Brent+Becker

=Assignment #1: Scavenger Hunt with Project= -Brent: On-screen narration of description of assignment and invitation along the adventure of the hunt -Begin song: “Beautiful Day” (with subtitle of favorite singer—Bono singing about it): montage of various elements without subtitles: pictures, shots of kids playing in the fountain, couples dancing, slushee maker going, various scenes over the course of the song -Pan to shot of mountains around the city and move to shots of various scenes from life in the city -Pan to shot of foothills and activity -Shots of telephone and power lines everywhere. Shots of garbage in the trees and broken sidewalks. -Cut to shot of bike and being chained to the telephone pole. Next have the shot of trenches and Brent’s on-screen narration describing the solution that is being provided by burying the cables underground. -Cut to shot of woman sharpening her knife on the sidewalk, the guy sitting in the truck while driving, the bicycle that drives the shaved ice maker and the disabled man using the bench as a footrest. -Cut to scene of ice cream shop and cue Mozart music -Cut to scene of music stage with overlay of Jillian reading “All the world’s a stage…seven stages.” -Cut to scene of lion in the parking lot, taxi on the wall as part of advertisement, men working on construction and using the portable outhouse. -Include pictures of different individuals to match the people mentioned in the narration. -Cut to interview with shaved ice maker and his input. Man: This syrup is made out of sugar. We buy 5 kilos and cook it for about a half hour, we add food coloring in after that. Gabby: That’s the syrup? Man: Yes, that’s the syrup. Gabby: And how do make the slushy? Man: We buy the ice, and work with that. We buy the straw, the cup, the milk and that’s what we work with. Gabby: Could you make one for us? Man: Sure. Maggy: Could you tell us how you make it? What you put on it? Man: This is how we prepare it. We add the mint. This is mint, orange, strawberry. Gabby: Why do you use these flavors? Do you have more or are they always the same? Man: This is strawberry, orange and mint. Gabby: Do you always use the same flavors? Man: Yes, always three flavors. Gabby: When do you come out to sell? Man: Everyday. Everyday we come out to sell. Gabby: At what time do you come out to sell? Man: At 8:00 until 6:00 Gabby: What do you do when it rains? Man: When it rains we have no work. Gabby: Why did you decide to do this? Man: We started to do what we saw someone else do. We saw him so we bought this cart so we could work. Gabby: Thank you!
 * Scavenger Hunt Movie Script: **
 * Opening section:** Montage of scenes from scavenger hunt to upbeat and intense music
 * Narration**: “Quito, a city caught in the middle of the creative process. Creation surrounds it, the natural landscape rising up as a sentinel of truth, proclaiming its enduring presence through countless generations.”
 * Narration**: “And at its foothills, people seek to create.”
 * Narration:** “Problems surface.”
 * Narration**: “The problems surface, but as they do creativity finds new avenues for solutions.”
 * Narration:** “People take the seemingly ordinary and represent its diversity, finding multiple and various uses all along the way.”
 * Narration:** “Music flows from the summit down through the streets and into shops, lilting in the laughs of children or blaring from the bursts of color and flavor around us. It is the stuff of great composers like Mozart.”
 * Narration**: “Sounds become words become ideas become city parks and art walks and rock concerts. It is fodder for great writers, such as Shakespeare.”
 * Narration:** “Everywhere around us. Art. Creation. Even in some of the unlikeliest places.”
 * Narration:** “Artists and musicians and playwrights and construction workers and dancers and lovers and children and shaved ice makers all blending together in a concerted movement, a rhythmic expression of life, a tapestry of chaos on one side, turned over to reveal beauty and order and purpose.”

