Agor, Weston H. Using Intuition to Manage Organizations in the Future. Business Horizons. July/August 1984; 27 (4): 049-054, 6 pages (BF 408).
  The last major undeveloped resource may be the human brain. In the past, managers relied on their left (analytical) brains. The future offers the possibility of using our right or intuitive brains also, so that the best managers work with full, not half, power. The article topics: Use of intuition in management, What is intuition? Test managers' ability to intuit, Intuition in productivity and satisfaction, How to develop and use intuition.


Agor, Weston H. How Intuition Can be Used to Enhance Creativity in Organizations. Journal of Creative Behavior. First Quarter 1991; 25 (1): 011-019, 9 pages (BF 408).
  Introduction, Brain skill management program (Locating and using intuitive talent, Integrating intuitive talent into the decision making process, Developing of Intuitive talent for applied use), Summary. It appears likely that individuals aspiring to top levels of leadership in organizations will need to possess a greater degree of intuitive ability than ever before.


Arieti, Silvano. The Major Theories of Creativity: A Critical Review. Chapter 2 in Part 1 An Introductory Approach to Creativity in: Creativity: The Magic Synthesis. New York: Basic Books, 1976: 014-034, 21 pages (BF 408).
  General psychological theories, Psychoanalytic theories, Motivation and creativity, Concluding remarks. Joseph Wallas' theory of creativity has been applied to every field of creativity with minor variations. He believed the process consisted of four stages: preparation, incubation, illumination, and verification. Illumination occurs when the person sees the solution to his problem. It is at times a sudden intuition, or a clear insight and at other times the result of sustained effort.


Boden, Margaret A. The Story So Far. Chapter 2 in: The Creative Mind: Myths & Mechanisms. New York: HarperCollins Publishers, 1991: 015-28, 14 pages (BF 408).
  The bath, the bed, and the bus: this trio summaries what creative people have told us about how they came by their ideas. Creative ideas often come at a time when the person appears to be thinking about something else, or not really thinking at all. Some people think that intuition is the hidden mental faculty explaining 'creativity.' Hunches are ideas which someone feels to be definitely promising, though without being able to justify that feeling rationally.


Burden, Virginia. The Process of Intuition. Wheaton, Illinois: Theosophical Publishing House, 1975: 001-083, 83 pages (BF 411).
  Introduction: dignity and disaster, Summons to Survival, the first new shoots, Early growth: sun, soil, and predatory threats, Kinship of the one with the whole, Blossom and blight: a question of selection and cultivation, Synthesizing the process, Function and florescence, First fruits, The harvest: maturation and contribution, Within the garden walls, Seedlings: the school as a laboratory of nature, New species, The fields beyond.


de Bono, Edward. Lateral Thinking for Management. New York: America n Management Association, 1971: 001-223, 223 pages (BF 408).
  Lateral and vertical thinking, Behavior of a patterning system, What can one do about thinking? Recognizing current ideas, Changing ideas by avoidance, Judgment, evaluation, criticism, and the use of NO, Change and discontinuity, Change from within, Change from outside (Discontinuity methods, Deliberate introduction of discontinuity), Formal settings for lateral thinking, PO, Training in lateral thinking, Who needs lateral thinking? Dangers of creativity, Summary.
___. Lateral and Vertical Thinking. Chapter 1 in: Ibid.: 004-013, 10 pages.
  Lateral thinking is contrasted with vertical thinking: generative versus selective, doesn't use yes/no versus uses yes/no, information for effect versus information for meaning, deliberate jumps versus continuity, intrusions versus what is relevant, least likely versus most likely, open ended versus closed.
___. Basic Principles of Lateral Thinking. Chapter 4 in: Ibid.: 047-051, 5 pages.
  The need for lateral thinking arises from the way the mind behaves as a patterning system which requires discontinuity. It is concerned with change - the escape from old ideas and the generation of new. The use of lateral thinking is considered in terms of attitude, techniques and skill, and a new operational word "PO" (contrasted with the vertical thinking operational word "NO ").


