Showing posts with label DESIGN THINKNG. Show all posts
Showing posts with label DESIGN THINKNG. Show all posts

Sunday, November 3, 2013

College's Measure of Creativity (Update: All I Really Need to Know I Learned in Kindergarten)

November 2, 2013

Robots or Aliens as Parents? Colleges Gauge Applicants’ Creativity



As legions of high school seniors polish their college applications, plowing through predictable essay topics about their lives and goals, they might also run across something like this: “Tell us your favorite joke and try to explain the joke without ruining it.”
A small but growing number of select colleges have turned to off-kilter questions like that one, part of this year’s application to the University of Chicago, or like this one, from Brandeis University: “You are required to spend the next year of your life in either the past or the future. What year would you travel to and why?” This year’s most-discussed question, from Tufts University, was about the meaning of “YOLO,” an acronym for “you only live once,” popularized by the rapper Drake.
And even those are tame compared with some choices from the last few years, like “If you could choose to be raised by robots, dinosaurs or aliens, who would you pick?” (Brandeis), or “What does Play-Doh have to do with Plato?” (Chicago).
For the colleges, such questions set them apart, though the applications invariably give a choice of subjects, including some that are closer to traditional. And at a time when some elite colleges worry that high school students are more likely to be high achievers than independent thinkers, oddball essay questions offer a way to determine which of the A-student, high-test-score, multi-extracurricular applicants can also show a spark of originality.
Most elite colleges use the Common Application, which contains fairly standard essay questions, and require their own supplemental applications, with more writing exercises.
“In the day of the Common App, there’s such a sense of sameness in applying to the different schools, so we’re trying to communicate what’s distinctive about us and determine what’s distinctive about our applicants,” said Andrew Flagel, the senior vice president for students and enrollment at Brandeis.
A quirky essay subject can seem like a burden to students who, already stressed out by the application process, find that being diligent and brilliant is not enough — that colleges also want them to be whimsical and creative. Teenagers pepper social media with complaints about the questions, though they do not want to be interviewed, for fear of alienating their colleges of choice.
But others embrace the chance to express themselves, seeing it as a welcome relief from the ordinary applications.
“Usually, the essay prompts are boring,” said Sam Endicott, a high school senior from Edmond, Okla., who said he chose the University of Chicago’s topic on explaining a joke. “They don’t inspire a whole lot of creativity. I like the ones that allow more free rein to be a little different.”
Looking at the same application, Matt Bliss, a senior from Portage, Ind., seized on the invitation to make up his own topic. Recalling that one of the University of Chicago’s essay choices last year was “So where is Waldo, really?” he wrote his essay on “Can Waldo find himself?”
“I see it as a way to really show the college, ‘This is me,’ to establish your voice as a writer and show that you’re willing to take a risk,” he said.
Most students prefer — and are better off — avoiding the unusual questions, said John B. Boshoven, a counselor at Community High School in Ann Arbor, Mich.
“There are the kids who find it just invigorating, but they are not the majority,” he said. “The linear, sequential, mechanical kids of the world usually don’t want to play that game, no matter how smart they are.”
Counselors and private admission consultants say quirkier questions are more of a challenge for students getting a late start and feeling the pressure of an application deadline — usually November for early admissions or January for regular admissions — and for overseas students.
“In the next few days, I’m going to be seeing stressed-out seniors trying to bang these things out and wondering why they’re bothering,” said Don McMillan, a consultant based in Boston. “And we’ve got kids from Brazil or Nicaragua who are going to have trouble even getting the joke, much less know how to answer it.”
The University of Chicago, well known for its off-the-wall questions, began asking them in the 1980s and invites current students and recent alumni to submit ideas. The results have become more unorthodox over the years, producing applications in the last decade that have offered topics like “Destroy a question with your answer” and, in reference to the industrial-size products at some big-box retailers, “Write an essay somehow inspired by super-huge mustard.”
When asked whether the past question “How did you get caught?” exposed unsavory behavior or whether this year’s query about a joke elicited anything obscene, John W. Boyer, the dean of the undergraduate college, said, “As long as it doesn’t violate the criminal laws of the State of Illinois, it’s fine with me.”
In recent years, unusual questions have appeared on applications for other colleges, including Tufts, Brandeis, Johns Hopkins University, the University of Virginia, the University of Pennsylvania and Hamilton College (which once asked, “If you were reduced to living on a flat plane, what would be your greatest problems? Opportunities?”). But some of those institutions have reverted to more traditional essay topics, and the unorthodox approach remains limited to a relative handful of elite universities.
Dr. Boyer said the questions had helped build the University of Chicago’s identity; years after graduation, alumni often remember their essay topic.
“It requires a little bit of wit and more than a little bit of imagination,” he said. “We want to give students an opportunity to be unconventional in a pushing-the-boundary sense and see what they can do.”

