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            Creative Insight Writ Large














               The  Eureka  act  proper,  the  moment  of  truth  experienced  by  the  creative
               individual, is paralleled on the collective plane by the emergence … of a new
               synthesis, brought about by a quick succession of individual discoveries.
                                                               Arthur Koestler 1

            The millennium a.d. 1000–2000 brought mind-boggling changes to the life of
            the average person. The French might insist that the more the human condition
            changes, the more it remains the same, but from the point of view of the average
            person, the change from farming with a handheld plow – a common activity
                                             2
            in what was not yet Europe in a.d. 1000  – to trading stocks on the Internet is
            not superficial. Historical change is driven by the production of many different
            kinds of novelty. People change what they believe; improve their mastery over
            material processes; try different forms of economic, political and social organiz-
            ation; and struggle to formulate moral dictums by which they can live more
            happily. Considered at the millennial scale, the production of novelty is larger
            than life and mightier than the individual. The river of conceptual, technolog-
            ical and organizational inventions sweeps people along, sometimes to the tune
            of ineffectual protests about the loss of this or that value supposedly inherent in
            tradition.
               The gap between laboratory studies of insight and historical change looks
            like the Grand Canyon of cognitive theory. The prospect of bridging it is daunt-
            ing, and the construction will require more than the modest beginning attempted
            in this chapter. The purpose is to investigate to what extent the theory of insight
            is relevant for human affairs and to clarify how the production of novelty unfolds
            in realistic contexts. What and how much of what happens in significant crea-
            tive projects can be explained by the principles about individual insight events
            proposed in Chapter 4? Which features cannot be so explained? Do additional
            features and change mechanisms, unrelated to those principles, emerge at higher


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