work with copywriter; decisions about layout, color, typography - determines the "look" of the work; hires talent / freelancers; supervises graphic designers and production artists
• Day-to-day: get approvals from Creative Director; computer work; brainstorming with Copywriter; Out-of-the-office errands and (for) assignments
• Not necessarily an artist; can visualize a plan and get done what needs to get done
COPYWRITER
• (prefixes: senior, junior)
• Career track: entry level (undergraduate degree)
• Responsibilities: conceptual work with art director; constant writing and rewriting of drafts; research and verification of accuracy (fact-checking); may supervise junior copywriters; proofreading before work leaves the shop; somewhat of a perfectionists; check for possible mandatory warning levels
• Day-to-day: lots of writing and editing; get approvals from Creative Director; brainstorming with AD; reading client supplied and other resourced information
GRAPHIC DESIGNER
• (also: graphic artist)
• Career track: studio art/ art school background)
• Responsibilities: execute layouts at the direction of the Art Director; heavy typesetting and computer design work; little control over most projects unless they are "quick and dirty"; works with production artists closely
• Day-to-day: get instructions from the Art Director; computer work; consultations with Production Artist; finishing work handed off from Art Director
PRODUCTION ARTIST
• (also: layout artist, intern [!])
• Career track: tech school or underqualified
• Responsibilities: prepares work for printing; works closely with Production Manager; makes sure all digital files and other materials travel with the job; other miscellaneous duties
• Day-to-day: copying files to media; scanning; mounting work for presentations; running errands for the Creative Team
FREELANCER
(contract workers)
Photographers, Stylists, Illustrators, Callgraphers, Directors, Prop Masters, TALENT(Models, Voiceovers, Vocalists… etc.)
ACCOUNT EXECUTIVE
• Responsibilities: usually the liaison between the Client and the Creative Team; schedules meetings between the two and keeps Client updated on job progress; monitor Creatives' work for the client and may act as a surrogate to the Client
• Very diplomatic; (Account Manager, Account Person, Account Manager can all refer to this role.)
TRAFFIC COORDINATOR
• Responsibilities: knows the status of every job in the agency at any time; works to keep every job on schedule; updates managers on job status
• (Meticulous organizers, meticulous attention detail; "grandmotherly figures"; unbelievably good at what they do)
PUFFERY - Flattering, often exaggerated praise and publicity, especially when used for promotional purposes.
DECEPTION (FTC) - Misleads "reasonable" consumers under the circumstances of presentation; and is "material" - that is, important to a consumer's decision to buy or use the product. - (FTC)
PUN - A pun is a play on words, sometimes on different senses of the same word, and sometimes on the similar sense or sound of two different words. One of the lowest forms of humor (according to Dr. G)
TEXTUAL CLICHÉ - In bad advertising, the use of certain cliché copy. (Examples: "You're family won't know the difference, but you will," made-up definitions, (chalkboard) math problems,
VISUAL CLICHÉ - In bad advertising, the use of cliché images (Examples: side-by-side photo comparison, mother and daughter working together in the kitchen smiling, mountain dew green silhouettes, etc.)
BORROWED INTEREST - using another famous product, celebrity, or idea to advertise an unrelated product (Think Sarah Jessica Parker in GAP ad - everyone knows she wears designer clothes)
EXPECTED VISUAL - An advertisement that simply uses a picture of the actual product. (Examples: Wendy's salad, Hugo Boss cologne)
FORMULA - A format for an ad that is used for many if not all products in the same category. (Example: Mascara ads)
WORKS/ REWARDS - guidelines by which to create a good advertisement
Works ...it does the job for the client; meets marketing objectives.
Rewards ...it provides a 'gift' to the consumer; leaves them different than they were before.
• Tell the truth. The truth is always more interesting, more compelling, than any lie you could tell. Find the little truths that are relatable and human.
• Respect the Consumer. The people in your target market have brains. Never be afraid to make them use 'em. (DON'T CLOSE THE MESSAGE CIRCLE! Leave a gap (reward)
• Communicate, don't advertise. Make those 30 seconds count. Talk to, not at.
BRANDING - Selecting and blending tangible and intangible attributes to differentiate the product, service or corporation in an attractive, meaningful and compelling way.
BRAND PERSONALITY - The attribution of human personality traits ("friendly," "trustworthy," "wild," etc.) to a brand as a method for achieving differentiation.
BRAND POSITIONING - The distinctive position that a brand
occupies within its own competitive
frame.
PARITY PRODUCTS - Product qualities differ very slightly from brand to brand.
It doesn't really matter which is purchased; all perform
about the same.
PEOPLE
PLATO - The Mystical Tradition. Idea of the muse
RUDYARD KIPLING - The Mystical Tradition. Claimed Deamon lived in the writer's pen.
EDWARD dE BONO - The Pragmatist Tradition. Coined the phrase "Thinking correctly about a problem in order to solve it." Lateral Thinking
ALEX OSBORN - The Pragmatist Tradition. Developed "Brainstorming" technique out of sheer frustration
SIGMUND FREUD - The Psychodyamic Tradition.
GRAHAM WALLAS - The Cognitive Tradition. The Four-Stage Process Model of Creativity, Incubation most important step.
