1. CREATIVITY IS NOT ONE THING--IT IS AT LEAST 60 THINGS
LEARN AND APPLY ALL OF THEM IN THIS COURSE SERIES
EMAIL--richardtgreene@alum.mit.edu
THE CREATIVITY FOREST
Learn and Apply 6 Creativity Models in
Each of Ten Monthly 3-days-each Courses
Designs that Lead; Leaders that Design.

2. CREATIVITY IS NOT ONE THING--IT IS AT LEAST 60 THINGS
LEARN AND APPLY ALL OF THEM IN THIS COURSE SERIES
EMAIL--richardtgreene@alum.mit.edu
THE CREATIVITY FOREST
Side Curriculum Woven Throughout the Lectures/Exercises/Projects
30 CREATIVITY & NOVELTY SCIENCES
CREATIVITY MODELS 1. Identify new creativity models with which to extend your design
NEW MEDIA &
INTERFACES
INTELLECTUAL
INTERFACES 2. Shape your design to use, work in, and enable some new interfaces
CAUSAL INTERFACES 3. Shape your design to use, work in, and enable new causal interfaces
SOCIAL INTERFACES 4. Shape your design to use, work in, and enable new social interfaces
CREATION
OPERATORS
SELF DYNAMICS 5. Shape your design to enable changing being X to having X
KNOWLEDGE
DYNAMICS 6. Shape your design to use and support particular knowledge dynamics
EXPERIMENT &
DISCOVERY 7. Shape your design to foster particular experiment & discovery types
ART & INVENTION 8. Shape your design to entice users to invent devices, ways, & arts
EXPRESS & EXPLORE 9. Shape your design to elicit exploring & expressing current unknowns
CREA
TION
OPER
ANDS
SELF
DYNA-
MICS
EDUCATEDNESS 10. Shape your design to invite people beyond Initial Factory Settings
CAREERS 11. Shape your design to foster powerful career build dynamics
PARENTING &
LEADERSHIP 12 Shape your design to release pent up forces, avalanches of change
KNOW-
LEDGE
DYNA-
MICS
SYSTEMS 13. Shape your design to handle non-linear reactions to its first outputs
CULTURE 14. Shape your design to change, penetrate, improve latent cultures
QUALITY 15. Aim your design at enabling core essences of quality business
EXPERI-
MENT &
DISCOV-
ERY
INNOVATION 16. Identify additional innovation models for your design to embody
FOUNDING VENTURES
17. Identify venture techs your design can commercialize
ART &
INVEN-
TION
DESIGN 18. Extend to any of 20+ alternative design approaches
COMPOSING
19. Extend your design so use of it leads to good composings by users
EXPRES
S & EX-
PLORE
FASHION 20. Extend your design so it extends brand image identities of users
PERFORMANCE 21. Turn finding, purchase, use, repair, upgrade of your design
into performances and shows
EVOLUTION DYNAMICS 22. Turn the evolution dynamics of your design and its use
community into stories, comedies, histories, dramas.
