60 CREATIVITY

MODELS: Vol.3
THE SOCIAL
MODELS:
Are You Creative?
60 Models of Creativity and the 960 Ways to Improve Your Creativity that They Suggest

By Richard Tabor Greene

13 to 18 of 60
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Page 533 System Models Hexagon
Page 8 Overview of the 60 Models Page 559 Simonton Hexagon

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Page 22 Catalog Models Hexagon Page 573 System Effects 128 Triangle
Page 32 128 box Recommendations Model Page 579 326 System Effects Hexagons
Page 70 to 74 Scientific Creativity Quad-Hexagons Page 332 Ways Orgs Learn 64 Quad
Page 93 48 Culture Dimensions Triangle
Page 100 Career 64 Quad
Page 114 64 Social Processes Quad
Page 336 Organizing for Meta-Cognition
Page 344 64 Ways Orgs Learn Table
Page 367 Rise of Science Table
Page 376 Knowledge Evolution Hexagon
Page 444 96 Simple Program Intuitions
Page 457 Knowledge Evolution Combined
Page 461 Experiment Hexagon
Page 604 Adjacent Beyond 64 Quads
Page 641 Systems Models Combined
Page 644 Purity Models Hexagon
Page 711 Creation Engineering 128 Triangle
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Page 121 Catalog Models Combined Page 712 Purity Models Combined
Page 124 Blend Models Hexagon Page 716 Self Models Hexagon
Page 173 Power Creation Quad 64 Page 805 Composing/Performing 128 Triangle
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System see creativity Page 809 Mind Models Hexagon

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Page 205 Social Models Hexagon mixtures, blends, 13 Model relations & Page 879 Flow Diagrams of All 60 Models
Page 260 Cluster Creation Space and combinations dynamics Page 982 Grounding Example Tables for All
Page 281 Social Models Combined of things. p216 p225 of sorts. 60 Models
p206
Page 284 Group Models Hexagon 8 p300 Page 1056 References
Page 329 General Computation
Page 331 Social Process Event Types
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Copyright 2002 by
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US Government
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THE MAIN IDEA OF
THIS BOOK SERIES:
One expensive volume is already being sold on amazon, presenting
60 models of creativity, as ten sets of six each. That volume runs
thousands of pages. Most people will want something shorter and
sweeter. So 10 volumes of six models each are being published by
this author, with the same front matter, the same back matter and
INTERVAL sections adding new models of creativity beyond the 60.

The front matter includes covers of 48 books by Richard, then a 22

page heavily cited article laying out a revolution in research--from
adolescent “my model is better than yours” single right-y models of
high P-values and zero impact (see Amabile’s Harvard creativity
model) to plural diverse models that compensate for each others’
biases and weaknesses. Then comes a paragraph on each of the 60
models with numbers of references for each.

At the end of each of the ten volumes (each presents 6 models of

60) are 800+ references on creativity models, 60 causal path diag-
rams, one for each of the 60 models, and a repeat of the 48 covers
of this author’s amazon.com books.

The main education use of the book--instilling the “grad student”

insight and main industry uses of the book--unsticking “stymied”
design or innovation processes and move toward Apple-like simul-
taneous deployment of plural creativity genres and models at once,
is dealt with in the Preface of the book that follows.
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60 CREATIVITY THE SOCIAL
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60 CREATIVITY THE SOCIAL
MODELS: Vol. 3 MODELS:
13 to 18 of 60
CONTENTS:
page 4 table of contents
page 5 causal drawing of the 6 catalog models
page 6 covers of Richard’s 48 books
page 16-17 polygon showing all 60 creativity models
page 20 preface--origins, uses, structure of the book
page 43 paragraph summaries of each of 60 models
and references for each
page 101 article, 47 pages on shift from single right-y
models to plural diverse models sets
page 149 chapter fifteen--community of ideas model
page 177 chapter sixteen--system model
page 200 chapter seventeen--social computation model
page 239 chapter eighteen--social movement model
page 269 chapter nineteen--space sharing model
page 299 chapter twenty--participatory art & design
page 353 chapter twenty one--combine social models
page 359 60 model polygon plus assessment table
page 364 800 creativity research references
page 410 causal path drawings of each of the 60 cre-
ativity models, 2 per page
page 444 cabaret and other events of social creativity
page 499 repeat of covers of Richard’s 48 books
page 509 repeat of polygon of all 60 models on 1 page
page 512 backcover

pages unique to this volume, other pages are

repeated contexts so readers can
read any volume in any order.
APPENDIX: 3rd Six Models: Group Models of Creativity P22
The Community of Ideas Model of Creativity The System Model of Creativity Social Automaton Level
Brain One: calculative, symbolic
diversity
conscious software brain Ladder of Self Emergence Tuning connectedness
patchings
Population reflexivity Population
Diversity Reflexivity
experience: idea relations/associa- Dialog Level
Meta-Cognition tions self-emerge into structures

Social Culture

letting go & observing

dialog
monitor interest Trans-
monitor frames used Structure/Frame Psych Person social judgement
group process Work
monitor interaction Emergence: property of groups mission
intervention breadth: idea number
type and depth structure depth: abstraction levels
monitor engagement processing depth Tuning Tuning Tuning Tuning
structure mutants: copy errors
detachment cycles
then: intervene experience: ideas fuse on their Reflexive dialog dialog dialog Reflexive
to tilt emergent own inventing new ideas
Knowing social judgement social judgement social judgement
Knowing
int let Tuning group process group process group process Tuning
outcomes erv tin Level diversity property of groups property of groups property of groups diversity Level
ent gg connectedness connectedness
ion Idea Blends: o& patchings
reflexivity
patchings
reflexivity
breadth: interests, needs, capabilities ob
depth: idea numbers se
rv
intervention

level: era, gender, approach, problem in Tuning Tuning Tuning Tuning

g Ecstatic
role blends: power, role, task, person
Flow
Experiences Power dialog Encounter
experience: ideas associating on It happened thru me; it
Politics Domain social judgement
group process Field the
their own, configurations appear

letting go & observing

used me to “write” etc.
from full engagement
property of groups “Other”
of all capabilities
Idea Associations:
The entire above model recurs for problem while shunning all
faults
Population Population

14
Idea Markets
Connectedness diversity Patchings
Idea Courts
Idea Concerts
Idea Revolutions
finding, approach selecting, solution criteria Brain Two: associative, Tuning connectedness
patchings
unconscious neural hardware reflexivity
imagining, partial solution generating, etc. brain
The Social Computation Model of Creativity The Social Movement Model of Creativity
The Interest Development Process Institutionalize Emergenc
e
Memory
observe dialog evolution in self & others

Th
measure unplanned emergents

eA
Coordination support what emerges

est
Develop Interests encourage being copied and co-opted

ut
find wide

er
Events Profoundly

om
assumption

nt
your agend becomes their agenda
Which of these network

dI
ati
steerage events key to creativity leverage

pe
c
6 do you do? do Production threat

In
event invent events

elo
Overall flow find wide factor of

ter
launch-close events Events

ev
Meta-Cognition anomaly your

est
you not do?

eD
community cabaret network
quality events alternative

Th
expert-novice difference find smallest demo
reverie punctuations best-in-world protocol input that needs
events find deep undoes: negotiate
red team skeptic events & wide assumptions, demo old place for
model building events anomalies, answer your
model using events pent up
Develop & releases inadequacy innovation
result finding events latent pent up
Profound forces
Interests Island forces
Design
(Event) Detect Invent Public Private
Whistle Solving Dialog Dialog
key to creativity
Social Computation Formation Event Design Linking Whistle Seed
Interest Events Strategy Process Events Process Point Point generate & test alternatives demo
Did we get
Release package winner workable negotiate
select island-link type leadership shift spot emergent results build in self replication alternatives blend of
system element uniting simple event sequence the results find find overlap innovations
custmr-producer-supplier determine capabilities pre-, event, post-event select apropos events
all events at once we wanted overlap points of formulate
problem finding workouts set capability deployment fractal themes study event results
sequence of event sets or expected? points of above 3
viable marginals events set initial island-links leadership pairs specify new event types elicited
M
int

horizontal event cascades setup island-link process daily results exchange needing inventing above 3 first
an

periphery legitimate allow

Po

vertical event cascades specify next events supporters

ag

select mediate goals prob/soln call events stealing

e
ing

and
the

What to do next relate normaliza-

wn

point of tion
Meta-Cognition
ov
pa

Research overlap to of your

em
tS

innovation
domain
The Second Discovery--
en

Events
en

tt

dynamics
em

ha

Finding New Things in

tE

research assemblies
ov

me

the Work from How

dM

phone research workout

16
rg

data gathering workouts Others React

es
Fin

data analysis workouts

data challenge workoutss

Input Processor Output

The Space Sharing Model of Creativity The Participatory Art and Design Model of Creativity
Tuning Undo Re-Locus
Community Analysis Spirit

Demytho-
happenstance or intentional
distributed or focal Media logizing
Healing
Art & Performing
Sicknesses assessing media Media Performance
de-center-ing
culture’s personal de-profession-ing
impact;
democratized
incentive meta- demystifying broadcasting,
balances: relationship contributing media De- Undo
traits: messages; Personal local experience
share/hoard ideas, credit, traits: Media- Traditions capture;
converging/diverging distributed/central; structurally
resources, levels of sharing; cumulativeness/dissipation constructive/destructive; trial izing of sincere vs.
adding value/emotive reaction pro-paradigm/con-paradigm;
reading isolations; Lives Anonymity family art
openness & accomplishment; movies/ composing; commercial
sharing mode incentives social vs. indivl. computatn. meta-contributors: rep/faction media experience
issues: content vs. self-improve/tradnl songs/ etc.; challenge audiences;
resource/credit meta-contributions substitutions;
targeting; communicating
isolating hermit ordinary vs.
valid effects; from art to design to invention to discovery persondirected performing;

Creativity
media; input zen; improv
composing;

Space Types:
intellectual
Membership
Types:
attention contributions Space
Sharing
Modes:
collaboration
Audience Composed Myths Becoming a Performer
social Shared rivalry
discourse contributions Extending a Production Process art targeting
toy-play co-discovery net wired fairy tale
operations contributions performer to Wider Populations Causes human needs;
field
meta-contributions models/simulations audience audiences; constraint
antiphony; performance Creation fractal theme
release;
pre-composing expression;
bottom up
Community Spirit Analysis

poetry/song kiosks; novice-expert hero with

composition Pinsky’s performer pairs; 1000 faces;
people’s deploying regular
Space Decor: events; poetry Audience employee-designed emergence
information expansion whole Participation arts annually; of public

18
information reduction audience tooling; Technologies happiness;
information framing personal coached Blends
frame invention internet TV channels; performance as
weekly neighborhood emergence;
comedy nights;
Self New Rules
Creativity Audiences Emergent
Performer
Expression
Rules of
Techniques
Performing Expression
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PAPER/PRESENTATION SHUFFLINGS
All written at field intersections so combinable for multiple diverse CONTEXTS/USES
EVERYTHING
BECOMING--MORE BIO-LOGIC, COMPUTATIONAL, EVOLUTION-
ARY, MULTI-CULTURAL, COGNITIVELY PARALLEL Everything
outside us is becoming these--the PROBLEM is--the most
heavily-used-per-hour foundations of thought, our basic
ancient unchanged-in-centuries media and interfaces of
thought, are not as bio-logic, computational, etc. as our situa-
tions, opportunities, and challenges are. IT IS TRAGIC to see
large organizations merging, re-organizing, ventures starving
while seeking users, this and that strategy and “right” google
team building method--all this large scale effort going on while
the FOUNDATIONS all that rests upon--mental operations used
dozens of times per hour, remain centuries old and ineffec-
tive, undoing nearly all that large scale updates and changes
try to achieve.
The first book shows how DESIGNS that are more bio-logic,
computational, etc. lead entire industries while traditional
EDUCATION = SELF FOUNDATIONS
All mental life rises from and is made safe from getting the “being made” kid to “remake” him/herself continually.
CREATING HUMANE CREATIVE HUMAN BEINGS--The World’s
Most Valuable Product. Perhaps the biggest problem of all
that we face is--HARVARD--the EVIL HARVARD admits, hires,
and graduates. From Harvard physicians ruining the finances
and health of the entire US and world population, to Harvard
CEOs using Harvard B School invented econ cover stories for
massive theft, to Harvard grads on Wall Street doubling Cali-
fornia electricity prices, throwing hundreds of thousands of
Puerto RIcans, post-hurricane, out of their homes, stealing 3
trillion dollars in government bail out welfare payments for
bank gamblers in 2008/9--IT IS HARD TO IMAGINE ANY INSTITU-
TION OR ELITE MORE HARMFUL than HARVARD to democracy
and the world. If you think that is an exaggeration--go else-
where--these books are not for fools.
OUR “BEST” COLLEGES are not creating humane safe cre-
ative human beings. Indeed Silicon Valley out-invented Har-
vard-MIT 800% the last 50 years by shunning MBAs, and PhD
East Coast scientists. California was founded by people flee-
ing the snobbery, Brit analysis manias of the East Coast Reli-
gion of Business.
design thinking empathy-prototype-generated
designs fail. The second book shows how updating the mun-
dane foundations of thought percolate up into immense
changes in mental productivity, creativity, and productivity at
higher levels of order. The third book shows how the 2 best
models of culture from the Masterwork above--Shared Prac-
ticed Routines and the 5 Pairs Model--definitions from uses,
operations from tools, traits from dimensions, types from
social process locations, performances from powers--enor-
mously accelerate the pace and scale of innovation--for inno-
vation IS culture work.
EACH book above fuses 40+ research papers and research
presentations related to its theme--some of the papers appear
in more than one of the 3 books, most do not. The papers are
used as a Glass Bead Game--re-orderings of them, re-contex-
tings of them, to enable designs that lead, mental power,
innovation power from doing of culture work.
WHAT SOLVES THIS? We have mere teaching/learning
going in and the web does it better than expensive faculty.
We have NO educating going on--so evil elites under the Har-
vard motto--SELF UBERALLES. We need not a transfer of info,
better done by technology and the web, but a transfer of
responsibility for civilization between generations. The four
books above EACH tackle BIGGEST of all our problems. The
first present 5 models of educated person from across history
and the world. The second presents events replacing educa-
tion institutions, the third presents 64 capabilities that 150 at
the top of 63 fields by virtue of being “more educated-act-
ing”. The fourth presents step by step procedures for making
safe creative elites and populations.
FOR EMPLOYERS There are more and more kinds of employee
who are intense productive in some sense but side effects of
their productivity undo the benefits of what they produce--
you will find they omit several of the 64 capabilities of edu-
cated people, laid out in great detail in these books. You can
assign chapters with exercises to them to improve their con-
tributions.
TOOLS-METHODS UPDATING MIND FOUNDATIONS
8000+ eminent people in 63 fields 41 nations, researched for capabilities that made them “top”
WHO IS BEST IN 63 DIVERSE FIELDS, WHAT CAPABILITIES
GOT THEM TO THE TOP AND KEPT THEM TOP
AT THE TOP BECAUSE “MORE EFFECTIVE” THAN OTHERS
150 people at the top of 63 fields in 41 nations due to being
“more effective than others” were interviewed for their
capabilities. 100 routines shared by between 1/4 and 1/3 of
them all were in the book above on effectiveness.
AT THE TOP VIA DELIBERATE TRAINING OF BRAIN ASPECTS
Brain training is a catch-all category--150 people at the top
due to X, something we had a hard time defining in words--till
a student suggested--these gals deliberately train parts of
their brain the way athletes train muscle groups. So the book
present 7 exercises of each of 15 brain areas, shared by these
150.
WHAT TOP 20 HARVARD-MIT FACULTY DID TO IDEAS THAT
AVERAGE FACULTY THERE DID NOT DO TO THEM The third
REDO PLATO = EXCELLENCE SCIENCES
This means defining “excellence” “the good” via modern empiric methods, not religious, philosophy, culture old ones.
REDOING PLATO We need definitions of “excellent” and
“the good” that work today and in our future. We cannot
haul around 2000 year old definitions from religions, philoso-
phies, this and that culture, old books, ideologies, and politi-
cal factions controlled by hidden wealth. We need modern
empiric-based definitions of what is “good” and “excellent”
in at least 63 diverse fields and 41 nations.
EXCELLENCE SCIENCE RESEARCH PROJECT of the Univer-
sity of Chicago Grad School of Business (now Booth School)
8000+ eminent people from 63 professions 41 nations were
interviewed via AI protocol analysis of handling cases and
Japanese total quality process modeling of their best work
processes, for the capabilities that got them and kept them
at the top. 54 routes to the top were found--via effective-
ness, creativity, design, managing error, managing self man-
aging complexity and 48 others. The first book above
presents 18 of those 54 in detail.
book above suggests simple changes in the most mundane
heavily-used-per-hour mental operations, that, because they
are used so much each day by us all, propel mental force and
mind power immensely beyond present levels in anyone will-
ing to complete the 27 exercises in the book and check
answers with the answers at the end.
CHINA REPLACING THE USA AT THE TOP OF THE WORLD
Shanghai is a start--far beyond USA Weston High levels in lan-
guage and maths, but China is doing more to out-think the
world. The last book extends from 6 mundane mental media/
interfaces to change in the 3rd book above, to 66 similar ones
to improve slightly. Both of these come from the most popu-
lar courses at the University of Michigan, the University of
Chicago, Beijing University--on how Best Thinkers Think.
SELLING WE ALL DO, MUST DO The second book presents
a 19th that is of special importance--the selling we all do to
our selves, kids, spouses, bosses, clients, not just venal for
product sales.
LEAP AHEAD THEN CATCH UP--OUR NEW RHYTHM The
third book presents high technology leaving behind all secu-
rity safety privacy and quality to make new ideas easy to try
out, then the CATCH UP after immense harms appear from
that “freedom” without “responsibility”. This rhythm--leap
ahead via the easy “no rules” route than catch up via “civili-
zation the nerd barbarians and their arrogances and autistic
techs”--will be with us for centuries. We might as well get
good at it via the methods in the third books above.
CREATIVITY SCIENCES
30+ of them (Design, Creation, Innovation, Parenting, Venturing. etc.) Apple rose by doing 8 at Once
APPLE DOMINATED ALL OF SILICON VALLEY THEN ALL HIS-
TORY Their main method was CREATIONS LEAD NOT PEOPLE
and SIMULTANEOUS DEPLOYMENT OF PLURAL DIVERSE CRE-
ATIVITY SCIENCES. These three books get you Innovating how
you Innovate, Creating what is most valuable, namely, Cre-
ators, and replacing “design thinking” thinking design.
BOOK FOR META-INNOVATING Meta-Innovation comes from
Meta-Cognition by Flavel 50 years ago--people noticing how
they learned and making mid-learning adjustments out-
learned others, and Meta-Creation 14 years ago by Greene--
creators who notice what models of creating they used them-
selves and they omitted that others used out-created others.
Meta-Innovators are innovators who notice what models of
innovating they themselves use and omit that others use--they
out-innovate others. The first book enables you to spot what
models you use and omit and need.
CREATIVITY SCIENCES
The BEST FIRST Book on ALL of Creativity; The BEST FIRST Book on ALL of Innovation
NOT FUNNY-HATS CREATING, NOT HARVARD P-VALUE MOD-
ELS OF NO-IMPACT CREATING Two sick approaches to creat-
ing dominate markets. Fun seminars with squirt guns and
funny hats by Harvard consultants; 42+ parameters to modify
to create a “creativity fostering environment” by Amabile and
top professors--both of these are sick, dishonest and fake from
their very foundation. The first panders to lazy execs and
employees wanting creativity to be easy, fast, rule-sloughing
FUN--the very opposite of Edison testing light bulb material
8002, 8003, 8004 without a victory yet. The second panders
to corporate snobs kissing elite professor assess--the way
Procter & Gamble always does--paying years and milions to
install Harvard Amabile’s model of creative work environment
and getting, as buried-in-back-of-article one sentence result--
copying a hit Japanese product 8 years AFTER it hit in Japan!
Harvard calls that “creativity”, I, Richard Tabor Greene call it
“delayed forced copying”. Readers can choose which they
prefer to install.
BOOK FOR CREATING CREATORS Creating creations is vital
when deep learning robots compete with humans for jobs.
But more is needed--creating creators where now we create
merely coders (that deep learning will do better), employees,
followers, retail sales persons and the like. We will have to
master creating creators instead. The steps of doing that from
8000+ eminent creators are in the Steps of Creating book
above.
BOOK FOR ESCAPING THE “DESIGN THINKING” RUT-MANIA-
COWARDICES IF WE HEAR THE WORDS “Empathy, Ideate, Pro-
totype, Test” ONE MORE TIME WE WILL PUKE Design thinking
was invented by Canadians--Mintzberg then Martin--saying
Americans basing business and MBAs on economics was both
evil and ineffective and harmful, an error--instead business
should be viewed, led, and taught as a “design art”. Design
thinking should replace MBA spreadsheet and IMF nation-
destroying “tightening” of budgets.
CREATIVITY THAT COMES FROM ESCAPING PROFESSOR
“SINGLE RIGHT-Y MODELS” The first book above show begin-
ners to creativity of all 30+ creativity sciences’ sorts, that
there are plural diverse global models of it, so no one “right-
y” professor can be trusted to produce real impacts.
INNOVATION THAT COMES FROM ESCAPING PROFESSOR
“SINGLE RIGHT-Y MODELS” The second book does exactly the
same job for beginners for innovating not creating. It shows
plural diverse global models and combinations of them that
vastly outperform taking one or two of them as “right” they
way adolescent arrogant professors do.
BOTH THESE BOOKS ARE FOR BEGINNERS who want to not
throw money down professor invented drains. Sprinkling
smarty cooties and elite cooties on dumb ineffective ideas
MAY get you promoted but will NOT get you creating and inno-
vating.
APPLIED CREATIVITY
Reality out-creates humanity = it CREATED US; BUT Reality Thwarts it own Creations & Creativities
REALITY OUT-CREATES HUMANS BY A CONSIDERABLE MAR-
GIN, AFTERALL IT INVENTED US But reality thwarts its own
creations and creatings. SO you have many inverse U func-
tions--too little of X and failure, too muh of X and failure, and
not calculations that determine the “sweet spot” in the mid-
dle where “the edge of chaos” appears, so some tiny local
change totally redoes the entire system with no way to pre-
dict WHICH little local tweak will do that. All of civilization,
languages embodied this nasty nature of the non-linearities
throughout life as sayings “a stitch in time saves nine” “let
sleeping does lie”.
So two contrary kinds of thought are needed--seeing and
naming all the lies and politics and venal monkey dynamics
that pretend to creating, and pretend to design, and pretend
to innovating but sell out for personal or product “promo-
tions”. The second kind of thought is seeing past apparent
superficial differences of environment and location--the illu-
sion that some one place or environment will do the invent-
APPLIED CREATIVITY IN ASIAN LANGUAGES
The Best BEGINNING BOOK on Creativity in Chinese; The Best START Book for Making Creators of Self and Others in Japanese
BOTH OF THESE BOOKS ARE TRANSLATIONS OF EARLIER BOOKS IN THIS
DOCUMENT All Creativity is Here, a book earlier in this document, here is
English-Chinese facing pages and somewhat simplified. Steps to Creating,
another earlier in this document book, here is translated into Japanese.
CHINA is consumed with speed, short cuts, rapid dominance, flexing
muscles for centuries it lacked. The cost of this onrush, however, is
thought controls and dead intellectual life that drive already many top
thinkers abroad. This Chinese translation was done to demonstrate what
short cuts cost in terms of missing abilities for creating and innovating.
The Howard Hughes Medical grants out-performed in medical research
by huge margins top university Nobel prize winner labs--because the
Hughes grants made people free to follow any interests however strange
and unpromissing at first.
Japan went through this--cutting corners till 2000 when the easy
copycat copy-foreign-tech-better stuff dried up. Suddenly Japan in
2000 found they HAD NO UNIVERSITIES AT ALL--just tatemae pretend
ones, where neither professors nor students read books, sprinkled with
a few smart individual geniuses who the government could point to, to
suggest the whole system was okay when it was not. China has chosen to
repeat the Japanese mistake and as a result is rapidly losing its best
minds.
ing, creating, design, innovating work for you
(the weak ones who drift to Silicon Valley decades too late
when home prices and long commutes make huge salaries
actually quite small--read Jane Jacobs).
Getting Real defines Creativity Noise, Innovation Noise--
the immense amount of phony “claimed” creations and inno-
vations that when examined turn up trivial silly levels of
change and novelty. You START creating when you subtract
such NOISE out of your mind, life, aims, habits, goals, meth-
ods, educations.
Taking Place sees cities and city lives PURELY AS INSIGHT
PROCESSES that pulsate between opposites while collecting
failure after failure from try after try till you let go of deep
parts of who and how you are enough to think thoughts your
entire life made un-likely from and un-fit-for you. Getting
BEYOND self and mind opens the creation door.
JAPAN today has been frozen--unable to foster real universities and
real university-industry linkages. Since 2000, almost 20 years, little has
been tried. Rather governments re-try copying USA electric cars devel-
opments ten years later, copying USA share economy businesses ten
years later--the old Meiji formula that started failing badly around year
2000.
BOTH BOOKS, taken together, nudge Asians into the plural diverse
models of creating approach and the steps of creating creators approach
that made the West dominant in innovation, globally, since 1450 a.d.
There is no short cut to what these two books present--none at all. We
all will wait and see if Asia has the stomach for invention and creating or
not.
BUT A PROVISO----INNOVATION THAT RAISES UP ENTIRE POP-
ULATIONS--AN INNOVATION THE USA NEEDS BADLY Both Japan
and China abhor, rightly, the USA innovations done the easy way
by elites not raising up entire populations--China already has
avoided that error; Japan has up until Koizumi avoided that error
too. Hawaii is perfect--something halfway between China/
Japan and California--a little West but not too much!
EVERYONE BOOKS ON CREATING
32 Steps per Book on How to CREATE CREATORS plus Before & After, Diverse Other Creativity Models
FROM CREATING CREATIVE WORKS TO CREATING SOME-
THING FAR MORE CREATIVE--CREATORS Parents want to make
creator kids, schools want to graduate creators, companies
want to foster creative execs-employees-initiatives. How do
we create creators? We have to go to people who have
already done that, for years, year after year, in many locales
and conditions. We have to get their concrete steps, rou-
tines, advice, obstacles handled, tactics tested and found
effective.
THESE FOUR BOOKS each present 32 steps in creating cre-
ators, in proper order, obtained from 150 people--bosses,
parents, teachers who succeeded in creating world class top
creators for years.
BUT EACH BOOK IS A SANDWICH that puts its 32 steps
between wonderful comprehensive other models of creativity
aspects. The sandwiches in all four: 1) book one--self assess-
ment on 128 steps at front, 120 models of creativity in 22
EVERYONE BOOKS ON SELF MAKING
One field used to be enough to be “expert”, not a dozen fields must fuse to SOLVE & INVENT wisely.
FROM ADVICE REPEATED FOR HUNDREDS OF TOP STU-
DENTS WHO GOT INTO TOP FIRMS, VENTURES, GRAD SCHOOLS
TO YOU Richard was asked tens of thousands of times for
advice on this and that about study and further educations
and later about first jobs, first manager positions, first ven-
ture product launches, and the like. Repeating the same
principles, examples, and steps got both repetitious and
lacked thoroughness and quality due to mood and time and
occasion constaints.
THE FIRST BOOK lays out how dozens of former students
of Richard built successful consultancies based on handling
selves-cultures-highperformances as exactly the same thing.
THE SECOND BOOK lays out how kids of 88 of Richard’s former
students, using parts of books and papers by Richard, got
their kids into global top 5 universities and companies/tech-
ventures. THE THIRD BOOK presents 45 methods that, at age
pages at end; 2) book two--22 creativity noises at front, and
1500 item creativity checklist on 20 models of creating at
end; 3) 96 dynamics of scientific creativity at front, 96 mod-
els of innovation at end; 4) 20 avenues of emotions creating
and creating emotions at front and 3 avenues for getting real
about creating at end.
EVERY CHAPTER, 32 in each book, has the same sections--
main point, illustrated by a manga by Yoshida, application
advice for parents, bosses, ambitious selves, application
method as exercise, summary principles of application at end.
FOR THE BEGINNER-EST BIGINNERS This series of books is
beautiful, simple, step by step, holding your hand as you,
however ordinary, move from uncreative living and work to
history-changing scale creating and living.
25, age 35, age 45 moved former students to executive rank
or top tech venture founder roles.
THERE 3 BOOKS however were expanded and re-contexted
for use by people not familiar with Richard and not related to
his colleges and courses and tech ventures he founded. The
books are for EVERYONE--literally. They assume no elite
beginnings, smart parents as resources, get present skills.
They assume you are starting out from zero or below--how get
from there to the top of history in one lifespan.
SELF CHANGE WORLD CHANGE Self change comes first and
it is painful--you have to stop loving deep very emotional
parts of your self FOR EACH AND EVERY INSIGHT in your work
and life. People “say” they want to create but when they
use up all the easy funny hats fun routes that do not ever
work, they get discouraged--there is no FUN EASY route at all-
-NONE. These books are for you when you are ready for the
real thing, not the fake easy fun thing.
INTELLECTUAL SNACK BOOKS
Small books of VAST & DEPTH Coverage of PRACTICAL Topics on ALL Levels of Books Given Above
THIS AND THAT BIT FROM THE EARLIER BOOKS IN THIS DOC-
UMENT WERE FUSED TO MAKE EACH “SNACK” BOOK ABOVE
The snack books are short, and very tightly focussed on one
major kind of excellence. They ignore diverse plural models
and cover in practical detai one powerful way, route, avenue,
goal.
BOOK ONE covers all of design as 25 genres of WHAT gets
designed and 25 WAYS to design, one for each genre.
BOOK TWO covers 20 kinds of “being social” 18 of which
are harmed or omitted by all that social media and Silicon Val-
ley nerds do and invent and make and sell. If you want to
defeat Facebook, Uber, etc. this books gives you 18 powerful
ways.
BOOK THREE covers the Meta-creation route to out-creat-
ing others and your own prior selves. Research found those
made aware of the models of creativity they themselves used
INTELLECTUAL SNACK BOOKS
Small books of VAST & DEPTH Coverage of PRACTICAL Topics on ALL Levels of Books Given Above
BOOK ONE ABOVE enables Meta-Innovating, but not with
72 models, here with 96 models.
BOOK TWO ABOVE gathers all the best research on Insight
Processes and on how they appear in all areas of mind and
life.
BOOK THREE ABOVE is examples and tools for 3 huge new
powers--totalizing bodies of knowledge (how Japan conquered
the world with totalized quality, robotics, emotive media),
fractalizing idea inputs/outputs to and from minds so ordinary
mental operations can be applied to many more ideas and
many more diverse ideas per unit time, and pluralizing mod-
els--the way Apple dominated Silicon Valley and became his-
tory’s most valuable corporation--simultaneous deployment of
8 creativity sciences at one time--here expanded to deploy-
ment of up till 30 at one time.
up till now and models they omitted or knew not about, out-
created those comfortable in one or two models that worked
for them thus far.
BOOK FOUR covers 30 emerging new fields of knowledge,
each summarized with a fractal concept model of 64, 128,
216, 256 or more details on several size scales. Two benefits
accrue from reading it--getting your mind around an enormous
amount of diverse knowledge at several levels of detail/gener-
ality, and use yourself of fractal concept models to expand
how many ideas your ordinary mental operators can apply to
in any given amount of time--where others handle 7 to 10
ideas you handle 40 to 70, or 100 to 120, making you
immensely more productive, mentally, and thereby expanding
the diversity of what you image and try, making you out-cre-
ate others.
BOOK FOUR ABOVE presents ALL you need to know and do
to transplant ANY X across any kinds of culture--cultures of
products, technologies, organizations, markets, business prac-
tices, eras, nations, genders, professions.
You buy any of these books FOR THE SPECIFIC POWER it
gives you--so you can Meta-Innovate beyond competitors, so
you can foster bigger and more insights than others in self and
others, so you can deploy the three powers--totalizing, fracta-
lizing, pluralizing, and so you can transplant any X across any
set/kind of cultures.
FICTIONS, POEMS, SCRIPTS, COMEDIES
How do THESE genres of creativity CHANGE when all the contents of the 40+ above books are applied to them?

