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$12.00 10.00 8.00 6.00 0.80 Three elements of the color-coded traffic and seating system . The map corresponds to colors painted on the street curbs.

The diagram above coordinates seat locations to ticket prices .

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CREATIVITY

1NHERITED SENSITIVITY - a propensity for a greater sensitivity to certain types of experience -mathematical, artistic, musical, mechanical, literary. This appears to be well established by studies of families which exhibit high creativity over several generations. "Possibly," Seidel says, "the artist's apparently odd way of looking at things derives more from the inherited and developed sensitivity which makes him more readily attuned to the subtleties of various sensations and impressions, than from an asymmetrical viewpoint different from the ordinary man in the street ... The peculiar way the _creative person may look at things derives from a physically based sensitivity toward sensations of a certain type."

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EARLY TRAINING-the creative person, more likely than not, had his childhood in a home atmosphere that encouraged, rather than discouraged, inquisitiveness (although too rigid a home environment might drive him to seek new_and original answers on his own). Creativity is as much a matter of attitude as anything, and most human attitudes may be imprinted before the age of seven.

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LIBERAL EDUCATION-the creative person is more likely to express his creativity if he is exposed to teachers and curricula that place a premium upon questions rather than answers, and which reward curiosity rather than learning by rote and conformity.

ASYMMETRICAL WAYS OF THOUGHT-the creative person finds an original kind of order in disorder; it is as if he stared at the reflection of nature in a distorted mirror, where "ordinary" people are able only to see the image in a plain mirror.

Most highly intelligent people (as measured by tests) have symmetrical ways of thought, and for them, everything balances out in some logical way.

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It might also be said that the creative person is usually ''intelligent" but that the intelligent person is not necessarily creative. For one thing, the tests for determining each measure quite different abilities and so are hard to compare.

Intelligence tests mostly ask for the "right" answers; already predetermined. Tests for creativity most frequently ask for original answers and the degree by which they depart from the expected is a measure of their creativity.

Finally, and this seems to be largely true, the creative person is more interested in ideas and things than he is in personal relationships. When B. S. Bloom at the University of Chicago set up two groups-all of whom were chemists or mathematicians-those who were considered creative by

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PERSONAL COURAGE-the creative person is not afraid of failure, or of being laug_hed at.

He can afford this risk because what is important-to him-is not what others think of him, but what he thinks of himself.

SUSTAINED CURIOSITY-the creative person never stops asking questions, even of his most cherished ideas. "Those who have an excessive faith in their ideas," said Claude Bernard, "are not well fitted to make discoveries." A capacity for childlike wonder, carried into adult life, typifies the creative person.

NOT TIME-BOUND-morning, noon and night are all the same to the creative person; he does not work by the clock. Problems may take years to solve, discovery may take decades. With his personal "window on infinity," time has a personal, not a social meaning. Truly creative persons seldom respond well to "deadlines" arbitrarily set by someone else.

DEDICATION-an unswerving desire to do something, whatever it may be and whatever the obstacles to doing it. The problem will not be left unsolved; the feeling will not remain unexpressed.

WILLINGNESS TO WORK-it is quite possible that no one in our society works harder than the artist; the same may be said for the creative scientist, inventor, composer or mathematician. This may not express itself in the number of hours put in on the job, or in obvious physical labor, but in the fact that even in sleep or reverie the creative person is constantly working for a solution. The willingness to spend_years simply accumulating data about which a creative question may be asked (Darwin is a good example; so is Edison) is characteristic of the creative person.

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their colleagues and those who were not, he could, out of 27 tests given each, find only two differences of any importance. One was that the creative group was made up of extremely hardworking people; and the second was that they tended to be more asocial than social. Other tests have shown that one characteristic of the creative person is that he will almost always, given the prior information , choose an answer that is the opposite to the majority.

So far we have talked about the creative person as if he existed in some sort of vacuum; a creature strange by " normal" standards who stands apart from th e herd, thinking his own thoughts and going his own way. But you cannot separate an organism from its environment and expect to

Other examples of the clarity obtained with Avery's strobe process.

A light bulb still glows for an instant after being smashed.

A ball of water hangs suspended in mid-air after the balloon surrounding it has been destroyed.

Comparison of a high speed drill photographed with conventional tungsten lighting and then with strobes.

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Publication design The Society of Publication Designers recently announced the winners of the 1968 Magazine Design Awards. The 1200 entries submitted were judged by Walter Allner, Aaron Burns, Allen Hurlburt and Herb Lubalin.

The three Grand Awards, for excellence of design in three consecutive issues, and the 39 Awards of Excellence are shown here.

MCC3IFs c( Truman Capote's First Story Since •1n Cold Blood•

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Marvelous Pates.Ptes.l Official Report: 6.733 Doctors Reveal 'II to Women Who Take the

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SEX MYTHS: f•moo~ •omet~ r~tta~l bow tn.y !umed tn. t.cn o1 hfe JOHNNY CARSON: "'""' KOSYGIN'S DAUGHTER LSOANO

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