Technology And Creativity Quotes

Choice is the doorway to our creative power. To unleash this power, we must begin from the state of beingness.

When technology takes over every aspect of our lives, we won’t care anymore about the data but poems, songs, paintings and other creative arts.

Technology is a big destroyer of emotion and truth. Auto-tuning doesn’t do anything for creativity. Yeah, it makes it easier and you can get home sooner; but it doesn’t make you a more creative person. That’s the disease we have to fight in any creative field: ease of use.

Humanity has passed through a long history of one-sidedness and of a social condition that has always contained the potential of destruction, despite its creative achievements in technology. The great project of our time must be to open the other eye: to see all-sidedly and wholly, to heal and transcend the cleavage between humanity and nature that came with early wisdom.

Why should it be that just when technology is most encouraging of creativity, the law should be most restrictive?

Until society can be reclaimed by an undivided humanity that will use its collective wisdom, cultural achievements, technological innovations, scientific knowledge, and innate creativity for its own benefit and for that of the natural world, all ecological problems will have their roots in social problems.

Economic growth and technological change are accompanied by what the great economist Joseph Schumpeter called creative destruction. They replace the old with the new. New sectors attract resources away from old ones. New firms take business away from established ones. New technologies make existing skills and machines obsolete.

Teaching kids how to nourish their creativity and curiosity, while still providing a sound foundation in critical thinking, literacy and math, is the best way to prepare them for a future of increasingly rapid technological change.

The peculiar predicament of the present-day self surely came to pass as a consequence of the disappointment of the high expectations of the self as it entered the age of science and technology. Dazzled by the overwhelming credentials of science, the beauty and elegance of the scientific method, the triumph of modern medicine over physical ailments, and the technological transformation of the very world itself, the self finds itself in the end disappointed by the failure of science and technique in those very sectors of life which had been its main source of ordinary satisfaction in past ages. As John Cheever said, the main emotion of the adult Northeastern American who has had all the advantages of wealth, education, and culture is disappointment. Work is disappointing. In spite of all the talk about making work more creative and self-fulfilling, most people hate their jobs, and with good reason. Most work in modern technological societies is intolerably dull and repetitive. Marriage and family life are disappointing. Even among defenders of traditional family values, e.g., Christians and Jews, a certain dreariness must be inferred, if only from the average time of TV viewing. Dreary as TV is, it is evidently not as dreary as Mom talking to Dad or the kids talking to either. School is disappointing. If science is exciting and art is exhilarating, the schools and universities have achieved the not inconsiderable feat of rendering both dull. As every scientist and poet knows, one discovers both vocations in spite of, not because of, school. It takes years to recover from the stupor of being taught Shakespeare in English Lit and Wheatstone's bridge in Physics. Politics is disappointing. Most young people turn their backs on politics, not because of the lack of excitement of politics as it is practiced, but because of the shallowness, venality, and image-making as these are perceived through the media--one of the technology's greatest achievements. The churches are disappointing, even for most believers. If Christ brings us new life, it is all the more remarkable that the church, the bearer of this good news, should be among the most dispirited institutions of the age. The alternatives to the institutional churches are even more grossly disappointing, from TV evangelists with their blown-dry hairdos to California cults led by prosperous gurus ignored in India but embraced in La Jolla. Social life is disappointing. The very franticness of attempts to reestablish community and festival, by partying, by groups, by club, by touristy Mardi Gras, is the best evidence of the loss of true community and festival and of the loneliness of self, stranded as it is as an unspeakable consciousness in a world from which it perceives itself as somehow estranged, stranded even within its own body, with which it sees no clear connection. But there remains the one unquestioned benefit of science: the longer and healthier life made possible by modern medicine, the shorter work-hours made possible by technology, hence what is perceived as the one certain reward of dreary life of home and the marketplace: recreation. Recreation and good physical health appear to be the only ambivalent benefits of the technological revolution.

Today, on a per capita basis, Israel far leads the world in research and technological creativity.

Telephone did not come into existence from the persistent improvement of the postcard.

It's not technology that limits us. We're the limitation. Our technology is an expression of our intelligence and creativity, so the limitations of our technology are a reflection of our own limitations. We can't fundamentally advance technology until we fundamentally advance ourselves.

