A new theory suggests that creativity comes in two distinct types – quick and dramatic, or careful and quiet.
by Daniel H. Pink
In the fall of 1972, when David Galenson was a senior economics major at Harvard, he took what he describes as a “gut” course in 17th-century Dutch art. On the first day of class, the professor displayed a stunning image of a Renaissance Madonna and child. “Pablo Picasso did this copy of a Raphael drawing when he was 17 years old,” the professor told the students. “What have you people done lately?” It’s a question we all ask ourselves. What have we done lately? It rattles us each birthday. It surfaces whenever an upstart twentysomething pens a game-changing novel or a 30-year-old tech entrepreneur becomes a billionaire. The question nagged at Galenson for years. In graduate school, he watched brash colleagues write dissertations that earned them quick acclaim and instant tenure, while he sat in the library meticulously tabulating 17th- and 18th-century indentured-servitude records. He eventually found a spot on the University of Chicago’s Nobelist-studded economics faculty, but not as a big-name theorist. He was a colonial economic historian – a utility infielder on a team of Hall of Famers.
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