CAN'T SAY THIS GUY WAS CREATIVE. BUT I DID LOVE YOUR PERSISTENCE IN TRYING TO GET HIM TO TALK ABOUT INNOVATION. SOUNDS LIKE HE FOLLOWS A RECIPE. THE BEST PART WAS TALKING ABOUT INSPIRATION AT THE LAST QUESTION. -Cut to Brent describing the two worlds of Quito Ending credits
 * Narration:** “ Jump into the middle of life in Quito. Join us in the creative process.”
 * Group Members: **
 * Jillian Parsons **
 * Gabby Larrea **
 * Margarita Delgado **
 * Mónica Gamboa **
 * Brent Becker **


 * //1. Someone doing an ordinary thing in a creative way.// **Our answer: Woman sharpening her knife on the sidewalk and musicians holding a concert in the middle of a sidewalk.

//**2. Three examples of flexibility as defined by Torrance. (Things used differently than intended.) **// Our answers: 1) Woman sharpening her knife on the sidewalk; 2) a chair used for sitting in the back of a truck; and 3) The tree used as storage for backpack, dustpan and even for garbage (not creative, but a problem); also what about the homeless man using the bench as a footrest; and the gentlemen on the bicycle using it to drive his ice machine

 //** 3. An art form in an unlikely setting **// Our answer: the lion statue in the parking lot; also the concert in the park (better as the other—Shakespeare)

 //** 4. An inanimate object communicating in an original way. **// Our answer: The taxi cab stuck on the side of the restaurant as a means of advertisement rather than locomotion.

 //** 5. Find a problem that has been solved in an original way **// Our answer: The telephone pole used as a bike rack; also, the lines being laid underground near Quicentro

 //** 6. Find something that Shakespeare would write about. **// Our answer: The stage

 //** 7. Find a problem that needs to be solved. **// Our answer: the telephone and electrical lines above ground, plus the garbage in the tree and the cracked sidewalks.

 //** 8. Find a basis for Mozart's composition. **// Our answer: The colors of ice cream at the ice cream shop, as well as with the shaved ice man.

 //** 9. Find something that your favorite singer would sing about. **// Our answer: Bono (U2)—"Beautiful day"

 //** 10.Interview someone creating about the why, how, what, and when of the project. (I need a transcript of the interview. Find out about their creative process; where do they get ideas; what motivates their creativity.) **// Our answer: The shaved ice man creating shaved ice at the park

=Life in Slow Motion: Personal Reflection on the Scavenger Hunt=

In the closing scene of the most recent Sherlock Holmes film, //Game of Shadows,// Sherlock’s female counterpart asks him, “What do you see?” He responds with: “Everything. That is my curse.” As our group from Foundations of Creativity embarked on our adventure into downtown Quito, I was unsure as to the potential of our relative success. In some ways, I am quite familiar with that particular spot of Naciones Unidas and Carolina Park. However, as we began to saunter our way down broken sidewalks and past noisy traffic, sights and sounds began to flood my senses in a new way. When I normally encounter these areas, it is often at a high speed. If it is not at a run, it is definitely at a fast and intentional walk.

For one of the first times in a while, I just meandered. Camera in hand, I opened my eyes to storefronts and faces, of vehicles and vendors, in a way normally just considered part of the white noise of life and blur of a quickly-passing landscape. The sky was blue, and that blue was accentuated by the greens of the median and the rainbow of ice cream flavors. We talked to a shaved ice maker and saw the art form of his seemingly average daily repetition. I saw the risk he had taken, buying a cart and all the necessary supplies in hopes of someone wanting his product and justifying his investment. A disabled man used a park bench for a footrest while young lovers perused the art walk with cones spilling carelessly onto their fingers. Construction workers buzzed about, placing stone after stone into the sidewalk, symbolic of the creative process occurring all around them. YES, YOU SAW BETWEEN THE LINES AND IN THAT DISCOVERED THE CREATIVE DRIVE AND SPIRIT.

As part of our creative process, each individual in the group took on a specific role. My responsibility included walking about, camera in hand, firing shots at every opportunity possible. I also functioned as our impromptu narrator, filming highlight spots at various locations along the way. Additionally, in the process of production, I wrote the script. One of my deep passions is to see connections and find ways to weave those connections together in a consistent and overarching theme. I do not simply want to make a list, but rather find ways to uniquely join the seemingly disjointed ideas. Lastly, I was involved in the actual narration and editing of the video in preparation for final production.

