The Mona Lisa.

The Mona Lisa. (Photo credit: Wikipedia)

The Mouse Trap readers will be glad to know that I have started writing a column over at The Creativity Post, titled ‘The muses and the furies’ where i will talk about creativity and the thin line dividing genius and madness.

My first post focuses on delineating the components of creativity. Here is an excerpt:

I propose that creativity is made of four factors:

1. The first factor is SURPRISE: whether one produces something that continues captivating attention, even though it becomes familiar over time. This may result from rare and remote association of ideas or a recombination process that brings familiar things together in an unfamiliar/unexpected way. This is the ability to think beyond conventional boundaries or categories, loosen up the associations and make remote associations between and within categories. This is also related to flexibility with which you can walk across categories and disciplines. An example might be Mona Lisa by Da Vinci or putting a urinal in an art gallery.

2. The second factor is ORIGINALITY: whether one produces something that is really unique and novel and unheard of before. This is creativity that is not just combinatorial but perhaps associated with transforming and transcending. As pre Pribram novelty is a result of new rearrangements of old ideas. If the first factor is about combination, this may be thought of as permutation or reordering. This is related to originality scores. An example might be cubism by Picasso where the face/familiar objects are rearranged, sort of.

3. The third factor is BEAUTY: whether one produces something that is appealing and aesthetically satisfying. Beauty lies in the eyes of beholder and is related to subjective preferences. Identifying beauty is a fast and frugal process and as per one conception, we find something beautiful, if we can process it easily (that is why average faces are more beautiful- ease of processing). This is related to fluency scores or the ease with which you can ideate. Expressionisms by Monet et al looks beautiful because it’s easy on eyes.

4. The fourth factor is of UTILITY: whether one produces something that is useful. As evident from the alternate uses task the utility of something is ambiguous and context dependent and yet measured objectively and not subjectively. Creativity is the ability to deal with this inherent ambiguity, be comfortable with it and look at things from multiple simultaneous perspectives to find useful contexts in which to use/ apply it. This is the ability to see if the solution actually solves the problem. Also the ability to elaborate an idea and add details to it, so as to make it useful/ relevant. Here, one can focus on one stream of thought/ idea and take it to logical conclusion, adding details and making it complex. The Miniature art of India, that has elaborate details, is an example of this form, and is useful in reconstructing history.

Read the full text here.

While we are talking about creativity, I recently engaged with Sam McNerney in a debate about whether a focus on small c creativity detracts from addressing  the really important questions of Genius. Again an excerpt follows:

While I agree with Sam, whole-heartedly, that big C creativity merits a concerted focus, I also believe that small c is the way we will inch closer to the enigma of genius. It’s true that myths about creativity — that it is easy, natural for some, mostly cognitive in nature — should be dispelled in favor of a more rounded account of genius that takes grit, positivity, endurance, effort and curiosity into account. It is equally true that we can only reveal the essence of the creative process — that it involves recombination to produce surprise element, or transformations to produce novelty element, that great works of art/creativity are selected for by arbitrary aesthetic preferences as well as utilitarian concerns — by focusing closely on the small, everyday c creativity and the processes underlying them.

Lest I be misunderstood, my objection to Sam is on two counts: one, that the perpetuating myth of anguished art and tormented genius is as counterproductive as any other myth. Most creators/ innovators are likely to have positive frames of mind that treat failures as learning opportunities; I’m not saying they don’t struggle or work hard, but they don’t, necessarily, see the struggle as painful, but rather see it as challenging and enriching.

Second, a focus on small c creativity is as necessary as a focus on Big C creativity — as that approach is more likely to yield early fruits and help in identification of mechanisms.


Read the full argument here.

Another debate in which I recently engaged was with Douglas Fields (his ‘The other Brain’ was earlier reviewed on the mouse trap) – in which I argued that academic success was multi-factorial and good grades and test scores are not an either/or proposition . Excerpt follows:

Thus I would suggest that all academic success, however they are measured, are dependent on four factors: innate ability or intelligence, self-control and hard work, grit and motivational resilience and finally, a positive, incremental mindset. While some academic outcomes, like achievement test results (e.g., SATs) may depend disproportionately on innate ability and mindset (test results and transfer of learning), other outcomes—like grades—may depend more on personality factors like self-control and grit/motivation.

Read the full text here.


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