Friday, April 22, 2016
Fighting Poverty Takes Creativity
For nearly 50 years, the United States has, in some form of rhetoric or another, claimed to be fighting a "war on poverty." Despite the buzz, the most recent census data has confirmed that more than 45 million people, or 14.5% of all Americans, are living below the poverty line in the U.S. Less conservative estimates assert that there could be anywhere from 40 to 70 million U.S. households currently living in poverty. Furthermore, the rate of national spending on welfare programs is steadily increasing, and yet the "war on poverty" still rages on. Is it time to enact a new battle plan? Maurice Lim Miller thinks so.
Maurice Lim Miller, founder of the Family Independence Initiative
Miller is the founder and CEO of the Family Independence Initiative (FFI), and a 2012 recipient of the MacArthur Genius Fellowship for his work in economic development through FII. So what exactly is FFI? The Family Independence Initiative is an anti-poverty nonprofit organization that is taking an innovative approach to raising the poor out of poverty and into the middle class - by creating the opportunity for these families to communicate with one another, share resources and strategies, and build their own creative solutions to getting out of poverty.
In an interview for NPR, Miller describes the process as going something like this: "A family walks in and we tell them, look, you're never going to be able to get out just by yourself. We have no staff that is really going to be able to help you. Go find six or eight other families that are friends of yours and, if you organize those families and come in, we'll talk to you as a group and if we think that we can learn from you, we want to learn from you. And if you are going to try to change your life in the next two years, then we'll pay you for the time you spend showing us what the progress is that you're making."
Families gathered to share their resources and progress
Miller compares this to the motivational and behavioral studies that companies like Google use to justify decisions like giving employees 20% of work time to do anything they want using the resources that Google has. He notes that "they [Google] have gotten some of their best products by giving people the freedom to really experiment when they have resources available. That's all we do. We set up a platform for people to say, look, getting out of poverty and becoming independent is a creative process. You guys have the challenge to do that.
Miller himself used his creativity to rise out of poverty. Born in Mexico and raised by a single parent, it was the resourcefulness of his mother that inspired and motivated him to begin this movement. In the same NPR interview, he comments on realizing that there was something missing from the national conversation on poverty. A lot of this had to do with the emphasis on charity and the deficits of poor people. Miller realized that there needed (and still needs) to be a paradigm shift to focus on their strengths and their infinite potential for positive contributions. For his mother, the American dream was about becoming truly independent, and knowing that the social safety net alone would not be able to do that for them. He remarks that his mother "was really hurt by the message both from the right and the left. She didn't like being called Mexican and dirty and lazy and then she didn't like the social worker that was trying to say, oh, well, you know, you're a poor mom and we're going to help you and basically saying the same thing, that she wasn't capable. My mother had only a third grade education, but she was smart and she was rough and she really was resourceful and that's how these families are."
Miller's initiative truly puts into practice some of the psychological principles that we discussed in class. The decision to only fund families if they can work in groups of 6 to 8 is rooted in the concept of creative collaboration, and the idea of a creative cohort functioning best when there is an ideal Q - in practice, each family would know some of the other families really well, and a few others would be more distant or newer contacts, but they generate ideas and formulate plans best working within their collaborative cohorts. Furthermore, the principle of intrinsic motivation is seen in both the participants and Miller himself. In our reading entitled "Motivation and Creativity," the authors make the points that "there is considerable anecdotal and empirical evidence that creative production does require a high level of intrinsic motivation" (Collins & Amabile 297). The participants need to challenge themselves to find creative solutions for themselves and their families, while Miller works because of a deep level of understanding stemming from his own background.
FII spotlighted on the blog of a mother whose family it helped
Miller's initiative is truly paying off for the families involved. Within the first two years of his first project in Oakland, the average household income for FII families jumped by 27%. On FII's website, a Stories of Impact page highlights the achievements of participating families, anything from buying houses, to starting businesses, and paying for college tuition for their children. Miller notes that sharing this type of success both within their cohorts and to the general public validates that these families are the solvers of the problem, that they are both capable, intelligent, and resourceful, and that, working together, they are able to rise up and overcome poverty.