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Tuesday, September 17, 2013

DESIGN in the D Event (Squaring the Deck for DESIGN Thinking!)

DESIGN in the D
Festival showcases city’s creativity with exhibits, lectures, theater,pop-up installations and more
By John Monaghan Detroit Free Press Special Writer
   The Detroit Design Festival launches its third year this week, and director Matt Clayson thinks the world is quickly taking notice.
   “The festival continues this ongoing dialogue about Detroit being a center of good design and creativity,” he says.
   Organized by the Detroit Creative Corridor Center (DC3), the event will continue its mission of showcasing the city’s still-emerging design industry by offering more than 60 events, including mini-conferences, lectures, exhibitions, theater presentations, fashion shows, workshops and panel discussions.
   They’ll be held at venues all over town and most are free. Temporary studios and installations, often called pop-ups, are also a big part of this year’s lineup.
   According to Clayson, the festival celebrates the “gray area where design meets fine art. This is a forum to discuss what is design, what is art, and what does all of this look like in relation to the city.”
   The event launches tonight with a kickoff party from 6 to 10 p.m. at the A. Alfred Taubman Center for Design Education at the College for Creative Studies (485 W. Milwaukee St.). Studio displays from local designers will be featured and entertainment will be provided by DJ Erno and the Inferno. Organizers promise lots of marketing and networking opportunities for artists, designers and aspiring designers.
   Here’s a sampling of notable events from the wide-ranging lineup. You can find details on these and many more offerings atwww.detroitdesignfestival.com  .
   Exhibit
   “Nothingtoseeness: The Visual Art of John Cage” consists of drawings, watercolors and prints by avant-garde artist, composer and writer John Cage (1912-92). The works are being seen in Detroit for the first time and will be accompanied, in the words of organizers, by “a Cagean chance-derived score which will randomly alter the installation throughout the run of the exhibition.” (10 a.m.-5 p.m. today- Saturday, Center Galleries, Manoogian Visual Resource Center, College for Creative Center, 301 Frederick Douglass)
   Installation
   Giant balloon trees that soar high above expected crowds will be the centerpiece of Citypark, a pop-up park near the site of the old Hudson’s store in downtown Detroit. It’s the creation of John Skidmore Studio. (Opening reception, 5-7 p.m. Wednesday, 1206 Woodward)
   Film
   “The Love Song of R. Buckminster Fuller,” a film about celebrated architect, inventor and futurist Fuller (1895-1983), will include live narration by Oscar-nominated documentary filmmaker Sam Green (“The Weather Underground”) and a performance of the film’s score by veteran indie rock band Yo La Tengo. (7 and 9:30 p.m. Thursday, Detroit Film Theatre, Detroit Institute of Arts, 5200 Woodward. Both screenings are sold out.)
   Nighttime fun
   Thirty creative enterprises — everything from restaurants to gal leries — will showcase their offerings during Eastern Market After Dark. A free shuttle will be available to help guests navigate the 24-acre farmers market just east of downtown. (7-11 p.m. Thursday)

