Creative Constraints Quotes

In translation of poetry; there exists a possibility of components like imagination, art of wordplay, skill of constructing internal rhythm and expand of knowledge of the poet getting affected by the constraint and differentia of the translator.

Genius is neither learned nor acquired. It is knowing without experience. It is risking without fear of failure. It is perception without touch. It is understanding without research. It is certainty without proof. It is ability without practice. It is invention without limitations. It is imagination without boundaries. It is creativity without constraints. It is...extraordinary intelligence!

Limitations foster creativity. Tell an artist to paint anything, and he may struggle, but tell him to create something specific, in a set amount of time, for a certain audience, and these constraints might well push him to produce something he might never have come up with on his own. We grow and evolve by testing ourselves. That’s my personal philosophy.

...the imagination is unleashed by constraints. You break out of the box by stepping into shackles.

On the job people feel skillful and challenged, and therefore feel more happy, strong, creative, and satisfied. In their free time people feel that there is generally not much to do and their skills are not being used, and therefore they tend to feel more sad, weak, dull, and dissatisfied. Yet they would like to work less and spend more time in leisure. What does this contradictory pattern mean? There are several possible explanations, but one conclusion seems inevitable: when it comes to work, people do not heed the evidence of their senses. They disregard the quality of immediate experience, and base their motivation instead on the strongly rooted cultural stereotype of what work is supposed to be like. They think of it as an imposition, a constraint, an infringement of their freedom, and therefore something to be avoided as much as possible.

The way to get over creative block is to simply place some constraints on yourself. It seems contradictory, but when it comes to creative work, limitations mean freedom.

Constraint inspires creativity

Uncertainty and change are life's constraints. And that's the fun part.

A blank cheque kills creativity.

When you allow yourself to begin to dream big dreams, creatively abandon the activities that are taking up too much of your time, and focus your inward energies on alleviating your main constraints, you start to feel an incredible sense of power and confidence.

Most people believe it is only by constraint they can get any good out of themselves, and so they live in a state of psychological distortion. It is his own self that each of them is most afraid of resembling. Each of them sets up a pattern and imitates it; he doesn't even choose the pattern he imitates: he accepts a pattern that has been chosen for him. And yet I verily believe there are other things to be read in man. But people don't dare to - they don't dare to turn the page. Laws of imitation! Laws of fear, I call them. The fear of finding oneself alone - that is what they suffer from - and so they don't find themselves at all. I detest such moral agoraphobia - the most odious cowardice I call it. Why, one always has to be alone to invent anything - but they don't want to invent anything. The part in each of us that we feel is different from other people is just the part that is rare, the part that makes our special value - and that is the very thing people try to suppress. They go on imitating. And yet they think they love life.

Creativity is what happens when a mind encounters an obstacle. It’s the human process of finding a way through, over, around, or beneath. No obstacle, no creativity.

White free speech and white creative freedom have been founded on the constraint of others, and are not natural rights.

Embrace constraint. What you get in return is the art and craft of editing your own life, weeding out what is and isn’t necessary.

Entrepreneurship is when an individual retrieves a red hot idea from the creativity furnace without the constraint of the heat of lean resources, and with each persistent blow of the innovation hammer shapes the still malleable idea against the anvil of passion, vision, insight, strategy, and principles to forge a fitting vessel of a creative concern.

Telling a lie is an act with a sharp focus. It is designed to insert a particular falsehood at a particular point in a set or system of beliefs, in order to have that point occupied by the truth. This requires a degree of craftsmanship, in which the teller of the lie submits to objective constraints imposed by what he takes to be the truth. The liar is inescapably concerned with truth-values. In order to invent a lie at all, he must think he knows what is true. And in order to invent an effective lie, he must design his falsehood under the guidance of that truth. On the other hand, a person who takes to bullshit his way through has much more freedom. His focus is panoramic rather than particular. He does not limit himself to inserting a certain falsehood at a specific point, and thus he is not constrained by the truths surrounding that point or intersecting it. He is prepared, so far as is required, to fake the context as well. This freedom from the constraints to which the liar must submit does not necessarily mean, of course, that his task is easier than the task of the liar. But the mode of creativity upon which it relies is less analytical and less deliberative than that which is mobilized in lying. It is more expansive and independent, with more spacious opportunities for improvisation, color and imaginative play. This is less a matter of craft than of art. Hence the familiar notion of the 'bullshit artist'.

Constraint inspired creativity. Blank spaces are difficult to fill, but the smallest prompt can send us in fantastic new directions

Ideas rarely come out whole. They change as they get brought to life. New constraints appear, new directions suggest themselves, and new influences come to bear.

Here’s a fact: Creativity comes easier within constraints.

For programmers, then, we can define problem solving as writing an original program that performs a particular set of tasks and meets all stated constraints.

The right constraints can lead to your very best work. My favorite example? Dr. Seuss wrote The Cat in the Hat with only 236 different words, so his editor bet him he couldn’t write a book with only 50 different words. Dr. Seuss came back and won the bet with Green Eggs and Ham, one of the bestselling children’s books of all time.

THE PRINCIPLE OF CREATIVE LIMITATION Limitation is vital. The first step toward a well-told story is to create a small, knowable world. Artists by nature crave freedom, so the principle that the structure/setting relationship restricts creative choices may stir the rebel in you. With a closer look, however, you’ll see that this relationship couldn’t be more positive. The constraint that setting imposes on story design doesn’t inhibit creativity; it inspires it.

Frank Lloyd Wright insisted that constraints historically have resulted in a flowering of the imagination: “The human race built most nobly when limitations were greatest and, therefore, when most was required of imagination in order to build at all.

Public and civic value require commitment and hard work among the core group of participants. It also requires that these groups be self-governing and submit to constraints that help them ignore distracting and entertaining material and stay focused instead of some sophisticated task.

