Note: I was intrested in creativity in Brazil.  I have been studying it and Brazil is an extremely catholic country that support conformity and social heirachy so I was intrested to see how that would affect their research.  To my suprise they have been researching creativity for several years.  I was in dismay I thought this would be frowned upon and not excepted!Shockingly there are conducting studies to stimulate creativity as well as creating workshops specifically for creativity.!! Intresting it is a step away from what we have learned

Something I was extremely curious about was creativity across cultures.  We had discussed in class the fact that creativity could be percieved differently across culutres and I am in agreement with this.  I was in search to see the way the other cultures explore the process. I found that it was very similar to what we have been discussing personality traits, environment,however I did find something we have not discussed.  In Brazil they have been focusing on stimulatling creativity as opposed to enhancing it.  I was a little perplexed here.  Most of their reasearch was done in an educational environment which was rather scary to me but if you can make it through the article it turned out great.  Recent trends in creativity research have pointed out that creativity is a sociocultural phenomenon. As a consequence, the effect of cultural factors on the manifestation of creativity has been discussed worldwide. An increasing interest in the study of creativity across cultures can be noticed (Raina,1993; Stein, 1999). Recent trends in creativity studies have pointed out that creativity is a sociocultural phenomenon (Amabile, 1996; Csikszentmihalyi, 1996; Simonton, 1994). In this regard, the cultural environment has a strong influence on creativity by suporting or inhibiting the development of creative efforts. Therefore, it is important to investigate the ways in which cultural groups are taught to be creative, how culture changes within and across generations (Hunsaker & Frasier, 1999), what norms are used in one culture to assess creativity, and how culture channels creativity toward certain domains and groups (Lubart, 1999). Moreover, Raina highlights the need for understanding how creativity may foster the cultural change process. Although much of the research on creativity has been conducted in the United States, several studies have also been implemented in different countries, including Brazil.Brazilian concern for studying creativity dates from 1970. From 1970 throughout 1990, most of the studies focused on ways of fostering creative abilities in the classroom (Alencar, 1975; Alencar, Fleith, Shimabukuro, & Nobre, 1987). On the other hand, in the last decade, it can be noticed that the focus of creativity research has switched from enhancing student’s creativity to identifying factors that stimulate or inhibit creative talents in the educational setting (Alencar, 1995; Alencar, Fleith, & Virgolim, 1995; Alencar, Fleith, & Martinez, 2001), as well as factors associated with high creative achievement (Alencar, 1997a; Alencar, Neves-Pereira, Ribeiro & Brandão, 1998). In addition, instruments for assessing the level of a person’s creativity and the climate for creativity have been developed (Alencar, 1999; Wechsler, 2001). Most of the Brazilian research on creativity has been conducted in the educational context. Few studies were implemented regarding the workplace setting (Alencar & Bruno-Faria, 1997).This chapter examines the development of creativity in the Brazilian culture. The first section includes a brief description of the Brazilian culture, and the second section presents two models of creativity developed by Brazilian researchers. The third section reviews studies conducted in the educational environment and discusses their implications. The final section provides guidelines for future cross-cultural studies on creativity. I am sure you guys are really probably not intrested in Brazils history but it must be considered to understand their intrepretations of creativity so bair with me! Brazil is the largest and only Portuguese speaking country in South America. It was colonized by Portugal from 1500 until 1822 when the country became independent. In this regard, Brazilian people have commonly and erroneously been considered Hispanic. The Brazilian nation is composed of European immigrants, African slaves and descendants, and Natives. It is not, therefore, a homogeneous culture. The Brazilian culture is also marked by a strong influence of the Catholic church, which has been present since the beginning of the Portuguese colonization. Nowadays, nearly 88% of the inhabitants are Catholic. According to Torres and Dessen (2002), Brazilians emphasized conformity and adaptation to social rules, and social hierarchy is accepted. I thought this was very intresting that Brazil was open to reasearch in creativity as you see above conformity and hierarchy are extremely hazardous to the process. Brazilian people are also characterized by their focus on the collective. Moreover, Torres and Dessen stated that:The fact that Brazilians see themselves as members of an in-group, that they accept inequality and differences in status (i.e., social hierarchy), and that they have high income stratification (i.e., ratio of the high and low income), indicates that Brazil as a whole would have a