E. PAUL TORRANCE - The Phychometric Tradition. Developed the Torrance Test of Creative Thinking (TTCT) to measure creativity in children.
J.P. GUILFORD - The Cognitive Tradition.. Developed the Structure of Intellect Model.
MIHALYI CSIKSZENTMIHALYI - The Social Personality Tradition. Developed the Theory of Domain Specificity, and the Systems View of Creativity
TERESA AMABILE - The Social-Personality Tradition. Bridged Gap between Csikszentmihalyi and Wallas & Guilford. Intrinsic/ extrinsic motivation. Positive affect as a stimulant to creative environment.
SANDRA MORIARTY - CU Boulder Professor. All about debunking the myths surrounding the study of creativity and the brain. Believes that you can be taught to be creative.
ALFRED BINET - Invented the original Intelligence Quotient test.
LEWIS TERMAN - Revised Binet's IQ test, and gave it the "Stanford" part of the name.
HOWARD GARDNER - (1943- ) Professor of Education, Harvard University
- 1983: first proposed the ' Theory of Multiple Intelligences ';
- His definition of intelligence is closer to most people's definition of intellect.
- HOWARD GARDNER'S take on what often keeps us from being our most creatively productive as individuals:
- SCRIPTS, FORMULAS, STEREOTYPES
- Early in life, we decide (or others tell us) who we are and what we believe. Once we adopt this identity, we have to (and actually prefer to) FEED our own scripts, formulas and stereotypes.
- HOWARD GARDNER'S cure: MULTIPLE PERSPECTIVES!
- (Triangulating our understanding of the world.)
RICHARD FLORIDA - "Brain Drain" theory. Came up with the Idea of the "Creative Class"
DEBORAH MORRISON - friend of Dr. G. Came up with the Agency Personality Map
CONCEPTS
KEY BARRIERS TO THE STUDY OF CREATIVITY
• strong connections with mysticism and spirituality
• academic research confounded by:
- view of creativity as 'peripheral' psychological phenomenon
- no operational definition
- earliest studies conducted very narrowly drawn
THE MYSTICAL TRADITION - divine intervention - Either you have it, or you don't.
• Creativity is divine intervention; creative person is an empty vessel filled with inspiration by a divine being
• PLATO, classical Greek philosopher, 4th/3rd century B.C.
- argued that a person's creative power comes from a Muse
• RUDYARD KIPLING, author, 1865-1936
- cited a "Daemon" that lives in the writer's pen
- "When your Daemon is in charge, do not think consciously. Drift, wait, and obey."
- Kipling
THE PREGMATIST TRADITION - not interested in studying, just want to make best use of it, be productive, to achieve an end
• an approach primarily concerned with developing creativity, secondarily with understanding it, but not so much with testing its theories
• EDWARD DE BONO, author and corporate trainer, (1933-)
- coined the phrase ' lateral thinking '
• ALEX OSBORN, BBDO co-founder and advertising executive, (1886-1967)
- out of sheer frustration, developed the ' brainstorming ' technique for generating ideas
THE PSYCHODYNAMIC TRADITION - Id and Ego driven - Creativity was the expression of unconscious desires in a publicly acceptable way
• based on the idea that creativity arises from the tension between conscious reality and unconscious drives
• SIGMUND FREUD, Austrian neurologist/psychiatrist, (1856-1939)
- creativity is the expression of unconscious desires in a publicly acceptable form
THE PSYCHOMETRIC TRADITION - Can you test creativity?
• creativity can be studied via the administration of paper-and-pencil tasks; we can test for creativity
• E. PAUL TORRANCE, Professor of Ed. Psych., U. of GA (1915-2003)
- developed the ' Torrance Tests of Creative Thinking ' (TTCT)
THE COGNITIVE TRADITION - How the brain works creatively.
• seeks to understand the mental representations and processes underlying creative thought
• GRAHAM WALLAS, educator and social psychologist, (1858-1932)
- wrote The Art of Thought (1926), wherein he proposed the famed ' The Four-Stage Process Model of Creativity '
• J. P. GUILFORD, psychologist and scholar (1897-1988)
- developed the ' Structure of Intellect Model ' (1967)
THE SOCIAL-PERSONALITY TRADITION - Csikszentmihalyi and Amabile
• Focuses on personality variables, motivational variables, and the sociocultural environment as sources of creativity
• MIHALY CSIKSZENTMIHALYI (chick-SENT-me-high-ee), professor and psychologist author of several books, including: FLOW: The Psychology of Optimal Experience AS WELL AS CREATIVITY: Flow and the Psychology of Discovering an Invention
His theory: The creative process looks different depending upon the field (or
domain) in which it is applied. This is called DOMAIN SPECIFICITY.
The creative process is different depending on the domain in which it occurs
• TERESA AMABILE, professor and psychologist, Harvard Business School; Researches role of motivation and other social factors in creativity.