What you write down becomes fixed. It takes on the constraints of any tangible entity. It collapses into a reality estranged from the realm of its creation. It's a marker. A roadsign. You have stopped to get your bearings, but at a price. You'll never know where it might have gone if you'd left it alone to go there.

My freedom thus consists in my moving about within the narrow frame that I have assigned to myself for each one of my undertakings. I shall go even further: my freedom will be so much the greater and more meaningful the more narrowly I limit my field of action and the more I surround myself with obstacles. Whatever diminishes constraint diminishes strength. The more constraints one imposes, the more one frees oneself of the claims that shackle the spirit.” — Igor Stravinsky, Poetics of Music

Creativity needs constraint. When the constraints get tighter, you will find more opportunities to be creative!

Culture is the constant constraint that controls creativity, commitment, collaboration, and cohesion.

Problems include constraints, unbreakable rules about the problem or the way in which the problem must be solved.

UNDER CONSTRAINTS, CREATIVITY THRIVES

We like to think of creativity as a space for untrammelled imagination, free from all constraints. Yet while freedom, rule-breaking and inspiration are undoubtedly essential to the creative process, the popular image of creativity overlooks another aspect: examine the life of any great artist and you will find evidence of hard work, discipline and a hard-won knowledge of the rules and conventions of their medium.

All of the dissatisfactions he had felt in his practice of the art form he had stumbled across within a week of his arrival in America, the cheap conventions, the low expectations among publishers, readers, parents, and educators, the spatial constraints that he had been struggling against in the pages of Luna Moth, seemed capable of being completely overcome, exceeded, and escaped. The Amazing Cavalieri was going to break free, forever, of the nine little boxes.

If you ditch the rulebook, you lose the grace. Even the wacky, avant-garde, convention-defying arts—experimental film, expressionist painting, professional wrestling—draw their power from playing against the limitations of the chosen medium.

By contrast, human action, to use the “Austrian” economic term, is not merely reactive to constraints and utility functions but active and creative, the exercise of the free and creative and (some of us think) God-given will that can say yes, or no.

Thinking in art and morals and even mathematics is neither the reflection in consciousness of a mechanical order in the brain nor the tracing with the mind’s eye of some empirical order in its object, but an endeavour to realize in thought an ideal order which would satisfy an inner demand. The nearer thought comes to its goal, the more it finds itself under constraint by that goal, and dominated in its creative effort by aesthetic or moral or logical relevance. These relations of relevance are not physical or psychological relations. They are normative relations that can enter into the mental current because that current is . . . teleological. Their operation marks the presence of a different type of law, which supervenes upon physical and psychological laws when purpose takes control.

In a sense, translating may be harder than writing original fiction because a translator must strive to satisfy the same aestetic demands while being subjected to much more restrictive creative constraints. [...] The best translations into English do not, in fact, read as if they were originally written in English. The English words are arranged in such a way that the reader sees a glimpse of another culture's patterns of thinking, hears an echo of another language's rhythms and cadences, and feels a tremor of another people's gestures and movements.

The main lesson from sudoku is that we should look for the most constrained part of the problem. While constraints are often what make a problem difficult to begin with (remember the fox, the goose, and the corn), they may also simplify our thinking about the solution because they eliminate choices.

gardening is the embodiment of creative expression. You’re given constraints: a plot of land, a specific climate, certain conditions of light and soil. It’s up to you what to do with them. There is no “right” garden, only the one you choose to design, plant, and tend. If that isn’t an art form, what is?

good engineers know how to apply constraints to help achieve their goals. Time constraints on engineers fuel creativity and resourcefulness. Financial constraints and the blatant physical constraints hinging on the laws of nature are also common, coupled with an unpredictable constraint—namely, human behavior.

Igor Stravinsky said that “the more constraints one imposes, the more one frees oneself.” I’d come across the quote years before, but I only now got it. When water is confined in a narrow space like a tube or a ravine, it will rush forward with power; when it has infinite room to expand, it becomes a puddle. The same thing happens with our creative

there is a rule for solving certain types of problems in artificial intelligence called the “most constrained variable.” It means that in a problem where you are trying to assign different values to different variables to meet constraints, you should start with the variable that has the most constraints, or put another way, the variable that has the lowest number of possible values.

Igor Stravinsky said that “the more constraints one imposes, the more one frees oneself.” I’d come across the quote years before, but I only now got it. When water is confined in a narrow space like a tube or a ravine, it will rush forward with power; when it has infinite room to expand, it becomes a puddle. The same thing happens with our creative juices. If I had had perfect control over my

in order to be truly creative, constraints are necessary. If you’ve ever tried to write a novel, you know what I mean. Staring at a blank computer screen feels debilitating. With infinite directions to pursue, you end up paralyzed. But by imposing some constraints—like learning how to structure your paragraphs, build a story arc, and write a scene, or doing a writing exercise—you start to see a path forward.

Creativity is, by its nature, fitful and inconstant, easily upset by constraint, foreboding, insecurity, external pressure. Any great preoccupation with the problems of ensuring animal survival exhausts the energies and disturbs the receptivity of the sensitive mind. Such creativity as was first achieved in the city came about largely through an arrogation of the economic means of production and distribution by a small minority, attached to the temple and the palace. In the epic of creation Marduk remarks of man: "Let him be burdened with the toil of the gods that they may freely breathe." Shall we err greatly if we translate this as: "Let our subjects be burdened with daily toil that the king and the priesthood may freely breathe"?