preference for a vertical-collectivist cultural pattern (p. 8).Beyond the fact that Brazilian people are group-oriented, they are also able to demonstrate their emotions and can be considered extroverted (Fleith, 1999). With respect to the Brazilian family, it can be described as supportive, protective, and responsible for the maintenance of relationship links. As a consequece, children’s independence is not a characteristic encouraged by the culture. Also, as the participation of women in the workforce increases, the distribution of domestic tasks between wife and husband are reviewed, leading the husband to perform tasks that were considered traditionally feminine. In addition, especially in the case of low income families, the influence of family members beyond the nuclear unit, such as the grandmother, on educational practices and values adopted by the family is noticed (Dessen & Braz, 2000).Creativity has been a topic of interest among Brazilian researchers for almost 30 years. Also, the influence of American creativity studies on Brazilian research is unquestionable. Although the analysis of creativity has indicated dimensions across cultures, there are behaviors and procedures that are context dependent (Lubart, 1999; Wechsler, 2001). In this regard, Brazilian researchers have developed creativity models based on characteristics of the culture and results of studies conducted in Brazil.Alencar (1997b), for example, highlighted the importance of intrapersonal and interpersonal factors associated with creativity. Her model of creativity is depicted as a pentagon which encompasses five factors: thinking abilities, personality traits, knowledge and techniques, barriers, and psychological climate. With respect to cognitive abilities, the author mentions divergent thinking abilities such as fluency, flexibility, originality, elaboration, and problem sensitivity. Alencar (1997a, 1997b) emphasized the need for nurturing personality traits associated with creativity such as intrinsic motivation, curiosity, persistence, self-confidence, and tolerance for ambiguity. Also, this author highlighted the relevance of knowledge and creative tecnhique acquisition. In order to create, it is necessary that the individual develops domain-relevant skills and creativity-relevant skills.According to Starko (1995), “creative contributions do not spring forth in a vacuum; they are built on the knowledge and efforts of those who have gone before” (p. 114). The fourth ingredient of this model is the reduction of barriers to creativity. The implementation of strategies at school and in the workplace to help people overcome emotional, social, and cultural barriers is essential. The last ingredient calls attention to the need for a nourishing psychological climate that reflects strong values of support for creative expression, such as incentive for new ideas, implementation of activities that constitute a permanent invitation to creative actions, validation of original ideas, and high expectation regarding people’s creative potential.Likewise, Novaes (2001) developed the Creative Relationship Mediator Model. Three elements are essential in this model: cognition, language, and action. Cognition, which involves processes of intuition, perception, and definition, identifies and interprets the reality. Language involves the expression and communication of messages, as well as structuring and configuring information drawn from one’s reality. The third element, action, includes intention, option, and decision-making. The person rebuilds and transforms the reality, generating a creative product. According to the author of this model, educational practices should encourage innovation, spontaneity, language enrichment, coherence of educational activities, and tolerance for mistakes. The teacher who acts as a creativity mediator can be characterized by his/her openness to new experiences, adaptative flexibility, self-acceptance and acceptance to his/her students, advanced communication skills, and availability to students.It is interesting to notice that both Brazilian models of creativity are similar to others described in the American literature (e.g., Amabile, 1996; Csikszentmihalyi, 1996). As expected, the definition of creativity in the Brazilian culture is based on the “western” definition, i.e., creativity as a product-oriented and originality-based phenomenon (Lubart, 1999). Moreover, although creativity is viewed as a positive construct in the Brazilian culture, the researchers have pointed out barriers to the development of creativity. Most of these barriers are consequences of cultural values and traditions disseminated among Brazilian people such as resistance to new ideas, necessity of being practical all the time, consideration of fantasy as a waste of time, fear of taking risks, and passivity.This section presents a brief review of Brazilian studies on creativity. First, research that focused on the creative process is discussed. Second, studies regarding stimulating and inhibiting factors to the development of creativity are reviewed. Third, research related to effects of creativity training programs is presented. Finally, results of cross-cultural studies are providedAlencar (1997a) conducted a study to investigate work habits, professional choices, and creative processes among Brazilian researchers known for outstanding achievement. Data