Mihaly Csikszentmihalyi Creativity Quotes

The second reason creativity is so fascinating is that when we are involved in it, we feel that we are living more fully than during the rest of life.

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.

Human beings are the only creatures who are allowed to fail. If an ant fails, it’s dead.

I mean, we’re only here for a short while. And I think it’s such a lucky accident, having been born, that we’re almost obliged to pay attention. In some ways, this is getting far afield. I mean, we are—as far as we know—the only part of the universe that’s self-conscious. We could even be the universe’s form of consciousness.

Painters must want to paint above all else. If the artist in front of the canvas begins to wonder how much he will sell it for, or what the critics will think of it, he won't be able to pursue original avenues. Creative achievements depend on single-minded immersion.

Second, to have a good life, it is not enough to remove what is wrong from it. We also need a positive goal, otherwise why keep going?

But consuming culture is never as rewarding as producing it.

A person who rarely gets bored, who does not constantly need a favorable external environment to enjoy the moment, has passed the test for having achieved a creative life.

no worthwhile effort in one’s life is either a success or a failure.

Freeman Dyson said: “It is characteristic of scientific life that it is easy when you have a problem to work on. The hard part is finding your problem.

Try to be surprised by something every day. It could be something you see, hear, or read about. Stop to look at the unusual car parked at the curb, taste the new item on the cafeteria menu, actually listen to your colleague at the office. How is this different from other similar cars, dishes or conversations? What is its essence? Don't assume that you already know what these things are all about, or that even if you knew them, they wouldn't matter anyway. Experience this once thing for what it is, not what you think it is. Be open to what the world is telling you. Life is nothing more than a stream of experiences - the more widely and deeply you swim in it, the richer your life will be.

The key to flow is to pursue an activity for its own sake, not for the rewards it brings."--(psychologist Mihaly Csikszentmihalyi on the state of being he calls "flow")

For Mark Strand, the poet’s responsibility to be a witness, a recorder of experience, is part of the broader responsibility we all have for keeping the universe ordered through our consciousness:

The insight presumably occurs when a subconscious connection between ideas fits so well that it is forced to pop out into awareness, like a cork held underwater breaking out into the air after it is released.

After curiosity, this quality of concentrated attention is what creative individuals mention most often as having set them apart in college from their peers. Without this quality, they could not have sustained the hard work, the ‘perspiration.’ Curiosity and drive are in many ways the yin and the yang that need to be combined in order to achieve something new.

In other words, if Dostoyevsky and Tolstoy showed more than their fair share of pathology it was due less to the requirements of their creative work than to the personal sufferings caused by the unhealthy conditions of a Russian society nearing collapse. If so many American poets and playwrights committed suicide or ended up addicted to drugs and alcohol it was not their creativity that did it but an artistic scene that promised much, gave few rewards and left nine out of ten artists neglected if not ignored.

Stern endorses Pascal’s maxim “To understand is to forgive.” In fact, one of the most exciting opportunities in being a writer, he feels, is to take a villain or criminal character and make him human by showing what caused him to be so.

When people are asked to choose from a list the best description of how they feel when doing whatever they enjoy doing most—reading, climbing mountains, playing chess, whatever—the answer most frequently chosen is “designing or discovering something new.

Creative individuals are remarkable for their ability to adapt to almost any situation and to make do with whatever is at hand to reach their goals.

When do we get to the interesting part—the tortured souls, the impossible dreams, the agony and the ecstasy of creation?

creative persons definitely know both extremes and experience both with equal intensity and without inner conflict.

what drove me on to be my own boss was that the thing that I wanted most was to be able to have a nap every day

While we cannot foresee the eventual results of creativity—of the attempt to impose our desires on reality, to become the main power that decides the destiny of every form of life on the planet—at least we can try to understand better what this force is and how it works. Because for better or for worse, our future is now closely tied to human creativity. The result will be determined in large part by our dreams and by the struggle to make them real.

Because optimal experience depends on the ability to control what happens in consciousness moment by moment, each person has to achieve it on the basis of his own individual efforts and creativity.