   Transportation design students from the Center for Creative Studies had aerodynamics in mind when they fabricated vehicles for Friday’s Cable Car Race. The cable cars, made of foam rubber, will be raced on descending cables in a school parking structure. Speed and overall design will determine the winners. (4:15 p.m. Friday, Ford Campus Parking Structure, fourth floor, 201 E. Kirby Road)
   Shopping
   Entrepreneurs, artists and designers have joined to transform parts of Livernois Avenue into the Avenue of Fashion that it once was. Friday’s Light Up Livernois will feature eight hours of art, shopping and entertainment at pop-up storefronts set up by creative types from Detroit and elsewhere. (3-11 p.m Friday, Livernois Avenue between 7 Mile and 8 Mile)
   Theater
   New company Fratellanza sets out to turn theater on its head with “String Up the Moon,” a mashup of absurdist theater and commedia dell’arte that employs music, dance and acrobatics. The play is based on works by two celebrated Russians: “Diary of a Madman,” an 1835 story by Nikolai Gogol, and “Mozart and Salieri,” an 1832 play by Alexander Pushkin. (7:30 p.m. Saturday, Jam Handy building, 2900 E. Grand Blvd. $15, $5 for playgoers under 30. The show will be followed by a Russian tea.) Biking
   The cycling enthusiasts at Detroit Bike City, the group that sponsors weekly bike rides through Detroit that it calls Slow Rolls, are getting in on the DDF fun. Saturday evening’s Slow Roll: Special Edition will take participants on a tour of key festival locations. Stops include Midtown, Corktown and Grand River Avenue. (6:30 p.m. Saturday, Downtown Detroit Bike Shop, 1420 Fisher Fwy. Helmet, extra bike tube and lights required.)
   Hanging out
   Make dPOP! Workeasy, located in Detroit’s Chrysler House, your home base as you explore festival offerings downtown. You can recharge your creative batteries there and enjoy free coffee, snacks and WiFi in a speakeasy-like atmosphere. (8 a.m.-9 p.m. Wednesday-Friday, 719 Griswold).
   See DESIGN, Page 2D
Amural by Katie Craig was featured in the 2012 Detroit Design Festival. It was created in conjunction with the Better Blocks Project. This year’s festival events will be held at venues all over town and most are free. J SINGLETON
DETROIT DESIGN FESTIVAL
   Tuesday-Sunday at venues across the city, including downtown, Midtown, the Cass Corridor and numerous neighborhoods. Many events are free.
   Full details: www.detroitdesignfestival.com  
Indie rock band Yo La Tengo will perform the score at the showing of the film “The Love Song of R. Buckminster Fuller” Thursday at Detroit Film Theatre. DFP

Sango Tajima, left, Jim Manganello and Paul Manganello will perform “String Up the Moon” from theater group Fratellanza. COSTA SIRDENIS

Monday, August 26, 2013

LTU STEM Center (Update: Crain's Detroit Business Magazine)


$20M gift to LTU a STEM-winder Alumni donors to help boost $55M complex

Stephen Brown, vice president for university advancement at Lawrence Technological University (left), and university President Virinder K. Moudgil (right)
ANTHONY BARCHOCK
Stephen Brown, vice president for university advancement at Lawrence Technological University (left), and university President Virinder K. Moudgil say hundreds of alumni have donated to the new complex on its Southfield campus.
The largest alumni cash gift in the history of Lawrence Technological University gives new legs to its plans for a $55 million complex — and accelerates the 81-year-old school's work on that project and efforts to attract more students to engineering and science careers.

About half of the $20 million gift, announced last week, will go toward building the revised A. Alfred Taubman Engineering, Life Sciences and Architecture Complex with a newly added Dr. Richard E. Marburger STEM Center.

The Southfield-based engineering, design and management university is working with its architect to see how the new center adjusts the building's layout and project cost, said university President Virinder Moudgil.

The $20 million gift comes from a donor who wishes to remain anonymous, the university said.

The proposed Marburger center expands on programs Lawrence Tech offers to attract middle and high school students into careers of science, technology, engineering and mathematics — commonly known as STEM. Marburger was the fourth president of Lawrence Tech, from 1977 to 1993.

And, Moudgil said, some of that STEM program expansion could begin as early as the winter semester — before any construction starts on the Taubman complex in 2014.

"A year from now, we'll put the shovel in the ground, and the first phase will be complete in 2015," Moudgil said. "But the beauty of this gift is, we don't have to wait for that. The process of the education can start almost right away. And as people learn and inquire about participating in it, we can start offering more instruction."