AFTER 44 NON-FICTION BOOKS, RICHARD IS READY FOR marked in piles of hundreds of books on a new topic. Instead
FICTION, FANTASY, ART, COMEDY are 50 kinds of mental invention, verbal invention, person-
BOOK ONE ABOVE the Creations Lead poetry book is done story invention to include in each chapter written--because
and sold now on Amazon. readers WANT to learn diversely from what entertains them
BOOKS 2, 3, 4, and 5 are in process and who knows when these decades.
they will be ready for public display and distribution. RIGHT NOW read the poems to guess how the fiction-
scripts-comedies will turn out. That is what I do.
40 YEARS AGO RICHARD MADE 50 POINT OUTLINES OF 147
NOVELS HE MIGHT WANT TO WRITE SOME DAY That old docu-
ment was typed and I still have it. “Not bad” was my reaction
while reading over it a few days ago. This move to art is a
rather significant change in my habits of production and imag-
ination. Gone are the giant well ordered outlines of points

THE FIRST AREA WHERE ALL THE DYNAMICS IN PRIOR BOOKS

OF THIS DOCUMENT GOT APPLIED IS AT LEFT. Richard has 700
suits he designed for himself over the years--recently selling
some to nouveau riche in China.
AS ANY DESIGNER WILL TELL YOU you cannot know or plan or
think ahead of time what you can do and want to do with a
material. You have to hang around it, play with it, try things
with it and gradually via trial and error you learn what that is
great it can be made to do and what that is great it cannot be
made to do.
As the figure at left reveals--Richard has played around with
dozens of elements in male dress--not necessarily liking or using
the results. But early on he could not guess or know his own
reaction to new designs till he wore them around in several
occasions and venues and watched his own reactions and those
of others.
Amazing how this adds up so hundreds of kinds of errors in
past designs no longer can happen as Richard has experienced
the principles causing design under-performance or failure.
Now Richard has to invent more difficult newer kinds of failure--
most past type he can guess and edit out before a design is actu-
alized. This is quite normal for all genres of design.
IN CLASSES Richard teaches fashion design NOT for com-
merce or for design but to get people DISCOVERING creativity
models and tools and methods and outcomes.
 Are You Creative?
60 Models of Creativity and the 960 Ways to Improve Your Creativity that They Suggest

By Richard Tabor Greene

Fractal of Contents
Page 533 System Models Hexagon
Page 8 Overview of the 60 Models Page 559 Simonton Hexagon
Page 22 Catalog Models Hexagon Page 573 System Effects 128 Triangle
Page 32 128 box Recommendations Model Page 579 326 System Effects Hexagons
Page 70 to 74 Scientific Creativity Quad-Hexagons Page 332 Ways Orgs Learn 64 Quad Page 376 Knowledge Evolution Hexagon Page 604 Adjacent Beyond 64 Quads
Page 93 48 Culture Dimensions Triangle Page 336 Organizing for Meta-Cognition Page 444 96 Simple Program Intuitions Page 641 Systems Models Combined
Page 100 Career 64 Quad Page 344 64 Ways Orgs Learn Table Page 457 Knowledge Evolution Combined Page 644 Purity Models Hexagon
Page 114 64 Social Processes Quad Page 367 Rise of Science Table Page 461 Experiment Hexagon Page 711 Creation Engineering 128 Triangle
Page 121 Catalog Models Combined Page 373 Group Models Combined Page 530 Experiment Models Combined Page 712 Purity Models Combined
Page 124 Blend Models Hexagon Page 716 Self Models Hexagon
Page 173 Power Creation Quad 64 Page 805 Composing/Performing 128 Triangle
14 These models

3
Page 168 Social Automaton Table Page 806 Self Models Combined
Page 202 Blend Models Combined These System see creativity Page 809 Mind Models Hexagon
as social

4
models are Page 876 Mind Models Combined
Page 205 Social Models Hexagon mixtures, blends, 13 Model relations & Page 879 Flow Diagrams of All 60 Models
Page 260 Cluster Creation Space and combinations dynamics Page 982 Grounding Example Tables for All
Page 281 Social Models Combined of things. p216 p225 of sorts. 60 Models
p206
Page 284 Group Models Hexagon 8 p300 Page 1056 References
Page 329 General Computation Disci- Com- Social 19 Process
t
pline p142 Compu-
y Tex Any
Page 331 Social Process Event Types munity Deploy-
The M Com- of tation -Stud t
A Self ativity tha urse
2
7 ment These
Comp ost
SOCIAL

bines Ideas Mass models see

Tuning 15 e o
Book rehensive
p134 9 Solving group-ness
20 p314 making on Cr & Any C
n e
Perso Disciplin
Parti- p239
on Cr These Culture cipatory Social 24 p285 procedures
y r

5
Optimize creative
in A College o e
n
p162
BL

e
that h ativity models are Art &
OU

Mixing
Paradox Move- Demyst- Ideal y s
EN

a giant collections n
in A any Can U
Ever s Design Flow
GR

Door- p262 17 ment ification

D

based on single themes p125

b
Publi een or matrix frameworks.
way Meta- 21 Comp !
Today
shed! 12 Idea 18 p250 p358 Cognition
Question 3 Market- p183 16 23 25
2 10 Space p349 30 Dialectics

P66
Finding p56 ing Social p323 26
Scale Share p377
Traits p44 p192
Blend Connec- Simple
p33 Darwinian tion- 22 Programs Compilation
Cycle
CATA Systems 4 11 ism LEDGE p388
1
Recommen-
LOG p75
Combined
60 p439
KNOOWLUTION Relocating
EV Idea

1
p426 Fractal p401 These
dations Thought Recurrence Idea Ecosystemsdynamics models see
p23
Garbage Types
6 Can p89 5 Models of 29
28 p411
Waves 27
among
ideas themselves that
become creativity
Within the mind dynamics 58
Creativity Create by 36 p473
or constructs that
“create”.
Making
p836 Sense

Cognitive 56
57 Percept

MIN
Invent p846 p854

D
Experience
59 Realizatn.
Substrate
p866
Copyright 2002 by
Richard Tabor Greene
All Rights Reserved
US Government
Registered
p520
Social Balancing Solution
Automata p462
34 p511
Fractal
35 EX
PERIM
ENT
6
Culture
Policy by
31

Operator Update 52 Career Adjacent 42 Model Experiments

Extremes Invent Investing Beyond Expan- Creation p489
Insight p763
p823 60 p775 40 p599 Population sion Events p499 32 The N
After ext Stage
55 p810 Interest 53 p787 46 p686 33
41 Automaton
& S c ie nces s Ecstasy 54 These models see R&D
Arts p
10
p617
& Grou 51 Perfor- 47
p700
Surprise solids disolved into
ls
SY

iv id ua s mance Info Non- hypotheses making

LF

Ind Compan
ie Extended
ST

Crea- Influence Design creativity.

The Self Linear
NGOs & & Styles
SE

dynamics Deve- tivity p587

PURITY

es p674 Systems
Ven tu r ion
of creating
lop- 48
& Tradit
a self if 50 p717
39 p534

Fashion
Covers:
Kaufmann’s Investigations Channel 49
extended
result in p749
creativity.
ment
p734
Anxiety
Courage 45
Perfor-
mance
44
p645
Sub-
creations
System 38
Effects p544
These models
p562
7 37

Darwin- Introducing:
9
These p664 see non-linear ian
aspects of reality
Wolfram’s Simple Programs models see
some single p656
that make creativity
inevitable in Fractal
Abbott’s Chaos of Disciplines
8
function or 43 the universe

Simonton’s Origins of Genius

aim that done
purely results
in creativity.
Produc-
tivity
Concept
Root-Bernstein’s Discovering
and many others
Models
 14 These models
see creativity
P19
These System
models are as social
mixtures, blends, 13 Model relations &
and combinations dynamics
of things. p216 p225
p206 of sorts.
8 p300
Disci- Com- Social 19 Process
pline p142 munity Compu- Deploy-
Com- of tation
7 bines ment These

SOCIAL
Ideas Mass models see
p134 Tuning 15
9 Solving 20 group-ness
p314 making
Parti- p239
p285 procedures
These Culture cipatory Social 24
p162 Optimize creative
BL

P
models are Art &

OU
Mixing
Paradox Move- Demyst- Ideal
EN

giant collections Design Flow

GR
Door- p262 17 ment ification
D

based on single themes p125

or matrix frameworks. way Meta- 21
Idea
Question 3 12 Market- p183 18 p250 16 p358 23 Cognition 25
2 Finding 10 Space p349
30 Dialectics 26
p56 ing Social p323
Scale Share Connec- p377
Traits p44 p192
Blend Simple
p33 Darwinian tion- 22 Programs Compilation
CATA Systems 4 11 ism p439 E DGE p388 Cycle
1
Recommen-
dations
LOG p75
Combined
Thought 60 p426 Fractal
Recurrence
O

Idea
WL
KN OLUTION Relocating
EV Idea p401 These
models see
Ecosystems dynamics
p23
Garbage
6 Can p89
Types
5 Models of29 28 p411Waves 27 become
among
idea themselves that
creativity

or constructs that
“create”.
Making
57 Percept p846 58
Within the mind dynamics

Invent p854
Experience
Creativity
Copyright 2002 by
p520 Create by
Social Balancing
Automata
p462
36 p473
Solution
p836 Sense 59 Realizatn. Richard Tabor Greene
All Rights Reserved 35 EX Culture
D 34 p511 PERIM 31
M IN p866 US Government
Fractal E NT
Cognitive 56 Substrate Registered Policy by
Operator Update 52 Career Adjacent 42 Model
Expan- Creation
Experiments
Extremes p763 Invent Investing Beyond p489
p823 Insight 60 p775 40 p599 sion Events 32
55 p810
Interest 53 p787 p686 Population 33 p499
54 46 41 Automaton
Ecstasy p617 These models see
p700
51 Perfor- 47 Surprise solids disolved into
SY

mance Info Non- hypotheses making

LF

Extended
ST

The Self Crea- Influence Design Linear

creativity.
SE

p587
E

dynamics Deve- tivity

PURITY

of creating p674 Systems

a self if lop- 50 p717 48 p534
extended ment 39 38
Courage 45 p645 System
results in p749
creativity. p734 37
Perfor- Sub- Effects p544
Anxiety mance
creations p562
Darwin-
Channel 49 44 These models
p664 see non-linear ian
These aspects of reality
models see that make creativity
some single p656 inevitable in
Here is how function or 43 the universe
aim that done
you out-invent purely results Produc-
out-create in creativity. tivity
out-imagine
all competitors
Here is how to continually
amaze yourself (& others)
 The Model Above:
The model above contains 60 different models of what cre-
ativity is, that are found in the research on creativity that
has been published and that are implicit in various creativity
and innovation practices that have been more or less suc-
cessfully used by one organization or another, or one cre-
ative individual or another (surveyed systematically in my
EXCELLENCE SCIENCES research Project). The 60 models are
organized into ten groups of 6 models each. The first mod-
els contain large numbers of variables said to affect creative
outcomes, the middle models contain a moderate number of
such variables, and the last models contain few such vari-
ables. Only one model of the 60 is a combination of other
models in this model of models--the Darwinian Systems
model, number 4, above. It is a combination of number 14,
the Systems model, and number 20, the Darwinian model.
There are many other combinations of the above models
that are interesting and that will be, in all likelihood, in the
future tried out or researched by someone. This book pre-
sents the 60 models, not such combinations, though at vari-
ous places in this book, interesting combinations will be
suggested, though not developed in detail. There are mod-
els in the research literature on creativity the names of
which do not appear above (TRIZ, “flow”, Nonaka, Mizuno,
Taguchi, Fauconnier, Turner, and others). That is because
they are grouped with similar models and put under one of
the above models. Also, models that when taught turn out
too thin and uninteresting to me and my students were grad-
ually dropped. All models of creativity that I could find in
the research literature were included somewhere in this
model of models. Whatever the imperfections of the above,
it is the only published model of models that is this compre-
hensive.
 THIS BOOK IS--THE MOST COMPREHENSIVE--TREATMENT OF CREATIVITY IN ALL ITS FORMS
THIS BOOK IS--THE MOST DETAILED--TREATMENT OF CREATIVITY IN ALL ITS FORMS
THIS BOOK IS--THE MOST DIVERSE--TREATMENT OF CREATIVITY IN ALL ITS FORMS
THIS BOOK IS--THE MOST MULTI-LEVEL--TREATMENT OF CREATIVITY IN ALL ITS FORMS
THIS BOOK IS--THE MOST PRACTICAL--TREATMENT OF CREATIVITY IN ALL ITS FORMS
No other book published, anywhere, anytime, matches this book in the above FIVE traits.