Technology means you can now do amazing things easily; but you couldn't easily do them legally.

Overregulation stifles creativity. It smothers innovation. It gives dinosaurs a veto over the future. It wastes the extraordinary opportunity for a democratic creativity that digital technology enables.

Steve Jobs thus became the greatest business executive of our era, the one most certain to be remembered a century from now. History will place him in the pantheon right next to Edison and Ford. More than anyone else of this time, he made products that were completely innovative, combining the power of poetry and processors. With a ferocity that could make working with him as unsettling as it was inspiring, he also built the world's most creative company. And he was able to infuse into its DNA the design sensibilities, perfectionism, and imagination that make it likely to be, even decades from now, the company that thrives best at the intersection of artistry and technology.

s security expert Bruce Schneier has said, "Making bits harder to copy is like making water that's less wet.

All the tools, techniques and technology in the world are nothing without the head, heart and hands to use them wisely, kindly and mindfully

The first principle was “Story Is King,” by which we meant that we would let nothing—not the technology, not the merchandising possibilities—get in the way of our story.

Innovation and creativity are the basic ingredients of success.

A remarkable thing about new technologies in the Roman period is that their creation and spread seem to have been driven by the state. This is good news, until the government decides that it is not interested in technological development—and all-too-common occurrence due to the fear of creative destruction.

كل ما مخض عنه الخيال البشري من ابداعات الشر الخارقة، وما بلغته التكنولوجيا من قدم، يجري امتحان فاعليتها في أجسادنا اليوم (All the unimaginably evil inventions human creativity has ever come up with and all the advances technology has achieved—their efficacy is now being tested on our bodies.)

Smart cities do not mean creating jungles of concretes or sophisticated cities of glasses with HiFi technologies. But a smart city means a city, where humans, trees, birds and other animals can grow with all their glories, imperfections, freedom and creativity.

Otto von Bismarck quipped, "Laws are like sausages, it is better not to see them being made.

The trick, of course, is to lose one day and come back to win the next. But that is possible only when we draw healthy pleasure and confidence from our creative processes.

The use of market values and technology as a social barometer has devalued the worth of individuals, rendered irrelevant the quality of their lives, and stunted their creativity.

Simplicity was really important to me. I wanted people to expend their creativity thinking about new things to design, not about how to work the machines.

Economic growth and technological change are accompanied by what the great economist Joseph Schumpeter called creative destruction.

Before we complicated life with money, machines and missiles we did well with morals, manpower and meetings.

Personal value is the kind of value we receive from being active instead of passive, creative instead of consumptive.

Future artificial intelligence is more focused on compassionate, caring, and creative intelligence than just hard intelligence.

There could be some economic growth without innovation, relying on existing technology, but it was growth without creative destruction. And it did not last.

We shall demonstrate once again that in this great, inventive land man’s idlest dreams are but the blueprints and mockups of emerging realities, technologies and poems. Here in the fashion of our pioneer forefathers, who confronted the mysteries of wilderness, mountain and prairie with crude tools and a self-generating imagination, we are committed to facing with courage the enormous task of imposing an ever more humane order upon this bewilderingly diversified and constantly changing society. Committed we are to maintaining its creative momentum.

When I began to do a little public speaking, one of the questions I heard most often was, "What good is science fiction to Black people?" I was usually asked this by a Black person... What good is science fiction's thinking about the present, the future, and the past? What good is its tendency to warn or to consider alternative ways of thinking and doing? What good is its examination of the possible effects of science and technology, or social organization and political direction? At its best, science fiction stimulates imagination and creativity. It gets reader and writer off the beaten track, off the narrow, narrow footpath of what "everyone" is saying, doing, thinking -- whoever "everyone" happens to be this year. And what good is all this to Black people?

Face-book has all the social graces of a nose-picking, hyperactive six-year-old, standing at the threshold of your attention and chanting, “I know something, I know something, I know something, won’t tell you what it is!

Every genuinely new technology has a genuinely new way of breaking – and every now and then, those malfunctions open a new door to the adjacent possible. Sometimes the way a new technology breaks is almost as interesting as the way it works.