It has been said that all the stories have already been told, that there is nothing left to say. At best, a writer’s job is to pour new wine in old bottles, to retell in a new way the same emotional predicaments that humans have felt since the beginnings of time. Yet many authors find this a worthwhile challenge; they think of themselves as gardeners whose task is to cultivate perennial ideas generation after generation. The same flowers will bloom each spring, but if the gardener slacks off, weeds will take over.

When the lifestyle of a social group becomes obsolete, when work turns into a boring routine and community responsibilities lose their meaning, it is likely that leisure will become increasingly more important. And if a society becomes too dependent on entertainment, it is likely that there will be less psychic energy left to cope creatively with the technological and economic challenges that will inevitably arise.

All our contemporaries...had some big ideology to live for. Everybody thought he had to either fight in Spain or die for something else, and most of us had to be in prison for one reason or another. And then at the end it turns out that none of these great ideologies was worth your sacrificing anything for. Even doing personal good is very difficult to be absolutely sure about. It's very difficult to know exactly whether to live for an ideology or even to live for doing good. But there cannot be anything wrong in making a pot, I'll tell you. When making a pot you can't bring any evil into the world. - Eva Zeisel, ceramist.

Neither parents nor schools are very effective at teaching the young to find pleasure in the right things. Adults, themselves often deluded by infatuation with fatuous models, conspire in the deception. They make serious tasks seem dull and hard, and frivolous ones exciting and easy. Schools generally fial to teach how exciting, how mesmerizingly beautiful science or mathematics can be; they teach the routine of literature or history rather than the adventure.

Assimilating the style of predecessors is necessary before one can develop one's own. Only by immersing oneself in the domain can one find out whether there is room left for contributing creatively to it, and whether one is capable of doing so.

A large majority of our respondents were inspired by a tension in their domain that became obvious when looked at from the perspective of another domain. Even though they do not think of themselves as interdisciplinary, their best work bridges realms of ideas. Their histories tend to cast doubt on the wisdom of overspecialization, where bright young people are trained to become exclusive experts in one field and shun breadth like the plague.

a constant alternation between a highly concentrated critical assessment and a relaxed, receptive, nonjudgmental openness to experience. His attention coils and uncoils, its focus sharpens and softens, like the systolic and diastolic beat of the heart. It is out of this dynamic change of perspective that a good new work arises.

creative,” “concentrated,” and “motivated.” What was unexpected, however, is how frequently people reported flow situations at work, and how rarely in leisure.

It is easier to enhance creativity by changing conditions in the environment than by trying to make people think more creatively.

The important thing is that the energy is under their own control

the past can never be literally true in memory: it must be continuously edited, and the question is only whether we take creative control of the editing or not.

In the 1960s, when abstract expressionism was the reigning style, those art students who tended to be sullen, brooding, and antisocial were thought by their teachers to be very creative.

at the height of the Romantic period, an artist who was not more than a little savage and mad would not have been taken very seriously, because these qualities were de rigueur for creative souls.

Creative people are constantly surprised. They don’t assume that they understand what is happening around them, and they don’t assume that anybody else does either. They question the obvious—not out of contrariness but because they see the shortcomings of accepted explanations before the rest of us do. They sense problems before they are generally perceived and are able to define what they are.

Wake up in the morning with a specific goal to look forward to. Creative individuals don’t have to be dragged out of bed; they are eager to start the day. This is not because they are cheerful, enthusiastic types. Nor do they necessarily have something exciting to do. But they believe that there is something meaningful to accomplish each day, and they can’t wait to get started on it. Most of us don’t feel our actions are that meaningful. Yet everyone can discover at least one thing every day that is worth waking up for. It could be meeting a certain person, shopping for a special item, potting a plant, cleaning the office desk, writing a letter, trying on a new dress. It is easier if each night before falling asleep, you review the next day and choose a particular task that, compared to the rest of the day, should be relatively interesting and exciting. Then next morning, open your eyes and visualize the chosen event—play it out briefly in your mind, like an inner videotape, until you can hardly wait to get dressed and get going. It does not matter if at first the goals are trivial and not that interesting. The important thing is to take the easy first steps until you master the habit, and then slowly work up to more complex goals. Eventually most of the day should consist of tasks you look forward to, until you feel that getting up in the morning is a privilege, not a chore.