The new gift — all donors to the complex have been undisclosed since retail pioneer Taubman's original $11 million seed gift for it in 2011 — will go toward equipment and training space in robotics, software engineering, modeling, medical simulations, computer-assisted molecular modeling and other specialty equipment systems in the STEM center.

It also puts the university at between $30 million and $35 million raised for the complex. Hundreds of alumni have contributed, including about a dozen "significant" gifts since Taubman's first pledge, said Moudgil and Stephen Brown, vice president of university advancement.

A large portion of the new gift is earmarked to fund need-based scholarships at LTU and does not count toward the STEM center or cost of the building.

The university hopes to fund all three phases of construction through philanthropy, Brown said, but more than 55 percent of the major donor gifts to date are either estate or planned gifts. Shovels break ground next summer, and the new cash gift comes in installments over three years.

"If the groundbreaking were tomorrow, we'd have a problem. We still have work to do, but donor efforts are continuing," said Brown, who hopes to have at least $15 million in cash in hand from fundraising once construction starts.

The architect on the project is Thom Mayne, founder of the architectural and design firm Morphosis, which has offices in New York City and Culver City, Calif.

Lawrence Tech is also $96 million along toward a new stretch goal of $100 million in its capital campaign, launched six years ago. In addition to the $55 million, 125,000-square-foot complex, the campaign is raising $35 million worth of endowments and scholarships, plus $10 million for academics and program innovation.

"We have many pending asks that we still need to close. The building cost is to be fully funded through philanthropy," Moudgil said. "And it will add some to our operating costs, but we expect that to be offset by a larger number of students. We are not going to raise tuition simply to have this development."

This spring, Lawrence Tech unveiled preliminary plans for the 125,000-square-foot STEM center. Moudgil said plans probably will see some changes over the next few months.

The STEM center was one of many proposals the development staff had solicited to alumni, and the latest donor took an interest in that during discussions this year, Brown said.

The university, which has 4,500 students, probably will add "a few hundred" more students after the first phase of construction wraps up in 2015 and eventually should grow to about 6,000 when the expansion is complete, Moudgil said.

The university last month also received an in-kind software grant from Plano, Texas-based Siemens PLM Software, with an estimated $40 million commercial value, to aid in product design.

LTU’s Biggest Gift Ever, $20M, Will Create STEM Center

Lawrence Technological University's Southfield campus
Lawrence Technological University’s Southfield campus
SOUTHFIELD (WWJ) – Lawrence Technological University has received a $20 million gift to support its “Proud Heritage, Bold Future” capital campaign. It is the largest cash gift in the 4,500-student private university’s 81-year history.
The gift will be used to help fund the planned Richard E. Marburger STEM Center, which will support existing STEM (science, technology, engineering and mathematics) programs at LTU and introduce new programs.
Marburger was the university’s fourth president from 1977 to 1993 and remains active on campus as he approaches his 50th anniversary of service to the university.
The donor, meanwhile, wishes to be anonymous.
“This is a transformational contribution that provides Lawrence Tech an unprecedented opportunity to advance several long-term goals at the same time,” said LTU President Virinder Moudgil. “The university has plans in place for exciting new educational initiatives and can now move ahead to enhance its leadership position in delivering cutting-edge education in the STEM fields of science, technology, engineering and mathematics.”
Educational areas to be supported by the proposed Marburger STEM Center include robotics; software engineering; modeling, simulation and visualization; nanotechnology; medical simulations and informatics; computer-assisted molecular modeling; synthetic biology; “green” chemistry; and design thinking.
The Marburger STEM Center will also support academic programming in sustainable design, energy systems, architectural engineering, game art and game design, media communication, transportation and industrial design, digital humanities, digital marketing, and mathematics.
A new cross-disciplinary learning environment will increase training and instructional resources for the LTU faculty. New faculty members would lead the integration of technologies and experiential learning into curricula and research.
A significant portion of the gift will also fund need-based scholarships at LTU in order to improve accessibility to higher education.
The gift is also a major step toward reaching LTU’s capital campaign goal of $100 million, which has raised $76 million over the previous six years. The three main targets for the capital campaign are:
• Facilities and infrastructure, $55 million.
• Endowment and scholarships, $35 million.
• Academics and program innovation, $10 million.
“This remarkable gift allows Lawrence Tech to accelerate its progress in becoming a national leader in STEM education and improving the educational experiences and outcomes for our students,” Moudgil said. “Continuously improving the University’s quality and service is paramount. We are extremely grateful.”
This spring Lawrence Tech unveiled preliminary plans for the 125,000-square-foot A. Alfred Taubman Engineering, Life Sciences, and Architecture Complex that is expected to cost $55 million. Construction is expected to start next year and a portion of the gift will help provide new learning facilities in that building.
In July, LTU received the largest in-kind software grant in its history with a commercial value of $40 million from Siemens PLM Software. The in-kind grant gives LTU students access to the same technology that companies around the world use every day to develop innovative products that are engineered for manufacturability in a wide variety of industries including automotive, aerospace, defense, machinery, medical, high-tech, electronics and many more.
Lawrence Technological University, http://www.ltu.edu, is a private university founded in 1932 that offers more than 100 programs through the doctoral level in its Colleges of Architecture and Design,Arts and Sciences, Engineering, and Management. PayScale lists Lawrence Tech among the nation’s top 7 percent of universities for return on undergraduate tuition investment, and highest in the Detroit metropolitan area. Lawrence Tech is also listed in the top tier of Midwestern universities by U.S. News and World Report and the Princeton Review. Activities on Lawrence Tech’s 102-acre campus include over 60 student clubs and organizations and a growing roster of NAIA varsity sports.