Developed the ' Componential Model of Creativity '
THE ART OF THOUGHT (1926)
THE FOUR-STAGE PROCESS MODEL OF CREATIVITY
-STAGES
Graham Wallas - 1926 (The Cognitive Tradition)
1. Preparation - learning about the problem, doing outside research
2. Incubation rolling around in your head, Hardest part to study
3. Illumination - realization of answer - the light bulb
4. Verification - actualizing and testing of the solution
-ASSUMPTIONS
• relatively simple process
• sequential in nature
• recursive; one can return
to an earlier stage if
necessary
• discrete stages ***discrete (separate) [vs. discreet (quiet)]***
TORRANCE TEST OF CREATIVE THINKING (TTCT)
Example Questions:
1. List ways of improving a child's toy so that it will be more fun for children to play with.
2. List possible uses for a helium balloon.
3. Finish the drawing: (Circle touching corner of an equilateral triangle)
-TEST SCORING CRITERIA
How the TTCT is scored:
FLUENCY - total number of responses to question Example: 43 uses for a helium balloon.
FLEXIBILITY - number of different categories represented by responses Example: 18 transportation devices; 5 weapons; 12 communication devices; 8 clothing items; 4 response categories here.
ORIGINALITY - statistical rarity of responses Example: Some responses were far more likely to be duplicated than others.
ELABORATION - amount of detail in responses Example: "help signal" vs. "anti-gravity tracking module."
Problem with TTCT: Scoring is subjective!
STRUCTURE OF INTELLECT MODEL
• CONTENTS - Intelligence : What you know
• OPERATONS - Intellect: How you use your knowledge
CONVERGENT PRODUCTION - There is only one right answer,
o and we have to find it.
DIVERGENT PRODUCTION - There are many possible "right"
answers. There are many paths to
the solution.
o
• PRODUCTS - Intellect : How you piece your content together
COMPONENTIAL MODEL OF CREATIVITY
Theresa Amabile., The Social-Personality Tradition. Amabile is bridging the gap between Wallas & Guilford (The Cognitive Tradition) and M. Csikszentmihalyi (The Social-Personality Tradition, with Amabile)
Identifies three crucial components involved in the production of any creative work.
Venn Diagram, 3 circles
o Intrinsic Task Motivation
o Domain-relevant Skills (Csikszentmihalyi component) - example proficiency with computer software (depending on what your doing, different relevant skills will be used)
o Creative relevant skills (Wallas & Gilford's influence) - critical thinking, brainstorming, questioning, etc. (everybody has to hove these)
The Center of these 3 circles where all converge in the diagram could be labeled Creativity
Componential model (you have to have these for creativity to happen, but not in a specific order)
WHAT ARE THE BENEFITS OF INTRINSIC MOTIVATION?
- engaging in the creative task is its own reward
- the creative product is improved when enjoyment is part of the process
- preparation and incubation stages benefit most
STANFORD-BINET I.Q. TEST
I.Q., Intelligence and Creativity
ALFRED BINET (1857-1911) Psychologist; I.Q. test inventor
- 1905: developed the first intelligence scale; revised in 1916 to resemble modern I.Q. test by LEWIS TERMAN, a psychologist at Stanford Univ.
• research indicates most "creative persons" score average or better I.Q.
• no positive correlation between creativity and intelligence correlation: simultaneous change in value of two random variables
RELATIONSHIP BETWEEN INTELLIGENCE AND CREATIVITY
GARDNER'S THEORY OF MULTIPLE INTELLIGENCES
Multiple Intelligences (misleading: would call it "Multiple Intellects") - preferred routes for problem solving and understanding
7 CATEGORIES
Linguistic - words and language
Logical/ mathematical - logic and numbers
Spatial/ visual - images and space
Intrapersonal - self-awareness
Interpersonal - other peoples feelings
Bodily/ kinesthetic - bodily movement control
Musical - music, sound, rhythm
- HOWARD GARDNER'S take on what often keeps us from being our most creatively productive as individuals:
- SCRIPTS, FORMULAS, STEREOTYPES
- Early in life, we decide (or others tell us) who we are and what we believe. Once we adopt this identity, we have to (and actually prefer to) FEED our own scripts, formulas and stereotypes.
- HOWARD GARDNER'S cure: MULTIPLE PERSPECTIVES!
- (Triangulating our understanding of the world.)
- Expert: one who is filled with multiple perspectives - HOWARD GARDNER
THE CREATIVE CLASS
-DIFFERENCE FROM SERVICE AND WORKING CLASSES
(approx. one-third of all American workers) is paid to think and invent; to innovate. These people earn nearly twice as much on average as those in the service and working classes (who "execute according to plan"). They are an extremely valuable resource.
-"AMENITIES" THAT ATTRACT CREATIVE CLASS
• abundant, high-quality amenities
• openness to diversity
• identification/ethos
THE AGENGY PERSONALITY MAP
• categorizes agencies according to size and motivation for their work
• no single category is descriptive of all the work an agency produces; these are generalizations
• there are very creative people inside almost every monolith; new agencies can be born this way
X-Axis: Service <> Creative
Y-Axis: Small <> Big
Purveyors - Small Service Firms
Monoliths - Big Service Firms
Radicals - Small Creative Firms
Innovators - Big Creative Firms
THE SYSTEMS VIEW OF CREATIVITY
MIHALY CSIKSZENTMIHALYI (The Social-Personality Tradition)
• This theory proposes that creativity "must be defined with respect to a system that includes individual, social and cultural factors that influence the creative process" (Csikszentmihalyi, 1988).
• Essentially, this means that there's a slightly different creative process associated with each level in the system.