obtained through interviews indicated an intense commitment and dedication to professional activities. Moreover, they suggested factors that contribute to creative ideas such as being a good observer, being updated on this area of expertise, and interacting with colleagues. Family and school influences on professional choices were also noticed. An investigation of the creative processes of well-known Brazilian musicians was implemented by Fleith, Rodrigues, Viana, and Cerqueira (2000). Fourteen musicians participated in semi-structured interviews. The results indicated that the majority of the musicians considered creativity as a complex process supported by many factors, especially the environment. Four stages of the creative process were described by these musicians: process triggering, preparation, product elaboration, and product validation.The findings of these studies suggested that the creative processes in sciences and arts are not divergent. In addition, the creative process of Brazilian experts does not differ greatly from the creative processes described in the American literature (Amabile, 1996). It is interesting to notice that cross-cultural differences were not found in those studies. Most of the Brazilian research regarding stimulating and inhibiting factors to creativity was conducted in the educational context, especially at the university level. Alencar and Fleith (2002), for example, investigated different types of barriers to the expression of personal creativity among 544 elementary to higher education teachers. The Personal Creativity Barriers Inventory, designed and validated by the first author, was used to collect the data. It included items related to four types of barriers: Inhibition/Shyness, Lack of Time/Opportunity, Social Repression, and Lack of Motivation. Significant differences were found between male and female teachers in Social Repression, and among teachers from different grade levels in Inhibition/Shyness and Social Repression. The results pointed out different barriers that refer directly or indirectly to the motives, means, and opportunities for personal creativity expression, thereby suggesting the necessity of strategies that increase the possibilities of teachers’ creative expression.Likewise, Alencar (1995) studied the degree to which different aspects related to creativity have been fostered by university professors, as well as university students’ evaluation of their own level of creativity, their professors’ level, and their peers’ level of creativity. Four hundred and twenty eight university students answered the same inventory mentioned earlier. The results called the attention to the low degree of incentive for different aspects of creativity among university professors. Students judged themselves and their peers as significantly more creative than their professors. In another study conducted by Alencar, Fleith, and Virgolim (1995), the fear of making mistakes, the attachment to rules and values, lack of self-confidence, fear of taking risks, and criticisms of new ideas were the most frequently sited obstacles to the expression of the creative potential among university students and professionals from the field of education.With respect to stimulants and blocks to creativity in the workplace, Alencar and Bruno-Faria (1997) investigated the characteristics of Brazilian organizations which affect creativity. Among the most frequently mentioned factors that stimulate creativity were organizational support (e.g., recognition), organizational structure (e.g., flexible norms), and support from the boss and peers. On the other hand, some of the most prevalent obstacles to creativity were organizational structure (e.g., rigid, bureaucratic, excess of hierarchy, and centralized power) , boss characteristics (e.g., no acceptance of new ideas), personal relationships (e.g., lack of dialogue, conflict), and organizational culture (e.g., no acceptance of new ideas, no support for risk taking, and cultivation of the fear of making mistakes).Most of the studies regarding the effects of creativity training programs were conducted in Brazil from 1985 to 1995. These studies investigated the effects of creativity programs on teachers and students from distinct grade levels. However, it can be noticed that the participants in the majority of studies were elementary school teachers and students. A few studies examined the impact of creativity programs on gifted and learning disabled students. Moreover, the studies investigated the effects of creativity training programs on cognitive and academic variables such as divergent thinking abilities and school achievement, as well as affective variables such as self-concept, interests, and personality characteristics associated with creativity. The results suggested a positive impact of creativity programs on creative thinking abilities. However, no significant changes related to affective variables were reported (Fleith, 2002).It is important to mention that most creativity training programs implemented in Brazilian studies were designed based on the creativity literature. Only a few of the studies adopted creativity training program packages. Moreover, the most used instrument was the Torrance Tests of Creative Thinking (TTCT) (Torrance, 1974). However, instrument norms for assessing originality were adapted to the Brazilian culture (Alencar, Fleith, Shimabukuro, & Nobre, 1987). Finally, the vast majority of studies used a quasi-experimental design.An effort among Brazilian researchers to implement studies that investigate differences in creativity among cultures has been noticed. Wechsler (1985) compared Brazilian and American elementary school children with respect to verbal and figural creativity. The author used the TTCT to assess children’s creativity. Regarding figural creativity, the findings indicated that Brazilian children presented more emotional expressiveness, unusual and internal visualization, and expanded boundaries in their drawings when compared to American children. On the other hand, American children presented more humor and movement in their drawings compared to Brazilian students. With respect to verbal creativity, no differences were observed between Brazilian and American students.In a recent study, Fleith (1999) investigated the effects of a creativity training program on creative abilities and self-concept in elementary classrooms of monolingual (American students) and bilingual (Brazilian immigrant students). The creativity training program, New Directions in Creativity (Renzulli, 1986), slightly improved the creative abilities of students in the treatment group. However, placement in monolingual or bilingual classrooms was not found to affect students’ creative abilities nor self-concept. Moreover, the qualitative analysis suggested that a supportive and encouraging classroom climate in which the creativity training program was implemented was an essential factor in the success of the program. Furthermore, the creativity training program had a positive impact on the self-concept of less academically able students from both monolingual and bilingual classrooms.Obstacles to the expression of personal creativity were examined among 290 educators from Brazil, Cuba, and Portugal, by Alencar and Martinez (1998). The participants were requested to complete the following sentence: I would be more creative if …. Responses were analyzed through content analysis. While Brazilian and Portuguese educators more frequently indicated internal obstacles, Cuban educators pointed out social barriers. It was noticed that the fear of making mistakes, failure, and criticism were the most mentioned personal obstacles by Brazilian and Portuguese professionals. On the other hand, the most common obstacle mentioned by Cubans was insufficient time for observation, analysis, and reflection.In a cross-cultural study conducted by Alencar, Fleith, and Martinez (2001), personal obstacles to creativity between 385 Brazilian and 305 Mexican University students were investigated. The Obstacles to Personal Creativity Inventory, designed and validated by the first author, was administered to these students. Significant differences were observed between Brazilian and Mexican students in the cluster of obstacles under the heading of Lack of Motivation. In this regard, Mexican students obtained higher scores compared to Brazilian students. Significant differences were also noticed between male and female students in the cluster of obstacles named Inhibition/Shyness. The mean of female students was higher than male students’ mean on this factor. Differences between Mexicans and Brazilians were not found with respect to factors Lack of Time/Opportunity and Social Repression.The findings of the studies reported earlier suggested that creativity may be fostered or hindered by cultural characteristics such as socialization processes, beliefs, values, and traditions. Moreover, the socioeconomic status and historical roots of a nation can also influence the development of the creative expression.Since creativity cannot be understood by isolating individuals from their context, to investigate the creative expression within and across cultures is imperative. In this regard, the following suggestions concerning theoretical and methodological aspects should be considered in future cross-cultural studies of creativity, especially those to be conducted in the Brazilian context: (a) to analyze creativity in a culture with raters or norms from that culture, rather than using norms from one culture to assess creativity in another culture (Lubart, 1999); (b) to find out the psychological meanings and variations present in other cultures, thereby avoiding cultural deficit or deprivation theories (Hunsaker & Frasier, 1999); (c) to use both qualitative and quantitative procedures to collect data to broaden the researcher’s perspective on the phenomenon; (d) to study the emergence of creativity in different sub-cultures within the same nation; and (e) to create a world network thereby allowing a wider audience access to research findings. According to Wechsler (2001),“Although the international research has pointed out the wide range of traits and behaviors of the creative person that can be identified across cultures, there are preferences regarding behavioral and thinking styles in specific populations that can be understood within a historical context.” (p. 224)Therefore, it is important to study and understand the emergence of creativity in different contexts in order to establish conditions that will maximize opportunities for the development of creative talents in several domains around the world. This plea is relevant especially in the case of developing countries like Brazil.