Generations of grad students at the University of Chicago, Keio University, Beijing Univer-
sity, ETH, TUDelft, and other universities have built careers on single chapters and sets of
chapters in this book, some building their own successful consultancies. Generations of
global corporations have, as consulting clients, assessed and thoroughly revised their own
approaches/models of creating, inventing, discovering, experimenting, composing, per-
forming, tech venture launching, innovating by finding which of this book’s 60 models
they allow, notice, fund, encourage and which they block, omit, suppress, deny. Interes-
tingly, a number of Harvard, Stanford, MIT, Oxford, and other top university books on
creativity models have been announced as “forthcoming” on amazon.com only to never
appear, after this book was published. That is because they all presented 6 or 8 models,
all from one nation’s views and traditions, not 60 models from Asian-EU-USA North-South
arts-sciences-policy-invention-digitaltech perspectives.

SOME KEYS TO THIS BOOK’S SUCCESSES:

1) BEYOND MERE EXAMPLES--most books on creativity offer ONLY examples;
they are easy and fun to read but lead to almost no increments in creativity;
people are terrible at transforming example case detailes into new ways
for them to operate in situations no exactly matching such cases. Examples
are fun and easy ANDY ineffective--this book presents 20+ variables per
each of its 60 models, that you can find in your situations and adjust =
actual new power to create in new ways
2) STRUCTURALLY WRITTEN BOOK--unlike ALL other books on creativity this one
is structurally written, that means the number of points, their names, and
ordering is visible at a glance in sections of each chapter; also all chapters
follow the same flow of chapter subtopics allowing readers to read the
chapters in any order at any time without disorientation--this makes it much
easier to APPLY ideas here compared to other books and it makes gradual
use and implementation of models in this book easier with more impact.
3) THOUGHT LEADER BOOK--shortly after this book was published leading
scholars of creativity copied this book’s plural diverse models idea, saying
(newly for them) “creativity may be not one thing”--duh; the web expanded
who creates/designs/etc. and who they create/design/etc. for--fitting perfec-
tly several models of web, network, computational sociality creating in this
book’s models.
4) INVENT EVENTS---every chapter in this book ends with remarks on how to
design mass workshop and across-the-web swarm creation/design events that
invent and commercialize in days what usual product processes take years to
achieve.
 Preface
FOR INDUSTRY & THOSE REPLICATING SILICON VALLEY
Meta-Cognition researched by Flavel 50 years ago, showed
that learners who noticed how they learned and made mid-
learning adjustments in it out-learned others. Later Meta-
Innovation researched by Lequel, Hofruh, Greene and oth-
ers, showed that innovators who noticed how they and oth-
ers innovated and made mid-innovation adjustments in it
achieved more successful innovations of greater degree of
difference from present arrangements. This book intro-
duced Meta-Creation, taken from over 8000+ eminent peo-
ple from 63 fields and 41 nations in the EXCELLENCE
SCIENCES research project organized by the author of this
book while he taught on the University of Chicago faculty.
People who notice how they create, and who notice also
models of creating used by others they themselves lack, and
who make mid-creation adjustments in how they create
out-create all others by considerable margins.

CREATIVES EAT. In a future world rapidly becoming present

of deep learning empowered robots, the only paid jobs that
will be left will be those based on kinds of thinking that Arti-
ficial Intelligence and deep learning nets and GPU chips are
decades even centuries away from matching. You and I will
not only be forced into only creating types of work, but into
the most creative forms of such creating work.

CREATIONS LEAD. We have already had a global immense

foretaste of this future-becoming-present in the form of
Apple, now history’s most valuable company, as this book is
being written. It is the creations of that company that lead,
not Jobs, not Tim, not people, and certainly not any MBA.
In a world where creations not people lead, all those profes-
sors and their inserting of analysis, “right” methods, algo-
rithms, rules, Beta, between idea and venture, between
engineer and leadership, between new app and actual new
technology, become a disease, an infection, an Alzheimer’s
plaque invading even Silicon Valley and slowing down, mis-
direction, siphoning off vision and invention into mere
money making for the already rich.
MULTIPLE (120) MODELS OF
CREATIVITY
Richard Tabor GREENE
De Tao Master's Academy, Beijing;
Keio University, System Design & Management, Japan
Synonyms
Creativity models, innovation models, model repertoires,
fractal pages, structural cognition

The Idea of NOVELTY & CREATIVITY SCIENCES

This article introduces 1) the Novelty & Creativity Sciences
(creativity, invention, innovation, design, composing,
business venturing, and others), 2) the idea of multiple
models of each, 3) with example multiple models (Meta-
Models) of creativity and innovation, 4) and more detailed
models than are usual (here a 64 item model of the most
creative process known—Natural Selection). The model of
creativity models that this article presents is the most
comprehensive and detailed such model yet published, at
the time of this writing--a prior article on 42 models and
book on 60 exist (Greene, 2001, 2005). This article also
presents four size scales (compared with Levels of
Invention in this Encyclopedia) as contexts around and
under Creativity & Novelty Sciences: Excellence Sciences
(scale 1) some of which are Novelty & Creativity Sciences
(scale 2), one of which is creativity (scale 3), 120 models of
which are presented here, and another of which is
innovation (scale 3), 54 models of which are presented
here. Finally, 64 dynamics of one of those 54 innovation
models (scale 4), of the single most creative process
known, Natural Selection, is presented.

Rather than summarizing the other creativity models in this

Encyclopedia (see Theories of Creativity, Innovation
Systems and Entrepreneurship), this article presents an
intellectual tradition, centered on developing large diverse
repertories of models, and tools specially invented to
support the development and use of such repertoires. One
such tool, a proposed replacement for prose
itself, is presented at this article's end (the
model, from Michod, of 64 natural selection
dynamics).

Academia educates creator-designer

practitioners into a tradition of one right-y
model, righter than all others. The multiple
models tradition in this article contradicts
those practices and their academic source. In
the history of science (Eamon, 1996) European
world-wide collecting produced collections
categorized in museums, that later scholars
“explained” via causal models. Modern
journals refuse categorical models (and the
size of article they require). This article
attempts to open up: 1) multiple Novelty &
Creativity Sciences and 2) multiple models of
each of them, 3) highly detailed such models--
as new contexts and frontiers for practice and
theory. The costs of our mania for single right-
y models and benefits of switching to
repertoires of diverse models are included
here. Figure 1 shows one pattern among the
Novelty & Creativity Sciences (also see Creativity,
Design, and Innovation).
 Figure 1
The NOVELTY & CREATIVITY SCIENCES
Study of all the ways the new gets into society in relation to
each other:
VERSIONS OF LEVELS OF LIBERAL/SOCIAL
ARTS OF
Creativity/ Educated Persons History of all 16 in
Discovery (Created Selves) 1st 2 cols.
Design/Invention Creating Selves Literature of
Innovation Creating Careers Philosophy of
Founding Tech Creating Systems Politics of
Ventures
Fashion Creating Others Culture of
(Leading)
Evolution Creating Cultures Design of
Composing Stories, Creating Quality Economics of
Games, etc.
Performing/ Creating Practice of
Exploring Knowledge
(from Greene 2011 and De Tao Master's Academy
2011)

Tools for Non-Narrow: Thinking, Professions,

Academe, & Outcomes
Herbert Simon wrote that exponential increase in
knowledge volume meant professions, disciplines, theories,
and professional people were, relative to the totality of
that knowledge, becoming smaller and smaller fractions,
with severe effects, namely, that all our major problems
fell in the cracks between our increasingly narrow persons,
professionals, and disciplines (Simon 1996). System
science failed as a solution (Bartanlanffry 1969). Total
quality worked better—horizontal processes replacing
vertical ones, continuous improvement replacing giant
innovation leaps, kansei engineering of delight quality
frontiers of customer imaginings of future requirements,
statistical measures replacing management by rank opinion
(Greene 1993; Lillrank & Kano 1989; Ishikawa 1991; Cole
1995, 1999; also in this Encyclopedia see Creativity,
Innovation, and Quality Assurance). Lately systems
engineering has arisen as design of systems of systems
(Maeno, Nishimura, Ohkami 2010; plus Creativity and
Systems Thinking in this Encyclopedia). From these
“binding”-other-fields or Meta-Fields, tools for handling
plural diverse models have arisen (Greene 2010; Nakano,
2011).

Structural cognition (Zwicky 1969, Kintsch 1998, van Dijk

1997, Meyer 1982) is another Meta-Field that addresses this
issue of ever narrower people and professions in a world
where problems are wider and wider. Where ordinary
science seeks one right-y model; structural cognition
identifies diverse repertoires of models that explain a
phenomena, with each model in each repertoire of models
compensating for weaknesses of the other models. In
doing this, Structural Cognition sees itself as midway
between Asian causality (10,000 bee stings to move an
elephant; and Western causality (find the one tipping point
in a system where slight inputs have huge outcomes). Both
aim at predictive capability---but one seeks a single model
while the other seeks diverse well-balanced repertoires of
models.

Structural cognition tools are especially suited to crowd-

source and swarm intelligence arrangements on the web.
The tools encourage application of blends of diverse
models, enabling:
1. more comprehensive coverage of a phenomenon
2. more diverse aspects of a phenomenon distinguished
from each other
3. more detail handled at the same time as more
comprehensiveness is achieved
4. more accurate and localized diagnosis, assessment,
and strategic direction done
5. more adaptive alternative responses and ways to go
at crisis points
6. more common ground possibilities for reducing first
apparent conflicts/differences.

A Creativity Theory Support of Many Diverse

Detailed Creativity Models
Torrance (Torrance 1974) in his famous work to measure
creativity chose three mental capabilities:
1. FLUENCY---the total number of interpretable,
meaningful, relevant ideas generated in
response to a stimulus
2. ORIGINALITY---the statistical rarity of the responses
generated
3. ELABORATION---the amount of detail in responses
generated.
We might, then, ask these three traits of our models of
creativity: 1) how many models do we have and use? 2)
how rare are these models? how diverse from each other
are they? 3) what is the level of detail of elaboration of
each model? Creative modeling of creativity, it would
seem, would involve us in having 1) many 2) diverse 3)
highly-detailed models, not single right-y models of great
abstraction lacking detail and specificity. This little
exercise makes us clear that academia's aim for “rightness”
of model gets in the way of “creativity” of model.
Perhaps, mono-theism drifts into mono-theory-ism,
culturally.

The Idea of a Novelty & Creativity Sciences

School
Colleges and corporations today split the Novelty &
Creativity Sciences into different departments, centers,
sites, and degree programs. No journals reach all
creativity sciences. Therefore, each Novelty & Creativity
Science is being learned, studied, presented, and applied
on its own, for the most part. What might improve were
they all studied, taught, applied together? That is the
concept behind creating a Novelty & Creativity Sciences
School (and Research Center).

The few initial experiments in this direction—primarily at

De Tao Masters Academy in China and Keio in Japan---show
these results:

Ò intense formats—9 Creativity & Novelty Sciences

taught in one 18 day period via 2-consecutive-
days per course (so interactions among them are
intense)
Ò the graduate student insight—students get, after
initial frustration of their habit of seeking one
 right-est model, the insight that no one model is
powerful, unbiased, comprehensive, or accurate
enough to be trusted
Ò discovery of mental hiding places—instead of all
teams depending on “brainstorms” and all
individuals depending on “insights” (see
Brainstorming and Invention and The Role of
Intuition in Creativity), dozens of particular new
ways for new ideas to enter life and work are
found (social design automata, stratified
responding, and others)
Ò what one Novelty-Creativity Science teaches
others—we ask designers to invent and they find
“over-specification” a problem; we ask inventors
to design, and they find “under-specification” a
problem—each develops wider new approaches,
stretched by experience someone else's ways.

Multiple Models from the Practitioner's Point

of View
Industry CEOs find two great weaknesses in single right-y
models: one, it is too risky to assume that “our” present
consultant-academic's model is the right one and all others
are wrong; two, the best most statistically-valid single
right-y models, when fully, expensively, sincerely applied
by competent private sector organizations produce
laughably tiny improvements in creativity. A recent
Harvard article reported copying a Japanese hit product 8
years later as the creative result from changing 40+
environment variables to create a “creative” and
“innovative” environment (see Measurement of
Creativity). Delayed copying is not a robust useful result.
Single models however right-y are usually useless.
SIX META-MODELS
Below 4 levels of repertoires of models (meta-models) are
presented, without discussion—54 Excellence Sciences
(Figure 2) many of which are 18 Novelty & Creativity
Sciences (Figure 3), two of which are 120 Models of
Creativity (Figure 4) and 54 Models of Innovation (Figure 5),
one of the innovation models being 64 Dynamics of Natural
Selection (Figure 6). This demonstrates both vertical and
horizontal dimensions of the structural cognition program
of tools for thinking as broadly as our problems without
losing specificity and application power. All the models
come from 8000+ people from 41 nations and 63 professions
interviewed over a 6 year period, the resulting capability
models linked to nearest-match theories from 4000
research books on Novelty & Creativity Sciences. At first
re-doing Plato by asking high performers in many fields who
was top in their field and how they got to the top,
produced 54 Excellence Sciences in the below table, many
of which were Novelty & Creativity Sciences. The same
data also defined capabilities of highly creative people,
great innovators, great designers, and for the other
sciences.

Meta-Model One: 54 Excellence

Sciences, Some of which are
Novelty & Creativity Sciences too
 Figure 2
54 EXCELLENCE SCIENCES
Routes to the Top of 63 Professions in 41 Nations from
8000+ Respondents
Combining Tacit Knowing, Practical Intelligence, Knowledge Evolution Dynamics,
Declarative & Procedural Knowledge, Theory and Practice Knowledge. Items with an *
have books presenting sets of capabilities that define them.

SOURCE De Tao Masters Academy Creativity & Novelty Sciences Studio

Plan, 2012)
Person Perfor- Adaptation Diversity Reflection Compila-
mance tion
educate diversit structur cases humani betwee

KNOWLEDGE TRAITS
dness* y* e* (social ties & n
(handling & arts of knowled
META-KNOWING
EXPERIENCE

effectiv comple system* theories natural betwee

eness* xity & social n
REALITY

MODEL
BASICS
SELF

(handling science knowled

it) s of ge
creativit error quality expertis knowin categori
y* (handling e g es
it)
professi across
ons & knowled
enginee ge
manage leading artfulnes global humani across
KNOWLEDGE LOCALES

ment & s effectiv ties & cultures

META-DISCIPLINES

function innovati (handling eness arts of

PRODUCTIVITY

manage composi coping power natural across

GLOBALITY
MANAGE

PRODUCE

ment ng/ (handling types & social selves/

STYLE

levels* design* constraints science persona

) s of 1 lities
manage perform paradox morality discipli
ment ing* (handling ne
domains incongrue (establish
ncy) solace
systems) professi across
ons & systems
enginee
 influenc data entrepre fashion practic across
e (collectin neurship (idea/ e: knowled
g sources* method) liberati ge
& on context
analysis) & size

META-PRACTICES
careers* researc manage ecosyst practic across
TRANSFORM
INFLUENCE

(+job h by ems & e: knowled

LEARNING
DISCOVER

CHANGE
finding) (processe events clusters freedo ge
s) (of ideas m& sequenc
& historic e gaps
practices) dreams
technolo venture organiza practice practic across
gy (founding
tional s e: knowled
(social life
)
learning (moveme novelty ge
etc.) nts of conserv surprise
change) ed s&
noticing
novelty s

(from Greene 2011 and De Tao Master's Academy 2011)

Meta-Model Two: 18 Novelty &

Creativity Sciences
The below Figure 3 presents 18 Novelty & Creativity
Sciences in rough order, showing top level relations among
them. Creativity is the root of them all because it is what
generates novelty into them all. The structure of the table
below suggests:
1. that evolution goes on in all Novelty Sciences, that
narration and other liberal-social arts of each Novelty
Science derive from evolution dynamics in each
2. that multiple models of creativity apply to all other
Novelty Sciences
3. that selves and knowledge together capture the
levels Novelty Sciences apply to
4. that experiment & discovery, art & invention,
expression & exploration capture what is applied to
those levels (each of those pairs expressed via
multiple models of creativity involved in them)
5. that 8 Novelty Sciences (creativity, evolution in,
 story-comedy-history-philosophy of, selves,
knowledge, experiment & discovery, art & invention,
expression & exploration) somehow support and apply
to twelve other Novelty Sciences (educatedness,
careers, creating others, systems, cultures, quality,
innovation, ventures, design, composing, fashion,
performing).
6. that it is all about Novelty in the end---each Novelty
Science is about bringing the new into our world
7. that each Novelty Science differs from others in
having a sort of basic direction:
a. tries---in the experimenting and discovery
involved in innovation and venture building
b. builds---in the art and inventing involved when
people design and compose
c. roles---in the expressing and exploring of self and
other involved in fashion and performance
d. formats---in the flows of knowledge in systems,
cultures, and quality achievement
e. persons---making and made in educatedness,
careering, and leadership.

Figure 3
THE 18 NOVELTY & CREATIVITY SCIENCES
Creativity generates Novelty which generates Selves, Knowledge,
Discovery, Invention, and Exploration
SOURCE De Tao Masters Academy Creativity & Novelty Sciences Studio
Plan, 2012)
1) The Liberal Arts of Each Novelty Science EVOLUTIO STORY-
Come from the Evolution, Natural N IN COMEDY-
Selection dynamics, of Each; (Natural HISTORY-
2) Novelty Comes into the World via FIVE Selection PHILOSOPH
Types of Creation and TWELVE Levels of dynamics Y OF
Creation of):
 Educated-
ness (self
creating
persons)
SELVES Careers
Creating
Creators
(Leadership,
Parenting)
Systems
CREATIVITY

KNOW- Cultures
LEDGE Quality
NOVELTY

EXPERI- Innovation
MENT & Ventures
DIS-
COVERY
ART & Design
INVEN- Compose
TION
EXPRES-SION Fashion
& EXPLOR- Perform
ATION

(from Greene 2011 and De Tao Master's Academy 2011)

Meta-Model Three: 120 Models of

Creativity
The table below presents 120 models of creativity. These
came from three sources: 150 eminent creators in 63
professions and 41 nations, 8000 eminent people similarly
distributed, and 4000 books and research articles on
creativity from academics.

There have been some meta-models of creativity model

types: (Harnad 2006) method, memory, magic, mutation
types of creativity theories; (Styhre & Sundgren 2005) 4P
creativity model types: process, person, product, and place
(see Four P's of Creativity). However, the model below of
120 creativity models, is the only published model, derived
from empiric data from creators, yet with nearest match
academic models indicated for each, this comprehensive
and detailed. Remember each of the models named
below, in its full form, printed elsewhere, has 20 to 60
well-ordered components.