Tuesday, April 19, 2016
If You Ain't First, You're Last
The early 21st century fictional philosopher and Nascar driver, Ricky Bobby, coined the phrase "If you ain't first, you're last" and "shake and bake." Classic personalities like Ricky Bobby and Ron Burgundy are creative children of the versatile director Adam McKay. McKay is known for working frequently with his good friend Will Ferrell. Together they have produced hit movies like Step Brothers, The Other Guys, and Anchorman [1]. Aside from the Ferrell-inspired comedies, McKay wrote the screen play for Ant-Man and The Big Short. The latter went on to win an Oscar for Best Writing, Adapted Screenplay [2].
Now for a little bit more about Adam McKay's history and creative process. McKay spent most of his early years in comedy, specifically the impov industry. If you think presenting in front of a crowd for your public speaking class is difficult, try improv. Improv takes immense creativity because it requires on-the-spot wit and acting. McKay practiced improv with the Second City comedy troupe, and even became the head writer for Saturday Night Live [3]. When it comes to the creative process, McKay has an odd way of helping himself develop screenplay. He stated, "sometimes as an exercise, I will tell the story of the movie to my youngest daughter, as a bedtime story. I will change some details to make it a fairytale allegory" [3]. This may sound familiar to you, if you have ever had to explain a problem to a friend - like a fifth-grader - to help yourself understand it better. McKay benefits in a similar way. He learns what holes the plot may have, where the momentum of the story is, and what the overall flow is like.
Although one can argue that most of McKay's comedies revolve around Will Ferrell, the plots and characters surrounding Ferrell are always different and consistently creative. In an interview with Index Magazine, both McKay and Ferrell stated that a comedy cannot be successful with one character leading all the jokes. The more funny characters there are contributing to a movie, the more interesting it is [4]. Creating outrageous plots and adding many characters is one way McKay stretches his creative boundaries. Lastly, although The Big Short does have many hilarious moments, the tone of the movie is more in the drama and documentary genre, instead of a comedy. Being able to write movies with different tones and interactions has helped establish McKay as a versatile and creative writer.
To examine this producer's creative process, it is vital look at his influences. McKay's creative collaborator is obviously Will Ferrell. In interviews he has said that they have mutual respect and when creating scripts they are basically just trying to make each other laugh [3]. Although McKay was not necessarily a prodigy, he grew up with a strong love for Monty Python, Steve Martin, Akira Kurosawa movies, and comic books. I believe these influences has helped him create extravagant story telling techniques and characterization. For an example of this, I have included a great clip from The Other Guys which features witty dialogue and an abstract, yet possible, situation. Lastly, McKay's bedtime storytelling exercises have helped him develop creative plots that are straight-forward and relatable.
Ending this tribute to Adam McKay, I will leave you with a favorite Ricky Bobby quote of mine: "Well let me just quote the later-great Colonel Sanders, who said 'I'm too drunk to taste this chicken.'"
[1] http://www.imdb.com/name/nm0570912/
[2] http://www.imdb.com/title/tt1596363/awards?ref_=tt_awd
[3] http://99u.com/articles/52303/how-the-big-short-director-adam-mckay-makes-blockbuster-movies
[4] http://www.indexmagazine.com/interviews/will_ferrell.shtml
Now for a little bit more about Adam McKay's history and creative process. McKay spent most of his early years in comedy, specifically the impov industry. If you think presenting in front of a crowd for your public speaking class is difficult, try improv. Improv takes immense creativity because it requires on-the-spot wit and acting. McKay practiced improv with the Second City comedy troupe, and even became the head writer for Saturday Night Live [3]. When it comes to the creative process, McKay has an odd way of helping himself develop screenplay. He stated, "sometimes as an exercise, I will tell the story of the movie to my youngest daughter, as a bedtime story. I will change some details to make it a fairytale allegory" [3]. This may sound familiar to you, if you have ever had to explain a problem to a friend - like a fifth-grader - to help yourself understand it better. McKay benefits in a similar way. He learns what holes the plot may have, where the momentum of the story is, and what the overall flow is like.
