Posts Tagged ‘creative techniques’

Change the way you look at things and the things you look at change

One of the many ways in which our mind attempts to make life easier is to solve the first impression of the problem that it encounters.  Like our first impressions of people, our initial perspective on problems and situations are apt to be narrow and superficial.  We see no more than we’ve been conditioned to see — and stereotyped notions block clear vision and crowd out imagination.  This happens without any alarms sounding, so we never realize it is occurring. The illustration below appears to have no meaning.  If you continue looking at it from your initial perspective, you will see nothing.  If, however, you step back from your computer and view the illustration from a distance or from an angle, you will see a message.

bad eyes

When Leonardo daVinci finished a painting, he would always look at it from a far distance to get a different perspective.  By distancing yourself from the pattern, you changed your perception of it, thereby allowing yourself to see something that you could not otherwise see. 

Our perceptual positions determine how we view things.  In the illustration below, if you sit still and focus on the dot in the center, you see two broken line circles.  However, if you change your perspective by moving your head backwards and forward, something strange will happen.

moving circles

 

Michael Michalko  http://www.amazon.com/Creative-Thinkering-Putting-Your-Imagination/dp/160868024X/ref=sr_1_1?ie=UTF8&qid=1316698657&sr=8-1

 

 

How is a burdock similar to a zipper?

Gorge de Mestral, a Swiss inventor, wanted to improve the ordinary zipper. He looked for a better and easier way to fasten things. George’s thinking was inclusive as he was always trying to connect all sorts of things with the “essence of fastening” (e.g., how do windows fasten, how does a bird fasten its nest to a branch, how do wasps fasten their hives, how do mountain climbers fasten themselves to the mountain and so on). One day he took his dog for a nature hike. They both returned covered with burrs, the plant like seed-sacs that cling to animal fur in order to travel to fertile new planting grounds.

He made the analogical-metaphorical connection between burrs and zippers when he examined the small hooks that enabled the seed-bearing burr to cling so viciously to the tiny loops in the fabric of his pants. The key feature of George de Mestral’ thinking was his conceptual connection between patterns of a burr and patterns of a zipper. He bounced what I mean is that he had to take chances as to what aspects of a “burr” pattern matter, and what doesn’t. Perhaps shapes count, but not textures–or vice versa. Perhaps orientation count, but not sizes–or vice versa. Perhaps curvature or its lack counts and so on until he got it.

Patterns are fitted together like words in a phrase or sentence. A sentence is not the sum of its words but depends on their syntactic arrangement; “A dog bites a man” is not the same as “Dog a man a bites.” Likewise, an original idea is not the sum of combined thoughts but depends on how they are integrated together.

De Mestral’s thinking inspired him to invent a two-sided fastener (two-sided like a zipper), one side with stiff hooks like the burrs and the other side with soft loops like the fabric of his pants. He called his invention “Velcro,” which is itself a combination of the word velour and crochet. Velcro is not a burr + a zipper. It is a blend of the two into an original idea.

Perception and pattern recognition are major components of creative thinking.  Russian scientist Mikhail Bongard created a remarkable set of visual pattern recognition problems where two classes of figures are presented and you are asked to identify the conceptual difference between them.  Try the following patterns and see how you do.

Below is a classic example of a Bongard problem.  You have two classes of figures (A and B).  You are asked to discover some abstract connection that links all the various diagrams in A and that distinguishes them from all the other diagrams in group B.

Thought Experiment

.EX.BONGARD (2) (1024x1024)

One has to think the way de Mestral thought the way he thought when he created Velcro. One must take chances that certain aspects of a given diagram matter, and others are irrelevant.  Perhaps shapes count, but not sizes — or vice versa.  Perhaps orientations count, but not sizes — or vice versa.  Perhaps curvature or its lack counts, but not location inside the box — or vice versa.  Perhaps numbers of objects but not their types matter — or vice versa.  Which types of features will wind up mattering and which are mere distracters.  As you try to solve the problem you will find the essence of your mental activity is a complex interweaving of acts of abstraction and comparison, all of which involve guesswork rather than certainty.  By guesswork I mean that one has to take a chance that certain aspects matter and others do not.