FROM THE READINGS
STERNBERG AND LUBART (1995)
- Incentives work best when tailored to individuals in the workplace.
- Money might be a terrible incentive for creativity. Why?
GRIFFIN (2001)
Creativity and Motivation
- "Thinking tools" increase confidence and dispel mythology surrounding creativity.
- Choice and control enhance motivation for a creative task.
- Focus of evaluation on process and
progress, not products.
- The higher education model is
often at odds with courses that
develop creativity, and can
discourage creative students.
HOWARD GARDNER'S MULTIPLE INTELLIGENCES (BB)
TRACKING THE 'CREATIVE CLASS' (BB)
PARK (2007)
ROBBS AND MORRISON (2008)
DIGITAL MEDIA
ACCOUNT MANAGEMENT
MEDIA
PRODUCTION
MUSE
1. (Class. Myth.) One of the nine goddesses who presided over song and the different kinds of poetry, and also the arts and sciences; -- often used in the plural.
DAEMON
1. The demon kind is of an intermediate nature between the divine and the human.
2.One's genius; a tutelary spirit or internal voice; as, the demon of Socrates.
LATERAL THINKING - Thinking correctly about a problem in order to solve it; questioning the question itself. ("Wait a minute, is this the right question to be asking, or is there a different one that needs to be asked?")
LINEAR THINKING Using prior knowledge and Logic to solve a problem; assumes the question is valid; ("Well there is a question and I need to solve it") Autopilot thinking mode.
BRAINSTORMING - a group problem-solving technique in which members sit around a let fly with ideas and possible solutions to the problem
CREATIVITY the generation of ideas that are both novel and useful for solving problems.
RECURSIVE ability to return to an earlier stage [in the process] if necessary. Only in J.P. Gilford's "Structure of Intellect Model"
INTELLIGENCE - knowledge imparted or acquired, whether by study,
research, or experience
INTELLECT - the ability to learn and reason; the performance
of cognitive operations; the capacity for knowledge
and understanding
CONVERGENT THINKING - There is only one right answer,
and we have to find it.
DIVERGENT THINKING - There are many possible "right"
answers. There are many paths to
the solution.
PRODUCTION - Thinking (reference to J.P. Guilford's Structure of Intellect Model)
FLOW - "…being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement, and thought follows inevitably from the previous one…your whole being is involved, and you're using your skills to the utmost."
DOMAIN SPECIFICITY His theory: The creative process looks different depending upon the field (or domain) in which it is applied.
INTRINSIC MOTIVATION - "to engage in an activity primarily for its own sake" based on "how interesting, involving, satisfying, or personally challenging" we find the activity to be .
EXTRINSIC MOTIVATION - to engage in an activity "in order to meet some goal external to the work itself, such as attaining an expected reward, winning a competition, or meeting some requirement."
DOMAIN-RELEVANT SKILLS (Csikszentmihalyi component in Amabile's Componential Model of Creativity) - example proficiency with computer software (depending on what your doing, different relevant skills will be used)
CREATIVITY-RELEVANT SKILLS (Wallas & Gilford's influence in Amabile's Componential Model of Creativity) - critical thinking, brainstorming, questioning, etc. (everybody has to have these)
PERFORMANCE ORIENTED LEARNERS - are most concerned about appearing successful or competent instead of making real progress; motivation is primarily extrinsic.
MASTERY ORIENTATED LEARNERS - are highly focused on understanding; don't fear failure and don't compare themselves to others; motivation is Primarily intrinsic.
HEMISPHERIC DOMINANCE - Proven wrong, no empirical basis for it.
Left Hemisphere: speech, reading and writing; logical, analytical and rational (processes parts or pieces of information )
Right Hemisphere: intuition and creativity; tuned to images rather than words
(puts the pieces together as needed)
As far as creative and cognitive skills go, there is no real measure; it is junk science, popular psychology.
Evidence that creative ability is "seated" in the right hemisphere of the brain is speculative and/or anecdotal. Complex cognitive processes can't be "lumped together" in one hemisphere; creative thought clearly involves processes attributed to each hemisphere. Assumption that "creative people" are "right brained" is rooted in much of the mythology surrounding creativity itself.
MYTHS
1. Myth: You can't learn to be more creative than you are now.
SANDRA MORIARTY, Advertising Professor, Univ. of Colorado at Boulder.
Creativity CAN be taught! But how? Who else agrees? OSBORN AMABILE & GUILFORD
2. Myth: "Creative people" use the right side of their brain more than the left side.
Evidence that creative ability is "seated" in the right hemisphere of the brain is speculative and/or anecdotal.
Complex cognitive processes can't be "lumped together" in one hemisphere; creative thought clearly involves processes attributed to each hemisphere.
Assumption that "creative people" are "right brained" is rooted in much of the mythology surrounding creativity itself.
3. Myth: Creativity is positively correlated with intelligence.
• research indicates most "creative persons" score average or better I.Q.
• no positive correlation between creativity and intelligence correlation: simultaneous change in value of two random variables
MULTIPLE INTELLIGENCES It suggests that the traditional notion of intelligence, based on I.Q. testing, is far too limited. Instead, Dr. Gardner proposes eight (Naturalistic Intelligence is the 8th) different intelligences to account for a broader range of human potential in children and adults.