REALITY
SCIENCES
STORY DYNAMICS 23. Turn the development and use of your design into dramatic stories
COMEDY DYNAMICS 24. Generate amazing incidents and comedic events in your design
and commercial release processes
GAME DYNAMICS 25. Embed game dynamics into the design, commercialization, a
nd use dynamics of your product
HISTORY & VALUE
DYNAMICS
26. Challenge the fake and harmful product traditions of Coke
colas, Wall Street, and other venal horders
COMMONSENSE SHIFT
DYNAMICS, biosense,
socialware, software 27. Entice users of your design into biologic ways of thinking/operating
CREATIVITY &
NOVELTY
SCIENCE
INTER-
RELATION
DYNAMICS
THE 30 CREATIVITY
SCIENCES--INTER-
RELATIONS
228. Link each creativity science your design engages via good
interfaces to others
NOVELTY AMOUNTS &
TYPES ACHIEVED
29. Design for getting users generating more and better
forms of creativity from use of your design
THE MORAL
DIMENSIONS Creativity
& Innovation Noise
Dynamics
30. Design all around and in your product to counter fake “for show”
creativities generated by career, product planned obselence systems
Lecture on One Creativity Model:
history, examples, steps, results
Exercise: finding examples in
history and your current field
Assessing Yourself: when have
you used/can you use the model
Tools for applying the model:
changing minds, views, steps
Exercise: applying the model
via the tools to team project
Lecture on One Creativity Model:
history, examples, steps, results
Exercise: finding examples in
history and your current field
Assessing Yourself: when have
you used/can you use the model
Tools for applying the model:
changing minds, views, steps
Exercise: applying the model
via the tools to team project
MORNING
SESSION:
AFTERNOON
SESSION:
The Structure of Each of the 3-Days of 1 Course:
POSTING by all
at any time of:
Questions,
Learnings,
Tools
POSTING by all
at any time of:
Questions,
Learnings,
Tools
Partici-
pants take
turns doing in-
process interviews.
Partici-
pants edit
video inter-
views into tools,
insights, document.
DINNER-TIME--One new team, mix of above, makes comedy,
another makes songs, on New Creativity Education insights
of the day, and of the course thus far--performed 3rd day.
BUILDING IS NOT ENOUGH--Schools as rows of sitters, memorizers,
isolated from work and the world, making trash (homework thrown
away)--are the WORST POSSIBLE preparation for contributing to life.
SO design work in class FEELS creative, but just making things, however
fun, does not reach the level of creativity till it changes a field.
MAKING IS FUN, CREATING IS TOUGH--Think Edison testing light bulb
material 8,994, 8,995, 8996--was he having lots of fun?
THE DESPAIR DOORWAY--only when all that you know and have tried
fails, again and again, when you are CERTAIN, you as presently con-
stituted cannot solve a problem, reach a goal, so something in YOU
is going to have to change if you are to create--THEN you truly create.
All creating is, in this deep way, self-transformation.
THE EDUCATEDNESS CONNECTION--teaching/learning induces you
into a world, already there; educating draws you (e-duco in Latin)
out of the world of parents-peers-media-teachers that raised you,
into Confucius’ multi-decade journey of making your own self contents.
Creating in the beyond-craft beyond-impressing-friends sense, requires
educatedness--being able to see, feel, think beyond where others do so.
STRUCTURAL COGNITION TOOLS--(found by Richard Greene at MIT-
Harvard) enable ordinary mental operators to be applied to 40 to 100
ideas at a time, not just 4 to 6 at a time = the fantastic levels of pro-
duction that enable lots of diverse tries that become true creations.
SOME SURPRISES ABOUT CREATIVITY EDUCATING:
ENVIRONMENT SUPPORTS CANCEL MORE CREATIVITY THAN THEY HELP
for firms imagine only 1 or 2 familiar models of creating, with supports
for them, but those supports hinder a dozen other, unknown unused
so-far, models of creating. Also more creativity comes from trying new
or unused models of creating than from doing known models better.
