Brain Pickings

Posts Tagged ‘creativity’

13 AUGUST, 2012

Anaïs Nin on Life, Hand-Lettered by Artist Lisa Congdon

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“You live out the confusions until they become clear.”

UPDATE: After a flurry of requests, the quotes are now available as prints. Enjoy.

It’s no secret I’m an obsessive reader of famous diaries, most recently those of French-Cuban writer Anaïs Nin (1903-1977), one of the most dedicated diarists in modern literary history. Her sixteen tomes of published journals, spanning more than half a century between the time she began writing at the age of eleven and her death, are a treasure trove of insight on literature, culture, human nature, and the life of meaning.

Earlier this month, I asked the inimitable Wendy MacNaughton to illustrate Susan Sontag’s insights on love, as synthesized from the writer’s diaries. Now, I’ve turned to another extraordinary illustrator, Lisa Congdon ( ), and asked her to bring to life some of my favorite highlights from The Diary of Anaïs Nin, Vol. 3: 1939-1944 (public library) in the style of her lovely 365 Days of Hand Lettering project.

The results took my breath away — enjoy:

You can find Lisa’s stunning prints on 20×200 and Etsy, and follow her on Twitter.

The Diary of Anaïs Nin, Vol. 3 is sublime in its entirety — highly recommended.

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08 AUGUST, 2012

The Role of “Ripeness” in Creativity and Discovery: Arthur Koestler’s Seminal Insights, 1964

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“The Latin verb cogito for ‘to think’ etymologically means ‘to shake together.'”

What a wonderful Rube Goldberg machine of discovery literature is, the countless allusions and references in a book guiding you to yet more great works. This was the case with the recent Dancing About Architecture: A Little Book of Creativity, which first flagged the 1939 gem A Technique for Producing Ideas and now brings us to The Act Of Creation (public library) — a seminal treatise on creativity, penned by Hungarian-British journalist and author Arthur Koestler in 1964. In this magnificent 700-page tome, Koestler itemizes the principles of creativity — “the conscious and unconscious processes underlying scientific discovery, artistic originality, and comic inspiration” — and sets out to outline a common pattern that can be trained and perfected.

Koestler’s insights and conclusions resonate deeply with my own beliefs about the combinatorial nature of creativity — this notion that all ideas are, as Mark Twain put it, “second-hand,” born as we constantly copy, transform, and combine old ideas, synthesize existing information, combine eclectic influences, remix material, build on what came before, and connect the seemingly disconnected.

But, Koestler argues, there is one necessary condition for this combinatorial creative fusion — which he terms “bisociation” — to take place. In this passage from the end of Chapter V, he describes that condition beautifully, articulating the backbone of creativity:

But for that fusion to take place a condition must be fulfilled which I called ‘ripeness.’

Concerning the psychology of the creative act itself, I have mentioned the following interrelated aspects of it: the displacement of attention to something not previously noted, which was irrelevant in the old and is relevant in the new context; the discovery of hidden analogies as a result of the former; the bringing into consciousness of tacit axioms and habits of thought which were implied in the code and taken for granted; the uncovering of what has always been there.

This leads to the paradox that the more original a discovery the more obvious it seems afterward. The creative act is an act of creation in the sense of the Old Testament. It creates something in heaven and projects in onto the world becoming a new mind. The more familiar the parts, the more striking the new whole. Man’s knowledge of the changes of the tides and the phases of the moon is as old as his observation that apples fall to earth in the ripeness of time. Yet the combination of these and other equally familiar data in Newton’s theory of gravity changed mankind’s outlook on the world.

‘It is obvious,’ says Hadamard, ‘that invention or discovery, be it in mathematics or anywhere else, takes place by combining ideas. . . . The Latin verb cogito for ‘to think’ etymologically means ‘to shake together.’ St. Augustine had already noticed that and also observed that intelligo means ‘to select among.’

The ‘ripeness’ of a culture for a new synthesis is reflected in the recurrent phenomenon of multiple discovery, and in the emergence of similar forms of art, handicrafts, and social institutions in diverse cultures. But when the situation is ripe for a given type of discovery, it still needs the intuitive power of an exceptional mind, and sometimes a favorable chance event, to bring it from potential into actual existence. On the other hand, some discoveries represent striking tours de force by individuals who seem to be so far ahead of their time that their contemporaries are unable to understand them.

Thus at one end of the scale we have discoveries which seem to be due to more or less conscious, logical reasoning, and at the other end those due to sudden insights which emerge from the creative mind or the unconscious. The same polarity of logic and intuition will be found to prevail in the methods and techniques of artistic creation. It is summed up by two opposite pronouncements: Bernard Shaw’s ‘Ninety per cent perspiration, ten per cent inspiration’, on the one hand, Picasso’s ‘I do not seek — I find’ (je ne cherche pas, je trouve), on the other.

The Act Of Creation is superb in its entirety, essential reading for a holistic creative mind.

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08 AUGUST, 2012

Twilight Zone Creator Rod Serling on Where Good Ideas Come From

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“Ideas are born from what is smelled, heard, seen, experienced, felt, emotionalized.”

The questions of where good ideas come from, what inspiration is made of, why some people are more creative than others, and how we can optimize ourselves for creativity are perhaps as enduring as the act of creation itself.

In this short clip from the vintage TV special Writing for Television, Rod Serling, creator of the cult-classic The Twilight Zone, manages to articulate the combinatorial nature of creativity in a mere 64 seconds:

Ideas come from the Earth. They come from every human experience that you’ve either witnessed or have heard about, translated into your brain in your own sense of dialogue, in your own language form. Ideas are born from what is smelled, heard, seen, experienced, felt, emotionalized. Ideas are probably in the air, like little tiny items of ozone.

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