Mic Oana Maria

Anul I, Seria II, Grupa 7

Why Creativity Now? A Conversation with Sir Ken Robinson
Amy M. Azzam
Creativity: It's been maligned, neglected, and misunderstood. But it's finally
coming into its own. Here, creativity expert Sir Ken Robinson makes the case for
creativity as the crucial 21st century skill we'll need to solve today's pressing
problems. Sir Ken led the British government's 1998 advisory committee on
creative and cultural education and was knighted in 2003 for his achievements. His
most recent book, The Element (Viking Adult, 2009), looks at human creativity and
education. He is also the author of Out of Our Minds: Learning to Be Creative
(Capstone Publishing Limited, 2001).

Both creativity and critical thinking have been flagged as essential 21st
century skills, yet some people think of them as being as separate as oil and
water. What's your take?

It's interesting that people see creativity and critical thinking as being opposed. It's partly
because people associate creativity with being totally free and unstructured. But what we
really have to get hold of is the idea that you can't be creative if you don't do something.
You can be creative in math, science, music, dance, cuisine, teaching, running a family, or
engineering. Because creativity is a process of having original ideas that have value. A big
part of being creative is looking for new ways of doing things within whatever activity you're
involved in. If you're a creative chef, for example, then your originality is going to be judged in
terms of cuisine. There's no point applying the criteria of modern jazz to somebody who's
trying to create a new souffl.
A creative process may begin with a flash of a new idea or with a hunch. It may just start as
noodling around with a problem, getting some fresh ideas along the way. It's a process, not a
single event, and genuine creative processes involve critical thinking as well as imaginative
insights and fresh ideas.
But creativity isn't just about coming up with new ideas; some ideas might be completely
crazy and impractical. So an essential bit of every creative process is evaluation. If you're
working on a mathematical problem, you're constantly evaluating it, thinking, "Does that feel
right?" If you're composing a piece on the piano, part of you is listening to what you're doing
and thinking, "Does that work? Is that going in a good direction?"

What's the biggest misconception people have about creativity?

One is that it's about special peoplethat only a few people are really creative. Everybody
has tremendous creative capacities. A policy for creativity in education needs to be about
everybody, not just a few.
The second misconception is that creativity is about special activities. People associate
creativity with the arts only. I'm a great advocate of the arts, but creativity is really a function
of everything we do. So education for creativity is about the whole curriculum, not just part of
it.
The third misconception is that creativity is just about letting yourself go, kind of running
around the room and going a bit crazy. Really, creativity is a disciplined process that requires

Mic Oana Maria

Anul I, Seria II, Grupa 7
skill, knowledge, and control. Obviously, it also requires imagination and inspiration. But it's
not simply a question of venting: It's a disciplined path of daily education. If you look at some
of the people we most respect for their creative achievements, it's because of the
extraordinary insights, breakthroughs, and discipline they have brought to their work.

Why do you think creativity is especially important right now?

The challenges we currently face are without precedent. More people live on this planet now
than at any other time in history. The world's population has doubled in the past 30 years.
We're facing an increasing strain on the world's natural resources. Technology is advancing at
a headlong rate of speed. It's transforming how people work, think, and connect. It's
transforming our cultural values.
If you look at the resulting strains on our political and financial institutions, on health care, on
education, there really isn't a time in history where you could look back and say, "Well, of
course, this is the same thing all over again." It isn't. This is really new, and we're going to
need every ounce of ingenuity, imagination, and creativity to confront these problems.
Also, we're living in times of massive unpredictability. The kids who are starting school this
September will be retiringif they ever doaround 2070. Nobody has a clue what the world's
going to look like in five years, or even next year actually, and yet it's the job of education to
help kids make sense of the world they're going to live in.
You know, for my generationI was born in 1950we were told that if you worked hard, went
to college, and got a regular academic degree, you'd be set for life. Well, nobody thinks that's
true anymore, and yet we keep running our school systems as though it were. So many
people have degrees now that an individual degree isn't worth a fraction of what it used to be
worth. So being creative is essential to us; it's essential for our economy.
I work a lot with Fortune 500 companies, and they're always saying, "We need people who can
be innovative, who can think differently." If you look at the mortality rate among companies,
it's massive. America is now facing the biggest challenge it's ever facedto maintain it's
position in the world economies. All these things demand high levels of innovation, creativity,
and ingenuity. At the moment, instead of promoting creativity, I think we're systematically
educating it out of our kids.

