Abstract
Today, creativity has moved beyond its traditional home in the rhetoric of the philosopher and the exploits of the artist to form an integral part of both the theory and practice of a myriad of disciplines. Health professionals (Dossey; Kirklin & Meakin; Meites, Bein & Shafer; Rees; Satalof), scientists (Bohn 1-3, 13-15; Culross), educators (Guilford; Sawyer; Sternberg & Williams; Wilks) and those involved in the corporate world (Forbes & Domm; Mauzy & Harriman; Robinson & Stern) all consider creativity to be a fundamental criterion by which they measure and achieve their successes. 2 In this way, however, creativity has become something of an over-burdened signifier. Now the market is flooded with highly idealised and ever expanding models for understanding and transmitting creativity, in which the medium (transmission) strives to outdo the message (creativity itself). We are not attempting here to arbitrate between these various models with a view to providing a rank order of creativity. Instead, we want to focus on and explore the ways in which recent technological developments, primarily the internet, have been, and might be, used to transmit and facilitate new directions and expressions of creativity and the creative process itself. 3
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