creativity is tough
you must change to create
building things & fun are not enoughuneducated people
tools for vast increases in
mental productivity
make not create
supports reduce more creating than they foster
GRIT out-creates
creative
people

3. CREATIVITY IS NOT ONE THING--IT IS AT LEAST 60 THINGS
LEARN AND APPLY ALL OF THEM IN THIS COURSE SERIES
EMAIL--richardtgreene@alum.mit.edu
THE CREATIVITY FOREST
What made Steve Jobs’ APPLE the world’s most valuable company was Steve’s
simultaneous deployment of five or more Creativity Sciences, where others proudly
deployed only one. The product-announcement PERFORMANCES, the white clear
collegial retail store choreographed COMPOSITIONS, the unused space in phones
filled with liquid batteries INVENTION, the failing music industry new business model
iTunes SYSTEM, the elegant, lean, clutter-less interface ART
Stratified
Responding
Conversations
Social
Design
Automata
Fractal
Model
Expansions
Response to
Response
Matrices
Tipping
Point
Finding
Contradiction
Point
Inventing
Tuning
Interacting
Idea
Populations
Dimensions of
Difference
Interpolations/
Extrapolations
8 of Many
NEW TOOLS
introduced &
used in the
courses
NEW TOOLS FOR
THOUGHT
become
INCREASES IN
YOUR
MENTAL
PRODUCTIVITY
Fractal of Contents
Are You Creative?60 Models of Creativity and the 960 Ways to Improve Your Creativity that They Suggest
By Richard Tabor Greene
25
26
2728
29
30
SOCIAL
KNOWLEDGE
EVOLUTION
Compilation
Fractal
Recurrence
Cycle
System
Model
60
Models of
CreativityCopyright 2002 by
Richard Tabor Greene
All Rights Reserved
US Government
Registered
1
1
2
3
4
5
6
CATALOGRecommen-
dations
Traits
Question
Finding
Darwinian
Systems
Combined
Thought
TypesGarbage
Can
2
7
8
9
10
11
12
BLEND
Culture
Mixing
Disci-
pline
Com-
bines
Tuning
Paradox
Door-
way
Scale
Blend
Idea
Market-
ing
313
14
15
16
17
18
Com-
munity
of
Ideas
Social
Compu-
tation
Social
Move-
ment
Space
Share
Parti-
cipatory
Art &
Design
419
20
21
22
23
24
GROUP
Mass
Solving
Process
Deploy-
ment
Optimize
Ideal
Flow
Meta-
Social
Connec-
tion-
ism
Demyst-
ification
525
26
2728
29
30
KNOWLEDGE
EVOLUTION
Relocating
Idea
Programs
Simple
Dialectics
Fractal
Recurrence Idea
Waves
631
32
33
34
35
36
EXPERIMENT
Solution
Culture
Policy by
Experiments
Creation
Events
Fractal
Model
Expan-
sion
Social
Automata
Create by
Balancing
737
3839
40
41
42
SYSTEM
Non-
Linear
Systems
Darwin-
ian
System
Effects
Surprise
Adjacent
Beyond
Population
Automaton
8
43
44
45
46
47
48
PURITY
Sub-
creations
Produc-
tivity
Perfor-
mance
Influence
Investing
Info
Design
SELF
9
49
50
51
52
53
54
Courage
Anxiety
Channel
Extended
Self
Deve-
lop-
ment
Interest
Ecstasy
Career
Invent
Perfor-
mance
Crea-
tivity
MIND
10
55
56
57 58
59
60Insight
Cognitive
Operator
Extremes
Making
Sense
Percept
Invent
Experience
Realizatn.
Substrate
Update
Cognition
Ecosystems
These
models are
giant collections
based on single themes
or matrix frameworks.
These models
see creativity
as social
relations &
dynamics
of sorts.
These
models see
group-ness
making
procedures
creative
These
models see
dynamics among
ideas themselves that
become creativity
These models see
solids disolved into
hypotheses making
creativity.
These models
see non-linear
aspects of reality
that make creativity
inevitable in
the universe
These
models see
some single
function or
aim that done
purely results
in creativity.
The
dynamics
of creating
a self if
extended
result in
creativity.
Within the mind dynamics
or constructs that
“create”.
