Creative Synthesis Quotes

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But life at its best is a creative synthesis of opposites in fruitful harmony.
Martin Luther King Jr.
[About the great synthesis of atomic physics in the 1920s] It was a heroic time. It was not the doing of any one man; it involved the collaboration of scores of scientists from many different lands. But from the first to last the deeply creative, subtle and critical spirit of Niels Bohr guided, restrained, deepened and finally transmuted the enterprise.
J. Robert Oppenheimer
No Geologist worth anything is permanently bound to a desk or laboratory, but the charming notion that true science can only be based on unbiased observation of nature in the raw is mythology. Creative work, in geology and anywhere else, is interaction and synthesis: half-baked ideas from a bar room, rocks in the field, chains of thought from lonely walks, numbers squeezed from rocks in a laboratory, numbers from a calculator riveted to a desk, fancy equipment usually malfunctioning on expensive ships, cheap equipment in the human cranium, arguments before a road cut.
Stephen Jay Gould (An Urchin in the Storm: Essays About Books and Ideas)
For the neurotic, the merging of the subconscious and the conscious may be risky, just as it is for the users of drugs. But for the writer who is aware of the way in which this connection exists in reality and nourishes creativity, the sooner he can achieve a synthesis among intellect, emotion, and instinct, the sooner his work will be integrated.
Anaïs Nin
Notwithstanding the pitfalls of standardized testing, what we really ought to ask is how to do better at building knowledge and creativity, for without knowledge you don’t have the foundation for the higher-level skills of analysis, synthesis, and creative problem solving. As the psychologist Robert Sternberg and two colleagues put it, “one cannot apply what one knows in a practical manner if one does not know anything to apply.”12
Peter C. Brown (Make It Stick: The Science of Successful Learning)
The danger of abusing the discovery of the truth value of imagination for retrogressive tendencies is exemplified by the work of Carl Jung. More empathically than Freud, he has insisted on the cognitive force of imagination. According to Jung, phantasy is ‘undistinguishably’ united with all other mental functions, it appears ‘now as primeval, now as the ultimate and most audacious synthesis of all capabilities.’ Phantasy is above all the ‘creative activity out of which flow the answers to all answerable questions’; it is ‘the mother of all possibilities, in which all mental opposites as well as the conflict between internal and external world are united.’ Phantasy has always built the bridge between the irreconcilable demands of object and subject, extroversion and introversion. The simultaneously retrospective and expectant character of imagination is thus clearly stated: it looks not only back to an aboriginal golden past, but also forward to still unrealized but realizable possibilities.
Herbert Marcuse
When days grow dark and nights grow dreary, we can be thankful that our God combines in his nature a creative synthesis of love and justice that will lead us through life's dark valleys and into sunlit pathways of hope and fulfillment.
Martin Luther King Jr. (Strength to Love)
A synthesis—an abstraction, chunk, or gist idea—is a neural pattern. Good chunks form neural patterns that resonate, not only within the subject we’re working in, but with other subjects and areas of our lives. The abstraction helps you transfer ideas from one area to another. That’s why great art, poetry, music, and literature can be so compelling. When we grasp the chunk, it takes on a new life in our own minds—we form ideas that enhance and enlighten the neural patterns we already possess, allowing us to more readily see and develop other related patterns. Once we have created a chunk as a neural pattern, we can more easily pass that chunked pattern to others, as Cajal and other great artists, poets, scientists, and writers have done for millennia, Once other people grasp that chunk, not only can they use it, but also they can more easily create similar chunks that apply to other areas in their lives—an important part of the creative process.
Barbara Oakley (A Mind for Numbers: How to Excel at Math and Science (Even If You Flunked Algebra))
There is a sequence about the creative process, and a work of genius is a synthesis of its individual features from which nothing can be subtracted without disaster.
Seneca (Letters from a Stoic)
It’ll be decades—and maybe never—before the computer can replicate many of the things that the brain can do in terms of imagination, synthesis, and creativity. That’s because the brain comes genetically programmed with millions of years of abilities honed through evolution. The “science” of decision making that underlies many computer systems remains much less valuable than the “art.
