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Tools for Creativity and Stuff

Sunday, October 5th, 2014

[by J. Scott Shipman]

 

 

 

 

 

 

 

At Boyd and Beyond 2014 this weekend there were a few references to creativity and whether creativity could be taught. I prepared what follows back in August in response to a friend’s request for ideas and/or resources.

Free writing: author Mark Levy’s book Accidental Genius is a good resource of concepts for how to get “it” in writing. Levy argues our internal editor gets in the way of our creativity and advocates writing quickly without regard to style, grammar, etc—the idea being to get the ideas out in a tangible form and provides methods to synthesize. It has a sort of gimmicky feel, but I’ve used variations of his methods four or five times a year—and just used last week to get my head around part of a problem.

Michael Michalko’s THINKPAK, THINKERTOYS, and Cracking Creativity are all good resources, but I’ve found the card deck to be the most valuable (Fred Leland uses these, too). In the card deck Michalko divides his thought-prompting cards into the acronym “SCAMPER” (S-Substitute Something), (C-Combine it with something else), (A- Adapt something to it), (M-Modify or Magnify——[I added miniaturize] it), (P- Put it to some other use), (E- Eliminate Something), (R- Reverse or Rearrange it). Here is a link to the google book. I keep the card deck on my desk and use several times a year.

Visible Thinking has moments (a painful read in places, but there are some good nuggets, too), but the larger theme is The Mind Map Book, which many admire. I know Lynn uses mind maps—and I have several for my boat project. I find them good for getting the ideas out there and establishing connections. I use Mind Maps software—which is very good on a PC, but not so good on a Mac.

Systematically, I have found combining Michalko’s THINKPAK with a Mind Map to be useful, and THINKPAK “backwards” with free writing (using the cards as a jumping off place to begin writing). Handwriting might not be popular with the younger folks, but free-writing isn’t the same on a keyboard for me. It is a question of what style best fits for you.

A Whack on the Side of the Head and A Kick in the Seat of the Pants — both by Roger von Oech [he has a "Whack Pack" set of cards, too, but I don't have them yet.] are campy with dated graphics, but when I’m stuck, one of these books is often my first place to stop. Parts are goofy to be sure, but sometimes goofy is good.

At the other end of the spectrum, Barbara Minto’s The Minto Pyramid Principle, Logic in Writing, Thinking and Problem Solving I have a love/hate relationship with this very expensive book (I paid about $50 for a used copy) that I purchased back in 2008/09. Minto’s genius is in her simplicity and elegance—it is also very linear, so focus is rarely a problem when using her methods. Her schema is focused on a consultant-client relationship, so you may want to skip or check if google has parts you can review online.

My father-in-law shared a column from an investment newsletter several years ago that I’ve also used intermittently: everyday write down “10 ideas”—this is sort of a riff on free writing, but the idea is to get 10 new ideas on paper everyday—unedited. It gets hard after about five or six consecutive days. I’ll typically go three or four days in a row and take a few weeks off. I’ve ideas for three different weapons platforms that came from this method.

Terry Barnhart’s Critical Question Mapping [see Terry's excellent Creating a Lean R&D Enterprise]  is a good place to approach problems from the perspective of what/which questions must be answered. Mark (aka: “Zen”) has used with students and Fred Leland uses in training law enforcement. We used it a couple of years ago to help establish a big project I’m working on.

Lastly, two tools I use everyday are a small Moleskin notebook and my iPhone camera. Anytime I’ve an idea/insight I’ll copy into my notebook and assign a suspense date to “running it to ground,” and this includes copying marginalia and/or quotes from a book I’m reading—particularly for adjacent ideas as a prompt to come back. Also, I’m a big fan of using my smartphone to photograph magazine articles, shapes or designs that may have applicability to something that interests me. For aid in memory, I’ve found Evernote.com to be very useful, too.

What tools do you use to boost your creativity?

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On peculiarly gifted people

Thursday, September 25th, 2014

[ by Charles Cameron -- a DQ contribution to the broader Zenpundit discussions of creativity ]
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SPEC emerson li po

Emerson and Li Po, East and West.

I once again ran across this pairing, which has long been a favorite of mine, while working on a poem by Emily Dickinson for “MoPo” — a terrific Coursera course which is introducing me, by the skin of my teeth, to “modernism” in American poetry.

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Another Sunday Surprise: Gould and Turner

Sunday, September 14th, 2014

[ by Charles Cameron -- this one's for the creative cognition folks out there in Zenland ]
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Damn’d hard to read, I know, but worth it if you care about artistic creation & performance:

SPEC gould turner

The top quote is Glenn Gould, speaking in the documentary Glenn Gould, Hereafter, the second from the erudite and delightful poet, distinguished professor and friend, Frederick Turner‘s blog.

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Bifocal: my friends Benzon and Blake

Thursday, July 10th, 2014

[ by Charles Cameron -- of sight and vision ]
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Wm Blake: The Sun at his Eastern Gate

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My young friend, William Benzon, writes:

When we look at a cloud and see an elephant we don’t conclude that an elephant is up there in the sky, or that the cloud decided to take on an elephant-like form. We know that the cloud has its own dynamics, whatever they might be, and we realize that the elephant form is something we are projecting onto the world.