Someday they would discover that the stars were not sacred, but made from the same material as their bodies. They would learn it was the stars that created their worlds, that worlds created their minds, that minds created tools, and tools could create stars. Growing, sprawling, thriving until they too became masters of their own understanding, chasing enlightenment with the fervor of having nothing to lose, launching from their homelands like fireworks with glorious yellow tails.

Most of today’s educational systems are built upon the same learning hierarchy: math and science at the top, humanities in the middle, art on the bottom. The reason for this is because these systems were developed in the nineteenth century, in the midst of the industrial revolution, when this hierarchy provided the best foundation for success. This is no longer the case. In a rapidly changing technological culture and an ever-growing information-based economy, creative ideas are the ultimate resource. Yet our current educational system does little to nourish this resource.

When we finally achieve the full right of participation in American life, what we make of it will depend upon our sense of cultural values, and our creative use of freedom, not upon our racial identification. I see no reason why the heritage of world culture—which represents a continuum—should be confused with the notion of race. Japan erected a highly efficient modern technology upon a religious culture which viewed the Emperor as a god. The Germany which produced Beethoven and Hegel and Mann turned its science and technology to the monstrous task of genocide; one hopes that when what are known as the “Negro” societies are in full possession of the world’s knowledge and in control of their destinies, they will bring to an end all those savageries which for centuries have been committed in the name of race. From what we are now witnessing in certain parts of the world today, however, there is no guarantee that simply being non-white offers any guarantee of this. The demands of state policy are apt to be more influential than morality. I would like to see a qualified Negro as President of the United States. But I suspect that even if this were today possible, the necessities of the office would shape his actions far more than his racial identity.

When I went to Pixar, I became aware of a great divide. Tech companies don’t understand creativity. They don’t appreciate intuitive thinking, like the ability of an A&R guy at a music label to listen to a hundred artists and have a feel for which five might be successful. And they think that creative people just sit around on couches all day and are undisciplined, because they’ve not seen how driven and disciplined the creative folks at places like Pixar are. On the other hand, music companies are completely clueless about technology. They think they can just go out and hire a few tech folks. But that would be like Apple trying to hire people to produce music. We’d get second-rate A&R people, just like the music companies ended up with second-rate tech people. I’m one of the few people who understands how producing technology requires intuition and creativity, and how producing something artistic takes real discipline.

The biggest cultural mistake we can indulge in is to yearn for technological solutions to our deepest cultural problems.

At the creative heart of invention lies appropriation, some sort of mental borrowing that comes in the form of a half-conscious suggestion.

Reading surrounds us, labels us, defines us.

For decades, computers have been helping us to remember, but now it's time for them to help us to ignore.

Creative is my god. Technology my cherished lover.

Cool technology alone is not enough. If it were, we’d all be riding Segways and playing with robotic dogs.

Why is it that you think that technologies are any more distracting than your own mind or anything else in the world?

We have become so trusting of technology that we have lost faith in ourselves and our born instincts. There are still parts of life that we do not need to “better” with technology. It’s important to understand that you are smarter than your smartphone. To paraphrase, there are more things in heaven and earth than are dreamt of in your Google. Mistakes are a part of life and often the path to profound new insights—so why try to remove them completely? Getting lost while driving or visiting a new city used to be an adventure and a good story. Now we just follow the GPS.

Smart cities are the intelligent cities of positivity and happy-energy, not the junkyards of technologies but cities of diversity, love, life, beauty, dignity, freedom, tolerance, and equality.

It's not that gays and diversity equal high technology. But if your culture is not such that it can accept difference, and uniqueness and oddity and eccentricity, you will not get high tech industry.