Ray Dalio (Principles: Life and Work)
The Spirit is that element of transcendence, superiority, permanence, power, liberty, inner reality, creativity, harmony and synthesis in every manifestation, both individual and social. In people, therefore, the term ‘spiritual’ (to varying degrees) can be attributed to everything that compels them to transcend their selfish exclusiveness, fears, inertia and love of pleasure; everything that urges them to discipline, control and direct those untamed forces, instincts and emotions that seethe within; everything that induces the recognition of a greater, superior reality, social or ideal in nature, and to become one with it, extending the limits of the personality.
Roberto Assagioli (Transpersonal Development: The Dimension Beyond Psychosynthesis)
A synthesis—an abstraction, chunk, or gist idea—is a neural pattern. Good chunks form neural patterns that resonate, not only within the subject we’re working in, but with other subjects and areas of our lives. The abstraction helps you transfer ideas from one area to another. That’s why great art, poetry, music, and literature can be so compelling. When we grasp the chunk, it takes on a new life in our own minds—we form ideas that enhance and enlighten the neural patterns we already possess, allowing us to more readily see and develop other related patterns. Once we have created a chunk as a neural pattern, we can more easily pass that chunked pattern to others, as Cajal and other great artists, poets, scientists, and writers have done for millennia, Once other people grasp that chunk, not only can they use it, but also they can more easily create similar chunks that apply to other areas in their lives—an important part of the creative process.
Barbara Oakley (A Mind for Numbers: How to Excel at Math and Science (Even If You Flunked Algebra))
It would be pleasant to believe that the age of pessimism is now coming to a close, and that its end is marked by the same author who marked its beginning: Aldous Huxley. After thirty years of trying to find salvation in mysticism, and assimilating the Wisdom of the East, Huxley published in 1962 a new constructive utopia, The Island. In this beautiful book he created a grand synthesis between the science of the West and the Wisdom of the East, with the same exceptional intellectual power which he displayed in his Brave New World. (His gaminerie is also unimpaired; his close union of eschatology and scatology will not be to everybody's tastes.) But though his Utopia is constructive, it is not optimistic; in the end his island Utopia is destroyed by the sort of adolescent gangster nationalism which he knows so well, and describes only too convincingly. This, in a nutshell, is the history of thought about the future since Victorian days. To sum up the situation, the sceptics and the pessimists have taken man into account as a whole; the optimists only as a producer and consumer of goods. The means of destruction have developed pari passu with the technology of production, while creative imagination has not kept pace with either. The creative imagination I am talking of works on two levels. The first is the level of social engineering, the second is the level of vision. In my view both have lagged behind technology, especially in the highly advanced Western countries, and both constitute dangers.
Dennis Gabor (Inventing the Future)
Much of the literature on creativity focuses on how to trigger these moments of innovative synthesis; how to drive the problem phase toward its resolution. And it turns out that epiphanies often happen when we are in one of two types of environment. The first is when we are switching off: having a shower, going for a walk, sipping a cold beer, daydreaming. When we are too focused, when we are thinking too literally, we can’t spot the obscure associations that are so important to creativity. We have to take a step back for the “associative state” to emerge. As the poet Julia Cameron put it: “I learned to get out of the way and let that creative force work through me.”8 The other type of environment where creative moments often happen, as we have seen, is when we are being sparked by the dissent of others. When Kevin Dunbar, a psychologist at McGill University, went to look at how scientific breakthroughs actually happen, for example (he took cameras into four molecular biology labs and recorded pretty much everything that took place), he assumed that it would involve scientists beavering away in isolated contemplation. In fact, the breakthroughs happened at lab meetings, where groups of researchers would gather around a desk to talk through their work. Why here? Because they were forced to respond to challenges and critiques from their fellow researchers. They were jarred into seeing new associations.
Matthew Syed (Black Box Thinking: Why Most People Never Learn from Their Mistakes--But Some Do)
The problem of the planetary orbits had been hopelessly bogged down in its purely geometrical frame of reference, and when Kepler realized that he could not get it unstuck, he tore it out of that frame and removed it into the field of physics. This operation of removing a problem from its traditional context and placing it into a new one, looking at it through glasses of of a different colour as it were, has always seemed to me of the very essence of the creative process. It leads not only to a reevaluation of the problem itself, but often to a synthesis of much wider consequences, brought about by a fusion of the two previously unrelated frames of reference. In our case, the orbit of Mars became the unifying link between the two formerly seperate realms of physics and cosmology.
