Copyright (c) 2013 John L. Jerz

Out of Our Minds: Learning to be Creative (Robinson, 2011)

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Ken Robinson

"It is often said that education and training are the keys to the future. They are, but a key can be turned in two directions. Turn it one way and you lock resources away, even from those they belong to. Turn it the other way and you release resources and give people back to themselves. To realize true creative potential—in our organizations, in our schools and in our communities - we need to think differently about ourselves and to act differently towards each other. We must learn to be creative." -Ken Robinson praise for Out of Our Minds

"Ken Robinson writes brilliantly about the different ways in which creativity is undervalued and ignored . . . especially in our educational systems." -John Cleese

"Out of Our Minds explains why being creative in today's world is a vital necessity. This book is not to be missed."-Ken Blanchard, co-author of the One-minute Manager and The Secret

"If ever there was a time when creativity was necessary for the survival and growth of any organization, it is now. This book, more than any other I know, provides important insights on how leaders can evoke and sustain those creative juices." -Warren Bennis, distinguished professor of business, university of southern California; Thomas S. Murphy distinguished research fellow, Harvard business school; best-selling author, Geeks and Geezers

"All corporate leaders should read this book." -Richard Scase, author and business forecaster

"This really is a remarkable book. It does for human resources what Rachel Carson's Silent Spring did for the environment." -Wally Olins, founder, Wolff-olins

"Books about creativity are not always creative. Ken Robinson's is a welcome exception..." -Mihaly Csikszentmihalyi, C.S. and D.J. Davidson professor of psychology, Claremont graduate university; director, quality of life research center; best-selling author, Flow

"The best analysis I've seen of the disjunction between the kinds of intelligence that we have traditionally honored in schools and the kinds of creativity that we need today in our organizations and our society." -Howard Gardner, A. Hobbs professor in cognition and education, Harvard graduate school of education, best-selling author, Frames of Mind

JLJ - Great ideas combined with an Intellectual's "spew" of opinions on things that concern him. Take from it what you wish and/or learn something you didn't know. Oh, and be prepared to be lectured on "creativity in education" and on other assorted topics.

p.1 When people say to me that they are not creative, I assume that they haven't yet learnt what is involved.

p.12 The consequences of a lack of creativity can be severe. Organizations that stand still are likely to be swept aside, and corporate history is littered with the wreckage of companies, and whole industries, that have been resistant to change. They became stuck in old habits and missed the wave of change that carried more innovative companies forward.

p.13 All organizations are organic and perishable. They are created by people and they need to be constantly re-created if they are to survive.

p.17 in one respect at least, human beings are radically different from the rest of life on earth. We have imaginations. As a result we have unlimited powers of creativity.

p.41 We can't predict the future.

p.63 We live in times when the sciences are strongly associated with truth and objectivity, fact and hard reality, and the arts with feelings, emotions and intuition.

p.106 Our ideas can enslave or liberate us. Some people never make the transition and remain resident in the old world view: their ideological comfort zone.

p.115 our senses are limited. We do not see the world as it is but as our particular human senses present it to us... We live in a rich sensory environment, surrounded by sights, sounds, smells, temperature and textures, but we perceive only some of it.

p.117 The academic life tends to deny the rest of the body... In contrast, dancers exult in their bodies and in the forms of knowledge and expression that can only be experienced through physical movement.

p.119 Human intelligence includes and goes well beyond conventional conceptions of academic ability and IQ. This is why the world is full of music, technology, art, dance, architecture, business, practical science, feelings, relationships and inventions that actually work.

p.139 "When people find their medium, they discover their real creative strengths and come into their own. Helping people to connect with their personal creative capacities is the surest way to release the best they have to offer."

p.139 My wife Terry... is a major fan of Elvis Presley. I can't overemphasize what an understatement that is. There are three of us in the marriage. Fortunately, I'm alive. But it's only a marginal advantage to be honest.

p.141 Imagination is the source of our creativity, but imagination and creativity are not the same thing. Imagination is the ability to bring to mind things that are not present to our senses. We can imagine things that exist or things that do not exist at all... In imagination, we can step out of the here and now... in imagination we can anticipate many possible futures.