I am fooling around not doing anything, which probably means that this is a creative period, although of course you don’t know until afterward. I think that it is very important to be idle. I mean, they always say that Shakespeare was idle between plays. I am not comparing myself to Shakespeare, but people who keep themselves busy all of the time are generally not creative. So I am not ashamed of being idle.

Wisdom and integrity cannot be found in any single domain. A broader viewpoint that breaks across disciplinary boundaries is needed, a way of understanding that combines knowing and sensing, feeling and judging. In facing this task one cannot expect to succeed in the public eye, as one can when a field of culture recognizes one’s contributions to art, business, or science. But by this time a person aspiring to wisdom knows that the bottom line of a well-lived life is not so much success but the certainty we reach, in the most private fibers of our being, that our existence is linked in a meaningful way with the rest of the universe.

In our studies, we found that every flow activity, whether it involved competition, chance, or any other dimension of experience, had this in common: It provided a sense of discovery, a creative feeling of transporting the person into a new reality. It pushed the person to higher levels of performance, and led to previously undreamed-of states of consciousness. In short, it transformed the self by making it more complex. In

So people take intelligence very seriously, because the mental ability we call by that name can be measured by tests; whereas few bother about how sensitive, altruistic, or helpful someone is, because as yet there is no good way to measure such qualities.

A great view does not act like a silver bullet, embedding a new idea in the mind. Rather, what seems to happen is that when persons with prepared minds find themselves in beautiful settings, they are more likely to find new connections among ideas, new perspectives on issues they are dealing with. But it is essential to have a “prepared mind.” What this means is that unless one enters the situation with some deeply felt question and the symbolic skills necessary to answer it, nothing much is likely to happen.

psychological androgyny is a much wider concept, referring to a person’s ability to be at the same time aggressive and nurturant, sensitive and rigid, dominant and submissive, regardless of gender. A psychologically androgynous person in effect doubles his or her repertoire of responses and can interact with the world in terms of a much richer and varied spectrum of opportunities. It is not surprising that creative individuals are more likely to have not only the strengths of their own gender but those of the other one, too.

You cannot transform a domain unless you first thoroughly understand how it works. Which means that one has to acquire the tools of mathematics, learn the basic principles of physics, and become aware of the current state of knowledge. But the old Italian saying seems to apply: Impara l’arte, e mettila da parte (learn the craft, and then set it aside). One cannot be creative without learning what others know, but then one cannot be creative without becoming dissatisfied with that knowledge and rejecting it (or some of it) for a better way.

This is the Rule of the Scene, which says that places and people shape the success of our work far more than we realize. Location is not irrelevant. Place matters. As social psychologist Mihaly Csikszentmihalyi wrote, “Creativity is more likely in places where new ideas require less effort to be perceived.” The

Stern responds to the question about what was the main obstacle he encountered in his life: I think it’s that rubbishy part of myself, that part which is described by such words as vanity, pride, the sense of not being treated as I should be, comparison with others, and so on. I’ve tried rather hard to discipline that. And I’ve been lucky that there has been enough that’s positive to enable me to counter a kind of biliousness and resentment—ressentiment—which I’ve seen paralyze colleagues of mine, peers who are more gifted than I. I’ve felt it in myself. And I’ve had to learn to counter that. I would say that the chief obstacle is—oneself.

Before turning his mind to creativity, psychologist Mihaly Csikszentmihalyi (pronounced Chick-sent-me-hi) wrote a celebrated book called Flow. Its insight was that it is a mistake to pursue happiness itself. Rather, we should recognize when we are genuinely happy—what we are doing when we feel powerful and “true”—and do more of those things. Flow

There is no way to know whether a thought is new except with reference to some standards, and there is no way to tell whether it is valuable until it passes social evaluation. Therefore, creativity does not happen inside people’s heads, but in the interaction between a person’s thoughts and a sociocultural context. It is a systemic rather than an individual phenomenon.