Arthur Koestler (The Sleepwalkers: A History of Man's Changing Vision of the Universe)
Science is analytical description, philosophy is synthetic interpretation. Science wishes to resolve the whole into parts, the organism into organs, the obscure into the known. It does not inquire into the values and ideal possibilities of things, nor into their total and final significance; it is content to show their present actuality and operation, it narrows its gaze resolutely to the nature and process of things as they are. The scientist is as impartial as Nature in Turgenev's poem: he is as interested in the leg of a flea as in the creative throes of a genius. But the philosopher is not content to describe the fact; he wishes to ascertain its relation to experience in general, and thereby to get at its meaning and its worth; he combines things in interpretive synthesis; he tries to put together, better than before, that great universe-watch which the inquisitive scientist has analytically taken apart. Science tells us how to heal and how to kill; it reduces the death rate in retail and then kills us wholesale in war; but only wisdom desire coordinated in the light of all experience- can tell us when to heal and when to kill. To observe processes and to construct means is science; to criticize and coordinate ends is philosophy: and because in these days our means and instruments have multiplied beyond our interpretation and synthesis of ideals and ends, our life is full of sound and fury, signifying nothing. For a fact is nothing except in relation to desire; it is not complete except in relation to a purpose and a whole. Science without philosophy, facts without perspective and valuation, cannot save us from havoc and despair. Science gives us knowledge, but only philosophy can give us wisdom.
Will Durant (The Story of Philosophy: The Lives and Opinions of the World's Greatest Philosophers)
Yoel Goldenberg makes exhibitions, photographs, models and media craftsmanship. His works are an examination of ideas, for example, validness and objectivity by utilizing an exhaustive methodology and semi exploratory exactness and by referencing documentaries, 'actuality fiction' and prominent experimental reciprocals. Yoel Goldenberg as of now lives and works in Brooklyn. By challenging the division between the domain of memory and the domain of experience, Goldenberg formalizes the circumstantial and underlines the procedure of synthesis that is behind the apparently arbitrary works. The manners of thinking, which are probably private, profoundly subjective and unfiltered in their references to dream universes, are much of the time uncovered as collections. His practice gives a valuable arrangement of metaphorical instruments for moving with a pseudo-moderate approach in the realm of execution: these fastidiously arranged works reverberate and resound with pictures winnowed from the fantastical domain of creative energy. By trying different things with aleatoric procedures, Yoel Goldenberg makes work in which an interest with the clarity of substance and an uncompromising demeanor towards calculated and insignificant workmanship can be found. The work is detached and deliberate and a cool and unbiased symbolism is utilized. His works are highlighting unplanned, unintentional and sudden associations which make it conceivable to overhaul craftsmanship history and, far and away superior, to supplement it. Consolidating random viewpoints lead to astounding analogies. With a theoretical methodology, he ponders the firmly related subjects of file and memory. This regularly brings about an examination of both the human requirement for "definitive" stories and the inquiry whether tales "fictionalize" history. His gathered, changed and own exhibitions are being faced as stylishly versatile, specifically interrelated material for memory and projection. The conceivable appears to be genuine and reality exists, yet it has numerous countenances, as Hanna Arendt refers to from Franz Kafka. By exploring dialect on a meta-level, he tries to approach a wide size of subjects in a multi-layered route, likes to include the viewer in a way that is here and there physical and has faith in the thought of capacity taking after structure in a work. Goldenberg’s works are straightforwardly a reaction to the encompassing environment and uses regular encounters from the craftsman as a beginning stage. Regularly these are confined occasions that would go unnoticed in their unique connection. By utilizing a regularly developing file of discovered archives to make self-ruling works of art, he retains the convention of recognition workmanship into every day hone. This individual subsequent and recovery of a past custom is vital as a demonstration of reflection. Yoel’s works concentrate on the powerlessness of correspondence which is utilized to picture reality, the endeavor of dialog, the disharmony in the middle of structure and content and the dysfunctions of dialect. To put it plainly, the absence of clear references is key components in the work. With an unobtrusive moderate methodology, he tries to handle dialect. Changed into craftsmanship, dialect turns into an adornment. Right then and there, loads of ambiguities and indistinctnesses, which are intrinsic to the sensation, rise up to the top
Herbert Goldenberg