Is creativity at odds with a culture of standardized testing?

We have a major problem with our education systems, not just in America, but in many of the
old, industrialized countries. If you have a system as in the United States where there's a 30
percent high school dropout ratein the African American/Latino communities it's over 50
percent, and in some of the Native American communities it's nearly 80 percentyou can't
just blame the kids for it. With that amount of waste, there's something wrong with the
system with impersonal forms of education, with people sitting in rows and not discovering
the things that impassion them or invigorate them or turn them on.
That's increasingly the case with this culture of standardized testing. It's totally
counterproductive. Looking back at our own education, we came alive in certain sorts of
lessons with certain teachers when we were given an opportunity to do things that

Mic Oana Maria

Anul I, Seria II, Grupa 7
invigorated us. And when you find things you're good at, you tend to get better at everything
because your confidence is up and your attitude is different.
Too often now we are systematically alienating people from their own talents and, therefore,
from the whole process of education. This isn't, to me, a whimsical argument, like, "Wouldn't it
be nice if we all did something we liked." It's a fundamental human truth that people perform
better when they're in touch with things that inspire them. For some people, it's gymnastics;
for some people, it's playing the blues; and for some people, it's doing calculus.
We know this because human culture is so diverse and richand our education system is
becoming increasingly dreary and monotonous. It's no surprise to me that so many kids are
pulling out of it. Even the ones who stay are often detached. Only a few people benefit from
this process. But it's far too few to justify the waste.

People often associate creativity with the individual. But is there a social
dimension to creativity that's particularly relevant in the 21st century?

Absolutely. Most original thinking comes through collaboration and through the stimulation of
other people's ideas. Nobody lives in a vacuum. Even people who live on their ownlike the
solitary poets or solo inventors in their garagesdraw from the cultures they're a part of, from
the influence of other people's minds and achievements.
In practical terms, most creative processes benefit enormously from collaboration. The great
scientific breakthroughs have almost always come through some form of fierce collaboration
among people with common interests but with very different ways of thinking.
This is one of the great skills we have to promote and teachcollaborating and benefiting
from diversity rather than promoting homogeneity. We have a big problem at the moment
education is becoming so dominated by this culture of standardized testing, by a particular
view of intelligence and a narrow curriculum and education system, that we're flattening and
stifling some of the basic skills and processes that creative achievement depends on.
Look at Thomas Edison. He was one of the most prolific inventors in American history. He had
over 1,100 patents in the U.S. Patent Office. But actually, Edison's great talent was mobilizing
other people. He had teams of cross-disciplinary groups working with him. They gave
themselves clear objectives and tight deadlines and pulled out every stop to work
collaboratively.
So there's no doubt in my mind that collaboration, diversity, the exchange of ideas, and
building on other people's achievements are at the heart of the creative process. An
education that focuses only on the individual in isolation is bound to frustrate some of those
possibilities.

Can you teach creativity?

Yes. But people think they can't teach it because they don't understand it themselves. They
say, "Well, I'm not very creative, so I can't do it."
But there are actually two ways of thinking about teaching creativity. First of all, we can teach
generic skills of creative thinking, just in the way we can teach people to read, write, and do
math. Some basic skills can free up the way people approach problemsskills of divergent
thinking, for example, which encourage creativity through the use of analogies, metaphors,
and visual thinking.

Mic Oana Maria

Anul I, Seria II, Grupa 7
I worked a while ago with an executive group of a Native American community. They wanted
me to talk to them about how they could promote innovation across their tribe. We sat around
a boardroom table for the first hour, and I guess they were expecting me to get some flip
charts out and show them some techniques. We did a little of that, but what I actually got
them to do was to get into groups and draw pictures of some of the challenges they're facing
as a community.
Well, the minute you get people to think visuallyto draw pictures or move rather than sit
and write bullet pointssomething different happens in the room. Breaking them up so they
aren't sitting at the same desk and getting them to work with people they wouldn't normally
sit with creates a different type of dynamic. So you can teach people particular skills to free
up their own thinking, of valuing diversity of opinion in a room.
But in addition to teaching those skills, there's also personal creativity. People often achieve
their own best work at a personal level when they connect with a particular medium or set of
materials or processes that excites them.
My new book, The Element, is about finding your passion. I talked to many peoplegymnasts,
musicians, scientists, an amazing woman who was a pool player. Whether it was music or jazz
or the triple jump, each of them found something that they resonated with, that they had a
personal aptitude for. If you combine a personal aptitude with a passion for that same thing,
then you go into a different place creatively. You know, Eric Clapton was given his first guitar
about the same time I was. Well, it worked out for Eric in a way it didn't quite work out for me.
He got the hang of it, but also combined it with tremendous passion.

