Brain Pickings

Werner Herzog on Creativity, Self-Reliance, Making a Living of What You Love, and How to Turn Your Ideas Into Reality

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“If your project has real substance, ultimately the money will follow you like a common cur in the street with its tail between its legs.”

Werner Herzog is celebrated as one of the most influential and innovative filmmakers of our time, but his ascent to acclaim was far from a straight trajectory from privilege to power. Abandoned by his father at an early age, Herzog survived a WWII bombing that demolished the house next door to his childhood home and was raised by a single mother in near-poverty. He found his calling in filmmaking after reading an encyclopedia entry on the subject as a teenager and took a job as a welder in a steel factory in his late teens to fund his first films. These building blocks of his character — tenacity, self-reliance, imaginative curiosity — shine with blinding brilliance in the richest and most revealing of Herzog’s interviews. Werner Herzog: A Guide for the Perplexed (public library) — not to be confused with E.F. Schumacher’s excellent 1978 philosophy book of the same title — presents the director’s extensive, wide-ranging conversation with writer and filmmaker Paul Cronin. His answers are unfiltered and to-the-point, often poignant but always unsentimental, not rude but refusing to infest the garden of honest human communication with the Victorian-seeded, American-sprouted weed of pointless politeness.

Herzog’s insights coalesce into a kind of manifesto for following one’s particular calling, a form of intelligent, irreverent self-help for the modern creative spirit — indeed, even though Herzog is a humanist fully detached from religion, there is a strong spiritual undertone to his wisdom, rooted in what Cronin calls “unadulterated intuition” and spanning everything from what it really means to find your purpose and do what you love to the psychology and practicalities of worrying less about money to the art of living with presence with an age of productivity. As Cronin points out in the introduction, Herzog’s thoughts collected in the book are “a decades-long outpouring, a response to the clarion call, to the fervent requests for guidance.”

And yet in many ways, A Guide for the Perplexed could well have been titled A Guide to the Perplexed, for Herzog is as much a product of his “cumulative humiliations and defeats,” as he himself phrases it, as of his own “chronic perplexity,” to borrow E.B. White’s unforgettable term — Herzog possesses that rare, paradoxical combination of absolute clarity of conviction and wholehearted willingness to inhabit his own inner contradictions, to pursue life’s open-endedness with equal parts focus of vision and nimbleness of navigation.

A certain self-reliance that permeates his films and his mind, a refusal to let the fear of failure inhibit trying — a sensibility the voiceover in the final scene of Herzog’s The Unprecedented Defence of the Fortress Deutschkreuz captures perfectly: “Even a defeat is better than nothing at all.” He tells Cronin:

There is nothing wrong with hardships and obstacles, but everything wrong with not trying.

Illustration by Tove Jansson from 'Alice in Wonderland.' Click image for more.

Herzog reflects on failure as a prerequisite for creative mastery:

The bad films have taught me most about filmmaking. Seek out the negative definition. Sit in front of a film and ask yourself, “Given the chance, is this how I would do it?” It’s a never-ending educational experience, a way of discovering in which direction you need to take your own work and ideas.

He takes this notion of self-reliance — as he does most things he believes — to an almost religious degree:

I did as much as possible myself; it was an article of faith, a matter of simple human decency to do the dirty work as long as I could… Three things — a phone, computer and car — are all you need to produce films. Even today I still do most things myself. Although at times it would be good if I had more support, I would rather put the money up on the screen instead of adding people to the payroll.

Indeed, having grown up without money and earned every penny himself, Herzog considers this self-reliance closely intertwined with the question of financial struggle — a circumstance he always refused to mistake for a fatal roadblock to the creative drive. His wisdom on the subject extends beyond film and applies just as perceptively to almost any field of endeavor in today’s creative landscape:

The best advice I can offer to those heading into the world of film is not to wait for the system to finance your projects and for others to decide your fate. If you can’t afford to make a million-dollar film, raise $10,000 and produce it yourself. That’s all you need to make a feature film these days. Beware of useless, bottom-rung secretarial jobs in film-production companies. Instead, so long as you are able-bodied, head out to where the real world is. Roll up your sleeves and work as a bouncer in a sex club or a warden in a lunatic asylum or a machine operator in a slaughterhouse. Drive a taxi for six months and you’ll have enough money to make a film. Walk on foot, learn languages and a craft or trade that has nothing to do with cinema. Filmmaking — like great literature — must have experience of life at its foundation. Read Conrad or Hemingway and you can tell how much real life is in those books. A lot of what you see in my films isn’t invention; it’s very much life itself, my own life. If you have an image in your head, hold on to it because — as remote as it might seem — at some point you might be able to use it in a film. I have always sought to transform my own experiences and fantasies into cinema.