Fascism rested not upon the truth of its doctrine but upon the leader’s mystical union with the historic destiny of his people, a notion related to romanticist ideas of national historic flowering and of individual artistic or spiritual genius, though fascism otherwise denied romanticism’s exaltation of unfettered personal creativity. The fascist leader wanted to bring his people into a higher realm of politics that they would experience sensually: the warmth of belonging to a race now fully aware of its identity, historic destiny, and power; the excitement of participating in a vast collective enterprise; the gratification of submerging oneself in a wave of shared feelings, and of sacrificing one’s petty concerns for the group’s good; and the thrill of domination. Fascism’s deliberate replacement of reasoned debate with immediate sensual experience transformed politics, as the exiled German cultural critic Walter Benjamin was the first to point out, into aesthetics. And the ultimate fascist aesthetic experience, Benjamin warned in 1936, was war. Fascist leaders made no secret of having no program. Mussolini exulted in that absence. “The Fasci di Combattimento,” Mussolini wrote in the “Postulates of the Fascist Program” of May 1920, “. . . do not feel tied to any particular doctrinal form.” A few months before he became prime minister of Italy, he replied truculently to a critic who demanded to know what his program was: “The democrats of Il Mondo want to know our program? It is to break the bones of the democrats of Il Mondo. And the sooner the better.” “The fist,” asserted a Fascist militant in 1920, “is the synthesis of our theory.” Mussolini liked to declare that he himself was the definition of Fascism. The will and leadership of a Duce was what a modern people needed, not a doctrine. Only in 1932, after he had been in power for ten years, and when he wanted to “normalize” his regime, did Mussolini expound Fascist doctrine, in an article (partly ghostwritten by the philosopher Giovanni Gentile) for the new Enciclopedia italiana. Power came first, then doctrine. Hannah Arendt observed that Mussolini “was probably the first party leader who consciously rejected a formal program and replaced it with inspired leadership and action alone.” Hitler did present a program (the 25 Points of February 1920), but he pronounced it immutable while ignoring many of its provisions. Though its anniversaries were celebrated, it was less a guide to action than a signal that debate had ceased within the party. In his first public address as chancellor, Hitler ridiculed those who say “show us the details of your program. I have refused ever to step before this Volk and make cheap promises.” Several consequences flowed from fascism’s special relationship to doctrine. It was the unquestioning zeal of the faithful that counted, more than his or her reasoned assent. Programs were casually fluid. The relationship between intellectuals and a movement that despised thought was even more awkward than the notoriously prickly relationship of intellectual fellow travelers with communism. Many intellectuals associated with fascism’s early days dropped away or even went into opposition as successful fascist movements made the compromises necessary to gain allies and power, or, alternatively, revealed its brutal anti-intellectualism. We will meet some of these intellectual dropouts as we go along. Fascism’s radical instrumentalization of truth explains why fascists never bothered to write any casuistical literature when they changed their program, as they did often and without compunction. Stalin was forever writing to prove that his policies accorded somehow with the principles of Marx and Lenin; Hitler and Mussolini never bothered with any such theoretical justification. Das Blut or la razza would determine who was right.
Robert O. Paxton (The Anatomy of Fascism)
The simultaneous visibility of these project materials helps us identify patterns and encourages creative synthesis to occur much more readily than when these resources are hidden away in file folders, notebooks, or PowerPoint decks.
Jake Knapp (Sprint: How to Solve Big Problems and Test New Ideas in Just Five Days)
Every creative person is a duality or a synthesis of contradictory aptitudes. On the one side he is a human being with a personal life, while on the other side he is an impersonal, creative process.
C.G. Jung (Modern Man in Search of a Soul)
It is worth noting that in the further course of his argument the question of the play instinct retires into the background in favour of the aesthetic mood, which seems to have acquired an almost mystical value. This, I believe, is no accident, but has a quite definite cause. Often it is the best and most profound ideas in a man’s work which most obstinately resist a clear formulation, even though they are hinted at in various places and should therefore really be ripe enough for a lucid synthesis to be possible. It seems to me that we are faced with some such difficulty here. To the concept of an aesthetic mood as a mediating creative state Schiller himself brings thoughts which at once reveal its depth and seriousness. And yet, quite as clearly, he picks on the play instinct as the long-sought mediating activity. Now it cannot be denied that these two concepts are in some sort opposed, since play and seriousness are scarcely compatible. Seriousness comes from a profound inner necessity, but play is its outward expression, the face it turns to consciousness. It is not, of course, a matter of wanting to play, but of having to play; a playful manifestation of fantasy from inner necessity, without the compulsion of circumstance, without even the compulsion of the will.95 It is serious play. And yet it is certainly play in its outward aspect, as seen from the standpoint of consciousness and collective opinion. That is the ambiguous quality which clings to everything creative.