Lareau stresses that one style isn’t morally better than the other. The poorer children were, to her mind, often better behaved, less whiny, more creative in making use of their own time, and had a well-developed sense of independence. But in practical terms, concerted cultivation has enormous advantages. The heavily scheduled middle-class child is exposed to a constantly shifting set of experiences. She learns teamwork and how to cope in highly structured settings. She is taught how to interact comfortably with adults, and to speak up when she needs to. In Lareau’s words, the middle-class children learn a sense of “entitlement.” That word, of course, has negative connotations these days. But Lareau means it in the best sense of the term: “They acted as though they had a right to pursue their own individual preferences and to actively manage interactions in institutional settings. They appeared comfortable in those settings; they were open to sharing information and asking for attention…. It was common practice among middle-class children to shift interactions to suit their preferences.” They knew the rules. “Even in fourth grade, middle-class children appeared to be acting on their own behalf to gain advantages. They made special requests of teachers and doctors to adjust procedures to accommodate their desires.” By contrast, the working-class and poor children were characterized by “an emerging sense of distance, distrust, and constraint.” They didn’t know how to get their way, or how to “customize”—using Lareau’s wonderful term—whatever environment they were in, for their best purposes.

Thus we have the paradoxical situation: On the job people feel skillful and challenged, and therefore feel more happy, strong, creative, and satisfied. In their free time people feel that there is generally not much to do and their skills are not being used, and therefore they tend to feel more sad, weak, dull, and dissatisfied. Yet they would like to work less and spend more time in leisure. What does this contradictory pattern mean? There are several possible explanations, but one conclusion seems inevitable: when it comes to work, people do not heed the evidence of their senses. They disregard the quality of immediate experience, and base their motivation instead on the strongly rooted cultural stereotype of what work is supposed to be like. They think of it as an imposition, a constraint, an infringement of their freedom, and therefore something to be avoided as much as possible.

KEY TAKEAWAYS – Sharpening Your Creative Mind PRACTICE UNNECESSARY CREATION Use personal creative projects to explore new obsessions, skills, or ways of working in a low-pressure environment. WANDER LONELY AS A CLOUD Make time for your mind—and body—to wander when you’re stuck. Disengaging from the problem allows your subconscious to do its work. DEFINE “FINISHED” FROM THE START Keep your inner perfectionist in check by defining what finished looks like at the beginning of a project. And when you get there, stop! DON’T GO ON AUTOPILOT Repetition is the enemy of insight. Take unorthodox—even wacky—approaches to solving your stickiest problems and see what happens. SEARCH FOR THE SOURCE When the well runs dry, don’t blame a lack of talent. Creative blocks frequently piggyback on other problems. See if you can identify them. LOVE YOUR LIMITATIONS Look at constraints as a benefit, rather than an impediment. They activate our creative thinking by upping the ante.

Lareau calls the middle-class parenting style "concerted cultivation." It’s an attempt to actively "foster and assess a child’s talents, opinions and skills." Poor parents tend to follow, by contrast, a strategy of "accomplishment of natural growth." They see as their responsibility to care for their children but to let them grow and develop on their own. Lareau stresses that one style isn’t morally better than the other. The poorer children were, to her mind, often better behaved, less whiny, more creative in making use of their own time, and had a well-developed sense of independence. But in practical terms, concerted cultivation has enormous advantages. The heavily scheduled middleclass child is exposed to a constantly shifting set of experiences. She learns teamwork and how to cope in highly structured settings. She is taught how to interact comfortably with adults, and to speak up when she needs to. In Lareau’s words, the middle-class children learn a sense of "entitlement." That word, of course, has negative connotations these days. But Lareau means it in the best sense of the term: "They acted as though they had a right to pursue their own individual preferences and to actively manage interactions in institutional settings. They appeared comfortable in those settings; they were open to sharing information and asking for attention It was common practice among middle-class children to shift interactions to suit their preferences." They knew the rules. "Even in fourth grade, middle-class children appeared to be acting on their own behalf to gain advantages. They made special requests of teachers and doctors to adjust procedures to accommodate their desires." By contrast, the working-class and poor children were characterized by "an emerging sense of distance, distrust, and constraint." They didn’t know how to get their way, or how to "customize"—using Lareau’s wonderful term—whatever environment they were in, for their best purposes.

Scheherazade may lack the mobility and appetites of male cultural heroes, but she transcends the narrow domestic space of the bedroom through her expansive narrative reach and embraces bold defiance as she sets about remaking the values of the culture she inhabits, using words alone. She not only arouses curiosity but also turns herself into a storytelling transvaluation machine, for she understands at the deepest level that words can change you. Behind her transformative art lurks the ruse of the disempowered, and Scheherazade, despite the physical constraints placed on her, uses language in ways that reveal what the philosopher J. L. Austin referred to as its “perlocutionary” power, its ability to persuade, teach, or inspire. Scheherazade operates at a level that is culturally productive and also biologically reproductive. Creative and procreative, she produces children with Shahriyar and also sets the stage in powerful ways for the literary progeny that spring from her story—the many female storytellers whom we will encounter in the chapters that follow.

Nonfiction at its best is like fashioning a cabinet. It can be elegant and very beautiful but it can never be sculpture. Captive to facts—or predetermined forms—it cannot fly. Excepting those masters who transcend their craft—great medieval and Renaissance artisans, for example, or nameless artisans of traditional cultures as far back as the caves who were also spontaneous unselfconscious artists. As in fiction, the nonfiction writer is telling a story, and when that story is well-made, the placement of details and events is never random. The parts are not strung out in a line but come around full circle, like a necklace, to set off the others. They resonate, rekindle one another, stirring the reader with a cumulative effect. A good essay or article can and should have all the attributes of a good short story, including structure and design, pacing and effective placement of its parts—almost all the attributes of fiction except the creative imagination, which can never be permitted to enliven fact. The writer of nonfiction is stuck with objective reality, or should be; how his facts are arranged and presented is where his craft appears, and it can be dazzling when the writer is a good one. The best nonfiction has many, many virtues, among which simple truthfulness is perhaps foremost, yet its fidelity to the known facts is its fatal constraint.