Strand sees his main skill as just paying attention to the textures and rhythms of life, being receptive to the multifaceted, constantly changing yet ever recurring stream of experiences. The secret of saying something new is to be patient. If one reacts too quickly, it is likely that the reaction will be superficial, a cliché. “Keep your eyes and ears open,” he says, “and your mouth shut. For as long as possible.” Yet life is short, so patience is painful to the poet. Poetry is about slowing down, I think. It’s about reading the same thing again and again, really savoring it, living inside the poem. There’s no rush to find out what happens in a poem. It’s really about feeling one syllable rubbing against another, one word giving way to another, and sensing the justice of that relationship between one word, the next, the next, the next.

Peter Drucker, in my view the father of modern management thinking, was also a master of the art of the graceful no. When Mihaly Csikszentmihalyi, the Hungarian professor most well known for his work on “flow,” reached out to interview a series of creative individuals for a book he was writing on creativity, Drucker’s response was interesting enough to Mihaly that he quoted it verbatim: “I am greatly honored and flattered by your kind letter of February 14th – for I have admired you and your work for many years, and I have learned much from it. But, my dear Professor Csikszentmihalyi, I am afraid I have to disappoint you. I could not possibly answer your questions. I am told I am creative – I don’t know what that means…. I just keep on plodding…. I hope you will not think me presumptuous or rude if I say that one of the secrets of productivity (in which I believe whereas I do not believe in creativity) is to have a VERY BIG waste paper basket to take care of ALL invitations such as yours – productivity in my experience consists of NOT doing anything that helps the work of other people but to spend all one’s time on the work the Good Lord has fitted one to do, and to do well.”8 A true Essentialist, Peter Drucker believed that “people are effective because they say no.

Now in his nineties, Spock is writing a book on spirituality. But his understanding of spirituality is a far cry from that of institutionalized religions: Spirituality, unfortunately, is not a stylish word. It’s not a word that gets used. That’s because we’re such an unspiritual country that we think of it as somewhat corny to talk about spirituality. “What is that?” people say. Spirituality, to me, means the nonmaterial things. I don’t want to give the idea that it’s something mystical; I want it to apply to ordinary people’s ordinary lives: things like love, and helpfulness, and tolerance, and enjoyment of the arts or even creativity in the arts. I think that creativity in the arts is very special. It takes a high degree and a high type of spirituality to want to express things in terms of literature or poetry, plays, architecture, gardens, creating beauty any way. And if you can’t create beauty, at least it’s good to appreciate beauty and get some enjoyment and inspiration out of it. So it’s just things that aren’t totally materialistic. And that would include religion.

There are many different experiences we would rather continue than stop, including both mental and physical pleasures. One of the examples I had in mind for a situation that Helen would wish to continue is total absorption in a task, which Mihaly Csikszentmihalyi calls flow—a state that some artists experience in their creative moments and that many other people achieve when enthralled by a film, a book, or a crossword puzzle: interruptions are not welcome in any of these situations. I also had memories of a happy early childhood in which I always cried when my mother came to tear me away from my toys to take me to the park, and cried again when she took me away from the swings and the slide. The resistance to interruption was a sign I had been having a good time, both with my toys and with the swings.

However well-intentioned, books cannot give recipes for how to be happy. Because optimal experience depends on the ability to control what happens in consciousness moment by moment, each person has to achieve it on the basis of his own individual efforts and creativity. What a book can do, however, and what this one will try to accomplish, is to present examples of how life can be made more enjoyable, ordered in the framework of a theory, for readers to reflect upon and from which they may then draw their own conclusions. Rather than presenting a list of dos and don’ts, this book intends to be a voyage through the realms of the mind, charted with the tools of science. Like all adventures worth having it will not be an easy one. Without some intellectual effort, a commitment to reflect and think hard about your own experience, you will not gain much from what follows.

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.

In Erikson’s words: “A meaningful old age…serves the need for that integrated heritage which gives indispensable perspective on the life cycle. Strength here takes the form of that detached yet active concern with life bounded with death, which we call wisdom…” The notion of integrity connotes the ability to tie together, to relate to others outside oneself. Erikson thought that the perspective of an older person is based on a new definition of identity, which could be summarized in the sentence “I am what survives me.” If toward the end of life I conclude that nothing of myself is likely to survive, despair is likely to take over. But if I have identified with some more enduring entities, my survival will provide a sense of connection, of continuity, that keeps despair at bay. If I love my grandchildren, or the work I have accomplished, or the causes I have championed, then I am bound to feel a part of the future even after personal death. Jonas Salk calls this attitude “being a good ancestor.