And mine ancient friend, William Blake, wrote:

“What,” it will be Question’d, “When the Sun rises, do you not see a round disk of fire somewhat like a Guinea?” O no, no, I see an Innumerable company of the Heavenly host crying, `Holy, Holy, Holy is the Lord God Almighty.’ I question not my Corporeal or Vegetative eye any more than I would Question a window concerning a Sight. I look thro’ it & not with it.”

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Albrecht Durer, Apocalypse

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As I have written elsewhere:

The great German engraver Albrecht Dürer’s illustrations of the Apocalypse (Book of Revelation) differ from contemporary televised images of warfare not only in terms of the armor and weaponry used, but also and more importantly by recording two worlds, the visible and the invisible, where the television camera records only the visible. The sky in television reports of war contains missiles and warplanes, and if anything “invisible” is depicted, it is invisible only by virtue of being viewed in the infra-red portion of the spectrum via night scope. Dürer’s sky is not merely “sky” but also “heaven”, and thus depicts that “war in heaven” alluded to in Revelations 12: 7, with its angels and demons and dragon, its Lady clothed with the sun, the moon under her feet, and crowned with the stars…

A crucial shift in the way in which we envision “reality” has occurred between Albrecht Dürer’s time and our own, and that shift has indeed largely deprived us of a real sense of the existence of an “invisible world” — whether it be the invisible world of faerie or sacrament, of poetic vision or apocalypse. That great modern prophet William Blake both predicted and lamented this loss, and his entire corpus of poetry and paintings can be viewed as a singular attempt to replace in our culture that visionary quality that our increasing scientism so easily deprives us of.

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Can we restore imagination — Blakean vision, the “heaven” of Albrecht Durer — to a significant place in our lives, without abandoning the clarity as to fact that comes with simple sight and its more sophisticated extensions — the camera, the space probe, the electron microscope?

Have we even any interest in doing that?

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Connecting dots: Luther learns découpage from Bowie

Tuesday, June 3rd, 2014

[ by Charles Cameron -- from a British TV cop via teh glitter-glam rocker & William Burroughs -- a helpful analytic technique and its pre-history ]
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You take your learnings where you find them. DCI Luther (in the BBC cop show, series 1 episode 4) has a great many data points — in this case, photos and maps.

He arranges them in a circle around his chair, squats, studies them, rearranges them. DS Ripley comes in…

For your convenience, here’s the exchange:

DS Ripley: What’s all this?
DCI Luther: Découpage, a cut-up technique. Take a bit of text, cut it up, randomise it, make new text, see new patterns.
DS Ripley: Where’d you learn this?
DCI Luther: David Bowie — it’s how he wrote his lyrics.
DS Ripley: Are you a fan?
DCI Luther: Don’t I look like a fan?
DS Ripley: What, of songs about, like, aliens and that?
DCI Luther: Well, there’s a bit more to him than aliens. I’ll make you a tape.

Randomize, to see new patterns.

Once again, it’s a near-instinctive move, but one worth sharpening into a tool. Take it out of the zone of tacit knowledge and bring it into the explicit.

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Novelist William Burroughs learned the cut-up technique from that jack-of-all-arts, Bryon Gysin.

Interviewer: How did you become interested in the cut-up technique?

Wm Burroughs: A friend, Brion Gysin, an American poet and painter, who has lived in Europe for thirty years, was, as far as I know, the first to create cut-ups. His cut-up poem, Minutes to Go, was broadcast by the BBC and later published in a pamphlet. I was in Paris in the summer of 1960; this was after the publication there of Naked Lunch. I became interested in the possibilities of this technique, and I began experimenting myself. Of course, when you think of it, The Waste Land was the first great cut-up collage, and Tristan Tzara had done a bit along the same lines. Dos Passos used the same idea in ‘The Camera Eye’ sequences in USA. I felt I had been working toward the same goal; thus it was a major revelation to me when I actually saw it being done.

Bowie borrowed the cut-up from Burroughs and Gysin — glitter from the avant garde:

Burroughs had a technique that would enable Bowie to renew his entire method of writing lyrics and making music. During the early 1960s, Burroughs and his colleague, the painter and writer Brion Gysin, had developed the cut-up as a method of visual and verbal reassembly that was equally applicable to painting, montaged artworks, calligraphy, tape manipulation and the word. It offered, in fact, a whole new way of seeing.

Having read Burroughs’ cut-up novel Nova Express to prepare for the interview, Bowie applied the technique to the words and sound of his next album, the darkly dystopian Diamond Dogs – a fusion of Burroughs and George Orwell. The cut-up, as he admitted later, perfectly suited his own fragmented consciousness, and also enabled him to cut through the tangle of expectation and image that threatened to slow him down. It sped everything up.

Here’s Bowie:

You take your learnings where you find them.

Randomize, to see new patterns.

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Sources:

  • Luther
  • How did you become interested
  • Burroughs had a technique
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