" Grandfather Schweitzer introduced Sartre to the world of books, displayed
him before company, and provided an atmosphere of strong demands, rewards
contingent upon good performances, and that model of diligence that has
characterized creative artists in recent Western history."

Gardner, Howard,
"The Arts and Human Development:
A Psychological Study of the Artistic Process,"
John Wiley & Sons, New York, London, Sydney, Toronto, 1973,
p. 242, par. 1, l. 6b.


"Thus a history of learning and overlearning of particular rote sequences
appears necessary if the skills are to be appropriately and effectively used
under pressures of creation."

Gardner, Howard,
"The Arts and Human Development:
A Psychological Study of the Artistic Process,"
John Wiley & Sons, New York, London, Sydney, Toronto, 1973,
p. 288, par. 1, l. 4.


"Such agility could only have evolved from repeated practice at a wide variety
of tasks, which together constitute the important components of the composing
skill."

Gardner, Howard,
"The Arts and Human Development:
A Psychological Study of the Artistic Process,"
John Wiley & Sons, New York, London, Sydney, Toronto, 1973,
p. 288, par. 1, l. 6b.


"The inventor Edwin Land had described this process, highlighting the
importance of the atmosphere in which a solution is most likely to emerge.

          I find it very important to work autonomously for long hours when I
     am beginning to see solution to a problem.  At such times atavistic
     competences seem to come welling up.  You are handling so many variables
     at a barely consciuous level that you can't afford to be interrupted.  If
     you are it may take a year to cover the same ground you could cover
     otherwise in sixty hours."

Gardner, Howard,
"The Arts and Human Development:
A Psychological Study of the Artistic Process,"
John Wiley & Sons, New York, London, Sydney, Toronto, 1973,
p. 317, par. 1b, l. 4.

"Edwin Land quoted in C. Taylor and F. Barron (eds.) (see note to Chapter 7,
p. 316) p. 69."
p. 379, par. 4. l. 1.

"C. Taylor and F. Barron (eds.), "Scientific Creativity:  Its Recognition and
Development" (New York:  Wiley, 1964)"
p. 379, par. 2, l. 1.

"The story of Einstein repairing to his room for two weeks and coming
downstairs with the theory of relativity in hand illustrates the same
phenomenon (as does Moses' receipt of the Ten Commandments!)."

Gardner, Howard,
"The Arts and Human Development:
A Psychological Study of the Artistic Process,"
John Wiley & Sons, New York, London, Sydney, Toronto, 1973,
p. 318, par. 1, l. 1.


"Experimental research has actually demonstrated rather conclusively that group
problem-solving using more egalitarian "brainstorming" techniques usually
yields dismal results in comparison with more solitary forms of problem
solving.  Individuals working alone will generate more and better ideas than
will the same individuals working in a group."

Simonton, Dean Keith,
"Origins of Genius:  Darwinian Perspectives on Creativity,"
Oxford University Press, New York, Oxford, 1999, p. 91, item 5, l. 10.


"Research has shown that intensive exposure to two or more different languages
helps build the cognitive basis for creativity."

Simonton, Dean Keith,
"Origins of Genius:  Darwinian Perspectives on Creativity,"
Oxford University Press, New York, Oxford, 1999, p. 122, par. 2b, l. 6b.


"The simplest principle is the Price law.  This affirms that if $k$ represents
the number of creators active in a given domain, the \sqrt{k} gives the number
of those who can be credited with roughly half of the products in that domain."

Simonton, Dean Keith,
"Origins of Genius:  Darwinian Perspectives on Creativity,"
Oxford University Press, New York, Oxford, 1999, p. 150, par. 2, l. 2.


"A more complex mathematical principle is he Lotka law, which states that the
number of individuals who contribute exactly $n$ products will be inversely
proportional to $n^2$.  In formal terms, if $f(n)$ is the count of the creators
who have made $n$ contributions, then $f(n) = c/n^2$, where $c$ is some
constant that is contingent on the particular domain of creative activity."

Simonton, Dean Keith,
"Origins of Genius:  Darwinian Perspectives on Creativity,"
Oxford University Press, New York, Oxford, 1999, p. 150, par. 2, l. 6b.


"That is, the capacity for producing creative ideas may be the product rather
than the sum of the various components. ... This multiplicative model has a
critical implication with respect to the predicted probability distribution of
productivity.  If the diverse components are normally distributed in the
population, the distribution of their product will not assume the same form.
On the contrary, the expected distribution would be "lognormal."  This is a
distribution that would be normal were the productivity counts subjected to a
logarithmic transformation.  This asymmetrical distribution is highly skewed
right.  Most of the cases are collected at the lower end of the distribution,
while the upper end of the distribution is characterized by an extremely long
tail.  This upper tail, in fact, is indistinguishable from that observed for
creative output.  Thus, according to the multiplicative model, the most
prolific creators will be extremely rare."

Simonton, Dean Keith,
"Origins of Genius:  Darwinian Perspectives on Creativity,"
Oxford University Press, New York, Oxford, 1999, p. 151, item. 2, l. 2b.


"However, it is necessary to recognize that the number of available ideational
variants would not increase as a linear function of the number of ideas that
can be freely permuted.  On the contrary, the number of possible combinations
would increase explosively with increases in the number of elements being
combined.  As a rough but reasonable approximation, we might suppose that the
potential supply of ideational variants increases exponentially with the amount
of raw material.  Let us further assume that the size of the reservoir of ideas
available for recombination is normally distributed in the population.  It
immediately follows that the cross-sectional distribution of total potential
variants would again be a lognormal distribution."

Simonton, Dean Keith,
"Origins of Genius:  Darwinian Perspectives on Creativity,"
Oxford University Press, New York, Oxford, 1999, p. 152, item. 3, l. 6.


"Research on expertise indicates that it takes about a decade of intense daily
study to acquire the necessary mastery of a domain and the same amount of time
has been found necessary for the acquisition of whatever is required for
world-class creativity."

Simonton, Dean Keith,
"Origins of Genius:  Darwinian Perspectives on Creativity,"
Oxford University Press, New York, Oxford, 1999, p. 191, item. 3, l. 9b.