This paper is part of a project that studies how the concept of creativity became a paradigm of government. The research is based on an analysis of how the term proliferated in government documents and guidelines, as well as the increase of associated investigations, prescriptions and metrics. Two paradigms emerged during the research, the art-aesthetic and the cognitive-technological through the relation of the cognitive sciences and cybernetics. At this stage of the project, the research is being developed around a "genealogy" of the term "creativity" in the field of the arts, technology and education in the 19th century.

In the early stages of the research we must assume, from the start, the contradictions of talking about its method and what is intended as its result: We try to exert a critique in a sense close to authors like Foucault and Agamben who also dialogue with the Frankfurt school. Walter Benjamin establishes in his own way the critique and the commentary. In a different way, and explicitly against scientific realism, Adorno and Horkheimer develop the so-called critical theory.

In this focus on the nineteenth century we have been able to establish some relations between the way in which some principles of the beginnings of modern computation and economy are confused and determine the principles for a 'machining' and mechanization of the mind. In the tensions of these principles, the desires of control over a machine whose problems must be solved in a creative way are revealed.on the other hand, the aesthetic-artitistic approach revelas that the term creativity was not used very often during the 19th century and, when used within education, it was not without some suspicion.

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