| Preface | | xi | |
| Art School and Advertising | | xi | |
| Constraints and the Creativity Problem | | xii | |
| Psychology | | xiii | |
| | | 1 | (6) |
| Cubism: Learning From Art History | | | 2 | (1) |
| Cubism: Learning From Psychology | | | 3 | (4) |
| Constraints and First Choruses | | | 7 | (7) |
| Constraints for Conformity | | | 7 | (1) |
| Constraints for Creativity | | | 7 | (5) |
| Different Domains: Different First Choruses and Constraints | | | 12 | (2) |
| Constraints for Creativity in Literature | | | 14 | (18) |
| Tell Me a Story: Fictions | | | 17 | (8) |
| Tell Me Your Story: Memoir | | | 25 | (4) |
| A Conversation: Constraints Can Be Criminal | | | 29 | (2) |
| | | 31 | (1) |
| Constraints for Creativity in Art | | | 32 | (22) |
| Constraining Subject: Seeing the Light | | | 33 | (13) |
| Constraining Method: Multiples | | | 46 | (4) |
| A Conversation: Rhythm From Repetition | | | 50 | (3) |
| | | 53 | (1) |
| Constraints for Creativity in Fashion | | | 54 | (15) |
| The Two Paths: A Digression | | | 55 | (1) |
| Functional Constraints: Life--``Styles'' | | | 55 | (5) |
| The Two Paths: A Continuation | | | 60 | (3) |
| Subject Constraints: Role--``Models'' | | | 63 | (3) |
| A Conversation: Interpreting, Reconstructing | | | 66 | (2) |
| | | 68 | (1) |
| Constraints for Creativity in Architecture | | | 69 | (22) |
| Stylistic Constraints: What Shape Should a Modern Architecture Take? | | | 70 | (11) |
| Functional Constraints: The Shapes That Containers Take | | | 81 | (5) |
| A Conversation: Containers for People | | | 86 | (3) |
| | | 89 | (2) |
| Constraints for Creativity in Advertising | | | 91 | (11) |
| | | 91 | (1) |
| | | 92 | (1) |
| | | 92 | (5) |
| Too Much Clutter, Too Few Constraints | | | 97 | (2) |
| Two Conversations: Commercial Art | | | 99 | (2) |
| | | 101 | (1) |
| Constraints for Creativity in Music | | | 102 | (17) |
| Structural Task Constraints: Rhythm, Melody, Harmony | | | 102 | (3) |
| Stylistic Constraints: Structuring Dissonance | | | 105 | (8) |
| Subject Constraints: I Think I've Heard That Song Before | | | 113 | (3) |
| A Conversation: Contrasting Constraints | | | 116 | (2) |
| | | 118 | (1) |
| Constraints for Developing Creativity | | | 119 | (11) |
| Constraints: Children to Creators | | | 121 | (3) |
| | | 124 | (1) |
| | | 125 | (1) |
| A Caveat: The Danger of Dilettantism | | | 126 | (1) |
| A Conversation: The Danger of Boredom | | | 126 | (3) |
| | | 129 | (1) |
| Central Concepts: A Recap | | | 130 | (7) |
| | | 130 | (1) |
| | | 130 | (1) |
| Constraints for Creativity | | | 131 | (1) |
| | | 132 | (1) |
| Goal Constraints: What's Left to be Done? | | | 133 | (1) |
| Last Words on Late Bloomers | | | 134 | (3) |
| | | 137 | (8) |
| APPENDIX A ``Working with Constraints'' for Columbia University Students | | | 145 | (10) |
| Working With Constraints 1: Learning to Write in a Different Voice | | | 147 | (4) |
| First Draft: Writing in Your Own Voice | | | 147 | (1) |
| Second Draft: The First Author's Voice | | | 148 | (1) |
| Third and Fourth Drafts: The Second and Third Authors' Voices | | | 149 | (1) |
| Final Draft: Back to Your Own Voice | | | 149 | (1) |
| | | 149 | (2) |
| Working With Constraints II: Learning to Take Chances | | | 151 | (4) |
| Using Chance as a Task Constraint | | | 151 | (1) |
| Fixed Elements, Chance Arrangements: Arp and Kelly | | | 151 | (3) |
| | | 154 | (1) |
| APPENDIX B ``Working With Constraints'' for a Group of Students at the School of the Art Institute of Chicago | | | 155 | (8) |
| Working With Constraints III: Learning to Chart Your Own Constraints | | | 157 | (6) |
| Can You Identify Your ``First Choruses''? | | | 157 | (2) |
| | | 159 | (1) |
| Constraints in Retrospect | | | 159 | (1) |
| | | 160 | (1) |
| | | 161 | (2) |
| Index | | 163 | |
