CRACKING CREATIVITY

The Secrets of Creative Genius

 

INTRODUCTION

How do geniuses come up with ideas? What is common to the thinking style that produced “Mona Lisa,” as well as the one that spawned the theory of relativity? What characterizes the thinking strategies of the Einsteins, Edisons, da Vincis, Darwins, Picassos, Michelangelos, Galileos, Freuds and Mozarts of history? What can we learn from them? The goal of this book is to describe these thinking strategies and show how we can apply them to become more creative in our work and personal life.

For years, scholars and researchers have tried to study genius by giving its vital statistics, as if piles of data somehow illuminated genius. In his 1904 study of genius, Havelock Ellis noted that most geniuses are fathered by men older than 30; had mothers younger than 25 and were usually sickly as children. Other scholars reported that many were celibate (Descartes, Galileo, Newton), others were fatherless (Dickens) or motherless (Darwin, Marie Curie). In the end, the piles of data illuminated nothing.

Academics also tried to measure the links between intelligence and genius. But intelligence is not enough. Marilyn von Savant, whose IQ of 228 is the highest ever recorded, has not exactly contributed much to science or art. She is, instead, a question-and-answer columnist for Parade magazine. Run-of-the-mill physicists have IQS much  higher than Nobel Prize winner Richard Feynman, who many acknowledge to be the last great American genius (his IQ was a merely respectable 122).

Genius is not about scoring 1600 on the SATs, mastering ten languages at the age of seven, finishing the New York Times Acrostic in record time, having an extraordinarily high I.Q., or even about being smart. After considerable debate initiated by Joy. P. Guilford, a leading psychologist who called for a scientific focus on creativity, psychologists reached the conclusion that creativity is not the same as intelligence. An individual can be far more creative than he or she is intelligent, or far more intelligent than creative.

Most people of average intelligence, given data or some problem, can figure out the expected conventional response. For example, when asked: “What is one-half of 13?” most of us immediately answer six and one-half. You probably reached the answer in a few seconds and then turned your attention back to the text.

Typically, we think reproductively, that is on the basis of similar problems encountered in the past. When confronted with problems, we fixate on something in our past that has worked before. We ask, “What have I been taught in life, education or work on how to solve the problem?” Then we analytically select the most promising approach based on past experiences, excluding all other approaches, and work within a clearly defined direction towards the solution of the problem. Because of the soundness of the steps based on past experiences, we become arrogantly certain of the correctness of our conclusion.

In contrast, geniuses think productively, not reproductively. When confronted with a problem, they ask “How many different ways can I look at it?”, “How can I rethink the way I see it?”, and “How many different ways can I solve it?” instead of “What have I been taught by someone else on how to solve this?” They tend to come up with many different responses, some of which are unconventional and possibly unique. A productive thinker would say that there are many different ways to express “thirteen” and many different ways to halve something. Following are some examples.


 

6.5

SIX AND ONE HALF

THIRTEEN = THIR/TEEN 4 (4 LETTERS ON EACH SIDE)

13 = 1/3 ONE AND THREE

ROMAN NUMERALS XIII DIVIDED IN HALF GIVES YOU XI/II OR 11 AND 2

ROMAN NUMERALS XIII HALVED HORIZONTALLY

XIII   GIVES YOU 8 ON TOP AND 8 ON THE BOTTOM


With productive thinking, one generates as many alternative approaches as one can. You consider the least obvious as well as the most likely approaches. It is the willingness to explore all approaches that is important, even after one has found a promising one. Einstein was once asked what the difference was between him and the average person. He said that if you asked the average person to find a needle in the haystack, the person would stop when he or she found a needle. He, on the other hand, would tear through the entire haystack looking for all the possible needles.

Most people see the pattern in the illustration as a square composed of smaller squares or circles or as alternate rows of squares and circles. It cannot be easily seen as columns of alternate squares and circles.
squares and circles

Once it’s pointed out that it can also be viewed as columns of alternate squares and circles, we, of course, see it. This is because we have become habituated to passively organize similar items together in our minds. Geniuses, on the other hand, subvert habituation by actively looking for alternative ways to look at things and alternative ways to think about them.

