Lessig (2005) claims that at a very general level all of culture can be understood in terms of remix, where someone creates a cultural product by mixing meaningful elements together (e.g., ideas from different people with ideas of one’s own), and then someone else comes along and remixes this cultural artefact with others to create yet another artefact

associated with activism contesting copyright and intellectual property legislation

This argument is reinforced by the fact that, at the individual level, we meet many brilliant people who are fascinated by (and often working on) tools for thought, but who nonetheless seem to be making slow progress.

Note that we are not making the common argument that making new tools can lead to new subject matter insights for the toolmaker, and vice versa. This is correct, but is much weaker than what we are saying. Rather: making new tools can lead to new subject matter insights for humanity as a whole (i.e., significant original research insights), and vice versa, and this would ideally be a rapidly-turning loop to develop the most transformative tools.

Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn’t really do it, they just saw something. It seemed obvious to them after a while. —Steve Jobs (via lifehacker and Zettel no. 201308301352)

Dez Dickerson: [laughing] One of the things he also told me one time was – this was back before Pro Tools and all stuff, obviously. And every once in a while, you'd get a take, and the energy and the feel of the take was good enough – was so good that even though there might've been a mistake technically, you wanted to use the take. So he said, "You know what, when there's something in the track that you want to keep but there's something in the track that you don't want in there, just put an explosion over it." [Dez laughs] That was it. So now you know studio secrets with Prince. Put an explosion over the mistakes. There you go.

link things together that shouldn’t be linked, with more thinking out of the box for future academic and social life

Seriousness is bad. It does not allow to go beyond what is accepted now , so there is a risk of being stuck in a local maximum. At first, the new formats seem ridiculous and incomprehensible (see, for example, a twitter feed from a decade ago ), but only in this way do we find something truly working.

The problem with thinking big is that it produces a laundry list of actions that are too heroic for you to actually take on.

This is spot on. An idea on its own does nothing. Execution and actually doing the hard work are the most important thing in any creative endeavour.

Today, Third-Generation individuals whose professional lives have been shaped by their grandparent’s ordeals are found in the creative arts, in helping professions, human rights work and in Jewish studies and communal work. The Third-Generation members are no different from those in the Second-Generation, who gravitated towards the creative arts in order to remember the barbarity committed against the Jews living in German-occupied countries and , the Jewish life that was destroyed, and to raise consciousness about present-day racism, human-rights violations, and genocides.

Yeahitreallyis,andIoftenthinkabouttherelationshipIhavewithmystudentswhoareinaoneyearprogramandtherelationshipIhavewithcorporatestudentsthatImightcomeinandtrainforaweekorsomethinglikethat,youknowinthefirstcoupledaysofalltrainingsessionsIhavenoabilitytocritiquebecauseIdon'thavetheirtrust.So,ifIcomeinthefirstdayofclassandsaytheirworksucksandhere'swhatyoushoulddotoimprove,andthiswillneverwork,it'smetwithresistanceandit'salmostlikeadefensemechanismagainstitandsothat'satotallyinappropriatewayformetobehave.Butifyoulookfurtherintothecurriculum,let'ssaysixteenweeksintomyoneyearprogramoraWednesdayoraThursdayinaoneweektrainingprogram,hopefullyifI'vedonemyjobwellI'vebuiltupenoughrapportwithpeopletheytrustthatIknowwhatI'mtalkingabout,thatmyfeedbackiscomingfromaplaceofloveandcareandsothey'rewillingtohearthingslike,thatisn'tverygoodandthosearewordsthatcomeoutofmymouthduringacritique.It'ssomethingthatyou'renotmaybeusedtohearingifyou'renotpartofthiscreativeculturebutthatisn'tverygoodandhere'swhy,isactuallyareally,reallyimportantthingtohelpadvancethequalityofwork.Andthenthenextsentencewouldbeandhere'showIwouldimproveitbutagainthathastocomefromaplaceofrespectandthat'searnedovertimeandsoyouknowyouhearalotaboutI'veheardalotaboutanywayandyouknowthenewbosscomesinandit'sahotshotcreativedirectoranditblowsthingsupandrunsaroundgoingintoameetingandshittingoneverythingtherewasanoldjokeatoneofmycompaniesisthatthechiefcreativeofficerwouldcomeinandswoopandpoopwherehe'dcomeintoaconference,roomtelleverybodywhathethinksuckedandleaveandnoneofthatworksbecausehedidn'thavethetrustofthepeoplethatwerehavingtheirworkshitonandsothathastocomefromaplaceoftrustagainandthatyouknowthere'snoshortcutfortimeIsupposeinthatrespect.Andspeakingofrespectoftheotherflavortherearetheotheringredientismutualrespect.It'ssayingthingslike,lookyouwerehiredbecauseItrustyoubecauseyou'regoodatyourcraft,youhavepotentialandexpertise,nowlet'stalkaboutwhatyou'redoingwrongandhowtoimproveit.

