W******e
发帖数: 3319 | 1 In my reading of psychological literature, there are numerous hypotheses and
theories of creativity that conflict with what I have observed in creative
colleagues and what I have read in biographies of creative scientists and
composers of music. However, the following theory of creativity, put forth
by Prof. Sternberg at Yale University, makes sense to me. Sternberg says
that all of the following are essential: a lack of any one item in the list
precludes creativity. I think he is correct, except for the last item: it is
not necessary to have a favorable environment, although such an environment
certainly makes life easier for creative people.
Intelligence
synthetic intelligence. The ability to combine existing information in a new
way.
analytic intelligence. The ability to distinguish between new ideas that
have potential, and new ideas that are not worth further work. This ability
is essential to an effective allocation of resources, by evaluating the
quality of new ideas.
practical intelligence. The ability to sell one's ideas to funding agencies,
managers, editors, reviewers, etc. Without "practical intelligence" the
creative person will not be allocated resources to develop their ideas, and
the creative person may achieve recognition only posthumously.
Knowledge gives the ability to recognize what is genuinely new. The history
of science shows that many good ideas are discovered independently by more
than one person. Scientists and engineers must be familiar with the
technical literature, in order to avoid "reinventing the wheel". On the
other hand, too much knowledge might block creativity, by immediately
providing reasons why a new idea is not worth pursuing and by encouraging a
person to be rigid in their thinking.
Knowledge is also important to provide skills necessary to design
experiments, to design new products, to analyze the results of experiments,
do computations, etc.
Thinking Styles. Creative people question conventional wisdom, instead of
passively accepting that wisdom. Creative people question common assumptions
and rules, instead of mindlessly follow them. This style brings creative
people into conflict with society around them, so it is also essential to
have a personality that tolerates this conflict, as explained in the next
item in this list.
Personality. Creative people take the risk to defy conventional wisdom and
to be a nonconformist. Creative people have the courage to persist, even
when the people around them provide objections, criticism, ridicule, and
other obstacles. Most people are too timid to be really creative.
Motivation
intrinsic or personal. Creative people genuinely enjoy their work and set
their own goals.
extrinsic. There are a number of extrinsic motivators: money, promotions,
prizes, praise, fame, etc. Extrinsic motivators mostly focus on an end
result, not the process of discovery or creativity. In highly creative
people, extrinsic motivators appear to be less important than intrinsic
motivators.
Environmental Context. Many environments (particularly managers and
bureaucracy) discourage creativity. A creative individual who could flourish
in one environment can become a routine, ordinary worker in another
environment. The optimum environment for creative people is where they can
be paid to do their creative work, so creativity is a full-time job, not a
spare-time hobby.
Permit me to explain my disagreement with Prof. Sternberg on the last item:
a favorable environment. Many types of creative work (e.g., research in
theoretical physics, writing books, composing music, etc.) require minimal
physical resources, so such creative activities can be accomplished in one's
personal time at nights, weekends, and holidays. If one is employed in an
environment that discourages creativity, one can still be creative on one's
personal time. In this sense, a favorable environment is not necessary for
creativity.
On the other hand, other types of creative work (e.g., experiments in
physics, chemistry, engineering, etc.) can require expensive laboratory
apparatus. A scientist without access to such laboratory facilities is
prohibited from doing creative work in experimental science. So, in this
sense, I agree with Prof. Sternberg that a favorable environment can be
necessary for creative work.
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发帖数: 3319 | 2 在我读心理学文献中，有许多假设和
与我所观察到的创意理论的创造性冲突
同事和我已经阅读创造性的科学家的传记，
作曲家的音乐。但是，下面的理论创新，提出了
在耶鲁大学教授斯腾伯格，对我来说很有意义。斯腾伯格说：
所有以下是至关重要的：在列表中任何一个项目缺乏
排除创造力。我认为他是正确的，除了最后一个项目：它是
没有必要有一个有利的环境，虽然这样的环境
肯定让创意人的生活更轻松。
情报
综合情报。现有信息的能力结合起来，在一个新的
方式。
分析情报。能够区分新的思路，
有潜力，新的想法，不值得进一步的工作。这种能力
是必不可少的有效分配资源，通过评估
质量的新思路。
实用情报。销售能力的想法，供资机构，
经理，编辑，评论等没有“实用智能”
有创意的人不会被分配的资源来发展自己的想法，和
有创造力的人可能获得认可，只追授。
知识给人的认识到什么是真正的新的能力。历史
科学表明，有很多好的想法，发现更多的独立
不止一个人。科学家和工程师必须熟悉
技术文献，以避免“重新发明轮子”。在
另一方面，太多的知识可能会阻止创意，立即
提供一个新的想法是不值得追求的原因，并通过鼓励
人在他们的思想中是刚性的。
知识也是重要的是提供必要设计技能
实验，设计新产品，分析实验结果，
计算，等等。
的思维方式。创意人质疑传统的智慧，而不是
被动地接受，这一点智慧。有创造力的人对常见的假设提出质疑
和规则，而不是盲目地跟着他们。这种风格带来的创意
与他们周围的社会发生冲突的人，所以它也是必不可少的
有个性能容忍这种冲突，在接下来的解释
此列表中的项目。
人格的塑造。创意人铤而走险，无视传统智慧，
是不落俗套。有创造力的人有坚持的勇气，甚至
当身边的人提供反对意见，批评，嘲笑，和
其他的障碍。大多数人都太胆小，是真正的创意。
动机
内在或个人。有创造力的人真正享受自己的工作，并设置
自己的目标。
外在的。有一些外在动机：金钱，促销，
奖品，赞美，名声，等等外在动机主要集中于结束
结果，而不是过程中发现或创造。在极富创意的
人，外在动机似乎是不太重要的不是内在
激励因素。
环境背景。许多环境（特别是管理人员和
官僚）阻碍创造力。一个创造性的个体，谁也蓬勃发展
在一个环境中可以成为一个常规，普通工人在另一个
环境。创意人的最佳环境是在那里他们可以
支付给他们的创造性的工作，这样的创意是一个全职的工作，而不是一个
业余爱好。
请允许我解释我不同意教授斯腾伯格的最后一个项目：
一个良好的环境。许多类型的创造性的工作（例如，研究中
理论物理，写书，作曲等）需要最少
物理资源，所以这种创造性的活动，可以实现在一个人的
个人在晚上，周末和节假日的时间。如果采用一个在一个
环境，阻碍创造力，仍然可以对一个人的创意
个人的时间。在这个意义上说，一个有利的环境是没有必要的
创造力。
另一方面，创造性的工作（例如，实验中的其他类型的
物理，化学，工程等）可能需要昂贵的实验室
设备。一位科学家没有这样的实验室设施
禁止做创造性的工作，实验科学。因此，在这
意义上，我同意教授斯腾伯格是一个有利的环境，可以
创造性的工作所必需的。 | W******e
发帖数: 3319 | |
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