He later revisits the subject even more pointedly:

A natural component of filmmaking is the struggle to find money. It has been an uphill battle my entire working life… If you want to make a film, go make it. I can’t tell you the number of times I have started shooting a film knowing I didn’t have the money to finish it. I meet people everywhere who complain about money; it’s the ingrained nature of too many filmmakers. But it should be clear to everyone that money has always had certain explicit qualities: it’s stupid and cowardly, slow and unimaginative. The circumstances of funding never just appear; you have to create them yourself, then manipulate them for your own ends. This is the very nature and daily toil of filmmaking. If your project has real substance, ultimately the money will follow you like a common cur in the street with its tail between its legs. There is a German proverb: “Der Teufel scheisst immer auf den grössten Haufen” [“The Devil always shits on the biggest heap”]. So start heaping and have faith. Every time you make a film you should be prepared to descend into Hell and wrestle it from the claws of the Devil himself. Prepare yourself: there is never a day without a sucker punch. At the same time, be pragmatic and learn how to develop an understanding of when to abandon an idea. Follow your dreams no matter what, but reconsider if they can’t be realized in certain situations. A project can become a cul-de-sac and your life might slip through your fingers in pursuit of something that can never be realized. Know when to walk away.

Illustration by Lisbeth Zwerger from 'The Wizard of Oz.' Click image for more.

This question of money parlays into what’s perhaps Herzog’s most urgent and piercing point — a testament to the idea that anything worthwhile takes a long time:

Perseverance has kept me going over the years. Things rarely happen overnight. Filmmakers should be prepared for many years of hard work. The sheer toil can be healthy and exhilarating.

Although for many years I lived hand to mouth — sometimes in semi-poverty — I have lived like a rich man ever since I started making films. Throughout my life I have been able to do what I truly love, which is more valuable than any cash you could throw at me. At a time when friends were establishing themselves by getting university degrees, going into business, building careers and buying houses, I was making films, investing everything back into my work. Money lost, film gained.

Ultimately, this notion of doing what you love is rooted in defining your own success, which often requires the bravery of not buying into the cultural template. Herzog captures this elegantly:

Even if I went broke, I wouldn’t be able to sell anything to the highest bidder. What makes me rich is that I am welcomed almost everywhere. I can show up with my films and am offered hospitality, something you could never achieve with money alone… For years I have struggled harder than you can imagine for true liberty, and today am privileged in the way the boss of a huge corporation never will be.

Illustration by Gaëtan Dorémus from 'Bear Despair,' a wordless story about obsession and perseverance. Click image for more.

Observing that happiness and meaningfulness are not necessarily the same thing — something researchers have since confirmed — Herzog echoes artist Agnes Martin’s assertion that doing what you were born to do is the secret of happiness and tells Cronin:

I find the notion of happiness rather strange… It has never been a goal of mine; I just don’t think in those terms.

[...]

I try to give meaning to my existence through my work. That’s a simplified answer, but whether I’m happy or not really doesn’t count for much. I have always enjoyed my work. Maybe “enjoy” isn’t the right word; I love making films, and it means a lot to me that I can work in this profession. I am well aware of the many aspiring filmmakers out there with good ideas who never find a foothold. At the age of fourteen, once I realized filmmaking was an uninvited duty for me, I had no choice but to push on with my projects. Cinema has given me everything, but has also taken everything from me.

(This calls to mind a line Susan Sontag wrote in her diary in March of 1979: “There is a great deal that either has to be given up or be taken away from you if you are going to succeed in writing a body of work.”)

Herzog describes his ideation process in almost violent terms, framing the creative act as an inherently ambivalent one, oscillating between creation, destruction, and purging:

The problem isn’t coming up with ideas, it is how to contain the invasion. My ideas are like uninvited guests. They don’t knock on the door; they climb in through the windows like burglars who show up in the middle of the night and make a racket in the kitchen as they raid the fridge. I don’t sit and ponder which one I should deal with first. The one to be wrestled to the floor before all others is the one coming at me with the most vehemence. I have, over the years, developed methods to deal with the invaders as quickly and efficiently as possible, though the burglars never stop coming. You invite a handful of friends for dinner, but the door bursts open and a hundred people are pushing in. You might manage to get rid of them, but from around the corner another fifty appear almost immediately… Finishing a film is like having a great weight lifted from my shoulders. It’s relief, not necessarily happiness. But you relish dealing with these “burglars.” I am glad to be rid of them after making a film or writing a book. The ideas are uninvited guests, but that doesn’t mean they aren’t welcome.

Illustration by Maurice Sendak from 'I’ll Be You and You Be Me' by Ruth Krauss, 1954. Click image for more.

Channeling T.S. Eliot’s notion of the mystical quality of creativity and Bukowski’s assertion that true creative work “comes unasked out of your heart and your mind and your mouth and your gut,” Herzog — who, like Maira Kalman, sees walking as a creative catalyst — considers how his ideas arise:

My films come to me very much alive, like dreams, without explanation. I never think about what it all means. I think only about telling a story, and however illogical the images, I let them invade me. An idea comes to me, and then, over a period of time — perhaps while driving or walking — this blurred vision becomes clearer in my mind, pulling itself into focus.