Embracing a different vocabulary, Mihaly Csikszentmihalyi has described a highly sought-after affective state called the flow state or flow experience. In such intrinsically motivating experiences, which can occur in any domain of activity, people report themselves as fully engaged with and absorbed by the object of their attention. In one sense, those "in flow" are not conscious of the experience at the moment; on reflection, however, such people feel that they have been fully alive, totally realized, and involved in a "peak experience." Individuals who regularly engage in creative activities often report that they seek such states; the prospect of such "periods of flow" can be so intense that individuals will exert considerable practice and effort, and even tolerate physical or psychological pain, in pursuit thereof. Committed writers may claim that they hate the time spent chained to their desks, but the thought that they would not have the opportunity to attain occasional periods of flow while writing proves devastating.

The distinction between serial and parallel processing of information may also explain what happens during incubation. In a serial system like that of an old-fashioned calculator, a complex numerical problem must be solved in a sequence, one step at a time. In a parallel system such as in advanced computer software, a problem is broken up into its component steps, the partial computations are carried out simultaneously, and then these are reconstituted into a single final solution. Something similar to parallel processing may be taking place when the elements of a problem are said to be incubating. When we think consciously about an issue, our previous training and the effort to arrive at a solution push our ideas in a linear direction, usually along predictable or familiar lines. But intentionality does not work in the subconscious. Free from rational direction, ideas can combine and pursue each other every which way. Because of this freedom, original connections that would be at first rejected by the rational mind have a chance to become established.

No one would choose this sort of painful adolescence, but the fact is that the solitude of Woz’s teens, and the single-minded focus on what would turn out to be a lifelong passion, is typical for highly creative people. According to the psychologist Mihaly Csikszentmihalyi, who between 1990 and 1995 studied the lives of ninety-one exceptionally creative people in the arts, sciences, business, and government, many of his subjects were on the social margins during adolescence, partly because “intense curiosity or focused interest seems odd to their peers.” Teens who are too gregarious to spend time alone often fail to cultivate their talents “because practicing music or studying math requires a solitude they dread.” Madeleine L’Engle, the author of the classic young adult novel A Wrinkle in Time and more than sixty other books, says that she would never have developed into such a bold thinker had she not spent so much of her childhood alone with books and ideas. As a young boy, Charles Darwin made friends easily but preferred to spend his time taking long, solitary nature walks. (As an adult he was no different. “My dear Mr. Babbage,” he wrote to the famous mathematician who had invited him to a dinner party, “I am very much obliged to you for sending me cards for your parties, but I am afraid of accepting them, for I should meet some people there, to whom I have sworn by all the saints in Heaven, I never go out.”)

In the mid-1960s, two soon-to-be-legendary University of Chicago social scientists—Jacob Getzels and Mihaly Csikszentmihalyi—began studying the elusive subject of creativity.

try very hard to be at the cutting edge of problems. Very often that puts me so far out in front that people are upset about it, but that’s OK.

what you are doing is sort of architectural. You have to have a design in view, in which you design a chapter, or a proof of a theorem, as the case may be. Then you have to put it together out of words or out of symbols as the case may be, but if you don’t have a clear architecture in mind then the thing won’t end up being any good.

it’s very clear to me that my ability to think and write at the same time depends on the flow of ink. The thing I enjoy most is the flow of my own ideas and getting them down on paper. I will not write with a ballpoint pen, because it doesn’t really flow. That’s why I use a fountain pen. And only a fountain pen that really works very well.

Many of the peculiarities attributed to creative persons are really just ways to protect the focus of concentration so that they may lose themselves in the creative process. Distractions interrupt flow, and it may take hours to recover the peace of mind one needs to get on with the work. The more ambitious the task, the longer it takes to lose oneself in it, and the easier it is to get distracted.