If creativity and innovation are so important, should we assess them?

You can't assess peoplein generalfor being creative because you have to be doing
something to be creative. If you're working in math class and the teaching is encouraging you
to look for new approaches, to try new ways of thinking, then of course you can begin to judge
the level of creativity and imaginativeness within the framework of mathematics as you would
within the framework of music or dance or literature.
I make a distinction between teaching creatively and teaching for creativity. Teaching
creatively means that teachers use their own creative skills to make ideas and content more
interesting. Some of the great teachers we know are the most creative teachers because they
find a way of connecting what they're teaching to student interests.
But you can also talk about teaching for creativity, where the pedagogy is designed to
encourage other people to think creatively. You encourage kids to experiment, to innovate,
not giving them all the answers but giving them the tools they need to find out what the
answers might be or to explore new avenues. Within particular domains, it's perfectly
appropriate to say, "We're interested in new and original ways you can approach these
issues."
Whether there would be an individual grade for creativity, that's a larger question. Certainly
giving people credit for originality, encouraging it, and giving kids some way of reflecting on
whether these new ideas are more effective than existing ideas is a powerful part of
pedagogy. But you can't reduce everything to a number in the end, and I don't think we
should. That's part of the problem.
The regime of standardized testing has led us all to believe that if you can't count it, it doesn't
count. Actually, in every creative approach some of the things we're looking for are hard, if

Mic Oana Maria

Anul I, Seria II, Grupa 7
not impossible, to quantify. But that doesn't mean they don't matter. When I hear people say,
"Well, of course, you can't assess creativity," I think, "You canjust stop and think about it a
bit."
SURSA:
http://www.ascd.org/publications/educational-leadership/sept09/vol67/num01/WhyCreativity-Now%C2%A2-A-Conversation-with-Sir-Ken-Robinson.aspx

De ce creativitatea acum? O conversaie cu Sir Ken Robinson

Amy M. Azzam
Creativitatea: vorbit de ru, neglijat i neleas greit. ntr-un final, ajunge s
fie recunoscut . Aici, expertul n creativitate, Sir Ken Robinson, o consider drept
aptitudinea crucial a secolului XXI n rezolvarea problemelor presante de astzi.
Sir Ken a condus comitetul de consultan n educaia cultural i creativ al
guvernului Britanic n 1998, iar n 2003 a fost numit cavaler pentru realizarile sale .
Cartea sa cea mai recent, ,,The Element (Viking Adult, 2009) vorbete despre
educaia i creativitatea uman. Este de asemenea autorul crii ,, Out of our
minds: learning to be creative (Capstone Publishing Limited, 2001).

Att creativitatea, ct i gndirea critic au fost considerate drept

competene eseniale n secolul XXI i totui, unii se gndesc la ele separat
precum la ap i ulei. Care e abordarea ta?

Este interesant c oamenii vd gndirea critic i creativitatea ca opuse. Se datoreaz n

mare faptului c este asociat creativitatea cu lipsa de structur i starea de a fi complet
liber, dar ceea ce trebuie ntradevr s nelegem este ideea c nu poi fi creativ dac nu faci
ceva.
Poi fi creativ n matematic,tiin, dans, muzic, gastronomie, n predare, n creterea unei
familii sau n inginerie, fiindc creativitatea este un proces prin care ai idei originale
valoroase. O bun parte din a fi creativ nseamn a cuta moduri noi de a face lucruri n
interiorul oricrei activiti n care eti implicat. Dac eti un chef creativ, spre exemplu,
atunci originalitatea ta va fi judecat din perspectiv gastronomic. N-are niciun rost de a
aplica criteriile jazz-ului modern n cazul unuia care ncearc s creeze un nou sufleu.
Un proces creativ poate ncepe cu o strfulgerare a unei noi idei sau cu o presimire. Poate
ncepe cu tatonarea unei probleme, adunarea unor idei proaspete pe parcurs. Este un
proces, nu un simplu eveniment, iar procesele creative autentice presupun gndire critic, ct
i viziuni imaginative i idei noi .
Dar creativitatea nu nseamn doar a veni cu nite idei noi. Unele ar putea fi complet
nebuneti i impracticabile. Aadar, o prticic esenial din orice proces creativ este
evaluarea. Dac lucrezi la o problem matematic, o evaluezi n continuu, gndindu-te : ,,
Este bine? . Dac compui o bucat muzical la pian, o parte din tine ascult i se gndete: ,,
Merge asta? Duce ctre o direcie bun? .

