Quality and purpose, quantity and chance

Creative productivity: A predictive and explanatory model of career trajectories and landmarks.

“…Others may maintain that such models understate the role of logical and conscious information processing, such as that stressed by cognitive scientists who study creativity from the standpoint of computational models of problem solving (e.g., Langley, Simon, Bradshaw, & Zythow, 1987;Weber, 1992;Weisberg, 1992). These and other possible complaints have been addressed elsewhere (e.g., Simonton, 1988c;1994a, 1995bchap. 4;in press-b), so there is again no need to discuss the matter here (see also Kantorovich, 1993;Stein & Lipton, 1989).…”

Quantifying leader lives: What historiometric approaches can tell us

“…Simonton's (1988bSimonton's ( , 2001 work to differentiate U.S. Presidents in terms of rating and ranking performance data, respectively, represents a model intended to capture performance on a continuum, while Yammarino and colleagues' (2012) recent examination of predictors of assassination dichotomize the performance criterion (i.e., assassinated versus not). Each of these types of studies is intended to assess leadership characteristics related to some subsequent outcome (i.e., performance, assassination) and they provide some evidence as to the strength, direction, and robustness of these relationships.…”

“…In other domains, this adult development literature is abundant. For example, in examining the life histories of eminent creative scientists and artists, Simonton (1975Simonton ( , 1988b. In an examination of the obituaries of leading scientists, Mumford et al (2005) identified important career events such as early exposure to the field and supervised practice as critical indicators of late-life innovation.…”

“…For example, in Murray (1928). As a great deal of Simonton (1988bSimonton ( , 2001Simonton ( , 2008. When the research question seeks to differentiate leaders on a temporal or situational bound set of criteria, however, more targeted sampling must be employed.…”

What can managers do for creativity? Brokering creativity in the creative industries

“…This is the basis for 'systems' theories of creativity (Csikszentmihalyi 1988, Simonton 1988); a creative process is not the result of one person or even one set of people but of intersecting and interacting relationships between them and others. Each participant is dependent on another; for example, Picasso's painting is informed by his relationship with contemporary avant-garde artists, African art traditions, curators and critics, his society and with posterity.…”