Harman, Willis W., and Rheingold, Howard. Higher Creativity: Liberating the Unconscious for Breakthrough Insights. Los Angeles: Jeremy P. Tarcher, 1984: 001-226, 226 pages (BF 411).
  Spectrum of creativity: mundane to miraculous, Lightning bolts/illumination: hidden history of creativity, Looking where the light is: inner limits/unconscious beliefs, Opening mind's gate: toolkit for higher creativity, Still, small voice: a science of religion, The quicksilver stream: further end of the spectrum, Harvest: new Copernican revolution, Using the imagination to free the person.
___. The Spectrum of Creativity. Chapter 1 in: Ibid.: 001-018, 18 pages.
  The spectrum of creativity, The breakthrough phenomenon, Genius, The unconscious idea processor, The unconscious: gold mine or rubbish heap? The Creativity harvest.
___. Lightning Bolts and Illuminations. Chapter 2 in: Ibid.: 019-059, 41 pages.
  Preparation, or the "input" mode, Incubation, or the "processing" mode, Illumination, or the "output" mode, Verification, Preparation: case examples, Incubation; case examples, Illumination: case examples, Verification: case examples, Research on the psychology of creativity, The learning process: images and enhanced insight.
___. Opening the Mind's Gate. Chapter 4 in: Ibid.: 080-111, 32 pages.
  Personal breakthrough and social transformation, Educating the mind's eye: visualization and imagery, Affirmation: programming and reprogramming the unconscious idea processor, Alert relaxation: preparing the channel, Reading the imagery of night: tapping into your dream power, Higher creativity: the ultimate breakthrough.
___. Using the Imagination to Free the Person. Appendix in: Ibid.: 220-226, 7 pages.
  I am not separate, I can trust (I can trust others, I can trust the universe), I can know, I am responsible, I am single minded.


Koestler, Arthur. Moments of Truth. Chapter 5 in Part 2 The Sage in: The Act of Creation. New York: Macmillan Company, 1967: 101-120, 20 pages (BF 408).
  The chimpanzee and the stick, Archimedes, Chance and ripeness, Logic and intuition. At one end of the scale we have discoveries which seem to be due to more or less conscious, logical reasoning, and at the other end sudden insights which seem to emerge spontaneously from the depth of the unconscious. It is summed up by two opposite pronouncements: Bernard Shaw's 'ninety percent perspiration, ten percent inspiration,' on the one hand, Picasso's 'I do not seek - I find,' on the other.
___. Thinking Aside. Chapter 7 in Part 2 The Sage in: Ibid.: 145-177, 33 pages.
  Limits of logic, The unconscious before Freud, The mechanization of habits, Exploring the shallows, The 'hooked atoms of thought,' Exploring the deeps, The word and the vision, The snares of language. The author once saw two pieces of advice for finding the Philosopher's Stone printed side by side: The Stone can only be found when the search lies heavily on the searcher - Thou seekest hard and findest not. Seek not and thou wilst find. The introspective reports of artists and scientists on their sources of inspiration and methods of work often display the same contradiction.
___. Underground Games. Chapter 8 in Part 2 The Sage in: Ibid.: 178-211, 34 pages.
  The importance of dreaming, Concretization and symbolization, Punning for profit, The benefits of impersonation, Displacement, Stand on one's head, Analogy and Intuition, Summary. The essence of discovery is the unlikely marriage of previously unrelated frames of reference. The dream's greater fluency in bringing such ideas together derives from its indifference towards logical niceties and mental prejudices; its non verbal, 'visionary' powers; and its tendency towards creating unusual analogies.


