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The End of 'Genius' - NYTimes.com - 0 views

www.nytimes.com/...the-end-of-genius.html TOK creativity genius
shared by markfrankel18 on 20 Jul 14 - No Cached
  • WHERE does creativity come from? For centuries, we’ve had a clear answer: the lone genius. The idea of the solitary creator is such a common feature of our cultural landscape (as with Newton and the falling apple) that we easily forget it’s an idea in the first place.But the lone genius is a myth that has outlived its usefulness. Fortunately, a more truthful model is emerging: the creative network, as with the crowd-sourced Wikipedia or the writer’s room at “The Daily Show” or — the real heart of creativity — the intimate exchange of the creative pair, such as John Lennon and Paul McCartney and myriad other examples with which we’ve yet to fully reckon.
  • The pair is the primary creative unit — not just because pairs produce such a staggering amount of work but also because they help us to grasp the concept of dialectical exchange. At its heart, the creative process itself is about a push and pull between two entities, two cultures or traditions, or two people, or even a single person and the voice inside her head.
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Creativity Creep - The New Yorker - 3 views

www.newyorker.com/...creativity-creep creativity TOK arts language
shared by markfrankel18 on 04 Sep 14 - Cached
  • How did we come to care so much about creativity? The language surrounding it, of unleashing, unlocking, awakening, developing, flowing, and so on, makes it sound like an organic and primordial part of ourselves which we must set free—something with which it’s natural to be preoccupied. But it wasn’t always so; people didn’t always care so much about, or even think in terms of, creativity.
  • It was Romanticism, in the late eighteenth and early nineteenth centuries, which took the imagination and elevated it, giving us the “creative imagination.”
  • How did creativity transform from a way of being to a way of doing? The answer, essentially, is that it became a scientific subject, rather than a philosophical one.
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  • All of this measuring and sorting has changed the way we think about creativity. For the Romantics, creativity’s center of gravity was in the mind. But for us, it’s in whatever the mind decides to share—that is, in the product. It’s not enough for a person to be “imaginative” or “creative” in her own consciousness. We want to know that the product she produces is, in some sense, “actually” creative; that the creative process has come to a workable conclusion. To today’s creativity researchers, the “self-styled creative person,” with his inner, unverifiable, possibly unproductive creativity, is a kind of bogeyman; a great deal of time is spent trampling on the scarf of the lone, Romantic genius. Instead, attention is paid to the systems of influence, partnership, power, funding, and reception that surround creativity—the social structures, in other words, that enable managers to reap the fruits of creative labor. Often, this is imagined to be some sort of victory over Romanticism and its fusty, pretentious, élitist ideas about creativity.
  • But this kind of thinking misses the point of the Romantic creative imagination. The Romantics weren’t obsessed with who created what, because they thought you could be creative without “creating” anything other than the liveliness in your own head.
  • It sounds bizarre, in some ways, to talk about creativity apart from the creation of a product. But that remoteness and strangeness is actually a measure of how much our sense of creativity has taken on the cast of our market-driven age
  • Thus the rush, in my pile of creativity books, to reconceive every kind of life style as essentially creative—to argue that you can “unleash your creativity” as an investor, a writer, a chemist, a teacher, an athlete, or a coach.
  • Among the many things we lost when we abandoned the Romantic idea of creativity, the most valuable may have been the idea of creativity’s stillness. If you’re really creative, really imaginative, you don’t have to make things. You just have to live, observe, think, and feel.
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Picasso = Genius: This algorithm can judge "creativity" in art as well as the experts - 1 views

qz.com/...-in-art-as-well-as-the-experts TOK arts
shared by markfrankel18 on 12 Jun 15 - No Cached
  • markfrankel18 on 12 Jun 15
     