[...]

When I write, I sit in front of the computer and pound the keys. I start at the beginning and write fast, leaving out anything that isn’t necessary, aiming at all times for the hard core of the narrative. I can’t write without that urgency. Something is wrong if it takes more than five days to finish a screenplay. A story created this way will always be full of life.

In that creative act, Herzog argues, lies the artist’s broader cultural responsibility to continually reinvent the established forms:

We need images in accordance with our civilization and innermost conditioning, which is why I appreciate any film that searches for novelty, no matter in what direction it moves or what story it tells… The struggle to find unprocessed imagery is never-ending, but it’s our duty to dig like archaeologists and search our violated landscapes. We live in an era when established values are no longer valid, when prodigious discoveries are being made every year, when catastrophes of unbelievable proportions occur weekly. In ancient Greek the word “chaos” means “gaping void” or “yawning emptiness.” The most effective response to the chaos in our lives is the creation of new forms of literature, music, poetry, art and cinema.

And yet being preoccupied with form can be limiting — it should emerge from the story organically rather than seek to shape it:

I don’t consciously reflect on aesthetics before making a film because, for me, the story always dictates such things. Of course, aesthetics do sometimes enter unconsciously through the back door, because whether we like it or not our preferences always somehow influence the decisions we make. If I were to think about my handwriting while writing an important letter, the words would become meaningless. When you write a passionate love letter and focus on making sure your longhand is as beautiful as possible, it isn’t going to be much of a love letter. But if you concentrate on the words and emotions, your particular style of longhand – which has nothing to do with the letter per se — will somehow seep in of its own accord. Aesthetics, if they even exist, are to be discovered only once a film has been completed.

Herzog doesn’t shy away from touching on the existential:

We can never know what truth really is. The best we can do is approximate… Truth can never be definitively captured or described, though the quest to find answers is what gives meaning to our existence.

In one of his most endearingly characteristic proclamations, Herzog tells Cronin why he has never taken vacation:

It would never occur to me… I work steadily and methodically, with great focus. There is never anything frantic about how I do my job; I’m no workaholic. A holiday is a necessity for someone whose work is an unchanged daily routine, but for me everything is constantly fresh and always new. I love what I do, and my life feels like one long vacation.

Above all, however, Herzog reveals himself as a rare master of prioritizing presence over productivity:

I work best under pressure, knee-deep in the mud. It helps me concentrate. The truth is I have never been guided by the kind of strict discipline I see in some people, those who get up at five in the morning and jog for an hour. My priorities are elsewhere. I will rearrange my entire day to have a solid meal with friends.

Theoretical physicist Lawrence Krauss captures Herzog’s singular spirit in the afterword:

The Werner Herzog I have come to know is not the wild man of his press clippings. He is a caring, thoughtful, playful and essentially gentle human being. Possessing a restless mind, with a fertile and creative imagination, he is a man interested in all aspects of the human experience. Self-taught, he is widely read and deeply knowledgeable. I like to think that one of the reasons we enjoy each other’s company is that we both share a deep excitement in the human experience.

Werner Herzog: A Guide for the Perplexed is a spectacular read in its hefty 600-page totality, offering a rare glimpse of one of the most ravenously imaginative minds of our time. Complement it with other spectacular interviews with David Foster Wallace, Jeanette Winterson, Leonard Cohen, Seth Godin, Dani Shapiro, William Faulkner, Bob Dylan, Adam Phillips, Pablo Picasso, Malcolm Gladwell, and Susan Sontag.

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An Atlas of Alternative Maps by Tim Berners-Lee, Ed Ruscha, Yoko Ono, Damien Hirst, John Maeda, Kevin Kelly, John Baldessari, and More

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“Maps are errors to arrive at truth.”

For all the spiritual benefits of getting lost, we humans are habitually driven to orient ourselves to the world and find our place in it. It is no surprise, then, that maps captivate our imagination so powerfully. We’ve found in cartography a tool of propaganda and a springboard for philosophy, a canvas for art and a vehicle for idealism. We’ve applied it to everything from understanding time to ordering the cosmos.

Just when it might seem like the world doesn’t need another book about maps, Mapping It Out: An Alternative Atlas of Contemporary Cartographies (public library) — a magnificent compendium envisioned and culled by legendary curator Hans Ulrich Obrist — proves otherwise. With more than 130 maps by a wide-ranging roster of luminaries spanning art, science, technology, literature, architecture, film, and more — including John Baldessari, Tim Berners-Lee, Louise Bourgeois, Yoko Ono, Kevin Kelly, Damien Hirst, Ed Ruscha, John Maeda, Sean Carroll, Douglas Rushkoff, and Marcus du Sautoy — the book offers a living reminder that rather than objective representations of reality, maps are invariably projections in both the literal and the metaphorical sense, projecting onto the world the mapmaker’s subjective, abstract, psychoemotionally charged ideas about what is real and meaningful.