Individuals are most creative when provided space to follow their interests without sanction, when support and guidance are readily available, and when social community is fostered.

Think Creatively

The least important question you can ask about Engelbart is, "What did he build?" By asking that question, you put yourself in a position to admire him, to stand in awe of his achievements, to worship him as a hero. But worship isn't useful to anyone. Not you, not him. The most important question you can ask about Engelbart is, "What world was he trying to create?" By asking that question, you put yourself in a position to create that world yourself.

performance curves beginning to level off – because of our inability to automate the design work needed to support further hardware improvements. Wed end up with some very powerful hardware, but without the ability to push it further

And the fourth concerns the idea of the adjacent possible. It just may be the case that biospheres on average keep expanding into the adjacent possible. By doing so they increase the diversity of what can happen next. It may be that biospheres, as a secular trend, maximize the rate of exploration of the adjacent possible.

Research and background

That’s really what licensing is all about. Creativity.

It partly relates to the psychology of social conformity that generally increases with age and enhanced social awareness

“Think of all the things that could interfere with graduating from college.” Then he instructs them to pick one of those items and to come up with as many solutions for that problem as possible. This is a classic divergent-convergent creativity challenge. A subset of respondents, like the proverbial Murphy, quickly list every imaginable way things can go wrong. But they demonstrate a complete lack of flexibility in finding creative solutions. It’s this inability to conceive of alternative approaches that leads to despair. Runco’s two questions predict suicide ideation—even when controlling for preexisting levels of depression and anxiety.In Runco’s subsequent research, those who do better in both problem-finding and problem-solving have better relationships. They are more able to handle stress and overcome the bumps life throws in their way. A similar study of 1,500 middle schoolers found that those high in creative self-efficacy had more confidence about their future and ability to succeed. They were sure that their ability to come up with alternatives would aid them, no matter what problems would arise.

In early childhood, distinct types of free play are associated with high creativity. Preschoolers who spend more time in role-play (acting out characters) have higher measures of creativity: voicing someone else’s point of view helps develop their ability to analyze situations from different perspectives. When playing alone, highly creative first graders may act out strong negative emotions: they’ll be angry, hostile, anguished. The hypothesis is that play is a safe harbor to work through forbidden thoughts and emotions.In middle childhood, kids sometimes create paracosms—fantasies of entire alternative worlds. Kids revisit their paracosms repeatedly, sometimes for months, and even create languages spoken there. This type of play peaks at age 9 or 10, and it’s a very strong sign of future creativity. A Michigan State University study of MacArthur “genius award” winners found a remarkably high rate of paracosm creation in their childhoods.From fourth grade on, creativity no longer occurs in a vacuum; researching and studying become an integral part of coming up with useful solutions. But this transition isn’t easy. As school stuffs more complex information into their heads, kids get overloaded, and creativity suffers. When creative children have a supportive teacher—someone tolerant of unconventional answers, occasional disruptions, or detours of curiosity—they tend to excel. When they don’t, they tend to underperform and drop out of high school or don’t finish college at high rates.They’re quitting because they’re discouraged and bored, not because they’re dark, depressed, anxious, or neurotic. It’s a myth that creative people have these traits. (Those traits actually shut down creativity; they make people less open to experience and less interested in novelty.) Rather, creative people, for the most part, exhibit active moods and positive affect. They’re not particularly happy—contentment is a kind of complacency creative people rarely have. But they’re engaged, motivated, and open to the world.

It’s also true that highly creative adults frequently grew up with hardship. Hardship by itself doesn’t lead to creativity, but it does force kids to become more flexible—and flexibility helps with creativity.

Parents encouraged uniqueness, yet provided stability. They were highly responsive to kids’ needs, yet challenged kids to develop skills. This resulted in a sort of adaptability: in times of anxiousness, clear rules could reduce chaos—yet when kids were bored, they could seek change, too. In the space between anxiety and boredom was where creativity flourished.