    Art is seen as unquantifiable. Great paintings are creative forces that transcend their brush strokes, colors, and compositions. They can't be reduced to mere data, analyzed, and ranked by their creativity. Two computer scientists at Rutgers University respectfully disagree. Ahmed Elgammal and Babak Saleh created an algorithm that they say measures the originality and influence of artworks by using...
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What's in a Brand Name? - The New Yorker - 1 views

www.newyorker.com/...whats-in-a-brand-name language emotion economics linguistic determinism connotation
shared by Lawrence Hrubes on 11 Nov 16 - No Cached
  • There are various ways a corporate name can seem apposite. In the case of existing words, connotations are crucial: a Corvette is a light, speedy attack ship; Tesla was an inventor of genius. Made-up names often rely instead on resonances with other words: Lexus evokes luxurious; Viagra conjures virility and vitality. Bad names bring the wrong associations to consumers’ minds. In the nineteen-eighties, United Airlines tried to turn itself into a diversified travel company called Allegis. The move was a fiasco. No less an authority than Donald Trump (whose faith in brand-name power is total) said that the name sounded “like the next world-class disease.”
  • A philosopher called Hermogenes argues that the relationship between a word and its meaning is purely arbitrary; Cratylus, another philosopher, disagrees; and Socrates eventually concludes that there is sometimes a connection between meaning and sound. Linguistics has mostly taken Hermogenes’ side, but, in the past eighty years, a field of research called phonetic symbolism has shown that Cratylus was on to something.
  • Remarkably, some of these phonemic associations seem to be consistent across many languages. That’s good news for multinationals: research shows that if customers feel your name is a good fit they’ll remember it better and even like it more.
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  • Over time, corporate naming has developed certain conventions: alliteration and vowel repetition are good. “X” and “z” are held to be memorable and redolent of speed and fluidity. The letter “x” occurs sixteen times as often in drug names as in other English words; “z” occurs eighteen times as often.
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Adam Gopnik: What Galileo Saw : The New Yorker - 0 views

www.newyorker.com/...130211crat_atlarge_gopnik TOK science
shared by markfrankel18 on 24 Sep 13 - Cached
  • It may be no accident that so many of the great scientists really have followed Galileo, in ducking and avoiding the consequences of what they discovered. In the roster of genius, evasion of worldly responsibility seems practically a fixed theme. Newton escaped the world through nuttiness, Darwin through elaborate evasive courtesies and by farming out the politics to Huxley. Heisenberg’s uncertainty was political—he did nuclear-fission research for Hitler—as well as quantum-mechanical. Science demands heroic minds, but not heroic morals. It’s one of the things that make it move. ♦
  • Lawrence Hrubes on 24 Sep 13
     
    "Kepler encouraged Galileo to announce publicly his agreement with the sun-centered cosmology of the Polish astronomer monk Copernik, better known to history by the far less euphonious, Latinized name of Copernicus. His system, which greatly eased astronomical calculation, had been published in 1543, to little ideological agitation. It was only half a century later, as the consequences of pushing the earth out into plebeian orbit dawned on the priests, that it became too hot to handle, or even touch."
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BBC - Future - Science & Environment - Why science needs imagination and beauty - 0 views

www.bbc.com/...cret-to-thinking-like-a-genius TOK science physics imagination beauty
shared by Lawrence Hrubes on 29 Nov 13 - No Cached
  • Lawrence Hrubes on 29 Nov 13
     
    "Albert Einstein famously said: "Imagination is more important than knowledge." They're both important, says physicist and Nobel Prize recipient Frank Wilczek, but knowledge without imagination is barren. Take his subject of theoretical physics. As Wilczek says a lot of what you do is to try to understand Mother Nature's mind and her sense of beauty to see how the laws of physics could be more beautiful."
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My Great-Great-Aunt Discovered Francium. And It Killed Her. - NYTimes.com - 0 views

