PREFACE TO CREATIVE THINKERING BY MICHAEL MICHALKO
The key question isn’t “Why are some people creative and others not?” It is why in God’s name isn’t everyone creative? Where and how was our potential lost? How was it crippled? Why does education inhibit creativity? Why can’t educators foster more creativity instead of less? Why is it that the more expert people become in their fields, the less creative and innovative they become? Why is it that people who know more create less, and people who know less create more? Why are people amazed when someone creates something new, as if it were a miracle?
We’ve been educated to process information based on what has happened in the past, what past thinkers thought, and what exists now. Once we think we know how to get the answer, based on what we have been taught, we stop thinking. The Spanish word for an “answer” is respuesta, and it has the same etymological root as response (responsory), the song people sing to the dead. It’s about what has no life anymore. In other words, when you think you know the answers, based on what has happened in the past, your thinking dies.
This is why, when most people use their imaginations to develop new ideas, those ideas are heavily structured in predictable ways by the properties of existing categories and concepts. Creative thinking requires the ability to generate a host of associations and connections between two or more dissimilar subjects, creating new categories and concepts. We have not been taught to process information this way.
The key to creatively generating associations and connections between dissimilar subjects is conceptual blending. This is a creative-thinking process that involves blending two or more concepts in the same mental space to form new ideas.
Imagine, for a moment, that thought is water. When you are born, your mind is like a glass of water. Your thinking is inclusive, clear, and fluid. All thoughts intermingle and combine with each other and make all kinds of connections and associations. This is why children are spontaneously creative.
In school you are taught to define, label, and segregate what you learn into separate categories. The various categories are kept separate and not allowed to touch each other, much like ice cubes in a tray. Once something is learned and categorized, your thoughts about it become frozen. For example, once you learn what a can opener is, whenever someone mentions “can opener” you know exactly what it is.
You are taught, when confronted with a problem, to examine the ice cube tray and select the appropriate cube. Then you take the cube and put it in a glass, where your thinking heats and melts it. For example, if the problem is to “improve the can opener,” the glass will contain all you have learned about can openers, and nothing more. You are thinking exclusively, which is to say you are thinking only about what you have learned about the can opener. No matter how many times the water is stirred, you end up creating, at best, a marginal improvement.
Now if you take another cube (for example, vegetables) and put it in the same glass with the can-opener cube, your thinking will heat and melt both together into one fluid. Now when you stir the water, more associations and connections are made and the creative possibilities become immensely greater. The vegetable cube, once blended with the can-opener cube, might inspire you to think of how vegetables open in nature. For example, when pea pods ripen, a seam weakens and opens, freeing the peas. This might inspire you to come up with novel ideas. You could, for example, manufacture cans with a weak seam that can be pulled to open the can. You cannot get this kind of novel idea using your conventional way of thinking.
What happens when you think simultaneously, in the same mental space, about a showerhead and a telescope orbiting the earth? When the Hubble telescope was first launched into space, scientists were unable to focus it. It could be salvaged only by refocusing it using small, coin-shaped mirrors. The problem was how to deliver the mirrors and insert them precisely into the right location. The right location was in a light bundle behind the main mirror. The NASA experts who worked on the problem were not able to solve it, and the multi¬million dollar Hubble seemed doomed.
Electrical engineer James Crocker was attending a seminar in Germany when he found out about the problem. He worked on it all day. Tired, he stepped into the shower in his hotel room. The European-style shower included a showerhead on an arrangement of adjustable rods. While manipulating the showerhead, Crocker suddenly realized that similar articulated arms bearing coin-shaped mirrors could be extended into the light bundle from within a replacement axial instrument by remote control. Mentally blending the Hubble telescope and the showerhead created this remarkable solution.
Crocker was startled by his sudden realization of the solution that was immensely comprehensive and at the same time immensely detailed. As Crocker later said, “I could see the Hubble’s mirrors on the shower head.” The NASA experts could not solve the problem using their conventional linear way of thinking. Crocker solved it by thinking unconventionally — by forcing connections between two remotely different subjects.
Look at the following illustration of the square and circle. Both are separate entities.