Monday, August 19, 2013

BIG Data AWAITS BIG Idea (Update: For Every GAME-CHANGING Advancement SOMETHING is LOST to the FLOW!)


NEWS ANALYSIS

Is Big Data an Economic Big Dud?


IF pencil marks on some colossal doorjamb could measure the growth of the Internet, they would probably be tracking the amount of data sloshing through the public network that spans the planet. Christened by the World Economic Forum as “the new oil” and “a new asset class,” these vast loads of data have been likened to transformative innovations like the steam locomotive, electricity grids, steel, air-conditioning and the radio.
Multimedia
The astounding rate of growth would make any parent proud. There were 30 billion gigabytes of video, e-mails, Web transactions and business-to-business analytics in 2005. The total is expected to reach more than 20 times that figure in 2013, with off-the-charts increases to follow in the years ahead, according to Cisco, the networking giant.
How much data is that? Cisco estimates that in 2012, some two trillion minutes of video alone traversed the Internet every month. That translates to over a million years per week of everything from video selfies and nannycams to Netflix downloads and “Battlestar Galactica” episodes.
What is sometimes referred to as the Internet’s first wave — say, from the 1990s until around 2005 — brought completely new services like e-mail, the Web, online search and eventually broadband. For its next act, the industry has pinned its hopes, and its colossal public relations machine, on the power of Big Data itself to supercharge the economy.
There is just one tiny problem: the economy is, at best, in the doldrums and has stayed there during the latest surge in Web traffic. The rate of productivity growth, whose steady rise from the 1970s well into the 2000s has been credited to earlier phases in the computer and Internet revolutions, has actually fallen. The overall economic trends are complex, but an argument could be made that the slowdown began around 2005 — just when Big Data began to make its appearance.
Those factors have some economists questioning whether Big Data will ever have the impact of the first Internet wave, let alone the industrial revolutions of past centuries. One theory holds that the Big Data industry is thriving more by cannibalizing existing businesses in the competition for customers than by creating fundamentally new opportunities.
In some cases, online companies like Amazon and eBay are fighting among themselves for customers. But in others — here is where the cannibals enter — the companies are eating up traditional advertising, media, music and retailing businesses, said Joel Waldfogel, an economist at the University of Minnesota who has studied the phenomenon.
“One falls, one rises — it’s pretty clear the digital kind is a substitute to the physical kind,” he said. “So it would be crazy to count the whole rise in digital as a net addition to the economy.”
Robert J. Gordon, a professor of economics at Northwestern University, said comparing Big Data to oil was promotional nonsense. “Gasoline made from oil made possible a transportation revolution as cars replaced horses and as commercial air transportation replaced railroads,” he said. “If anybody thinks that personal data are comparable to real oil and real vehicles, they don’t appreciate the realities of the last century.”
Other economists believe that Big Data’s economic punch is just a few years away, as engineers trained in data manipulation make their way through college and as data-driven start-ups begin hiring. And of course the recession could be masking the impact of the data revolution in ways economists don’t yet grasp. Still, some suspect that in the end our current framework for understanding Big Data and “the cloud” could be a mirage.