When the solution to a given problem doesn’t lay right before our eyes, it is easy to assume that no solution exists. But history has shown again and again that such assumptions are wrong. This is not to say the world is perfect. Nor that all progress is always good. Even widespread societal gains inevitably produce losses for some people. That’s why the economist Joseph Schumpeter referred to capitalism as “creative destruction.” But humankind has a great capacity for finding technological solutions to seemingly intractable problems, and this will likely be the case for global warming. It isn’t that the problem isn’t potentially large. It’s just that human ingenuity—when given proper incentives—is bound to be larger. Even more encouraging, technological fixes are often far simpler, and therefore cheaper, than the doomsayers could have imagined. Indeed, in the final chapter of this book we’ll meet a band of renegade engineers who have developed not one but three global-warming fixes, any of which could be bought for less than the annual sales tally of all the Thoroughbred horses at Keeneland auction house in Kentucky.

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.

The next phase of the Digital Revolution will bring even more new methods of marrying technology with the creative industries, such as media, fashion, music, entertainment, education, literature, and the arts. Much of the first round of innovation involved pouring old wine—books, newspapers, opinion pieces, journals, songs, television shows, movies—into new digital bottles. But new platforms, services, and social networks are increasingly enabling fresh opportunities for individual imagination and collaborative creativity. Role-playing games and interactive plays are merging with collaborative forms of storytelling and augmented realities. This interplay between technology and the arts will eventually result in completely new forms of expression and formats of media. This innovation will come from people who are able to link beauty to engineering, humanity to technology, and poetry to processors. In other words, it will come from the spiritual heirs of Ada Lovelace, creators who can flourish where the arts intersect with the sciences and who have a rebellious sense of wonder that opens them to the beauty of both.

Forward-thinking organizations seek hybrid professionals who are highly proficient writers, analytical, creative, and tech savvy, with strong competencies in business management, information technology (IT), and human behavior.

The wonderful thing about modern technology is the amount of communication and information-sharing it facilitates. And the awful thing about modern technology is the amount of communication and information-sharing it facilitates.

Human beings have an extraordinary capacity to imagine possibilities and then turn those possibilities into realities. Evident in the gifts of civilization—in our arts, languages, sciences, technologies, businesses, governments, and so on—it is clear that we are a profoundly creative species. Yet many of us only access a smidgen of our creativity.

the problem with reading off a screen isn’t resolution, eyestrain, or compatibility with reading in the bathtub: it’s that computers are seductive, they tempt us to do other things, making concentrating on a long-form work impractical.

In today’s market, anything that isn’t differentiated through creativity or a 10x technology will be immediately commodified by the industrial system. The only way to sustainably incite your audience to take action is to inspire them with meaningful purpose.

However, I don’t believe that those who pray are any more or less connected than those who don’t. We all have our own way of recognizing that infinite space within us, and for some it may be prayer. For others, it can be music, art, being in nature, or even pursuing knowledge and technology—whatever brings out our passion, creativity and purpose for living. In other words, it’s not prayer in and of itself that makes some of us more aware of our magnificence than others. Rather, it’s choosing to conduct our lives by connecting with our own internal passion, bringing out a Zen-like quality and giving our lives meaning and a feeling of unity.

A smart city is an intelligent town that provides enormous possibilities for human growth through art, culture, social, architectural, economic, political, environmental, and scientific flowering with the optimal mix of nature, technology, humanity, and arts.

Attend any conference on telecommunications or computer technology, and you will be attending a celebration of innovative machinery that generates, stores, and distributes more information, more conveniently, at greater speed than ever before, To the question “What problem does the information solve?” the answer is usually “How to generate, store and distribute more information, more conveniently, at greater speeds than ever before.” This is the elevation of information to a metaphysical status: information as both the means and end of human creativity. In Technopoly, we are driven to fill our lives with the quest to “access” information. For what purpose or with what limitations, it is not for us to ask; and we are not accustomed to asking, since the problem is unprecedented. The world has never before been confronted with information glut and has hardly had time to reflect on its consequences (61).

On December 17, 1903, on a windy North Carolina beach for just shy of one hundred seconds, the Wright brothers demonstrated that a heavier-than-air, self-propelled vehicle could fly. The moment was electric and its importance widely understood. Almost immediately, there was an explosion of interest in this newfound technology of manned flight, and a gaggle of innovators began to build upon it.