Carved atlas by artist Étienne Chambaud

(Image courtesy of Étienne Chambaud)

The volume’s greatest gift and highest point of differentiation is, in fact, precisely the sensibility for which Obrist is known and celebrated — the bold cross-pollination of disciplines, which invites the various fields to enrich one another, a beacon whose aggregate beam illuminates the landscape of the unknown. Obrist remarks on this approach in a companion essay titled “You Are Here”:

Dialogue, conversation and exchange between different fields is the only way we can chart a course through the increasingly complex terrain of contemporary life… Maps produce new realities much as they seek to document current ones. Maps are always a going-beyond the space-time of the present.

In 2009, Wired magazine founding editor and digital culture sage Kevin Kelly asked people to draw a map of the internet as they pictured it, illustrating what he had in mind by drawing his own map.

(Image courtesy of Kevin Kelly)

(See more of Kelly’s Internet Mapping Project here.)

'Map of the Future' by designer John Maeda

(Image courtesy of John Maeda)

'Wen Out for Cigrets' (1985) by artist Ed Ruscha

(Image courtesy of Ed Ruscha)

Obrist points to the particularly appropriate situationist concept of dérive — a term from psychogeography connoting an unplanned, wanderlust-driven journey through an urban landscape — citing his conversation with the Belgian writer and philosopher Raoul Vaneigem:

The dérive is not merely a spatio-temporal drift through urban landscapes, but a drift through the spaces of the imagination in order to arrive at an invention of reality. This is why Joyce’s Ulysses takes the simultaneous form of a dérive through the environs of Dublin and a drift through the mind of Stephen Dedalus. Wandering and drifting can be a geographical and a psychological movement, a migration across borders. Maps are errors to arrive at truth. To paraphrase the words that Joyce gives to Dedalus, these “errors are volitional and are the portals of discovery.”

Obrist touches on this element of psychological wanderlust in the opening chapter:

Maps are often an abstraction of the physical or conceptual world — a symbolic depiction of a space or idea that allows one to understand and navigate an unfamiliar topography or complex topology. But while most conventional charts, plans and diagrams claim to offer an accurate, even objective picture of the world, each one is bound by the specific agendas of its creators and users… Cartographies can be altered endlessly to reflect different priorities, hierarchies, experiences, points of view, and destinations.

'Flight Patterns' by artist Aaron Koblin, a visualization based on airplane location data.

(Image courtesy of Aaron Koblin)

'18th Century Königsberg' and '21st Century Kaliningrad' by mathematician Marcus du Sautoy

(Image courtesy of Joe McLaren)

The prominent Oxford mathematician Marcus du Sautoy points to the unsolvable 18th-century puzzle “The Seven Bridges of Königsberg,” a groundbreaking “map in mathematics” asking whether it’s possible to cross all seven bridges only once, as a kind of metaphor for how maps reflect multiple dimensions of cultural change:

Rather than the physical geometry of the city, it was the way the city was connected together that was important. Topology was born. Topological maps are essential in navigating the plethora of networks that map the modern world: from the London Underground to the Internet, from neural networks to social networks. Although the eighteenth-century version proved an impossible puzzle to solve, it turns out that in modern-day Königsberg, or Kaliningrad as it is called today, you can cross the seven bridges that currently span the Pregel River once and only once.

'Map of Media Power Over Time' by media theorist Douglas Rushkoff

(Image courtesy of Douglas Rushkoff)

Artist Yoko Ono contributes a textual piece, originally published in her 1970 gem Grapefruit: A Book of Instructions and Drawings by Yoko Ono:

MAP PIECE

Draw an imaginary map.
Put a goal mark on the map where you
want to go.
Go walking on an actual street according
to your map.
If there is no street where it should be
according to the map, make one by putting
the obstacles aside.
When you reach the goal, ask the name of
the city and give flowers to the first
person you meet.
The map must be followed exactly, or the
event has to be dropped altogether.

Ask your friends to write maps.
Give your friends maps.

1962 summer

Artist Pae White admits to a chronic difficulty in reading maps and writes, 'Shapes don't automatically register as places, and cropping or figure/ground ambiguity only makes things worse. For me, a void is also a place.'

(Image courtesy of Pae White)

Computer scientist and World Wide Web inventor Tim Berners-Lee's 'mapping analogy for explaining to people the mingling and evolution of influences in the World Wide Web technology' (2007)

(Image courtesy of Tim Berners-Lee)

Mapping It Out: An Alternative Atlas of Contemporary Cartographies is a stimulating delight in its entirety. Complement it with Umberto Echo’s chronicle of the greatest maps of imaginary places and E.F. Schumacher’s superb vintage guide to philosophical maps, then revisit Obrist’s compendium of famous artists’ instructions for art anyone can make.

Images courtesy of Thames & Hudson

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How We Think: John Dewey on the Art of Reflection and Fruitful Curiosity in an Age of Instant Opinions and Information Overload

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“To maintain the state of doubt and to carry on systematic and protracted inquiry — these are the essentials of thinking.”

