Creative Projects


  1. Although people have always been “creative,” the word, “creativity,” did not become common in English until 1950, and it has only recently been incorporated into other languages across the world. Now the word is ubiquitous. Still, different cultures at different times have defined and valued what we call creativity in different ways, and now the development of global culture is changing everyone’s sense of the concept. What does it mean? Why do we value it so highly?
  2. Leonardo da Vinci and Benjamin Franklin are widely celebrated as two of the most creative individuals of Western history, and yet they had virtually no formal education. Is this because formal education stifles education? Is this because they were unique geniuses at specific times in history? Are there any ways we can reform our systems to make them more likely that such creators emerge in our time? Or are such people all around us, right now?

Dr. Weiner has given public lectures and led university classes on the creative process, on creativity in cross-cultural perspectives, on Leonardo and on Franklin, and on the ways we define and value creativity.


No matter how creative a person is, he or she can probably be more so. These workshops provide a way to stretch and strengthen your creative abilities by methodically exercising them. One way we do this is to move between structure and fluidity, between imagination and practicality, and between individual and group work; another way is to help you move between visual, verbal, mathematical, kinetic-dramatic, and inventive modes, because, I believe, each approach reinforces the others. The outcome for most workshop participants should be an improvement in expressive skills and in problem-solving ones.

Dr. Weiner has taught creativity and invention workshops from one-day to one month in duration, to students of all ages and to successful business managers as well.


Everyone’s creative process is different. I happen to be writing multiple works at the same time, switching back and forth between them, as mood and ideas arise.

One work, 95% complete, is an analysis of ancestry and migration. Investigating one family’s history, I have attempted to locate its particulars within a much broader perspective on immigration, the coming and going of generations, religion, and politics.

Another work, about half complete, is a novel, set primarily in Central Asia. Yes, there is time-travel; yes, there are politics and religion and sex and violence; and no, I will not tell you more right now.