“I think it’s conceivable that the data era will be a bust for the things people expect it to be useful for,” said Scott Wallsten, a senior fellow at the Technology Policy Institute and the Georgetown Center for Business and Public Policy. Some entirely new use will have to turn up for data to fulfill its economic potential, he added.
There is no disputing that a wide spectrum of businesses, from e-marketers to pharmaceutical companies, are now using huge amounts of data as part of their everyday business.
Josh Marks is the chief executive of one such company, masFlight, which helps airlines use enormous data sets to reduce fuel consumption and improve overall performance. Although his first mission is to help clients compete with other airlines for customers, Mr. Marks believes that efficiencies like those his company is chasing should eventually expand the global economy.
For now, though, he acknowledges that most of the raw data flowing across the Web has limited economic value: far more useful is specialized data in the hands of analysts with a deep understanding of specific industries. “The promises that are made around the ability to manipulate these very large data sets in real time are overselling what they can do today,” Mr. Marks said.
Some economists argue that it is often difficult to estimate the true value of new technologies, and that Big Data may already be delivering benefits that are uncounted in official economic statistics. Cat videos and television programs on Hulu, for example, produce pleasure for Web surfers — so shouldn’t economists find a way to value such intangible activity, whether or not it moves the needle of the gross domestic product?
In addition, infrastructure investments often take years to pay off in a big way, said Shane Greenstein, an economist at Northwestern University. He cited high-speed Internet connections laid down in the late 1990s that have driven profits only recently. But he noted that in contrast to the Internet’s first wave, which created services like the Web and e-mail, the impact of the second wave — the Big Data revolution — is harder to discern above the noise of broader economic activity.
“It could be just time delay, or it could be that the value just isn’t there,” said Mr. Greenstein, who has studied the competitive success of online businesses in media, advertising and retailing.
Perhaps surprisingly, the parallel most tightly embraced by digital futurists — the rise of the electricity grid — is largely dismissed by those who have studied the history of the subject. The idea is that a ubiquitous Internet will make data and “cloud” computing available anywhere, like electricity through a socket.
The numerical comparisons are tantalizing. As illustrated in “The Electric City,” by Harold L. Platt, the booming quantity and adoption rates of electricity flowing on the Chicago grid in the late 19th and early 20th centuries instantly bring to mind those charts showing data growth today.
Despite those similarities, Mr. Platt, a professor emeritus of history at Loyola University Chicago, said it was unlikely that the revolutions unleashed in manufacturing, domestic life, transportation and high and low society by electricity could ever be matched by the data era. “I’d be hard pressed to quickly draw comparisons,” he said.
But even as Mr. Platt, 68, spoke by cellphone from Chicago, fragments of today’s inescapable data flood found him as he received messages from his grown children. “I have to text them or else they won’t answer me back,” Mr. Platt said gamely. “I’m going with the flow.”

Saturday, August 17, 2013

Einstein & Henri Poincare - On the Creative Process, Play, Idea Incubation, New Combinations & New Knowledge - STREAM (Following the Conscious Grunt Work!)

