Posts Tagged ‘mindset’

7 SINS THAT KILL CREATIVITY IN AMERICA

seven (1)

SIN ONE. WE DO NOT BELIEVE WE ARE CREATIVE

People do not believe they are creative. We have been taught that we are the product of our genes, our parents, our family history, our personal history, our I.Q., and our education. Consequently, we have been conditioned to have a fixed mindset about creativity and believe only a select few are born creative and the rest not. Because we believe we are not creative, we spend our lives observing only those things in our experiences that confirm this belief. We spend our lives knowing and living within the limitations we believe we have. We listen to our “inner” voice that keeps telling us not to pretend to be something we’re not. Believing we are not creative makes us comfortable to be cognitively lazy.

SIN TWO. WE BELIEVE THE MYTHS ABOUT CREATIVITY

We believe many of the myths about creativity that have been promulgated over the years. We’re told creativity is rare, mysterious, and magical and comes from a universal unconsciousness, a sudden spark of “Aha!” or the divine. We believe only special people are genetically endowed to be creative and that normal educated people cannot be creative and should not embarrass themselves by trying. Additionally, we also believe creative types are depressed, crazy, freaky, unbalanced, disruptive, different, argumentative, abnormal, flaky, and trouble makers.  We should be thankful we are normal and think the way we were taught to think. 

SIN THREE. WE FEAR FAILURE

The most important thing for many people is to never make a mistake or fail. The fixed mind-set regards failure as a personal insult, and when they fail they withdraw, lie and try to avoid future challenges or risks.

At one time in America people believed that all a person was entitled to was a natural birth. Everything else was up to the person, and a person’s pride and passion came from overcoming the adversities in life. Failure was seen as an opportunity rather than insult. Once Thomas Edison’s assistant asked him why he didn’t give up on the light bulb. After all, he failed 5,000 times. Edison’s responded by saying he didn’t know what his assistant meant by the word “failed,” because Edison believed he discovered 5000 things that don’t work. This was the era when creative thinking flourished in America. People like Edison, Tesla, and Westinghouse did not know they could not think unconventionally and so they did.

After World War II, psychologists promulgated “Inevitability theories” about how everyone’s life was shaped by genetic or environmental factors that were beyond their control. There began a promiscuity of the teaching of helplessness that has dimmed the human spirit and has created a “culture of helplessness.” It is this culture of helplessness that has cultivated the mindset that fears failure.

This fixed mindset of fear is grounded in the belief that talent is genetic—you’re born an artist, writer, or entrepreneur. Consequently, many of us never try anything we haven’t tried before. We attempt only those things where we have the past experience and knowledge and know we can succeed. This culture of helplessness cultivated by educators encourages us to look for reasons why we cannot succeed.  

SIN FOUR. WE FAIL TO ACT

Because we fear failure we not act. We avoid taking action. If we don’t act, we can’t fail. If we are forced to take action, we do not do anything until we have a perfect plan which will take into account any and everything that can happen. We make sure the plan details all the human and material resources you need. We will seek the guidance and direction of every expert and authority we are able to approach. If any authority figure or expert expresses even the slightest doubt, we will not take the risk of failure and abandon the plan.

All art is a reaction the first line drawn. If no line is drawn there will be no art. Similarly, if you don’t take action when you need new ideas in your personal and business lives and do nothing, nothing bad can happen and nothing is the result. In our culture of helplessness, nothing is better than even the slightest chance of failure, because failure means we are worthless.

SIN FIVE. WE FAIL TO PRODUCE IDEAS

We are taught to be critical, judgmental, negative and reproductive thinkers. In our “culture of helplessness,” we take pride in dissecting ideas and thoughts of others and demonstrating their flaws. The more negative we can be, the more intelligent we appear to others. In meetings, the person who is master of destroying ideas becomes the most dominant one. The first thought we have when confronted with a new idea is “Okay, now what’s wrong with it?”

When forced to come up with ideas, we come up with only a few. These are the ideas we always come up with because these are the same old safe ideas that are closest to our consciousness. Our judgmental mind will censor anything that is new, ambiguous or novel. We respond to new ideas the way our immune system responds to a deadly virus. Our inner voice will advise us to “Not look stupid,” “Give up. You don’t have the background or expertise,” “It’s not relevant,” “If it was any good, it would already have been done before” “This will never be approved,” “where’s the proof? “This is not logical,” “Don’t be silly,” “You’ll look stupid,” and so on. Anything that is not verifiable by our past experiences and beliefs is not possible.