Figure 4
120 Models of
Creativity
from 150 Creators, 8000 Eminent People, & 4000 Books and Research Articles
People from 63 diverse professions and 41 nations were sources of the below.
[A book of detailed models for 60 of the models below is available from
scribd.com]
Academic models that correspond with each empirical model below are noted
in each box.
This Model of Models is the basis of a 4 semester course at KEIO SDM in
Creativity Models.
SOURCE De Tao Masters Academy Creativity & Novelty Sciences Studio Plan, 2012)
The Comprehensive First 60 Models The Partial Second 60 Models
Each model below purports to explain Each model below purports to explain SOME
ALL of creativity KINDS of creativity
NOTE a book on all the below was NOTE the below are being tracked closely for
published (Greene 2000) eventual generality
THE SOCIALITIES THE BRAIN MIND EXTENSIONS
OF CREATING MENTALITIES MANAGEMENT OUTSIDE BRAINS
OF CREATING
CATALOG EXPERIMENT SEEK ENTOOL
EXCEPTION MENTAL
OPERATORS
RECOMMENDATIO SOLUTION EVERYMAN DECENTRALIZE
NS create CULTURE SCIENTISTS, INTUITIONS each
creative life (by creators HYPOTHETICALITY group and era has
making interior & articulate to (BAYES) creators its own
exterior room, themselves become aware of characteristic
and embracing their chosen limitations and intuitions, which
paradox enough field as a tendencies in how creators notice
to enable mental failure culture; they view the and reverse or
travel), then they world (what they change; when
accumulate reverse all notice and miss), central control by
subcreations till dimensions that they consciously leaders is
they become characterize seek frameworks assumed, creators
creation machine, that failure for getting beyond imagine many
your creative life culture to those limits in self actors self
uses your creation invent a and others, they organizing without
machne to create solution develop central exchanges
Gardner , culture, which exquisitely precise and specially
Simonton, they then apply and unusual designated
Sternberg, Root- to realize aims hypotheses, then leaders; Resnick,
Bernstein, the field has invent ways to test Papert, Minsky,
failed thus far them; artists do MacDermott
to attain. science. Bayes,
Jonathan Judea Pearl,
Feinstein, Bunge, Sloman,
Greene, Marx, Eamon
Arendt,
TRAITS creators POLICY BY ENDISH MEANS CHANGE MIND MAP
vary via being EXPERIMENT creators embed TOPOLOGY
ingenue, problem creators take ends they aim for creators assimilate
seeking, violating all that exists as in the means they ideas into models
bounds, hypotheses not use to seek those and arrangements
bricolage, then established ends, so that on paper or in
they combine truths, they trying for goals, their minds, but
ideas via play around incrementally they take another
metaphor, with, actuallizes them; step and transfer
abstraction, experiment they liberate whole models of
indexing, and with what now themselves from ideas from one
multiple worlds is, including past ways, then in geometry type to
mappings, then present trends no man's land seek another, viewing
they select and thoughts; out other ones the same set of
combines via they structure liberated from the ideas from diverse
finding saturated work not to same realities, frameworks
fields, countering make systems with some of Herman Hesse,
intuitions, work but to whom they dream T.S. Eliot,
articulating, learn from dreams of a Foucault,
applying aesthetic whether they replacement for Parsons,
rules. Guilford, work or not, old ways. Mao Tse
Sternberg, how the Tung, Joseph
universe Campbell
functions.
Deanna Kuhn
(us as intuitive
scientists)
QUESTION CREATION EXTREME BRIDGE
FINDING EVENTS CONCENTRATIO COMPETING
creators find creators turn NS creators do NETS creators
vital tipping distributed normal just do social
point questions sloppy thoughts, work in this
via finding gaps unorganized feelings, and model: they
(reverse latent actions but put networks of
trends, processes of continue them people and
depersonalize, thinking into to ridiculous thought into
undo intense, extremes which contact that
successes, events, cause them to before were
expand either of two attract great not at all in
models), via ways, by attention and contact, and by
finding points tweaking in change how much
of high parallel frameworks and contact, where,
leverage (fully several expectations of of what sort,
represent, emerging others, being creators create
socially index, processes declared a particular
seek and getting “creative”. flow of ideas.
intersections, them to Arnold Ludwig Ron Burt,
change inter-relate, Gladwell
models), via or by getting
changing the right
representation parties
s of situations together in
(change: the right
measures, context and
scales, causes/ roles.
effects, Greene
models), via
changing logic
(relate, imply,
unify, cross
domains)
Einstein and
Infeld 1938,
Runco
 Chapter Fifteen MODEL
THIRTEEN: Social Models:
the Community of Ideas
Model
Il y a quelque chose en moi,
Au fond de moi, au centre de moi,
Quelque chose d’infiniment aride
Comme le sommet des plus hautes montagnes;
Quelque chose de comparable au point mort
de la retine,
Et sans echo,
Et qui pourtant voit et entend;
Un etre ayant une vie propre, et qui, cepen-
dant,
Vit toute ma vie, et ecoute, impassible,
Tous les bavardages de ma conscience.
There is something in me,
In the deepest part of me, at the center of
me,
Something infinitely barren
Like the tops of the highest mountains;
Something comparable to the blind spot in the
retina,
And with no echo,
And yet which sees and hears;
A being with a life of its own, which nonethe-
less
Lives my whole life, and listens, impassive,
To all the chitchat of my consciousness.
Valery Larbaud, Le Don de Soi-Meme, The Gift
to Oneself,
1950, translation by Padgett and Zavatsky in
the Random House
 Book of 20th Century French Poetry, Random
House, 1982.
...Gardner pointed out two major themes in
the behavior of these creative giants. First,
they tended to have a matrix of support at the
time of their creative breakthroughs. Second,
they tended to drive a “Faustian bargain”
whereby they gave up many of the pleasures
people typically enjoy in life in order to attain
extraordinary success in their careers.
Sternberg, Kaufman, Pretz The Creativity
Conundrum, Psychology Press, 2002
Origin
There appear to be two brains in humans--a calculative sym-
bolic conscious brain and an relational associative uncon-
scious brain. Logic comes from the former; semi-conscious
reverie-produced ideas come from the latter. The neural
net hardware of the brain is basically associative but capa-
ble of symbol manipulation and calculation. These two
brains may be strata of one hardware type--the lower levels
associative and the higher levels symbolic.

We solve problems by formulating them in our conscious

symbolic systems and letting our unconscious associative
systems work on them while we vacation, sleep, or work on
something else. Creative people are adept at these hand-
offs between brain types (whatever that image turns out to
mean neuro-physiologically).

Some theories say that individual thoughts in the brain are

hexagonal regions competing with others to be our next
idea, sensation, action. A kind of Darwinian competition
between possible problems to work on, possible approaches
to solving them, possible solution criteria, possible partial
solutions continually goes on with the fittest idea associa-
tion assemblages getting reproduced over wide brain regions
where they initiate intentional mental or action sequences.
This is not a confirmed theory but it represents edge theo-
rizing based on the sketchy mental hardware knowledge we
have of thought components in the earliest decades of the
21st century.
There are other theories, of creativity, that say that ideas in
the mind associate not just by random associative links or by
Darwinian survival of the fittest competitions but by a host
of other social-like relations between them. These theories
are the Community of Ideas models of creativity. They take
their cue from idea events of different types that occur in
minds--idea markets, idea concerts, idea courts, and the
like. Ideas socialize with other ideas, both due to conscious
effort and on their own, drawn by happenstance, intuition,
unconscious association or the like. In part these theories,
the Community of Ideas models, come from scanning other
models of creativity--some suggest Darwinian competitions
among ideas, some suggest markets among ideas, some sug-
gest cascading social-like movements among ideas, some
suggest ideas that wander around collecting acquaintance
ideas. See enough of such idea-to-idea interrelations scat-
tered to and fro in different models of creativity and you
begin to want to pull it all together by supposing that ideas
associate in various ways with other ideas, those ways hav-
ing certain social-like attributes.

Think about the branching pattern of rivers, and trees, and

blood vessels in bodies. We instantly see them as highly sim-
ilar. We think a little a deduce they result from growth pro-
cesses that are similar--geologic ones similar to biologic
ones. We wonder why a geologic growth process should
resemble a biologic growth process. If irregularities at the
edge of something promote further extension at the point of
some irregularities and not at others, such branching pat-
terns result. This is a small sequence of mental operations:
noticing three things at the same time, noticing similarity
among some not all of their features, distinguishing types
among the three things (geologic and biologic), noticing
growth processes that produce all three, noticing a trait
shared by the growth process of all three. Did we do all
these noticings or did the ideas clump together on their
own? We certainly did not consciously retrieve one idea and
search around for another idea like it. We did something
much faster, more unconscious, more automatic, more intui-
tive than that. But something fast, unconscious, automatic,
and intuitive is done by us or done by something else--our
mind? or by the ideas themselves? The Community of Ideas
model of creativity asserts that it is the ideas themselves
that clump, factor out common factors, categorize, sepa-
rate before us. Asserting an ego in there, an “us” that does
these things is both unnecessary, unscientific, and distract-
ing of what actually goes on. Ideas appear that are similar-
-did a “we” separately go out and retrieve them in turn?
Three ideas before us share an attribute--did a “we” per-
form some perceptual operation and perceive that? It is
almost irrelevant. By dropping the ego and assuming the
ideas interacting among themselves present successive fur-
ther ideas about themselves we lose nothing except mysteri-
ous “ego” done operations which operations themselves are
“unspecified”. This situation is like the quote that begins
this chapter.

Ideas do not only socialize in various ways, according to this

model, but they form enduring “social” structures. In non-
linear system dynamics (a creativity model presented in a
later chapter of this book) there is a famous simulation of
hunter-gatherer computer software agents who have very
rudimentary behaviors and aims, represented in software
form. A million or ten years simulation of a population of
them interacting produces the emergence, unplanned and
unintended (the software agents, afterall, are incapable of
thought) of currency and banking systems with interest rates
on loans--all without a single smart agent “inventing” any of
them. This simulation is revolutionizing the social sciences,
undoing eons of assuming that any social institution requires
a single human somewhere to invent it. From similar think-
ing, the Community of Ideas model of creativity sees inter-
actions among ideas spontaneously, without any intention or
planning being needed, resulting in the emergence of partic-
ular, enduring structures among those ideas. Many creators
report an ecstatic “flow” state where “the universe wrote
through me, I did not write” or “the ideas assembled them-
selves in various configurations in my mind without my inter-
vention”. These subjective experiences in the midst of
creating seem to strongly confirm the Community of Ideas
non-ego assertion that the idea themselves organize, they
self-organize rather than us organizing them.

Model Summary
Creativity starts with ideas associating with other ideas.
Some of those associations turn into idea combinations
wherein ideas actually fuse their separate identities,
becoming one new more nuanced idea. Interactions among
such fused ideas at times spontaneously produce structures
that form among ideas. Humans mostly watch these pro-
cesses going on but occasionally intervene in any of various
ways, mostly by tilting processes spontaneously going on
among ideas in certain directions. Also, the often dump
more effort or subtract effort from idea interaction pro-
cesses before them.

Ideas associate a several different ways, among which are

the following. In idea markets, ideas compete for attract-
ing attention, effort, and other resources. In idea courts,
certain ideas are paraded before others in sequence and the
“judge” ideas are applied to each paraded idea in turn, with
results noted. In idea concerts, several different ideas
interact in the present of large numbers of associated ideas,
sometimes drawing “audience” ideas into their mutual per-
formance. In idea revolutions, the roles among a set of
ideas played by one or more ideas are instead played by a
different set of ideas that replace the old ones. This can
lead to a cascade of similar substitutions in related idea
structures or relationships. Creators report that ideas
dance, associate, appear on their own in exciting configura-
tions with the creator himself intervening, in creative
“flow” experiences.

Idea associations can lead to idea blends, where two or

more ideas fuse into a new idea (identity). Such blends have
important traits among which are the following. The
breadth of ideas blended depends on whether they are
linked by common interests, needs, or capabilities of real
world situations represented as idea intersections. The
depth with which ideas blend is measured by the number of
ideas in a blend, along one dimension, and the number of
associational relations established among each component
idea’s associates and the associates of the other components
ideas. The levels of idea blends are how many boundaries
such blends cross--idea boundaries between clumps of ideas
commonly associated together (like what all males typically
think and do, what all twentieth century people think and
do, and similar clumps). The role blends of blended ideas
are based on what role the ideas play in their own closest
associations. Some ideas play power roles, others play rela-
tional roles, others play task roles, and still others play per-
sonal roles. When power role ideas combine with personal
role ideas the combination is unstable. When power rule
ideas combine with task role ideas, the result is stable, for
example. Creators report that new ideas appear, spontane-
ously, undesigned and unplanned by the creator, during mas-
sive idea association “meetings” of “flow” experiences.

Sometimes, from idea associations and blends, structures

among ideas spontaneously emerge. Such idea structures
have a number of important attributes as follows. The
breadth of an idea structure is the number of ideas in it.
The depth of an idea structure is the number of levels of
abstraction, from most concrete ideas to most abstract cat-
egories including all lower level ideas in a collection. The
depth of processing of ideas is the amount of breadth and
depth covered by a particular operation. The structure
mutation of an idea structure is innovative new ideas cre-
ated by incomplete, erroneous operations applied to idea
structures, such as copying the wrong idea from a structure,
applying a copied idea to an inappropriate target idea, or
improving an idea while applying it. Creators report the
sudden recognition of immense structures and patterns
among ideas, that just “appeared” before them without
effort or plan or intent.
Sometimes, humans while watching all these idea interac-
tions and emergences, choose to intervene, tilting the inter-
idea dynamics in certain wanted directions, or simply tinker-
ing without goal with dynamics to experiment and see what
emerges. This is meta-cognition and it has parameters such
as the following. People monitor the level of interest ideas
or idea interactions have. People monitor the frameworks
applied or constituted by idea interactions. People monitor
the types and depth of idea interactions. People monitor
the underlying general resources of attention, effort, goal
directedness and the like of idea interactions. This includes
monitoring detachment phases and engagement phases
cyclically present in idea interactions, and in personal moni-
toring of idea interactions. Creators report watching ideas
interact for a while then suddenly choosing to intervene to
influence and direct or to experiment with the flow of idea
interaction dynamics.

Key Concepts
Ideas associating with other ideas
idea markets (competitive association)
idea courts (selection)
idea concerts (performing operations on other ideas)
idea revolutions (replacing other ideas in fixed relations , or
replacing relations in fixed structures, or replacing struc-
tures)
subject experience: ideas associating of their own initia-
tive, the creator a spectator
Ideas blending with other ideas
breadth of blend: interests, needs, capabilities
depth of blend: number of ideas
levels of blending: era, nation, gender, domain, approach,
problem
idea role blends: power, role, task, person
subjective experience: idea parents giving birth to new
ideas, unintended by the creator
Spontaneous emergence of structure among ideas
breadth of structure: number of ideas
depth of structure: number of levels of abstraction
depth of processing of ideas
structure mutation (innovation by error) wrong subject,
wrong target, improved while copying
subjective experience: ideas inventing their own structures
of thoughts, without creator intervention
Meta-cognition of human tinkering with idea generated
interactions with ideas
monitor level of interest and problem selection
monitor frameworks tried and standpoint selection
monitor type and depth of idea interaction
monitor cycles of engagement (rational symbolic brain) and
detachment (relational associative brain)
subjective experience: the creator actively consciously
intervening to tilt idea-idea interaction dynamics in certain
preferred directions

The Community of Ideas Model of Creativity

Brain One: calculative, symbolic
conscious software brain

Ladder of Self Emergence

Meta-Cognition experience: idea relations/associa-
tions self-emerge into structures

letting go & observing

monitor interest Structure/Frame
monitor frames used Emergence:
intervention breadth: idea number
monitor interaction structure depth: abstraction levels
type and depth processing depth
structure mutants: copy errors
monitor engagement
detachment cycles
experience: ideas fuse on their
then: intervene own inventing new ideas
to tilt emergent
le
int

outcomes
tti
e rv

ng

Idea Blends:
ent

go
on i

&

breadth: interests, needs, capabilities

ob

depth: idea numbers

ser
intervention

vin

level: era, gender, approach, problem

g

role blends: power, role, task, person Ecstatic

Flow
Experiences
experience: ideas associating on letting go & observing It happened thru me; it
their own, configurations appear used me to “write” etc.
from full engagement
of all capabilities
while shunning all
Idea Associations: faults
Idea Markets
Idea Courts
Idea Concerts The entire above model recurs for problem Brain Two: associative,
Idea Revolutions finding, approach selecting, solution criteria unconscious neural hardware
imagining, partial solution generating, etc. brain
A Note for Grad Students and
Researchers
This might also be called the zazen model of creativity for it
captures the out-of-body experiences of ideas doing things
on their own without the creator consciously intervening.
The quote that begins this chapter captures the mood of this
model well. There is a nice symmetry with meta-cognitive
monitoring and intervening on one side and ecstatic flow
experiences on the other side wherein “it” intervenes in my
mind and processes, the reverse of meta-cognition in which I
intervene in idea to idea processes. Meta-cognition repre-
sents work by our conscious rational symbol-manipulating
“software” brain; ecstatic flow experience represents work
by our unconscious relations associative “hardware” neural
net brain. In between are three successive layers of com-
plexity emergence--associations, blends, and structures.

This model, as diagrammed above, is awfully close to a later

model in the system type part of this book--the Population
Automaton Model. I will not, however, elaborate here the
resemblances. They will be apparent to anyone comparing
the details of the two models. In this sense, this model
could be considered a degree of perceiving dynamics in that
model.

In a way this is one of the better models of the subjective

experiences of creating, honoring both conscious and uncon-
scious mental processes. Many of the preceding models
slighted precisely the subject experiences that make “doing
creativity” more rewarding that “being acclaimed” for a
creation you created (the Calvin Klein quote that starts this
chapter). All the dynamics on the above model occur when
we select problems to work on, when we select solution
approaches to try, when we imagine criteria that define
what a good solution is, when we generate partial solutions
to try and combine, when we ponder what is similar across
multiple failed solution attempts, and so on. This model is
a micro-scale model inspite of its macro-sounding title, for
the community is inside the mind of a creator or inside a
group of people sharing with each other, to some not insig-
nificant extent, ideas in their minds.
The “letting go and observing, needed for flow to occur cor-
respond with well researched phenomena in zen meditation
and high performance sports performance. Self conscious-
ness of automatic routines in sports has been found to sub-
stantially degrade performance, so a single meta-cognitive
intervention, by raising automatic process contents around
it into consciousness can easily undo more good than it does.
That means the letting-go and observing-ideas-doing-their-
thing aspect of this model cannot be slighted or ignored as
subjective, emotional, sentimental slop. It is real. Neuro-
physiology is suspecting that it has to do with letting both
brains do their work by shutting down rational only appara-
tus--just as in earlier models paradox forced turning on the
associative brain.

Model Details
The feel is a rational set up process. We rationally set up
something, then allow its components to interact without
our rational intervention, for the most part, observing things
that emerge. Two different brains or brain modes or
aspects of brains are involved, one conscious, symbolic, cal-
culative, the other unconscious, associative, and rela-
tional. These are not “right” and “left” brains--an old myth
now decrepit. They most likely correspond to rational soft-
ware running on associative hardware. What we observe,
after letting go of rational set up activity is ideas associat-
ing, combining, and bringing forth idea structures on their
own, without us planning, intending, or seeing those ahead
of time. These are three successively larger scale idea
interactions. We move from single ideas suggesting others
to ideas combined to form new composite ideas to compos-
ite ideas arranged in structured relations of association or
operation on each other.

Idea associations of four types are suggested by this model

(though it does not claim completeness of these four). Idea
Markets are where limited effort and attention resources are
allocated to ideas that compete with other potential ideas.
It is an economic demand/supply balance process, a true
market. Each idea that we can potentially invest time,
effort, and care in, may or may not turn out to be worth
that investment. Idea Courts are a bit different. Here it is
not an entire population of ideas competing for scarce
attention and effort resources, but two or three closely
related ideas examined in great precision and thoroughness
from the perspective of some other idea or framework of
ideas (idea structure). Idea Concerts are performance of a
set of ideas, interacting with each other, with an audience
of many other potentially related ideas. As aspects of a par-
ticular idea performance take place, particular audience
ideas become relevant and may join the interaction process.
We display not an idea before other ideas, as in Idea Mar-
kets, but interactions among ideas before other ideas or
idea frameworks, looking for potential new participant ideas
from the audience. Idea Revolutions are where one or more
ideas in an idea structure are completely replaced by differ-
ent ideas. The structural pattern of relations among sur-
rounding ideas may be left entirely untouched by this or may
be modified in desired or surprising ways. Einstein saying
mass is energy and gravity is momentum performed such an
idea revolution.

Idea blends come from how well individual minds are

indexed and how well the many minds of groups of people
are indexed. If I know what different idea assemblages in
my mind need, are capable of, are interested in, just as if I
know those things about people in a society or discipline’s
field, ideas can combine beneficially. Of course inside the
mind “interests, capabilities, and needs” of idea assem-
blages are not quite the same as outside the mind “inter-
ests, capabilities, and needs” or particular people.
However, when those particular people are thinkers, like
me, trying to create something, in the same domain, their
“interests, capabilities, and needs” may be mostly particu-
lar thought and the needs, inside their minds of those
thought assemblages. The depth of an idea blend is simply
how many different idea got fused together in it. “Auto-
matic auto navigation systems” is a combination of four
words that signifies the combination of six or more technolo-
gies, and a dozen or more particular new devices on cars,
put there by two or three dozen different types of company
and government agency working together. It is a constella-
tion of between two and forty ideas, depending on the
framework through which you view it. The level of blending
is the number of idea “boundaries” crossed when some ideas
are fused. If they are separated by era, gender, nation,
organization, solution approach, partial solution type sub-
cultures, then that is a quite high level blend; if they are
separated by mere discipline of origin subculture, than that
is a lower level blend (fewer boundaries crossed). Idea play
roles in idea structures. There are power roles--ideas that
are resources expended by other ideas. There are task
roles--ideas that do particular tasks regardless of context,
there are role roles--ideas that do some tasks when in X con-
text and other roles when in Y context, and there are per-
sonal roles--ideas that care for, repair, and revive other idea
and attempted idea operations. When ideas fit into an idea
structure or fuse with other ideas, the way these types
interact with each other affect the stability and results of
such fitting and fusings.

Idea structures, also called “frames” “frameworks” and

“schemas”, emerge from multiple idea fusings, themselves
fusing. Their breadth is measured by the number of fusings
fused. Their depth is measured by the number of levels of
abstraction represented in their component idea fusions.
The depth of processing of a frame/structure by another
idea is how many such levels it gets applied to in the frame/
structure. Operations that copy or multiply idea structures
occasionally err, missing structural components or mis-relat-
ing correct components--such errors over time become a
type of inadvertent innovation, just as biologic gene muta-
tions occasionally turn out useful (though generally waste-
ful).

Idea associations occasionally fuse into new ideas which

themselves occasionally fuse into idea structures. This hier-
archic process of self organizing into larger and larger scale
idea patterns is done by rational mind set up and occasional
interventions and by unconscious associative mind auto-
matic idea self assembly processes release when conscious
mind processes let go and merely observe ideas configuring
themselves on their own. These two are the meta-cognition
and “flow” components of the Community of Idea model of
creativity. Both meta-cognition and “flow” are out-of-body
experiences, being beyond yourself observing your self--in
order to monitor cognitive process contents for meta-cogni-
tion and in order to let ideas freely associate and combine
for “flow”.

Notice, finally, how this model emphasizes idea associations

not idea competition alone as in Darwinian models of cre-
ativity. That is a point for research, how many different
ways to ideas associate within minds and between minds,
and whether all those ways are competitive or not.