The home-game version of this means no longer encouraging kids to spring straight ahead to the right answer. When UGA’s Runco was driving through California one day with his family, his son asked why Sacramento was the state’s capital—why not San Francisco or Los Angeles? Runco turned the question back on him, encouraging him to come up with as many explanations as he could think of.Preschool children, on average, ask their parents about 100 questions a day. Why, why, why—sometimes parents just wish it’d stop. Tragically, it does stop. By middle school they’ve pretty much stopped asking. It’s no coincidence that this same time is when student motivation and engagement plummet. They didn’t stop asking questions because they lost interest: it’s the other way around. They lost interest because they stopped asking questions.

the school’s teachers came up with a project for the fifth graders: figure out how to reduce the noise in the library. Its windows faced a public space and, even when closed, let through too much noise. The students had four weeks to design proposals.

During improvisation, the highly trained music majors used their brains in a way the nonmusicians could not: they deactivated their right-temporoparietal junction. Normally, the r-TPJ reads incoming stimuli, sorting the stream for relevance. By turning that off, the musicians blocked out all distraction. They hit an extra gear of concentration, allowing them to work with the notes and create music spontaneously.

Researchers say creativity should be taken out of the art room and put into homeroom. The argument that we can’t teach creativity because kids already have too much to learn is a false trade-off. Creativity isn’t about freedom from concrete facts. Rather, fact-finding and deep research are vital stages in the creative process. Scholars argue that current curriculum standards can still be met, if taught in a different way.

Is this learnable? Well, think of it like basketball. Being tall does help to be a pro basketball player, but the rest of us can still get quite good at the sport through practice. In the same way, there are certain innate features of the brain that make some people naturally prone to divergent thinking. But convergent thinking and focused attention are necessary, too, and those require different neural gifts. Crucially, rapidly shifting between these modes is a top-down function under your mental control. University of New Mexico neuroscientist Rex Jung has concluded that those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better. A lifetime of consistent habits gradually changes the neurological pattern.

To understand exactly what should be done requires first understanding the new story emerging from neuroscience. The lore of pop psychology is that creativity occurs on the right side of the brain. But we now know that if you tried to be creative using only the right side of your brain, it’d be like living with ideas perpetually at the tip of your tongue, just beyond reach.When you try to solve a problem, you begin by concentrating on obvious facts and familiar solutions, to see if the answer lies there. This is a mostly left-brain stage of attack. If the answer doesn’t come, the right and left hemispheres of the brain activate together. Neural networks on the right side scan remote memories that could be vaguely relevant. A wide range of distant information that is normally tuned out becomes available to the left hemisphere, which searches for unseen patterns, alternative meanings, and high-level abstractions.Having glimpsed such a connection, the left brain must quickly lock in on it before it escapes. The attention system must radically reverse gears, going from defocused attention to extremely focused attention. In a flash, the brain pulls together these disparate shreds of thought and binds them into a new single idea that enters consciousness. This is the “aha!” moment of insight, often followed by a spark of pleasure as the brain recognizes the novelty of what it’s come up with.Now the brain must evaluate the idea it just generated. Is it worth pursuing? Creativity requires constant shifting, blender pulses of both divergent thinking and convergent thinking, to combine new information with old and forgotten ideas. Highly creative people are very good at marshaling their brains into bilateral mode, and the more creative they are, the more they dual-activate.

Around the world, though, other countries are making creativity development a national priority. In 2008 British secondary-school curricula—from science to foreign language—was revamped to emphasize idea generation, and pilot programs have begun using Torrance’s test to assess their progress. The European Union designated 2009 as the European Year of Creativity and Innovation, holding conferences on the neuroscience of creativity, financing teacher training, and instituting problem-based learning programs—curricula driven by real-world inquiry—for both children and adults. In China there has been widespread education reform to extinguish the drill-and-kill teaching style. Instead, Chinese schools are also adopting a problem-based learning approach.

It’s too early to determine conclusively why U.S. creativity scores are declining. One likely culprit is the number of hours kids now spend in front of the TV and playing videogames rather than engaging in creative activities. Another is the lack of creativity development in our schools. In effect, it’s left to the luck of the draw who becomes creative: there’s no concerted effort to nurture the creativity of all children.

Plucker recently toured a number of such schools in Shanghai and Beijing. He was amazed by a boy who, for a class science project, rigged a tracking device for his moped with parts from a cell phone. When faculty of a major Chinese university asked Plucker to identify trends in American education, he described our focus on standardized curriculum, rote memorization, and nationalized testing. “After my answer was translated, they just started laughing out loud,” Plucker says. “They said, ‘You’re racing toward our old model. But we’re racing toward your model, as fast as we can.’ ”

a collective, a community of similarly minded people who helped Sam learn and meet the very particular set of needs that he had

Creativity and Intelligence. We treat them as separate cognitive processes, and although a correlation between the two has yet to be proven,

“One way to look at it is he’s just wasting time,” says Leslie. “But for him, there are no instructions. You figure out how to do it yourself. It’s ‘how do I make my guy take over an Imperial Ship?’ It teaches logic and tenacity, and how to solve your own problems.”