Zombies are familiar characters in philosophical thought experiments. They are like people in every way except they have no internal experience.... If there are enough zombies recruited into our world, I worry about the potential for a self-fulfilling prophecy. Maybe if people pretend they are not conscious or do not have free will - or that the cloud of online people is a person; if they pretend there is nothing special about the perspective of the individual - then perhaps we have the power to make it so. We might be able to collectively achieve antimagic. Humans are free. We can commmit suicide for the benefit of a Singularity. We can engineer our genes to better support an imaginary hive mind. We can make culture and journalism into second-rate activities and spend centuries remixing the detritus of the 1960s and other eras from before individual creativity went out of fashion. Or we can believe in ourselves. By chance, it might turn out we are real.

The world of technology has made it easier for people to get in touch with their modern muses regardless of the genres that they are trying to utilize and even if they create a new genre based on a mixing of others. The potential for modern-day muses is as vast as individual creativity.

The science shows that . . . typical twentieth-century carrot-and-stick motivators—things we consider somehow a “natural” part of human enterprise—can sometimes work. But they’re effective in only a surprisingly narrow band of circumstances. The science shows that “if-then” rewards . . . are not only ineffective in many situations, but can also crush the high-level, creative, conceptual abilities that are central to current and future economic and social progress. The science shows that the secret to high performance isn’t our biological drive (our survival needs) or our reward-and-punishment drive, but our third drive—our deep-seated desire to direct our own lives, to extend and expand our abilities, and to fill our life with purpose.

Most history books focus on the ideas of great thinkers, the bravery of warriors, the charity of saints and the creativity of artists. They have much to tell about the weaving and unravelling of social structures, about the rise and fall of empires, about the discovery and spread of technologies. Yet they say nothing about how all this influenced the happiness and suffering of individuals. This is the biggest lacuna in our understanding of history. We had better start filling it.

The theory is that if the Internet can't be controlled, then copyright is dead. The thing is, the Internet is a machine for copying things cheaply, quickly, and with as little control as possible, while copyright is the right to control who gets to make copies, so these two abstractions seem destined for a fatal collision, right?

It was reported in the Wall Street Journal a few years ago that many of the franchise-granting companies require applicants for franchises to take a personality test that is designed to EXCLUDE those who have creativity and initiative, because such persons are not sufficiently docile to go along obediently with the franchise system.

What good is science fiction’s thinking about the present, the future, and the past? What good is its tendency to warn or to consider alternative ways of thinking and doing? What good is its examination of the possible effects of science and technology, or social organization and political direction? At its best, science fiction stimulates imagination and creativity. It gets reader and writer off the beaten track, off the narrow, narrow footpath of what “everyone” is saying, doing, thinking—whoever “everyone” happens to be this year.

This is also, I hope, a book about innovation. At a time when the United States is seeking ways to sustain its innovative edge, and when societies around the world are trying to build creative digital-age economies, Jobs stands as the ultimate icon of inventiveness, imagination, and sustained innovation. He knew that the best way to create value in the twenty-first century was to connect creativity with technology, so he built a company where leaps of the imagination were combined with remarkable feats of engineering. He and his colleagues at Apple were able to think differently: They developed not merely modest product advances based on focus groups, but whole new devices and services that consumers did not yet know they needed.

However, one intriguing shift that suggests there are limits to automation was the recent decision by Toyota to systematically put working humans back into the manufacturing process. In quality and manufacturing on a mass scale, Toyota has been a global leader in automation technologies based on the corporate philosophy of kaizen (Japanese for “good change”) or continuous improvement. After pushing its automation processes toward lights-out manufacturing, the company realized that automated factories do not improve themselves. Once Toyota had extraordinary craftsmen that were known as Kami-sama, or “gods” who had the ability to make anything, according to Toyota president Akio Toyoda.49 The craftsmen also had the human ability to act creatively and thus improve the manufacturing process. Now, to add flexibility and creativity back into their factories, Toyota chose to restore a hundred “manual-intensive” workspaces.

The obvious point of Conrad’s cartoon is the weirdness of a world where guns are legal, despite the harm they can do, while VCRs (and circumvention technologies) are illegal. Flash: No one ever died from copyright circumvention. Yet the law bans circumvention technologies absolutely, despite the potential that they might do some good, but permits guns, despite the obvious and tragic harm they do.

