霍华德·加德纳昨晚发表了他对创意兴趣的历史。当然，Gardener因其多元智能理论而闻名。他对创造力的兴趣来自于他已经对M.I.做了许多工作。这似乎是一个合乎逻辑的下一步。如果个人以不同的方式思考，他们不可能以不同的方式创造性吗？
在演讲中，他选出了两位关于创造力的关键学者--JPGifford和他的继任者Ellis Paul Torrance，Torrance考试的创始人。 Gardener与这些学者分歧，认为他们的创造力工作只是他所说的“小C”创造力，而不是爱因斯坦，毕加索或詹姆斯·乔伊斯等“天才”的创造力。 Gardener将这些大C创意人定义为：
创意个人定期解决问题，时尚产品，并在一个领域的问题，最初被认为是新颖的，但最终在至少一个文化环境中被接受的方式。
加德纳的书“创造心灵：通过弗洛伊德，爱因斯坦，毕加索，斯特拉文斯基，艾略特，格拉汉姆和甘迪尼的生活所看到的创造力的解剖”，他的理论是多元智能的（本书中的每个数字至少代表他七多个智力类别），并将其应用于创造力。在做这个，他想出了几个意见。
1. 所有这些数字的青年都是资产阶级。父母支持孩子，也使他们努力工作。孩子们通常在成年后离开他们的国家住在一个大城市。离开后，他们通常与一群类似的叛逆心灵联系在一起。
2. 他们的第一个创作是在他们掌握了自己的领域之后。创意类型不满足于掌握，并渴望找到新的领域。与其试图解释野生异常，他们是启发和痴迷他们。随着他们的思维远离主流，他们变得越来越孤立。他们经常有故障，有时是突破。在学科和开箱即用的思维之间存在着长期的紧张关系。
3. 他们也有不好的性格，例如夸大的需要，促进自己结合无视和经常虐待他人。
4. 他们在突破时期迫切需要他人的认知和情感支持。
5. 他们打一个浮士德式的交易，一切都被置于危险的工作。
园丁认为创造性的天才是孩子般的，充满激情和承诺，有点奇怪，有大量的孤独，以及对自己的工作真诚和诚实的坚定的献身。他开发了三个课程，我们可以从学习这些创造性的头脑中学习。
1. 反思 - 思考我们正在努力做什么。自我交谈。
2. 利用 - 将我们的优势与他人进行比较，并找到我们独一无二的领域。
3. 框架 - 从我们的失败和错误中学习。
Howard Gardener gave a talk last night on the history of his interest in creativity. Of course, Gardener is famous for his multiple intelligences theory. His interest in creativity came after he had already done much work on M.I. It seemed like a logical next step. If individuals think in different ways, were it not possible that they would be creative in different ways as well?
In the talk he singled out two pivotal scholars on creativity--JP Gifford and his successor Ellis Paul Torrance, creator of the Torrance test. Gardener diverges from these scholars in seeing that their work on creativity only accounts for what he calls "little C" creativity and not the "big C" creativity of geniuses like Einstein, Picasso, or James Joyce. Gardener defines these big C creative individuals as:
Creative individuals regularly solve problems, fashion products, and pose issues in a domain in a way which is initially considered novel but which is ultimately accepted in at least one cultural setting.
Gardner's book, Creating Minds: An Anatomy of Creativity Seen Through the Lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham, and Ghandi takes his theory of multiple intelligences (each of the figures in this book represents at least one of his seven multiple intelligence categories) and applies it to creativity. In doing this he came up with a few observations.
1. The youths of all these figures was bourgeois. The parents supported the children, but also made them work hard. The children usually left their country home in early adulthood to live in a big city. After moving away they usually connected with a group of similar rebellious minds.
2. Their first creations come after they have mastered their domain. The creative types are not satisfied with mastery and are eager to find new areas. Rather than try to explain away wild anomalies, they are inspired and obsessed with them. As their thinking moves away from the mainstream they become increasingly isolated. They often have breakdowns, sometimes followed by breakthroughs. There is a perennial tension between discipline and out-of-the-box thinking.
3. They have bad traits as well such as an exaggerated need to promote themselves combined with a disregard and often abusive treatment of others.
4. They have a desperate need for the cognitive and affective support of others during the time of a breakthrough.
5. They strike a Faustian bargain where everything is put at stake for the work.
Gardener identifies creative geniuses as being childlike, passionate and committed, a bit odd, having a large capacity for solitude, as well as an unflinching devotion to truth and honesty regarding their own work. He developed three lessons we can learn from studying these creative minds.
1. Reflecting--thinking about what we are trying to do. Self-conversation.
2. Leveraging--comparing our strengths to others and finding areas where we are uniquely strong.
3. Framing--learning from our failures and mistakes.
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