How Einstein Thought: Fostering Combinatorial Creativity and Unconscious Connections

by 
“Combinatory play seems to be the essential feature in productive thought.”
For as long as I can remember — and certainly long before I had the term for it — I’ve believed that creativity is combinatorial: Alive and awake to the world, we amass a collection of cross-disciplinary building blocks — knowledge, memories, bits of information, sparks of inspiration, and other existing ideas — that we then combine and recombine,mostly unconsciously, into something “new.” From this vast and cross-disciplinary metal pool of resources beckons the infrastructure of what we call our “own” “original” ideas. The notion, of course, is not new — some of history’s greatest minds across art, science, poetry, and cinema have articulated it, directly or indirectly, in one form or another: Arthur Koestler’s famous theory of “bisociation” explained creativity through the combination of elements that don’t ordinarily belong together; graphic designer Paula Scher likens creativity to a slot machine that aligns the seemingly random jumble of stuff in our heads into a suddenly miraculous combination; T. S. Eliot believed that the poet’s mind incubates fragmentary thoughts into beautiful ideas; the great Stephen Jay Gould maintained that connecting the seemingly unconnected is the secret of genius; Gutenberg’s invention of the printing press embodied this combinatorial creativity; even what we call “intuition” is based on the unconscious application of this very mental faculty.
The concept, in fact, was perhaps best explained by Albert Einstein, who termed it “combinatory play.” (Einstein famously came up with some of his best scientific ideas during his violin breaks.) From his Ideas and Opinions(public library) — the same invaluable volume that gave us the beloved physicist’s timeless wisdom on kindness and our shared existence — comes Einstein’s single most succinct articulation of how his mind works, driven by this powerful combinatorial creativity. The 1945 letter was written in response to French mathematician Jacques S. Hadamard’s survey of the mental processes of famous scientists, inspired by polymath Henri Poincaré’s famous meditation on the subject and published as An Essay on the Psychology of Invention in the Mathematical Field, with Einstein’s missive included as a “testimonial”:
My Dear Colleague:
In the following, I am trying to answer in brief your questions as well as I am able. I am not satisfied myself with those answers and I am willing to answer more questions if you believe this could be of any advantage for the very interesting and difficult work you have undertaken.
(A) The words or the language, as they are written or spoken, do not seem to play any role in my mechanism of thought. The psychical entities which seem to serve as elements in thought are certain signs and more or less clear images which can be “voluntarily” reproduced and combined.
There is, of course, a certain connection between those elements and relevant logical concepts. It is also clear that the desire to arrive finally at logically connected concepts is the emotional basis of this rather vague play with the above-mentioned elements. But taken from a psychological viewpoint, this combinatory play seems to be the essential feature in productive thought — before there is any connection with logical construction in words or other kinds of signs which can be communicated to others.
(B) The above-mentioned elements are, in my case, of visual and some of muscular type. Conventional words or other signs have to be sought for laboriously only in a secondary stage, when the mentioned associative play is sufficiently established and can be reproduced at will.
(C) According to what has been said, the play with the mentioned elements is aimed to be analogous to certain logical connections one is searching for.
(D) Visual and motor. In a stage when words intervene at all, they are, in my case, purely auditive, but they interfere only in a secondary stage, as already mentioned.
(E) It seems to me that what you call full consciousness is a limit case which can never be fully accomplished. This seems to me connected with the fact called the narrowness of consciousness (Enge des Bewusstseins)
Ideas and Opinions is superb from cover to cover, the kind of book you return to again and again, only to find new layers of meaning with each reading. Complement it with this vintage technique for producing ideas and Einstein on the secret of learning anything.

