Posts Tagged ‘art’

CREATIVE THINKING TECHNIQUE: THE EXQUISITE CORPSE

horses or woman

  It is not possible to think unpredictably by looking harder and longer in the same direction. When your attention is focused on a subject, only a few patterns dominate your thinking. These patterns produce predictable ideas no matter how hard you try. In fact, the harder you try, the stronger the same patterns become. If, however, you change your focus and combine your subject with something that is not related, different, unusual patterns are activated. 

Try an experiment. Pick eight random words (or use the following words) and give the list to someone or to a small group (for example: flower pot, baby, glass, grasshopper, coffee pot, box, toast and garage). Ask them to divide the words into two groups without giving them any rationale for the division. You’ll discover that people will come up with some very creative classifications. They’ll group them according to “words with the letter,” “things that touch water,” “objects made in factories,” and so on. No one ever says there is no connection, they invent them. 

Though we seldom think about it, making random connections in such a manner are conceptual creative acts. Making random connections were popular techniques used by Jackson Pollock and other Surrealist artists to create conceptual combinations in art. Artists in a group would take turns, each contributing any word that occurred to them in a “sentence” without seeing what the others had written. The resulting sentence would eventually become a combination of concepts that they would study and interpret hoping to get a novel insight or a glimpse of some deeper meaning. The technique is named “The Exquisite Corpse” after a sentence which happened to contain those words. 

BLUEPRINT 

Have the group bounce ideas and thoughts about the subject off each other for five to ten minutes. 

  • Then, ask the participants to think about what was discussed and silently write one word that occurs to them on a card.
  • Collect the cards have the group combine the words into a sentence (words can be added by the group to help the sentence make sense).
  • Then invite the group to study the final sentence and build an idea or ideas from it. 

An Alzheimer’s organization planned to have an auction to raise money for their cause. They planned an elaborate, sophisticated evening and looked for unusual items they could auction. They tried the “exquisite corpse” technique. Some of the words they came up with were people, cruises, creative, furniture, charity, designer, custom, art, thin air, and celebrities. One of the connections was: create—-art—-thin air. 

This triggered their idea which was the sensation of the auction. They sold an idea for an artwork that doesn’t exist. They talked a well-known conceptual artist into describing an idea for an artwork. The idea was placed in an envelope and auctioned off for $5,000. Legal ownership was indicated by a typed certificate, which specified that the artwork (10, 0000 lines, each ten inches long, covering a wall) be drawn with black and red pencils. The artist and the owner will have one meeting where the artist will describe his vision for the painting with the owner. The owner has the right to reproduce this piece as many times as he likes.

MICHAEL MICHALKO author of THINKERTOYS (HANDBOOK OF CREATIVE THINKING  TECHNIQUES.

 http://www.amazon.com/dp/1580087736/ref=cm_sw_r_tw_dp_qucvxb0A4HCF1 … via @amazon

 

 

The difference between the way creative thinkers think and the way you were educated to think

INCLUSION.22EDITEDRead:     http://creativethinking.net/articlesandtechniques/#sthash.xia9b5Bt.dpbs

Why Do People Who Know More See Less?

mindset

At one time in history, 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 and took over the world watch market.

You no doubt have noticed that the biggest innovative breakthroughs seem always to be made by people who have far less information and know less than the experts in the field. Einstein, for example, was by no means the most knowledgeable theoretical physicist of the 20th century. He often displayed a profound ignorance about certain aspects of his field. In contrast, many of his contemporaries had acquired much more information, gone to better schools, had better teachers, only to find they were unable to offer the world one single innovative idea.

Why is it that people who know more, see less? Consciously or unconsciously, we are anchored to our first impressions unless we actively change the way we look at the subject. Chester Carlson invented xerography in 1938. He tried to sell his electronic copier to every major corporation in the U.S. and was turned down emphatically by every single one. Because carbon paper was so cheap and plentiful no one, they said, would buy an expensive copy machine. Their thinking process was anchored by their initial impression of the cost of a copier versus the cost of carbon paper. This impression closed off all other lines of thought. It was Xerox, a new corporation that changed the perception of cost by leasing the machines.

Apple Computer Inc. founder Steve Jobs attempted without success to get Atari and Hewlett-Packard interested in his and Steve Wozniak’s personal computer. As Steve recounts, “So we went to Atari and said, ‘Hey, we’ve got this amazing thing, even built with some of your parts, and what do you think about funding us? Or we’ll give it to you. We just want to do it. Pay our salary, we’ll come work for you.’ And their experts laughed and said, ‘No.’ So then we went to Hewlett-Packard, and they said, ‘Hey, we don’t need you. You’re a college dropout. Go back and get your degree.”