Instead of looking for ways to make things work and get things done, we spend our time looking for reasons why things can’t work or get done.

SIN SIX. WE FAIL TO LOOK AT THINGS IN DIFFERENT WAYS

square-and-circlesMost people see the pattern in the illustration above 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. 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.

One of the many ways in which people attempt to make thinking easier is to solve the first impression of the problem that they encounter. This enables them to approach the problem with predetermined concepts and they end up seeing what they expect to see based on their past experiences. Once you accept the initial perspective, you close off all other lines of thought. Certain kinds of ideas will occur to you, but only those kind and no others. Settling with the first perspective keeps things simple and helps you avoid ambiguity.

With creative 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.

We are taught to follow a certain thinking process and must never entertain alternative ways of looking at the problem or different ways of thinking about it. Keep doing what you are doing. The more times you think the same way, the better you become at producing orderly and predictable ideas. Always think the way you’ve always thought to always get what you’ve always got.

SIN SEVEN. FAILURE TO ACCEPT PERSONAL RESPONSIBILITY

It is not our fault we are not creative. It’s the teachers who are responsible and our parents, the churches, our genetics, the government, lack of time, lack of resources, lack of an inspiring environment, lack of suitable technology, lack of encouragement, too much sugar, lack of financial rewards, the organization, the bosses, lack of entitlements, lack of any guarantee of success, and, after all, most of us are born left-brained not right-brained. You can’t expect people to be something they’re not. In our “culture of helplessness,” we have learned that we cannot change our attitude, behavior, beliefs or the way we think.

SUMMARY. The only difference between people who are creative and people who are not is a simple belief. Creative people believe they are creative. People who believe they are not creative, are not. Once you have a particular identity and set of beliefs about yourself, you become interested in seeking out the skills needed to express your identity and beliefs.

This is why people who believe they are creative become creative. They work hard at learning how to think creatively and produce great quantities of ideas. If you believe you are not creative, then there is no need to learn how to become creative and you don’t. The reality is that believing you are not creative excuses you from trying or attempting anything new. When someone tells you that they are not creative, you are talking to someone who has no interest and will make no effort to be a creative thinker.

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Michael Michalko is the author of the highly acclaimed Thinkertoys: A Handbook of Creative Thinking Techniques; Cracking Creativity: The Secrets of Creative Genius; ThinkPak: A Brainstorming Card Deck and Creative Thinkering: Putting Your Imagination to Work.

http://creativethinking.net/#sthash.SXV5T2cu.dpbs

 

 

 

A Creative-Thinking Technique to Use When Looking for Ideas  

 

ferris wheel

Suppose you are elected to host a singles elimination tennis tournament. You have one hundred and seventeen entrants. What is the minimum number of tennis matches that would have to be arranged for this number of entrants?

When faced with this problem most people draw diagrams showing the actual pairings in each match and the number of byes. Others try to work it out mathematically. In fact the answer is one hundred and sixteen matches and one can work this out at once without any complicated diagrams or math. To work it out, reverse your thinking from the winners of each match to the losers. Since there can only be one winner in a singles elimination tennis tournament, there must be one hundred and sixteen losers. Each loser can only lose once so there must be one hundred and sixteen matches.

The assumption in the tennis problem is to focus on the winners and not the losers. Reversing your thinking leads us to consider the losers instead of the winners and the problem is rapidly solved. Reversing the way you look at things encourages you to consider things that may not be considered at all. During the middle Ages, a number of people in a French village were dying from the Black Plague. They discovered that they had buried some people who were still alive by mistake. Their problem as they framed it was how to make sure they did not bury people who were still alive. One imaginative soul solved the problem by reversing it. He proposed making sure people were dead before they were buried by putting a stake in the coffin lid above the heart. Reversing their problem reversed their viewpoint.

Reversals break your existing patterns of thought and provoke new ones. You take things as they are and then turn them around, inside out, upside down, and back to front to see what happens. In the illustration, Figure A shows two lines of equal length bounded by arrow-like angles. In Figure B, the arrow-like angles are reversed on one of the lines, which changes our perception and creates the illusion of the line being shorter. It’s not shorter, measure it and you will find it is still equal in length. The lines haven’t changed, your perception of them has.

