While the last two are outside of this discussion, the disciplinary mind has been discussed here many times under the auspices of the term “vertical thinking” and Gardner does an excellent job on explaining how that kind of training for subject mastery creates a base for the development or refinement of other kinds of thinking.

Having the disciplinary mind of a vertical thinking expert is particularly complementary to the practice of horizontal thinking, though many experts resist horizontal thinking out of habitual analytical reductionism, the legacy of academic culture or ego, fearing to be seen operating outside one’s area of known competence. Gardner likes to make the analogy of an intellectual laser vs. a searchlight in comparing the two.

Gardner, under the influence of Mihalyi Csikszentmihalyi, divides the cognitive activities of horizontal thinking, into the Synthesizing Mind and the Creative Mind, which would be drawn upon during the process of innovation. Like Csikzentmihalyi, Gardner’s definition of creativity is product-oriented and scalar – the results of creative thinking must approach a certain, tangible, magnitude of effect to count – “Big C” creativity, in Gardner’s words.

I’ve never agreed with that distinction. First, it discounts the effect of stochastic tinkering, which are simply creative tweaks on the micro scale that can be very significant, especially when collectively harnessed on a wikinomic/mass collaboration platform. Secondly, the small scale creativity is a necessary developmental step to take, cognitively speaking, before running with grand accomplishments later in life. Even geniuses and polymaths like Isaac Newton and Mozart who demonstrated tremendous creative breakthroughs of a global impact at a relatively young age, went through periods of early, if precocious, experimentation.

Gardner’s chapter on synthesis is worth the price of the book alone as he gives it a thorough summative treatment, detailing eight kinds of synthesis that have four components and three kinds of motivations. John Boyd wrote of the process of synthesis as a “dialectical engine”; if so, Gardner would consider metaphors to be the spark plugs of integration and innovation, a valuble tool that helps connect a brain with a “massive modularity” in physiological structure. Gardner considers accomplishment of true interdisciplinarity to be hard but acquisition of “multiperspectivalism” among practitioners to be a realistic goal for synthesis.

Creative Minds, in Gradner’s view, are interactive, working within a ” social field” that validates their accomplishments but are not confined to the boundaries of a disciplinary field that inhibits most practitioners from discovery or innovation. He is very cautious of ” false creativity” or precipitous claims of “creativity” from those jacks-of-all-trades who have yet to master a single domain. Writing on American public schools in the 1980’s, Gardner states:

“In schools (and in after school sites) the compelling need was for the achievment of genuine mastery of a recognized discipline: not only was there no need for educators to wave the flag of creativity; it might have been counterproductive to do so. Only through the honing of discipline would genuinely creative options emerge.” (Gardner, 85)

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