Care este cea mai mare prejudecat pe care oamenii o au despre creativitate?

Prima este c se gsete numai n oameni speciali, c numai civa sunt cu adevrat creativi.
Fiecare are nite capaciti creative extraordinare. O politic pentru creativitate n educaie
trebuie s fie despre toi, nu doar despre civa.

Mic Oana Maria

Anul I, Seria II, Grupa 7
A doua este c apare doar n activitile speciale. Oamenii asociaz creativitatea doar cu arta.
Sunt un mare adept al artelor, dar creativitatea chiar este o funcie a tot ceea ce facem .
Aadar, educaia creativitii se refer la tot curriculumul, nu doar la o parte.
A treia preconcepie este c se refer la un abandon de sine, ceva asemntor cu a alerga de
nebun n jurul camerei i s o iei puin razna. Serios acum, creativitatea este un proces
disciplinat care cere aptitudini, cunotine i control. Evident, are nevoie i de imaginaie i
inspiraie, dar nu este o simpl evadare: este o cale disciplinat a educaiei cotidiene. Dac v
uitai la cteva personaliti pe care le respectm ndeosebi pentru realizrile lor creative, se
datoreaz extraordinarelor viziuni, progreselor i disciplinii manifestate n munca lor.

De ce credei c este deosebit de important creativitatea acum?

Provocrile pe care le ntmpinm sunt fr precedent. Mult mai muli oameni triesc pe
planet fa de orice alt moment din istorie. Populaia global s-a dublat n ultimii 30 de ani.
Ne confruntm cu mpuinarea resurselor naturale.
tiina avanseaz cu o vitez
surprinztoare i transform modul n care oamenii gndesc, muncesc i comunic . Ne
transform valorile culturale.
Dac v uitai la constrngerile cu care se confrunt instituiile politice i financiare, sistemul
de sntate i de nvmnt, nu este tocmai o perioad n istorie asupra creia s te uii i s
afirmi c : ,,Da, este acelai lucru care se repet. Nu este. Toate acestea sunt noi i vom
avea nevoie de orice fir de ingeniozitate, creativitate i imaginaie pentru a ne confrunta cu
aceste probleme.
De asemenea, trim ntr-o er cu o instabilitate masiv. Copiii ce vor ncepe coala n
septembrie anul acesta se vor pensiona, dac o vor face vreodat , n jurul anului 2070 .
Nimeni nu are habar cum lumea va arta n 5 ani de zile sau chiar anul viitor i totui, este
datoria educaiei s-I ajute pe copii s neleag lumea n care vor tri .
Stii, generaiei mele m-am nscut n 1950 I s-a spus c dac muncete mult, merge la
facultate i ia o diplom obinuit, va fi pregatit pentru via. Ei bine, nimeni nu mai crede
c asta este adevrat astzi i iat c totui nc lsm s funcioneze acelai sistem colar
ca i cum am crede. Att de muli oameni au astzi o diplom academic, nct aceasta nici
nu mai valoreaz o fraciune din ceea ce obinuia s valoreze. Aadar, s fii creativ este
esenial pentru noi i pentru economie.
Lucrez foarte mult cu companii ,,Fortune 500 i ntotdeauna mi se spune: ,, Avem nevoie de
oameni care pot fi inovativi, care pot gndi diferit. Dac v uitai la rata mortalitii a
companiilor, este masiv. America acum se confrunt cu cea mai mare provocare pe care a
avut-o vreodat, s-i menin poziia n economia mondial. Toate aceste lucruri cer un nivel
mare de inovaie, creativitate i ingeniozitate. n prezent, consider c n loc s promovm
creativitatea o ,,dezeducm din copiii notri.

Este creativitatea n conflict cu sistemul de testare standardizat?