SCRIPTS/ FORMULAS/ STEREOTYPES
Early in life, we decide (or others tell us) who we are and what we believe. Once we adopt this identity, we have to (and actually prefer to) FEED our own scripts, formulas and stereotypes.
EXPERT (GARDNER'S DEFINITION)
One who is filled with multiple perspectives.
INTERTEXTUALITY - Layers of meaning; ; a theory about how we understand and interpret cultural texts; individuals apply existing textual knowledge whenever they encounter new texts; intertextuality refers to the understanding and interpretation derived from connecting old and new cultural texts
CULTURAL TEXTS - cultural texts are always 'read' in relationship to other cultural texts
HORIZONTAL INTERTEXTUALITY - how connections between old and new cultural texts within a single genre create meaning
VERTICAL INTERTEXTUALITY - how connections between old and new cultural texts across multiple genres create meaning
GENRE - a category of texts based on a provisional set of characteristics.
CONVENTION - a characteristic typical of a given genre.
TERTIARY TEXTS - personal or public commentary on cultural texts that influences our understanding and interpretation of those texts.
OPTIMIZATIONS - Changes made in an Advertisement (generally Digital Media) to keep the number of hits high; usually made when an advertisement's effectiveness begins to diminish.
DIRECT MEASUREMENT - The ability (in Digital Media) to directly measure how many people view the add, click on the add, spend time on the website destination, etc.
"BRAIN DRAIN" - The phenomenon which occurs when people (ie brainpower) leave the area they are living in for a "faster" city, leaving the area with less knowledge to impart to future generations.
AMENITIES - comforts: things that make you comfortable and at ease; "all the comforts of home," (For example, public parks, restaurants, movie theaters, museums, active performing arts communities, etc.)
"FAST" CITIES - Cities undergoing the "Brain Gain" phenomenon, the opposite of "Brain Drain." Examples: WASHINGTON, D.C., RALEIGH-DURHAM, NC, BOSTON, MA, AUSTIN, TX, SAN FRANCISCO, CA
MONOLITHS - Big Service Firms
PURVEYORS - Small Service Firms; local firms serving small local clients; clients get exactly what they want and the bills get paid
INNOVATORS - Big Creative Firms
RADICALS- Small Creative Firms
DOMAIN/ FIELD/ INDIVIDUAL
• THE INDIVIDUAL - the initial source of the creative idea
• THE FIELD - evaluates the quality/viability of the idea
• THE DOMAIN - implements and perpetuates the useful idea
POSITIVE AFFECT
="fun" ; confidence, optimism, self-efficacy, likability, sociability
TEAM - A group organized to work together.
NOMINAL GROUP - Individuals work alone before teamwork begins.
DYAD - two individuals work together who are considered partners
SYNERGY - The effect created in a group when
• individual knowledge
• personality differences, and
• interaction
are combined.
ADAPTOR - One who likes working within defined boundaries and in a slow, methodical manner.
INNOVATOR - One who likes to "play" with problems and may even redefine a problem they don't like.
BRIDGER - "translates" between the innovator and the adaptor
GROUPTHINK - pressure to achieve a consensus results in agreement to adopt a bad idea
SOCIAL LOAFING - underperformance by a team member when that team member believes that someone else will "take up the slack"
PRODUCTION BLOCKS - some team members' ideas get lost
while others are sharing their own ideas
TASK-BASED CONFLICT - can happen when the discussion is about the work (i.e., the ideas that are offered) ("I think that idea sucks!")
PROCESS-BASED CONFLICT - disagreements about strategies, plans, divisions of labor and responsibilities for getting the work done (Boss becomes a control freak that stresses out and upsets the other members)
RELATIONSHIP-BASED CONFLICT - negative interpersonal interactions among team members
CREATIVE DIRECTOR
• (prefixes: executive, senior, V.P., group)
• Career track: art director or copywriter
• Responsibilities: oversees work of creative teams; ensures quality of the work; creative liaison to client; hires and fires Art Directors and Copywriters; ultimately gives red/green light, takes most responsibility for good/ bad ads released; Managers
• Day-to-day: new business development; meetings with creative team(s); broadcast work (shoots, recording sessions, editing); travel; managerial concerns
ART DIRECTOR
• (prefixes: senior, junior)
• Career track: Graphic designer/ production artist; (vision and big ideas, no artistic ability required)
• Responsibilities: conceptual work with copywriter; decisions about layout, color, typography - determines the "look" of the work; hires talent / freelancers; supervises graphic designers and production artists
• Day-to-day: get approvals from Creative Director; computer work; brainstorming with Copywriter; Out-of-the-office errands and (for) assignments
• Not necessarily an artist; can visualize a plan and get done what needs to get done
COPYWRITER
• (prefixes: senior, junior)
• Career track: entry level (undergraduate degree)
• Responsibilities: conceptual work with art director; constant writing and rewriting of drafts; research and verification of accuracy (fact-checking); may supervise junior copywriters; proofreading before work leaves the shop; somewhat of a perfectionists; check for possible mandatory warning levels
• Day-to-day: lots of writing and editing; get approvals from Creative Director; brainstorming with AD; reading client supplied and other resourced information
GRAPHIC DESIGNER
• (also: graphic artist)
• Career track: studio art/ art school background)
• Responsibilities: execute layouts at the direction of the Art Director; heavy typesetting and computer design work; little control over most projects unless they are "quick and dirty"; works with production artists closely
• Day-to-day: get instructions from the Art Director; computer work; consultations with Production Artist; finishing work handed off from Art Director
PRODUCTION ARTIST
• (also: layout artist, intern [!])