Ben-Gurion once said that in Israel, “in order to be a realist, you must believe in miracles.” After such extraordinary achievement in science and technology and human creativity, how could we be anything but believers in miracles, faithful to the imaginations that are capable of conceiving them, and committed to the efforts to bring them to life? Ben-Gurion was right: realism in Israel is nothing less than the impossible made real.

Perhaps the most powerful and appealing aspect of another's words, however, is simply their convenience. Whether distilled in the briefest apophthegm, or spread out across some voluminous tome, the thought is ready-made, the heavy lifting done. It's there to be used like a weapon or tool, and as time wanders on, seemingly leaving us fewer and fewer new things to say, it becomes ever more useful. As technology moves forward, as well, it also becomes much easier. Indeed, in this "information age" where so much is available to so many so quickly that enlightenment nearly verges on light pollution, it can sometimes appear that expression has been reduced to nothing more than a mad race to unearth and claim references. As such, the citation is also there to be donned, like some article of fashion from which we may reap the praise of discriminating taste without ever exerting ourself in the actual toil of manufacture.

Why would I what?” Will asked, wanting another bite of his burger. “Why would you risk your job teaching some stupid fantasy book?” “Because alternative universe literature promotes critical thinking, imagination, empathy, and creative problem solving. Children who are fluent in fiction are more able to interpret nonfiction and are better at understanding things like basic cause and effect, sociology, politics, and the impact of historical events on current events. Many of our technological advances were imagined by science fiction writers before the tech became available to create them, and many of today’s inventors were inspired by science fiction and fantasy to make a world more like the world in the story. Many of today’s political conundrums were anticipated by science fiction writers like Orwell, Huxley, and Heinlein, and sci-fi and fantasy tackle ethical problems in a way that allows people to analyze the problem with some emotional remove, which is important because the high emotions are often what lead to violence. Works like Harry Potter tackle the idea of abuse of power and—” Will stopped himself and swallowed. Everybody at the table, including Kenny, was staring at him in openmouthed surprise. “Anyway,” he said before taking a monster bite of his cooling hamburger on a sudden attack of nerves, “iss goomfer umf.” “It’s good for us,” Kenny translated, sounding a little stunned

Good riddance, you might imagine. But the worries about operator-less elevators were quite similar to the concerns we hear today about driverless cars. In fact, I learned something surprising when I was invited to speak to the Otis Elevator Company in Connecticut in 2006. The technology for automatic elevators had existed since 1900, but people were too uncomfortable to ride in one without an operator. It took the 1945 strike and a huge industry PR push to change people’s minds,

Another one, popular with inhabitants of northern Europe, invokes the supposed stimulatory effects of their homeland’s cold climate and the inhibitory effects of hot, humid, tropical climates on human creativity and energy. Perhaps the seasonally variable climate at high latitudes poses more diverse challenges than does a seasonally constant tropical climate. Perhaps cold climates require one to be more technologically inventive to survive, because one must build a warm home and make warm clothing, whereas one can survive in the tropics with simpler housing and no clothing. Or the argument can be reversed to reach the same conclusion: the long winters at high latitudes leave people with much time in which to sit indoors and invent.

A great physicist taught at the Massachusetts Institute of Technology. He published many important books and papers. Often he had an idea in the middle of the night. He rose from his bed, took a shower, washed his hair, and shaved. He dressed completely, in a clean shirt, in polished shoes, a jacket and tie. Then he sat at his desk and wrote down his idea. A friend of mine asked him why he put himself through all that rigmarole. 'Why,' he said, surprised at the question, 'in honor of physics!

Economics itself offers a parallel that explains why this integration affects creativity. Clay Christensen has written about the “Innovator’s Dilemma”: the fact that large traditional firms find it rational to ignore new, breakthrough technologies that compete with their core business. The same analysis could help explain why large, traditional media companies will undermine our tradition of free culture. The property right that is copyright is no longer the balanced right that it was, or was intended to be. The property right that is copyright has become unbalanced, tilted toward an extreme. The opportunity to create and transform becomes weakened in a world in which creation requires permission and creativity must check with a lawyer.

