Berkeley and Stanford, and in summer sessions for college teachers in the humanities. American Council of Learned Societies. I did extensive consulting with Berkeley faculty members. I was graphics consultant for the. Berkeley Campus Computer Center. I spent some years as chief programmer for Berkeley machine translation research. Chinese to English. I did the programming of ancient Egyptian hieroglyphic fonts and typesetting for the. Berkeley Late Egyptian Dictionary. I wrote a program to generate haiku, which was embedded in the idle loop. CDC6. 40. 0 and became the most prolific poet up till that date, with a selection published in an. Richard W. Bailey Computer Poems, 1. One of my motivations for. Berkeley was Professor Bertrand Bronson in the English Department, who had pioneered the study of the. English and Scottish popular ballads by coding the music and transcribing it to punched cards. I was able to help him with computer analyses and concordances. There were many more projects in graphics and music and natural language. University of California, Berkeley. Berkeley, California. M. A. 1. 97. 3, in Computer Science, Linguistics, and English. I was admitted to the Ph. D. program in the English Department at the University of California, Berkeley in 1. My wife was admitted to the Linguistics Department. Ph. D. at the same time, and 1. Berkeley. I entered with a Special Career Fellowship. Ford Foundation for five years of complete support. My intention was to specialize in Shakespeare and follow an academic career teaching literature and linguistics. I registered for my first classes, I read in the catalogue and discovered classes in the Computer Science Department. College of Letters and Science, spun off from the Math Department. My advisor, Josephine Miles, the poet, agreed that some exposure to computers would be broadening, so I enrolled. I was immediately enthralled, took more classes CDC 6. Butler Lampson was memorable, and soon I formally broadened my program this was possible because the Special Career Fellowship. I was approved to undertake an individual interdisciplinary Ph. D. program in the College of Letters and Science. Computer Science, Linguistics, and English Departments. This was a wise step for the purpose of getting an education, but not necessarily wise for the purpose of ever completing. Pursuing a Ph. D. The computer scientists thought I was reasonably smart, at least for a student whose interests were in such nebulous areas. The literary people thought I was a tolerable critic, at least for a student. The linguists thought I had some. Over the next ten years, I passed. Ph. D. language examinations in Latin and in French Computer Science Department Ph. D. comprehensive written exam Linguistics Department Ph. D. comprehensive written exam English Department Ph. D. comprehensive written exam Ph. D. oral examination, with examiners from all three departments. Ph. D. dissertation, with examiners from all three departments at this period, the dissertation defense was conducted after preliminary work and before writing, with the topic Use of Two Level van Wijngaarden Grammars for Natural Language Analysis. Advisor Charles J. Fillmore. This completed the requirements for the Cand. Phil., which at the time was the Berkeley official status corresponding. ABD all but dissertation degree status for Ph. D. students, with an M. A. degree awarded along the way. But by 1. 97. 8, after ten years at Berkeley, I had decided I needed to write that dissertation far less than I needed. Silicon Valley, where I could get the experience to do a software startup for the new single user personal computers. These were very early days at the time I felt I had to leave Berkeley, Bill Gates had left Harvard less than three years earlier. Albuquerque, writing software for the MITS Altair Bill only relocated Microsoft to the Seattle area. I had moved to Silicon Valley. The first Apple had been. And just as 1. 96. Berkeley, 1. 97. 8 was a great year to move. Silicon Valley. University of Southern California. Los Angeles, California. A. B. 1. 96. 8, in English Literature. I transferred to the University of Southern California as a junior. English Department. There, one of my major advisors was Professor Virginia Tufte, who was. Her son Edward Tufte, who was about my same age, would later attract a great deal of attention for. Power. Point. I was elected to Phi Beta Kappa. Order of the Palm award at graduation. Married. Los Angeles, California. Leanna Jean Koehn. Married 3. 1 July 1. First Congregational Church in Los Angeles. Dr. James W. Fifield, Jr. Los Angeles City College. Los Angeles, California. English Literature. I re entered conventional higher education at Los Angeles City College, a large and well established. UCLA in central Los Angeles. I studied English literature and was selected to be the editor of the campus literary magazine. Self Directed. New York, Los Angeles, Colorado. Creativity Wikipedia. Creativity is a phenomenon whereby something new and somehow valuable is formed. The created item may be intangible such as an idea, a scientific theory, a musical composition, or a joke or a physical object such as an invention, a literary work, or a painting. Scholarly interest in creativity involves many definitions and concepts pertaining to a number of disciplines engineering, psychology, cognitive science, education, philosophy particularly philosophy of science, technology, theology, sociology, linguistics, business studies, songwriting, and economics, covering the relations between creativity and general intelligence, mental and neurological processes, personality type and creative ability, creativity and mental health the potential for fostering creativity through education and training, especially as augmented by technology the maximization of creativity for national economic benefit, and the application of creative resources to improve the effectiveness of teaching and learning. DefinitioneditIn a summary of scientific research into creativity, Michael Mumford suggested Over the course of the last decade, however, we seem to have reached a general agreement that creativity involves the production of novel, useful products Mumford, 2. Robert Sternbergs words, the production of something original and worthwhile. Authors