Although one can argue that most of McKay's comedies revolve around Will Ferrell, the plots and characters surrounding Ferrell are always different and consistently creative. In an interview with Index Magazine, both McKay and Ferrell stated that a comedy cannot be successful with one character leading all the jokes. The more funny characters there are contributing to a movie, the more interesting it is [4]. Creating outrageous plots and adding many characters is one way McKay stretches his creative boundaries. Lastly, although The Big Short does have many hilarious moments, the tone of the movie is more in the drama and documentary genre, instead of a comedy. Being able to write movies with different tones and interactions has helped establish McKay as a versatile and creative writer.
Ending this tribute to Adam McKay, I will leave you with a favorite Ricky Bobby quote of mine: "Well let me just quote the later-great Colonel Sanders, who said 'I'm too drunk to taste this chicken.'"
[1] http://www.imdb.com/name/nm0570912/
[2] http://www.imdb.com/title/tt1596363/awards?ref_=tt_awd
[3] http://99u.com/articles/52303/how-the-big-short-director-adam-mckay-makes-blockbuster-movies
[4] http://www.indexmagazine.com/interviews/will_ferrell.shtml
A New System for Sexual Assault Survivors
One in 5 women will be sexually assaulted in college in the
United States. One in 13 men will be sexually assaulted in college in United
States. But less than 10 % of these men and women report the crime and those
who do wait an average of 11 months to make the report.
If these statistics scare you, you’re in the same boat that
Jessica Ladd was in when she realized that someone had to do something to
improve the situation.
Jessica Ladd is the founder and CEO of Sexual Health
Innovations and worked in the White House Office of National AIDS Policy. She
also founded The Social Innovation Lab. Ladd received her Masters in Public
Health at John Hopkins University and her Bachelors Degree at Pomona College.
She identifies herself as an infectious disease epidemiologist, so for her to
be analyzing data on reports and creating websites was very much out of her
department. She wanted to allocate the resources that she had to do the most
good, reflecting an intrinsic motivation for her creativity to fight this
issue. She wanted to solve the problem of sexual assaults purely because she
wanted to stop offenders from getting away and increase the number of victims
reporting the crime.
She soon learned that 90% of sexual assaults are committed
by repeat offenders and only about 6% of people arrested for sexual assault
spend at least one day in prison.
Ladd talked to people on different college campuses and
asked them what would help them in case of sexual assault. She received the
answer that they wanted a website with clearly written information and reports
could be electronically done. People would rather report electronically than
talk to someone who could or could not believe them. This website would also secure
a time stamp document and preserve evidence if they don’t want to report the
crime at that moment. There would be
a matching system in place so if someone
else reported a crime with the same assailant, the website would match the two
victims and put them into contact and send the report to the police. This means
that if a victim does decide to come forward, they know someone will be there
for them that has gone through the same thing.
Ladd and her teammates launched the website on 2 college
campuses 3 months ago, and they have seen that people are more likely to report
and have perpetrators penalized. It is really important to stop repeat offenders
after the 2nd assault because that can prevent 59% of assaults by
stopping them earlier on.
I think that this is a really creative idea because it takes
a process, like reporting crimes, that has been the same for as a long as the
criminal justice system has existed, and changed it completely to serve the
needs of victims of sexual assault. I think that her thinking and those of the
college students giving the suggestions is also heavily influenced by the way
that society lives today-more focused on technology. In the American Journal of
Sociology, Brian Uzzi and Jarrett Spiro talk about “creativity…is the
consequence of a social system of actors that amplify…one another’s creativity”
(448). In society today, we have such a close relationship with technology and
technological tools, such as computers and phones, that it influences the way
that we react to situations and interact with people. I think that Ladd does a
great job of creatively incorporating the things that society prioritizes to
solve the problem that she sees.
"The Reporting System That
Sexual Assault Survivors Want." Jessica Ladd:. Web. 19 Apr. 2016.
"Our Board." Board.
Web. 19 Apr. 2016.
League of Legends and the Growth of Esports
In
2006, two men, Brandon Beck and Marc Merrill came together to form the video
game publishing company “Riot Games.” And after years of their own work, as
well as the collaborative efforts of game designers, Riot published a brand new
game: League of Legends. Both the company and game started out small, but since
2009, Riot has grown to house over 1000 employees across the globe, and close
to 67 million people are playing the game every month. In 2015, League of
Legends grossed the massive total of 1.6 billion dollars through in game
micro-transactions, though the game remains completely free to play. For a
company that started with just two founders, Beck and Merrill have managed to
not only make one of the most successful and popular video games of all time,
they’ve also revolutionized the world of e-sports.