The liberal ideals of the Enlightenment could be realized only in very partial and limited ways in the emerging capitalist order: "Democracy with its mono of equality of all citizens before the law and Liberalism with its right of man over his own person both were wrecked on the realities of capitalist economy," Rocker correctly observed. Those who are compelled to rent themselves to owners of capital in order to survive are deprived of one of the most fundamental rights: the right to productive, creative and fulfilling work under one's own control, in solidarity with others. And under the ideological constraints of capitalist democracy, the prime necessity is to satisfy the needs of those in a position to make investment decisions; if their demands are not satisfied, there will be no production, no work, no social services, no means for survival. All necessarily subordinate themselves and their interests to the overriding need to serve the interests of the owners and managers of the society, who, furthermore, with their control over resources, are easily able to shape the ideological system (the media, schools, universities and so on) in their interests, to determine the basic conditions within which the political process will function, its parameters and basic agenda, and to call upon the resources of state violence, when need be, to suppress any challenge to entrenched power. The point was formulated succinctly in the early days of the liberal democratic revolutions by John Jay, the President of the Continental Congress and the first Chief Justice of the United States Supreme Court: "The people who own the country ought to govern it." And, of course, they do, whatever political faction may be in power. Matters could hardly be otherwise when economic power is narrowly concentrated and the basic decisions over the nature and character of life, the investment decisions, are in principle removed from democratic control.

Ultimately then, as one gets ready for kundalini awakening, the goal is to help those chakras clear, open, and align. Kundalini will respond with the greatest ease of motion accomplished and will demonstrate how well it knows what to do. As you begin to work through these chakras blockages or energetic reversals, you may find that those struggles look something like this. Blockages for the root chakra may look like low energy, general fear, persistent exhaustion, identity crisis, feeling isolated from the environment, eating disorders, general lack or erratic appetite, blatant materialism, difficulty saving money, or overall constant health problems. For the sacral chakra, blockages or reversals may look like lack of creativity, lack of inspiration, low or no motivation, low or no sexual appetite, feelings of insignificance, feelings of being unloved, feelings of being unaccepted, feelings of being outcasted, inability to care for oneself or persistent and recurrent problems of relationship with one's intimate partners. Blockages may look like identity crises or deficits for the solar plexus chakra, low self-esteem, low or no self-esteem, digestive problems, food intolerance, poor motivation, persistent weakness, constant nausea, anxiety disorders, liver disorder or disease, repeated illnesses, loss of core strength, lack of overall energy, recurrent depression with little relief, feelings of betrayal, For the chakra of the heart, reversals and blockages may seem like the inability to love oneself or others, the inability to put others first, the inability to put oneself first, the inability to overcome a problem ex, constant grudges, confidence issues, social anxiety or intense shyness, the failure to express emotions in a healthy way, problems of commitment, constant procrastination, intense anxiety For the throat chakra, blockages might seem like oversharing, inability to speak truthfully, failure to communicate with others, severe laryngitis, sore throats, respiratory or airway constraints, asthma, anemia, excessive exhaustion, inability to find the right words, paralyzing fear of confusion, nervousness in public situations, sometimes extreme dizziness, physical submissiveness, verba. For the third eye chakra, blockages or reversals might seem like a lack of direction in life, increasingly intense feelings of boredom or stagnation, migraines, insomnia, eye or vision problems, depression, high blood pressure, inability to remember one's dreams, constant and jarring flashbacks, closed-mindedness, fear, history of mental disorders, and history of addiction. For the crown chakra, blockages may look like feelings of envy, extreme sadness, need for superiority over others, self-destructive behaviors, history of addiction, generally harmful habits, dissociations from the physical plane, inability to make even the easiest decisions, persistent exhaustion, terrible migraines, hair loss, anemia, cerebral confusion, poor mental control, lack of intellect.

Now, with all seven of these chakras revolving in the right direction with no blockages whatsoever, your kundalini would not be able to help itself from rising into that state of bliss, which it perceives above. Ultimately then, as one gets ready for kundalini awakening, the goal is to help those chakras clear, open, and align. Kundalini will respond with the greatest ease of motion accomplished and will demonstrate how well it knows what to do. As you begin to work through these chakras blockages or energetic reversals, you may find that those struggles look something like this. Blockages for the root chakra may look like low energy, general fear, persistent exhaustion, identity crisis, feeling isolated from the environment, eating disorders, general lack or erratic appetite, blatant materialism, difficulty saving money, or overall constant health problems. For the sacral chakra, blockages or reversals may look like lack of creativity, lack of inspiration, low or no motivation, low or no sexual appetite, feelings of insignificance, feelings of being unloved, feelings of being unaccepted, feelings of being outcasted, inability to care for oneself or persistent and recurrent problems of relationship with one's intimate partners. Blockages may look like identity crises or deficits for the solar plexus chakra, low self-esteem, low or no self-esteem, digestive problems, food intolerance, poor motivation, persistent weakness, constant nausea, anxiety disorders, liver disorder or disease, repeated illnesses, loss of core strength, lack of overall energy, recurrent depression with little relief, feelings of betrayal, For the chakra of the heart, reversals and blockages may seem like the inability to love oneself or others, the inability to put others first, the inability to put oneself first, the inability to overcome a problem ex, constant grudges, confidence issues, social anxiety or intense shyness, the failure to express emotions in a healthy way, problems of commitment, constant procrastination, intense anxiety For the throat chakra, blockages might seem like oversharing, inability to speak truthfully, failure to communicate with others, severe laryngitis, sore throats, respiratory or airway constraints, asthma, anemia, excessive exhaustion, inability to find the right words, paralyzing fear of confusion, nervousness in public situations, sometimes extreme dizziness, physical submissiveness, verba. For the third eye chakra, blockages or reversals might seem like a lack of direction in life, increasingly intense feelings of boredom or stagnation, migraines, insomnia, eye or vision problems, depression, high blood pressure, inability to remember one's dreams, constant and jarring flashbacks, closed-mindedness, fear, history of mental disorders, and history of addiction. For the crown chakra, blockages may look like feelings of envy, extreme sadness, need for superiority over others, self-destructive behaviors, history of addiction, generally harmful habits, dissociations from the physical plane, inability to make even the easiest decisions, persistent exhaustion, terrible migraines, hair loss, anemia, cerebral confusion, poor mental control, lack of intellect.

