From ancient drawings to the genius of Leonardo and Einstein to the imagination that colors our everyday life: the drive to create, innovate and make something new is a big part of what makes us human. Explore this and more in this new special edition from TIME, The Science of Creativity.

Creativity is part of what makes us human. Perhaps for the first time, we hold in our grasp the potential to explain creativity.

Most of us have said, "If only I had more time," as a way of explaining why we aren't leading our most fulfilling lives. This book turns the concept of time management upside down by presenting exciting new tools for viewing and experiencing your time. Creating Time combines creativity with science in a gorgeous colorful format that presents a fascinating adventure in which you will imagine, create, and completely reshape the way you experience time. Each chapter presents a shift-making concept illustrated by real-life examples, step-by-step introspective processes, and powerful creative projects that inspire a new sense of time, a liberating view of self, and a fresh perspective on the meaning of being human, empowered, and fully alive.

"Remarkable. This profound volume informs and inspires." —PW, STARRED review From the Pulitzer Prize–winning New York Times science reporter acclaimed for “bring[ing] scientific concepts to life” (Bill Gates), a pathbreaking new investigation into the mysteries of human creativity How does creativity work? Where does inspiration come from? What are the secrets of our most revered creators? How can we maximize our creative potential? THIS IS THE STORY OF HOW WE CREATE. Creativity defines the human experience. It sparks achievement and innovation in art, science, technology, business, sports, and virtually every activity. It has fueled human progress on a global level, but it equally is the source of profound personal satisfaction for individual creators. And yet the origins of creative inspiration and the methods by which great creators tap into it have long been a source of mystery, spoken of in esoteric terms, our rational understanding shrouded in complex jargon. Until now. Inspired is a book about the science of creativity, distilling an explosion of exciting new research from across the world. Through narrative storytelling, Richtel marries these findings with timeless insight from some of the world’s great creators as he deconstructs the authentic nature of creativity, its biological and evolutionary origins, its deep connection to religion and spirituality, the way it bubbles in each of us, urgent and essential, waiting to be tapped. Many of the questions Richtel addresses are practical: What are the traits of successful creators? Under which conditions does creativity thrive? How can we move past creative blocks? The ultimate message of Inspired is that creativity is more accessible than many might imagine, as necessary, beautiful, and fulfilling as any essential part of human nature.

Creativity, Psychology, and the History of Science offers for the first time a comprehensive overview of the oeuvre of Howard E. Gruber, who is noted for his contributions both to the psychology of creativity and to the history of science. The present book includes papers from a wide range of topics. In the contributions to creativity research, Gruber proposes his key ideas for studying creative work. Gruber focuses on how the thinking, motivation and affect of extraordinarily creative individuals evolve and how they interact over long periods of time. Gruber’s approach bridges many disciplines and subdisciplines in psychology and beyond, several of which are represented in the present volume: cognitive psychology, developmental psychology, history of science, aesthetics, and politics. The volume thus presents a unique and comprehensive contribution to our understanding of the creative process. Many of Gruber's papers have not previously been easily accessible; they are presented here in thoroughly revised form.

Psychologists, sociologists, philosophers, historians - and even scientists themselves - have often tried to decipher the basis for creativity in science. Some have attributed creativity to a special logic, the so-called scientific method, whereas others have pointed to the inspirations of genius or to the inevitable workings of the zeitgeist. Finally, some have viewed scientific breakthroughs as the product of chance, as witnessed in the numerous episodes of serendipity. Too often these four alternative interpretations are seen as mutually exclusive. Yet the central thesis of this book is that the chance, logic, genius, and zeitgeist perspectives can be integrated into a single coherent theory of creativity in science. But for this integration to succeed, change must be elevated to the status of primary cause. Logic, genius and the zeitgeist still have significant roles to play but mainly operate insofar as they enhance, or constrain the operation of a chance combinatorial process.

This third volume of American University Publications in Philos ophy continues the tradition of presenting books in the series shaping current frontiers and new directions in phi. osophical reflection. In a period emerging from the neglect of creativity by positivism, Professors Dutton and Krausz and their eminent colleagues included in the collection challenge modern philosophy to explore the concept of creativity in both scientific inquiry and artistic production. In view of the fact that Professor Krausz served at one time as Visiting Professor of Philosophy at The American University we are especially pleased to include this volume in the series. HAROLD A. DURFEE, for the editors of American University Publications in Philosophy EDITORS' PREFACE While the literature on the psychology of creativity is substantial, surprisingly little attention has been paid to the subject by philos ophers in recent years. This fact is no doubt owed in 'part to the legacy of positivism, whose tenets have included a sharp distinction between what Hans Reichenbach called the context of discovery and the context of justification. Philosophy in this view must address itself to the logic of justifying hypotheses; little of philo sophical importance can be said about the more creative business of discovering them. That, positivism has held, is no more than a merely psychological question: since there is no logic of discovery or creation, there can be no philosophical reconstruction of it.