League of Legends was originally
based off of a custom map made for the video game Warcraft III. The map, called
Defense of the Ancients (DOTA), was a game genre all on its own, and many
people wanted to capitalize on the popularity and make a standalone video game
within that genre, though one that stood independent rather than a modification
to a current game. Beck and Merrill partnered with one of the original
designers of DOTA to attempt to make this game. It was through these efforts
that League of Legends was born. It was released in North America on October 27th,
2009, and has since been released in several major countries across the world,
such as Europe, Australia, and South Korea. As far as creativity goes, while
Beck and Merrill were heavily influenced by the DOTA game, League stands as its
own game within the industry. And the game is constantly changing and evolving
every month, and Beck and Merrill are always involved in the games major changes.
The success of League is largely
driven by the motivation of its founding members. As Collins and Amabile said in their work, Motivation
and Creativity, “creativity is motivated by the enjoyment and satisfaction
that a person derives from engaging in the creative activity.” It’s clear that
both Beck and Merrill love what they do. They are both die-hard gamers, and
that mentality is reflected in their work; they make sure to tailor the
experience so that it is best for the player. In a time where most gamers would
have to pay $60 to play a game, League of Legends is a free to play game. There
are in game transactions to purchase additional content, but none of those
purchases are necessary. The full game is available without having to pay a
cent. It’s clear this idea has caught on, seeing as free apps dominate the
mobile stores on our smart phones. Beck and Merrill are driven almost
exclusively by intrinsic motivation; they do not seek to make a profit, as much
of the money they make goes back into the game to create a better player
experience. They are always concerned with making the game even better.
The creative process of both men
also heavily relies on collaboration, the game could not be as successful as it
is today without the help of other people. The game consists of a number of
‘champions’ that the player controls, and they release new champions every few
weeks. Rather than leaving this creation to a handful of people, Merrill says
that they open the creation process to everyone in the company, and allow all
the employees to have a voice in this aspect of the game. Beck and Merrill do
not have separate offices in their building. They sit among the other game
developers, and maintain
an open door policy so that they are always accessible to employees.
The game was not only revolutionary
in its free to play model, League has also revolutionized e-sports. Shortly
after the creation of the game, Beck and Merrill established the League of
Legends Championship Series (LCS) which is currently in its sixth season. The
creation of LCS was heavily influenced by professional sports such as European
soccer and the NFL. LCS has its own world championship, minor league system, as
well as an All-Star Game and a Collegiate Championship, which offers scholarship
money to participating students. Riot has also hired broadcast commentators, as
well as an analyst desk that discusses every game. To go with over 85 million
players, hundreds of millions of viewers frequently watch LCS games, and the
championship events typically sell out major sports venues, such as Madison
Square Garden. Thanks to the efforts of Beck and Merrill to legitimize
professional video gaming in the eyes of the public, League of Legends is at
the forefront of the e-sports movement.
Citations:
Collins, M. A., & Amabile, T. M. (1999). Motivation and creativity. In Robert J. Sternberg (Ed.) Handbook of Creativity. New York: Cambridge University Press.
http://fortune.com/2015/06/09/riot-games-esports/
http://fortune.com/2013/07/10/how-riot-games-created-the-most-popular-game-in-the-world/
Images:
http://v-onebuffet.com/wp-content/uploads/2016/03/league-of-legends-logo-wallpaper-gallery-1920-x-1080-1920x1080px-league-of-legends-logo-wallpaper-418510.jpg
http://www.gannett-cdn.com/-mm-/ac1394dbdcca6a36cbf486633b129cd813095ac3/r=x404&c=534x401/local/-/media/USATODAY/USATODAY/2013/07/10/1373482507001-RBO-7527-1307101459_4_3.JPG
http://brainyandnerdy.com/wp-content/uploads/2015/10/League-of-Legends-2015-World-Championship-00003.jpg
PCR from the Car
From biochemistry to forensics, the polymerase chain reaction (PCR) is a staple procedure in multiple scientific fields. PCR allows for the amplification of specific DNA regions using thermal cycling. This method is used in various applications such as DNA (paternity) testing, disease diagnosis, and genetic sequencing (Saiki et al. 1988). The development and optimization of this technique revolutionized biological research and remains just as relevant now as it was then (Bartlett and Stirling, 2003). While the development of PCR has been a collaborative effort where ideas continue to be built upon one another, there is one man in particular to thank for his creative contributions to this technique: Kary Mullis.