Whenever the director wanted to imitate Sherlock Holmes’ observational capacity, he would utilize slow-motion to allow detail not typically noticed at normal speed. And in many ways, I had the chance to move through familiar territory in slow motion. As I did, details became visible and the complexity and beauty of the world around me came to life in a new way. By no means was this a curse. GREAT/BUT WHERE IS THE EXPLICIT CONNECTION TO BARRON AND EISNER? EXCELLENT PRODUCT. SEE MY COMMENTS ON RUBRIC IN YOUR EMAIL. = Assignment #2. Apply creative thinking strategies within the curriculum = WELL DONE. SEE COMMENTS BELOW-- 25 POINTS =Lesson Plan Assignments:=


 * Lesson Plan #1: Introduction to English **
 * Secondary English Department: Introduction to English **

The lesson will include the following elements:
 * Learning Outcomes:**
 * Students will become re-familiarized with basic elements of story development through a review of vocabulary terms such as: characters, setting, conflict and resolution,
 * Students will be introduced to the concept of a morphological matrix and its implementation in identifying the various components of a story and how they are utilized in the creation of a story, and
 * Students will have the opportunity to apply their understanding of these elements by implementing them into a creative writing exercise, leveraging the current source material of //The Outsiders// by S.E. Hinton.

The basic strategy for this lesson plan would incorporate the use of a morphological matrix.
 * Strategy:**

1. The first step would be a basic review of the following terms to familiarize students again with the various elements used in a story: characters, setting, conflict and resolution. 2. Utilizing the following table, students would brainstorm a variety of options to fill the various categories:

3. At this point, students would be introduced to the basic format of a sitcom and the structure implemented to vary an ongoing storyline enough to generate interest and engagement in the process. 4. Students would then write down four numbers between 1-10 in four columns. They would then correlate that to the columns previously identified. 5. Once they have identified each of the elements they have selected, students would then write a sitcom that would be the beginning of the sequel to //The Outsiders//. The story has ended with the death of Johnny and Dally. However, Ponyboy continues writing. What happens to him after this story? What occurs to the rest of the gang members? With those parameters, the students would incorporate the four elements from their morphological matrix to write a sitcom that could continue the story and provide the next phase of the life of their gang. And especially because S.E. Hinton never really wrote anything that great after //The Outsiders//, this next sitcom could inspire the “Life After the Outsiders.”
 * **Characters** ||  **Setting**  ||  **Conflict**  ||  **Resolution**  ||

The lesson would be implemented near the end of the unit on //The Outsiders// as a way of creatively reviewing basic elements of story, while also providing an outlet for creative writing. Students would be introduced to the concept of sequel as a means of carrying on a storyline, as well as a basic understanding of a morphological matrix. A potential further development of this lesson could involve the sequential introduction of additional or more specific elements such as rising action, falling action and plot twists for students to incorporate into their stories after writing their first draft. The basic assessment would involve reading stories in small groups and receiving peer feedback. Also, student work on their creative sequels would also be graded for thoroughness as well as other pre-determined criteria for the assignment.
 * Implementation and Assessment:**

Due to the nature of the ending school year, I did not have the chance to implement this lesson plan and therefore observe its efficacy in the classroom. I very much look forward to implementing this lesson next year at the end of our unit on //The Outsiders//. I WOULD LOVE TO HEAR HOW IT GOES AS YOUR DESCRIPTION OF THE PROCESS SOUNDS GREAT.
 * Reflection:**


 * Lesson Plan #2: Creative Writing **
 * Secondary English Department: Creative Writing **

The lesson will include the following elements:
 * Learning Outcomes:**
 * Students will reinforce their understanding of basic elements of memoir writing through a brief review of basic structure for memoir writing as previously described in introduction,
 * Students will have their creativity encouraged and “jump started” based upon some creative group play using an improvisational game entitled “The Gift,” and
 * Students will implement their understanding of memoir writing with a creative outlet to write about personal experiences including the best gift given and the worst given. They wil eventually rewrite these stories and incorporate then into their final memoir packet. WHAT A GREAT IDEA. I LIKE THE TECHNIQUE OF USING THE GIFT. VERY CREATIVE APPLICATION!!