have diverged dramatically in their precise definitions beyond these general commonalities Peter Meusburger reckons that over a hundred different analyses can be found in the literature. As an illustration, one definition given by Dr. E. Paul Torrance described it as a process of becoming sensitive to problems, deficiencies, gaps in knowledge, missing elements, disharmonies, and so on identifying the difficulty searching for solutions, making guesses, or formulating hypotheses about the deficiencies testing and retesting these hypotheses and possibly modifying and retesting them and finally communicating the results. AspectseditTheories of creativity particularly investigation of why some people are more creative than others have focused on a variety of aspects. The dominant factors are usually identified as the four Ps process, product, person, and place according to Mel Rhodes. A focus on process is shown in cognitive approaches that try to describe thought mechanisms and techniques for creative thinking. Theories invoking divergent rather than convergent thinking such as Guilford, or those describing the staging of the creative process such as Wallas are primarily theories of creative process. A focus on creative product usually appears in attempts to measure creativity psychometrics, see below and in creative ideas framed as successful memes. The psychometric approach to creativity reveals that it also involves the ability to produce more. A focus on the nature of the creative person considers more general intellectual habits, such as openness, levels of ideation, autonomy, expertise, exploratory behavior, and so on. A focus on place considers the circumstances in which creativity flourishes, such as degrees of autonomy, access to resources, and the nature of gatekeepers. Creative lifestyles are characterized by nonconforming attitudes and behaviors as well as flexibility. EtymologyeditThe lexeme in the English word creativity comes from the Latin term cre to create, make its derivational suffixes also come from Latin. The word create appeared in English as early as the 1. Chaucer, to indicate divine creation8 in The Parsons Tale9. However, its modern meaning as an act of human creation did not emerge until after the Enlightenment. History of the conceptedit. Greek philosophers like Plato rejected the concept of creativity, preferring to see art as a form of discovery. Asked in The Republic, Will we say, of a painter, that he makes something, Plato answers, Certainly not, he merely imitates. Ancient viewseditMost ancient cultures, including thinkers of Ancient Greece,1. Ancient China, and Ancient India,1. The ancient Greeks had no terms corresponding to to create or creator except for the expression poiein to make, which only applied to poiesis poetry and to the poietes poet, or maker who made it. Plato did not believe in art as a form of creation. Asked in The Republic,1. Will we say, of a painter, that he makes something, he answers, Certainly not, he merely imitates. It is commonly argued that the notion of creativity originated in Western culture through Christianity, as a matter of divine inspiration. According to the historian Daniel J. Boorstin, the early Western conception of creativity was the Biblical story of creation given in the Genesis. However, this is not creativity in the modern sense, which did not arise until the Renaissance. In the Judaeo Christian tradition, creativity was the sole province of God humans were not considered to have the ability to create something new except as an expression of Gods work. A concept similar to that of Christianity existed in Greek culture, for instance, Muses were seen as mediating inspiration from the Gods. Romans and Greeks invoked the concept of an external creative daemon Greek or genius Latin, linked to the sacred or the divine. However, none of these views are similar to the modern concept of creativity, and the individual was not seen as the cause of creation until the Renaissance. It was during the Renaissance that creativity was first seen, not as a conduit for the divine, but from the abilities of great men. The Enlightenment and aftereditThe rejection of creativity in favor of discovery and the belief that individual creation was a conduit of the divine would dominate the West probably until the Renaissance and even later. The development of the modern concept of creativity begins in the Renaissance, when creation began to be perceived as having originated from the abilities of the individual, and not God. This could be attributed to the leading intellectual movement of the time, aptly named humanism, which developed an intensely human centric outlook on the world, valuing the intellect and achievement of the individual. From this philosophy arose the Renaissance man or polymath, an individual who embodies the principals of humanism in their ceaseless courtship with knowledge and creation. One of the most well known and immensely accomplished examples is Leonardo da Vinci. However, this shift was gradual and would not become immediately apparent until the Enlightenment. By the 1. 8th century and the Age of Enlightenment, mention of creativity notably in aesthetics, linked with the concept of imagination, became more frequent. In the writing of Thomas Hobbes, imagination became a key element of human cognition 8William Duff was one of the first to identify imagination as a quality of genius, typifying the separation being made between talent productive, but breaking no new ground and genius. As a direct and independent topic of study, creativity effectively received no attention until the 1. Runco and Albert argue that creativity as the subject of proper study began seriously to emerge in the late 1. Darwinism. In particular, they refer to the work of Francis Galton, who through his eugenicist outlook took a keen interest in the heritability of intelligence, with creativity taken as an aspect of genius. In the late 1. Hermann von Helmholtz 1. Henri Poincar 1. Twentieth century to the present dayeditThe insights of Poincar and von Helmholtz were built on in early accounts of the creative process by pioneering theorists such as Graham Wallas2. Max Wertheimer. In his work Art of Thought, published in 1. Wallas presented one of the first models of the creative process.