Acknowledging the value of genius - Deepstash

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Acknowledging the value of genius

  • In 1920, a reflective director of industrial research at Eastman Kodak acknowledged the reality and value of genius. Well-trained and motivated scientific workers could make valuable contributions even though they were untouched by genius.
  • In the 1950s, employers varied in opinion about whether the organisational difficulties in looking after genius were worth the effort. If you wanted profits, you had to allow intellectual freedom and allow the scientific workers to do just what they wanted to do for some of the time.

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By its nature, creativity is individual, eccentric, and antagonistic to attempts to plan to organise it. An effort to manage creative people might result in only getting the appearance of creativity.

In the early 20th century, original work entered the world of commerce. Chemical, pharmaceutical and electrical companies hired large numbers of academically trained scientists, believing that innovation was vital to commercial success and that science belonged in commercial orga...

  • Creativity, as a power belonging to an individual, doesn't go back very far. The first recorded usage of the word creativity came from the Oxford English Dictionary in the 17th century: 'In Creation, we have God and his Creativity.'
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The military was a key factor in creativity's Cold War history, particularly American history.

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Marketing expert Theodore Levitt published an essay in 1963, 'Creativity is not enough.' Levitt stated that creativity might be a source of new ideas, but it is not ideal for good business outcomes. There is no short supply of new ideas.

In 1950, a leading psychologist lamented that only a small proportion of professional literature was concerned with creativity.

The rise of creativity has continued since the Cold War. Many expert practices have been incorporated into the everyday life of organisations committed to producing useful novelty.

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