LINES (5)

                                            A                                                             B

In figure A the angles outward of the lines seem to open up a potentially limited space. Reversing the angles on the second line in B seems to close off and limit the area, which changes your perception of the length of the lines.

A simple reversal of angles dramatically changes what we see in the illustration. The lines in B are the same length as the lines in A. Prove it to yourself by measuring the lines with a ruler. By changing the angles on one line we have changed the way we perceive the length of the lines in the illustration. The same perceptual changes occur when we reverse our conventional thinking patterns about problems and situations.

When Henry Ford went into the automobile business, the conventional thinking was that you had to “bring people to the work.” He reversed this to “bring the work to the people” and accomplished this by inventing the assembly line. When Al Sloan became CEO of General Motors, the common assumption was that people had to pay for a car before they drove it. He reversed this to you can drive the car before you pay for it and, to accomplish this, he pioneered the idea of installment buying.

Years back, chemists had great difficulty putting a pleasant-tasting coating on aspirin tablets. Dipping tablets led to uneven and lumpy coats. They were stumped until they reversed their thinking. Instead of looking for ways to put something “on” the aspirin, they looked for ways to take something “off” the aspirin. This reversal led to one of the newer techniques for coating pills. The pills are immersed in a liquid which is passed onto a spinning disk. The centrifugal force on the fluid and the pills causes the two to separate, leaving a nice, even coating around the pill.

Physicist and philosopher David Bohm believed geniuses were able to think different thoughts because they could tolerate ambivalence between opposites or two incompatible subjects. Thomas Edison’s breakthrough invention of a practical system of lighting involved wiring his circuits in parallel and of using high-resistance filaments in his bulbs, two things that were not considered possible by conventional thinkers, in fact were not considered at all because of an assumed incompatibility. Because Edison could tolerate the ambivalence between the two incompatible things, he could see the relationship that led to his breakthrough.

Mathematician-philosopher, Bertrand Russell, once astounded his colleagues by demonstrating that in mathematical argument, every alternative leads to its opposite. You can provoke new ideas by considering the opposite of any subject or action. When bioengineers were looking for ways to improve the tomato, they identified the gene in tomatoes that ripens tomatoes. They thought that if the gene hastens ripening (black arrowhead), maybe they could use the gene to slow down the process by reversing it (white arrowhead). They copied the gene, put it in backwards and now the gene slows down ripening, making vine ripened tomatoes possible in winter.

REVERSING ASSUMPTIONS. Suppose you want to start a new restaurant and are having difficulty coming up with ideas. To initiate ideas, try the following reversals:

  1. List all your assumptions about your subject.

EXAMPLE:  Some common assumptions about restaurants are:

Restaurants have menus, either written, verbal or implied.

Restaurants charge money for food.

Restaurants serve food.

  1. Reverse each assumption. What is its opposite?

EXAMPLE: The assumptions reversed would be:

  1. Restaurants have no menus of any kind
  2. Restaurants give food away for free.
  3. Restaurants do not serve food of any kind.
  4. Ask yourself how to accomplish each reversal. How can we start a restaurant that has no menu of any kind and still have a viable business?

EXAMPLES:

  1. A restaurant with no menu. IDEA: The chef informs each customer what he bought that day at the meat market, vegetable market and fish market. He asks the customer to select items that appeal and he will create a dish with those items, specifically for that customer.
  2. A restaurant that gives away food. IDEA: An outdoor cafe that charges for time instead of food. Use a time stamp and charge so much for time (minutes) spent. Selected food items and beverages are free or sold at cost.
  3. A restaurant that does not serve food. IDEA: Create a restaurant with a unique decor in an exotic environment and rent the location. People bring their own food and beverages (picnic baskets, etc.) and pay a service charge for the location.
  4. Select one and build it into a realistic idea. In our example, we decide to work with the “restaurant with no menu” reversal. We’ll call the restaurant “The Creative Chef.” The chef will create the dish out of the selected ingredients and name the dish after the customer. Each customer will receive a computer printout of the recipe the chef named after the customer.

IF FAMOUS ARTISTS CAN SELL CONSUMER GOODS WITH THEIR NAME, WHY CAN’T UNKNOWN ARTISTS SELL CONSUMER GOODS TO BECOME FAMOUS ARTISTS

Reversals destabilize your conventional thinking patterns and frees information to come together in provocative new ways. In San Francisco, there was a tight-knit community of poor artists who would organize or participate in a variety of gallery shows. It was always a lot of fun, but there was a problem. No one bought their art.