Avem o mare problem cu sistemele noastre educaionale, nu numai n America, dar i n

rile vechi, industrializate. Dac ai un sistem precum America n care rata abandonului colar
este de 30%, n comunitile latino-africane de 50% i n unele nativ-americane de 80%,
atunci nu poi da pur i simplu vina pe copii. Cu un nivel att de ridicat de risip, ceva este n
neregul cu sistemul forme impersonale de educare, oameni care stau n linii fr a
descoperi ce i pasioneaz sau ce i provoac.

Mic Oana Maria

Anul I, Seria II, Grupa 7
Este n special cazul sistemului cu testare standardizat . Este total contra-productiv.
Uitndu-ne napoi la propria educaie, noi am prins via n cadrul anumitor lecii inute de
anumii profesori cnd ni s-a dat ocazia s facem lucruri care ne inspirau. iar atunci cnd
gseti lucruri care i plac, tinzi s devii mai bun n tot, fiindc ncrederea este crescut i
atitudinea diferit.
Prea des acum ndeprtm, alienm oamenii de la propriile talente i, aadar, de la ntregul
proces de educare. sta nu este pentru mine un argument bizar: ,, Nu ar fi frumos ca toi s
facem ceea ce ne place? . Este un adevr uman fundamental c oamenii dau randament
cnd sunt n contact cu lucruri care i inspir. Pentru unii este gimnastica, pentru alii e s
asculte blues-uri, iar pentru alii e s fac calcule.
tim acestea fiindc cultura uman este bogat i att de divers n timp ce educaia devine
mai plictisitoare i mai monoton. Nu este o surpriz pentru mine faptul c att de muli copii
se sustrag din ea. Chiar i cei care rmn sunt adesea detaai . Numai cteva persoane
beneficeaz de acest proces, dar mult prea puini pentru a justifica risipa.

Oamenii n general asociaz creativitatea cu individualitatea. Dar exist

cumva o dimensiune social a creativitii care ar putea fi relevant pentru
secolul XXI?

Absolut. Gndirea cea mai original apare prin colaborare i prin stimulare cu ideile altora.
Nimeni nu triete ntr-un turn de filde. Chiar i oamenii care triesc pe cont propriu
precum poeii solitari sau inventatorii nchii n garaj se trag din cultura din care fac parte,
din realizrile i ideile altor persoane.
n termeni practici, mare parte din procesul creativ beneficeaz prin colaborare. Marile
progrese tiinifice aproape de fiecare dat au luat natere printr-o form de colaborare dintre
oameni cu aceleai interese, dar moduri de gndire complet diferite.
Aceasta este una dintre aptitudinile pe care ar trebui s le promovm i educm conlucrarea
i profitarea fa de diversitate, nu omogenitatea. Avem o mare problem n prezent :
educaia devine att de dominat de aceast cultur a testrii standardizate, de o anumit
viziune a inteligenei, un curriculum i sistem educaional restrns. Aplatizeaz competenele
de baz necesare unui proces creativ.
Uitai-v la Thomas Edison. A fost unul dintre cei mai prolifici oameni de tiin din istoria
Americii. De fapt, marele talent al lui Edison a fost s-I mobilizeze pe alii. Avea echipe
multidisciplinare lucrnd cu el. i puneau obiective clare i termene limit foarte stricte i
trgeau din plin s lucreze n colaborare.
Aadar, nu este niciun dubiu n mintea mea c diversitatea i colaborarea, schimbul de idei i
construirea pe baza realizrilor altora sunt inima procesului creativ. O educaie care se
bazeaz numai pe un individ n izolare este garantat s limiteze o parte din posibiliti.

Poi nva creativitatea?

Da, dar oamenii cred c nu o pot preda fiindc nu au neles-o ei nii. Spun: ,, Ei bine, nu
sunt foarte creativ, aa c nu pot s fac asta.
Sunt de fapt doua moduri de a gndi predarea creativitii. n primul rnd, putem preda
aptitudini generice ale gndirii creative, la fel cum predm matematica, cititul i scrisul. Nite
aptitudini de baz pot elibera modul n care oamenii abordeaz problemele precum gndirea