In all of these areas, the human brain is asked to do and handle more than ever before. We are dealing with several fields of knowledge constantly intersecting with our own, and all of this chaos is exponentially increased by the information available through technology. What this means is that all of us must possess different forms of knowledge and an array of skills in different fields, and have minds that are capable of organizing large amounts of information. The future belongs to those who learn more skills and combine them in creative ways. And the process of learning skills, no matter how virtual, remains the same. In the future, the great division will be between those who have trained themselves to handle these complexities and those who are overwhelmed by them—those who can acquire skills and discipline their minds and those who are irrevocably distracted by all the media around them and can never focus enough to learn. The Apprenticeship Phase is more relevant and important than ever, and those who discount this notion will almost certainly be left behind. Finally, we live in a culture that generally values intellect and reasoning with words. We tend to think of working with the hands, of building something physical, as degraded skills for those who are less intelligent. This is an extremely counterproductive cultural value. The human brain evolved in intimate conjunction with the hand. Many of our earliest survival skills depended on elaborate hand-eye coordination. To this day, a large portion of our brain is devoted to this relationship. When we work with our hands and build something, we learn how to sequence our actions and how to organize our thoughts. In taking anything apart in order to fix it, we learn problem-solving skills that have wider applications. Even if it is only as a side activity, you should find a way to work with your hands, or to learn more about the inner workings of the machines and pieces of technology around you. Many Masters

New media don’t succeed because they’re like the old media, only better: they succeed because they’re worse than the old media at the stuff the old media is good at, and better at the stuff the old media are bad at. Books are good at being paperwhite, high-resolution, low-infrastructure, cheap and disposable. Ebooks are good at being everywhere in the world at the same time for free in a form that is so malleable that you can just pastebomb it into your IM session or turn it into a page-a-day mailing list.

Dangerous systems usually required standardized procedures and some form of centralized control to prevent mistakes. That sort of management was likely to work well during routine operations. But during an accident, Perrow argued, “those closest to the system, the operators, have to be able to take independent and sometimes quite creative action.” Few bureaucracies were flexible enough to allow both centralized and decentralized decision making, especially in a crisis that could threaten hundreds or thousands of lives. And the large bureaucracies necessary to run high-risk systems usually resented criticism, feeling threatened by any challenge to their authority. “Time and time again, warnings are ignored, unnecessary risks taken, sloppy work done, deception and downright lying practiced,” Perrow found. The instinct to blame the people at the bottom not only protected those at the top, it also obscured an underlying truth. The fallibility of human beings guarantees that no technological system will ever be infallible.

But the “jobs of the future” do not need scientists who have memorized the periodic table. In fact, business leaders say they are looking for creative, independent problem solvers in every field, not just math and science. Yet in most schools, STEM subjects are taught as a series of memorized procedures and vocabulary words, when they are taught at all. In 2009, only 3% of high school graduates had any credits in an engineering course. (National Science Board, 2012) Technology is increasingly being relegated to using computers for Internet research and test taking.

What exactly is the new verse movement? The New Verse Movement of the 1910's was to make poetry relevant again by immersing it into the spaces, technologies, and social dynamics of the modern city. And Now In The Present And Future ? The New Verse Movement of the 21st Century follows these same beliefs. To somehow ignite the spark and to help make poetry relevant again in a new age of technologies (The Internet) and to support new & experimental as well as older poetic forms. The New Verse Movement of the 21st Century is all about change and free expression of the creative mind.

Almost every time I speak to teenagers, particularly young female students who want to talk to me about feminism, I find myself staggered by how much they have read, how creatively they think and how curiously bullshit-resistant they are. Because of the subjects I write about, I am often contacted by young people and I see it as a part of my job to reply to all of them - and doing so has confirmed a suspicions I’ve had for some time. I think that the generation about to hit adulthood is going to be rather brilliant. Young people getting older is not, in itself, a fascinating new cultural trend. Nonetheless the encroaching adulthood and the people who grew up in a world where expanding technological access collided with the collapse of the neoliberal economic consensus is worth paying attention to. Because these kids are smart, cynical and resilient, and I don’t mind saying that they scare me a little.