MacKinnon, Donald W. Recapitulation: What Makes a Person Creative? Chapter 15 in: In Search of Human Effectiveness: Identifying and Developing Creativity. Buffalo, New York: Creative Education Foundation, 1978: 178-186, 9 pages (BF 408).
  Investigating stereotypes, The actual study, Intelligence, Alert and adaptive in response, Relation of intelligence and creativity, Absence of repression and suppression, Masculine/feminine interests, Childhood and family, Psychology of the creative person, Interests, Philosophical values, Summary.


Maritain, Jacques. The Preconscious Life of the Intellect. Chapter 3 in: Creative Intuition in Art and Poetry. New York: Pantheon Books, 1953: 051-074, 24 pages (BF 408).
  Art bitten by poetry longs to be freed from reason, Mania from below and mania from above, The Platonic muse, The spiritual unconscious or preconscious, The illuminating intellect and the preconscious activity of the spirit. There are two kinds of unconscious: the preconscious of the spirit and the unconscious of instincts, repressed desires, and traumatic memories. These are the spiritual and automatic unconscious. These two kinds of unconscious are at work at the same time with respective impacts on conscious activity.
___. Creative Intuition and Poetic Knowledge. Chapter 4 in: Ibid.: 075-108, 34 pages.
  At the single root of the soul's powers, Poetic intuition, Nature of poetic knowledge, Poetic intuition as cognitive, Poetic intuition as creative, The creative Self and the self centered ego. When revelation shifts from the Self to the self centered ego, the egoism of man enters the sphere of the poetic act. The poetic act is insidiously wounded.
___. The Three Epiphanies of Creative Intuition. Chapter 9 in: Ibid.: 250-296, 47 pages.
  Poetic sense or inner melody , Action and theme, Number or harmonic expansion, Dante's innocence, And luck, The three specific types of poetry (Poem, Drama, Novel), Magic as a free "in plus." The three types of poetry were united in the Divine Comedy. Thereafter poetry differentiated into three distinct types. The poetry of the Poem is the poetry of internal music, of Drama is the poetry of action, and of the Novel is the poetry of the picture of man.


Markley, O. W. Using Depth Intuition in Creative Problem Solving and Strategic Innovation. Journal of Creative Behavior. Second Quarter 1988; 22 (2): 085-100, 16 pages (BF 408).
  It is often difficult to know what to do to effectively actualize intuition. Four of the more useful methods to awaken, facilitate, and apply intuitive capacities are described: (1) focusing on current concerns (Gendlin, Eugene), (2) revisioning current concerns (Steinbrecher, Edwin), (3) experiencing alternative futures I (Roberts , Jane), and (4) experiencing alternative futures II (Myss, Carolyn).


May, Rollo. The Courage to Create. New York: W. W. Norton & Company, 1975: 001-140, 140 pages (BF 408).
  The courage to create, The nature of creativity, Creativity and the unconscious, Creativity and encounter, The Delphic oracle as therapist, On the limits to creativity. Passion for form.
___. Creativity and the Unconscious. Chapter 3 in: Ibid.: 055-076, 22 pages.
  I define the unconscious as the potentialities for awareness or action which the individual cannot or will not actualize. These potentialities are the source of what can be called "free creativity." He relates a personal and the Henri Poincare breakthrough experience. He goes on to consider the impact of the conformity of mechanization on theses processes.
___. The Delphic Oracle as Therapist. Chapter 5 in: Ibid.: 095-111, 17 pages.
  The Delphic oracle functioned as a communal symbol that had the power to draw out the preconscious and unconscious collective insights of the Greeks. Any genuine symbol becomes the mirror that reflects insights, new possibilities, new wisdom, and other psychological phenomena that we dare not experience on our own. The insights may frighten us too much if we take sole responsibility.


McKim, Robert H. Relaxed Attention. Journal of Creative Behavior. 8 (4): 265-276, 12 pages (BF 408).
  Paradox of ho hum and aha! Optimal tonus, Causes of excessive tension, Breaking the cycle, Letting go (Stretch, Relax neck and shoulders, Relax arms and hands, Palming, Facial and eye muscles, Deep breathing, Deep muscle relaxation), Devoting attention (Undivided, Follows interest, Dynamic, Continual aha!), Clearing the ground for relaxed attention. Contemporary education commonly inculcates fear, tension, and forced attention, to the detriment of thinking. Relaxed attention can and should be educated.