Making Your Self, Your Child, Your

Workgroup Creative
Table 1: Recommendations from the Community of Ideas Model of
Creativity

Levels How tos

Mak- This model suggests balancing your two brains in handling any opportunity
ing for creation. Use your rational conscious mind to set up ideas to interact, then
your withdraw rational involvement and let the ideas themselves do the work.
self cre- Monitor, that is, observe carefully, what emerges from such interactions and
ative tune the interacting itself from time to time to experiment with what can
emerge.

When interesting idea associations appear, by naming them you can turn them
into new concepts. When interesting sets of several such new concepts asso-
ciate, you can, by specifying their inter-idea functional roles and level of
abstraction turn the group of them into an idea structure (or framework).
Such emergent idea frameworks can then be used to interpret and elaborate
the meaning and role of other ideas, associations of ideas, idea fusings, and
idea frameworks.
 Table 1: Recommendations from the Community of Ideas Model of
Creativity

Levels How tos

Mak- Children start life as associative engines. Their brains have too many connec-
ing tions, associating too widely. Their first years are spent figuring out which
your neural connections to cut, not which new ones to make. After ten or so years,
child most of the over-connections have been pruned, introducing the child to an
creative adult learning phase where repeated rehearsal of ideas in different framework
contexts is needed to commit an idea to memory--that is, in order to learn by
establishing new neural connections between ideas. Learning by establishing
new neural connections is slower, harder, more effort-ful than learning in early
life by pruning unneeded neural connections. Both are called “learning” and
many parents and schools do not distinguish these two types. Therefore,
many children, who thrive while learning is effortless pruning, get lazy and
discouraged when learning comes only from making new connections by
repeated rehearsal of associations made. To see millions of kids every year
fail in this transition from connection-pruning learning to connection-making
learning, is sad and tragic. It is also unnecessary. As a parent you can help
your own child make this transition by observing carefully when childhood
ebullience and playful inability to focus gives way to more adult directedness
and interest in repeated effortful action streams to produce some eventual
good result. The child will feel that something wonderful, effortless, and easy
is giving way to something pedestrian, effortful, and hard--that is right but fur-
ther learning all through life requires mastering this new mode of learning by
making deliberately new idea associations.
In the process of teaching this, however, many parents and schools make
another error. They get so wrapped up in conscious control cognition modes
that they neglect entirely the associational machinery underneath and around
it. They forget to use the mind’s ability to freely associate on its own, self
emerging into insight and idea structures that we are as rational planner people
incapable of designing and producing rationally. Thus, at a certain point after
learning-by-deliberate-rehearsing-of-associations has been mastered, you can
re-introduce automatic associating via daydreaming, fantasy imagining, or
sleep work. Using both is best, ultimately.
Learning language is a good example of this. We all marvel as small children pick up
each part of adult language rapidly without formal instruction. If we put them in envi-
ronments that leave out parts of language, we may condemn such children to doing
such language operations in slower effortful software form where other kids do the
same language operations in fast, effortless hardware form. Metaphorical thinking is
one example. If it is omitted from zero to fifteen years, it misses a hardware develop-
ment-by-pruning-excess-connections period, condemning the child to doing it in
slower and more effortful brain software form the rest of their life. Similarly imagina-
tion gets developed as part of brain hardware from the years five to twelve while play-
ing with other children in imaginary worlds. Too much study and missing such play,
and imagination has to be done the rest of one’s life in slow, effortful brain software
form, the proper hardware never having had a chance to develop in the appropriate
childhood window of opportunity. Later, as adults, we augment our sense of vocabu-
lary and grammar with repeated rehearsal efforts, not at all the easy pruning learning of
childhood. Still later, if we become masters of our languages of birth we step back
from repeated rehearsal efforts and slip into childlike imprecise language play modes
of using language--inventing and reinventing things others merely memorize.
 Table 1: Recommendations from the Community of Ideas Model of
Creativity

Levels How tos

Mak- The environment of corporations and government agencies is entirely a ratio-

ing nal conscious mind one. No time or style room is left for the associative brain
your to take over. Such work is actually simply forbidden by most large organiza-
work- tions--hence, creativity is technically speaking impossible in them. Only by
group hiding from these corporate norms biased for using only one half of your brain
creative can you find room to create in. That is unfortunate but real. Even in those
rare cases where formal recognition of the two brain nature of creating is rec-
ognized and some encouragement for it is provided, the people doing the sup-
porting often have minimal exposure to associative brain work and hence,
severely underestimate its power, even while promoting it. They, after all,
grew up in societies and organizations where it was anathema.

Non-american organizations, however, by emphasizing personal relations

(which often degenerate into corruption) manage to keep more room for asso-
ciative mentality at work, allowing creativity that is then undermined by the
lack of a rational planning culture to draw from. The balance swings too far
to the associative and too far from the rational. What it needed is a balance
between them and at times a more severe swing into the one territory or the
other.

Some Personal Stories

I enter writing each chapter of this book with a sixteen item
outline of the model’s main points. Inevitably, as I describe
and diagram these points in writing the first parts of each
chapter, wonderful new insights and ideas emerge, greatly
enriching the final form of the chapter, compared to what
the outline alone contained. I am not talking about explana-
tion and description, example and diagramming, but about
the appearance of genuinely new ideas, that greatly
improve the model and make imagination and use of it bet-
ter. This is a two part process of setting up sixteen ideas,
then, in the course of presenting them, other ideas simply
emerge, unplanned, that greatly improve the quality of the
original sixteen ideas being described. This is the rational
conscious mind setting things up and the unconscious asso-
ciative mind self-organizing into emergent results of high
quality.
Have you ever been in a wonderful discussion in which sud-
denly wonderful idea emerged from the give and take of the
parties involved? Have you ever, while participating in that,
found it highly similar to how idea simply emerge from your
own mind’s contemplation sessions? There are only two or
three people in the world whose minds work on my wave-
length (whatever that is). I am sure there are more but I
have only actually met two or three such people. My think-
ing, when talking to them, speeds up more and more, accel-
erating as we talk, till, literally, my tongue cannot keep up,
it gets cramps trying to form words as fast as my mind wants
to convey them to the other parts. Most of the creative
people I interviewed have one or two such acquaintances--
people discussion with whom vastly speeds up the quantity
and quality of their thought. I have not really sat down and
analyzed this so I am not ready with a theory of how or why
this happens. I suspect, however, that this chapter’s model
of creativity as a Community of Ideas, is a good explanation.

There is a subtle thing when you are a manager--how you

and your staff tend to drift into different roles. Such drift-
ing eventually ruins discussion and work by the group, yet
such drifting is highly encouraged by corporate cultures of
all sorts. Such organizations blindly specialize tasks to
roles--doing so blindly for no other reason than they cannot
conceive of life and work any other way. I noticed how,
when roles specialize, each person in the group no longer
owns and envisions the entire task before the group.
Hence, each person generates pieces with no one fitting
them together (the manager is supposed to exercise
“super””visory” “control”). Suddenly people originally
joined as a neural net of associative freely forming connec-
tions are joined as a machine with one part doing one func-
tion and no others while other parts do other functions and
no others and the “manager” makes all the parts work
together somehow by monitoring everyone and telling
everyone how to relate to other parts and when to change
relations. Managers able to simultaneously manage both
ways--as one node among many in his employee neural asso-
ciative net and as the super visor of machine like function-
ally specialized roles--are rare and successful. Perhaps
because they embody the balance between brain types of
this model of creativity.
During the verbal part of the US college entrance SAT exam,
when doing the metaphor section “Nixon is to rotten cheese
as X is to dog pooh, what is X”, I felt in my head each answer
without reasoning or thinking overt thoughts. I worried
about whether I could trust such simple emergent answers,
without accompanying hard thought. Yet, after the exam
was over, in a few weeks, I found I had a perfect score of
800. My unconscious associative mind was able to calculate
metaphor mappings without the help of my conscious mind.
Learning when you can trust your associative mind and when
you cannot is a tricky business.

My wife at one point was suffering from an incurable terribly

painful disease that millions of other women, but not many
men, suffer from. It is a degenerative disease of the joints.
I read hundreds of medical research articles, in a furious
assault, because modern medicine simply made money off
of these women, offering no cause of the illness, no consis-
tent course of treatment, and no predictable outcome. I
was suspicious from the start because women suffered so
much more than men (might they suffer more from “being
sold” a false story by a profession out to use them, being
more trusting and vulnerable, for money?) I had a hint from
a Wall Street Journal article of a CEO who had a condition
like my wife’s but rejected the physician’s suspiciously
vague diagnosis and prognosis (as a cover for profit-making
in his view) and got a smarter sports physician who cured
him. In other words, modern medicine was purposefully
keeping knowledge minimal about this disease in order to
make money from people, I suspected (knowing the sort of
people who go to medical schools--a dean of the University
of Chicago Medical School told me it had been decades since
he had seen a single student in any medical school inter-
ested in helping patients not bank accounts). This disease is
the single most profitable diagnosis a physician can make in
all of medicine, I have read.

My problem was to learn the cause of the disease and invent

a course of treatment for my wife. My problem in doing
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Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very
People Most Likely to Create

Community
Quality
Cabaret Events
Evolve Cultures by
Managing by Events
Instead of by
Departments or
Processes
There are more and more leadership, man-
agement, and general work functions for
which setting up a department and associ-
ated staff or setting up a process and associ-
ated suppliers and customers of that process
does not work. One reason for this is speed-
-we have to organize to do so many things
today in such small windows-of-opportunity
that we lack the time to set up departments
or process management systems. There-
fore, more and more leadership, manage-
ment and work functions are being done by
events instead of by processes and depart-
ments. This has become a social and techni-
cal “technology” in its own right, with a new
form of event, fractally themed mass work-
shop events, allowing hundreds in a few
hours or days to do work that otherwise
would take small staffs months and years to
do. Not only is speed thusly enhanced, but
since participants, in successive events, par-
ticipate in different ones of the many simul-
taneous workshops going on that use world-
best protocols to produce outputs, organiza-
tional learning and cross-functioning are
enhanced beyond what departments and
processes alone produce. This chapter
introduces managing-by-events, in the form
Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very
People Most Likely to Create

of managing-a-particular-community by a
particular mass workshop event. The poten-
tials of the method as well as care that must
be taken to do it well are both illustrated
herein.
Executing quickly is an essential way of
reducing the complexity from systems
effects, social diversity types, and computa-
tional system types that we face. The
longer a cycle time to produce some result,
the more chance there is for crises, distrac-
tions, changes of value and goal (or person-
nel) to side-track the entire effort. Being
able to execute swiftly yet completely with
good buy-in by many diverse stakeholders
involved is the epitome of managing that
reduces complexity. Events, of the manage-
ment-by-events sort, achieve this.

Community Culture Invention--

Instant Self Anthropology Using
Community Quality Cabarets
A tool that allows communities to recover
parts of their own tradition while inventing
new culture components for dealing with
present challenges is presented herein. Tra-
ditional and aboriginal cultures not effec-
tively, in their own opinion, responding to
the challenges of modernization, too often
are forced into a choice situation, choosing
between traditional culture elements and
foreign culture elements presented by mod-
ernization forces in their midst. A middle
way that recovers and re-interprets tradi-
tional culture components in order to use
them to suggest and guide community
responses to particular modernization chal-
lenges may be needed. The Community
Quality Cabaret described herein allows con-
siderable portions of communities to be
engaged in inventing new images and prac-
tices that re-empower traditions while
Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very
People Most Likely to Create

directing such traditions towards more posi-

tive and effective response to modernization
challenges faced by the community. Use of
this tool in traditional fishing community cul-
ture in Majuro island is reported. How the
tool builds bridges between stakeholders in
conflict within communities is also
described.

The Germ of the Idea

Those of us dealing with the differences of
culture, whether it be gender cultures, sub-
cultures within organization cultures,
national cultures, the cultures of genera-
tions, have occasion to encounter when and
how communities represent to themselves
what their own culture is. This is the role of
anthropology, developed by a community
itself, in the daily life of that community.
Some people and communities seem nearly
entirely unconscious of their culture while
others bandy it about almost as if it were a
collectively agreed on propaganda campaign
to wheel out in every occasion, relevant or
not. Some people sophisticatedly reflect on
their community and see patterns of value
evolution and practice evolution that any
professional anthropologist would call “cul-
ture”. Other people lumber out bigotries of
the most banal sort as their favorite repre-
sentations of “being a group”, “being a
member”, “belonging here”. Some forms of
togetherness seem to mean nothing but the
togetherness itself; other forms of together-
ness seem to be on behalf something worth-
while that people can articulate.
When we succeed in locating when and
where in daily community life a self-con-
sciously built anthropology built by the mem-
bers of that community goes on, it raises the
possibility of that community assessing the
Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very
People Most Likely to Create

satisfactoriness and health of their own cul-

ture, from time to time, and improving it.
While few anthropologists out in the field in
so-called “traditional” cultures have
reported such community built anthropolo-
gies and use of them for self-conscious
improvement of their own cultures, a dis-
cerning look at powerful ethnographies,
already published, reveals possible less con-
scious such representations of culture and
use of them to improve culture (see Eberts,
1995 for an interesting case of Japan gener-
ating new myths of “quality”).

The Long-Term Problem

A major theme in world culture study is tra-
ditional cultures being challenged by mod-
ernization. This can take the form of
missionary-supported destruction of indige-
nous cultures in the name of a “better” for-
eign religion, or less direct undermining of
an aboriginal culture by encroaching eco-
nomically dominant foreign cultures till mass
alcoholism results. Key community dynam-
ics measure the degree of destruction of tra-
ditional cultures thus challenged, such as:
departure of youth for marginal or degrading
occupations in the dominant or encroaching
culture, and undermining of the traditional
male family role model as pride and practical
leadership of males is eroded by foreign cul-
ture values and practices.
A number of types of response of traditional
cultures to modernization culture threats
can be distinguished. Flight from the
present into traditions (the religious right in
the USA), flight from tradition into modernity
(leftist radical undergrounds in the 1960s),
selling out fragments of self to tradition or
modernity piecemeal (the middle class in
most eras), one’s entire tradition “doing”
Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very
People Most Likely to Create

modernization (Japan’s modernization from

Meiji till 1980), and shuffling tradition ele-
ments with modernization elements (the
European Union’s gradual emergence), for
example, are one typology having five types
of response.
In general wherever a forced choice between
staying with one’s traditional culture and
switching to the encroaching modern one
obtains, human suffering and suboptimal cul-
ture interactions are present. The long-term
problem is how traditional cultures and mod-
ernization’s culture can be blended, not
switched among.

The Root Causes of the Long-

Term Problem
The self-negating foundation of Western cul-
ture, as in turn the basis of modernization’s
culture, has long been noticed and written
about (Campbell, 1986). A culture where,
in principle, if we did something X way in the
past, we should do it a different non-X way in
the future, results, some say, from Des-
cartes, Rousseau, Hobbes, Locke, and the
Enlightenment ideal of freely choosing one’s
conditions of life by undoing all those
unfreely chosen parts of one’s self and life
that were built into one while growing up as
a child of a particular culture and commu-
nity. Education as a “leading out” from such
unconsciously made commitments and a
“leading into” freely chosen ones, has been
a Western ideal and a core assumption in
modernization’s culture, worldwide (Berlin,
1991).
In the West as well as in non-Western cul-
tures a counter trend has appeared arguing
that Western (and modernization) culture
has become excessively self-negating (Camp-
Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very
People Most Likely to Create

bell, 1986). Education as indoctrination into

one’s culture and its beliefs replaces educa-
tion as “leading out” from unconscious com-
mitments made in childhood.
A third element, from radical elements, not
necessarily grounded in empirical datasets,
challenges both traditional cultures and mod-
ernization’s cultures as inherently bigoted,
unjust perpetuations of oppression of
females, racial groups, or others. They are
good at challenges and somewhat less con-
vincing as proposers of new cultural values
and practices to move into if we agree to
reject traditional and modernization cultures
(Dawkins, 1998).
In sum, we have self-negating cultures, self-
affirming cultures, and other-negating cul-
tures, at odds with each other. A middle
way among them, if found, would allow them
to benefit from each other’s strengths with-
out being harmed by each other’s weak-
nesses.

The Short-Term Problem

Whether you visit traditional non-Western
cultures or modern Western cultures, around
the world, a need for improving culture
strength and capability appears. Both tradi-
tional and modern cultures are having a hard
time enticing, attracting, and engaging the
interests of their own youth. Both are also
having difficulty encouraging and supporting
their own middle-aged members. A general
need for culture strengthening is quite evi-
dent (Campbell, 1986).
Similarly, both traditional and modern cul-
tures suffer from dysfunctions of value and
practice establishment. Cynical leadership,
defeatist-non-adaptive responses to present
Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very
People Most Likely to Create

challenges, and governments supplanting

civic cultures till they die appear in both.
In sum, we need a tool helping us strengthen
culture and reduce dysfunctional compo-
nents of cultures.

The Roots of the Short-Term

Problem
In both traditional cultures and modern ones
atrophied festivals appear. In traditional
cultures often a split of art forms between
ancient traditions and modern entertain-
ments is found along generational lines. In
modern ones, mass entertainments supplant
local participation in arts and festivals. Peo-
ple get used to coming, sitting, drinking, and
leaving rather than more expressive and per-
sonal forms of participation. Highly paid
professionals at the center get the attention,
attenuating arts, participation, and fellow
feeling in entire populations. Trying to
respond to challenges when only parts of a
society share images, rites, routines, and
practices is often self-destructive.
Most societies see themselves as one culture
rather than a complex mix of clashing cul-
tures. Recent efforts to promote pluralism
and diversity in industrial society workplaces
have their counterparts in traditional cul-
tures that suddenly face caste systems and
other subcultures belying their image of
themselves as uniform and homogeneous.
Trying to respond to challenges as if you
were one culture when you really are two or
more clashing cultures is futile.
Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very
People Most Likely to Create

An Image from History--the Fin

de Siecle Cabaret in Europe
As disaffection with Victorian era culture
increased throughout Europe, disaffected
persons of various sorts found themselves in
small cafes where improvised song, dance,
poetry, drama, and more marginal arts, pup-
petry, shadow theatre, mime, and the like
exposed the contradictions of society in
rude, brute, direct, and strikingly effective
ways. Performances in these cabarets
served as mirrors of happenings in society
ignored by traditional artists, publishers, and
politicians (Segel, 1987).
At the same time on the sides of a mountain
in Switzerland, Asconia (Green, 1986), free
love communities of artists like Kafka, Jung,
Isadora Duncan, Freud, and Hesse, turned
daily life into improvisational art perfor-
mances of people for each other.
As masses of rural folks moved to the cities
before and after the second world war, peo-
ple discovered daily life in the city was per-
formance, with sidewalks and shopping malls
the stages where selves and excellence of
self were displayed (Mumford, 1955).
Mass entertainment industries, after the war,
left ordinary people with a hunger for per-
formance unmet and unasked for in the main
venues of their societies. The global
karaoke boom, instigated by Japanese indus-
trial success, temporarily filled a tiny part of
this hunger of ordinary folk for spaces of
appearance before peers.
In all the above--fin de siecle cabaret, Asco-
nia, sidewalk theatre, and karaoke--images
from traditions were refurbished to relate
them to contemporary issues and happenings
and vice versa, contemporary issues and
happenings were refurbished to relate them
Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very
People Most Likely to Create

to traditions and their values. What would

happen if someone got serious about wrap-
ping traditions in contemporary issues and
wrapping contemporary issues in traditions?
What would happen if one could mobilize all
the latent performers in any community?
What would happen if ordinary residents of
neighborhoods were to invent new images
for their culture’s future based on profound
retellings and refurbishings of their commu-
nity’s traditions? What if the cabaret, a form
combining many arts to mirror society’s situ-
ation and needs, could be re-invented so
that any community in the globe could learn
and apply it to strengthen culture? The rest
of this article explores modifications in fin
de siecle cabaret that may allow it to
strengthen cultures and resolve culture
clashes.

Spaces of Appearance--the Polis-

lessness of Modern and Post-
Modern Life
The idea that people need a political life in
terms of a space of appearing before peers to
show excellence of word and deed, in addi-
tion to a social life of fads, trends, and
classes, and an economic life of jobs, pen-
sions, and currencies was proposed most
acutely by Hannah Arendt (Arendt, 1958).
The polis as such a space of appearance in
ancient Greece, resurrected in the soviets of
the Russian revolution and the democratic
townships of New England, USA, was tragi-
cally the exception, not the rule, in his-
tory. As society grew as a concept and
frame of mind, politics shrank from spaces of
appearing into mere administration of house-
hold affairs of masses of people. People,
uninterested in such administrations of the
Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very
People Most Likely to Create

mundane, shrank from political participa-

tion.
If we created a way for all the members of a
community to regularly perform before their
peers, expressing their own experience in
songs, dramas, comedies of their own devis-
ing, we would be resurrecting the political
from the dead mass of contemporary social
administration. We would be creating a
political aspect to lives up to now wholly
denuded of it.
In Western country relations with East Asian
countries today we frequently find utilitarian
polities challenging theatre state polities
(Pye, 1985; Geertz, 1980). Transparent sys-
tems challenge personalist corrupt systems,
power as practical resource challenges
power as display, government as administra-
tion of households challenges government as
celebration of tribal values. If we created a
way for all members of a community to regu-
larly perform before their peers, we would
be resurrecting theatre state dynamics from
the dead mass of contemporary social admin-
istration.