Decades before Carl Sagan published his now-legendary Baloney Detection Kit for critical thinking, the great philosopher, psychologist, and education reformer John Dewey penned the definitive treatise on the subject — a subject all the more urgently relevant today, in our age of snap judgments and instant opinions. In his 1910 masterwork How We Think (free download; public library), Dewey examines what separates thinking, a basic human faculty we take for granted, from thinking well, what it takes to train ourselves into mastering the art of thinking, and how we can channel our natural curiosity in a productive way when confronted with an overflow of information.

Dewey begins with the foundation of reflective thought, the defining quality of the fruitful, creative mind:

More of our waking life than we should care to admit, even to ourselves, is likely to be whiled away in this inconsequential trifling with idle fancy and unsubstantial hope…

Reflection involves not simply a sequence of ideas, but a consequence — a consecutive ordering in such a way that each determines the next as its proper outcome, while each in turn leans back on its predecessors. The successive portions of the reflective thought grow out of one another and support one another; they do not come and go in a medley. Each phase is a step from something to something — technically speaking, it is a term of thought. Each term leaves a deposit which is utilized in the next term. The stream or flow becomes a train, chain, or thread.

Thought, Dewey notes, also denotes belief, which he defines as “real or supposed knowledge going beyond what is directly present,” which is “marked by acceptance or rejection of something as reasonably probable or improbable.” But that process of acceptance or rejection is also where we brush up against one of the most quintessential human flaws, the same one responsible for the “backfire effect” — our tendency to construct our beliefs based on insufficient knowledge and understanding, then to cling to them blindly, rejecting all evidence to the opposite. Stereotypes and prejudice are among the products of such thinking. In that sense, our “thoughts” are not based on true reflection but on crippling cognitive shortcuts, often borrowed from society rather than arrived at by our own cerebration. Dewey writes:

Such thoughts grow up unconsciously and without reference to the attainment of correct belief. They are picked up — we know not how. From obscure sources and by unnoticed channels they insinuate themselves into acceptance and become unconsciously a part of our mental furniture. Tradition, instruction, imitation — all of which depend upon authority in some form, or appeal to our own advantage, or fall in with a strong passion — are responsible for them. Such thoughts are prejudices, that is, prejudgments, not judgments proper that rest upon a survey of evidence.

To truly think, Dewey argues, we ought to consider not only the origin of our beliefs but also how they affect our actions, which they inevitably do:

Thinking in its best sense is that which considers the basis and consequences of beliefs…

To think of the world as flat is to ascribe a quality to a real thing as its real property. This conclusion denotes a connection among things and hence is not, like imaginative thought, plastic to our mood. Belief in the world’s flatness commits him who holds it to thinking in certain specific ways of other objects, such as the heavenly bodies, antipodes, the possibility of navigation. It prescribes to him actions in accordance with his conception of these objects.

Dewey defines reflective thought, our single most potent antidote to erroneous beliefs:

Active, persistent, and careful consideration of any belief or supposed form of knowledge in the light of the grounds that support it, and the further conclusions to which it tends, constitutes reflective thought… It is a conscious and voluntary effort to establish belief upon a firm basis of reasons.

This basis of reasons, Dewey argues, is a relational framework for how different bits of knowledge connect to and validate one another. To think well is to construct fruitful linkages:

[The] function by which one thing signifies or indicates another, and thereby leads us to consider how far one may be regarded as warrant for belief in the other, [is] the central factor in all reflective or distinctively intellectual thinking… Reflection thus implies that something is believed in (or disbelieved in), not on its own direct account, but through something else which stands as witness, evidence, proof, voucher, warrant; that is, as ground of belief.

What follows naturally from this is the idea that to think is also to embrace uncertainty and harness the power of not-knowing:

Thinking … is defined accordingly as that operation in which present facts suggest other facts (or truths) in such a way as to induce belief in the latter upon the ground or warrant of the former. We do not put beliefs that rest simply on inference on the surest level of assurance. To say “I think so” implies that I do not as yet know so. The inferential belief may later be confirmed and come to stand as sure, but in itself it always has a certain element of supposition…

[There are] certain subprocesses which are involved in every reflective operation. These are: (a) a state of perplexity, hesitation, doubt; and (b) an act of search or investigation directed toward bringing to light further facts which serve to corroborate or to nullify the suggested belief.

Much like getting lost helps us find ourselves, being uncertain drives us to reflect, to seek knowledge. The spark of thinking, Dewey argues, is a kind of psychological restlessness rooted in ambiguity — what John Keats memorably termed “negative capability” — which precipitates our effort to resolve the unease by coming to, by way of reflection and deliberation, a conclusion:

Thinking begins in what may fairly enough be called a forked-road situation, a situation which is ambiguous, which presents a dilemma, which proposes alternatives. As long as our activity glides smoothly along from one thing to another, or as long as we permit our imagination to entertain fancies at pleasure, there is no call for reflection. Difficulty or obstruction in the way of reaching a belief brings us, however, to a pause. In the suspense of uncertainty, we metaphorically climb a tree; we try to find some standpoint from which we may survey additional facts and, getting a more commanding view of the situation, may decide how the facts stand related to one another…

Demand for the solution of a perplexity is the steadying and guiding factor in the entire process of reflection… This need of straightening out a perplexity also controls the kind of inquiry undertaken. A traveler whose end is the most beautiful path will look for other considerations and will test suggestions occurring to him on another principle than if he wishes to discover the way to a given city. The problem fixes the end of thought and the end controls the process of thinking.