These
models are
mixtures, blends,
and combinations
of things.
p23
p33
p44
p56
p75
p89
p125
p134
p142
p162
p183
p192
p206
p216 p225
p239
p250
p262
p285
p300
p314
p323
p349
p358
p377
p388
p401
p411
p426
p439
p462
p473
p489
p499
p511
p520
p534
p544
p562
p587
p599
p617
p645
p656
p664
p674
p686
p700
p717
p734
p749
p763
p775
p787p810
p823
p836
p846 p854
p866
Page 8 Overview of the 60 Models
Page 22 Catalog Models Hexagon
Page 32 128 box Recommendations Model
Page 70 to 74 Scientific Creativity Quad-Hexagons
Page 93 48 Culture Dimensions Triangle
Page 100 Career 64 Quad
Page 114 64 Social Processes Quad
Page 121 Catalog Models Combined
Page 124 Blend Models Hexagon
Page 173 Power Creation Quad 64
Page 168 Social Automaton Table
Page 202 Blend Models Combined
Page 205 Social Models Hexagon
Page 260 Cluster Creation Space
Page 281 Social Models Combined
Page 533 System Models Hexagon
Page 559 Simonton Hexagon
Page 573 System Effects 128 Triangle
Page 579 326 System Effects Hexagons
Page 604 Adjacent Beyond 64 Quads
Page 641 Systems Models Combined
Page 644 Purity Models Hexagon
Page 711 Creation Engineering 128 Triangle
Page 712 Purity Models Combined
Page 716 Self Models Hexagon
Page 805 Composing/Performing 128 Triangle
Page 806 Self Models Combined
Page 809 Mind Models Hexagon
Page 876 Mind Models Combined
Page 879 Flow Diagrams of All 60 Models
Page 982 Grounding Example Tables for All
60 Models
Page 1056 ReferencesPage 284 Group Models Hexagon
Page 329 General Computation
Page 331 Social Process Event Types
Page 332 Ways Orgs Learn 64 Quad
Page 336 Organizing for Meta-Cognition
Page 344 64 Ways Orgs Learn Table
Page 367 Rise of Science Table
Page 373 Group Models Combined
Page 376 Knowledge Evolution Hexagon
Page 444 96 Simple Program Intuitions
Page 457 Knowledge Evolution Combined
Page 461 Experiment Hexagon
Page 530 Experiment Models Combined
Introducing:
Fractal
Concept
Models
Covers:
Kaufmann’s Investigations
Wolfram’s Simple Programs
Abbott’s Chaos of Disciplines
Simonton’s Origins of Genius
and many others
Root-Bernstein’s Discovering
A Self-Study Text
on Creativity that Any
Person & Any Course
in Any Discipline
in Any College or
Company Can Use
Today!
The MostComprehensiveBook
on Creativitythat hasEver beenPublished!
The Next StageAfter R&DArts&Sciences
Individuals&Groups
NGOs&Companies
Ventures&Styles
Fashion&Tradition
P66
Page 30 Copyright 2001 by Richard Tabor Greene, All Rights Reserved, Government Registered Email: richardtgreene@alum.mit.edu
WHAT THE 60 MODELS ARE LIKE, SEE
THE EXAMPLE BELOW:
Each model purports to explain ALL of
creativity, yet each is very different
than the others. As you master one then
another, your Personal Repertoire of ways
to create, grows wonderfully.
MASTER THE
WORLD’S BEST
BOOK ON
CREATIVITY IN
ALL ITS FORMS:
As you take,
one by one,
each of the
ten 3-day-each
courses in this
series, you
master 6 models
from the book
at right, in each
course. You
graduate from
the course series
master of 60
ways the world
creates, giving
you enormous
teaching options
and detailed
materials others
lack.
Each 3-day
course in this
series introduces
one or more tools
for greatly increasing
mental productivity.
More thoughts per unit
time, more diverse ones,
becomes more experi-
mental tries becomes more
historic scale creativity
(the Productivity Model
of creativity this is called).
SOCIAL DESIGN
AUTOMATA
a replacement
for brainstorms,
uses people as
processors in a
computer-like
array, handing
partial products
to each other,
each person ap-
plying their assign-
ed operation to
partial results
handed to them.

4. CREATIVITY IS NOT ONE THING--IT IS AT LEAST 60 THINGS
LEARN AND APPLY ALL OF THEM IN THIS COURSE SERIES
EMAIL--richardtgreene@alum.mit.edu
THE CREATIVITY FOREST