• Career track: tech school or underqualified
• Responsibilities: prepares work for printing; works closely with Production Manager; makes sure all digital files and other materials travel with the job; other miscellaneous duties
• Day-to-day: copying files to media; scanning; mounting work for presentations; running errands for the Creative Team
FREELANCER
(contract workers)
Photographers, Stylists, Illustrators, Callgraphers, Directors, Prop Masters, TALENT(Models, Voiceovers, Vocalists… etc.)
ACCOUNT EXECUTIVE
• Responsibilities: usually the liaison between the Client and the Creative Team; schedules meetings between the two and keeps Client updated on job progress; monitor Creatives' work for the client and may act as a surrogate to the Client
• Very diplomatic; (Account Manager, Account Person, Account Manager can all refer to this role.)
TRAFFIC COORDINATOR
• Responsibilities: knows the status of every job in the agency at any time; works to keep every job on schedule; updates managers on job status
• (Meticulous organizers, meticulous attention detail; "grandmotherly figures"; unbelievably good at what they do)
PUFFERY - Flattering, often exaggerated praise and publicity, especially when used for promotional purposes.
DECEPTION (FTC) - Misleads "reasonable" consumers under the circumstances of presentation; and is "material" - that is, important to a consumer's decision to buy or use the product. - (FTC)
PUN - A pun is a play on words, sometimes on different senses of the same word, and sometimes on the similar sense or sound of two different words. One of the lowest forms of humor (according to Dr. G)
TEXTUAL CLICHÉ - In bad advertising, the use of certain cliché copy. (Examples: "You're family won't know the difference, but you will," made-up definitions, (chalkboard) math problems,
VISUAL CLICHÉ - In bad advertising, the use of cliché images (Examples: side-by-side photo comparison, mother and daughter working together in the kitchen smiling, mountain dew green silhouettes, etc.)
BORROWED INTEREST - using another famous product, celebrity, or idea to advertise an unrelated product (Think Sarah Jessica Parker in GAP ad - everyone knows she wears designer clothes)
EXPECTED VISUAL - An advertisement that simply uses a picture of the actual product. (Examples: Wendy's salad, Hugo Boss cologne)
FORMULA - A format for an ad that is used for many if not all products in the same category. (Example: Mascara ads)
WORKS/ REWARDS - guidelines by which to create a good advertisement
Works ...it does the job for the client; meets marketing objectives.
Rewards ...it provides a 'gift' to the consumer; leaves them different than they were before.
• Tell the truth. The truth is always more interesting, more compelling, than any lie you could tell. Find the little truths that are relatable and human.
• Respect the Consumer. The people in your target market have brains. Never be afraid to make them use 'em. (DON'T CLOSE THE MESSAGE CIRCLE! Leave a gap (reward)
• Communicate, don't advertise. Make those 30 seconds count. Talk to, not at.
BRANDING - Selecting and blending tangible and intangible attributes to differentiate the product, service or corporation in an attractive, meaningful and compelling way.
BRAND PERSONALITY - The attribution of human personality traits ("friendly," "trustworthy," "wild," etc.) to a brand as a method for achieving differentiation.
BRAND POSITIONING - The distinctive position that a brand
occupies within its own competitive
frame.
PARITY PRODUCTS - Product qualities differ very slightly from brand to brand.
It doesn't really matter which is purchased; all perform
about the same.
PEOPLE
PLATO - The Mystical Tradition. Idea of the muse
RUDYARD KIPLING - The Mystical Tradition. Claimed Deamon lived in the writer's pen.
EDWARD dE BONO - The Pragmatist Tradition. Coined the phrase "Thinking correctly about a problem in order to solve it." Lateral Thinking
ALEX OSBORN - The Pragmatist Tradition. Developed "Brainstorming" technique out of sheer frustration
SIGMUND FREUD - The Psychodyamic Tradition.
GRAHAM WALLAS - The Cognitive Tradition. The Four-Stage Process Model of Creativity, Incubation most important step.
E. PAUL TORRANCE - The Phychometric Tradition. Developed the Torrance Test of Creative Thinking (TTCT) to measure creativity in children.
J.P. GUILFORD - The Cognitive Tradition.. Developed the Structure of Intellect Model.
MIHALYI CSIKSZENTMIHALYI - The Social Personality Tradition. Developed the Theory of Domain Specificity, and the Systems View of Creativity
TERESA AMABILE - The Social-Personality Tradition. Bridged Gap between Csikszentmihalyi and Wallas & Guilford. Intrinsic/ extrinsic motivation. Positive affect as a stimulant to creative environment.
SANDRA MORIARTY - CU Boulder Professor. All about debunking the myths surrounding the study of creativity and the brain. Believes that you can be taught to be creative.
ALFRED BINET - Invented the original Intelligence Quotient test.