This is a hard truth for some to accept: that a lack of resources may not be their true constraint, just a lack of resourcefulness.

Persistence at a poorly defined problem is futile, and talent applied to an unsolvable problem is worthless. The challenge is knowing how to define problems with enough constraints to help creativity, but not so many that creativity, or any solution, is impossible. Mastering this skill is one secret that explains who successfully makes things and who doesn’t.

there’s a fine line between a constraint and an excuse; though often the only difference between them is perspective, and how we act on them.

creativity loves constraints.

For engineers, designers and other creative problem-solvers, a formal definition of the constraints within which they must work is essential to channel energies and expand creativity.

Creativity comes easier within constraints.

Curse deadlines all you want, but remember that time can be our most creative constraint.

the immigrant population in the United States is a terrific example of how the combination of embracing constraints and being surrounded by a new culture can lead to an explosion of creativity. Immigrants are more than twice as likely to start a business as native-born Americans, and 52 percent of Silicon Valley start-ups include an immigrant. Forty percent of the Fortune 500 companies were founded by first-generation immigrants or their children.7 Peter Thiel, cofounder of PayPal, makes this powerful statement about the importance of avoiding cultural entitlement: "Doing what we already know how to do takes the world from 1 to n. But, when we create something new, we go from 0 to 1. Unless companies invest in the difficult task of creating new things, they will fail in the future no matter how big their profits are." If you want to keep innovation alive, look for ways to combine something old with something new.

All the evidence from the science of complexity says that given certain clear parameters...communities or teams will become self-organizing. They will be attracted to certain flowing states of organization natural to the people who make them up. In complexity theory, these flowing states are poetically called strange attractors. ... A work team made up of collaborating individuals would...have, if you could measure and plot creativity, failure, and success, a strange attractor that depicted the edges and patterns of the team's behavior. This pattern would be constrained by the forces operating within the company and outside in the market, but it would be most affected by the focus and vision of the team. A strong vision and purpose acts as a kind of strange attractor, allowing individual creativity while acting as a natural constraint to behavior that is detrimental to the team. Without repressive rules, then, a cohesive team with a strong sense of its mission, ethics, and tasks can be allowed a lot of leeway to develop its own approach to problems.

Given the fear or indecision we often confront when attempting to unleash our creativity, the practice of rigorously smallifying problems is liberating. At the same time, while some externally imposed constraints can be onerous, many can be enormously helpful starting points. This is the great irony about constraints. And if we can delineate the job before us into discrete problems to solve, as General McMaster, agile developers, and Gehry do by taking a proactive approach to problem finding, we are more likely to discover unique possibilities.

It is a fact that the artistic claims of architecture have long been subject to debate; with its succession of structural rules, building codes, and usage constraints, architecture would seem to occupy an ambiguous position with regard to techniques and practices that have a straightforwardly artistic vocation, such as painting and sculpture (despite the undermining of the latter by multimedia). Indeed, it is precisely this ambiguity—this oscillation between art and science, between aesthetic claims and social purposes—that renders architecture so appealing to new generations looking for careers that are reasonably lucrative while also allowing for the expression of individual creativity. Architecture,

Most people don’t like the sound of constraints. It sounds like you’re not getting what you want. But you are getting what you want. Good constraints trade something you only kind of want for something you really want.

Standardization can obviously go too far. Surely you’ve tried to make something out of LEGO bricks, only to find you couldn’t achieve your vision. There are only so many different blocks, so you can only do so many things. The key to standardization is to create constraints that will make your production process smoother, without compromising the essence of what you’re trying to achieve. If you choose your constraints wisely, they can actually enhance creativity. Robert Frost said writing in free verse is like playing tennis with the net down. He had better ideas because he was following poetry’s constraints.

Both mindfulness and meditation hold an underlying premise that our minds should be softly directed. We are teaching them a new relationship with intrusive thoughts. When a thought appears during either of these practices, we notice it but do not become engaged with it. Some imagine thoughts as clouds that visit, and then visualize them floating off or popping like a bubble, because where the thoughts are heading, we do not follow. This is the line of demarcation. In white space we may follow thought. We may follow ideas. We dismiss constraints fully. That dog may run through the park without the leash. With ultimate freedom, our minds explore, stretch, and recover.

relying on slack resources or ignoring constraints not only stifles creative thinking, but also breeds Overthinking.

How many times have you watched people kill off creativity by treating traditional policies and practices as absolute constraints on what we can do?

Improvising is about building on ideas with minimal constraints.

Having the money to buy something, or pay someone, often robs us of an opportunity to be creative.

