HOW CREATIVITY WORKS JONAH LEHRER PDF

The latter two of these books have been withdrawn from the market by their publishers after "internal review uncovered significant problems" with the books. In print[ edit ] This section needs expansion with: description of Benartzi book, published , to which Lehrer has contributed, and a further citation or two, balancing if possible, on review comments regarding A Book About Love. You can help by adding to it. He actually intuited a lot about the structure of our brain.

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Side note: I waffled between 2-stars and 3-stars. And it is with that in mind that I closed the covers with mixed feelings. For most of us, this is fantastic news. Imagine contains a lot of evidence anecdotal, scientific, and in between to support this thesis. Lehrer talks about the research that went into the development of the Swiffer , and about the almost-random inspiration that led to its conceptions.

He talks about how a burnt-out Bob Dylan retreated to Woodstock, NY, with the intention of never again picking up a guitar, only to write the best music of his career literally days later. He writes about how 3M has been doing "that Google thing" [3] with their engineers for over 70 years.

He writes about Broadway productions and what the right mix of "old friends" and "new blood" is necessary to make a hit. He talks about when to take a project and put it in the drawer for a year. He surveys studies some shrewd, some dubious from neuroscientists, and on the next pages there are yarns spun through interviews with advertising professionals, urban planners, musicians, magicians, graphic artists, and everyone in between. An accessible narrative style, the style required to reach a broad lay-audience, too often becomes Overly simplified?

That kind of style can muddle some of the nuance that is otherwise necessary for a meticulous scientific discussion. The problem is that he keeps slipping ever so slightly and undermining his own prior arguments as he enthusiastically works himself up to support whatever argument he is shaping in that chapter and on that page.

The problem is that he tends to contradict himself. Lehrer fetishizes big-city-living [6] so much that he begins to celebrate this concept more than anything else [7] [8] and in doing so, he comes close to compromising many of the points he made before. In the preceding chapter, he beats the drum of travel as the critical path to gaining diverse experiences and gaining exposure to diverse ideas, but when he gets around to talking about big cities Well, you may as well just move to New York City and call it a day; who needs to travel when you can just live in the place where everyone is going to or through anyway?

Granted, this is not explicitly stated, but therein lies one of my gripes--that this seems to be such an obvious conclusion and such a clear cognitive path between the two discussions, that I am led to believe that he did not fully explore the implications of some many? If he did not make the link between those two points, then what else did he miss? Given the research cited, there is clearly an intriguing feedback mechanism taking place in these large and vibrant metropolises, but to say that the city itself causes the creativity is spurious and misleading.

It seems that we too often treat the "creativity" of "innovators" as this scarce natural resource. There is romance in the mystery of Creative Geniuses, but it is not a helpful romance. You need not be born "that way"; being a Creative Genius or even just Sufficiently Innovative is something that you can work toward. We need to leave behind the safety of our expertise.

The right kind of stubborn temperament helps, too: In fact, most of us see perseverance as a distinctly uncreative approach, the sort of strategy that people with mediocre ideas are forced to rely on. Lastly: Lehrer isolated this brilliant quote from Yo-Yo Ma: If you are only worried about not making a mistake, then you will communicate nothing. And as such, my bias tends to lean toward "more rigor and less rhetoric".

Take that as "full disclosure"; take that for what you will. I just always assume that everyone else is looking for that same kind of exactness in the text. And the comment thread is filled with similar indictments. There was plenty of room left-over for engineers and artists.

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Jonah Lehrer

Side note: I waffled between 2-stars and 3-stars. And it is with that in mind that I closed the covers with mixed feelings. For most of us, this is fantastic news. Imagine contains a lot of evidence anecdotal, scientific, and in between to support this thesis. Lehrer talks about the research that went into the development of the Swiffer , and about the almost-random inspiration that led to its conceptions. He talks about how a burnt-out Bob Dylan retreated to Woodstock, NY, with the intention of never again picking up a guitar, only to write the best music of his career literally days later.

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