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Creativity & Beyond Page iii Creativity & beyond Cultures, Values, and Change Robert Paul Weiner Page iv San Francisco Museum of Modern Art, Albert M. Bender Collection, San Francisco California, for reproduction of Jackson Pollack's Guardians of the Secret, 1943. Stanley Bailis, editor, Issues in Integrative Studies, for use of the author's article, "Western and Contemporary Global Conceptions of Creativity in Relief against Approaches from So­called 'Traditional' Cultures," in Issues, no. 15, (1995): 1–48. Bayerische Staatsgemaldesammlung, Munchen, Alte Pinakothek, for reproduction of Albrecht Dürer's Selbstbildnis im Pelzrock, 1500. Barry Martin, for use of his photograph of the Eiffel Tower, 1998. Liz Leger, for reproduction of her drawing, Despina, from Fragments series, 1997. Collection of the Palace of Legion of Honor, Fine Arts Museums of San Francisco. David and Barbara Moser, for use of David's photograph of Barbara at the Great Wall of China, 1998. Ken Light, for use of his photograph, Convict With Homemade Last Supper Clock, Administrative Segregation Cell Block, 1994, printed in Ken Light and Suzanne Donovan, Texas Death Row, Singapore: University of Mississipi Press, 1997. Susan Light, for use of her photographs, Women's Gamelan Orchestra, 1990, The Temple of Athena Nike, 1981, and Roman Coliseum, Verona, 1987. Galleria de l'Accademia, for use of the author's photograph of Michelangelo's Prisoner or Waking Slave, 1995. Published by State University of New York Press, Albany © 2000 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording or otherwise without the prior permission in writing of the publisher. For information, address State University of New York Press, State University Plaza, Albany, NY 12246 Production, Laurie Searl Marketing, Fran Keneston Library of Congress Cataloging­in­Publication Data Weiner, Robert, 1950– Creativity and beyond : cultures, values, and change / Robert Paul Weiner. p. cm. Includes bibliographical references and index. ISBN 0­7914­4477­5 (alk. paper) — ISBN 0­7914­4478­3 (pbk. : alk. paper) 1. Creative thinking. 2. Creative ability. I. Title. BF408.W384 2000 153.3'5—dc21 99­052763 10 9 8 7 6 5 4 3 2 1 Page v I dedicate this book to Susan, Sophia, and David, and to all those who love and create—or who long to. Page vii CONTENTS List of Illustrations ix Preface xi Introduction 1 Part One The Formulation of the Concept of "Creativity" in Western History 1 17 Creativity, the West, and History 2 25 The Bible 3 33 Ancient Greece and Rome 4 43 Tradition and Imitation in the Medieval West 5 53 The Renaissance and the Invention of the Creative Ideal 6 65 The Enlightenment 7 75 Revolution, Modernity, and the Invention of Creativity 8 97 Creativity in the Contemporary Global Context Part Two Cross­Cultural Variables 9 125 The Ideology of Creativity in the United States 10 143 Conceptions of Creativity in "Traditional" and "Non­Western" Cultures 11 173 China: From Traditional Culture through Revolution to . ? Page viii Part Three Creativity in Practice 12 205 Everyday Obstacles to Creativity in Our Society 13 237 Creativity and Some Contemporary Policy Issues in the United States Conclusion: Creativity and beyond 253 Notes 271 References 305 Index 331 Page ix ILLUSTRATIONS 1 117 Temple of Athena Nike by Susan Light 2 118 Roman Coliseume by Susan Light 3 119 Self­Portrait in Fur Jacket (Selbstbildnis im Pelzrock) by Albrecht Durer, 1500 4 120 The Prisoner (or The Walking Slave) by Michelangelo Buonarroti 5 121 Eiffel Tower by Barry Martin 6 195 The Great Buddha by Robert Paul Weiner 7 196 American Tourist at the Great Wall of China by David Moser 8 197 Women's Gamelan Orchestra by Susan Light 9 198 Guardians of the Secret by Jackson Pollock 10 199 Despina by Liz Leger 11 200 Convict with Homemade Last Supper Clock, Administrative Segregation Cell Block by Ken Light 12 201 Lightbulb 13 202 Infinite Davids by Robert Paul Weiner Page xi PREFACE This book attempts to say something creative about creativity. I have loved working on the book. Since I began a decade ago, almost everything I've studied and experienced, almost everyone I've spoken with, has turned out to have some connection to the subject of creativity, and this has provided me with continuous intellectual stimulation. The process of writing has been a wonderful voyage of discovery as well. Many people are creative, but I am not sure if anyone is a "specialist" in creativity. I have been able to approach this broad topic because of my unusually interdisciplinary background and interests. Still, I had not focused my attention on this subject until Cynthia Campbell spontaneously asked me to teach her required humanities creativity course at Contra Costa College when she went on sabbatical. I barely knew