C.G. Jung (Collected Works of C. G. Jung, Volume 6: Psychological Types (The Collected Works of C. G. Jung Book 16))
For the neurotic, the merging of the subconscious and the conscious may be risky, just as it is for the users of drugs. But for the writer who is aware of the way in which this connection exists in reality and nourishes creativity, the sooner he can achieve a synthesis among intellect, intuition, emotion, and instinct, the sooner his work will be integrated.
Anaïs Nin (The Novel of the Future)
The Strong man holds in a living blend strongly marked opposites. Not ordinarily do men achieve this balance of opposites. The idealists are not usually realistic, and the realists are not usually idealistic. The militant are not generally known to be passive, nor the passive to be militant. Seldom are the humble self-assertive, or the self-assertive humble. But life at its best is a creative synthesis of opposites in fruitful harmony. The philosopher Hegel said that truth is found neither in the thesis nor the antithesis, but in an emergent synthesis which reconciles the two.
Martin Luther King Jr. (Strength to Love)
From the union of the hero’s ego consciousness with the creative side of the soul, when he “knows” and realizes both the world and the anima, there is begotten the true birth, the synthesis of both.
Erich Neumann (The Origins and History of Consciousness (Maresfield Library))
In a complex world where almost everyone has access to the same information, new value arises from the original synthesis, from putting ideas together in novel ways, and from smart questions that open up untapped potential. Creative insights entail joining elements in a useful, fresh way.
Daniel Goleman (Focus: The Hidden Driver of Excellence)
As Barron began to make sense of what he observed, he came to identify a key consistency among creative people. Namely, these people seemed to become more intimate with themselves—they dared to look deep inside, even at the dark and confusing parts of themselves.22 Being open to and curious about the full spectrum of life—both the good and the bad, the dark and the light—may be what leads writers to score high on some characteristics that our society tends to associate with mental illness, while it can also lead them to become more grounded and self-aware. In truly facing themselves and the world, creative-minded people seemed to find an unusual synthesis between healthy and “pathological” behaviors. Armed
Scott Barry Kaufman (Wired to Create: Unraveling the Mysteries of the Creative Mind)
The Eureka act proper, the moment of truth experienced by the creative individual, is paralleled on the collective plane by the emergence, out of the scattered fragments, of a new synthesis, brought about by a quick succession of individual discoveries-where, characteristically, the same discovery is often made by several individuals at the same time.
Arthur Koestler (The Act of Creation)
One: Beginnings, instigation, focus, pure potential. Two: Duality, balance, opposition, relationship. Three: Manifestation, creativity, community. Four: Foundation, establishment, strength, structure, order. Five: Conflict, imbalance, struggle, aggression. Six: Harmony, balance, synthesis, fairness. Seven: Flux, uncertainty, flow, illusion. Eight: Strength, boundaries, trapping, stagnation. Nine: Completion, achievement, awareness. Ten: Endings, return, renewal, fullness, overkill.
Kim Huggens (Complete Guide to Tarot Illuminati)
Dyson’s innovation, stripped down to its essentials, was to merge them. He was a connecting agent. The act of creativity was an act, above all, of synthesis. “I think the fact that I had so many years of frustration probably made me the perfect person to glimpse a possible solution,” he says. “But the solution was really about combining two existing technologies.” And it turns out that this act of connectivity is another central feature of innovation. Johannes Gutenberg invented mass printing by applying the pressing of wine (the technology of which had existed for many centuries) to the pressing of pages.6 The Wright brothers applied their understanding of manufacturing bicycles to the problem of powered flight.
Matthew Syed (Black Box Thinking: Why Most People Never Learn from Their Mistakes--But Some Do)
Dr. King’s fitting description of the good life, ‘a creative synthesis of opposites.’ 
Larry Tye (Bobby Kennedy: The Making of a Liberal Icon)
We need to recognize the generational shifts from left-brain skills like logic, analysis, and structure to the right-brain aptitudes of creativity, synthesis, and empathy. We need to renew our catechisms and confirmations—not because we need new theology, but because their current forms too rarely produce young people of deep, abiding faith.