It is usual for famous artists to dabble in consumer goods that are more accessible to a wider audience. One of the artists suggested they reverse that formulation to selling consumer goods to draw attention to the art of the unknown artists. They decided, in addition to paintings, their exhibition include wallets. Wallets were selected because they are carried around, not hung on a wall at home. The wallets were all the same (stitched together vinyl and plastic, folding 4 by 4 inches. Each artist printed his or her design on a set of a dozen wallets, which were priced at $20 each and each contained an artist bio card.

It was a tremendous success. They were a media hit. They created a company and expanded their line to include a canvas artist bag modeled on a messenger bag, and again imprinted with designs from the artists. In addition, they were soon approached by various bands and musical groups to create wallets for their various fans. The company is becoming a prestigious destination for nationally-recognized artists and designers who want the company to carry their designs. In line with its original goal the company has helped a variety of artists and designers receive national attention and awards for their art.  ………………………………………………………………………………………………

Read Michael Michalko’s THINKERTOYS for a variety of practical creative-thinking techniques to help you get the ideas you need to improve your business and personal lives.

https://www.amazon.com/Thinkertoys-Handbook-Creative-Thinking-Techniques-2nd/dp/1580087736/ref=sr_1_1?ie=UTF8&qid=1487185063&sr=8-1&keywords=thinkertoys

 

COMPARE YOUR MINDSET WITH MICHELANGELO’S MINDSET

First, please take a few moments to complete the following experiment before you read this article. Using the first finger of your dominant hand, please trace the capital letter “Q” on your forehead. There are only two ways of doing this experiment. You can trace the letter “Q” on your forehead with the tail of Q toward your right eye or you draw it with the tail toward your left eye. Some people draw the letter 0 in such a way that they themselves can read it; that is, they place the tail of the Q on the right-hand side of the forehead. Others draw the letter in a way that can be read by someone facing them, with the tail of the 0 on the left side of the forehead.

q-factorblank

What an odd thing to ask someone to do. This is an exercise that was popularized by University of Hertfordshire psychologist Richard Wiseman who concentrates on discovering big truths in small things. For instance, Wiseman explains that the Q test is a quick measure of “self-monitoring” which is a theory that deals with the phenomena of expressive controls. Human beings generally differ in substantial ways in their abilities and desires to engage in expressive controls.

Fixed mindset. People who draw the letter Q with the tail slanting toward their left so that someone facing them can read it tend to focus outwardly. Wiseman describes them as high self monitors. Their primary concern is “looking good” and “looking smart.” They are concerned with how other people see them, are highly responsive to social cues and their situational context. Psychologist Carol Dweck describes such people as having a “fixed” mindset. Some of the characteristics of people with a fixed mindset are:

q-factorrt

  • They have a fixed mindset about their abilities and the abilities of others. E.g., all talent is innate and static. You are either born intelligent or you are not. They do not believe people can change and grow.
  • They enjoy being the center of attention and adapt their actions to suit the situation. Ability is something inherent that needs to be demonstrated.
  • They are also skilled at manipulating the way others see them, which makes them good at deception and lying.
  • They offer external attributions for failures. They are never personally responsible for mistakes or failures. To them, admitting you failed is tantamount to admitting you’re worthless.
  • They are performance oriented and will only perform tasks that they are good at. For them, each task is a challenge to their self-image, and each setback becomes a personal threat. So they pursue only activities at which they’re sure to shine—and avoid the sorts of experiences necessary to grow and flourish in any endeavor.
  • From a fixed mindset perspective, if you have to work hard at something, or you learn it slowly, you aren’t good at it, and are not very smart. Performance is paramount. They want to look smart even if it means not learning a thing in the process.