Within an authentic education framework, learners’ individual psychological and neurological characteristics (akin to social-emotional learning aspects) are given consideration and accepted/honoured as they are, promoting inclusive practices. For example, emotional and other high sensitivities commonly found in gifted and creative personnel are not treated as constraints, maladjustments, or something antisocial; rather, they are considered as enriching a neurodiverse society to operate in a more balanced manner. All learners, including those with high developmental potential, get conducive environments to reach higher levels of development, similar to the self-actualised/self-transcended state. An authentic education system sends learners through a lasting deep learning and/or critical thinking experience, which human brains are capable of under conducive teaching-learning environments; human brains are treated as parallel processors that are capable of dealing with multiple inputs and solving complex problems, unlike machines or computers that are good at executing routine steps in reaching specific answers at very high speeds. In effect, in an authentic learning environment, most parts of a human brain (a.k.a. whole brain) including the right hemisphere, are stimulated using appropriate instructions and activities; this contrasts from mainly addressing the left hemisphere in a traditional environment.

Nevertheless, girls were brought up to regard their virginity as something sacrosant, prudery was the rule, hysterical breakdowns were frequent. Men, single or not, went to obtain from actresses or working girls what the women of their own milieu longed to give them but could not, for their honour stood in the way. A respectable woman, in Vienna as elsewhere, did not possess a body. If she discovered she did have one, then the devil must have got into the holy water. Once her sexuality was aroused, the irripressible violence of her instincts, her natural propensity to lewdness, would be unleashed. Women had to be defended against themselves, by education and constraint. And it was from them, insatiable women with thighs outspread, that men must be protected if they were not to lose the best of themselves. For a lustful woman diverted a man from the intellectual preoccupations of which he had the monopoly, she distracted his energies from superior accomplishments, she was the natural enemy of morality, reason, and creativity.

Through Unschooling, families rediscover the intrinsic value of spending time together, engaging in shared learning experiences, and celebrating the beauty of each family member's unique journey. It offers an opportunity to break free from the constraints of rigid schedules, standardized curricula, and external expectations, fostering an environment where curiosity, creativity, and exploration thrive.

The shift Even the most focused entrepreneurs who are pursuing a particular vision must constantly shift and adjust to changes in technology, the market, or the world in general. Pivoting in this way doesn’t mean giving up on the vision; in fact, they’re often more successful at pivoting because they’re guided by a vision. The switch Pivots often occur within an existing business: for example, when the company switches from one strategy to a different one. It’s important to get early feedback on changes like this—or at least communicate those changes to as many of your stakeholders as you can before you flip the switch. The swerve Some pivots are reactions to an unexpected development: a new problem or opportunity that suddenly manifests itself. It might be blocking the path forward, requiring a deft sideways maneuver to avoid a crash, or it could be something compelling that has cropped up on the side of the road. You may find it’s worth swerving to investigate and perhaps pursue this new possibility. The reboot A pivot can sometimes—not often, but sometimes—be a complete departure from the original mission of the company. A total reboot like that can work, but it rarely goes off without some bumps. The rebound: Pivoting in a crisis Crises can cause some unwelcome pivots. But they also can offer opportunities to learn, experiment, and make improvements to your current business. So, even while navigating a crisis, look toward the future and ask questions like “Within these constraints, what are the newer creative possibilities? How can we make our business more flexible, and stronger, over the long run?

Conventional thinking teaches us that constraints fetter the creative mind. The big advantage of working within strict constraints is that it will FOCUS your thinking. Thinking inside the box is about creating parameters that limit the scope. It will fire up the problem-solving part of the brain to fill your empty box with new ideas, and work to find a solution.

You may find this book in the “self-improvement” category, but in a deeper sense it is the opposite of self-improvement. It is about optimizing a system outside yourself, a system not subject to your limitations and constraints, leaving you happily unoptimized and free to roam, to wonder, to wander toward whatever makes you feel alive here and now in each moment.

The double diverge-converge process is quite effective at freeing designers from unnecessary restrictions to the problem and solution spaces. But you can sympathize with a product manager who, having given the designers a problem to solve, finds them questioning the assignment and insisting on traveling all over the world to seek deeper understanding. Even when the designers start focusing upon the problem, they do not seem to make progress, but instead develop a wide variety of ideas and thoughts, many only half-formed, many clearly impractical. All this can be rather unsettling to the product manager who, concerned about meeting the schedule, wants to see immediate convergence. To add to the frustration of the product manager, as the designers start to converge upon a solution, they may realize that they have inappropriately formulated the problem, so the entire process must be repeated (although it can go more quickly this time). This repeated divergence and convergence is important in properly determining the right problem to be solved and then the best way to solve it. It looks chaotic and ill-structured, but it actually follows well-established principles and procedures. How does the product manager keep the entire team on schedule despite the apparent random and divergent methods of designers? Encourage their free exploration, but hold them to the schedule (and budget) constraints. There is nothing like a firm deadline to get creative minds to reach convergence.

Here are the Top 9 Paradoxes I believe will rule the next two decades: Do little large. Move up by bending down. Learn to fail so you can succeed—success requires the sacrament of failure. Your only control is learning how to be out of control. Creativity needs constraints—the more you break the mold, blow up the box, and rip up the templates, the more you need to create new tools (or better, dynamic frames) to design your thinking.33 The more global we become, the more local we need to live—only locavores can globalize. Go slowly with the Holy—the faster the world gets, the more we will need to walk softly, go slowly, and rediscover the “off” button. Cultivate both/and mentalities, as well as and/also modalities. It’s more important to know what you don’t know than what you know.

Constraints Lead to Creativity If you’re a minimalist entrepreneur, the early stages are all about constraints. Now that you’re productizing, you have to add in more limits. In addition to your product doing just one thing (at first), there are other ways to control the temptation to try to do everything at once . . . or to try to do it perfectly. I ask myself four questions every time I want to build something new: Can I ship it in a weekend? The first iteration of most solutions can and should be prototyped in two to three days. Is it making my customers lives a little better? Is a customer willing to pay me for it? It’s important for the business to be profitable from day one, so creating something valuable enough for people to pay for is key. Can I get feedback quickly? Make sure that you’re building a product for people who can let you know if you’re doing a good job or not. The faster you get feedback, the faster you’ll build something truly valuable and worth paying for.