Perkins, D. N. The Mind's Best Work. Cambridge, Massachusetts: Harvard University Press, 1981: 001-292, 292 p ages (BF 408).
  A parable, Witnesses to invention, Creative moments, Ways of the mind, Critical moments, Searching form, Plans down deep, Plans up front, Lives of inquiry, Having it, The shape of making.
___. Critical Moments. Chapter 4 in: Ibid.: 102-129, 28 pages.
  Analysis and intuition, Looking harder, Feeling as knowing, Being sure and being right, The importance of judgment. The meanings of "intuitive" and "analytical" have to be considered. An analytical way of behaving involves deliberate analysis. One scrutinizes the object for various features and rates them against explicit standards. The meaning of intuitive is a little more subtle. Essentially, we say a judgment is intuitive when there are no conscious reasons for it.
___. Having It. Chapter 9 in: Ibid.: 245-274, 30 pages.
  Talent and creativity (Problem finding, Bisociation, Ideational fluency, Remote associates (The Remote Associates Test), Intelligence, Insight (Insight operationalized)), Left brain, right brain, Ping pong, Personality, A combination of ingredients (Abilities (If any), Style, Values, Beliefs, Tactics). There is no strong evidence that creativity derives principally from specifically creative abilities.


Rockenstein, Zoa. Intuitive Processes in Executive Decision Making. Journal of Creative Behavior. 1988; 22 (2): 077-084, 8 pages (BF 408).
  If the logical analysis of information believed to be factual was a 100% reliable means of problem solving, life would be simpler in the executive suite. As it is, the constantly evolving dynamic of change frequently throws a wrench in even the most comprehensive attempts at trend analysis. For this reason, organizations have come to prize the intuitive manager.


Schwab, Lynne. No Static in Your Attic: Tapping into Your Creative and Intuitive Abilities. Journal of Creative Behavior. Third Quarter 1991; 25 (3): 256-262, 7 pages (BF 408).
  If we can quiet all the hustle and bustle in our rational brain, we can tap into the spontaneously creative intuitive aspects of our brain. We then can build upon the results of our creative rush by exploring how our rational, logical brain can improve our creation. This zig zag pattern consists of going as far as we can using an intuitive approach, then continuing to build using a reflective approach.


Torrance, E. Paul. The Problem. Chapter 1 in: The Search for Satori & Creativity. Buffalo, New York: Creative Education Foundation, 1979: 001-022, 22 pages (BF 408).
  Emerging trends in American culture, Support from emerging creativity theory, Practical applications, Support from other disciplines and creativity research, Future demands for "Satori" and creativity, A model for thinking about the search for creativity , Problem awareness and definitions, Methods that provide practice, Suggested practice problems.
___. Get Glimpses of Infinity. Chapter 17 in: Ibid.: 193-204, 12 pages.
  Disciplined procedures for studying the future, Educational methods for developing abilities to get glimpses of infinity, Other devices for getting glimpses of infinity and applications in other situations, Outcome of the future problem solving program, Practice exercise.


Zdenek, Marilee. The Key to Increased Creativity. Chapter 3 in Part 1 Powers of the Mind in: The Right Brain Experience: An Intimate Program to Free the Powers of Your Imagination. New York: McGraw-Hill Book Company, 1983: 025-045, 21 pages (BF 411).
  Outsmarting the left brain, Biofeedback training, Guided imagery, Transitional objects, "Other" hand writing, Sensory stimulation, Fantasy, Dreams, Free association, Gifts from the right brain, Affirmations. A synthesis of tools from various disciplines that are the basis for the six day training program. Each activity is designed to lead you directly toward achievements in creativity.

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