Growth mindset. People who draw the letter Q with the tail slanting toward the right so they can read it tend to focus inwardly. In contrast, low self-monitors come across as being the “same person” in different situations. Their behavior is guided more by their inner feelings and values, and they are less aware of their impact on those around them. They also tend to lie less in life, and so not be so skilled at deceit.” Carol Dweck would describe such people as having a “growth” mindset.

q-factor-lt

Among the characteristics of people with a growth mindset are:

  • They tend to exhibit expressive controls congruent with their own internal states; i.e. beliefs, attitudes, and dispositions regardless of social circumstance.
  • They are often less observant of social context and consider expressing a self-presentation dissimilar from their internal states as a falsehood and undesirable.
  • They are generally oblivious to how others see them and hence march to their own different drum.
  • They believe the brain is dynamic and develops over time by taking advantage of learning opportunities and overcoming adversity.
  • They offer internal attributions to explain things by assigning causality to factors within the person. An internal explanation claims that the person was directly responsible for the event.
  • They take necessary risks and don’t worry about failure because each mistake becomes a chance to learn.
  • The growth mindset is associated with greater confidence, risk-taking, and higher academic and career success over time. Ability can be developed.
  • High achievement comes from hard work, dedication and persistence to meet a goal.

“If you want to demonstrate something over and over, it feels like something static that lives inside of you—whereas if you want to increase your ability, it feels dynamic and malleable,” Carol Dweck explains. People with fixed mindsets think intelligence is fixed from birth. People with learning goals have a growth mind-set about intelligence, believing it can be developed.

In one notable experiment, Dweck gave a class of preadolescent students a test filled with challenging problems. After they were finished, one group was praised for its effort and another group was praised for its intelligence. Those praised for their intelligence were reluctant to tackle difficult tasks, and their performance on subsequent tests soon began to suffer.

Then Dweck asked the children to write a letter to students at another school, describing their experience in the study. She discovered something remarkable: 40 percent of those students who were praised for their intelligence lied about how they had scored on the test, adjusting their grade upward. They weren’t naturally deceptive people, and they weren’t any less intelligent or self-confident than anyone else. They simply did what people do when they are immersed in an environment that celebrates them solely for their innate “talent.” They begin to define themselves by that description, and when times get tough and that self-image is threatened, they have difficulty with the consequences. Politicians and businesspeople with fixed mindsets will not stand up to investors and the public and admit that they were wrong. They’d sooner lie then confess up to problems and work to fix them.

Michelangelo’s mindset. A great example of a growth mindset is the mindset of Michelangelo. When Michelangelo turned 13-years old, he enraged his father when he told that he had agreed to apprentice in the workshop of the painter Domenico Ghirlandaio. His father believed artists were menial laborers beneath their social class. Michelangelo defied his father and learned art and then went on to study at the sculpture school in the Medici gardens. During the years he spent in the Garden of San Marco, Michelangelo became interested in human anatomy. At the time, studying corpses was strictly forbidden by the church. You were threatened with damnation and excommunication. He overcame this problem by making a wooden Crucifix with a detail of Christ’s face and offered it as a bribe to Niccolò Bichiellini, the prior of the church of Santo Spirito, in exchange for permission to secretly study corpses.

Michelangelo’s masterpiece, David, revealed his ability to do what others could not: if other artists required special marble and ideal conditions, he could create a masterpiece from whatever was available, including marble already hopelessly mangled by others. Back in 1463, the authorities of the cathedral of Florence acquired a sixteen-foot-high chunk of white marble to be carved into a sculpture. Two well-known sculptors worked on the piece and gave up, and the mangled block was put in storage. They did not want to admit to failure. Forty years later, Michelangelo took what was left of the marble and sculpted David, the world’s most famous sculpture, within eighteen months.

Michelangelo’s competitors persuaded Junius II to assign to him a relatively obscure and difficult project. It was to fresco the ceiling of a private chapel. The chapel had already been copiously decorated with frescoes by many talented artists. Michelangelo would be commissioned to decorate the tunnel-vaulted ceiling. In this way, his rivals thought they would divert his energies from sculpture, in which they realized he was supreme. This, they argued, would make things hopeless for him, since he had no experience of coloring in fresco he would certainly, they believed, do less creditable work as a painter. Without doubt, they thought, he would be compared unfavorably with Raphael, and even if he refused to do it, he’d make the Pope angry and suffer the consequences. Thus, one way or another, they would succeed in their purpose of getting rid of him.

In every way it was a challenging task. He had rarely used color, nor had he painted in fresco. He worked hard and long at studying and experimenting with colors and in fresco. When ready, he executed the frescos in great discomfort, having to work with his face looking upwards, which impaired his sight so badly that he could not read or look at drawings save with his head turned backwards, and this lasted for several months. In that awkward curved space, Michelangelo managed to depict the history of the Earth from the Creation to Noah, surrounded by ancestors and prophets of Jesus and finally revealing the liberation of the soul. His enemies had stage managed the masterpiece that quickly established him as the artist genius of the age.

