Einstein often said that imagination is more important than knowledge. Here is how he explained time as the fourth dimension in his unified theory: “Imagine a scene in two-dimensional space, for instance, the painting of a man reclining upon a bench. A tree stands behind the bench. Then imagine the man walks from the bench to a rock on the other side of the tree. He cannot reach the rock except by walking in back of the tree. This is impossible to do in two-dimensional space. He can reach the rock only by an excursion into the third dimension. Now imagine another man sitting on the bench. How did the other man get there? Since the two bodies cannot occupy the same place at the same time, he can have reached there only before or after the first man moved. In other words, he must have moved in time. Time is the fourth dimension.
Think of how Einstein changed our understanding of time and space by imagining people going to the center of time in order to freeze their lovers or their children in century-long embraces. This space he imagined is clearly reminiscent of a black hole, where, theoretically, gravity would stop time. Einstein also imagined a woman’s heart leaping and falling in love two weeks before she has met the man she loves, which lead him to the understanding of acausality, a feature of quantum mechanics. And still another time he imagined a blind beetle crawling around a sphere thinking it was crawling in a straight line.
Try to solve the following thought experiment before you read the paragraph that follows it.
Thought Experiment. One morning, exactly at sunrise, a Buddhist monk began to climb a tall mountain. The narrow path, no more than a foot or two wide, spiraled around the mountain to a glittering temple at the summit. The monk ascended the path at a varying rate of speed, stopping many times along the way to rest and to eat the dried fruit he carried with him. He reached the temple shortly before sunset. After several days of fasting and meditation, he began his journey back along the same path, starting at sunrise and again walking at a varying speed with many stops along the way. His average speed descending was, of course, greater than his average climbing speed. Is there a spot along the path that the monk will occupy on both trips at precisely the same time of day?
If you try to logically reason this out or use a mathematical approach, you will conclude that it is unlikely for the monk to find himself on the same spot at the same time of day on two different occasions. Instead, visualize the monk walking up the hill, and at the same time imagine the same monk walking down the hill. The two figures must meet at some point in time regardless of their walking speed or how often they stop. Whether the monk descends in two days or three days makes no difference; it all comes out to the same thing.
Now it is, of course, impossible for the monk to duplicate himself and walk up the mountain and down the mountain at the same time. But in the visual image he does; and it is precisely this indifference to logic, this superimposition of one image over the other, that leads to the solution. Imagination gives us the impertinence to imagine making the impossible possible.
The imaginative conception of the monk meeting himself blends the journeys up and down the mountain and superimposes one monk on the other at the meeting place. The ancient Greeks called this kind of thinking homoios which means “same.” They sensed that this was really a kind of mirror image of the dream process, and it led to art and scientific revelations.
EVERYTHING YOU CAN IMAGINE IS REAL….Pablo Picasso
Since ancient Greece, cognitive scientists have discovered that the brain is a dynamical system—an organ that evolves its patterns of activity rather than computes them like a computer. It thrives on the creative energy of feedback from experiences either real or fictional. An important point to remember is that you can synthesize experience, literally create it in your imagination. The human brain cannot tell the difference between an “actual” experience and an experience imagined vividly and in detail.
The real key to turning imagination into reality is acting as if the imagined scene were real. Instead of pretending it is a scene from the future, Einstein imagined it as though he was truly experiencing it in the present. He imagined it as a real event in the now. The great masters of antiquity have told us through the ages that whatever you believe you become. If you believe and imagine in the now that you are whatever you wish to be, then reality must conform.
Thought Experiment. Think of something in your business that is impossible to do, but that would, if it were possible to do, change the nature of your business forever.
Think of an impossibility, then try to come up with ideas that take you as close as possible to that impossibility. For example, imagine an automobile that is a live, breathing creature, List attributes of living creatures. They are, for example, breathing, growing older, reproducing, feeling emotions, and so on. Then use as many of those attributes as you can while designing your automobile. For instance, can you work emotions into something that a car displays?
Japanese engineers for Toyota are working on a car that they say can express moods ranging from angry to happy to sad. The car can raise or lower its body height and ‘‘wag’’ its antenna, and it comes equipped with illuminated hood designs, capable of changing colors, that are meant to look like eyebrows, eyes, and even tears. The car will try to approximate the feelings of its driver by drawing on data stored in an onboard computer. So, for example, if another car swerves into an expressive car’s lane, the right combination of deceleration, brake pressure, and defensive steering, when matched with previous input from the driver, will trigger an ‘‘angry’’ look.
The angry look is created as the front-end lights up with glowing red U-shaped lights, the headlights become hooded at a forty-five-degree angle, and downward-sloping “eyebrow” lights glow crimson. A good-feeling look is expressed by the front-end lights glowing orange, and one headlight winks at the courteous driver and wags its antennae. A sad-feeling look is blue with “tears” dripping from the headlights.
Stretching your imagination by trying to make impossible things possible with concrete thoughts and actions is a mirror reversal of dreaming. Whereas a dream represents abstract ideas as concrete actions and images, this creative process works in the opposite direction, using concrete ideas (a car that is alive) to gain insight on a conscious level to reveal disguised thoughts (about cars showing emotion) as creative imagery.
Michael Michalko is a highly-acclaimed creativity expert and author of THINKERTOYS, CRACKING CREATIVITY, CREATIVE THINKERING, AND THINKPAK (A brainstorming card deck).