In 1974 an article appeared in Science magazine with the dry-sounding title “Judgment Under Uncertainty: Heuristics and Biases” by a pair of psychologists who were not well known outside their discipline of decision theory. In it Amos Tversky and Daniel Kahneman introduced the world to Prospect Theory, which mapped out how humans actually behave when faced with decisions about gains and losses, in contrast to how economists assumed that people behave. Prospect Theory turned Economics on its head by demonstrating through a series of ingenious experiments that people are much more concerned with losses than they are with gains, and that framing a choice from one perspective or the other will result in decisions that are exactly the opposite of each other, even if the outcomes are monetarily the same. Prospect Theory led cognitive psychology in a new direction that began to uncover other human biases in thinking that are probably not learned but are part of our brain’s wiring.

Thinking fast and slow.

The four Visegrad states — Poland, the Czech Republic, Slovakia (until 1993 Czechoslovakia) and Hungary — form a compact area between Germany and Austria in the west and the states of the former USSR in the east. They are bounded by the Baltic in the north and the Danube river in the south. They are cut by the Sudeten and Carpathian mountain ranges, which divide Poland off from the other states. Poland is an extension of the North European plain and like the latter is drained by rivers that flow from south to north west — the Oder, the Vlatava and the Elbe, the Vistula and the Bug. The Danube is the great exception, flowing from its source eastward, turning through two 90-degree turns to end up in the Black Sea, forming the barrier and often the political frontier between central Europe and the Balkans. Hungary to the east of the Danube is also an open plain. The region is historically and culturally part of western Europe, but its eastern Marches now represents a vital strategic zone between Germany and the core of the European Union to the west and the Russian zone to the east.

Economy and Society

Note on Translation Introduction by Michael Holquist Response to a Question from the Novy Mir Editorial Staff The Bildungsroman and Its Significance in the History of Realism (Toward a Historical Typology of the Novel) The Problem of Speech Genres The Problem of the Text in Linguistics, Philology, and the Human Sciences: An Experiment in Philosophical Analysis From Notes Made in 1970-71 Toward a Methodology for the Human Sciences Index

Speech Genres and Other Late Essays

Individualism and collectivism

National Science Education Standards

Part I: Conceptions Chapter 1: Introduction Chapter 2: Conceptions of Creativity Part II: Individualist Approaches Chapter 3: Defining creativity through assessment Chapter 4: The creative personality Chapter 5: The creative process, part 1 Chapter 6: The creative process, part 2 Chapter 7: The creative process, part 3 Chapter 8: Computer simulations of the creative process Chapter 9: Biology and creativity Chapter 10: Cognitive neuroscience and creativity Part III: Sociocultural Approaches Chapter 11: Sociology Chapter 12: Group creativity Chapter 13: Organizational creativity Chapter 14: Culture and creativity Chapter 15: History and creativity Part IV: Creativity in the Domains Chapter 16: Visual Arts Chapter 17: Writing Chapter 18: Music Chapter 19: Theater Chapter 20: Science Part V: Everyday Creativity Chapter 21: Education and creativity Chapter 22: How to be more creative Chapter 23: Conclusion: The future of creativity Appendices The domain of creativity research Appendix A: Creativity timeline Appendix B: Creativity overviews Appendix C: Journals that publish creativity research Appendix D: Influential books in creativity research Appendix E: Journal special issues The field of creativity research Appendix F: Important creativity researchers Appendix G: Colleges and universities with a degree or certificate in creativity Appendix H: Professional associations and conferences References

Explaining Creativity: The Science of Human Innovation

Can we understand important social issues by studying individual personalities and decisions? Or are societies somehow more than the people in them? Sociologists have long believed that psychology can't explain what happens when people work together in complex modern societies. In contrast, most psychologists and economists believe that if we have an accurate theory of how individuals make choices and act on them, we can explain pretty much everything about social life. Social Emergence takes a new approach to these longstanding questions. Sawyer argues that societies are complex dynamical systems, and that the best way to resolve these debates is by developing the concept of emergence, focusing on multiple levels of analysis - individuals, interactions, and groups - and with a dynamic focus on how social group phenomena emerge from communication processes among individual members. This book makes a unique contribution not only to complex systems research but also to social theory.

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Social Emergence: Societies As Complex Systems

Teaching has often been thought of as a creative performance. Although comparisons with performance were originally intended to emphasize teacher creativity, they have become associated instead with contemporary reform efforts toward scripted instruction that deny the creativity of teachers. Scripted instruction is opposed to constructivist, inquiry-based, and dialogic teaching methods that emphasize classroom collaboration. To provide insight into these methods, the “teaching as performance” metaphor must be modified: Teaching is improvisational performance. Conceiving of teaching as improvisation highlights the collaborative and emergent nature of effective classroom practice, helps us to understand how curriculum materials relate to classroom practice, and shows why teaching is a creative art.

Creative Teaching: Collaborative Discussion as Disciplined Improvisation

Creativity has long been thought of as an individual gift, best pursued alone; schools, organizations, and whole industries are built on this idea. But what if this most common belief about how creativity works is wrong? In this revised and expanded edition, psychologist Keith Sawyer tears down some of the most popular myths about creativity and erects new principles in their place. He reveals that creativity is always collaborative-even when you're alone. Sawyer draws on compelling stories of inventions and innovations: the inventors of the ATM, the mountain bike, and open source operating systems, among others, to demonstrate the freewheeling ways of true innovation. He shares the results of his own acclaimed research on jazz ensembles, improv groups, and conversation analysis, to show us how to be more creative in collaborative group settings, how to change organizational dynamics for the better, and how to tap into our own reserves of creativity. Now with a new chapter on web-based developments that have made collaboration central to everyone's lives, this revised and updated edition is a must read for anyone seeking to thrive and succeed by tapping into collaborative creativity

R. Keith Sawyer

Papers

Explaining Creativity: The Science of Human Innovation

Social Emergence: Societies As Complex Systems

Creative Teaching: Collaborative Discussion as Disciplined Improvisation

Creative Teaching: Collaborative Discussion as Disciplined Improvisation

Group genius : the creative power of collaboration