The lesson would begin by utilizing the “Wonderful World of Words” vocabulary exercise incorporating key words from memoir writing as well as words selected from the students’ previous memoir assignment on “Best Friends.” 1. The first step would be a basic review of the following terms to familiarize students again with the various elements of memoir: memory, personal, autobiography, remembrance, as well as other words that they want to incorporate from their stories:
 * Strategy:**

** The Wonderful World of Words ** Narrator: Come with me to the wonderful world of words which is in the land of your imagination. Words are beautiful— One: Two: Three: Four: Five: Six:
 * Scene One:**

Narrator: Words are magic— One: Five: Two: Six: Three: Four:
 * Scene Two:**

Narrator: Words are fun— One: Four: Five: Three: Two:
 * Scene Three:**

Narrator: Words make up the wonderful world of your imagination which is peopled with all kinds of characters— Six: Five: Three: Four: One: Two:
 * Scene Four:**

Narrator: And your imagination takes you everywhere— Two: Three: Six: Four: Five: Narrator: The world of the imagination, the world of words—where does it lie? One: In your mind’s eye.
 * Scene Five:**

2. Transitioning from the refresher on key terms and other vocabulary words, students would then be introduced into an improvisational game, entitled, “The Gift.” As part of the preparation, students would be given the basic parameters for all improvisational games. a. You cannot say “no” to any idea. Every idea must be encouraged and played out no matter how ridiculous or different it may be to you or from what you were originally thinking. b. You must work to make your partner look good at every possible moment throughout the improvisation.

-The basic structure for the game involves two people standing next to each other. The first person is the gift giver and the second is the recipient of the gift. The first person begins with a lead-in somewhere along the lines of “I just got you a gift.” They will then pantomime holding and handing over a gift to their partner. The partner’s job, then, is to respond to receiving the gift and then identify what the gift actually is. The gift-giver then needs to explain his/her reason for getting that gift for the individual and why it was such a great fit for them. The two can continue to play the game out until it feels like the conversation has run its course. Then the two partners switch roles and a new gift is given. If the two playing the game want, they can continue the action unbroken, as if it is an actual gift exchange or their can be a break and a new scene can be initiated as roles change. -Make sure to make plenty of space to operate, preferably an open room without desks or outside in a courtyard. Play and then have them switch partners. You can have them do this in small groups or bring up two players at a time up to the front to act out for the whole classroom. We did both.

3. The final aspect of the lesson would involve students be given a specific prompt for their memoir writing assignment. The prompt would be as follows: Describe the best gift you have ever been given. Who gave it to you and what did you enjoy about the gift? Describe the worst gift you have ever been given. Who gave it you and why did you have such a negative reaction to it? There would be a minimum page requirement and then they would hand it in for review before finalizing it for their memoir final packet.

The lesson would be implemented in the middle of our “Memoir Writing” unit in Creative Writing. It would be utilized to help students review familiar terms as well as explore vocabulary from peers’ writing. Additionally, students would be introduced to improvisational drama and the basic rules for it. They would then have the chance to participate in a basic improvisational game. After that, students would have the opportunity to do some creative memoir writing while continuing to work toward completion of their Memoir Packet. near the end of the unit on The Outsiders as a way of creatively reviewing basic elements of story, The basic assessment would involve reading stories in small groups and receiving peer feedback. These stories would be re-written based upon peer and teacher feedback and submitted for evaluation at the end of the unit. Student work will also be graded for thoroughness as well as other pre-determined criteria for the assignment.
 * Implementation and Assessment:**

