Q Introduction We are all members of a culture with unwritten rules, with views on what is most important, and with concepts that make sense of the world. Creativity is also included here because it is culturally defined. Just as some African cultures don't have a specific word for music, some cultures don't have a specific concept of creativity. When we create, we create as representatives of a certain historical period, and this requires a far broader analysis than simply looking at famous creative individuals. Creativity is historically situated and culturally defined. Discussion Questions Prepare for your discussion by reviewing the required readings and videos described in each discussion topic. This activity aligns with module outcome 1. Respond to one of the following questions. 1. If you have lived abroad or traveled extensively abroad, when did you come to the realization that living in the United States had influenced your attitudes and approaches to life? How do some of those differences relate to our study of creativity and the creative approaches to problem solving that you have practiced or examined so far? 2. Reflecting on the domain you chose to focus on for this week in Explaining Creativity, think of people you have met who create in this domain (music, visual arts, science, etc.). How is your background similar or different from this person? How does your background stand out from other people you have met who create in this domain? 2. Toward the end of the chapter on “History and Creativity,” in Explaining Creativity, we read that "historiometry studies historical individuals whose work has passed the test of time. Because the work has passed the test of time, it's easier to resolve the basic question of who is creative; creative individuals and works are those that have made it into the history books, those that have been judged and selected by the field to have a lasting influence after their creation." In "A Brief History of Women in Art," we learn that women artists have often been excluded from histories of art. Since women have been excluded, how does this change the assertion that male artists like Cézanne and Picasso are representative of entire generations? How can representation be broadened to include the work of creative women, beyond adding a few women to the pages of history books? 3. Historiometric studies reveal that people tend to do their most important creative work during their busiest years, generating the most output. Discuss the ways in which this has been true for you, or if you have found yourself to be more creative when your life has been less pressured. What does this tell you about the role of incubation and insight in creativity?