French Polymath Henri Poincaré on How Creativity Works

by 
How to spark the “sudden illumination” of creative genius.
In his fantastic 1939 Technique for Producing Ideas, James Webb Young extolled “unconscious processing” — a period marked by “no effort of a direct nature” toward the objective of your creative pursuit — as the essential fourth step of his five-step outline of the creative process. The idea dates back to William James, who coined the concept of fringe consciousness. T. S. Eliot called this mystical yet vital part of creativity “idea incubation,” which Malcolm Cowley echoed in the second stage of his anatomy of the writing process. John Cleese similarly stressed the importance of time in creative work.
From French polymath and pioneering mathematicianHenri Poincaré — whose famous words on the nature of invention inspired the survey that gave us a glimpse of how Einstein’s genius works — comes a fascinating testament to the powerful role of this unconscious incubation in the creative process. In a chapter titled “Mathematical Creation” from his 1904 tome The Foundations of Science: Science and Hypothesis, the Value of Science, Science and Method (public library; free download), Poincaré observes a process profoundly applicable not only to mathematics, but to just about any creative discipline:
I wanted to represent these functions by the quotient of two series; this idea was perfectly conscious and deliberate; the analogy with elliptic functions guided me. I asked myself what properties these series must have if they existed, and succeeded without difficulty in forming the series I have called thetafuchsian.
Just at this time, I left Caen, where I was living, to go on a geologic excursion under the auspices of the School of Mines. The incidents of the travel made me forget my mathematical work. Having reached Coutances, we entered an omnibus to go some place or other. At the moment when I put my foot on the step, the idea came to me, without anything in my former thoughts seeming to have paved the way for it, that the transformations I had used to define the Fuchsian functions were identical with those of non-Euclidian geometry. I did not verify the idea; I should not have had time, as, upon taking my seat in the omnibus, I went on with a conversation already commenced, but I felt a perfect certainty. On my return to Caen, for conscience’ sake, I verified the result at my leisure.
With a true scientist’s insistence on empirical evidence, Poincaré ensures this was a pattern rather than mere one-off coincidence by citing another example of the process at work:
I turned my attention to the study of some arithmetical questions apparently without much success and without a suspicion of any connection with my preceding researches. Disgusted with my failure, I went to spend a few days at the seaside and thought of something else. One morning, walking on the bluff, the idea came to me, with just the same characteristics of brevity, suddenness and immediate certainty, that the arithmetic transformations of indefinite ternary quadratic forms were identical with those of non-Euclidian geometry.
He puts forth a notion contemporary researchers on creative productivity have since affirmed and speaks to the value of what we too tragically term “procrastination,” which is in fact a valuable part of ideation:
Most striking at first is this appearance of sudden illumination, a manifest sign of long, unconscious prior work. The role of this unconscious work in mathematical invention appears to me incontestable, and traces of it would be found in other cases where it is less evident. Often when one works at a hard question, nothing good is accomplished at the first attack. Then one takes a rest, longer or shorter, and sits down anew to the work. During the first half-hour, as before, nothing is found, and then all of a sudden the decisive idea presents itself to the mind. It might be said that the conscious work has been more fruitful because it has been interrupted and the rest has given back to the mind its force and freshness.
What’s more, Poincaré observes, not only circumstances but also substances help prime the mind for such moments of “sudden illumination”:
One evening, contrary to my custom, I drank black coffee and could not sleep. Ideas rose in crowds; I felt them collide until pairs interlocked, so to speak, making a stable combination. It seems, in such cases, that one is present at his own unconscious work, made partially perceptible to the over-excited consciousness, yet without having changed its nature. Then we vaguely comprehend what distinguishes the two mechanisms or, if you wish, the working methods of the two egos.
Still, Poincaré is careful to point out that without a foundation of prior conscious work — something Alexander Flexner touched on in his timeless meditation on the usefulness of useless knowledge — these “sudden illuminations” wouldn’t take place:
There is another remark to be made about the conditions of this unconscious work: it is possible, and of a certainty it is only fruitful, if it is on the one hand preceded and on the other hand followed by a period of conscious work. These sudden inspirations (and the examples already cited sufficiently prove this) never happen except after some days of voluntary effort which has appeared absolutely fruitless and whence nothing good seems to have come, where the way taken seems totally astray. These efforts then have not been as sterile as one thinks; they have set agoing the unconscious machine and without them it would not have moved and would have produced nothing.
He concludes:
The subliminal self is in no way inferior to the conscious self; it is not purely automatic; it is capable of discernment; it has tact, delicacy; it knows how to choose, to divine. What do I say? It knows better how to divine than the conscious self, since it succeeds where that has failed.
It appears, then, that in order for us to lubricate the machinery of unconscious ideation, we have to first prime the mind with directed conscious work, then relieve it of its standard inhibitions, whether by a distracting situation like a trip or a vacation, or by a stimulating substance like caffeine. (Curoiusly, more than a century after Poincaré’s remarks, scientists are beginning to suspect caffeine has the opposite effect and cramps creativity by making us too focused.)
Complement Poincaré’s insights from The Foundations of Science with Young’s indispensable 5-step “technique” for ideation and this excellent contemporary field guide to creativity.