Logic dictates that the essence of perception is the activity of dividing a complex scene into its separate constituent objects and attaching separate labels to the now separated parts members of pre-established categories, such as ovals, Xs and circles as unrelated exclusive events.  Then we’re taught to think exclusively within a closed system of hard logic.

In the above patterns, if you were able to discern the distinction between the diagrams, your perception is what found the distinction, not logic.  The distinction is the ovals are all pointing to the X in the A group, and the ovals area all pointing at the circles in the B group.

The following thought experiment is an even more difficult problem, because you are no longer dealing with recognizable shapes such as ovals, Xs, circles or other easily recognizable structures for which we have clear structures.  To solve this you need to perceive subjectively and intuitively make abstract connections, much like Einstein thought when he thought about the similarities and differences between the patterns of space and time, and you need to consider the overall context of the problem.

Again, you have two classes of figures (A and B) in the Bongard problem.  You are asked to discover some abstract connection that links all the various diagrams in A and that distinguishes them from all the other diagrams in group B.

BONGARD.DOT.NECK

Scroll down for the answer.

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ANSWER: The dots in “A” are on the same side of the neck in the illustration. The dots in “B” are on the opposite sides of the neck. To learn more about how creative geniuses get their ideas, read Michael Michalko’s Creative Thinkering: Putting Your Imagination to Work. http://www.amazon.com/Creative-Thinkering-Putting-Your-Imagination/dp/160868024X/ref=sr_1_1?ie=UTF8&qid=1316698657&sr=8-1

 

 

Creative Thinking Technique: Combine Ideas from Different Domains

combine.domains

Many breakthroughs are based on combining information from different domains that are usually not thought of as related. Integration, synthesis both across and within domains, is the norm rather than the exception. Ravi Shankar found ways to integrate and harmonize the music of India and Europe; Paul Klee combined the influences of cubism, children’s drawings, and primitive art to fashion his own unique artistic style; Salvador Dali integrated Einstein’s theory of relativity into his masterpiece Nature Morte Vivante, which artistically depicts several different objects simultaneously in motion and rest. And almost all scientists cross and recross the boundaries of physics, chemistry, and biology in the work that turns out to be their most creative.

ASK PEOPLE IN DIFFERENT DOMAINS FOR IDEAS. Another way to combine talent is to elicit advice and information about your subject from people who work in different domains. Interestingly, Leonardo da Vinci met and worked with Niccolô Machiavelli, the Italian political theorist, in Florence in 1503. The two men worked on several projects together, including a novel weapon of war: the diversion of a river. Professor Roger Masters of Dartmouth College speculates that Leonardo introduced Machiavelli to the concept of applied science. Years later, Machiavelli combined what he learned from Leonardo with his own insights about politics into a new political and social order that some believe ultimately sparked the development of modern industrial society.

Jonas Salk, developer of the vaccine that eradicated polio, made it a standard practice to interact with men and women from very different domains. He felt this practice helped to bring out ideas that could not arise in his own mind or in the minds of people in his own restricted domain. Look for ways to elicit ideas from people in other fields. Ask three to five people who work in other departments or professions for their ideas about your problem. Ask your dentist, your accountant, your mechanic, etc. Describe the problem and ask how they would solve it.

Listen intently and write down the ideas before you forget them. Then, at a later time, try integrating all or parts of their ideas into your idea. This is what Robert Bunsen, the chemist who invented the familiar Bunsen burner, did with his problem. He used the color of a chemical sample in a gas flame for a rough determination of the elements it contained. He was puzzled by the many shortcomings of the technique that he and his colleagues were unable to overcome, despite their vast knowledge of chemistry. Finally, he casually described the problem to a friend, Kirchhoff, a physicist, who immediately suggested using a prism to display the entire spectrum and thus get detailed information. This suggestion was the breakthrough that led to the science of spectrography and later to the modern science of cosmology.