Whenever Noble prize winner Richard Feynman was stuck on a problem he would invent new thinking strategies. He felt the secret to his genius was his ability to disregard how past thinkers thought about problems and, instead, would invent new ways to think. He was so “unstuck” that if something didn’t work, he would look at it several different ways until he found a way that moved his imagination. He was wonderfully productive. He could do something in ten minutes that might take the average physicist a year.

Feynman proposed teaching productive thinking in our educational institutions in lieu of reproductive thinking. He believed that the successful user of mathematics is an inventor of new ways of thinking in given situations. He believed that even if the old ways are well known, it is usually better to invent your own way or a new way than it is to look it up and apply what you’ve looked up.

The problem 29 + 3 is considered a third-grade problem, because it requires the advanced technique of carrying; yet Feynman pointed out that a first grader could handle it by thinking 30, 31, 32. A child could mark numbers on a line and count off the spaces–a method that becomes useful in understanding measurements and fractions. One can write larger numbers in columns and carry sums larger than 10. Use fingers or algebra (2 times what plus 3 is 7?). He encouraged the teaching of an attitude where people are taught to figure out how to think about problems many different ways using trial and error.

Reproductive thinking fosters rigidity of thought. This is why we so often fail when confronted with a new problem that is similar to past experiences only in superficial ways, or on the surface, and is different from previously encountered problems in its deep structure. Interpreting such a problem through the prism of past experience will, by definition, lead the thinker astray. Reproductive thinking leads us to the usual ideas and not to original ones. If you always think the way you’ve always thought, you’ll always get what you’ve always got–the same old, same old ideas.

In 1968, the Swiss dominated the watch industry. The Swiss themselves invented the electronic watch movement at their research institute  in Neuchatel, Switzerland. It was rejected by every Swiss watch manufacturer. Based on their past experiences in the industry, they believed this couldn’t possibly be the watch of the future. After all, it was battery powered, did not have bearings or a mainspring and almost no gears. Seiko took one look at this invention that the Swiss manufacturers rejected  at the World Watch Congress that year and took over the world watch market. When Univac invented the computer, they refused to talk to business people who inquired about it, because they said the computer was invented for scientists and had no business applications. Then along came IBM. IBM, itself,  once said that according to their past experiences in the computer market, there is virtually no market for the personal computer. In fact, they said they were absolutely certain there were no more than five or six people in the entire world who had need for a personal computer. And along came Apple.

In nature, a gene pool that is totally lacking in variation would be totally unable to adapt to changing circumstances. In time, the genetically encoded wisdom would convert to foolishness,  with consequences that would be fatal to the species’ survival.  A comparable process operates within us as individuals. We all have a rich repertoire of ideas and concepts based on past experiences that enable us to survive and prosper. But without any provision for the  variation of ideas, our usual ideas become stagnate and lose their advantages and in the end, we are defeated in our competition with our rivals.

Consider the following:

  • In 1899 Charles Duell, the Director of the U.S. Patent Office, suggested that the government close the office because everything that can be invented has been invented.
  • In 1923, Michael Millikan, noted physicist and winner of the Noble Prize, said that there is absolutely no likelihood that man can harness the power of the atom.
  • Phillip Reiss, a German, invented a machine that could transmit music in 1861. He was days away from inventing the telephone. Every communication expert in Germany persuaded him there was no market for such a device as the telegraph was good enough. Fifteen years later, Alexander Graham Bell invented the telephone and became a multi-millionaire with Germany as his first most enthusiastic customer.
  • Chester Carlson invented xerography in 1938. Virtually every major corporation, including IBM and Kodak, scoffed at his idea and turned him down. They claimed that since carbon paper was cheap and plentiful, who in their right mind would buy an expensive copier.
  • Fred Smith, while a student at Yale, came up with the concept of Federal Express, a national overnight delivery service. The U.S. Postal Service, UPS, his own business professor and, virtually every delivery expert in the U.S., doomed his enterprise to failure. Based on their experiences in the industry, no one, they said, will pay a fancy price for speed and reliability.

When Charles Darwin returned to England after he visited the Galapagos, he distributed his finch specimens to professional zoologists to be properly identified. One of the most distinguished was John Gould. What was the most revealing was not what happened to Darwin, but what had not happened to Gould.