Significant innovations don’t come from incremental tweaks. Design thinkers pose questions and explore constraints in creative ways that proceed in entirely new directions.

One of your goals for an off-site is to create grounds where people feel comfortable speaking heresy. If whatever problem sitting in front of you could have been solved via the day-to-day, it would have been solved. Drastic measures call for creative thinking, and now that you’ve gathered these bright people together, you want them to feel comfortable saying whatever compelling ideas cross their minds. Speaking heresy is easier when you aren’t surrounded by visual reminders of obvious constraints.

Wonder likes to test out new ways of being and doing, rebounding off the constraints of current knowledge.

Herein lies the secret of overcoming the Demon of Constraints. It's a psychological exercise of reframing: instead of seeing absence, you look for opportunity.

Constraints lead to creativity. As Orson Welles said, “The enemy of art is the absence of limitations.

The removal of the physical constraints on effective information production has made human creativity and the economics of information itself the core structuring facts in the new networked information economy.

Creative people in particular traditionally have strained relations with systems, structures, standards, and other perceived constraints on their creative freedom. Nowhere is this clearer than in big organizations where people often complain that “the systems” kill creativity, longingly thinking back to the halcyon days when the company was young and less bureaucratic. Going back to the unstructured start-up days is not an option, however. Established companies require a different kind of innovation: they need a culture in which creativity is part of the corporate ecosystem. The key to building a creative culture is not to declare war on systems, processes, and policies, but to embrace and redesign them so they support and actively enhance innovative behavior. Managers, in other words, have to fight systems with systems, creating an architecture of innovation in their teams and departments. The primary aim is to help people behave more like innovators.

Set the table: Decide exactly what you want. Clarity is essential. Write out your goals and objectives before you begin. Plan every day in advance: Think on paper. Every minute you spend in planning can save you five or ten minutes in execution. Apply the 80/20 Rule to everything: Twenty percent of your activities will account for 80 percent of your results. Always concentrate your efforts on that top 20 percent. Consider the consequences: Your most important tasks and priorities are those that can have the most serious consequences, positive or negative, on your life or work. Focus on these above all else. Practice creative procrastination: Since you can't do everything, you must learn to deliberately put off those tasks that are of low value so that you have enough time to do the few things that really count. Use the ABCDE Method continually: Before you begin work on a list of tasks, take a few moments to organize them by value and priority so you can be sure of working on your most important activities. Focus on key result areas: Identify and determine those results that you absolutely, positively have to get to do your job well, and work on them all day long. The Law of Three: Identify the three things you do in your work that account for 90 percent of your contribution, and focus on getting them done before anything else. You will then have more time for your family and personal life. Prepare thoroughly before you begin: Have everything you need at hand before you start. Assemble all the papers, information, tools, work materials, and numbers you might require so that you can get started and keep going. Take it one oil barrel at a time: You can accomplish the biggest and most complicated job if you just complete it one step at a time. Upgrade your key skills: The more knowledgeable and skilled you become at your key tasks, the faster you start them and the sooner you get them done. Leverage your special talents: Determine exactly what it is that you are very good at doing, or could be very good at, and throw your whole heart into doing those specific things very, very well. Identify your key constraints: Determine the bottlenecks or choke points, internal or external, that set the speed at which you achieve your most important goals, and focus on alleviating them. Put the pressure on yourself: Imagine that you have to leave town for a month, and work as if you had to get all your major tasks completed before you left. Maximize your personal power: Identify your periods of highest mental and physical energy each day, and structure your most important and demanding tasks around these times. Get lots of rest so you can perform at your best. Motivate yourself into action: Be your own cheerleader. Look for the good in every situation. Focus on the solution rather than the problem. Always be optimistic and constructive. Get out of the technological time sinks: Use technology to improve the quality of your communications, but do not allow yourself to become a slave to it. Learn to occasionally turn things off and leave them off. Slice and dice the task: Break large, complex tasks down into bite-sized pieces, and then do just one small part of the task to get started. Create large chunks of time: Organize your days around large blocks of time where you can concentrate for extended periods on your most important tasks. Develop a sense of urgency: Make a habit of moving fast on your key tasks. Become known as a person who does things quickly and well. Single handle every task: Set clear priorities, start immediately on your most important task, and then work without stopping until the job is 100 percent complete. This is the real key to high performance and maximum personal productivity.

Constraints are actually a good thing and a catalyst to creativity

Constraints force them to be thoughtful, to prioritize

How does the product manager keep the entire team on schedule despite the apparent random and divergent methods of designers? Encourage their free exploration, but hold them to the schedule (and budget) constraints. There is nothing like a firm deadline to get creative minds to reach convergence.

Performance constraints are good for creativity.

But deep inside you there is a creative force that desperately wants you to succeed, wants you to make a lot of money, wants you to fall in love and be happy, wants you to do these things not so you can live in exotic mansions and travel the world fifty times over, but so that you are free from the constraints of a normal job and can pursue the real exploration of what and where is the happiness around you.

Constraints, far from being opposed to creativity, make creativity possible. To throw away all constraints would be to destroy the capacity for creative thinking. Random processes alone, if they happen to produce anything interesting at all, can result only in first-time curiosities, not radical surprises.