Mic Oana Maria

Anul I, Seria II, Grupa 7
divergent, spre exemplu, ce ncurajeaz creativitatea prin folosirea de analogii, metafore i
gndirea vizual.
Am lucrat acum ceva timp cu un grup executiv al unei comuniti nativ-americane. Au vrut s
vorbesc cu ei despre cum ar putea s promoveze inovaia n tribul lor. Am stat n jurul unei
mese n prima or i bnuiesc c se ateptau ca eu s iau nite plane i s le explic tehnici.
Am fcut ceva din asta, dar ceea ce i-am pus s fac a fost s-i pun n grupuri i s deseneze
cteva din problemele cu care se confruntau ca o comunitate.
Ei bine, n momentul n care i pui s gndeasc vizual, s deseneze imagini sau s se mite n
schimb s stea ntr-un loc i s pun marcatori, se ntmpl ceva diferit n ncpere.
Desprindu-i astfel nct s nu stea la aceeai mas i s lucreze cu cine nu ar fi stat n mod
obinuit creeaz o dinamic diferit. Aadar, poi nva oamenii cteva metode prin care i
pot elibera gndirea prin valorizarea diversitii opiniilor dintr-o camera.
n adugarea acestor aptitudini, mai este i creativitatea personal. Oamenii de obicei i
ating potenialul maxim la nivel personal cnd se conecteaz la un mediu particular sau la un
set de materiale sau procese care i inspir.
Noua mea carte, ,,The Element, este despre descoperirea pasiunii noastre. Am vorbit cu
muli oameni , muzicieni, gimnati, oameni de tiin, o femeie extraordinar nottoare, Fie
c a fost muzica, jazz-ul, triplul salt, fiecare a gsit un lucru cu care au rezonat i pentru care
au avut aptitudini s-l fac. Dac vei combina aptitudinea personal cu pasiunea pentru
acelai lucru, atunci ajungi ntr-un cu totul alt loc din punct de vedere creativ. tii, lui Eric
Clapton i-a fost dat o chitar cam la aceeai vrst cnd am primit i eu una. Pentru Eric a
mers ntr-un mod care nu a mers pentru mine. El a prins chitara, dar a i combinat-o cu a
pasiune imens.

Dac inovaia i creativitatea sunt aa de importante, ar trebui s ni le

nsuim?

Nu poi nsui oamenii n general cu a fi creativi, fiindc a fi creativ nseamn s faci ceva.
Dac lucrezi n ora de matematic i predarea te ncurajeaz s gseti noi abordri, noi
metode de gndire, atunci bineneles c poi ncepe s evaluezi nivelul de creativitate i
imaginaie n cadrul matematicii, aa cum ai face-o n cadrul muzicii, dansului sau literaturii.
Fac o distincie ntre a preda creativ i a preda pentru creativitate. A preda creativ nseamn
c profesorii i folosesc propriile resurse creative pentru a face ideile i coninutul mai
interesant. Cei mai mari profesori pe care i tim sunt cei mai creativi fiindc gsesc un mod
de a conecta ceea ce predau la interesele studentului.
Dar poi vorbi i despre predarea pentru creativitate, cnd pedagogia este conceput n aa
manier pentru a stimula oamenii s gndeasc creativ. ncurajezi copiii s inoveze, s
experimenteze, fr s le dai toate rspunsurile, ci doar uneltele necesare pentru a gsi
rspunsurile posibile sau a explora unele noi. n anumite domenii particulare, este perfect
plauzibil s spui: ,,Suntem interesai n a vedea ci noi i metode de abordare a acestor
probleme.
Dac ar fi un grad de creativitate personala, asta este o ntrebare mai larga. Cu siguran,
dndu-le credit pentru originalitate, ncurajnd-o i dndu-le copiilor un mod de a reflecta
asupra acestor noi idei dac sunt mai bune dect cele deja existente, asta este o parte plin
de for a pedagogiei. Dar nu poi reduce totul la un numr la sfrit i nici nu cred c ar
trebui. Asta este o parte din problem.

Mic Oana Maria

Anul I, Seria II, Grupa 7
Regimul testrii standardizate ne-a fcut s credem c dac nu te ncadrezi, nu contezi . De
fapt, n orice proces creativ, o parte din lucrurile pe care le urmrim sunt greu, dac nu
imposibil de msurat, dar asta nu nseamn c nu conteaz. Cnd aud oamenii c spun ,,Ei
bine, nu poi nsui creativitatea. Ba da , poi. Doar stai i gndete-te puin.