I had the chance to implement a portion of this lesson plan, specifically the improvisational game, “The Gift,” along with the memoir writing assignment. Students demonstrated some initial emotional blocks to engagement with the game, but actually enjoyed it much more thoroughly once they had the chance to perform in front of the whole class. It was interesting to see them really struggle with the basic rules for improvisational acting, as it works against some of their sarcastic and critical tendencies. Additionally, it provided a good springboard into their writing activity as they explored what came first to mind when considering the gift that they had “received” from the gift giver in the game. USING IMPROV WILL REQUIRE SETTING THE STAGE FOR RISK TAKING, WILLINGNESS TO LOOK FOOLISH AND SOME PRACTICE. BUT ONCE THE KIDS FEEL SAFE AND KNOW IT IS OKAY TO BE SILLY OR RESPOND CREATIVELY, THEY WILL BE OFF AND RUNNING. EXCELLENT LESSONS.
 * Reflection:**

= Assignment #3. Class participation in mini learning activities with reflections as assign =

CRS 560: Creativity in the Classroom: Preliminary Assignment Creativity evinces the character of the One who creates. In order to more fully grasp identity, creativity must be explored and rewarded throughout the learning process. Several points presented in the article as well as TED Seminar underscore the necessity of focusing on the creativity of the student throughout his/her education. Sir Ken Robinson observed the discrepancy of time given to dance instruction in comparison with mathematics and other “core” subjects. The anecdote of the famous choreographer and her insightful psychologist helped frame the importance of awareness concerning various learning styles and approaches. The only caveat for a story such as this comes at the extreme nature of this example. What if she were not to become a great dancer, but simply needed a more kinesthetic environment to learn? Why did she need to go to a “dancing school” instead of finding educators able to incorporate dance and other forms of movement as a part of more holistic learning. EXCELLENT POINT. BUT IN HER CASE SHE NEED FOCUSED TALENT DEVELOPMENT. Ken Robinson describes the three components or aspects of intelligence as: diverse, dynamic and distinct. Understanding the dynamic nature of intelligence provided one of the most enlightening insights from the list. The brain does not exist in compartmentalized categories, he argues, but rather moves seamlessly between interdisciplinary subjects in a process Robinson calls “wonderfully interactive.” In light of this information, then, effective education must learn to more actively integrate the various disciplines of study to help more accurately mimic and encourage normal brain function. However, as Robinson also states as the main premise of his brief talk, the current educational framework systematically selects for science and math, while leaving the arts on the lower rungs of importance. The result: children ultimately lose the artistic creativity with which they were born. One way to combat that tendency in the current worldwide academic context finds its expression in the Newsweek article entitled, “The Creativity Crisis.” In the article, the author cites Po Bronson’s example of an Ohio elementary school which shifted its focus to almost entirely project-based learning. The opportunity for students to work on open-ended project and problem solve not only allows them to develop their divergent and convergent thinking skills, but also to meet the state standards for grade level fluency. The author identifies several main obstacles for implementing an approach to more projects, such as: the increased effort for teachers to plan projects, the difficulty in grading projects objectively, as well as teachers to function as mentors working directly with their students. Still, these roadblocks must be seen more regularly as hurdles that the diligent teacher will actively work to clear in an effort to help his/her children learn to integrate their learning into practical and insightful arenas. OUTSTANDING POINTS MADE. GLAD THEY GOT YOU THINKING AND RESPONDING!!! All good learning, as mentioned previously, must revolve around outlets and opportunities for creativity. Teaching English provides almost ready-made access to creative expressions for students of all ages. YES, I TOTALLY AGREE WITH YOU. In order to really help students discover and explore their creativity, I have worked hard to provide a number of projects which encourage teenagers to discover their unique voice and share that. For example, in Poetics, many students learned to evaluate and analyze poetry from a critical perspective. However, they also composed their own poetry, reading it in front of their peers and thoughtfully processing feedback on how to continue to hone and develop those. The class ends with students ideally receiving a book of theirs and fellow students’ poetry. YES, THEY THEN HAVE AN AUDIENCE WHICH STIMULATES HIGHER LEVELS OF WORK. Additionally, based upon encouragement from the most recent AASSA Educator’s Conference in Quito, I was challenged to upgrade an assessment to include a more technologically-advanced and savvy opportunity. As a result, the students are researching, writing, filming and editing their own documentaries related to topics concerning their host country. Many of my freshmen struggle with open-ended assessments, but are also discovering the joy of organizing their thoughts (with some guided instruction). Additionally, they must learn to work in group environments, working to delegate responsibilities and manage their time effectively through the course of the project. GOOD. I LIKE THE IDEA OF OPENENDED ASSIGNMENTS. KIDS NEED TO LEARN TO DEVELOP A TOLERANCE FOR AMBIGUITY AND A WILLINGNESS TO ENGAGE IN DIVERGENT THINKING.
 * Write a summary of five main points you find compelling from these articles.**
 * Discuss how you nurture creativity in your students currently. Provide concrete examples.**