Born in 1944, Mullis grew up in North and South Carolina where he attended high school and found his knack for chemistry (Shmaefsky, 2006). He earned a Bachelor of Science degree in chemistry at the Georgia Institute of Technology, followed by a PhD in biochemistry at the University of California, Berkley (Autobiography, 1998). At first, Mullis strayed from a scientific career. After receiving his PhD, he went on to write fiction and continued exploring other careers as he managed a bakery for two years (Yoffe, 1994). Eventually, he wound up at the biotechnology company Cetus Corporation (Shmaefsky, 2006). It was here that he came up with ideas on how to improve the polymerase chain reaction, thus revolutionizing the field of genetics.
Mullis was neither at work nor at home when he had a spark of inspiration. Driving his Honda Civic with his girlfriend one night, he suddenly imagined using a pair of primers to bracket the target DNA sequence- an idea that would allow for more rapid amplification of DNA (Yoffe, 1994). As we have discussed in class, creativity often comes from random places at random times. Mullis' ideas reiterate the importance of creativity in scientific fields. While cultural stereotypes tend to separate science from creativity, one cannot realistically exist without the other.
By now, we have learned to not be surprised with the unconventionality of creative thinkers. Mullis qualifies as an unconventional scientist by today's standards; he would rather think of ideas while surfing or driving than be in the lab doing work (Fridell, 2005). Mullis' creative process reminds me of research done by Ritter et al. to determine the role of unconscious thought in creativity. While a lot of research suggests that unconscious thought does not generate more creative ideas than unconscious thought, Mullis demonstrates how the best ideas can come at times when we aren't trying.
References:
"Autobiography". 1998. Nobel prize.
Bartlett, J., and Stirling, D. 2003. A Short History of the Polymerase Chain Reaction. PCR Protocols. Methods in Molecular Biology. 226: 3-6.
Fridell, R. 2005. Decoding life: unraveling the mysteries of the genome. Minneapolis: Lerner Publications. p. 88. ISBN 0-8225-1196-7.
Ritter, S. et al. 2012. Creativity: The role of unconscious processes in idea generation and idea selection. Elsevier. Thinking Skills and Creativity. 7: 21-27.
Saiki, R., et al. 1988. Primer-directed enzymatic amplification of DNA with a thermostable DNA polymerase. Science. 239 (4839): 487-491.
Shmaefsky, B. 2006. Biotechnology 101. Google. ISBN 978-0-313-33528-0.
Yoffe, E. 1994. Is Kary Mullis God? Nobel Prize winner's new life. Esquire. 122 (1): 68-75.
Born in 1944, Mullis grew up in North and South Carolina where he attended high school and found his knack for chemistry (Shmaefsky, 2006). He earned a Bachelor of Science degree in chemistry at the Georgia Institute of Technology, followed by a PhD in biochemistry at the University of California, Berkley (Autobiography, 1998). At first, Mullis strayed from a scientific career. After receiving his PhD, he went on to write fiction and continued exploring other careers as he managed a bakery for two years (Yoffe, 1994). Eventually, he wound up at the biotechnology company Cetus Corporation (Shmaefsky, 2006). It was here that he came up with ideas on how to improve the polymerase chain reaction, thus revolutionizing the field of genetics.
Mullis was neither at work nor at home when he had a spark of inspiration. Driving his Honda Civic with his girlfriend one night, he suddenly imagined using a pair of primers to bracket the target DNA sequence- an idea that would allow for more rapid amplification of DNA (Yoffe, 1994). As we have discussed in class, creativity often comes from random places at random times. Mullis' ideas reiterate the importance of creativity in scientific fields. While cultural stereotypes tend to separate science from creativity, one cannot realistically exist without the other.