EXAMPLES. Physicists in a university assembled a huge magnet for a research project. The magnet was highly polished because of the required accuracy of the experiment. Accidentally, the magnet attracted some iron powder that the physicists were unable to remove without damaging the magnet in some way. They asked other teachers in an interdepartmental meeting for their ideas and suggestions. An art instructor came up with the solution immediately, which was to use modeling clay to remove the powder.

The CEO of a software company looked for ways to motivate employees to participate more actively in the creative side of the business. They wanted employee ideas for new processes, new products, improvements, new technologies and so on. He tried many things but nothing seemed to excite and energize employees to become more creative.

One evening at a dinner with some of his friends he mentioned his problem and asked them for ideas. After a brief discussion, a friend who was a stockbroker suggested thinking ways to parallel ideas with stocks. Look for ways for people to buy and sell ideas the same way his customers study, buy and sell stocks on the stock exchange.

The CEO was intrigued with the novelty of the idea and he and his stockbroker friend looked for patterns between the stock exchange and an internal employee program. They blended the architecture of the stock exchange with the internal architecture of their company’s internal market to create the company’s own stock exchange for ideas. Their exchange is called Mutual Fun. Any employee can propose that the company acquire a new technology, enter a new business, make a new product or make an efficiency improvement. These proposals become stocks, complete with ticker symbols, discussion lists and e-mail alerts.

 Fifty-five stocks are listed on the company’s internal stock exchange. Each stock comes with a detailed description — called an expectus, as opposed to a prospectus — and begins trading at a price of $10. Every employee gets $10,000 in “opinion money” to allocate among the offerings, and employees signal their enthusiasm by investing in a stock and, better yet, volunteering to work on the project. Employees buy or sell the stocks, and prices change to reflect the sentiments of the company’s executives, engineers, computer scientists, project managers, marketing, sales, accountants and even the receptionist.

The result has been a resounding success. Among the company’s ‘ core technologies are pattern-recognition algorithms used in military applications, as well as for electronic gambling systems at casinos. A member of the administrative staff, with no technical expertise, thought that this technology might also be used in educational settings, to create an entertaining way for students to learn history or math. She started a stock called Play and Learn (symbol: PL), which attracted a rush of investment from engineers eager to turn her idea into a product. Lots of employees got passionate about the idea and it led to a new line of business.

INVITE OTHER DEPARTMENTS TO JOIN YOUR BRAINSTORMING SESSION. If you’re brainstorming a business problem in a group, try asking another department to join yours. For example, if you are in advertising and want to create a new product advertising campaign, ask people from manufacturing to join your session. Separate the advertising and manufacturing people into two groups. Each group brainstorms for ideas separately. Then combine the groups and integrate the ideas.

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cc.3For more ideas on how to combine dissimilar subjects to create new ideas read Cracking Creativity: The Secrets of Creative Genius by Michael Michalko http://www.amazon.com/Cracking-Creativity-Secrets-Creative-Genius/dp/1580083110/ref=pd_sim_b_2?ie=UTF8&refRID=16NCRBEMHRCEQ1RAZG5V

 

 

How to Get Ideas while Dozing

ideas

In the history of art, most people could easily argue that Salvador Dalí is the father of surrealistic art. Surrealism is the art of writing or painting unreal or unpredictable works of art using the images or words from an imaginary world. Dali’s art is the definition of surrealism. Throughout his art he clearly elaborates on juxtaposition (putting similar images near each other), the disposition (changing the shape of an object), and morphing of objects, ranging from melted objects dripping, to crutches holding distorted figures, to women with a heads of bouquets of flowers.