What is it that freezes the expert’s thought and makes it difficult to consider new things that deviate from their theories? The figure below illustrates a series of progressively modified drawings that change almost imperceptibly from a man into a woman. When test subjects are shown the entire series of drawings one by one, their perception of this intermediate drawing is biased according to which end of the series they started from. Test subjects who start by viewing a picture that is clearly a man are biased in favor of continuing to see a man long after an “objective observer” (an observer who has seen only a single picture) recognizes that the man is now a woman. Similarly, test subjects who start at the woman end of the series are biased in favor of continuing to see a woman.

man to woman - Copy (2)

Once an observer has formed an image–that is, once he or she has developed an expectation concerning the subject being observed–this influences future perceptions of the subject. Similarly, people who have a lot of experience in a particular field develop hypotheses about what is possible and what is not. This hypothesis biases their judgement about new ideas.

Ken Olson, president, chairman and founder of Digital Equipment Corp., thought the idea of a personal computer absurd, as he said, “there is no reason anyone would want a computer in their home.” Robert Goddard, the father of modern rocketry, was ridiculed by every scientist for his revolutionary liquid-fueled rockets. Even the New York Times chimed in with an editorial in 1921 by scientists who claimed that Goddard lacked even the basic knowledge ladled out daily in high school science classes. Pierrre Pachet a renowned physiology professor and expert declared, “Louis Pasteur’s theory of germs is ridiculous fiction.”

If we experience any strain in imagining a possibility, we quickly conclude it’s impossible. This principle also helps explain why evolutionary change often goes unnoticed by the expert. The greater the commitment of the expert to their established view, the more difficult it is for the expert to do anything more than to continue repeating their established view. It also explains the phenomenon of a beginner who comes up with the breakthrough insight or idea that was overlooked by the experts who worked on the same problem for years.

Think, for a moment, about Federal Express and its founder Fred Smith. The US Postal Service, UPS and the airline industry tried to come up with an overnight delivery system of packages. They all decided it was not possible to do profitably. This solidified, over many years, into the established view. Fred Smith, an outlier, ignored the establishment and created an overnight system based on the hub and wheel concept for moving money and information. Still every delivery expert in the U.S. doomed Federal Express to failure because they said people will not pay a fancy price for speed and reliability. Fred smiled and said what they are willing to pay for is “peace of mind.” FedEx has become the model for delivery systems all over the world.

If you survey the history of science, it is apparent that most individuals who have created radical innovations did not do so simply because they knew more than others. Charles Darwin is a good case in point. He came back from the Beagle voyage and displayed his famous Galapagos specimens in London. Within six months of his return, most of the top naturalists in Britain had seen Darwin’s Galapagos finches and reptiles, and hence the crucial evidence that converted Darwin to evolution (and that we now consider the textbook case of evolution in action). None saw the connections.

John Gould, who was one of the greatest ornithologists of the nineteenth century, knew far more about Darwin’s Galapagos birds than Darwin did. Gould corrected numerous mistakes that Darwin had made during the Beagle voyage, including showing Darwin that a warbler was, in fact, a warbler finch and other birds that Darwin had not recognized as being part of the same finch family. Darwin was stunned by this and other crucial information that he received from Gould in March of 1837, and Darwin immediately became an evolutionist.

The strange thing is that Gould did not. He remained a creationist even after The Origin of Species was published. Hence the man who knew more saw less, and the man who knew less saw more. This is a classic example of the expert (John Gould) looking at nature for years and not being able to make the connections because of his long held hypothesis. Whereas Darwin looking at nature with no hypothesis made the connection immediately.

Consequently, Charles Darwin who knew less saw more than John Gould who knew more but saw less.

Michael Michalko

http://www.amazon.com/Thinkertoys-Handbook-Creative-Thinking-Techniques-Edition/dp/1580087736/ref=pd_sim_b_1?ie=UTF8&refRID=0T6TTX3RDA7VQ9NEJR5C

THIS IS GOOD

A field of grass is given its character, essentially, by those experiences which happen over and over again–millions of times.  The germination of the grass seed, the blowing wind, the flowering of the grass, the hatching of insects, being beaten down by thunderstorms, the paths made by animals and hikers, and so on.  It is a whole system of interdependent events that determine the nature of the field of grass.

It is also roughly true that the nature of our beliefs and perceptions are interpreted from our experiences.  The field of grass cannot change its character.  Grass cannot interpret and shape its experiences to create a different nature.  However, we are not a field of grass.  We can choose to interpret our experiences in any way we wish.  You know as well as I do that few of us are even aware of what this means.

(*-*)     AAA     (00)     I 000000 I     ^–^     I – – _ – – _ I

Look at the six designs above.  Assign a label to each of them by selecting one of the following words: “Indians,” “piggy nose,” “shy kitty,” “woman,” “sleeper,” and “bathroom.”

Now that you’ve assigned labels to the designs, ask yourself: “Why is this so easy to do?”  For example, if you labeled AAA as “Indians,” then how does an Indian village with its ponies, tents, campfires, etc. fit so comfortably into three letters?  The symbols have no meaning.  We give them meaning by how we choose to interpret them.  You have the freedom to select any meaning for any experience instead of being a victim who must assign one and only one meaning to each experience.