I probably shouldnt be talking about this because you are all aware of my employment , but I wantet stress how horrible of a job my so called “manager” does. I found some way online to increase creativity in management.

*The best managers are those who don’t feel intimidated by creative people.  They spur creative people on to greater performance levels than they ever thought possible. Good managers are willing to take calculated risks and they encourage their subordinates to do the same.

*Good managers recognize that there will be failures from time to time.  They know that their job is to help their people get going again after they stumble.  They place a high premium on learning from mistakes and they never punish the bearer of bad news.

*Managers who encourage creativity don’t take very long to decide to support an idea worth pursuing.  They don’t require big studies before making up their minds and they are willing to stand by their decision without waffling.

I had to work this weekend and I couldnt quit coming back to the business creativity class that we had.  We found heiarchies to be devestating to the flow of creativity , we discussed different ways to spark creativity in the work place and we even constructed our own business.  I  researched the role of creativity in the work place and found some great disoveries.  It seems that in a majority of businesses creativity has taken a new role.  Creativity is highly encouraged and business today are cutting out time blocks for innovation.  I found creativity to be encouraged more times than not. I even found some waky ways of promoting the flow.  I wanted to post some of the things that businesses do today to promote creativity it is almost like the reconstruction excercise we did in class. 

Promoting creativity

People bring their bright ideas into the company when the work environment is healthy, high in energy and safe and when they know that their ideas have a chance of getting somewhere.

Some companies have much more creative environments than do others.  These companies have some or all of the following characteristics in common:
 
    They have a strategic plan and everyone in the company is familiar with the plan.
 
    They stick with their plan and rarely deviate from it.
 
    They keep close tabs on the marketplace, monitoring performance of their new products and they are willing to learn from their mistakes.
 
    They tolerate failures and encourage risk taking.
 
    They encourage wide-open communication and they minimize bureaucratic procedures.
 
    They encourage experimentation with new ideas.
 
    They recognize that people need stimulus from outside sources.
 
    They promote participative decision-making at the lowest level possible.
 
    They know that it is important to manage their projects and to eliminate or postpone those that are no longer worthy of support.
 
    They listen to ideas from people at all levels of the company.
 
    They understand that a high level of creativity encourages high morale, not the other way around.
 
    They do everything possible to minimize anxiety levels within the company because they know that anxious people won’t be creative or energetic.

http://pubpages.unh.edu/~jel/712/Autism_savants.htm

http://www.sciammind.com/article.cfm?articleID=0006216C-45CB-116C-85CB83414B7F0000&pageNumber=3

http://psychology.ucdavis.edu/Simonton/p175wlinks.html

http://straddle3.net/context/03/en/2005_07_01.html This is one is my favorite.

I did some inquiring about savants and creativiity.  I am amazed on the information I found realting to the left and right hemishere theory.  This is absolute crap as we all know we found it not to be true.  I found alot of the indviduals to be talented in one particular feild not creative this holds true to class discussion.  However I do find them to amazing!

My inquiry project really got me thinking about the realtion of the creativite individual with their parents.  We had talked alot about manic disorders and their effects on creativity but we had only discussed the actual artist or participant being affected and not their surroundings.I was intrested to see research on the parent having a manic disorder. I am in complete agreement with the book I believe that the realtionship must be a postive one between the parent and the idividual to allow for the flow of creativity. I began researching and found some opposing articles but I also found our class to be ahead of some reasearch teams. The article is rather lenthy Im not sure Im in complete agreement with it but the reasearch is there. During the study, the researchers looked at creative characteristics in 40 bipolar patients and 40 offspring, comparing them with 18 healthy adults and 18 healthy offspring. The children in the study ranged in age from 10 to 18. Half of the children of bipolar patients also had bipolar disorder; the other half had attention deficit hyperactivity disorder or ADHD, which appears to be an early sign of bipolar disorder in offspring of parents with the condition. The majority of participants with bipolar or ADHD were on medication.The researchers included children with ADHD so they could study creativity before the onset of full bipolar disorder. “We wanted to see whether having a manic episode is necessary for this sort of creativity,” said Chang, who also directs the Pediatric Bipolar Disorders Program at Lucile Packard Children’s Hospital.Study participants were given psychiatric evaluations and then completed the Barron-Welsh Art Scale, or BWAS, a test that seeks to provide an objective measure of creativity. The scoring is based on “like” and “dislike” responses to figures of varying complexity and symmetry; past studies suggest that creative people tend to dislike the simple and symmetric symbols.The researchers found that the bipolar parents had 120 percent higher BWAS “dislike” scores than the healthy parents. The children with bipolar and the children with ADHD had, respectively, 107 and 91 percent higher BWAS dislike scores than the healthy children.“The results of this study support an association between bipolar disease and creativity and contribute to a better understanding of possible mechanisms of transmission of creativity in families with genetic susceptibility for bipolar disease,” the researchers wrote in their paper.The researchers had hypothesized that the scores of children with ADHD would differ significantly from the scores of bipolar children so they were surprised when the scores did not. Chang said this indicates that mania is not what is fueling the creativity. “The kids with ADHD who hadn’t been manic yet still had very high levels of creativity,” he said.The researchers also found a link between the length of a bipolar child’s illness and creativity: the longer a child was sick or manic, the lower the BWAS dislike score. It makes sense, Chang said, that this illness could, over time, erode one’s creativity. “After awhile you aren’t able to function and you can’t access your creativity,” he explained.BWAS dislike scores tend to decrease with age even in healthy individuals, so more research is needed, Ketter said. Further studies are also needed to assess the role of genetic and environmental factors in creativity and bipolar, he added. The team plans to next examine whether the degree of creativity in parents correlates with the degree of creativity in their children.  I thought this was a little peculiar in the event that we have already established that it is not necessary for the parent to actually be creative .