When school is seen as a test, rather than an adventure in ideas,” teachers may persuade themselves they’re being fair “if they specify, in listlike fashion, exactly what must be learned to gain a satisfactory grade…[but] such schooling is unfair in the wider sense that it prepares students to pass other people’s tests without strengthening their capacity to set their own assignments in collaboration with their fellows”

Once you figure out you can’t break anything on the Internet, getting your hands dirty by experimenting can present incredible stretches of that “flow” that comes with intense immersion in a task.

It was of interest that all attribute categories of un- creative characteristic~ and almost all attribute catego- ries of creative traits (39 of 42) were suggested by both male and female teachers

The respondents also de- scribed a creative person as one who has a collectivistic orientation, such as one who "inspires people," "has contribution to the progress of society" and "is appreciated by others." These descriptions, found in this sample of Chinese people, did not occur in U.S. investigations (Rudowicz et al., 1995

onventional, " "timid, " "lack of conjidence. "and "conforming. "

imaginative, " "always ques- tioning, " "quick in responding. " "active, " and "high intellectual ability, "

Implicit Theories of Creativity: Teachers' Perception of Student Characteristics in Hong Kong

"self-directed," "curious," "original," "artistic," "intel- ligent," "interested in many things," "exploratory," "unique," "innovative," "flexible," "imaginative," "al- ways questioning," "nonconforming," "challenging," "uninhibited," "independent," "sensitive," "expres- sive," "inventive," and "good at designing."

We are naturally creative and curious. We just have to build systems that nurture our inherent abilities. Schools do not do that.

De Rond, M., & Miller, A. N. (2005). Publish or perish—Bane or boon of academic life?Journal ofManagement Inquiry, 14(4), 321–329. doi:

gender neutrality, creativity, imagination and tinker time are the basis for learning

After administering the marijuana, the research team gauged each participant’s ability to complete cognitive tasks that included two types of creative thinking. The first task: "Think of as many uses as you can for a pen"

Al-Ghazali launched a philosophical critique against Neoplatonic-influenced early Islamic philosophers such as Al-Farabi and Ibn Sina. In response to the philosophers' claim that the created order is governed by secondary efficient causes (God being, as it were, the Primary and Final Cause in an ontological and logical sense), Ghazali argues that what we observe as regularity in nature based presumably upon some natural law is actually a kind of constant and continual regularity. There is no independent necessitation of change and becoming, other than what God has ordained.

Now, it is important for you to understand that everything which is manifest, or appears, has its basis in the creative flow of Mind. You are not the creator in the sense that you, as a point in the universe, have a creative thought and put it forward into manifestation. Rather, you are the Totality, you are the One that constitutes the Many. And, it is on the basis of this Totality that this creativity is expressed. Every creative action by which Being unfolds Itself is in total harmony with the whole of Its Self. Therefore, it becomes clear that the creative process is the harmonious unfolding of the Totality of Being which brings forth Its individual, creative ideas—and not of a single point in that Totality. This means that creativity does not occur from the standpoint of a three-dimensional consciousness called a “person” or “personality.” This means that your experience of being Creative will not feel the same. The experience of being it will be different from the experience of having it, which you had from a three-dimensional frame of reference. You could say that Creativity is a Universal Action which is experienced specifically. It is not a specific action which is experienced universally.

there will be more experimentation around content

Creativity has to be visionary, subversive, disturbing. It must be innovative. It must drive ideas and concepts. It has to question stereotypes and old models.

On one hand, there are infinite ideas, and so the taking of one idea as private property clearly leaves “enough,” and debatably “as good” for others (Locke, INTELLECTUAL PROPERTY: POLICY FOR INNOVATION 8   1690, Chap. V, Sect. 27).

Following my original question, I wanted to add two quotes. First, an excellent quote on originality by the French filmmaker Jean-Luc Godard, : ‘It’s not where you take things from. It’s where you take them to.’ Second, Jim Jarmusch who was quoting Godard. “Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations. Architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable. Originality is non-existent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said, ‘It’s not where you take things from. It’s where you take them to.’” Both are similar to, but much better than the worn Picasso quote : “Good artists copy, great artists steal.”