More serious health, family, or financial problems could occupy the mind of a person so insistently that he or she is no longer able to devote enough attention to work. Then a long period of drought may follow, a writer’s block, a burnout, which may even end a creative career. It is this kind of distraction that Jacob Rabinow talks about: Freedom from worry is one thing—that you don’t have any problem of health or sickness in the family or something that occupies your mind. Or financial worries, that you’re going crazy about how you’re going to pay the next bill. Or children’s worries, or drugs or something. No, it’s nice to be free of responsibility. That doesn’t mean you have no responsibility to the project, but to be free of other things. And you’re not likely to be an inventor if you’re very sick. You’re too busy with your problems, too many pains. Many of our respondents were thankful to their spouses for providing a buffer from exactly these kinds of distractions. This was especially true of the men; the women sometimes mentioned pointedly that they also would have liked to have had a wife to spare them from worries that interfered with their concentration on work.

To achieve creativity in an existing domain, there must be surplus attention available.

Unfortunately, many people find the only challenges they can respond to are violence, gambling, random sex, or drugs. Some of these experiences can be enjoyable, but these episodes of flow do not add up to a sense of satisfaction and happiness over time. Pleasure does not lead to creativity, but soon turns into addiction—the thrall of entropy.

Recommended Reading Linda Barry, What It Is Hugh MacLeod, Ignore Everybody Jason Fried + David Heinemeier Hansson, Rework Lewis Hyde, The Gift Jonathan Lethem, The Ecstasy of Influence David Shields, Reality Hunger Scott McCloud, Understanding Comics Anne Lamott, Bird by Bird Mihaly Csikszentmihalyi, Flow Ed Emberley, Make a World

a genuinely creative accomplishment is almost never the result of a sudden insight, a light-bulb flashing on in the dark, but comes after years of hard work.

Someone who is motivated solely by the desire to become rich and famous might struggle hard to get ahead but will rarely have enough inducement to work beyond what is necessary, to venture beyond what is already known.

After an insight occurs, one must check it out to see if the connections genuinely make sense. The painter steps back from the canvas to see whether the composition works, the poet rereads the verse with a more critical eye, the scientist sits down to do the calculations or run the experiments. Most lovely insights never go any farther, because under the cold light of reason fatal flaws appear. But if everything checks out, the slow and often routine work of elaboration begins

To say that the theory of relativity was created by Einstein is like saying that it is the spark that is responsible for the fire. The spark is necessary, but without air and tinder there would be no flame.

Another force motivates us, and it is more primitive and more powerful than the urge to create: the force of entropy. This too is a survival mechanism built into our genes by evolution. It gives us pleasure when we are comfortable, when we relax, when we can get away with feeling good without expending energy.

In a really enjoyable game, the players are balanced on the fine line between boredom and anxiety. The same is true when work, or a conversation, or a relationship is going well.

To achieve historical creativity many other conditions must be met. For instance, you must be lucky, for to excel in some domains you might need the right genes, you might have to be born in the right family, at the right historical moment. Without access to the domain, potential is fruitless: How many Congolese would make great skiers? Are there really no Papuans who could contribute to nuclear physics? And finally, without the support of a field, even the most promising talent will not be recognized. But if creativity with a capital C is largely beyond our control, living a creative personal life is not. And in terms of ultimate fulfillment, the latter may be the most important accomplishment

The word success is an ambiguous word. Success with respect to the outside? Or success with respect to oneself? And if it is a success with respect to the outside, then how do you evaluate it? Very often outside success is irrelevant, wrong, and misplaced. So how can one talk about it? Externally, you may think I am successful because people write about some aspects of my work. But that is an external judgment. And I have no idea as to how to value that judgment.

Someone who is relatively more introverted may wish to perfect his act before stepping before the limelight. A more extroverted person may enjoy competitive pressures from the very beginning of her career.

I feel that all the various features of Nature around me…provoked an emotional reaction in the depth of my soul, which I have tried to transcribe in music” wrote Franz Liszt during his stay here.

On bad days I have seventeen or twenty-four E-mail messages.

a young person wants to learn philosophy these days, he or she would be better advised to become immersed in the domain directly and avoid the field altogether: “I’d tell him to read the great books of philosophy. And I would tell him not to do graduate study at any university. I think all philosophy departments are no good. They are all terrible.” By and large, however, jurisdiction over a given domain is officially left in the hands of a field of experts. These may range from grade school teachers to university professors and include anyone who has a right to decide whether a new idea or product is “good” or “bad.” It is impossible to understand creativity without understanding how fields operate, how they decide whether something new should or should not be added to the domain.