p.142 Creativity is a step further on from imagination... Private imaginings may have no outcomes in the world at all. Creativity does. Being creative involves doing something... Creativity involves putting your imagination to work. In a sense, creativity is applied imagination.

p.142 If you take your dog outside and point at the moon, the dog will look at your finger and then probably at you. If you take a young child outside and point a finger at the moon, the child will look at the moon. This developed skill is called joint attention: the ability to share words and a point of focus.

p.147 Human intelligence is not just a process of perception but of selection. Otherwise there would be too much information coming in

p.147 We see the world not as it is, but through a veil of conceptions.

p.147 Anything may be a symbol.

p.151 I define creativity as the process of having original ideas that have value. [JLJ - I define creativity as the process of having original ideas that may have value. The difference is crucially important - we cannot know whether the idea has value until after some kind of test, the results of which are beyond our control. To brainstorm, to come up with a list of might-be's, is creative.]

p.152 Being creative involves several processes that interweave within each other. The first is generative. the second is evaluative.

p.152 In all creative processes we are pushing the boundaries of what we know now, to explore new possibilities; we are drawing on the skills we have now, often stretching and evolving them as the work demands.

p.153 being creative always involves doing something, so it will always involve using some form of media... Whatever the media, there is an intimate relationship between the ideas that form and the media through which they take shape... Creativity is a dialog between the ideas and the media in which they are being formed.

p.153 Creativity is not only about generating ideas; it involves making judgments about them.

p.154 if you're not prepared to be wrong, it's unlikely that you'll ever come up with anything original.

p.158 Creative insights often occur by making unusual connections: seeing analogies between ideas that have not previously been related.

p.159 Many adults say they cannot draw. They are right. They cannot.

p.161 Original thinking is possible in anything we do.

p.162 Some of the most interesting breakthroughs in science, technology and the arts come from reframing the question... The questions we ask are often more important than the answers we search for... The true value of a generative idea is that it leads to new sorts of questions.

p.163 Personal creativity often comes from a love for particular materials.

p.165 When people find their medium, they discover their real creative strengths and come into their own.

p.166 The capacity for creativity is essentially human and it holds the constant promise of alternative ways of seeing, of thinking and of doing.

p.171 Sigmund Freud (1856-1939) conceived of the mind as a mental apparatus for engaging the individual with the outside world.

p.187 The main process of science is explanation. Scientists are concerned with understanding how the world works in terms of itself. Science aims to produce systematic explanations of events, which can be verified by evidence... Scientists aim to stand outside the events they are investigating and produce knowledge that is independent of them: knowledge that would be true for whoever repeated their observations.

p.190 There is a point in scientific inquiry where logic is not the best instrument. Discovery in science often results from unexpected leaps of imagination: the sudden jumping of a logical gap, in which the solution to a problem is illuminated by a new insight, a new association of ideas or a vision of unforeseen possibilities.

p.236 The creative impulses of most people can be suffocated by negative criticism, cynical putdowns or dismissive remarks.

p.238 "The processes of creativity can also be stifled by a sense that ideas are unlikely to be taken seriously if they come form the wrong places."

p.240 Innovation involves trial and error, being wrong at times and sometimes having to back up and start again.

p.251 As Socrates famously expressed it, "Education is the kindling of the flame, not the filling of the vessel."

p.257 Creativity is not only about the arts. Work in the arts can be highly creative but so can work in anything that involves intelligence.

p.258 Creativity is possible in every discipline and should be promoted throughout the whole of education.

p.266 Creativity is not about a lack of constraints; often it is about working within them and overcoming them.

p.269 Many people do not think of themselves as creative and lack the confidence to take even the first steps. The first task in teaching for creativity in any field is to encourage people to believe in their creative potential and to nurture the confidence to try. Other attitudes important for creative learning include: high motivation and independence of judgment; a willingness to take risks and be enterprising, to be persistent and to be resilient in the face of false starts, wrong turns and dead ends.

p.272-273 All issues and questions can be considered from an academic point of view and from other viewpoints.

p.286 To realize our true creative potential... we need to think differently towards each other. We must learn to be creative.