This is where the art of critical thinking becomes crucial. Like the scientist, whose chief responsibility is always to remain uncertain, so the thinker must cultivate a capacity for not only welcoming but seeking out doubt:

If the suggestion that occurs is at once accepted, we have uncritical thinking, the minimum of reflection. To turn the thing over in mind, to reflect, means to hunt for additional evidence, for new data, that will develop the suggestion, and will either, as we say, bear it out or else make obvious its absurdity and irrelevance… The easiest way is to accept any suggestion that seems plausible and thereby bring to an end the condition of mental uneasiness. Reflective thinking is always more or less troublesome because it involves overcoming the inertia that inclines one to accept suggestions at their face value; it involves willingness to endure a condition of mental unrest and disturbance. Reflective thinking, in short, means judgment suspended during further inquiry; and suspense is likely to be somewhat painful… To maintain the state of doubt and to carry on systematic and protracted inquiry — these are the essentials of thinking.

Just as importantly, Dewey argues, reflective thought acts as an antidote to autopilot — it “affords the sole method of escape from purely impulsive or purely routine action.” But like the use of any tool, thinking “may go wrong as well as right, and hence … needs safeguarding and training.” Dewey admonishes against the assumption that one’s intelligence prevents the operation from going wrong — if anything, the relationship between creativity and dishonesty suggests that the most intelligent people are often those most deft at rationalizing their erroneous beliefs and the resulting behaviors. Dewey writes:

Natural intelligence is no barrier to the propagation of error, nor large but untrained experience to the accumulation of fixed false beliefs. Errors may support one another mutually and weave an ever larger and firmer fabric of misconception.

Perhaps the greatest gift of thought, Dewey notes, is that it allows us to imagine things not yet experienced, based on what we know in and about the present — it grants us the power of “systematized foresight,” which enables us to “act on the basis of the absent and the future.” And yet therein lies one of the most perilous potential pitfalls, as well as the greatest potentiality of learning the art of reflective thought:

The process of reaching the absent from the present is peculiarly exposed to error; it is liable to be influenced by almost any number of unseen and unconsidered causes — past experience, received dogmas, the stirring of self-interest, the arousing of passion, sheer mental laziness, a social environment steeped in biased traditions or animated by false expectations, and so on. The exercise of thought is, in the literal sense of that word, inference; by it one thing carries us over to the idea of, and belief in, another thing. It involves a jump, a leap, a going beyond what is surely known to something else accepted on its warrant. Unless one is an idiot, one simply cannot help having all things and events suggest other things not actually present, nor can one help a tendency to believe in the latter on the basis of the former. The very inevitableness of the jump, the leap, to something unknown, only emphasizes the necessity of attention to the conditions under which it occurs so that the danger of a false step may be lessened and the probability of a right landing increased.

Paying attention, essentially, means understanding the context in which an idea occurs and the conditions under which it is given credence — in other words, knowing why we believe what we believe. That, Dewey argues, is a function of critical thinking, the result of which is proof — something without which we can’t be certain that what we believe is true:

To prove a thing means primarily to try, to test it… Not until a thing has been tried — “tried out,” in colloquial language — do we know its true worth. Till then it may be pretense, a bluff. But the thing that has come out victorious in a test or trial of strength carries its credentials with it; it is approved, because it has been proved.

(How brilliantly this applies not only to the pursuit of capital-T truth, but also to the basic fabric of our wants and desires — so often we dismiss something as unworthy without having tried it out. To dismiss experiences and ideas in that way is, then, a profound failure of reflective thinking and of our highest human potentiality.)

In testing our inferences, Dewey argues, it’s crucial to discriminate between “beliefs that rest upon tested evidence and those that do not” and to be mindful of “the kind and degree of assent yielded,” both of which require a rich library of knowledge and experience against which to test our beliefs.

This notion strikes with particular resonance: I founded Brain Pickings around the concept of combinatorial creativity, the idea that our capacity to create — which is, essentially, a function of fruitful thinking — is predicated on a vast and diverse pool of insights, impressions, influences, and other mental resources.

Illustration from 'Inside the Rainbow: Russian Children's Literature 1920-35.' Click image for more.