Darwin’s notes show Gould taking him through all the birds he has named. Gould keeps flip-flopping back and forth about the number of different species of finches: the information is there, but he doesn’t quite know what to make of it. He assumed that since God made one set of birds when he created the world, the specimens from different locations would be identical. It didn’t occur to him to look for differences by location. Gould thinks that the birds are so different that they might be distinct species.

What is remarkable about the encounter is the completely different impact it has on the two men. Gould thinks the way he has been conditioned to think, like an expert taxonomist, and doesn’t see the textbook case of evolution unfolding right before him with the finches. Darwin didn’t even know they were finches! So the guy who has the intelligence, knowledge and the expertise doesn’t see it, and the guy with far less knowledge and intelligence comes up with an idea that shapes the way we think about the world.

According to Darwin’s theory of biological evolution, nature constantly produces a rich diversity of new species, which are constantly mutating and changing, the vast majority of which do not survive and soon die. Selection occurs through retention of those species that somehow survive the test of fitness.

I have always been impressed by Darwin’s theory of evolution by natural selection and have become fascinated with scholastic attempts to apply Darwinian ideas to creativity and genius. My own outlook about genius has roots in Donald Campbell’s blind-variation and selective-retention model of creative thought(1960). Campbell was not the first to see the analogy between Darwinian ideas on evolution and creativity. As early as 1880, the great American philosopher, William James, in his essay “Great Men, Great Thoughts, and the Environment,” made the connection between Darwinian ideas and genius. Campbell’s work has since been elaborated on by Dean Keith Simonton and Sarnoff Mednick.

Their work suggests that genius operates according to Darwin’s theory of biological evolution. Nature is extraordinarily productive. Nature creates many possibilities through blind “trial and error” and then lets the process of natural selection decide which species survive. In nature, 95% of new species fail and die within a short period of time.

Genius is analogous to biological evolution in that it requires the unpredictable generation of a rich diversity of alternatives and conjectures. From this variety of alternatives and conjectures, the intellect retains the best ideas for further development and communication. An important aspect of this theory is that you need some means of producing variation in your ideas and that for this variation to be truly effective it must be “blind.” Blind variation implies a departure from reproductive (retained) knowledge.

How do creative geniuses generate so many alternatives and conjectures? Why are so many of their ideas so rich and varied? How do they produce the “blind” variations that lead to the original and novel? A growing cadre of scholars are offering evidence that one can characterize the way geniuses think. By studying the notebooks, correspondence, conversations and ideas of the world’s greatest thinkers, they have teased out particular common thinking strategies that enabled geniuses to generate a prodigious variety of novel and original ideas.

This book presents the thinking strategies of creative giants from the sciences, arts, and industry. They most notably include Einstein, Darwin, da Vinci, Freud, Picasso, Edison, Mozart, Richard Feynmann, Louis Pasteur, Galileo, Walt Whitman,  Niels Bohr, Alexander Graham Bell, Aristotle, Alexander Fleming, Michelangelo, Bach, George Westinghouse, Nicola Tesla, Walt Disney, Martha Graham, T.S. Elliot, Paul Cezanne,  Newton, David Bohm, Stravinsky, Alfred Lord Tennyson, Edgar Allan Poe, Jonas Salk, and Bertrand Russell, among others.

From an analysis of the thinking strategies of geniuses, we can get a very clear picture of the nature of creativity. The strategies are not a set of piecemeal formulas. In harmony, they provide a timeless, timely and solid framework for creative thought. The strategies enable you to strip away the mystique of creativity and devise creative-thinking techniques that will dramatically change the way you think.

The creative-thinking techniques, based on the thinking strategies of creative geniuses, will show you how to generate the ideas and creative solutions you need in your business and personal life. Each technique contains specific instructions and an explanation of why and how it works— including anecdotes, stories, and examples of how geniuses implemented the strategy to produce their breakthrough ideas. When you use the techniques, you will rethink the way you see things and will look at the world in a different way.

You cannot will yourself to look at things in a different way, no matter how inspired you are to do so. To illustrate, following are two rows of parallel dots which are equal in length. Try to will yourself to see the rows of dots as unequal in length. Try to will one row longer than the other. No matter how hard you concentrate and how long you look at the dots, the two rows remain equal.