A Possible Role for Self-

Conscious Anthropologizing of
Self in Healthy Community
Functioning
Awareness of own culture, first of all, helps
achieve alignment among various culture
elements (Bohannan, 1995). One culture
axis is questions of existence, values that
answer those questions, and practices that
embody those values. These may be aligned
better when communities build their own
ethnographic accounts of themselves.
Another culture axis is events, the stories
Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very
People Most Likely to Create

they give rise to, and the practices that arise

from those stories. These may be better
aligned when communities build their own
ethnographic accounts of themselves. The
subcultures of self, gender, age group (gen-
eration), and nation may be better aligned
when communities self-anthropologize.
Another culture axis is own culture, chal-
lenging culture, and non-culture (culture
drop out) or renewed culture as a result.
These may be better aligned when communi-
ties self anthropologize. Alignment here
can be understood using Eckstein’s concept
of anomie (Eckstein, 1955). Where one area
of life is, say, democratic, and another area
bureaucratic, and still another autocratic,
what one learns in one area does not carry
over to other areas, making for alienation
and anomie. Where what one learns in one
area does carry over, anomie is reduced.
Alignment here can be understood as
reduced anomie.
Furthermore, communities given to perpetu-
ating, preserving, and remembering their
traditions and culture may fail to adapt to
their situations via modifying their tradi-
tions, values, and culture to better handle
challenges of the present and near future.
Few communities self consciously thus adapt
their own cultures. Events or tools for doing
so might accelerate or deepen adaptive
responses to present challenges.
Dan Denison examined with good datasets,
the question of whether cultures can be too
weak, too strong, or strengthened (Denison,
1990). He measured the strength of cul-
tures of various corporations, comparing the
resulting strength measures, and measured
the evolving strengthening or weakening of
particular corporate cultures. Involvement
as the degree of knowledge and skill actually
fully deployed in the system, consistency as
Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very
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THE FRACTAL MODELS THAT FOLLOW:

They all concern Social Models of Creativity of the SWARM
across the web, or cascades of standard events across huge
organizations, workforces, and supply chains.
1) 64 Creation Moods-Steps fractal--the pattern within entire
events and fractally embedded within each part of each part of
each event.
2) The Art Creation Process 64 Steps--how ordinary people ana-
lyze changes needed, compose arts to lubricate needed transi-
tions, practice dozens of art acts, and perform 2-3 hour shows
repeatedly till cultures change
3) The 64 Social Processes that go on inside all social units how-
ever diverse or large worldwide--notice the last 16 are the Cre-
ation Power fractal of moods-steps of creating; event design
starts with finding problems/transitions-needed by teams
assigned to EACH of these 64 social process types at a certain
level of an organization.
4) 25 “Art Acts” in any Community Quality Cabaret show of many
arts--each nudging a group towards needed new styles, ways, cul-
ture, values, views, valuations.
5) A 64 steps process by which any group creates such a Commu-
nity Quality Cabaret show of many art acts that change entire
cultures and views and directions regularly.
6) 64 functions of composing and of performing for use in design
and execution of events that thrill audiences and history
7) High Tech Circles, Deep Learning Circles--the wedding of top
USA techs with top JAPAN totalizations of bodies of knowledge by
entire supply chains and organizations.
8) 9 types of reflection and 3 systems of emotions and emotion
flows--for spotting the emotional strata in persons, challenges,
markets, products, workforces, leaders and managing them via
arts and events; unmanaged emotions creates the disasters that
male run groups suffer.
9) The 64 Steps of Social Automata Leadership and the 16 compo-
nents of actual social automata forms of group work shift “lead-
ing” and “managing” from mass subservience to elites to mass
inventiveness from which direction and self-leading emerge
10) The 64 purposes of all arts are what all design works to
include and how artworks/events manage emotion
11) City-fications are how wilds/ventures are turned into homes;
how we see lives in cities and entire cities as INSIGHT PROCESSES
pulsing among opposites.
THESE ARE TOOLS that allow whole new dimensions of creativity,
of the Social Models of Creating, to be set up in entire work-
forces, supply chains, and economies.
Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very
regular exercise, People not
Most done,
Likely to if
Create
your practice environment is
Normalization of Self Editing of Inviting Liberation New Orthodoxy I Write History Emergent Divinity Inspiring Training the World
New Liberation Strained Analogies from Your Just Establishment Emulations
too stable)
Seeking
institutionalizing overweening
continual search analogous
Created Novelty institutionalizing
monitoring of
wanted effectiveness continual moni- writing
of toring & counter- ourselves
history living archetypes replicated
liberation &
immigration
volunteer army
changes found & olympian destiny
institutionalizing freedom

P30
for further debunked ing of erosion forces I guess people like
.. 19.Suddenly
similar revisions
of past
liquefying
leave
editing own ideas
out key
of continual
monitoring &
countering
self criticism
ossification

48
me write it baby revolutions
spawned everywhere
64 acting to revise
society acting to 59 fame 44 haven
members the old
SEEKING of the new
ANALOGOUS
in
and
light
63
SPOTTING tactics--force
60 INSTI- WRITING
MONITOR protect the TUTION- HISTORY “the
OVER- INSTITU- new from the old ALIZE
audience 47
MY
STORY
WITH of the unborn AVATAR COPIOUSLY huddled masses” NEW
“send me your 43
LIBERATIONS Back to Zero WEENING TIONALIZING Socializing COUNTERING DEEDS and ancestors” EXISTENCE COPIED Replicating RECRUITS
stretching
Perusing
Other
Possible
secondary
Surveying Erosion Transformation
Possible Watches rolesErosions tillTransform
Blocked
Status from Humanity’s
Drama Pioneering Demonstra-
HISTORICI- Normalcy Possibility ting
Your Selves Novelty’s
Generosity
Liberations OLD PARADIGM Liberations set up NEW PARADIGM Contribution ZATION A WORLD OF
they
seeing thebecome
REPLACED
world
finding
analogous
entire past differ- parts of the past
monitor-
ing of leading inbeyond
ESTABLISHED OF PERSONS completely LIBERATIONS
erosion counter particular past hierarchy relevant daily lives exported hope limitless sympathy
ently from new needing analogous specific types erosion actions people everywhere seeing all those
performance by themselves
viewpoint liberations
poking society look-
ing for soft spots
investigating each
possible such libera-
keeping watch on
the past
blocking and tackling
the past
new monkeys, new
bananas
my privacy publicized
seeing possibility
where there was none
others trapped in their
selves and lives

(establish dependencies then 46

tion spot 41
61 Defending Global &
62 57 58 45 DAILY POSSIBILITY 42
SEEING WITH ANALOGOUS the Future MONITOR COUNTER POWERLESS TOTAL Historical FOR INVITING
NEW EYES LIBERATIONS EROSIONS EROSIONS PAST RELEVANCE Dreams OTHERS ALL OTHERS
dis-establish
Novelty as Door Agreement them--create
Not Content
Conserving
Liberality Breaking Breaking
Disrupted Immortality Mindlessness Misinterpretations by Bystander Becomes
Local
Loyality Switch Resistence Globality Instructionless Global Last Straw
Masses Conquest Plurality Instructing Generation
the passage the past assimilates
huge repertoire of ways
causes diverseto
the new as it first the new is the miracle MIRACLE my life unity of mankind
appears may only not well CARE of time the new into plural hints of entire experienced in
past frame- systems crumbling of victories
be tip of iceberg defined enough to forgetting of “last works of interpretation becomes teaching shared
the slammed door new future
vision of
of further novelty be consensed on straw” violations one pillar pulled and

succeed)
“oh we used to do the entire ediface becomes archway the garbageman eyes lighting up with
suddenly people must “what was I revolting that all the time” professor
pull the string and stay awake during tumbles into a new world hope worldwide
a new sun appears meetings about” 55
measuring
56 countering COUNTER drama
35
representativeness
39
fragility of INTER- 36 “see what is “show the way” I LEAD
COUNTER eroding powers PRETIVE ENTIRE happening there” SURPRISED
20.See 52 what
the
UNFATHOMED Baby Care
new
others
51
COOPERATION OFFENSE do,
MISFIT FORGETTING
of the past
Distinguishing
ASSIMI- OLD WAY BY
40
I AM
LATION UNDERMINED Whistle Points VICTORY THEWAY Most Individual WORLD
THE
Ecosystems Emotions Breaking Found All Responses Transform- becomes Globalization
improve it radically, Organization thenDependencies copyGoliath
Breaking David vs.
Disrupted Disrupted Inter- Interpersonal Inventions ational Most Social of Local Acts
RISKS OF ASSIMILATION the past the unfair GLOBAL Identity GLOBAL possibilities
the new BIRTH Dependencies THREATS assimilates fight VISIBILITY the POSSIBILITY for everyone
the new
that
counters
improvement--benchmark
all institutional
arrangements
counters all
the past
assimilates the the new procedurally
personal habits new institutionally old things are auto-
unimaginedtactics new personal,
root for the underdog
now changed by
group, mankind what we do here
unhead of acts,
old things are easy matic identities discovered and now
against the best that ever
the old church beside powers that be applied at unheard changing the defini-
to do continually remaking
the cell phone store besides themselves 54 CREATION of places
“I” not inheriting it tion of humanness
COUNTER POWER 33
53 PERSONAL
49
lived,
INSTITUTIONAL
MISFIT not just
50
RELATIONSHIPS
MISFIT
current
INSTITUTIONAL ASSIMILA-
ASSIMILATION TION oppo-
COUNTER PROCESS Steps of Self & AGAINST
Social Change
Invention
ALL
ODDS IMPROVISATION
34
RADICAL
37
I AM THIS
FUTURE
38
I LIBERATE
EVERYONE

nents (never onlyOnslaught

Plural Uniqueness Confirmationlessness Meeting the
copyDeath but
Forcing
the Old
of
Beyond Victory Realized Power from Honor Lauch Initiatives
All
Dreams realization that emergence of
Handle
Consequences
discovery of the whole world start of war of Ways sudden colleague interactions new power beyond risk-filled action
copyother
ones improvements). compro-
liberated as enemy liberation
with friends like you
utterly alone together, who needs enemies the point
refused
they just don’t get
emergence already are your planned or
of a new new envisioned envisioned powers
public world
to realize novelty
pullingbottom cards
mises & threats the story retelling from a house of cards
simultaneous discovery form of happiness the hut is really a
game done with
the rat rejects its if I were to live for castle
16 inventions
cheese 1000 years... 31
FINDING entry to no act of 32 emergence of
THESE 28 emergence of
power from ENACTING 27
ANOTHER man’s land 15 12 rebellion 11 SUPRISED public forms
BEGINNINGS SURPRISED
LIBERATED FIGHTING WANTING WANTING BY of happiness ARE BY nothing THE NEW
Establish Coincidence
ONE
Practically
Impossible
Task
ALL
The
VICTORY Inventing CHALLENGE
Standing
Optimism of Against
Your Self Forcing
Response
HAPPINESS
Settling for
Completely
Expended Life
“flow”
ENDINGS POWER The Promise NOVELTY
Happily Investing
Unhappy All Self,
Land Projecting
New Designs
Impractical Unsettledness
Hopelessness the act of abandon- PIONEEER immolation Time, Past PROMISE work to
UNCERTAINTY courage THE BREAK ment of HAPPINESS POWER fashion
of daily labor to
utter loneliness hopeless odds of saying “no” burned bridges personal happinesses create really new acts and speech to
the road never the outrageous is choosing my destiny, a bull’s eye on my lifestyle goals work as one long vision and realize realize new vision
before taken my normalcy so this is my battle- forehead a cityscape made of party it
sweating inventions fashioning holes in
ground tightropes being
30 25
Discovering 9 RELEASED Obeying CAPTIVATED
10 FROM BY 26
13 14 Liberty HAVING 29 POSSIBILITY FASHIONING
NECESSITY UNSEEABLE SHEER DEFINING ESCAPE FROM PRIVATE Freedom OF NEW THE NEW
FOR ME VICTORY Stopping EXISTENCE MYSELF LIFESTYLES HAPPINESS Spawning NOVELTY NOVELTY
Letting Go of All Letting Go Existence Nothingness Anihilation of All Living in Visions Rethinking Surprise Perceiving Insights as Doors
Provisos & Excuses of Self & Mortality Embraced as Partial Responses All Emergents Not Contents
World Better making & keeping refusal of Natality struggle to
utter despair at tipping point emergence of
something CONSCIOUSNESS absolute promises to each past inside PEACE see and pre- solutions better
continuing, having fundamental end of road releases system- other selves in serve what
a life, as at present in who you are or of existing system/you wide avalanches emerges than imagined
building houses own operations or planned ones
caught in the headlights
what the world is, Alice falls thru the the butterfly flaps one with words reflective garbage in this haystack there
is at fault rabbit hole into wing disposal is a needle, I believe my ideas are birth
house of mirrors another world leavings of the real
ideas
death last straw 7 emergence 24 emergence
4 sentence 8 20 SEPARATING of novelty 23
THIS 3 COMMIT COLLAPSE POSSESSING of colleagues 19 NOVELTY SURPRISED
LIFE IS I AM MY TO OF THE ONLY BEYOND FROM BY
OVER Limitless ENEMY UNKNOWN Absurd OLD SELF HONOR Wealth of the EXCUSES CHAFF From Trying NOVELTY
Mind as Inadequacy Inevitability Forced to Turning Point Forced to Saved by Not Yet Unemcumbered Unemcumbered to Trying Handling
Repeated of Despair Change Radical Dire Thought Actions Essentials
Labor Totalizing Threat MICRO with
repeated DESPAIR exhaustion saturation HOMELESS Change fighting SURVIVAL novel
INSTITUTION Innovations
blocking of all you do for COMMUNITY imagining DEVELOPMENT focus from
intents &
or failure and know end of the road super saturation survivaltogether alternative worlds & means attempted survival struggles
drawing five jacks quicksand, every not even close, miss eleven fingers in the institutions together bricolage a boat made of
move sinks me deeper by a mile dike living fantasy balloons

18 21 22
1 2 5 6 17 VISION BEYOND LIVING
STUBBORN FAILURE OF AT LIMIT OF BEYOND TOUGH TOUGHNESS & SHEER SURVIVING
REALITY ENTIRE SELF TOLERANCE TOLERANCE TOGETHERNESS THE PAST EXPERIMENT EXPERIMENTALLY

Use this personal version

Copyright 2003 ofGreene,
by Richard Tabor theAllRevolution Process
Rights Reserved, US Government to differ from
Registered

your present self = continual growth and becoming gradually a creator!

Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very
People Most Likely to Create
Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very
People Most Likely to Create

New Re- Non-linear Social

Innovative- interpre- Fame Haven System Cellular Secularity Religion
ness tation Dynamics Automata
Process
Conserved Historic
Dream Diversity Symbol
Newness
Utterly Preserva- Drama Showing Fatal Tampering Language Art
New tion the Way Succeeding
Founda- Culture
tion
Initiative No man’s Action Happiness Exercises Meanings BenevolenceStructures
Land
Liberty Freedom Wisdom Style
Miracle Promise Novelty Covenant Skills Knowledge Generations Families

Social
Processes
Innovation Measure- Incentives Consump- Inputs Purposes Opportunity Checks
ment tion
Productivity Distribution Anticipation Welfare
Resource Variation Property Markets Interests Plans Spaces Rights

Economy Polity

Time Technology Quality Systems Norms Laws Mediation Execution

Resources Production Peace Justice

Natural Human Tools Forces Defense Police Legislation Juridication

From Greene, Journal, September, 1997

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 Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very
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43
experience:
author, actor,
audience
P31
GROUNDING
41 performers
audience
as 42
memory: cues:
intellectual, plot, event,
physical, sensual, 44 sense, emotion
emotional
PERFECT PARTS
35 reasonableness 48 character,
39
create & unreas.. omphalotic gesture,
reality of of each role as
structural
script situatn. fragment stance of
life whole performance messge finding of
vs. wanted 45
audience reaction 46 TIMELESSNESS subtext
CONNECTION epiphantic journey
34 till illusion is 37 EXPRESSION
33 celebrate vs. 38
substitute actor
critique the lost personal experience
habits of memory concen-
sing song vs. times see performer 47 expression menu tration
sing piece of life 36 vs. see life 40 produces
block expressing audience
concentration
CREATIVE PERFORMING
11 leader: lead 56 love: disclose 63 sports: 52 game: 27
by follow- Invent: vulnerable
ing society: can vs. war: search
see cognitive self will habit saves heuristics event vs.
eternity but 54 revolution success creates 50 thought
49
53 failure TRAINING plot
go on living COMPASSION
ILLUSORY REALITY high performance: BALANCE 62 business: ROLE EXPRESSES
9 10 historic dream 61 everyman as impression
out of life in community device: performer: interview: permits 25 internalize vs. 26
order to be negative broadcast
liberation read while reality express
in it respond to 55 trade-offs 64 writing 51
live through face vs. mask 28 physical vs.
a role 12 imaginary objects (self vs. tool)
as to real ones DISTINGUISH PERFORMANCES spiritual makeup
DESIGN EMERGENCE 7 artist (singer etc): public speaker: MANAGE PARADOX
3 repeated 60 teach audience 19
it creates 16 find & keep inspira- daily life better self relaxation vs. 32 move audience 23
itself stance mind own
as require- concentra- dead vs. remain
show flow tion performance: ments open-ended tion unmoved rehearsal
consistent (self consc. = tune self & 58 impression fame 57 vs. known 30 alive work vs.
29 performance
creativity 14 NO MIND/OBSTRUCTION 13 environment
choking)
EMPATHY outcome DETACHED ENGAGEMENT work
INSPIRATION ON COMMAND SELF AS TOOL actor: REPETITION calculation vs. RECREATION
1 simultaneous 2 true desire for 5 6 seeming
rehearse vs. 18 21 22
creation
moksha nature of life reality 17
appear warmth create not
release performer message is the 59 imitate
illusion of evalution insight as violinist &
relaxation = fresh vs. improvised spontaneous 31 truth vs. reality private vs.
1st time 4 on cue 15 violin 8 tuning violin repeat 20 vs. script imitation 24 public privacy

128 Ways to Improve the Creativity of Performing and Composing

From Strasberg, Stanislavsky, Sawyer, Gardner, Barthes, Culler, Auerbach, Pinsky, Winters, Eliot
get in touch with get in touch with avoid demon- demonstrate what alternate & separate establish insight & entool to organize 68 entool to capture
best expressions 88 yourself 95 strating the
media by 84
the media can generating 72 production 79 scattered bits alternate chance insights/
in the history themselves make the
communicate 123 and evaluating maintain & disciplines & of various “in the business” inspira-
of your get in touch media collect keep to go beyond
reuse old projects time with tions
field with the lives
85
excel in what 82 help the 81 70
them past practice
86 of your audiences you excel in message cross-
generation
throwaways 69 66 hermit time 65
and how you
FIND CARES excel in it USE MEDIA mentors STRUCTURE FOR
PRODUCTIVITY
after mastering it STRUCTURE FOR
INSIGHT EMERGENCE

get in touch with EXCEL blend the media OPPORTUNITY after your best: EPIPHANTIC
DEVELOPMENT
mix stimulation &
your times 93 set up co-invent 94 roles for synergy EMERGENCE
seek outside opinion 77 target moments 78 formulation spaces
fully meet dialog go beyond
and unlikeli-
hood 121
seed success via
extreme 122 announce when lives
then rewrite setting balance throughout
your own community your field’s productivity & transform structure and each day
87 criteria of
96 past forms of 83 & distri- 71 storyline association; insight 67
excellence excellence
befriend
bution network early and clearly80 and form
124 peers &
CONNECT TO SELF AND AUDIENCE connectors competitors WRESTLE LIFE INTO DIAMONDS
find the rhythms make room for MAKE ROOM FOR EMERGENCE peel back drive your work
of your field 92 76 through one of
arrange for
insight
115 build own
social 128 surprise
strings 119 defenses prefer
clear life’s key
surprising practice movement fragments to moments
90 release of works 89 applying 126 en-school 74 confusing realities 73
foreign 125 bricolage
FIND TIMING frameworks CAREER
EMERGENCE LIFE ANCHOR
All jobs at
let your clear
find the rhythms INSIGHT EMERGENCE match attracted WORK EMERGENCE grasp of a
of your times
113 follow up 114 resources &
118 work are
powerful part
& audiences
keep slight hunches alternate
followers 117
create & plurify of life, not
116 engagement/
plural markets past
works performances
wording,
impress
91 environments 127 simultaneous 120 canibalize
rich & diverse detachment projects
75 as are all
CREATIVE COMPOSING products &
tune the inter- edit out elements drafts for feedback drafts for
delivery of
action of
elements till
good things
104 that don’t
further the 111 from others 100 self edits products.
seed emotive
emerge
point make drafts for 97 Use these to
102 avalanches 101 latent contents 98 impact
of field
VERSIONING
be and make
EDITING explicit