By now, we have learned to not be surprised with the unconventionality of creative thinkers. Mullis qualifies as an unconventional scientist by today's standards; he would rather think of ideas while surfing or driving than be in the lab doing work (Fridell, 2005). Mullis' creative process reminds me of research done by Ritter et al. to determine the role of unconscious thought in creativity. While a lot of research suggests that unconscious thought does not generate more creative ideas than unconscious thought, Mullis demonstrates how the best ideas can come at times when we aren't trying.
References:
"Autobiography". 1998. Nobel prize.
Bartlett, J., and Stirling, D. 2003. A Short History of the Polymerase Chain Reaction. PCR Protocols. Methods in Molecular Biology. 226: 3-6.
Fridell, R. 2005. Decoding life: unraveling the mysteries of the genome. Minneapolis: Lerner Publications. p. 88. ISBN 0-8225-1196-7.
Ritter, S. et al. 2012. Creativity: The role of unconscious processes in idea generation and idea selection. Elsevier. Thinking Skills and Creativity. 7: 21-27.
Saiki, R., et al. 1988. Primer-directed enzymatic amplification of DNA with a thermostable DNA polymerase. Science. 239 (4839): 487-491.
Shmaefsky, B. 2006. Biotechnology 101. Google. ISBN 978-0-313-33528-0.
Yoffe, E. 1994. Is Kary Mullis God? Nobel Prize winner's new life. Esquire. 122 (1): 68-75.
Edgar Allan Poe
“True!—nervous—very, very dreadfully
nervous I had been and am; but why will
you say that I am mad?”
-Edgar Allan Poe, "The Tell-Tale Heart"
Edgar Allan Poe was born in 1809 to two actors. His
biological parents didn’t play a major role in his life, as his parents
separated and his mother died of tuberculosis very early in his life. Although
much of what we know of Poe is false, owing to the inaccurate biography published
by his rival Rufus Griswold, there are some unquestionable facts about Edgar
Allan Poe. He was a talented writer, weaving haunting tales of horror and pain.1
He is one of the first American writers to achieve international acclaim and
has even been called the father of detective stories and the modern short
story, and has even been credited with innovating the science fiction genre.2
One of Poe’s most famous short stories is “The Tell-tale
Heart”, which was first published in the magazine The Pioneer in 1843. It is a very good, and short read, which I
highly recommend reading now to avoid any spoilers. The story begins with an
unnamed narrator, who I will assume is a “he” for the purposes of this blog,
and served as the caretaker for an elderly man. In an attempt to dispel the
accusation that the narrator is mad, he carries on in a detailed explanation of
the hideous crime he committed. He counters the claim that he is mad,
essentially arguing that a mad man would never possess the faculty to carry out
his plot so perfectly. Would a madman have the wherewithal to take an hour just
to inch his head into the doorway? Eventually, the killer is moved to confess
his crime because of the elderly man’s infernal heart—which he can still hear
beating even after its death. The story is highly ironic, as the author
attempts to explain himself and prove that he is not mad. In this attempt, the
narrator only succeeds in illustrating his madness to the reader. The tale
deals with the dark themes of fear, murder, and deception. Additionally, “The
Tell-tale Heart” addresses the very serious issue of mental illness.
One might wonder whether Edgar Allan Poe himself, famous
for stories dealing with the deterioration of the human mental state, might
have experienced some madness himself. The hardships of his life did not end
with the death of his mother. After witnessing his mother die of tuberculosis
in a poor house, he was raised in a foster home, where he loved his foster
mother and had a strained relationship with his foster father, John Allan. Allan
and Poe had many difficulties over finances, and Poe had monetary problems
throughout his life. As payment for his first collection of short stories, Tales of the Grotesque and Arabesque,
Poe was only given 25 copies of his own book.3 Even after he had
gained some fame as a reputable writer and literature critic, Poe lived in
poverty.
Yet another contributor to the life-long depression of
Poe was the women in his life. First, his biological mother died of
Tuberculosis. Then, his foster mother Frances Valentine Allan also died of tuberculosis,
leaving Poe without anyone to champion his cause to his foster father. Finally,
his own wife (and, yes, cousin) Virginia Clemm died of tuberculosis at the
young age of 24.4 Edgar Allan Poe was allegedly overly fond of
alcohol, but his worst periods were often linked with the illness of the loved
women in his life.