Now look at the extraordinary effect they have when blended together. We now have something mysterious, and it seems to move. You can get this effect only by blending the two dissimilar objects in the same space. The power of the effect is not contained in the circle or in the square, but in the combination of the two.
Creativity in all domains, including science, technology, medicine, the arts, and day-to-day living, emerges from the basic mental operation of conceptually blending dissimilar subjects. When analyzed, creative ideas are always new combinations of old ideas. A poet does not generally make up new words but instead puts together old words in a new way. The French poet Paul Valéry is quoted by mathematician Jacques Hadamard in Jacques Hadamard, A Universal Mathematician, by T. O. Shaposhnikova, as saying, “It takes two to invent anything. The one makes up combinations; the other one chooses, recognizes what he wishes and what is important to him in the mass of the things which the former has imparted to him.” Valéry related that when he wrote poetry he used two thinking strategies to invent something new. With one strategy, he would make up combinations; and with the other, he would choose what was important.
Consider Einstein’s theory of relativity. He did not invent the concepts of energy, mass, or speed of light. Rather, he combined these ideas in a new and useful way.
Think for a moment about a pinecone. What relationship does a pinecone have to the processes of reading and writing? In France in 1818, a nine-year-old boy accidentally blinded himself with a hole puncher while helping his father make horse harnesses. A few years later the boy was sitting in the yard thinking about his inability to read and write when a friend handed him a pinecone. He ran his fingers over the cone and noted the tiny differences between the scales. He conceptually blended the feel of different pinecone scales with reading and writing, and realized he could create an alphabet of raised dots on paper so the blind could feel and read what was written with it. In this way Louis Braille opened up a whole new world for the blind.
Braille made a creative connection between a pinecone and reading. When you make a connection between two unrelated subjects, your imagination will leap to fill the gaps and form a whole in order to make sense of it. Suppose you are watching a mime impersonating a man taking his dog out for a walk. The mime’s arm is outstretched as though holding the dog’s leash. As the mime’s arm is jerked back and forth, you “see” the dog straining at the leash to sniff this or that. The dog and the leash become the most real part of the scene, even though there is no dog or leash. In the same way, when you make connections between your subject and something that is totally unrelated, your imagination fills in the gaps to create new ideas. It is this willingness to use your imagination to fill in the gaps that produces the unpredictable idea. This is why Einstein claimed that imagination is more important than knowledge.
Just as conceptual blending allows information to intermingle in the mind of the individual, when people swap thoughts with others from different fields this creates new, exciting thinking patterns for both. As Brian Arthur argues in his book The Nature of Technology, nearly all technologies result from combinations of other technologies, and new ideas often come from people from different fields combining their thoughts and things. One example is the camera pill, invented after a conversation between a gastroenterologist and a guided-missile designer.
My purpose in writing this book is to emphasize the importance of conceptual blending in creative thinking in your business and personal lives. Conceptual blending of dissimilar subjects and ideas and concepts is the most important factor in creative thinking. The topics I discuss include the following:
- We are all born spontaneous and creative thinkers.
- How the thinking patterns inculcated in us by educators prevent us from using our natural creativity.
- Why geniuses are geniuses, and how geniuses use conceptual blending to create their novel ideas.
- How to think differently by looking for analogical connections between the essences, functions, and patterns of dissimilar subjects.
- How to combine problems with random stimuli to create original ideas.
- How to change the way things are by changing the way you look at them.
- How to combine opposites and think paradoxically.
- How to combine “crazy” and “absurd” ideas with yours to provoke exciting new thinking patterns.
- The importance of incubating your thinking, and when to do it.
In the final three chapters, I hope to convey the three notable traits that all creative geniuses have in common:
- The importance of intention and how to use it to develop a creative mind-set.
- How to change your thinking patterns by changing the way you speak.
- How you become what you pretend to be.
The book’s conclusion contains stories about human potential and people who have had the courage and will to overcome personal adversity. Interlarded throughout the book are thought experiments I’ve devised — a variety of questions to ponder, creative-thinking techniques, illusions, and puzzles to inspire your thinking.
I titled this book Creative Thinkering. The word thinkering is itself a combination of the words thinker and thinking. Enfolding the two words into the one word thinkering symbolizes how both the creative personality and the creative-thinking process, like form and content in nature, are inextricably connected.