LEWIS TERMAN - Revised Binet's IQ test, and gave it the "Stanford" part of the name.
HOWARD GARDNER - (1943- ) Professor of Education, Harvard University
- 1983: first proposed the ' Theory of Multiple Intelligences ';
- His definition of intelligence is closer to most people's definition of intellect.
- HOWARD GARDNER'S take on what often keeps us from being our most creatively productive as individuals:
- SCRIPTS, FORMULAS, STEREOTYPES
- Early in life, we decide (or others tell us) who we are and what we believe. Once we adopt this identity, we have to (and actually prefer to) FEED our own scripts, formulas and stereotypes.
- HOWARD GARDNER'S cure: MULTIPLE PERSPECTIVES!
- (Triangulating our understanding of the world.)
RICHARD FLORIDA - "Brain Drain" theory. Came up with the Idea of the "Creative Class"
DEBORAH MORRISON - friend of Dr. G. Came up with the Agency Personality Map
CONCEPTS
KEY BARRIERS TO THE STUDY OF CREATIVITY
• strong connections with mysticism and spirituality
• academic research confounded by:
- view of creativity as 'peripheral' psychological phenomenon
- no operational definition
- earliest studies conducted very narrowly drawn
THE MYSTICAL TRADITION - divine intervention - Either you have it, or you don't.
• Creativity is divine intervention; creative person is an empty vessel filled with inspiration by a divine being
• PLATO, classical Greek philosopher, 4th/3rd century B.C.
- argued that a person's creative power comes from a Muse
• RUDYARD KIPLING, author, 1865-1936
- cited a "Daemon" that lives in the writer's pen
- "When your Daemon is in charge, do not think consciously. Drift, wait, and obey."
- Kipling
THE PREGMATIST TRADITION - not interested in studying, just want to make best use of it, be productive, to achieve an end
• an approach primarily concerned with developing creativity, secondarily with understanding it, but not so much with testing its theories
• EDWARD DE BONO, author and corporate trainer, (1933-)
- coined the phrase ' lateral thinking '
• ALEX OSBORN, BBDO co-founder and advertising executive, (1886-1967)
- out of sheer frustration, developed the ' brainstorming ' technique for generating ideas
THE PSYCHODYNAMIC TRADITION - Id and Ego driven - Creativity was the expression of unconscious desires in a publicly acceptable way
• based on the idea that creativity arises from the tension between conscious reality and unconscious drives
• SIGMUND FREUD, Austrian neurologist/psychiatrist, (1856-1939)
- creativity is the expression of unconscious desires in a publicly acceptable form
THE PSYCHOMETRIC TRADITION - Can you test creativity?
• creativity can be studied via the administration of paper-and-pencil tasks; we can test for creativity
• E. PAUL TORRANCE, Professor of Ed. Psych., U. of GA (1915-2003)
- developed the ' Torrance Tests of Creative Thinking ' (TTCT)
THE COGNITIVE TRADITION - How the brain works creatively.
• seeks to understand the mental representations and processes underlying creative thought
• GRAHAM WALLAS, educator and social psychologist, (1858-1932)
- wrote The Art of Thought (1926), wherein he proposed the famed ' The Four-Stage Process Model of Creativity '
• J. P. GUILFORD, psychologist and scholar (1897-1988)
- developed the ' Structure of Intellect Model ' (1967)
THE SOCIAL-PERSONALITY TRADITION - Csikszentmihalyi and Amabile
• Focuses on personality variables, motivational variables, and the sociocultural environment as sources of creativity
• MIHALY CSIKSZENTMIHALYI (chick-SENT-me-high-ee), professor and psychologist author of several books, including: FLOW: The Psychology of Optimal Experience AS WELL AS CREATIVITY: Flow and the Psychology of Discovering an Invention
His theory: The creative process looks different depending upon the field (or
domain) in which it is applied. This is called DOMAIN SPECIFICITY.
The creative process is different depending on the domain in which it occurs
• TERESA AMABILE, professor and psychologist, Harvard Business School; Researches role of motivation and other social factors in creativity.
Developed the ' Componential Model of Creativity '
THE ART OF THOUGHT (1926)
THE FOUR-STAGE PROCESS MODEL OF CREATIVITY
-STAGES
Graham Wallas - 1926 (The Cognitive Tradition)
1. Preparation - learning about the problem, doing outside research
2. Incubation rolling around in your head, Hardest part to study
3. Illumination - realization of answer - the light bulb
4. Verification - actualizing and testing of the solution
-ASSUMPTIONS
• relatively simple process
• sequential in nature
• recursive; one can return
to an earlier stage if
necessary
• discrete stages ***discrete (separate) [vs. discreet (quiet)]***
TORRANCE TEST OF CREATIVE THINKING (TTCT)
Example Questions:
1. List ways of improving a child's toy so that it will be more fun for children to play with.
2. List possible uses for a helium balloon.
3. Finish the drawing: (Circle touching corner of an equilateral triangle)
-TEST SCORING CRITERIA
How the TTCT is scored:
FLUENCY - total number of responses to question Example: 43 uses for a helium balloon.
FLEXIBILITY - number of different categories represented by responses Example: 18 transportation devices; 5 weapons; 12 communication devices; 8 clothing items; 4 response categories here.