Michelangelo is a wonderful example of a person with a growth mindset. He ignored his father and marched to his own drum to become an artist; overcame the church’s adversity to studying corpses, took the risk of sculpting mangled marble into the world’s finest sculpture; and with hard work, dedication and persistence, painted the ceiling of the Sistine chapel.
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To learn more about the creative thinking habits of Michelangelo and other creative geniuses read Michael Michalko’s Cracking Creativity (Secrets of Creative Genius).
.https://imagineer7.wordpress.com/2020/05/05/about-michael-michalko/

DISCOVER WHAT YOUR MINDSET IS

Q factor.1

First, please take a few moments to complete the following experiment before you read this article. Using the first finger of your dominant hand, please trace the capital letter “Q” on your forehead. There are only two ways of doing this experiment. You can trace the letter “Q” on your forehead with the tail of Q toward your right eye or you draw it with the tail toward your left eye.Some people draw the letter 0 in such a way that they themselves can read it; that is, they place the tail of the Q on the right-hand side of the forehead. Others draw the letter in a way that can be read by someone facing them, with the tail of the 0 on the left side of the forehead.

What an odd thing to ask someone to do. This is an exercise that was popularized by University of Hertfordshire psychologist Richard Wiseman who concentrates on discovering big truths in small things. For instance, Wiseman explains that the Q test is a quick measure of “self-monitoring” which is a theory that deals with the phenomena of expressive controls. Human beings generally differ in substantial ways in their abilities and desires to engage in expressive controls.

Fixed mindset. People who draw the letter Q with the tail slanting toward their left so that someone facing them can read it tend to focus outwardly. Wiseman describes them as high self monitors. Their primary concern is “looking good” and “looking smart.”They are concerned with how other people see them, are highly responsive to social cues and their situational context. Psychologist Carol Dweck describes such people as having a “fixed” mindset. Some of the characteristics of people with a fixed mindset are:

• They have a fixed mindset about their abilities and the abilities of others. E.g., all talent is innate and static. You are either born intelligent or you are not. They do not believe people can change and grow.
• They enjoy being the center of attention and adapt their actions to suit the situation. Ability is something inherent that needs to be demonstrated.
• They are also skilled at manipulating the way others see them, which makes them good at deception and lying.
• They offer external attributions for failures. They are never personally responsible for mistakes or failures. To them, admitting you failed is tantamount to admitting you’re worthless.
• They are performance oriented and will only perform tasks that they are good at. For them, each task is a challenge to their self-image, and each setback becomes a personal threat. So they pursue only activities at which they’re sure to shine—and avoid the sorts of experiences necessary to grow and flourish in any endeavor.
• From a fixed mindset perspective, if you have to work hard at something, or you learn it slowly, you aren’t good at it, and are not very smart. Performance is paramount. They want to look smart even if it means not learning a thing in the process.

Growth mindset. People who draw the letter Q with the tail slanting toward the right so they can read it tend to focus inwardly. In contrast, low self-monitors come across as being the “same person” in different situations. Their behavior is guided more by their inner feelings and values, and they are less aware of their impact on those around them. They also tend to lie less in life, and so not be so skilled at deceit.”Carol Dweck would describe such people as having a “growth” mindset.

Q factor.2

Among the characteristics of people with a growth mindset are:
• They tend to exhibit expressive controls congruent with their own internal states; i.e. beliefs, attitudes, and dispositions regardless of social circumstance.
• They are often less observant of social context and consider expressing a self-presentation dissimilar from their internal states as a falsehood and undesirable.
• They are generally oblivious to how others see them and hence march to their own different drum.
• They believe the brain is dynamic and develops over time by taking advantage of learning opportunities and overcoming adversity.
• They offer internal attributions to explain things by assigning causality to factors within the person. An internal explanation claims that the person was directly responsible for the event.
• They take necessary risks and don’t worry about failure because each mistake becomes a chance to learn.
• The growth mindset is associated with greater confidence, risk-taking, and higher academic and career success over time. Ability can be developed.
• High achievement comes from hard work, dedication and persistence to meet a goal.
“If you want to demonstrate something over and over, it feels like something static that lives inside of you—whereas if you want to increase your ability, it feels dynamic and malleable,” Carol Dweck explains. People with fixed mindsets think intelligence is fixed from birth. People with learning goals have a growth mind-set about intelligence, believing it can be developed.