The real story of creativity is more difficult and strange than many overly optimistic accounts have claimed.

To keep up interest in a subject, a teenager has to enjoy working in it. If the teacher makes the task of learning excessively difficult, the student will feel too frustrated and anxious to really get into it and enjoy it for its own sake. If the teacher makes learning too easy, the student will get bored and lose interest. The teacher has the difficult task of finding the right balance between the challenges he or she gives and the students' skills, so that enjoyment and the desire to learn more result.

The whine of the victim is absent from his repertoire—as from that of practically all the individuals we interviewed.

When you write poetry honestly, and when you read it honestly, then you become an individual and build up a defense against becoming programmed. And if you read poetry to young people, which I very often do—I go to schools, I have even gone to prisons—I feel you can raise in people’s minds the wish never to be an opportunist, never to be a mindless follower. To look always at what’s happening and not to look away from it. That’s the most you can do. You cannot change the world, but you can change the single person, I guess. And a single person who decides not to join the crowd….

After college she worked in the theater and started publishing her stories. She still plays the piano, and in a way that is similar to Mark Strand’s strategy of driving a car or running errands when the focus on his work becomes excessively absorbing, she uses music to help clear her mind and get back in touch with experiences beyond the compass of rationality: Playing the piano is for me a way of getting unstuck. If I’m stuck in life or in what I’m writing, if I can I sit down and play the piano. What it does is break the barrier that comes between the conscious and the subconscious mind. The conscious mind wants to take over and refuses to let the subconscious mind work, the intuition. So if I can play the piano, that will break the block, and my intuition will be free to give things up to my mind, my intellect. So it’s not just a hobby. It’s a joy.

Edison’s or Einstein’s discoveries would be inconceivable without the prior knowledge, without the intellectual and social network that stimulated their thinking, and without the social mechanisms that recognized and spread their innovations.

creativity results from the interaction of a system composed of three elements: a culture that contains symbolic rules, a person who brings novelty into the symbolic domain, and a field of experts who recognize and validate the innovation

It also seems true that centers of creativity tend to be at the intersection of different cultures, where beliefs, lifestyles, and knowledge mingle and allow individuals to see new combinations of ideas with greater ease. In cultures that are uniform and rigid, it takes a greater investment of attention to achieve new ways of thinking. In other words, creativity is more likely in places where new ideas require less effort to be perceived.

The conventional explanation is that Raphael, Mendel, and Bach were always creative, only their reputation changed with the vagaries of social recognition. But the systems model recognizes the fact that creativity cannot be separated from its recognition. Mendel was not creative during his years of relative obscurity because his experimental findings were not that important until a group of British geneticists, at the end of the nineteenth century, recognized their implications for evolution.

In many ways, Max Planck’s obsession with understanding the Absolute underlies most human attempts to transcend the limitations of a body doomed to die after a short span of years.

but a homeopathic cure so improved her health

Yeah, there’s a trick I pull for this. When I have a job to do like that, where you have to do something that takes a lot of effort, slowly, I pretend I’m in jail. Don’t laugh. And if I’m in jail, time is of no consequence. In other words, if it takes a week to cut this, it’ll take a week. What else have I got to do? I’m going to be here for twenty years. See? This is a kind of mental trick.

Albert Einstein once wrote that art and science are two of the greatest forms of escape from reality that humans have devised.

Normal people are rarely original, but they are sometimes bizarre.

Suffering is not bad: It helps you very much. Do you know a novel about happiness? Or a film about happy people? We are a perverse race, only suffering interests us.

Mihaly Csikszentmihalyi in his masterwork, Creativity.

Creativity is a central source of meaning in our lives… most of the things that are interesting, important, and human are the results of creativity… [and] when we are involved in it, we feel that we are living more fully than during the rest of life.

But personalizing patterns of action helps to free the mind from the expectations that make demands on attention and allows intense concentration on matters that count.

Human beings are the only creatures who are allowed to fail. If an ant fails, it’s dead. But we’re allowed to learn from our mistakes and from our failures.