The course on Creativity provides a unique opportunity to continue to explore and learn ways to challenge and develop my students. Over the duration of the next week, I hope to learn more about the following aspects of teaching creatively: 1) To learn how to standardize assessments more effectively so that a more objective approach to grading projects can be achieved, 2) To collaborate with peers and “creatively” borrow from their own in-class trials of creative forms of teaching and their outcomes, and 3) To implement ideas from the instructor on how to take material and provide chances for students to explore aspects that most interest them and pursue them more independently. The privilege of learning while teaching provides an easier movement from thought to practice, and I am looking forward to the interaction with peers and instructor to more further evaluate the creative mind of our students and ways to implement learning opportunities for them to cultivate their inner artist.
 * Finally, list three understandings or skills you would like to learn in this course on Creativity.**

=**Definition of Creativity with Visual Representation:**=

=GREAT PERFORMANCE= =**Boxed In:** A Review of //Joshua in the Box//:=

The story of Joshua and his adventures in and out of the box is a fascinating one. Joshua found himself frustrated to the point of anger with his inability to escape the specific box. Through persistence, though, he discovers a hole in the box into which he inserts his finger. After that, he eventually is able to fit through the hole and find himself on the other side of the box. Sadness and a bit of renewed frustration overtakes him and in a roar of anger, he becomes a new box. However, interestingly, the colors have changed. The original color of the box and of Joshua have switched, him taking on the color of the original box and the box taking on his original hue.

The biggest block I face to creativity is the fear of failure. I have somehow grasped as a young child that my identity is tied to my performance. As a result, if I am unable to perform or be creative, then I have failed. And I am a failure. Over the last ten years I have learned some incredibly invaluable lessons as to the nature of my identity and its truest source, ironically, in the heart of my Creator. And as I continue to discover His intention and focus in the process of creating me, as well as investing in me His character, I am actually learning to create more and hold that more freely. Additionally, if I am in a messy room, I find a greater block to creativity and productivity. Like Calvin from Calvin and Hobbes, I find that a deadline provides wonderful motivation to creativity. “Necessity (and panic) truly are the mothers of invention.” However, I have also discovered that my flexibility, or at least ability to experience flexibility, is seriously diminished as to a lack of time to be able to consider other alternatives. GOOD INSIGHT HERE. DEADLINES ALSO HELP ME PRIORITIZE. Through the course of the class, I have discovered both blocks to my creativity as well as ways in which to push through those blocks. Whenever Susan would begin a new opportunity for creative expression, I would feel the familiar anxiety start to constrict my chest and quicken my breathing. These were primarily emotional blocks. However, one of the most important components was being willing to jump in nonetheless. YES--WE NEED TO BE WILLING TO TAKE THAT RISK AND JUMP IN AND JOIN THE PARTY. Not necessarily to deny the original emotional response, but rather to walk into the feeling of fear and see beyond the moment. It helps to simultaneously remind myself of the truths of my identity. It was continually encouraging just to throw my ideas out there, while simultaneously distancing myself from the idea so that we can all critically evaluate their legitimacy. And the feedback, has been encouraging regardless of the outcome of our process. I am becoming more and more grateful for the creative process, and learning to enjoy the chance to express the creativity placed there by my Creator. FINE DISCUSSION WITH THOUGHTFUL INSIGHTS AND REFLECTIONS. =TED Talk Advertisement: PowerPoint slide:=

