Creativity: Flow and the Psychology of Discovery and by Mihály Csíkszentmihályi

By Mihály Csíkszentmihályi

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Creativity is set taking pictures these moments that make lifestyles worthy dwelling. The author's target is to provide an realizing of what results in those moments, be it the buzz of the artist on the easel or the scientist within the lab, in order that wisdom can be utilized to complement people's lives. Drawing on a hundred interviews with remarkable humans, from biologists and physicists to politicians and company leaders, poets and artists, in addition to his 30 years of study at the topic, Csikszentmihalyi makes use of his recognized conception to discover the inventive strategy. He discusses such rules as why inventive everyone is frequently visible as egocentric and boastful, and why the tortured genius is essentially a fable. most crucial, he in actual fact explains why creativity has to be cultivated and is critical for the way forward for our kingdom, if no longer the area.

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Sample text

You would think that given its importance, creativity would have a high priority among our concerns. And in fact there is a lot of lip service paid to it. But if we look at the reality, we see a different picture. Basic scientific research is minimized in favor of immediate practical applications. The arts are increasingly seen as dispensable luxuries that must prove their worth in the impersonal mass market. In one company after another, as downsizing continues, one hears CEOs report that this is not an age for innovators but for bookkeepers, not a climate for building and risking but for cutting expenses.

Yet many social scientists in the last hundred years have made it their task to expose the hypocrisy, self-delusion, and self-interest underlying human behavior traits that were never questioned scientifically before the end of the nineteenth century. Poets like Dante or Chaucer were of course intimately acquainted with the foibles of human nature. But it was not until Freud explained the possibility of repression, Marx argued the power of false consciousness, and sociobiologists showed how our actions are the outcome of selective pressures that we had systematic insights into why our reports about ourselves may be so deceptive.

There is nothing wrong with defining creativity this way, as long as we realize that this is not at all what the term originally was supposed to mean—namely, to bring into existence something genuinely new that is valued enough to be added to the culture. On the other hand, if we decide that social confirmation is necessary for something to be called creative, the definition must encompass more than the individual. What counts then is whether the inner certitude is validated by the appropriate experts—such as the editors of the publishing house in the case of far-out manuscripts, or other scientists in the case of cold fusion.

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