We automatically interpret all of our experiences without realizing it.  Are they good experiences, bad ones, what do they mean and so on?  We do this without much thought, if any, to what the interpretations mean.  For instance, if a woman bumps into you, you wonder why.  The event of her bumping into you is neutral in itself.  It has no meaning.  It’s your interpretation of the bumping that gives it meaning, and this meaning shapes your perception of the experience.

You may interpret the “bump” as rude or deliberately aggressive behavior.  Or you may feel you are of such little significance that you are deliberately unnoticed and bumped around by others. You may choose to use the experience as an example of feminist aggression, or you may interpret the bump as her way of flirting with you.  Your interpretation of the experience determines your perception.

Think of roses and thorns.  You can complain because roses have thorns, or you can rejoice because thorns have roses.  You can choose to interpret experiences any way you wish.  It is not the experience that determines who you are; it is your interpretation of the experience.  You do not see things as they are; you see them as you are.

A friend told me a story he heard when he taught psychology as a guest lecturer in Africa. He and his students were discussing the merits of positive thinking, when one of the students related a story that was commonly told in his tribe. The chief of the village had a friend who had the habit of remarking “this is good” about every occurrence in life no matter what it was. One day the chief and his friend were out hunting. The king’s friend loaded a gun and handed it to the king, but alas he loaded it wrong and when the chief fired it, it exploded and his thumb and two fingers were blown off.

“This is good!” exclaimed his friend.

The shocked and bleeding chief was furious. “How can you say this is good you idiot! Leave me you moron. I want nothing more to do with you!” he shouted.

About a year later the chief went hunting by himself. Cannibals captured him and took him to their village. They tied his hands, stacked some wood, set up a stake and bound him to it. As they came near to set fire to the wood, they noticed that he was missing a thumb and two fingers. Being superstitious, they never ate anyone who was less than whole. They untied the king and sent him on his way.

Full of remorse the chief rushed to his friend and hugged him. “You were right, it was good,” The chief told his friend how the missing thumb and fingers saved his life and added, “I feel so ashamed for having insulted and ignored you all these months.

“No! This is good!” responded his delighted friend.

“Oh, how could that be good my friend, I did a terrible thing to you while I owe you my life.”

“It is good” said his friend, “because if you hadn’t dismissed me I would have been hunting with you and they would have killed me.”

The average person actively seeks only the information that confirms our their beliefs and theories about themselves and the world.  Religious people see evidence of God’s handiwork everywhere; whereas atheists see evidence that there is no God anywhere.  Conservatives see the evils of liberalism everywhere and liberals see the evils of conservatism everywhere.  Likewise, people who believe they are creative see evidence of their creativity everywhere, and people who do not believe they are creative see evidence everywhere that confirms their negative belief.

People who believe they can and people who believe they can’t are both right.

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To discover more about the power of creative thinking read creativity expert Michael Michalko’s book CRACKING CREATIVITY.

http://www.amazon.com/Cracking-Creativity-Secrets-Creative-Genius/dp/1580083110/ref=pd_sim_b_2?ie=UTF8&refRID=16NCRBEMHRCEQ1RAZG5V

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

 

Art without Bias

MOTIVELESS ART

The Boyle family is a famous family of collaborative artists based in London. The family creates paintings by reproducing small patches of the world in meticulous detail. They select their sites at random in the following manner.

  • A blindfolded person throws a dart into a large map of the world.
  • Then they call someone who lives near where the dart pinpointed — perhaps the curator of a nearby gallery — and asks them to throw a dart blindfolded at the local map.
  • Then they travel to the exact spot pinpointed on the local map.
  • Then one of them takes a right angle and hurls it into the air. The place it lands becomes the first corner of the new work.
  • The random selection serves several purposes: nothing is excluded as a potential subject; the particular is chosen as a representative of the whole and it reduces their subjective role as artists and creators to that of “presenters”. The Boyles call this a “motiveless technical” to present a slice of reality as objectively and truthfully as possible.

Their incorporation of randomness into art removes the prejudices that the conditioning of our upbringing and culture impose. It makes it possible for us to look at the world or a small part of it, without being reminded consciously or unconsciously of myths and legends, art out of the past or present, art and myths of other cultures. We see without motive and without reminiscence.

MOTIVELESS POETRY

To get a feel for this philosophy, create a motiveless poem using the following guidelines.

MOTIVELESS POETRY

 

Read THINKERTOYS: A HANDBOOK OF CREATIVE THINKING TECHNIQUES by creativity expert Michael Michalko

http://www.amazon.com/Thinkertoys-Handbook-Creative-Thinking-Techniques-Edition/dp/1580087736/ref=pd_sim_b_1?ie=UTF8&refRID=0T6TTX3RDA7VQ9NEJR5C