If creativity is the highest expression of the life impulse, why do creative individuals who have made lasting contributions to the arts and sciences so often end their lives? M.F. Alvarez addresses this central paradox by exploring the inner lives and works of eleven creative visionaries who succumbed to suicide. Through a series of case studies, Alvarez shows that creativity and suicide are both attempts to authenticate and resolve personal catastrophes that have called into question the most basic conditions of human existence.
Through a series of case studies, the author explores the paradoxical relationship between creativity and self-destruction. Creativity and suicide, he argues, are both avenues to the resolution of personal catastrophes, with the door to suicide becoming unlocked when creativity's restitutive powers fail.
Contemporary society has seen an unprecedented rise in both the demand and the desire to be creative, to bring something new into the world. Once the reserve of artistic subcultures, creativity has now become a universal model for culture and an imperative in many parts of society. In this new book, cultural sociologist Andreas Reckwitz investigates how the ideal of creativity has grown into a major social force, from the art of the avant-garde and postmodernism to the ‘creative industries’ and the innovation economy, the psychology of creativity and self-growth, the media representation of creative stars, and the urban design of ‘creative cities’. Where creativity is often assumed to be a force for good, Reckwitz looks critically at how this imperative has developed from the 1970s to the present day. Though we may well perceive creativity as the realization of some natural and innate potential within us, it has rather to be understood within the structures of a very specific culture of the new in late modern society. The Invention of Creativity is a bold and refreshing counter to conventional wisdom that shows how our age is defined by radical and restrictive processes of social aestheticization. It will be of great interest to those working in a variety of disciplines, from cultural and social theory to art history and aesthetics.
New York Times–bestselling Author: “Powerful . . . a compelling case for the game-changing role of innovation in some of the world’s most desperate economies.” —Eric Schmidt, former Executive Chairman, Google and Alphabet Clayton M. Christensen, author of such business classics as The Innovator’s Dilemma and How Will You Measure Your Life, and co-authors Efosa Ojomo and Karen Dillon reveal why so many investments in economic development fail to generate sustainable prosperity, and offer a groundbreaking solution for true and lasting change. Global poverty is one of the world’s most vexing problems. For decades, we’ve assumed smart, well-intentioned people will eventually be able to change the economic trajectory of poor countries. From education to healthcare, building infrastructure to eradicating corruption, too many solutions rely on trial and error. Essentially, the plan is often to identify areas that need help, flood them with resources, and hope to see change over time. But hope is not an effective strategy. At least twenty countries that have received billions of dollars’ worth of aid are poorer now. Applying the rigorous and theory-driven analysis he is known for, Christensen suggests a better way. The right kind of innovation not only builds companies—but also builds countries. The Prosperity Paradox identifies the limits of common economic development models, which tend to be top-down efforts, and offers a new framework for economic growth based on entrepreneurship and market-creating innovation. Christensen, Ojomo, and Dillon use successful examples from America’s own economic development, including Ford, Eastman Kodak, and Singer Sewing Machines, and shows how similar models have worked in other regions such as Japan, South Korea, Nigeria, Rwanda, India, Argentina, and Mexico. The ideas in this book will help companies desperate for real, long-term growth see actual, sustainable progress where they’ve failed before. But The Prosperity Paradox is more than a business book—it is a call to action for anyone who wants a fresh take for making the world a better and more prosperous place.
Historically, the brain bases of creativity have been of great interest to scholars and the public alike. However, recent technological innovations in the neurosciences, coupled with theoretical and methodological advances in creativity assessment, have enabled humans to gain unprecedented insights into the contributions of the brain to creative thought. This unique volume brings together contributions by the very best scholars to offer a comprehensive overview of cutting edge research on this important and fascinating topic. The chapters discuss creativity's relationship with intelligence, motivation, psychopathology and pharmacology, as well as the contributions of general psychological processes to creativity, such as attention, memory, imagination, and language. This book also includes specific and novel approaches to understanding creativity involving musicians, polymaths, animal models, and psychedelic experiences. The chapters are meant to give the reader a solid grasp of the diversity of approaches currently at play in this active and rapidly growing field of inquiry.
"This book is about dying, not about death. We are always dying a big, always giving things up, always having things taken away. Is there a person alive who isn't really curious about what dying is for them? Is there a person alive who wouldn't like to go to their dying full of excitement, without fear and without morbidity? This books tells you how." -- Front cover.
Intrigued by history's list of "troubled geniuses,"Albert Rothenberg investigates how two such opposite conditions—outstanding creativity and psychosis—could coexist in the same individual. Rothenberg concludes that high-level creativity transcends the usual modes of logical thought—and may even superficially resemble psychosis. But he also discovers that all types of creative thinking generally occur in a rational and conscious frame of mind, not in a mystically altered or transformed state. Far from being the source—or the price—of creativity, Rothenberg discovers, psychosis and other forms of mental illness are actually hindrances to creative work. Disturbed writers and absent-minded professors make great characters in fiction, but Rothenberg has uncovered an even better story—the virtually infinite creative potential of healthy human beings.
Is there really a thin line between madness and genius? This book provides a thorough review of the current state of knowledge on this age old idea, and presents new empirical research to put an end to this debate, but also to open up discussion about the implications of its findings.