Most businesses hustle to create revenue, pay out their various expenses, and with any luck, there’s a little profit left over for the owners.  Here’s what you’re probably learning in business school: Revenue minus expenses equals profits.  Sounds sensible, right?”  He paused for the group of nodding heads.  “Well, it’s not!  It is completely backwards.  It should be taught:  Revenue minus PROFITS equal expenses.” Our chaperoning professors did their best to hide their cloudy faces, but it was clear Mr. X didn’t mind offending them.  “Don’t wait to see if there’s anything left over for a profit.  By carving out a margin before you address expenses, you create a constraint on the resources available.  This constraint unlocks your creativity to meet customers’ needs, streamline operations, and only spend money on that which truly generates value.  There’s no room left for fluff and bloat.  Difficult decisions on how you should run your business become obvious. No longer fat, dumb and happy, maybe you make that extra sales call or hold off on that unnecessary expense.  Business is very competitive, and the difference between the Hall of Fame and the graveyard can be remarkably thin.  Everyone says they want to run a tight ship, but the best way to harness your entrepreneurial verve is to tie your own hands to the yarak mast.  It will turn all of your business SHOULDS into business MUSTS.  I’ve spent a lot of time finding different places to apply the idea of yarak, and it never ceases to amaze me how helpful it is.  So that’s my eighty-twenty secret.  Shh… don’t tell anyone,” he whispered.

Overall, greater residential mobility and more relational freedom (i.e., fewer constraints on new relationships) lead individuals to form larger social networks, favor new experiences, prefer novelty, and perhaps even think more creatively (see Appendix C).23

Imagine going to live on a mountaintop by yourself, forever. You build a home that no one will ever visit. Still, you invest the time and effort to shape the space in which you’ll spend your days. The wood, the plates, the pillows—all magnificent. Curated to your taste. This is the essence of great art. We make it for no other purpose than creating our version of the beautiful, bringing all of ourself to every project, whatever its parameters and constraints. Consider it an offering, a devotional act. We do the best, as we see the best—with our own taste. No one else’s. We create our art so we may inhabit it ourselves.

A coaching session can be compared to the creative process of freestyle rap. Neuroscientists at the National Institute on Deafness and Other Communication Disorders scanned the brains of twelve professional rappers with an fMRI (functional magnetic resonance imaging) machine. The scientists discovered that although the brain’s executive functions were active at the start and end of a song, during freestyle, the parts of the brain responsible for self-monitoring, critiquing, and editing were deactivated. In this context, the researchers explained that the rappers were “freed from the conventional constraints of supervisory attention and executive control,” so sudden insights could easily emerge.1 In other words, the rappers used the executive functions of their cognitive brains as they started rapping to deliberately set the intention of the composition up front. Once they had a sense of where they were going, they switched off their inner critic and analyzer. This allowed for more activity in the inner brain, where the eruption of new ideas—creativity—takes place. As they moved to closing out the song, their cognitive brains came back online to provide a consciously designed ending to the composition.

Justice, solidarity, freedom, equal rights—these are all ideas that come straight out of the Enlightenment. In fact, out of classical liberalism. Classical liberalism is very anti-capitalist, contrary to what everybody says. And classical liberal and Enlightenment ideals lead in a very direct path, I think, to what was called libertarian socialism, or anarchism, or something like that. The idea is that people have a fundamental core right and need to be free and creative, not under external constraints. Any form of authority requires legitimation. The burden of proof is always on an authoritarian structure, whatever it may be, whether it's owning people, sex-linked, or even child-parent relationships. Any form of authority has to be challenged. Sometimes they can be justified, and maybe in that case, okay, you live with them. But for the most part, not. That would then lead quite directly to what were kind of truisms about a century ago. I mean, now they sound really crazy because there's been such a deterioration of values. But if you look at the thinking of just ordinary people, like say the working-class press in the mid-19th century, which grew where the ideas just grew out of the same soil—Enlightenment, classical liberal soil—the ideas are clear. Obviously, people should not be machines. They shouldn't be tools of production. They shouldn't be ordered around. We don't want chattel slavery, you know, like black slaves in the South, but we also don't want what was called, since the 18th century, wage slavery, which is not very different. Namely, where you have to rent yourself to survive. In a way, it was argued with some plausibility that you're worse off than a slave in that scenario. Actually, slave owners argued that. When slave owners were defending slavery, there was a kind of a moral debate that went on. It had shared moral turf, as a lot of moral debate did. The slave owners made a plausible point. They said, "Look, we own our workers. You just rent your workers. When you own something, you take much better care of it than when you rent it." To put it a little anachronistically, if you rent a car, you're not going to pay as much attention to taking care of it as if you own the car, for obvious reasons. Similarly, if you own people, you're going to take more care of them than if you rent people. If you rent people and you don't want them anymore, you throw them out. If you own people, well, you've got a sort of an investment in them, so you make them healthier and so on. So, the slave owners, in fact, argued, "Look, we're a lot more moral than you guys with your capitalist, wage slave system." Ordinary working people understood that. After the Civil War, you find in the American working-class press bitter complaints over the fact that, "Look, we fought to end chattel slavery, and now you're driving us into wage slavery, which is the same sort of thing." This is one core institution in society where people are forced to become tools of others, to be cast out if they're not necessary. It's a grotesque arrangement, totally contrary to the ideals of classical liberalism or Enlightenment values or anything else. It's now become sort of standard doctrine, but that's just a victory of absolutism, and we should dismantle all that stuff. Culturally, it starts with changes. You've got to change your minds and your spirit, and recover what was a common understanding in a more civilized period, let's say a century ago, in the shop floors of Lowell, Massachusetts. Recover that understanding, and then we work to simply democratize all institutions, free them up, and eliminate authoritarian structures. As I say, you find them everywhere. From families up to corporations, there are all kinds of authoritarian structures in the world. They all ought to be challenged. Very few of them can resist that challenge. They survive mainly because they're not challenged.

Holding every rule as breakable is a healthy way to live as an artist. It loosens constraints that promote a predictable sameness in our working methods. As you get further along in your career, a consistency may develop that’s of less interest over time. Your work can start to feel like a job or a responsibility. So it’s helpful to notice if you’ve been working with the same palette of colors all along.