 

EVEN DOTS


 

However, if you combine the dots with two convergent straight lines, your perception of the dots changes. When you do that, the top row appears longer than the other one.

UNEVEN DOTS


 

The rows are still equal (go ahead and measure them), yet, you are now seeing something different. Combining the dots with straight lines focused your attention in a different way and caught your brain’s processing routines by surprise. This changed your perception of the pattern and allowed you to see something that you could not otherwise see. Similarly, the techniques in this book change the way you think by focusing your attention in different ways and giving you different ways to interpret what you focus on. The techniques will liberate your mind to look at the same information as everyone else and see something different.

I must stress that it is not enough to understand the strategies— to create original ideas and creative solutions, you have to use the techniques to implement the strategies. Try to explain the thrill of climbing mountains to a desert nomad who has never left the Sahara. You can show him some crampons and other climbing equipment and a picture of mountains, and perhaps get some of the idea across. However, to fully realize the thrill and challenge of mountain climbing, our desert nomad must put on the crampons and head up a mountain. If you merely read these strategies, you will have no more than a suggestion of how to get ideas. You’ll be like the nomad standing in the desert, staring at a pair of crampons and a photo of Mt. Everest, with a small notion of what mountain climbing might be like.

If you organize your thinking around these strategies, you will learn to see what no one else is seeing and how to think what no one else is thinking. The book is organized into two parts. Part I “SEEING WHAT NO ONE ELSE IS SEEING” presents strategies on how geniuses look at problems differently from the conventional ways we have been taught. You will learn how to look at your problem in many different ways. Part II “THINKING WHAT NO ONE ELSE IS THINKING” is the heart of the book and presents seven creative-thinking strategies that geniuses use to generate their breakthrough ideas and creative solutions. These are the strategies that are common to the thinking styles of geniuses in science, art and industry throughout history. These strategies will show you how to multiply your ideas and how to get ideas you cannot get using your usual way of thinking.

Following are thumbnail descriptions of the strategies:

 

PART I

[SEEING WHAT NO ONE ELSE IS SEEING]

 

Part I “SEEING WHAT NO ONE ELSE IS SEEING” incorporates  two strategies, KNOWING HOW TO SEE, and MAKING YOUR THOUGHT VISIBLE. These strategies demonstrate how geniuses generate a rich variety of perspectives and conjectures by representing their problem in many different ways, including diagrammatically.

 

1. KNOWING HOW TO SEE. Genius often comes from finding a new perspective that no one else has taken. Leonardo da Vinci believed that to gain knowledge about the form of problems, you begin by learning how to restructure it in many different ways. He felt the first way he looked at a problem was too biased toward his usual way of seeing things. He would restructure his problem by looking at it from one perspective and move to another perspective and still another. With each move, his understanding would deepen and he would begin to understand the essence of the problem. Einstein’s theory of relativity is, in essence, a description of the interaction between different perspectives. Freud’s analytical methods were designed to find details that did not fit with traditional perspectives in order to find a completely new point of view.

Perhaps most telling about geniuses is that they do not approach a problem reproductively, that is, on the basis of similar problems encountered in the past. Interpreting problems through past experience will, by definition, lead the thinker astray. In order to creatively solve a problem, the thinker must abandon the initial approach that stems from past experience and re-conceptualize the problem. By not settling with one perspective, geniuses do not merely solve existing problems, like discovering a cure for cancer. They identify new ones. It does not take a genius to analyze dreams; it required Freud to ask in the first place what meaning dreams carry from the psyche.

2. MAKING YOUR THOUGHT VISIBLE. The explosion of creativity in the Renaissance was intimately tied to the recording and conveying of a vast knowledge in a parallel language; a language of drawings, graphs and diagrams–as, for instance, in the renowned diagrams of Da Vinci and Galileo. Galileo revolutionized science by making his thought visible with diagrams, maps, and drawings while his contemporaries used conventional mathematical and verbal approaches.