I started with one idea in mind and then again my inquiry evolved to something completely different. It was  intresting to me to  compare and contrast creativity taught in different institutions.  It seems that many accredited institions offer similar classes to theory and application. I may be a little bias but creativity theory and application has the competition beat hands down.  I took a look at some of the workshops offered to promote creativty. I also wanted inquiry about creativity abroad. This really put my mind to work. I thought that it was extremely amazing that the way the creativity is foucsed upon in Korea and even China.  To promote creativity instructors display stimulating images to  even the youngest enrolled students.  Imaging and Photography are foucsed upon far more than literature. I started to ponder this could be an explanation for all of the creative designs in video games provided by the chinese.  I then looked at some other forms of creativty.  I found that classes that when literature was the main foucus the students  produced more creative writing than creative images.  I found the students usually conformed with the teaching style.   This was in complete contrast to our class our projects were diverse there was a range from case studies to literature inquiry extremely diverse from the teaching style we were subject to so this is not always true but I didnt find it in many cases

http://www.braingle.com/mind/84.html 

Website offers some diverse wys of teaching creativity in the class room…. has some waky games intresting and different I know we have instructors in the class room check it out:)

http://www.braingle.com/mind/84.html

Website offers waky games for testing creativity. …. Has some different examples of teaching creativity I know we have several instructors in the class , pretty intresting !

Okay I have stressed in my blog how my perception of individualistcreativity has evolved through the course.  I found tons of research on creativity and innovation, both in the context of organizations and in social science in general. It hass been on creative individuals  Why has it taken so long for research to emerge on the social dimensions of creativity? By social creativity, we mean, broadly speaking, any and all creative processes leading to creative products that are the result of the interaction between two or more people. In other words, creativity that involves groups and collaborations. The production of movies, musical performances (in fact, almost any performing art), the creative process in scientific laboratories, in organizations, are but a few examples of what we mean by social creativity. Such creative processes that are not confined to the workings of a lone genius—as in an isolated author, composer, or anyone else working alone, literally, in physical isolation. However, this broad definition of “social” creativity is somewhat problematic, as we shall see. There is a real philosophical question as to whether anyone—any individual human being–can really be considered isolated or “alone.” If the answer is “no,” then we have to consider whether any creative process can occur without any form of interaction or social influence. For example, can there really be such a thing as a “lone” genius? Even if somebody works in physical isolation, is she or he not part of a larger discourse, and a social creature, working with a socio-historical context and tradition? Would the concept of a “genius,” lone or otherwise, even exist without “others”. …. Great sum of the more social out look on creativity found this on http://online.sfsu.edu/~rpurser/revised/pages/CREATIVITYwam.htm.  I was looking for some strays against the idividual myth of creativity which is so widely adopted

Im extremely intrested in fashion so I started to do some research it was intresting to see that the fashion web sites avoided defining creativity.  However it was intresting to see that the main focus of the website was culutre. Culture is the foundation for fashion .  Designers play off of it…. many upcoming designers have failed for introducing new fashions in conservative cultures.  I posted a comment that said that only novel things are creative … Fashion is considered to be an extremely creative field , but how many peices in fashion are novel ? Few if any any at all.  So my question now is why is it viewed to be one of the most creative feilds of study? Designers build upon old fashion using little c creativity to evolve into this huge hit or new trend a big c creativity have you. As I am typing im like wow I can apply all aspects of this class into fashion.  I thought it was intresting how fd schools focus upon the environment in which their interns work in… very diverse open to nature kept coming up it was said to have spiked innovation. I know this posting is all over the place but there is so much research listed kinda of hard to keep focus just wanted to put some things out there because I really dont discuss fashion all that much