I n B u r r o w - G i l e s , t h e C o u r t d i s t i l l e d t h e s a m e r e q u i r e m e n t f r o m t h e C o n s t i t u t i o n ' s u s e o f t h e w o r d " a u t h o r s . " T h e C o u r t d e f i n e d " a u t h o r , " i n a c o n s t i t u t i o n a l s e n s e , t o m e a n " h e t o w h o m a n y t h i n g o w e s i t s o r i g i n ; o r i g i n a t o r ; m a k e r . " 1 1 1 U . S . , a t 5 8 ( i n t e r n a l q u o t a t i o n m a r k s o m i t t e d ) . A s i n T h e T r a d e - M a r k C a s e s , t h e C o u r t e m p h a s i z e d t h e c r e a t i v e c o m p o n e n t o f o r i g i n a l i t y . I t d e s c r i b e d c o p y r i g h t a s b e i n g l i m i t e d t o " o r i g i n a l i n t e l l e c t u a l c o n c e p t i o n s o f t h e a u t h o r , " 1 1 1 U . S . , a t 5 8 , a n d s t r e s s e d t h e i m p o r t a n c e o f r e q u i r i n g a n a u t h o r w h o a c c u s e s a n o t h e r o f i n f r i n g e m e n t t o p r o v e " t h e e x i s t e n c e o f t h o s e f a c t s o f o r i g i n a l i t y , o f i n t e l l e c t u a l p r o d u c t i o n , o f t h o u g h t , a n d c o n c e p t i o n . " I d . , a t 5 9 - 6 0 .

I n T h e T r a d e - M a r k C a s e s , t h e C o u r t a d d r e s s e d t h e c o n s t i t u t i o n a l s c o p e o f " w r i t i n g s . " F o r a p a r t i c u l a r w o r k t o b e c l a s s i f i e d " u n d e r t h e h e a d o f w r i t i n g s o f a u t h o r s , " t h e C o u r t d e t e r m i n e d , " o r i g i n a l i t y i s r e q u i r e d . " 1 0 0 U . S . , a t 9 4 . T h e C o u r t e x p l a i n e d t h a t o r i g i n a l i t y r e q u i r e s i n d e p e n d e n t c r e a t i o n p l u s a m o d i c u m o f c r e a t i v i t y : " [ W ] h i l e t h e w o r d w r i t i n g s m a y b e l i b e r a l l y c o n s t r u e d , a s i t h a s b e e n , t o i n c l u d e o r i g i n a l d e s i g n s f o r e n g r a v i n g , p r i n t s , & c . , i t i s o n l y s u c h a s a r e o r i g i n a l , a n d a r e f o u n d e d i n t h e c r e a t i v e p o w e r s o f t h e m i n d . T h e w r i t i n g s w h i c h a r e t o b e p r o t e c t e d a r e t h e f r u i t s o f i n t e l l e c t u a l l a b o r , e m b o d i e d i n t h e f o r m o f b o o k s , p r i n t s , e n g r a v i n g s , a n d t h e l i k e . " I b i d . ( e m p h a s i s i n o r i g i n a l ) .

T h e k e y t o r e s o l v i n g t h e t e n s i o n l i e s i n u n d e r s t a n d i n g w h y f a c t s a r e n o t c o p y r i g h t a b l e . T h e s i n e q u a n o n o f c o p y r i g h t i s o r i g i n a l i t y . T o q u a l i f y f o r c o p y r i g h t p r o t e c t i o n , a w o r k m u s t b e o r i g i n a l t o t h e a u t h o r . S e e H a r p e r & R o w , s u p r a , a t 5 4 7 - 5 4 9 . O r i g i n a l , a s t h e t e r m i s u s e d i n c o p y r i g h t , m e a n s o n l y t h a t t h e w o r k w a s i n d e p e n d e n t l y c r e a t e d b y t h e a u t h o r ( a s o p p o s e d t o c o p i e d f r o m o t h e r w o r k s ) , a n d t h a t i t p o s s e s s e s a t l e a s t s o m e m i n i m a l d e g r e e o f c r e a t i v i t y . 1 M . N i m m e r & D . N i m m e r , C o p y r i g h t § § 2 . 0 1 [ A ] , [ B ] ( 1 9 9 0 ) ( h e r e i n a f t e r N i m m e r ) . T o b e s u r e , t h e r e q u i s i t e l e v e l o f c r e a t i v i t y i s e x t r e m e l y l o w ; e v e n a s l i g h t a m o u n t w i l l s u f f i c e . T h e v a s t m a j o r i t y o f w o r k s m a k e t h e g r a d e q u i t e e a s i l y , a s t h e y p o s s e s s s o m e c r e a t i v e s p a r k , " n o m a t t e r h o w c r u d e , h u m b l e o r o b v i o u s " i t m i g h t b e . I d . , § 1 . 0 8 [ C ] [ 1 ] .

It seeks a new realm and another channel for its activity, and it finds this in myth and in art generally.