Cynthia and found her trust in me startling but wonderful. When I asked her what I should do for the course, she simply said, "be creative." In the following years, I lost contact with Cynthia, but continued to teach workshops and courses on creativity and invention. I then began to collaborate with Lou Miller from California State University, Sonoma on a book of "creativity exercises.'' The book was well underway when I drafted an introduction focused on the question, "why do people in our society care about creativity?" It was Lou who encouraged me to turn those ten pages into the far more involved book before you. In all truth, this book has been an extremely collective effort—my immediate and extended family have been wonderfully supportive, providing ideas, criticism, love, and inspiration. I have received a tremendous amount of help and goodwill from friends and colleagues, some of whom have given a great deal of time and thought to this book. In addition to Lou Miller, special thanks go to my sister, Diane Weiner (University of California, Los Angeles); Paul Giurlanda (Saint Mary's College of California); and my wife, Susan Light (University of California, Berkeley). These individuals helped throughout this project. Because the book deals with content from such a wide range of academic fields as well as politics, the arts, business, and everyday life, I have gotten ideas from very many people, including some colleagues, students, and casual acquaintances from museums, cafes, and elsewhere, whose names I cannot recall. The people named below are ones who gave me more sustained and specific help. From Saint Page xii Mary's College: Paola Sensi­Isolani, Brother Charles Hilken, Carl Guarneri, Mike Reilly, Joseph Lanigan, Chris Miller, Sandy Grayson, Mary McCall, Brother Ken Cardwell, Carol Beran, Brother Camillus Chavez, Bob Gorsch, Diana Wu, Frank Murray, Dan Cawthon, Steve Cortright, Dean of Science Keith Devlin, and Academic Vice President Bill Hynes; from California State University, Sonoma: Les Adler, Nelson "Buzz" Kellog, and Richard Zimmer; from John E Kennedy University: Barry Martin, Marjorie Schwarzer, Suzanne West, Leanna James, and Barbara Fisher; from California Institute of Integral Studies, President Joseph Subbiondo. Additional thanks go to the following artists, musicians, journalists, businesspeople, psychologists, computer experts, producers, and performers: Jim Rosenthal, Liz Leger, Joe Saah, Michelle Metz, Seth Mausner, Paul Feinberg, Jan Weiner, Ken Light, Steve Alpert, Rick Shapiro—all of whom helped directly with sections of the book. Further thanks to: Lil, Sophia, David, Melanie, Joan, Joel, Babs, Ed, Lei Ching, Judy, Lee, Scott, Savage, John, Carlos, Sheila, Dawn, Stan, Tex, Lisa, Jeff, Lael, Harvey, and the "Cinque Familie," Alison, Edgardo, Catherine, Steve, Nick, Ellen, Shary, and Joe, all of whom discussed ideas with me which worked their way into this book. Also, thanks to Stan Bailis, editor of Issues in Integrative Studies, and especially James Peltz and Laurie Searl, editors at the State University of New York Press, and copyeditor Lani Blackman. Valuable word processing, editing, and proofreading help came from Angela Carden, Miranda Kentfield, Susan Parr, Norm Andreasen, Ann Thatcher, Leigh McDougall, Karen O'Brien, Trish Bracelin, and Janet Sarico. I also received considerable help from the librarians of John E Kennedy University, Yale University, California State University Sonoma, and especially Saint Mary's College of California and the University of California Berkeley. And thanks to the Saint Mary's College and John E Kennedy University faculty development funds. Finally, because some of the ideas in this book derive from my former teachers and friends, I'd like to acknowledge Richard Macksey of Johns Hopkins, Wilfrid Desan of Georgetown, Louis Dupre of Yale, and Ernst Vollrath and Klaus Ertel of Cologne. This book is filled to overflowing with thinking about creativity, but it could easily be twice as long. It is also as good as I can make it as of today, but I'm sure that tommorow I'll want to change things. Frankly, creativity is too big a subject for me or anyone else to master. I am sure that if you are an attentive reader, you'll have valuable suggestions for revisions and additions, and I solicit those suggestions from you—in fact, I hope you will become a collaborator in this respect. A book like this cannot be complete—it will always be a work in progress. Page 1 INTRODUCTION Creativity, understood as bringing something new into being, is a major value in our society. It may not be articulated as such in our major political or religious documents, but it is something that most Americans, 1 and many other people around the world care about deeply.
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