<?xml version="1.0"?>
<feed xmlns="http://www.w3.org/2005/Atom" xml:lang="de">
		<id>http://de.evo-art.org/index.php?action=history&amp;feed=atom&amp;title=Driving_the_Creative_Machine</id>
		<title>Driving the Creative Machine - Versionsgeschichte</title>
		<link rel="self" type="application/atom+xml" href="http://de.evo-art.org/index.php?action=history&amp;feed=atom&amp;title=Driving_the_Creative_Machine"/>
		<link rel="alternate" type="text/html" href="http://de.evo-art.org/index.php?title=Driving_the_Creative_Machine&amp;action=history"/>
		<updated>2026-05-17T21:34:29Z</updated>
		<subtitle>Versionsgeschichte dieser Seite in de_evolutionary_art_org</subtitle>
		<generator>MediaWiki 1.27.4</generator>

	<entry>
		<id>http://de.evo-art.org/index.php?title=Driving_the_Creative_Machine&amp;diff=1400&amp;oldid=prev</id>
		<title>Gbachelier: Die Seite wurde neu angelegt: „  == Reference == Harold Cohen: Driving the Creative Machine. Orcas Center, Crossroads Lecture Series.   == DOI ==  == Abstract == A few weeks ago I found myse…“</title>
		<link rel="alternate" type="text/html" href="http://de.evo-art.org/index.php?title=Driving_the_Creative_Machine&amp;diff=1400&amp;oldid=prev"/>
				<updated>2014-11-17T12:47:50Z</updated>
		
		<summary type="html">&lt;p&gt;Die Seite wurde neu angelegt: „  == Reference == Harold Cohen: Driving the Creative Machine. Orcas Center, Crossroads Lecture Series.   == DOI ==  == Abstract == A few weeks ago I found myse…“&lt;/p&gt;
&lt;p&gt;&lt;b&gt;Neue Seite&lt;/b&gt;&lt;/p&gt;&lt;div&gt;&lt;br /&gt;
&lt;br /&gt;
== Reference ==&lt;br /&gt;
Harold Cohen: Driving the Creative Machine. Orcas Center, Crossroads Lecture Series. &lt;br /&gt;
&lt;br /&gt;
== DOI ==&lt;br /&gt;
&lt;br /&gt;
== Abstract ==&lt;br /&gt;
A few weeks ago I found myself in my habitual pre-writing condition, wondering,&lt;br /&gt;
that is, how long I could put off making a start on this talk, when – a gift from&lt;br /&gt;
heaven! -- there was Thomas Friedman, in his Op-Ed column in the New York Times,&lt;br /&gt;
writing about creativity – more precisely, about a Newsweek article about creativity.&lt;br /&gt;
New York Times? Newsweek? Wow, I thought, is everyone talking about creativity&lt;br /&gt;
these days?&lt;br /&gt;
“To be creative requires divergent thinking (generating many unique ideas) and&lt;br /&gt;
then convergent thinking (combining those ideas into the best result).”&lt;br /&gt;
So says Newsweek. But if that&amp;#039;s all there is to it, how come we don&amp;#039;t see creative&lt;br /&gt;
behavior all around us? Ah, well, of course there&amp;#039;s the divergent thinking bit. Where&lt;br /&gt;
does divergent thinking come from? Friedman is clear about that, though:&lt;br /&gt;
“It comes from being exposed to divergent ideas and cultures and people and&lt;br /&gt;
intellectual disciplines. As Marc Tucker, the president of the National Center on&lt;br /&gt;
Education and the Economy, once put it to me:&lt;br /&gt;
“One thing we know about creativity is that it typically occurs when people who&lt;br /&gt;
have mastered two or more quite different fields use the framework in one to think&lt;br /&gt;
afresh about the other. Intuitively, you know this is true. Leonardo da Vinci was a&lt;br /&gt;
great artist, scientist and inventor, and each specialty nourished the other. He was&lt;br /&gt;
a great lateral thinker. But if you spend your whole life in one silo, you will never&lt;br /&gt;
have either the knowledge or mental agility to do the synthesis, connect the dots,&lt;br /&gt;
which is usually where the next great breakthrough is found.” “&lt;br /&gt;
Sounds very authoritative, and you might suppose that I&amp;#039;d agree, given that I&amp;#039;ve&lt;br /&gt;
spent half my life trying to get a computer program to do what only rather talented&lt;br /&gt;
human beings can do. But, in fact, I don&amp;#039;t know, intuitively or otherwise, that what&lt;br /&gt;
he&amp;#039;s saying is true.&lt;br /&gt;
Citing Leonardo to make a point is a bit like yelling a slogan at a political rally; you&lt;br /&gt;
can&amp;#039;t argue with Leonardo. Actually, Leonardo was a single example of the&lt;br /&gt;
Renaissance ideal of the Universal Man – the educated individual who could turn his&lt;br /&gt;
head and his hand to anything. So were Giotto and Piero dell Francesca and Raphael&lt;br /&gt;
and Donatello and Brunelleschi and Michelangelo and Giorgioni and whoever else&lt;br /&gt;
you care to name. That isn&amp;#039;t what Tucker&amp;#039;s addressing, though; he&amp;#039;s talking about&lt;br /&gt;
the 20th century Specialist; specifically, the atypical one who crosses the boundaries&lt;br /&gt;
of his own specialty. Two specialisms do not a broad education make, and even with&lt;br /&gt;
their broad education you&amp;#039;d have a hard time finding evidence that Piero&amp;#039;s design of&lt;br /&gt;
1public events nourished his painting; or that Giotto&amp;#039;s painting influenced his design&lt;br /&gt;
of the campanile in Florence; or that Leonardo&amp;#039;s expertise in painting led to his&lt;br /&gt;
invention of a non-functional helicopter. Where, exactly, was the next great&lt;br /&gt;
breakthrough in these cases? Did Leonardo invent a helicopter that could paint&lt;br /&gt;
landscapes? ...&lt;br /&gt;
&lt;br /&gt;
== Extended Abstract ==&lt;br /&gt;
&lt;br /&gt;
== Bibtex == &lt;br /&gt;
&lt;br /&gt;
== Used References ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Links ==&lt;br /&gt;
=== Full Text === &lt;br /&gt;
http://www.aaronshome.com/aaron/publications/orcastalk2s.pdf&lt;br /&gt;
&lt;br /&gt;
[[intern file]]&lt;br /&gt;
&lt;br /&gt;
=== Sonstige Links ===&lt;br /&gt;
http://www.aaronshome.com/aaron/publications/index.html&lt;/div&gt;</summary>
		<author><name>Gbachelier</name></author>	</entry>

	</feed>