Did Poe’s deep depression contribute to his creativity? As
noted in “I Bask In Dreams of Suicide: Mental Illness, Poetry, and Women” by
John Baer and James Kaufman, in a study comparing creative writers and
demographically-similar non-writers, creative writers had a much higher
incidence of mental illness. Additionally, historiometric studies found that
poets in particular had the highest rates of depression compared to even other
creative professions. Kaufman and Baer speculate this might be because the
types of people who are attracted to poetry might be more likely to be mentally
unstable, or even because poetry does not help mental illness as other writing
styles can. Given a consideration of Poe’s unfortunate childhood, I would suspect
he was depressed before he began writing poetry seriously, and perhaps took up
poetry as a way of venting those emotions. Perhaps, as Kaufman and Baer
suggest, poetry was not enough for Poe to vent his depression, which is why he took
to drinking instead?
Sources:
Uber for Women?
Imagine you’re leaving your friend’s house late at night and
you call an Uber. Your driver will be “Adam” today (who has only 3 stars) and
the license place number is ABD1234, but you just look for the silver “U” in
the windshield, hop in the car, and don’t think twice.
As you’re in your Uber home, Adam starts asking you if you
have a boyfriend. Why would he wonder
about that? You laugh at the question, and make some joke about how you’re
only twenty once and don’t need to be tied down. You think it’s just polite
conversation, but he takes it as an opportunity. Suddenly the car doors lock,
you arrive to your apartment, and Adam won’t let you leave until you give him a
kiss. “You’re only 20 once, right? Live a little.” he says. You are trapped and
have no idea what to do, you just want to go up to your apartment and sleep…
This is a true story that the founder of the new app,
“Chariot for Women” was told by one of his female Uber riders. The founder of
this service is Michael Pelletz, who was a former Uber driver, was appalled by
the stories he heard from the female passengers, especially late at night. As a
husband and a father, he wanted to make sure that there was a safe ride-share platform
for not only the women in his life, but also all women. Pelletz has the three
important components of creativity that are discussed by Collins and Amabile in
our reading: "intrinsic task motivation, domain-relevant skills, and
creativity-relevant processes." In being a husband and father, Pelletz has
intrinsic task motivation to create a safe platform for those he loves, and
those who he understands do not have as safe of an environment as he might, as
a 41 year-old Caucasian man. He also worked for Uber for three years and worked
roughly 17 hours a day, which gives him a lot of inside knowledge and skills about
the payment and function of a ride-share application. This also allows him to
have creativity-relevant processes to maintain Chariot for Women.
Starting today, there is a new ride-hailing app catering
exclusively towards women. “Chariot for Women” launched today, April 19th,
in Boston, which is the first ride-share app of its kind. It focuses heavily on
safety, employs women drivers, who are required to go through an extensive
background check, and only picks up other women. The idea behind this is that not
only might women be afraid to get into a car with a male stranger, but they
also might not feel safe driving male strangers. Chariot provides women with
the opportunity of safe ride-share jobs, who might not have felt safe driving
men and women at night. It will also cater to women and children of any gender
under the age of 13. To reach another level of security, the app will give the
rider and driver a “safe word” that they will have to exchange for the rider to
get in the car. If the safe word is not exchanged, or incorrect, the ride will
not begin and the rider will know to look out for the correct vehicle.
Scholar Laird D. McLean, from our readings, explains that
cultural creativity involved the truths about a society that are found below
Schein’s iceberg model of the unconscious. As a woman, I have never considered
being a ride-share driver because I didn’t think I fit the profile. What do I
mean by that? I subconsciously dismissed the idea of working as an Uber driver
because I didn’t think it would be a job that would make me feel safe. Pelletz
is a creative that combats these ideas by creating a safe platform for women to
both work and ride.