www.nytimes.com/...rancium-and-it-killed-her.html TOK science chemistry physics ethics health
shared by Lawrence Hrubes on 04 Dec 14 - No Cached
  • There is a common narrative in science of the tragic genius who suffers for a great reward, and the tale of Curie, who died from exposure to radiation as a result of her pioneering work, is one of the most famous. There is a sense of grandeur in the idea that paying heavily is a means of advancing knowledge. But in truth, you can’t control what it is that you find — whether you’ve sacrificed your health for it, or simply years of your time.
  • How quickly an element decayed and how it did so — meaning which of its component parts it shed — became the focus of researchers in radioactivity. Apart from purely scientific insights, there was a hope that radiation could lead to something marvelous. X-rays, a kind of radiation discovered by Wilhelm Roentgen and produced by accelerated electrons, had already been hailed as a major medical breakthrough and, in addition to showing doctors their patients’ insides, were being investigated as a treatment for skin lesions from tuberculosis and lupus. In her 1904 book “Investigations on Radioactive Substances,” Marie Curie wrote that radium had promise, too — diseased skin exposed to it later regrew in a healthy state. Radium’s curious ability to destroy tissue was being turned against cancer, with doctors sewing capsules of radium into the surgical wounds of cancer patients (including Henrietta Lacks, whose cells are used today in research). This enthusiasm for radioactivity was not confined to the doctor’s office. The element was in face creams, tonics, even candy. According to the Encyclopaedia Britannica article that Curie and her daughter wrote on radium in 1926, preliminary experiments suggested that radium could even improve the quality of soil.
  • Perhaps the most tragic demonstration of this involved workers at the United States Radium Corporation factory in Orange, N.J., which in 1917 began hiring young women to paint watch faces with glow-in-the-dark radium paint. The workers were told that the paint was harmless and were encouraged to lick the paintbrushes to make them pointy enough to inscribe small numbers. In the years that followed, the women began to suffer ghoulish physical deterioration. Their jaws melted and ballooned into masses of tumors larger than fists, and cancers riddled their bodies. They developed anemia and necrosis. The sensational court case started — and won — by the dying Radium Girls, as they were called, is a landmark in the history of occupational health. It was settled in June 1928, four months before Marguerite Perey arrived at the Radium Institute to begin a 30-year career of heavy exposure to radiation.
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  • We know now that alpha and beta particles emitted in radiation attack DNA and that the mutations they cause can lead to cancer. Ingested radioactive elements can concentrate in the bones, where they continue their decay, in effect poisoning someone for as long as that person lives. By the time Perey made her discovery, she was already heavily contaminated. She spent the last 15 years of her life in treatment for a gruesome bone cancer that spread throughout her body, claiming her eyesight, pieces of her hand and most of the years in which she had planned to study francium. As the disease progressed, she warned her students of the horrible consequences of radiation exposure. Francis, my grandfather, says he recalls hearing that when she walked into labs with radiation counters in her later years, they would go off.
  • Over the years, historians have pondered what drove the Curies to throw caution so thoroughly to the wind. Perhaps it was inconceivable to them that the benefits of their research would not outweigh the risks to themselves and their employees. In a field in which groundbreaking discoveries were being made and the competition might arrive there first, speed was put above other concerns, Rona noted. But you almost get the impression that in the Curie lab, dedication to science was demonstrated by a willingness to poison yourself — as if what made a person’s research meaningful were the sacrifices made in the effort to learn something new.
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BBC - Future - Languages: Why we must save dying tongues - 1 views

www.bbc.com/...y-we-must-save-dying-languages TOK language indigenous knowledge systems culture diver
shared by Lawrence Hrubes on 10 Jun 14 - No Cached
  • Just as ecosystems provide a wealth of services for humanity – some known, others unacknowledged or yet to be discovered – languages, too, are ripe with possibility. They contain an accumulated body of knowledge, including about geography, zoology, mathematics, navigation, astronomy, pharmacology, botany, meteorology and more. In the case of Cherokee, that language was born of thousands of years spent inhabiting the southern Appalachia Mountains. Cherokee words exist for every last berry, stem, frond and toadstool in the region, and those names also convey what kind of properties that object might have – whether it’s edible, poisonous or has some medicinal value. “No culture has a monopoly on human genius, and we never know where the next brilliant idea may come from,” Harrison says. “We lose ancient knowledge if we lose languages.”
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