GREAT IMAGE FOR THIS TALK AND YOUR INVITATION. =Math Problem from Kenya Safari Picture:=



OKAY--THIS GROUP SHOWED IT'S CREATIVE GENIUS. WHAT MORE IS THERE TO SAY? =Assignment #4: What is Creativity? Socratic Seminar=
 * The Problem:** Bob calls his ladyfriend, Sue, in Switzerland. He wonders why there is no delay. Knowing that cell satellites are at 100 km above the earth and have a 5 degree spread, how many cell satellites will the call use? What is the delay of transmission from one receiver to the other if Kenya is 11,000 km from Switzerland and radio waves travel at the speed of light (300,000 km/s)?
 * The Answer:** The radio frequency wave will travel about 2602 km between the minimum of 13 satellites, with a total time of 8.607 milliseconds.
 * Socratic Seminar Entry Card **

My Question(s) 1. How does humility and a thirst for learning (combined with a willingness to acknowledge a lack of understanding) work in the context of a culture with a large power distance and expectation of the “expert” status of the teacher? 2. Does the creative personality really have such complexity to it or does it simply represent the vast array of individuals who express their creativity? In other words, might it be that there is no one easily definable list of character traits for the “creative personality”? The definition or observation of the Creative Personality includes an inability to consistently provide a standard set of key qualities. The truly creative person seems almost chameleon-like, adjusting to circumstances and expressing the necessary trait in that situation. Tim’s premise that humility is essential to the initiation of real creativity and discovery through trial and error absolutely fascinates me. That we must be willing to live with uncertainty and complexity without all the answers provides a fascinating backdrop to the joy and frustration of really creative work. THAT TOLERANCE FOR AMBIGUITY IS KEY. WE OFTEN RUSH TO FIND SOLUTIONS AND WHAT RESULTS IS MEDIOCRE AND DOESN'T ALWAYS SOLVE THE PROBLEM.
 * My TED Talk: Trial, Error and the God Complex by Tim Harford**
 * My Article: The Creative Personality by** **Mihaly Csikszentmihalyi**
 * Things that were interesting or confusing:**
 * Notes**:
 * //Creative Personality://** Creative people have great concentration but also are fresh with energy; they sleep a bunch (esp. when necessary) and have strong sex drives combined with “Spartan celibacy”; smart and yet naïve (convergent and divergent thinkers); playfulness and discipline; between imagination/fantasy and rooted sense of reality; extroverted and introverted; humble and proud; escape rigid gender role distinctions; rebellious and conservative; positive impulse of work and willingness to take risks; passionate about work, but objective about it as well; openness and sensitivity exposes artists to pain and suffering, but also great joys
 * TED Talk:** **//God complex//**: defined as finding the one expert and having them set the way that things are going to be done; certain sense of arrogance in this—people fundamentally believe that they are in control and have the right answer; not often tenable answers and no real avenue by which to create (b/c answers are from the experts); Tim talks about a certain level of humanity implicit in the creative and discovery process as defined by the need for trial and error; the willingness to make mistakes in a generally good direction without having all of the right answers or even necessarily knowing how you got the right answer when you finally get one; the willingness to say that you don’t know what the answer, but you are willing to work doggedly to get the right answer.

=WONDERFUL ENTRY CARD--GOOD POINTS, CONNECTIONS, AND QUESTIONS TO STIMULATE THE DISCUSSION IN THE SEMINAR.=