Additionally, this service is giving back by donating 2% of
each single fare to a women’s based charity of the rider’s choice. There will
be 10 different charities picked each month, which will show up as a popup
while the woman is paying, and she can select any of the 10 charities to donate
her 2% to. As stated on Chariot’s website, “With the help of more drivers and
passengers, women across the globe will benefit from a simple ride across
town.” This is made possible because Pelletz stated in an interview with FOX
Business, “I started this business only 9 weeks ago. But when you do something
right, everything falls into place. …And I haven’t had to worry about money at
all.” Money and profit are not the main goals of Pelletz’s app. Rather, it is
about the safety and security of its women’s drivers and riders.
We need applications like Chariot for Women because of the
“climate” in our society. McLean defines climate as “the manifestation of
practices and patterns of behavior rooted in the assumptions, meaning, and
beliefs that make up the culture” (229).
Sexual assault and harassment are very real things in our society. It is
something that women and men worry about on a day-to-day basis. This platform
that Michael Pelletz has created, not only in general, but also in the detailed
business plan (such as the safe word and donation to women-based charities),
allows a safe space.
Will this app make it out of Boston? Will it pop-up on
select college campuses? What do you think? Male classmates, do you feel as
though this is a discriminatory app? There are a lot of questions that come
with this new application, but the creativity, innovation, and good intention
are all there.
Sources:
Mclean, L. D.
"Organizational Culture's Influence on Creativity and Innovation: A Review
of the Literature and Implications for Human Resource Development." Advances
in Developing Human Resources 7.2 (2005): 226-46. Web.
Collins, M. A., & Amabile,
T. M. (1999). Motivation and creativity. In Robert J. Sternberg
(Ed.) Handbook of Creativity. New York: Cambridge University
Press.
The Future Band-Aid: VetiGel
By now, we have all heard of or have had
accidents in which the blood just does not stop flowing. Some of those injuries
probably required immediate medical attention. Now, think of an injured soldier
in the battlefield with only minutes left to live due to the excessive
bleeding. When every hope is gone of getting immediate medical care for the
wound, the soldier pulls out a gel, injects it into the wound, and the blood
stops promptly.
These were the ideas that Joe Landolina, a 17
year-old at the time, thought of as he discovered VetiGel. He is now the CEO of
Suneris, a company dedicated to manufacturing and modifying the gel to
eventually make it approved and available for use in humans.
Although this is a huge innovation for the many
different fields, the science behind it is very simple. The gel is made from
tiny polymers, which are extracted from breaking down algae. The polymers work
synonymous to Lego blocks. Extracellular
matrix is different in different parts of the body so Landolina created a
product that can reassemble itself and react with the local extracellular
matrix, just like Lego blocks together. The gel will work with the difference
extracellular matrix of the wounded location. Immediately after contacting the
damaged tissue (skin or organ), the gel will instantly transform into a
mesh-like structure, which also help the body's natural process in wound
healing. The gel helps the body produce more fibrin to close the wound faster.
Since fibrin functions to repair tissues over time, VetiGel will not only close
to wound but it will also help heal the wound. Bleeding will stop and will
remain stopped due to the high clot strength
as well. Although simple in explanation, it is impressive for a 17
year-old undergraduate to discover it.
As discussed by Collins and Amabile, three
important components in creativity are "intrinsic task motivation,
domain-relevant skills, and creativity-relevant processes." Landolina
undoubtedly fits into all of these. His intrinsic motivation is to ultimately
have these products out so that it can be used on humans and animals (pets,
wild animals, and more). He is striving for an innovation in the medical field
to provide that immediate medical care when a person has less than 3 minutes to
live. He possesses domain-relevant skills since he created the VetiGel in this
grandfather's winery lab alone after noticing the polymer characteristics of
algae. He also has creativity-relevant processes since he is planning to use
VetiGel for many different purposes. Beyond stopping traumatic blood flow, he
envisions this gel to treat burns and assist in the regeneration of organs. He
is solving many crucial problems with one type of gel.
As of now, this gel is not available for human
use but the company and Joe Landolina are both working hard to make it a
reality. However, the gel is used in some veterinarian offices and is in hopes
to expand. Maybe in the future, we will all have some VetiGel handy in our own
first aid kits.
Works Cited:
Collins, M. A., & Amabile, T. M.
(1999). Motivation and creativity. In Robert J. Sternberg
(Ed.) Handbook of Creativity. New York: Cambridge University
Press.