balance unlikeli-
BECOMING
drafts for observing
those
INCOMPARABLE
hood with
comprehen-
responses of
109 fit society best 110 strangers & performances
sability design revision
evaluators
watched, liked,
103 surprises 112 ofofyourcanon 99
field inspiring, & repeated.
PRODUCE Each day your whole LIFE can
anonymous
named tests tests take a MUCH better direction
108
106 IF you PERFORM each day
competitive 105
tests not just react all day to
TESTING others and your own
comparative past self.
tests
107
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9 Specialized Types of Reflection--What They Reflect On and How to Do Them
Husserl and Epoche--Undoing Filters on
Perception
1. what pre-filters our perceptions
1. remove your “knowing a name” for what you now see
2. remove your “knowing a use or purpose” for what you now see
3. remove your “familiarity” with what you now see--artists loved this one
and quickly copied it as an operation in their work, that is, seeing the
familiar as the unfamiliar
4. remove your “you-ness” as what does the seeing
5. remove your “recognition of color, shape, edge, substance, boundary” in
whatever it is you see
6. remove your “era’s categorizations and namings and framings” of what-
ever it is you perceive
7. articulate what is left that you perceive.
8. remove what education taught you to see about what you see
9. remove what parents taught you to see about what you see
10. remove what theories and intellectuals in colleges taught you to see
about what you see
11. remove what your era and culture taught you to see about what you see
12. remove what your gender taught you to see about what you see
13. remove what your personal age taught you to see about what you see
14. articulate what is left that you perceive.
Argyis and Triple Loop Learning--Undo-
ing Frameworks
2. what our theories-in-use are and what they prevent us seeing and
applying
LOOP ONE
1. did we do what we intended to do
2. did we do it the way we intended to do it
3. did we get the outcome we intended to get
LOOP TWO
4. doubt about goals--what unconscious theories-in-use inside us caused us
to choose that particular goal or goal type
5. doubt about methods--what unconscious theories-in-use inside us caused
us to choose that particular method or way
6. doubt about outcomes--what unconscious theories-in-use inside us
caused us to choose that particular outcome or result
LOOP THREE
7. what are all the theories-in-use operating inside us unconsciously
and when and where did we acquire each while growing up
8. what are all the alternatives for each theory-in-use operating inside us,
that we never were exposed to given when and where we grew up.
Emery and Weisbord and Search Confer-
ences--Opening Agendas to Ordinary Peo-
ple
3. what large numbers of us want to talk about and act on
ALL PARTICIPANTS DO ALL THE FOLLOWING:
1. post publically what each participant wants the group to discuss/handle/
treat during its time together
2. group similar such topics into groups that can be treated together as one
3. edit down the list of grouped topics, by identifying all topics that this
group does not really have to deal with in its time together--postpone
absolutely all possible groups of topics that you can
4. assign a treatment for each postponed group of topics
5. assign a person, outside the meeting, to lead some people in applying that
treatment to the postponed group of topics
6. assign people attending to, outside the meeting, handle each and every
postponed group of topics, using the treatment assigned, and follow-
ing the leader assigned
7. include in the beginning of the next event/meeting checking on the doing
of all postponed items
8. assign to all remaining groups of similar topics a way to treat that set of
topics during the meeting
9. assign to all groups of topics having an assigned treatment a person to
lead applying that treatment to that group of topics
10. order all such triplets--a group of topics, an assigned treatment, a per-
son to lead applying that treatment to those topics--by importance, or
priority, or convenience during the meeting
11. start the meeting by turning control over to the leader who leads the
meeting in applying the assigned treatment to the first group of top-
ics in your ordering of triplets.
Morita and Naikan--Recovering Ontologic
Gratitude
4. what basic gratitude for living have we lost and eroded
1. what part of the world were you born and raised in--what economic good
qualities did it have? political ones? cultural ones? social change
ones? what much worse parts of the world were you not born in?
what devastation would having been born there have now produced
in your life--economically? politically? culturally? social change
wise?
2. who fed, clothed, housed, and stopped your bad behaviors as a child?
someone fed, clothed, housed, and stopped bad behaviors enough for
you to make it alive till the present moment--who were those per-
sons? what much worse persons did not raise you--what devastation
of your self and personality do you not have as a result?
3. what value have you contributed to the part of the world that raised you,
to pay it back for the economic value it sustained in you, the political
value it sustained in you, the cultural value it sustained in you, the
social change value it invested in you?
4. what value have you returned to those who fed, clothed, housed, and
stopped bad behaviors in you while growing up, to pay them back for
their care for you, however, imperfect is was?
5. examine each of the last 90 days of your life, using schedule books, notes,
emails, and other documentation: list all those people who made par-
ticular contributions to you during that time, however small--how
many of those people have you repaid by contributing something to
them? how many have you done nothing for? what is the ratio?
6. what are the 20 people who have made the most positive contributions to
your life, whether you have personally met them or not? what exact
contribution did each make? how did it help you?
7. how have you repaid each of those 20? if you have not repaid any of
them, which of them do you owe and what value to you owe to them?
8. in general, have civilization and others contributed more to you than you
have to them or vice versa, have you contributed more to the world
that it has contributed to you?
Goffman and Giddens the Social Construc- Le Chat Noire and Quality Cabaret--Arts
tion of Self--Finding How the Private was Mirroring Our Times
Caused by the Public
5. what private sufferings come really from social causes so we need not
blame ourselves or others
1. sequestration--the illusion of problemless normality
2. specialization--the virtual stupidity of everyone
3. centralization--stripping performance from all ordinary lives, creating
populations of sitters
4. urbanization--generation conflicts as rural trained parents rules urban
raised kids
5. mass media--sexualization and violence-promotion
6. secularization--cocaine addicted rich and elites
7. fundamentalisms--flight to authority just liberated from
8. globalization--relativization of all values
9. identitylessness--reflection load as end of inherited roles means each per-
son eclectically builds own identity repeatedly throughout lifespan
10. relativism--plural frameworks, cultures, viewpoints with no authority
for which should dominate/control which.
Rinzai and Zazen--Watching Our Minds
Work
6. what our own minds do to betray us and make us suffer
1. seeing how your mind generates endless worries, cares, and troubles
2. seeing how your mind’s insistance on generating a “you” that is separate
from all in the universe is the source of all those worries, cares, and
troubles
3. practicing not following what you mind says, when it needlessly generates
worries, and when it needlessly generates a sense of separateness
4. practicing direct unmediated experience of “being the same being as that
chair over there” till discovers immense compassion
5. discovering of immense compassion as one grasps how everyone around
you is torturing themselves every second unnecessarily by following
their own mind’s insistence of seeing themselves and managing them-
selves as separate beings
6. practicing shutting down particular brain modules that implement “sep-
arateness” of being in our brains--the module of “us being behind
our eyes” the module of “us being located inside our bodies” the
module of “us observing a flow of noticings that constitute our sense
of consciousness as a movie of continual changes”
7. direct unmediated experience of the humorous triviality of human
attempts to “be important” when much more importance than any-
thing humans can accomplish is given free to everyone who shuts
down their own mind’s machineries for generating endless separate-
ness and worry--the peace that passeth understanding
8. completely rebuilt role for you on earth of freeing everyone around you
from the illusion that following their own mind’s separateness and
worry generates--the boddisatva.
Thoreau and Utopian Communities--Pure
Doing of Ideas
7. what social compromises and conventions block us from learning
and applying purely some great one idea and what doing that idea
purely can produce
1. extreme communities as training for mind and body
2. extreme communities as pure rather than compromised experiments
with an interesting idea
3. extreme communities as spicing up lives wasted in conformities
4. the economics of fully embodying a particular idea
5. the politics of fully embodying a particular idea
6. the culture of fully embodying a particular idea
7. the social change of fully embodying a particular idea
8. the liberation needed to fully embody a particular idea--liberate yourself
from what
9. the freedom needed to fully embody a particular idea--liberated ones
freely interacting till what emerges that is better than past forms?
10. the historic dream needed to fully embody a particular idea--what deed
by your freely interacting liberated ones now can change the hopes,
dreams, and lives of everyone everywhere
11. the conserving novelty needed to fully embody a particular idea--what
that is new in what you invent has to be protected from what estab-
lished powers from prior forms in society?
8. what the strange happenings of our lives mean and portend, beyond
what we find socially easy and acceptable to admit
1. what is there to see that cultures and traditions prevent people actually
seeing, around us today?
2. what is there to feel that cultures and traditions prevent people actually
feeling, around us today?
3. what is there to do and be that cultures and traditions prevent people
actually doing and being, around us today?
4. what frames do societies and traditions force happenings into that pre-
vent people getting meaning from them?
5. what frames do societies and traditions avoid, fear, stamp out, or remain
completely ignorant of, that offer more meaning that lives now get?
6. what do societies and traditions now call and admit as art, that fails to
make lives understandable and meaningful?
7. what do societies and traditions not now call and admit as art, that does
establish understanding and meaning of what is happening before
us?
8. what theories-in-use in societies and traditions around us, sustain our
deepest problems and cause us to propose as solutions only things
guaranteed to perpetuate our deepest problems?
9. what images, acts, feelings, and frames can be provided to people that
call them out of their existing theories-in-use so they invent new ones
opening them to actually understanding and getting meaning from
what is happening around them?
10. what are all the hidden self interests and sneaky corruptions in society
and traditions that cause them to offer frames and arts for viewing
happenings that distract people from what is there to be seen and felt
and direct them to lesser impressions and images so some private
group can profit or maintain corrupt dyanmics?
Mass Composition and Design--All of Us
Doing What Formerly Was Done Only by
Limited Elites
9. what other proposed inventive ideas miss, leave out, over-do--the
flaws in others’ thinking
1. the power of evolution of ideas--each generation gets evaluated by new
outsiders (votes for best plus rankings of all), and modified by their
editings
looking for idea rankings stables across panelist generations
= the power of plurality, new people equal new perspectives
2. the power of mixing insider and outsider perspectives--each panel
reviews idea of professionals (marketers in the Flores case) mixed
with ideas of outsiders
looking for modification by outsiders of insider ruttedness, looking for
modification by insiders of outsider out-of-contexted-ness
= the power of plurality, new people equals new perspectives
3. the power of participatorily doing what used to be done by elites, restor-
ing composition and design and performance to lives previously
transformed into mere sitters
looking for what the diversity of whole populations can do that elites cannot
do
= power of variety and plurality, new people equals new perspectives.
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Businesses are
American Wide-Open
Businesses to Creativity
are Wide-Open to Creativitybut Forbid,
but Forbid, Avoid,
Avoid, & the
& Expel Expel the Very
Very People Most Likely to Create
People Most Likely to Create Lack of Skills of Spotting Tiny Personal Repertoires
Cognitive Fault Lines 64 Historic Levels of 63 Inducing Higher Quality Improving Production 59 Insincerity: 48 Mismatches: 47
Found and Tripped into Perception/Expression of Requirements in Your 60 Process: and Learning Other Ways: of Thought or Act: 43
Societal Tipping Points: Emotion, Feeling: Customer-Audience: issue responses, 44
lifestyle, family, culture,
roles (reversals) Art reveals our unpre- As we grow older and
Art can reveal new ways
Art can reveal to us the Art can review for us the Art can enlarge your view of work that no one has Responses become habits As we continually change paredness for a world of nearer to death, we find
fault lines in idea terri- history of how people have of what your audience and new values in us that and things around us so diverse values, views, & we occupy a tinier and
tried yet or pioneer lives
tories along which major seen or expressed parts of can aspire to and attempt. of people doing things as things change, gradu- change mismatches appear ways. It shows how we tinier fragment of ways
idea quakes may occur. experience or the world. It can inspire you to lead ally become ineffective where what we provide avoid learning and of being and frameworks
entirely new ways. Seeing
Art shows us tipping By viewing this we can your audience beyond then insincere responses. no longer fits what we or change. It shows how for viewing life. Art
this can cause us to greatly
points where small inputs imagine better percepts or what presently satisfies it. improve how we work or Art reveals how others need. Art reveals hard we work to miss or shows us just how tiny our
have huge It can inspire spur us to attempt our best efforts these emerging slight the ways views, values,
expressions of
outcomes. Beyond our own that you to improve Improve better deeds or intents have Incipient mismatches. of others. Culture and ways are,
make us what your
Quality due to new means unwittingly Edges of as and others who
All
80
creative audiences re-
quires. 79 of getting things become insin-
Consciousness Blindness have larger
selves and lives
contributors. done. cere & ineffec- 75
Art invites us to go Art raises the question 76 What we love the via culture blends.
tive responses.
continually beyond of the quality of all Slight continual in- most, what we are,
Dimensions of all we have seen and Historic Levels Choosing & we see and do, and Mastering 58 Pop Trends: cipient changes go Flight/Fight: 46 Assumed 41 enslaves us, revealed Distaste of or 42
Difference 61 done before. It invites of Improvement Understanding inspires us to improve Changing 45 on all the time, not Goodness of by art that investi- Refusal of
Your Audiences: quite generally the Technologies of seen or named till Born Into:
Analysis: extreme trespass and in Technique: news, music, fears/dreams, gates the certainties Other Cultures:
extrapolation. It shows 62 57 quality of all about Supply and art sees and names self, gender,
Production: lingo, pop threats/chances home, nation, of belief, the costs of
limits to overcome. us. them.
era, profession growing up local.

Art can show the se-
quence of innovations in
a field so we notice the
abstract ways new items
got envisioned and done.
By extrapolating or inter-
polating along those seen
dimensions or inventing
new ones of our own we
become creative contribu-
tors to those fields.
Change Logic: 52 Change
Representation:
Art gives us entirely new
logics by which to link
one thought to another,
revealing new implications
Art gives us entirely new
of existing knowledge
never seen before. These ways to represent things
which changes of repre-
new implications can
uncover new problems to sentation can reveal solu-
tackle or new
solutions to FindNew
well known
problems. Questions
Art can show the abstract Art can reveal audiences Our emotions are also
The basics of the world Our own ways of doing
principles by which all to us, possible audiences, Art can reveal new sub- continually changing,
are continually changing Without examining or are automated by lots of
strates for doing old
techniques in the past were and particular dynamics sensing new fears or
but art updates us, by experiencing the vast practice and lubricated
functions and new functions
improved. By interpolating in such audiences. By possibilities. Art updates
concentrating the slight majority of places, ways by unthinking social sup-
to do with old substrates.
or extrapolating along them doing so it can give us the our emotions by making
and incipient changes in to live, or people we have ports. Others’ ways are
By doing so, art invites us
or inventing new such idea of how to create what large, clear, dramatic,
all domains of life into confidence the way we hard to do, unautomated
to radically renew what
dimensions we those audiences and visible slight
dramatic or funny or were born is best. and unsupported. Art
can become Spawn would value or we do and how we do it, changes in mood
otherwise memorable See
Art attacks this shows how we misinterpret
creators ourselves. Creation
84
admire. turning everything we
attempt into creation.
events. and emotion in
and around us. 83
Better
basic bias/error
in all of us.
that difficulty as error or
weakness or inferiority
Art establishes Art helps us to of others’ ways.
in us all the con- see more and
51 ditions for be- Conquer Emergent Create Creation Machine See Wanted Novelty 36 See Wanted 35 see it more ac- Side-Effects 40 Imbalances Maintained
coming creative. Failures, Manage & Use it to Create: Conserved: Historic Dreams curately. It gives Overwhelm Because Alternatives 39
55
It sets up group Emergent Insights: us more of a Intended Effects: Unknown:
world to be in.
and individual 56
Art can expose us to pre- Art causes us to see true democratized We often do or repeat
creativity.
cisely the creation dyna- novelty, newly born into performing, things because we are
unaware that there are
We design and plan good mics or devices we have this world, as it gets at- We build up our selves
avoided or omitted, there- tacked by established old For eons in rural villages and plans and deeds so alternative values or ways
things but often there
powers-that-be. It reveals all people performed roles much that we continually to be. Art, by showing
emerges something better by pushing us over the
edge from self doubt and the ferocity with which in village festivals, getting are blind to unintended dramatically such alterna-
than we planned, which
hesitancy to bold attempts the old fights against the limelight and attention for effects of our actions much tives often as lived by
tions to long- we miss if we love or
and brazen new. growth. Modern larger than others, reveals
attend to our
standing prob-
plans too well. Create innovations. Missing societies have intended ones. Neurotic
our ways as
lems or new
problems worth Art helps us Creation Polis & lost this till art Art reveals & Paradoxic
traps, & opens

77 tackling. see & value

emergent Capability Limelight
reminds us of
this loss and our
these costs
doing what we
of
74
Goalsus to possible
change.
78 73 Art helps us to see
Art reveals entirely results. need for audience. promise.
Art gives us step by Art lets us see what how we are our own
Find 49 new questions that Find Make 53 step the wherewithal Mental Travel See Wanted we lack, our desire See Wanted 34 The Cost of 37 enemy, how there Contradictory
Opportunity mystify us and change Leverage: 50 Interior & Liberations to perform, the atten- Free Collaborations Talents-- Goals:
to create ourselves. Find Paradox: are costs of our ta- 38
Gaps: what we investigate Exterior 54 33 tion we crave. It re- Neurosis:
It inspires the mental lents and how our
and pursue. Room: minds of liberations
room for imagining goals are contradic-
and changing all. wanted or dreamed of. tory.
Art shows us gaps all Art shows us places where Art can stop the habits Art can transport us men- Giant central broadcast The world comes to us pre- Every talent we have is We want to fit in yet stand
around us that, by filling, small actions can have and priorities of our daily tally and expose paradox industries have stripped structured, so we rarely if developed by focus, which out, we want fame and
we might revolutionize giant disproportionate lives and give us new far and wide to us till we performance from the ever act freely to invent means inattention to other daily anonymity, we want
the world. Art reveals effects. By highlighting physical and emotional re-see the daily lives of new social institutions. matters, the lack of the money and love--our goals
chances to become crea-
tive by spotting and filling
such non-linearities in life
art shows us ways to
space in which imagina-
tion can grow toward full
world and
discover how
The all. So we Art reminds us that all developing
forget what imposing rules and things stitutes the cost of our
of which con- contradict. Art forces us
to see the contradictions in
such gaps. revolutionize knowledge creativity. Art can set us
free of enough to unleash
to create it
anew or pop-
Purposes we seek
liberation
around us finally are made talents--neurosis. We what we want and seek.
are unaware of these costs It forces us to measure the
or deed via minimal but by and sustained by men.
well focussed input. forces of creation in us. ulate it with of All Arts
85
from till Art reminds us it is our of our talents till art forces necessary costs of pursuing
creations we art reminds world to remake, anytime. us to see and feel them or getting what we want.
invent. All arts go beyond limits, us. and their powers.
causing reflection that
lets us see self and world
Cross-Abstraction 16 Cross Discipline & Internal Opportunity: External 11 better, so that we our- Our Selves & Solutions That Perpetuate Minimal Recognition: Minimal Reference:27
15
Metaphoric Combines: Culture Combines: 12 Opportunity: selves become able to World As Our Problems 31 28
create, like the artists Prison: 32 There are edgues to the There are particular ways
Art overcomes the divisions, People tend to call or name
Art stands at very abstract languages, cultures that We can change internally Things may whose works do all this mind’s capabilities, that to refer to something that
viewpoints seeing pattern in ways we are not aware become for us by being creative. our likes, a “solution” only things art explores thoroughly. bring it all back well. Art
forever split us. It binds our fears, guaranteed to perpetuate
and unity missed in our togethew what men split. of or deny. Art shows us possible for Art seeks out what the explores just what these
quotidian busyness of new identities, feelings, us gradually our habits their problems. Art shows
It uses and values diversity slightest sorts of input are ways are, the ideal most
local viewing. Art spots styles, relations, aspira- so we are not this to us, forcing us to that suffice to recall or
that hurts or irritates or compact more suggestive
patterns across widely We erect artificial nice see the bias, bigotry, and
overwhelms us. It presents tions possible now for us aware, or avoid aware- recreate the largest for-
worlds to live our lives in, blindness in our goodness, gotten or denied realities.
powerful representations
separated and and names them ness due to disruption of anything and everything
differing realms. a bigger more so we can costs of real denying most morality, tactics,
It makes the Make diverse world respond to Name New chances for of reality. Art Exchange efforts, and Find the in life. Art
world’s diversity Impossible than we person- them and do Terrors & change. Art reveals this Local for institutions. Minimal seeksthe actively
ally choose to Dreams shrinkage of Distant Art humiliates Essential what slightest
more manage-
able this way. Combinations deal with and
them.
67
names such
building world and Frameworks our solution Traits that way to effectively
68 live in. Gradual incipient experience. attempts. Define 71 refer to something is.
possibility. 72
Our world is split by unnamed things Art lets us view our We love impersona-
Cross 13 all sorts of divisions Cross 14 External 9 grow below the edge Internal 10 Novelty as 29 selves & world using Value of Present Minimal 25 tors and mimes for Minimal 26
Size Scale overcome by art Time Scale Threats: of our awareness Threats: Historic unusual distant Practice from Movements: they exercise our Form:
Combines: that combines what Combines: till art names them Swing from frameworks so we What it Replaced minds’ great powers
in reality is usually and parades them 1 Pole to Other see patterns never 30 of suggestion. Art
never joined. We sense and
before us. seen before. exercises these powers.
peripherally
Art builds bridges between Art stands in timeless see things we are not We threaten ourselves in
The exciting inventions The value in what or how Our minds are highly A photo fragment or long
the tiny and the gigantic, eternal points beyond aware of or can articulate. various ways, make com-
of our time and age seem we do something now may suggestible so that a tiny forgotten news clipping
the eon and the everyday. existence viewing all Art invites us to name promises that erode our
impressively new only lie entirely in what that single gesture can recall can transport us to lost
Art fractally frames and history and possible these incipient feelings. primary images, confidence,
because we forget or practice replaced when an entire person or era eras and places instantly.
spots patterns. It repeats futures. Art plays the New threats may linger and values, waste time or
never learned the past. it was first invented and for us. Art plays with such Art explores the minimal
themes on many size eternal return of on the margins of con- relationships out of fear of
Often radical novelties popularized. Art shows powers of our brains. It traits, smells, colors, or
scales simultaneously. past theme in sciousness till art dying denial, and the like.
are merely swings done us the relativity explores the mini- shapes needed to thusly
future guises. Pierce by naming them
allows us to see
Art lets us name building
over decades from one of values undoing Cause mal gesture needed transport us to large lost
It bridges eons.
Limits and respond to
but subliminal internal
disappointments of our
pole to another of some our absolutizing
polarity, revealed by art. of them in daily
Reflection to recall maximal worlds or persons of
experience.
81 them. selves by ourselves. 82 contents/import.
Art overcomes life. Art is a mirror
the limits in life in which we see
Criteria Divergences: Mood Flaws: and the world self limits: social limits: 7 Anxiety of Existing Gaps: Performance parts of life that Know What You Know What You Know:
tiredness and our selves. 20 Gaps: 19 we normally Do Not Know: 24
virtue, aspiration disagreement, It goes beyond self centeredness, wasted lifespan, 23
4 imagination/mortality, forget or flee.
loneliness, such limits with sin, 8 politicizations,
plan/side-effects need/supply It reflects us to We in daily life conscious-
Our primary group of 3 loss of love herd conformities reality/possibility ourselves.
weakness imagination. ness cannot really know
family and close friends
is the primary barrier to We like to feel in control Art lets us vent frustra- Our consciousness of our We pretend to competence, what we know, feel what
self change/improvement. of self and world so much Art lets us imagine a tion with social limits on selves, our deaths, our We think of ourselves as we experienced, think what
better us and life in which all we aspire to and do. control, influence, trying
They hate it if our criteria we lie to ourselves about limited lifespans, spawns always meeting our needs always to appear more we thought, remember
of performance differ love is true, we do what Art lets us name and mock profound anxieties within or working towards that who we are or who they
it; art lets us see and ad- we promis, and we care but in reality we ignore or important and powerful
from theirs. social harms hiding amid us that we flee or deny than we really were in our lives, till art
mit the gap for others block many of
Art lets us be social goods and or fail to admit. our most impor- are, till art maps journeys
more than we Reveal between what
we really feel
more than
our selves.
Overcome traditions. The Art shows us Admit tant needs. Art brings us face Recall Life’s across our lives
and they now
are.
the and what we Art overcomes Fixed costs of being
social are re-
the true para-
meters of our
Gaps is where we ad- to face with Best & Worst and feelings.
Hidden 69 mit the tinyness all we do not Experiences
65
socially should
feel.
limits from
our selves. Life Limits vealed & refelt lives without
via art.
The gaps in life be- of our lives,deeds. yet control or
flight or denial. tween word and know. 70
66
Personal and social We get tired of this Our experience of
deed, self and other,
Performance factors cause us to physical Self Gaps: immortal imagina- Social Gaps: Know 21 life is so rich we can- Know
Flaws: hide from much of
Goal Flaws: time limits: one world and its
one way of doing, limits: 6 17 tion and mortal 18 Yourself: not bear it in mind
22
greed,
for long, losing aware- Others:
1 reality--art brings 2 death, 5
error, lust Art lets us imagine place, word/deed body, are recalled self/other
us back realities we busyness, ness of it till art lets
mistake other worlds and transport, dream/career by art and admitted. love/care
have hidden from. career us recall its moments.
ways. tree height

People avoid seeing and
admitting error; only
fiction, art, or history
accurately present error.
Comedy and tragedy
are based on making
error visible, felt, pal-
pable.
Time powerfully limits
We paint our faces and
our lives in many ways.
world, always making
Death makes life short
things look better than
and competitive. Busy-
they are, till we forget
ness makes us forget &
how they really are. Our
hurt those we love. Short
real animal nature &
lifespan forces focus and
drives embarrass us, so
choice on us that we often
we hide them till art
dread and delay. Art
reminds us of their power.
reminds us of this all.
We disappoint ourselves We each have a love-hate Music can instantly trans- We have so many exper-
Thru art we imagine port us back to a specific iences, so many places, so
then forget that we do so. relation to society and
beyond the physical wonderful past moment. many other people that
Art recovers these self others. We need them but
limits of our world, and Other arts can also do the constitute us, our lives,
disappointments, these wish independence of them.
create motivation to same. Art indexes our our memory, yet access is
gaps between our social We go beyond them but
invent actual ways to experiences, allowing us hard or impossible till
images and our personal fall behind them too. We
get beyond such limits. instant access to our lives art opens doors to people
realities, our aspirations daily pretend to have no-
Media techhnologies and selves in earlier forms. and places we have forgot.
and our real accomplish- thing but social adequacy
contnually get invented Art is a time machine for
ments. but art forces us to see
to make us present in all the self.
spaces and times. that is mere pretense.