Once geniuses obtain a certain minimal verbal facility, they seem to develop a  skill in visual and spatial abilities which give them the flexibility to display information in different ways. When Einstein had thought through a problem, he always found it necessary to formulate his subject in as many different ways as possible, including diagrammatically. He had a very visual mind. He thought in terms of visual and spatial forms, rather than thinking along purely mathematical or verbal lines of reasoning. In fact, he believed that words and numbers, as they are written or spoken, did not play a significant role in his thinking process.

PART II

[THINKING WHAT NO ONE ELSE IS THINKING]

 

The first strategy, “THINKING FLUENTLY,” presents a set of timeless and solid principles on how to produce a quantity of ideas. In addition to producing many ideas, an important aspect of genius is the means to produce original and novel variations in ideas and for this variation to be truly effective, it must be “blind.” The next five strategies, MAKING NOVEL COMBINATIONS, CONNECTING THE UNCONNECTED, LOOKING AT THE OTHER SIDE, LOOKING IN OTHER WORLDS, and FINDING WHAT YOU’RE NOT LOOKING FOR, demonstrate how geniuses get novel and original ideas by incorporating chance or randomness into the creative process in order to destabilize their existing patterns of thinking so that they may reorganize their thoughts in new ways. The last strategy, AWAKENING THE COLLABORATIVE SPIRIT, presents the conditions for effective group brainstorming and a collection of world-class brainstorming techniques.

 

1. THINKING FLUENTLY. A distinguishing characteristic of genius is immense productivity. Thomas Edison held 1,093 patents, still the record. He guaranteed productivity by giving himself and his assistants idea quotas. His own personal quota was one minor invention every 10 days and a major invention every six months. Bach wrote a cantata every week, even when he was sick or exhausted. Mozart produced more than six hundred pieces of music. Einstein is best known for his paper on relativity, but he published 248 other papers. T.S. Elliot’s numerous drafts of “The Waste Land” constitute a jumble of good and bad passages that eventually was turned into a masterpiece.

Nature creates many possibilities and then lets the process of natural selection decide which species survive. Most do not survive; in fact, 95% of new species fail and die in a short period of time. In a study of 2,036 scientists throughout history, Dean Kean Simonton found that the most respected produced not only great works, but also more “bad” ones. Out of their massive quantity of work came quality. Geniuses produce. Period.

2. MAKING NOVEL COMBINATIONS. In his 1988 book, “Scientific Genius,” Dean Keith Simonton of the University of California, Davis, suggests that geniuses are geniuses because they form more novel combinations than the merely talented. His theory has etymology behind it: cogito–”I think–originally connoted “shake together”: intelligo the root of “intelligence” means to “select among.” This is a clear early intuition about the utility of permitting ideas and thoughts to randomly combine with each other and the utility of selecting from the many the few to retain. Like the highly intelligent child with a pailful of Legos, a genius is constantly combining and recombining ideas, images and thoughts into different combinations in their conscious and subconscious minds. Consider Einstein’s equation, E=mc2. Einstein did not invent the concepts of energy, mass, or speed of light. Rather, by combining these concepts in a novel way, he was able to look at the same world as everyone else and see something different. Einstein vaguely referred to the way he thought as “combinatory play,” in fact, combinatory play seemed to be the essential feature in his productive thought.

3. CONNECTING THE UNCONNECTED. If one particular style of thought stands out about creative genius, it is the ability to make juxtapositions that elude mere mortals. Call it a facility to connect the unconnected by forcing relationships that enables them to see things to which others are blind. Leonardo da Vinci forced a relationship between the sound of a bell and a stone hitting water. This enabled him to make the connection that sound travels in waves. In 1865 F.A. Kekule’ intuited the shape of the ringlike benzene molecule by forcing a relationship with a dream of a snake biting its tail. Samuel Morse was stumped trying to figure out how to produce a signal strong enough to be received coast to coast. One day he saw tied horses being exchanged at a relay station and forced a connection between relay stations for horses and strong signals. The solution was to give the traveling signal periodic boosts of power. Nickla Tesla forced a connection between the setting sun and a motor that made the AC motor possible by having the motor’s magnetic field rotate inside the motor just as the sun (from our perspective) rotates.