Dewey captures this elegantly in considering “the factors essential to thought”:

Thinking involves … the suggestion of a conclusion for acceptance, and also search or inquiry to test the value of the suggestion before finally accepting it. This implies (a) a certain fund or store of experiences and facts from which suggestions proceed; (b) promptness, flexibility, and fertility of suggestions; and (c) orderliness, consecutiveness, appropriateness in what is suggested. Clearly, a person may be hampered in any of these three regards: His thinking may be irrelevant, narrow, or crude because he has not enough actual material upon which to base conclusions; or because concrete facts and raw material, even if extensive and bulky, fail to evoke suggestions easily and richly; or finally, because, even when these two conditions are fulfilled, the ideas suggested are incoherent and fantastic, rather than pertinent and consistent.

We stock our “store of experiences and facts” via one of the greatest human faculties — our inherent curiosity, a “desire for the fullness of experience”:

The most vital and significant factor in supplying the primary material whence suggestion may issue is, without doubt, curiosity… The curious mind is constantly alert and exploring, seeking material for thought, as a vigorous and healthy body is on the qui vive for nutriment. Eagerness for experience, for new and varied contacts, is found where wonder is found. Such curiosity is the only sure guarantee of the acquisition of the primary facts upon which inference must base itself.

Dewey explores curiosity at its most natural and uncontaminated — in the child’s mind. Children not only offer a model for fruitful risk-taking and overcoming the fear of failure, but their boundless curiosity, he argues, is precisely what we need to reawaken in ourselves in seeking to cultivate fertile thought:

In its first manifestations, curiosity is a vital overflow, an expression of an abundant organic energy. A physiological uneasiness leads a child to be “into everything” — to be reaching, poking, pounding, prying… The most casual notice of the activities of a young child reveals a ceaseless display of exploring and testing activity. Objects are sucked, fingered, and thumped; drawn and pushed, handled and thrown; in short, experimented with, till they cease to yield new qualities. Such activities are hardly intellectual, and yet without them intellectual activity would be feeble and intermittent through lack of stuff for its operations.

From this springs the next developmental stage, the what/why phase that often exasperates parents and teachers but provides the foundation for critical thinking:

A higher stage of curiosity develops under the influence of social stimuli. When the child learns that he can appeal to others to eke out his store of experiences, so that, if objects fail to respond interestingly to his experiments, he may call upon persons to provide interesting material, a new epoch sets in. “What is that?” “Why?” become the unfailing signs of a child’s presence… Yet there is more than a desire to accumulate just information or heap up disconnected items, although sometimes the interrogating habit threatens to degenerate into a mere disease of language. In the feeling, however dim, that the facts which directly meet the senses are not the whole story, that there is more behind them and more to come from them, lies the germ of intellectual curiosity.

Curiosity rises above the organic and the social planes and becomes intellectual in the degree in which it is transformed into interest in problems provoked by the observation of things and the accumulation of material. When the question is not discharged by being asked of another, when the child continues to entertain it in his own mind and to be alert for whatever will help answer it, curiosity has become a positive intellectual force. To the open mind, nature and social experience are full of varied and subtle challenges to look further.

Once again, Dewey reminds us that this unique human gift is predicated on our fragile willingness to befriend uncertainty and welcome the unknown — something most of us relinquish by mid-life. Lamenting the ease with which “the open-minded and flexible wonder of childhood” is lost, Dewey writes:

If germinating powers are not used and cultivated at the right moment, they tend to be transitory, to die out, or to wane in intensity. This general law is peculiarly true of sensitiveness to what is uncertain and questionable; in a few people, intellectual curiosity is so insatiable that nothing will discourage it, but in most its edge is easily dulled and blunted.

In a sidebar comment on the notion of dullness, he considers the very metaphors we use for the quality of the mind in a rather lyrical passage:

The common classification of persons into the dull and the bright is made primarily on the basis of the readiness or facility with which suggestions follow upon the presentation of objects and upon the happening of events. As the metaphor of dull and bright implies, some minds are impervious, or else they absorb passively. Everything presented is lost in a drab monotony that gives nothing back. But others reflect, or give back in varied lights, all that strikes upon them. The dull make no response; the bright flash back the fact with a changed quality.

But Dewey’s most prescient point has to do with how information overload — a malady undoubtedly far worse today than it was in 1910, yet one each era bemoans by its own terms — muddles the clarity of our view, hindering our ability to think critically and reflectively:

So many suggestions may rise that the person is at a loss to select among them. He finds it difficult to reach any definite conclusion and wanders more or less helplessly among them… There is such a thing as too much thinking, as when action is paralyzed by the multiplicity of views suggested by a situation… The very number of suggestions may be hostile to tracing logical sequences among them, for it may tempt the mind away from the necessary but trying task of search for real connections, into the more congenial occupation of embroidering upon the given facts a tissue of agreeable fancies. The best mental habit involves a balance between paucity and redundancy of suggestions.

In today’s culture of exponentially growing “multiplicity of views,” Dewey’s admonition exposes with great urgency both meanings of critical in “critical thinking.” (Thirty-five years later, in 1945, Vannevar Bush would propose a complementary solution to the predicament by predicting the emergence of “a new profession of trail blazers” — essentially, knowledge sherpas who “find delight in the task of establishing useful trails through the enormous mass of the common record.”)