David Kinnaman (You Lost Me)
Creativity is a synthesis of two qualities: imagination and concreteness.
Pearl Zhu (100 Creativity Ingredients: Everyone's Playbook to Unlock Creativity (Digital Master 12))
...the left hemisphere is the more logical/verbal one and the right hemisphere the more intuitive, creative one. The left deals with words, the right with pictures; the left with parts and specifics, the right with wholes and the relationship between the parts. The left deals with analysis, which means to break apart; the right with synthesis, which means to put together. The left deals with sequential thinking; the right with simultaneous and holistic thinking. The left is time bound; the right is time free.
Stephen R. Covey
The process by which philosophy seems to assimilate the results of positive science, like the operation in the course of which a philosophy appears to re-assemble in itself the fragments of earlier philosophies, is not a synthesis but an analysis. Science is the auxiliary of action. And action aims at a result. The scientific intelligence asks itself therefore what will have to be done in order that a certain desired result be attained, or more generally, what conditions should obtain in order that a certain phenomenon take place. It goes from an arrangement of things to a rearrangement, from a simultaneity to a simultaneity. Of necessity it neglects what happens in the interval; or if it does concern itself with it, it is in order to consider other arrangements in it, still more simultaneities. With methods meant to seize the ready-made, it cannot in general enter into what is being done, it cannot follow the moving reality, adopt the becoming which is the life of things. This last task belongs to philosophy.
Henri Bergson (The Creative Mind: An Introduction to Metaphysics)
The rule of science is the one posited by Bacon: obey in order to command. The philosopher neither obeys nor commands; he seeks to be at one with nature. From this point of view, moreover, the essence of philosophy is the spirit of simplicity. Whether we contemplate the philosophical spirit in itself or in its works, whether we compare philosophy to science or one philosophy with other philosophies, we always find that any complication is superficial, that the construction is a mere accessory, synthesis a semblance: the act of philosophising is a simple one.
Henri Bergson (The Creative Mind: An Introduction to Metaphysics)
I have often been struck by what many regard as the most haunting of C. S. Lewis’s poems—the sonnet titled “Reason,” probably written in the early 1920s. Lewis here contrasts the clarity and strength of reason (symbolised by Athene, the “maid” of the poem) with the warm darkness and creativity of the imagination (Demeter, the earth-mother). For Lewis, the big question is this: Is there anyone who can be “both maid and mother” to him?[180] Who indeed could achieve such a fusion, reconciling what many would see as polar opposites? At the intellectual level, Lewis was searching for a true marriage of reason and imagination—something that eluded him totally as a young man. It seemed to him then that his life of the mind was split into two disconnected hemispheres. “On the one side a many-islanded sea of poetry and myth; on the other a glib and shallow ‘rationalism.’”[181] Lewis’s later discovery of the Christian faith offered him a synthesis of reason and imagination which he found persuasive and authentic till the end of his life.
Alister E. McGrath (C. S. Lewis: A Life: Eccentric Genius, Reluctant Prophet)
Love arises from within ourselves as an imaginative act, a creative synthesis that aims to fulfill our deepest longings, our oldest dreams, that allows us both to renew and transform ourselves.” Love is at once an affirmation and a transcendence of who we are.
Esther Perel (Mating in Captivity: Unlocking Erotic Intelligence)
Starting in the sixth century in China, Zen was formed by way of a creative synthesis of Buddhist teachings and practices imported from India with the Chinese traditions of Confucianism and especially Daoism. Centuries later, starting in the twelfth century, Zen was brought to Japan, where for eight centuries it has developed in conjunction with Japanese culture and Shintō sensibilities. Over the course of the last century, Zen has been imported to the United States and other Western countries, initially from Japan and later also from Korea, China, and Vietnam.
Bret W. Davis (Zen Pathways: An Introduction to the Philosophy and Practice of Zen Buddhism)
great creative work isn’t possible if you’re trying to piece together 30 minutes here and 45 minutes there. Large, uninterrupted blocks of time—3 to 5 hours minimum—create the space needed to find and connect the dots. And one block per week isn’t enough. There has to be enough slack in the system for multi-day, CPU-intensive synthesis.
Timothy Ferriss (Tools of Titans: The Tactics, Routines, and Habits of Billionaires, Icons, and World-Class Performers)