4. LOOKING AT THE OTHER SIDE. Physicist and philosopher David Bohm believed geniuses were able to think different thoughts because they could tolerate ambivalence between opposites or two incompatible subjects.  Dr. Albert Rothenberg, a noted researcher on the creative process, identified this ability in a wide variety of geniuses including Einstein, Mozart, Edison, Pasteur, Joseph Conrad, Picasso and Niels Bohr. Bohr believed that if you held opposites together, then you suspend your thought and your mind moves to a new level. The suspension of thought allows an intelligence beyond thought to act and create a new form. The swirling of opposites creates the conditions for a new point of view to bubble freely from your mind. Bohr’s ability to imagine light as both a particle and a wave led to his conception of the principle of complementarity.

5. LOOKING IN OTHER WORLDS. Aristotle considered metaphor a sign of genius, believing that the individual who had the capacity to perceive resemblances between two separate areas of existence and link them together was a person of special gifts. If unlike things are really alike in some ways, perhaps, they are so in others. Alexander Graham Bell observed the comparison between the inner workings of the ear and the movement of a stout piece of membrane to move steel and conceived the telephone. Thomas Edison invented the phonograph, in one day, after developing an analogy between a toy funnel and the motions of a paper man and sound vibrations. Underwater construction was made possible by observing how shipworms tunnel into timber by first constructing tubes. Einstein derived and explained many of his abstract principles by drawing analogies with everyday occurrences such as rowing a boat or standing on a platform while a train passed by.

6. FINDING WHAT YOU ARE NOT LOOKING FOR. Whenever we attempt to do something and fail, we end up doing something else. As simplistic as this statement may seem, it is the first principle of creative accident. We may ask ourselves why we have failed to do what we intended, and this is the reasonable, expected thing to do. But the creative accident provokes a different question: What have we done? Answering that question in a novel, unexpected way is the essential creative act. It is not luck, but creative insight of the highest order. Alexander Fleming was not the first physician to notice the mold formed on an exposed culture while studying deadly bacteria. A less gifted physician would have trashed this seemingly irrelevant event but Fleming noted it as “interesting” and wondered if it had potential. This “interesting” observation led to penicillin which has saved millions of lives. Thomas Edison, while pondering how to make a carbon filament, was mindlessly toying with a piece of putty, turning and twisting it in his fingers, when he looked down at his hands, the answer hit him between the eyes: twist the carbon like rope. B.F. Skinner emphasized a first principle of scientific methodologists: when you find something interesting, drop everything else and study it. Too many fail to answer  opportunity’s knock at the door because they have to finish some preconceived plan. Creative geniuses do not wait for the gifts of chance; instead, they actively seek the accidental discovery.

7. AWAKENING THE COLLABORATIVE SPIRIT. The notion that the collective intelligence of a group is larger than the intelligence of an individual can be traced back to primitive times when hunter-gather bands would meet to discuss and solve common problems. It is a commonly understood and accepted practice. What’s difficult is for a group to come together in a collegial atmosphere that will allow thinking to grow as a collective phenomenon through open and honest collaboration. This section presents the principles and conditions for participants to retain their individuality while combining their efforts and talents in a group in ways  that are vital to creating a cooperative synthesis.

SUMMARY

Recognizing the common thinking strategies of creative geniuses and applying them will make you more creative in your work and personal life. Creative geniuses are geniuses because they know “how” to think instead of “what” to think. Sociologist Harriet Zuckerman published an interesting study of the Nobel Prize winners who were living in the United States in 1977. She discovered that six of Enrico Fermi’s students won the prize. Ernst Lawrence and Niels Bohr each had four. J.J. Thompson and Ernest Rutherford between them trained seventeen Nobel laureates. This was no accident. It is obvious that these Nobel laureates were not only creative in their own right, but were also able to teach others how to think. Zuckerman’s subjects testified that their most influential masters taught them different thinking styles and strategies rather than what to think.

If you have the intention of becoming more creative in your work and personal life, and apply the thinking strategies in this book, you will become more creative. You may not become another da Vinci or Einstein, but you will become much more creative than someone who has not the

intention or knowledge about how to think creatively. There is no way of knowing how far intention and knowledge can take you. We live in a world that offers no guarantees, only opportunities.