For Dewey, the solution was in large part a matter of depth — how deep we are willing to penetrate the bottomless pit of information. It is our capacity for depth that determines the richness and fruitfulness of our thought — something of equally urgent importance today, when the information web is dominated by bite-sized opinion riffs and “How Cat Are You?” quizzes. Deep-diving, according to Dewey, is something that can and should be taught:

One man’s thought is profound while another’s is superficial; one goes to the roots of the matter, and another touches lightly its most external aspects. This phase of thinking is perhaps the most untaught of all, and the least amenable to external influence whether for improvement or harm. Nevertheless, the conditions of the [person's] contact with subject-matter may be such that he is compelled to come to quarters with its more significant features, or such that he is encouraged to deal with it upon the basis of what is trivial. The common assumptions that, if the [person] only thinks, one thought is just as good for his mental discipline as another, and that the end of study is the amassing of information, both tend to foster superficial, at the expense of significant, thought.

Even more important, in our era of snap-judgments and instant opinions, is Dewey’s point about the slowness and deliberative contemplation inherent to such deep thought:

Sometimes slowness and depth of response are intimately connected. Time is required in order to digest impressions, and translate them into substantial ideas. “Brightness” may be but a flash in the pan. The “slow but sure” person … is one in whom impressions sink and accumulate, so that thinking is done at a deeper level of value than with a slighter load… The depth to which a sense of the problem, of the difficulty, sinks, determines the quality of the thinking that follows.

Ultimately, Dewey argues that thinking is predicated on mapping out the interaction of information and on an intentional organization of knowledge — something that requires a comfort with uncertainty, a systematic curiosity that stocks the mental store of ideas, and a willingness for depth and slowness:

Thinking [is] not a machine-like, ready-made apparatus to be turned indifferently and at will upon all subjects, as a lantern may throw its light as it happens upon horses, streets, gardens, trees, or river. Thinking is specific, in that different things suggest their own appropriate meanings, tell their own unique stories, and in that they do this in very different ways with different persons. As the growth of the body is through the assimilation of food, so the growth of mind is through the logical organization of subject-matter. Thinking is not like a sausage machine which reduces all materials indifferently to one marketable commodity, but is a power of following up and linking together the specific suggestions that specific things arouse.

[...]

Facts, whether narrow or extensive, and conclusions suggested by them, whether many or few, do not constitute, even when combined, reflective thought. The suggestions must be organized; they must be arranged with reference to one another and with reference to the facts on which they depend for proof. When the factors of facility, of fertility, and of depth are properly balanced or proportioned, we get as the outcome continuity of thought. We desire neither the slow mind nor yet the hasty. We wish neither random diffuseness nor fixed rigidity. Consecutiveness means flexibility and variety of materials, conjoined with singleness and definiteness of direction.

And yet, he is careful to point out, it is not a black-and-white matter of tuning out distraction and pursuing absolute concentration — that, in fact, is the very mechanism by which we confine ourselves to our existing beliefs, never leaving our comfort zone of knowledge and opinion. Good thinking, he argues, embraces contradiction rather than shunning it:

Concentration does not mean fixity, nor a cramped arrest or paralysis of the flow of suggestion. It means variety and change of ideas combined into a single steady trend moving toward a unified conclusion. Thoughts are concentrated not by being kept still and quiescent, but by being kept moving toward an object, as a general concentrates his troops for attack or defense. Holding the mind to a subject is like holding a ship to its course; it implies constant change of place combined with unity of direction. Consistent and orderly thinking is precisely such a change of subject-matter. Consistency is no more the mere absence of contradiction than concentration is the mere absence of diversion — which exists in dull routine or in a person “fast asleep.” All kinds of varied and incompatible suggestions may sprout and be followed in their growth, and yet thinking be consistent and orderly, provided each one of the suggestions is viewed in relation to the main topic.

So why would we ever go through all that trouble in the first place, rather than sinking into our comfortable routine? Dewey argues that thinking arises from the need to action — something undoubtedly evidenced by the history of successful entrepreneurship, wherein many great inventions came from the inventor’s own need for something that didn’t yet exist in the world, be it the Polaroid camera, which Edwin Land dreamed up after his little daughter asked why she couldn’t see a photograph right after it was taken, or Instapaper, which Marco Arment built out of frustration with how hard it was to read web articles on the iPhone offline. Dewey writes:

Intellectual organization originates and for a time grows as an accompaniment of the organization of the acts required to realize an end, not as the result of a direct appeal to thinking power. The need of thinking to accomplish something beyond thinking is more potent than thinking for its own sake. All people at the outset, and the majority of people probably all their lives, attain ordering of thought through ordering of action.

How We Think is a magnificent read in its entirety, exploring everything from the defects and potential reform of the education system to how we can train ourselves to interpret facts and create meaning out of them. It is available as a free ebook.

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