Dali was intrigued with the images which occur at the boundary between sleeping and waking. They can occur when people are falling asleep, or when they are starting to wake up, and they tend to be extremely vivid, colorful and bizarre. His favorite technique is that he would put a tin plate on the floor and then sit by a chair beside it, holding a spoon over the plate. He would then totally relax his body; sometimes he would begin to fall asleep. The moment that he began to doze the spoon would slip from his fingers and clang on the plate, immediately waking him to capture the surreal images.

The extraordinary images seem to appear from nowhere, but there is a logic. The unconscious is a living, moving stream of energy from which thoughts gradually rise to the conscious level and take on a definite form. Your unconscious is like a hydrant in the yard while your consciousness is like a faucet upstairs in the house. Once you know how to turn on the hydrant, a constant supply of images can flow freely from the faucet. These forms give rise to new thoughts as you interpret the strange conjunctions and chance combinations.

Surrealism is the stressing of subconscious or irrational significance of imagery, or in more simplistic terms, the use of dreamlike imagery. Dalí’s absurd imagination has him painting pictures of figures no person would even dream of creating.  Following is a blueprint Dali’s technique.

BLUEPRINT

  • Think about your challenge. Consider your progress, your obstacles, your alternatives, and so on. Then push it away and relax.
  • Totally relax your body. Sit on a chair. Hold a spoon loosely in one of your hands over a plate. Try to achieve the deepest muscle relaxation you can. •
  • Quiet your mind. Do not think of what went on during the day or your challenges and problems. Clear your mind of chatter.
  • Quiet your eyes. You cannot look for these images. Be passive. You need to achieve a total absence of any kind of voluntary attention. Become helpless and involuntary and directionless. You can enter the hypnogogic state this way, and, should you begin to fall asleep, you will drop the spoon and awaken in time to capture the images.
  • Record your experiences immediately after they occur. The images will be mixed and unexpected and will recede rapidly. They could be patterns, clouds of colors, or objects.
  • Look for the associative link. Write down the first things that occur to you after your experience. Look for links and connections to your challenge. Ask questions such as:

What puzzles me?

Is there any relationship to the challenge?

Any new insights? Messages?

What’s out of place?

What disturbs me?

What do the images remind me of?

What are the similarities?

What analogies can I make?

What associations can I make?

How do the images represent the solution to the problem?

A restaurant owner used this technique to inspire new promotion ideas. When the noise awakened him, he kept seeing giant neon images of different foods: neon ice cream, neon pickles, neon chips, neon coffee, and so on. The associative link he saw between the various foods and his challenge was to somehow to use the food itself as a promotion.

The idea: He offers various free food items according to the day of week, the time of day, and the season. For instance, he might offer free pickles on Monday, free ice cream between 2 and 4 P.M. on Tuesdays, free coffee on Wednesday nights, free sweet rolls on Friday mornings, free salads between 6 and 8 P.M. on Saturdays and so on. He advertises the free food items with neon signs, but you never know what food items are being offered free until you go into the restaurant. The sheer variety of free items and the intriguing way in which they are offered has made his restaurant a popular place to eat.

Another promotion he created as a result of seeing images of different foods is a frequent-eater program. Anyone who hosts five meals in a calendar month gets $30 worth of free meals. The minimum bill is $20 but he says the average is $30 a head. These two promotions have made him a success.

The images you summon up with this technique have an individual structure that may indicate an underlying idea or theme. Your unconscious mind is trying to communicate something specific to you, though it may not be immediately comprehensible. The images can be used as armatures on which to hang new relationships and associations.

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To discover more creative-thinking techniques read CRACKING CREATIVITY (THE SECRETS OF CREATIVE GENIUS) by Michael Michalko http://www.amazon.com/Cracking-Creativity-Secrets-Creative-Genius/dp/1580083110/ref=pd_sim_b_2?ie=UTF8&refRID=16NCRBEMHRCEQ1RAZG5V