In one notable experiment, Dweck gave a class of preadolescent students a test filled with challenging problems. After they were finished, one group was praised for its effort and another group was praised for its intelligence. Those praised for their intelligence were reluctant to tackle difficult tasks, and their performance on subsequent tests soon began to suffer.

Then Dweck asked the children to write a letter to students at another school, describing their experience in the study. She discovered something remarkable: 40 percent of those students who were praised for their intelligence lied about how they had scored on the test, adjusting their grade upward. They weren’t naturally deceptive people, and they weren’t any less intelligent or self-confident than anyone else. They simply did what people do when they are immersed in an environment that celebrates them solely for their innate “talent.” They begin to define themselves by that description, and when times get tough and that self-image is threatened, they have difficulty with the consequences. Politicians and businesspeople with fixed mindsets will not stand up to investors and the public and admit that they were wrong. They’d sooner lie then confess up to problems and work to fix them.

Michelangelo’s mindset. A great example of a growth mindset is the mindset of Michelangelo. When Michelangelo turned 13-years old, he enraged his father when he told that he had agreed to apprentice in the workshop of the painter Domenico Ghirlandaio. His father believed artists were menial laborers beneath their social class. Michelangelo defied his father and learned art and then went on to study at the sculpture school in the Medici gardens. During the years he spent in the Garden of San Marco, Michelangelo became interested in human anatomy. At the time, studying corpses was strictly forbidden by the church. You were threatened with damnation and excommunication. He overcame this problem by making a wooden Crucifix with a detail of Christ’s face and offered it as a bribe to Niccolò Bichiellini, the prior of the church of Santo Spirito, in exchange for permission to secretly study corpses.

Michelangelo’s masterpiece, David, revealed his ability to do what others could not: if other artists required special marble and ideal conditions, he could create a masterpiece from whatever was available, including marble already hopelessly mangled by others. Back in 1463, the authorities of the cathedral of Florence acquired a sixteen-foot-high chunk of white marble to be carved into a sculpture. Two well-known sculptors worked on the piece and gave up, and the mangled block was put in storage. They did not want to admit to failure. Forty years later, Michelangelo took what was left of the marble and sculpted David, the world’s most famous sculpture, within eighteen months.

Michelangelo’s competitors persuaded Junius II to assign to him a relatively obscure and difficult project. It was to fresco the ceiling of a private chapel. The chapel had already been copiously decorated with frescoes by many talented artists. Michelangelo would be commissioned to decorate the tunnel-vaulted ceiling. In this way, his rivals thought they would divert his energies from sculpture, in which they realized he was supreme. This, they argued, would make things hopeless for him, since he had no experience of coloring in fresco he would certainly, they believed, do less creditable work as a painter. Without doubt, they thought, he would be compared unfavorably with Raphael, and even if he refused to do it, he’d make the Pope angry and suffer the consequences. Thus, one way or another, they would succeed in their purpose of getting rid of him.

In every way it was a challenging task. He had rarely used color, nor had he painted in fresco. He worked hard and long at studying and experimenting with colors and in fresco. When ready, he executed the frescos in great discomfort, having to work with his face looking upwards, which impaired his sight so badly that he could not read or look at drawings save with his head turned backwards, and this lasted for several months. In that awkward curved space, Michelangelo managed to depict the history of the Earth from the Creation to Noah, surrounded by ancestors and prophets of Jesus and finally revealing the liberation of the soul. His enemies had stage managed the masterpiece that quickly established him as the artist genius of the age.

Michelangelo is a wonderful example of a person with a growth mindset. He ignored his father and marched to his own drum to become an artist; overcame the church’s adversity to studying corpses, took the risk of sculpting mangled marble into the world’s finest sculpture; and with hard work, dedication and persistence, painted the ceiling of the Sistine chapel.
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To learn more about the creative thinking habits of Michelangelo and other creative geniuses read Michael Michalko’s Cracking Creativity (Secrets of Creative Genius).
http://www.amazon.com/Cracking-Creativity-Secrets-Creative-genius/dp/1580083110/ref=pd_sim_b_2?ie=UTF8&refRID=16NCRBEMHRCEQ1RAZG5V