ORIGINALITY - statistical rarity of responses Example: Some responses were far more likely to be duplicated than others.
ELABORATION - amount of detail in responses Example: "help signal" vs. "anti-gravity tracking module."
Problem with TTCT: Scoring is subjective!
STRUCTURE OF INTELLECT MODEL
• CONTENTS - Intelligence : What you know
• OPERATONS - Intellect: How you use your knowledge
CONVERGENT PRODUCTION - There is only one right answer,
o and we have to find it.
DIVERGENT PRODUCTION - There are many possible "right"
answers. There are many paths to
the solution.
o
• PRODUCTS - Intellect : How you piece your content together
COMPONENTIAL MODEL OF CREATIVITY
Theresa Amabile., The Social-Personality Tradition. Amabile is bridging the gap between Wallas & Guilford (The Cognitive Tradition) and M. Csikszentmihalyi (The Social-Personality Tradition, with Amabile)
Identifies three crucial components involved in the production of any creative work.
Venn Diagram, 3 circles
o Intrinsic Task Motivation
o Domain-relevant Skills (Csikszentmihalyi component) - example proficiency with computer software (depending on what your doing, different relevant skills will be used)
o Creative relevant skills (Wallas & Gilford's influence) - critical thinking, brainstorming, questioning, etc. (everybody has to hove these)
The Center of these 3 circles where all converge in the diagram could be labeled Creativity
Componential model (you have to have these for creativity to happen, but not in a specific order)
WHAT ARE THE BENEFITS OF INTRINSIC MOTIVATION?
- engaging in the creative task is its own reward
- the creative product is improved when enjoyment is part of the process
- preparation and incubation stages benefit most
STANFORD-BINET I.Q. TEST
I.Q., Intelligence and Creativity
ALFRED BINET (1857-1911) Psychologist; I.Q. test inventor
- 1905: developed the first intelligence scale; revised in 1916 to resemble modern I.Q. test by LEWIS TERMAN, a psychologist at Stanford Univ.
• research indicates most "creative persons" score average or better I.Q.
• no positive correlation between creativity and intelligence correlation: simultaneous change in value of two random variables
RELATIONSHIP BETWEEN INTELLIGENCE AND CREATIVITY
GARDNER'S THEORY OF MULTIPLE INTELLIGENCES
Multiple Intelligences (misleading: would call it "Multiple Intellects") - preferred routes for problem solving and understanding
7 CATEGORIES
Linguistic - words and language
Logical/ mathematical - logic and numbers
Spatial/ visual - images and space
Intrapersonal - self-awareness
Interpersonal - other peoples feelings
Bodily/ kinesthetic - bodily movement control
Musical - music, sound, rhythm
- HOWARD GARDNER'S take on what often keeps us from being our most creatively productive as individuals:
- SCRIPTS, FORMULAS, STEREOTYPES
- Early in life, we decide (or others tell us) who we are and what we believe. Once we adopt this identity, we have to (and actually prefer to) FEED our own scripts, formulas and stereotypes.
- HOWARD GARDNER'S cure: MULTIPLE PERSPECTIVES!
- (Triangulating our understanding of the world.)
- Expert: one who is filled with multiple perspectives - HOWARD GARDNER
THE CREATIVE CLASS
-DIFFERENCE FROM SERVICE AND WORKING CLASSES
(approx. one-third of all American workers) is paid to think and invent; to innovate. These people earn nearly twice as much on average as those in the service and working classes (who "execute according to plan"). They are an extremely valuable resource.
-"AMENITIES" THAT ATTRACT CREATIVE CLASS
• abundant, high-quality amenities
• openness to diversity
• identification/ethos
THE AGENGY PERSONALITY MAP
• categorizes agencies according to size and motivation for their work
• no single category is descriptive of all the work an agency produces; these are generalizations
• there are very creative people inside almost every monolith; new agencies can be born this way
X-Axis: Service <> Creative
Y-Axis: Small <> Big
Purveyors - Small Service Firms
Monoliths - Big Service Firms
Radicals - Small Creative Firms
Innovators - Big Creative Firms
THE SYSTEMS VIEW OF CREATIVITY
MIHALY CSIKSZENTMIHALYI (The Social-Personality Tradition)
• This theory proposes that creativity "must be defined with respect to a system that includes individual, social and cultural factors that influence the creative process" (Csikszentmihalyi, 1988).
• Essentially, this means that there's a slightly different creative process associated with each level in the system.
FROM THE READINGS
STERNBERG AND LUBART (1995)
- Incentives work best when tailored to individuals in the workplace.
- Money might be a terrible incentive for creativity. Why?
GRIFFIN (2001)
Creativity and Motivation
- "Thinking tools" increase confidence and dispel mythology surrounding creativity.
- Choice and control enhance motivation for a creative task.
- Focus of evaluation on process and
progress, not products.
- The higher education model is
often at odds with courses that
develop creativity, and can
discourage creative students.
HOWARD GARDNER'S MULTIPLE INTELLIGENCES (BB)
TRACKING THE 'CREATIVE CLASS' (BB)
PARK (2007)
ROBBS AND MORRISON (2008)
DIGITAL MEDIA
ACCOUNT MANAGEMENT
MEDIA
PRODUCTION