Copyright August 2003 by Richard Tabor Greene, All Rights Reserved, US Government Registered
Businesses are Wide-Open to Creativity but Forbid, Avoid, & Expel the Very

Taking Place: An Idea and Event Architecture for Creative City Theory and Practice
People Most Likely to Create

INSIGHT
Use these to design cities,
businesses, markets,
and to measure how
HUMANE plans from
ATE
UPD feeling
the
alternate
like engagement
with
sudden detachment
frame change
of joke punch-
apply to
DIM
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P37
by deeper functions ever more sequential the stages of
penetration of as new social lines = non- abstract dynamics from
architects and local forms of materials & technical
for
linear system The representations
avalanches Insight self built fractal penetrating any
globality doing them concept & causal culture
planners and performance appear new
till partial Process accumulate
solutions merge failure set
models mapping
what works &
leaders are. as global
benchmarks What to enabled by
functions suddenly into
entiresolution, invert articulate it
and index & spot diamonds
Recognize what does not
in the rough; work, who leads
RIT E

& past standards

Update newmaterials social/tech.l prune failure index richly creations Patterns & who follows
EA US
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demand away to get spec of

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change emerging in locales
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stratify erect
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developers thinking as customer attributes noise responses: city-fy processes blending tune
new ideas requirements: object, emotion, there & missing engines: that mix of

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become customers
NO XPO

paradigms never assume them inter-idea, inter-person, segment, associatn., in places constantly mix cultures/fields/
statistical, of projects appear from past reminding, frame,

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inter-domain, inter- find diverse scales till paradoxes
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complexity, neighborhood, goals interpretation, create

leaders expce. vested for repertoires diversities force thought beyond

ITY
creativity shun
recognize inter-city problems decision
tampering power of modernity
solution amid causes social city types:
of ways to work, = creation
responsibility failures:
clutter & edit solutions revolution monument, polis,
past things carefully till Apply implementatns. steps:liberate, monastery, guilds, continually set up
optimizing Solving for side-effects invested in; nuclear family, kid/
future thing work split, missing full solution errors, results freedom,
historic dream, enterprises, alter update their Foster automation
away flaws not Linearity of their actions powerless- local media, care
ness sequestering
recognize & Fractally anchor past
support search engagement
conserve
novelty
clusters abstract variety Interaction of idea creation via;
masculine fill gaps, bridge nets,
optimizing entire feminine for outside new learnings for times:
part-time,
far-reaching
system Compen- culture’s for own frames at morale of shared-time, Distinguish cognition,
dimensions of promote rebalance emphasis,
energy diagnose flawed style
imbalances sate despairwhi tune efforts progress vacation-time, relationships, orthogonal spot non-linearity,
people role inter-depen- ways of points till failures for fractal justice, disciplines invite out- admit error, invite
flow optimizing dencies benchmark
citying accumulate into socialtraining spaces: etc. so diverse side global skill
idea hierarchy
own subsystem among city ecosystems: ways to citify l learning the despair doorway orchestrate physical, social net, from fields world into local extremes
niches create globally in fractal rhythms temporal, cyber, blends global combine representations:
via harming parts competing new niches new cultures educating
without in cities: so beats
combine into beats ubiquitous invent new quality museums, meets,

SET
for increasing
connected other natural exponential
cognitiveness &
not chaos cultures value meshing benchmarking, etc.
subsystems selection take-off whistle
abstractness
measure of views &
insight goals catch practice
occurrence tune assess
stages: negative, systems point showcase morale
events for on larger
rigorous
grounding of
culture
interactions curriculum that localize inventions cities/firms
Launch Diverse

COM
all parts of cities
social locating great comes from smaller size ideas till new hybrid cultures are
idea diversity as competing
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automata Linearities error

analysis:
manage Tools rigorous invented/
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Types to
ner, trans- liberty, leadership wrong:
problem, Perfect discipline
plural media abstracting
campaigns + compare from cases
whole
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& educating see familiarity, code mix/ processes codevs.
breadth freedom, process viral cause, soln. Executn. stretching projects: Educating balance more via diversityso must
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events models from

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variety of formative historic dream,
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that blend, Tools
mix cultures, plural from uniformity:renew action factors:
micro- growth measures literature,cases, dimen- break
mechanisms/ people who succeed
frameworks conserve novelty institution regimes butterfly of long term standards of current case sions distinguish othernesses into
cultures of: 64 or so
dimensions frames apply process events
Competing have their codes
effects: same execution eras, persons, of abstract (giant)
power: development scale of inputs different
performance on
groups, nations, dimensions innovation homes to entire

ITIO
effects plural size
see bigger Types &
uncovered found for population
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scales professons,
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baby new evolving Natural copied widely
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world indexial system replaces fields high performances code (gene) Processes Selection

The
strategize & posi-
Origins power: tion & fawn to delayed
cause wide
Surprise avalanches
manage by
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expose
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N
procedural find get established block till
side-effects Types recognition/fame
culture from repeated
of own acts authority mixing diversities,
knowing extreme power assigned culture deepening interact, automated conditions & = code replicatn
routines educate mechanisms
seen as
repertoire power: to you attention, unconnected
periodic &
chaotic
of eclectic till certainty
creative evolving rightness erodes
of culture
magic--do the who/how usefullness mesh agenda
new items brain & attractors
reality systems T choice replaces replaced by for customer evolving with innovation
impossible articulative from till partner same complexity rightness regularly updated
menus of diverse invention Establish serving mutation from copy
with ease power: extreme Create so no short cuts
views
fractal Population autonomy inventive
unlikelies
Processes with keep promises rates + human errors =
amazing with liberated
speak ideas via
questionning
question of quality:
ideas, competing for hierarchy of of Strivers interventions mutatn
exactness reflected ferret weak points ones till
only (reflection speak
invent repeats of
ideas by
persons, what? mere fame
works, kills creation ideas
show spaces establish

City-fication
utterly new locate meetings) question as niches funding support reliable
whistle points, you fields, firms,
get others cities, ecosystems
leverage pts., develop skills emerges crystal seed
ideas to ask compete Idea spawning near
& work to extremes: that crystalize
entire fields Indirec- speak via parasitic, Eco- other niches tolerance, future
there index, articulate,
procedure, frame
later
lead by creating
tions deeds that
accumulate
symbiotic, systems
disease density of risk, heresy
variety surrogates that into ideas idea inter-
new ideas action till
the social act for you lead by contexts
setting contexts
combine with chain
old tillexponen- reac- establish
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emphasized
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best events economic community combination

process
Social ones
Processes link school Copyright 2005 by Richard Tabor Greene means:
Ideal sales,
service, Events,
with workplace deploy fns.
30 year produce M by
educative
of other city
good points performance All Rights Reserved, US Government Registered
labs, media, events/ local + forsocial
jobs local global
each

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to line goal: zero= value Automaton
waste, all
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spaces/tools
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reveal Email: richardtgreene@alum.mit.edu value
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respect and jails for applying Creators delayed
educating craft
new local
dimensions wry ironic JIT ction action to procedures from nothing
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to the world of
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using self builtstates are fear/bias toIllusion counter Locality menus of growth stages adult self build your culture’s
enforced problems preachers of individuals new ID via meanings &
fractal models corrections of diverse frameworks publishing, broadcasts, for spirit =
speaking venture capital, globalize science bricolage plurify them find the
adjust previous state, great listening Continuously beyond self
conferences, solace
fractality: exhibitions, systems,
quality with
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social not “right” rewarded and Improve interests only multiply within contests de-status-ing human sizing, value
ing
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existence doorway:
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2 or more levels, festival life, practices tions failings: Cities part of who you
reach goals Present gradually switched comedies
across all levels everyman
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is Only increase spins enforcement
mocking speaking fractal local
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Response cognitive of careful
distinctions: within self performance shops: events, success measures of
local reality TV, existence Dev.t values relativized
simultaneously spot listaudiences limit of system policy
talk as policy interests cafes, clubs,
sister allow
discos, robots, fractal results
satisfy base + tiny frames, contexts: readings, jobs: current, neighborhoods
community creative poise you are by diverse diversities,
debates next prep, career labs, diverse collection till elemental
LF

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self talent costs, dominate 3 Ts: of frameworks self existent
BA

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SE

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self interests chosen, and apply exposed
LA

& religious tolerance,

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NC

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PO

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listener framesManage context kinky off-the- number &
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built message Message receiver welcomed Global spread &

design, of
content using contexts of own not just Creative innovative
included + Context standards production, tolerated Elites arts/ideas/
frame long term beyond Foster subcreating, rising venture
set message programs others’ then till creativity supported lifestyles
to connects to districts
kits sequencing change contexts sincerity Meliorate grow beyond tooled rising global new
to establish around beyond Extremes backgrounds clubbed fields: events,
context issues
CO bridges situations erect into culture of
abstraction
persons,
MM & excusesmultipliers then IZE
funds
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E creation tize
into thousands
GLO

BEYOND
 THE 48 BOOKS OF
RICHARD TABOR
GREENE
ON 10 PAGES

All contents Copyright 2018 by Richard Tabor Greene, Rights Reserved, Government Registered
APPENDIX: 3rd Six Models: Group Models of Creativity P22
The Community of Ideas Model of Creativity The System Model of Creativity Social Automaton Level
Brain One: calculative, symbolic
diversity
conscious software brain Ladder of Self Emergence Tuning connectedness
patchings
Population reflexivity Population
Diversity Reflexivity
experience: idea relations/associa- Dialog Level
Meta-Cognition tions self-emerge into structures

Social Culture

letting go & observing

dialog
monitor interest Trans-
monitor frames used Structure/Frame Psych Person social judgement
group process Work
monitor interaction Emergence: property of groups mission
intervention breadth: idea number
type and depth structure depth: abstraction levels
monitor engagement processing depth Tuning Tuning Tuning Tuning
structure mutants: copy errors
detachment cycles
then: intervene experience: ideas fuse on their Reflexive dialog dialog dialog Reflexive
to tilt emergent own inventing new ideas
Knowing social judgement social judgement social judgement
Knowing
int let Tuning group process group process group process Tuning
outcomes erv tin Level diversity property of groups property of groups property of groups diversity Level
ent gg connectedness connectedness
ion Idea Blends: o& patchings
reflexivity
patchings
reflexivity
breadth: interests, needs, capabilities ob
depth: idea numbers se
rv
intervention

level: era, gender, approach, problem in Tuning Tuning Tuning Tuning

g Ecstatic
role blends: power, role, task, person
Flow
Experiences Power dialog Encounter
experience: ideas associating on It happened thru me; it
Politics Domain social judgement
group process Field the
their own, configurations appear

letting go & observing

used me to “write” etc.
from full engagement
property of groups “Other”
of all capabilities
Idea Associations:
The entire above model recurs for problem while shunning all
faults
Population Population

14
Idea Markets
Connectedness diversity Patchings
Idea Courts
Idea Concerts
Idea Revolutions
finding, approach selecting, solution criteria Brain Two: associative, Tuning connectedness
patchings
unconscious neural hardware reflexivity
imagining, partial solution generating, etc. brain
The Social Computation Model of Creativity The Social Movement Model of Creativity
The Interest Development Process Institutionalize Emergenc
e
Memory
observe dialog evolution in self & others

Th
measure unplanned emergents

eA
Coordination support what emerges

est
Develop Interests encourage being copied and co-opted

ut
find wide

er
Events Profoundly

om
assumption

nt
your agend becomes their agenda
Which of these network

dI
ati
steerage events key to creativity leverage

pe
c
6 do you do? do Production threat

In
event invent events

elo
Overall flow find wide factor of

ter
launch-close events Events

ev
Meta-Cognition anomaly your

est
you not do?

eD
community cabaret network
quality events alternative

Th
expert-novice difference find smallest demo
reverie punctuations best-in-world protocol input that needs
events find deep undoes: negotiate
red team skeptic events & wide assumptions, demo old place for
model building events anomalies, answer your
model using events pent up
Develop & releases inadequacy innovation
result finding events latent pent up
Profound forces
Interests Island forces
Design
(Event) Detect Invent Public Private
Whistle Solving Dialog Dialog
key to creativity
Social Computation Formation Event Design Linking Whistle Seed
Interest Events Strategy Process Events Process Point Point generate & test alternatives demo
Did we get
Release package winner workable negotiate
select island-link type leadership shift spot emergent results build in self replication alternatives blend of
system element uniting simple event sequence the results find find overlap innovations
custmr-producer-supplier determine capabilities pre-, event, post-event select apropos events
all events at once we wanted overlap points of formulate
problem finding workouts set capability deployment fractal themes study event results
sequence of event sets or expected? points of above 3
viable marginals events set initial island-links leadership pairs specify new event types elicited
M
int

horizontal event cascades setup island-link process daily results exchange needing inventing above 3 first
an

periphery legitimate allow

Po

vertical event cascades specify next events supporters

ag

select mediate goals prob/soln call events stealing

e
ing

and
the

What to do next relate normaliza-

wn

point of tion
Meta-Cognition
ov
pa

Research overlap to of your

em
tS

innovation
domain
The Second Discovery--
en

Events
en

tt

dynamics
em

ha

Finding New Things in

tE

research assemblies
ov

me

the Work from How

dM

phone research workout

16
rg

data gathering workouts Others React

es
Fin

data analysis workouts

data challenge workoutss

Input Processor Output

The Space Sharing Model of Creativity The Participatory Art and Design Model of Creativity
Tuning Undo Re-Locus
Community Analysis Spirit

Demytho-
happenstance or intentional
distributed or focal Media logizing
Healing
Art & Performing
Sicknesses assessing media Media Performance
de-center-ing
culture’s personal de-profession-ing
impact;
democratized
incentive meta- demystifying broadcasting,
balances: relationship contributing media De- Undo
traits: messages; Personal local experience
share/hoard ideas, credit, traits: Media- Traditions capture;
converging/diverging distributed/central; structurally
resources, levels of sharing; cumulativeness/dissipation constructive/destructive; trial izing of sincere vs.
adding value/emotive reaction pro-paradigm/con-paradigm;
reading isolations; Lives Anonymity family art
openness & accomplishment; movies/ composing; commercial
sharing mode incentives social vs. indivl. computatn. meta-contributors: rep/faction media experience
issues: content vs. self-improve/tradnl songs/ etc.; challenge audiences;
resource/credit meta-contributions substitutions;
targeting; communicating
isolating hermit ordinary vs.
valid effects; from art to design to invention to discovery persondirected performing;

Creativity
media; input zen; improv
composing;

Space Types:
intellectual
Membership
Types:
attention contributions Space
Sharing
Modes:
collaboration
Audience Composed Myths Becoming a Performer
social Shared rivalry
discourse contributions Extending a Production Process art targeting
toy-play co-discovery net wired fairy tale
operations contributions performer to Wider Populations Causes human needs;
field
meta-contributions models/simulations audience audiences; constraint
antiphony; performance Creation fractal theme
release;
pre-composing expression;
bottom up
Community Spirit Analysis

poetry/song kiosks; novice-expert hero with

composition Pinsky’s performer pairs; 1000 faces;
people’s deploying regular
Space Decor: events; poetry Audience employee-designed emergence
information expansion whole Participation arts annually; of public

18
information reduction audience tooling; Technologies happiness;
information framing personal coached Blends
frame invention internet TV channels; performance as
weekly neighborhood emergence;
comedy nights;
Self New Rules
Creativity Audiences Emergent
Performer
Expression
Rules of
Techniques
Performing Expression
60 CREATIVITY THE SOCIAL
MODELS: Vol. 3 MODELS:
13 to 18 of 60
CONTENTS:
page 4 table of contents
page 5 causal drawing of the 6 catalog models
page 6 covers of Richard’s 48 books
page 16-17 polygon showing all 60 creativity models
page 20 preface--origins, uses, structure of the book
page 43 paragraph summaries of each of 60 models
and references for each
page 101 article, 47 pages on shift from single right-y
models to plural diverse models sets
page 149 chapter fifteen--community of ideas model
page 177 chapter sixteen--system model
page 200 chapter seventeen--social computation model
page 239 chapter eighteen--social movement model
page 269 chapter nineteen--space sharing model
page 299 chapter twenty--participatory art & design
page 353 chapter twenty one--combine social models
page 359 60 model polygon plus assessment table
page 364 800 creativity research references
page 410 causal path drawings of each of the 60 cre-
ativity models, 2 per page
page 444 cabaret and other events of social creativity
page 499 repeat of covers of Richard’s 48 books
page 509 repeat of polygon of all 60 models on 1 page
page 512 backcover

pages unique to this volume, other pages are

repeated contexts so readers can
read any volume in any order.
 “...I put pages of this book in various
&5($7,9,7<
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Are You Creative?
60 Models of Creativity and the 960 Ways to Improve Your Creativity that They Suggest

By Richard Tabor Greene

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Page 32 128 box Recommendations Model Page 579 326 System Effects Hexagons
Page 70 to 74 Scientific Creativity Quad-Hexagons Page 332 Ways Orgs Learn 64 Quad
Page 93 48 Culture Dimensions Triangle
Page 100 Career 64 Quad
Page 114 64 Social Processes Quad
Page 336 Organizing for Meta-Cognition
Page 344 64 Ways Orgs Learn Table
Page 367 Rise of Science Table
Page 376 Knowledge Evolution Hexagon
Page 444 96 Simple Program Intuitions
Page 457 Knowledge Evolution Combined
Page 461 Experiment Hexagon
Page 604 Adjacent Beyond 64 Quads
Page 641 Systems Models Combined
Page 644 Purity Models Hexagon
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Page 260 Cluster Creation Space and combinations dynamics Page 982 Grounding Example Tables for All
Page 281 Social Models Combined of things. p216 p225 of sorts. 60 Models
p206
Page 284 Group Models Hexagon 8 p300 Page 1056 References
Page 329 General Computation
Page 331 Social Process Event Types
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Copyright 2002 by
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US Government
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we could match them by burning
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too hard too various too differ- hope destroying life.”
ent ideas. What does Greene Hardish Q R Pipplescoop, Director,
think he is? Why can’t he FBI Center for Presidential Asskissing.
think and write what the rest
of us already believe? Does “...not a single thought in this book,
he think he is too good for out of the thousands and thousands
the fine ideas I have bandy- of thoughts in it, matched what I
ed about decade after decade?” already think---what is the point of
Fred Sucks-at-Life, Greatest putting out good money for books
Consumer of Toilet Paper in with none of my own ideas in them?”
West Texas Idio Itpyuke Iqsearch, Master of the
Universe, Goldman Sacks, Theft
“As a NASA scientist I kind of Coverup Division, Bariboo, Wisconsin
take a planetary view of this
book--it is clear that books “For scores and seven years aho we
like this may be a prime Americans gathered forth on this
expalantion for why many counter-top these principles, that
planets fail to develop life.” men shall be free, every once in a
Roger Unfunded, Rockets R while and serve the elites, their
US, Founder. betters by grovelling for poorly paid
jobs that shrink yearly...this book
has too little interest in greeds.”