Erik Erikson writes that in their search for identity, adolescents need a place of stillness, a place to gather themselves.2 Psychiatrist Anthony Storr writes of solitude in much the same way. Storr says that in accounts of the creative process, “by far the greater number of new ideas occur during a state of reverie, intermediate between waking and sleeping.... It is a state of mind in which ideas and images are allowed to appear and take their course spontaneously . . . the creator need[s] to be able to be passive, to let things happen within the mind.”3 In the digital life, stillness and solitude are hard to come by.

And this doesn’t just mean taking physical risks. The science shows that other risks—emotional, intellectual, creative, social—work just as well. “To reach flow,” explains psychiatrist Ned Hallowell,22 “one must be willing to take risks. The lover must be willing to risk rejection to enter this state. The athlete must be willing to risk physical harm, even loss of life, to enter this state. The artist must be willing to be scorned and despised by critics and the public and still push on. And the average person—you and me—must be willing to fail, look foolish, and fall flat on our faces should we wish to enter this state.

So the best defense against porn, for every member of our family, is a full life--the kind of life that technology cannot provide on its own. This is why the most important things we will do to prevent porn from taking over our own lives and our children's lives have nothing to do with sex. A home where wisdom and courage come first; where our central spaces are full of satisfying, demanding opportunities for creativity; where we have regular breaks from technology and opportunities for deep rest and refreshment (where devices "sleep" somewhere other than our bedrooms and where both adults and children experience the satisfactions of learning in thick, embodied ways rather than thin, technological ways); where we've learned to manage boredom and where even our car trips are occasions for deep and meaningful conversation--this is the kind of home that can equip all of us with an immune system strong enough to resist pornography's foolishness.

Design your day thinking that you have limited mental resources, knowing that taking time to replenish them will not only help you be less stressed and better able to resist distractions, but also more creative. We know how different activities affect our physical energy in the world, such as being with family or friends, coordinating a complex event, or taking a walk in nature. In the digital world, what taxes your mental energy? What things do you do that replenish your resources? What kind of rote activity relaxes you? At the end of the day, you want to feel energetic and positive. Don’t end up with your tank of resources on reserve when it’s only early afternoon.

A century ago, historians of technology felt that individual inventors were the main actors that brought about the Industrial Revolution. Such heroic interpretations were discarded in favor of views that emphasized deeper economic and social factors such as institutions, incentives, demand, and factor prices. It seems, however, that the crucial elements were neither brilliant individuals nor the impersonal forces governing the masses, but a small group of at most a few thousand people who formed a creative community based on the exchange of knowledge. Engineers, mechanics, chemists, physicians, and natural philosophers formed circles in which access to knowledge was the primary objective. Paired with the appreciation that such knowledge could be the base of ever-expanding prosperity, these elite networks were indispensable, even if individual members were not. Theories that link education and human capital to technological progress need to stress the importance of these small creative communities jointly with wider phenomena such as literacy rates and universal schooling.

Radionics was conceived as a diagnostic and treatment technology at a time when modern electronic theory and biomedicine had not become the dominant sciences they are today. Early radionic devices incorporated the new discoveries of radio and electronics into their design. During that period, the functional assumptions of radionic technology did not seem as implausible as it does today. However, it wasn't long before radionics became outmoded and completely non-scientific. As Mizrach has noted, radionics continued to appropriate the methods of orthodox science into its design and terminology, making the probability of understanding what it could accomplish even more difficult to assess. I will examine this appropriation in a spirit of tolerance, given the state of electronics and medicine circa 1910, when radionics was first discovered. I will do so in order to shift the focus of this interesting technology from the scientific to the metaphysical, where the reader not limited by a need for scientific approval can evaluate it. My aim is to provide a reasonable means of evaluating radionic technology as an artistic methodology.

The classical heritage as shaped by and filtered through Roman culture had two great flaws. First, it prevented the very rich oral cultures of the ancient Mediterranean from surviving from antiquity into later times. All that was left as creative forces were Greek philosophy and Roman law. These were very substantial cultures but they represented a great narrowing of what could be passed on from antiquity to later centuries... "Second, another deficiency of classical culture was its lack of social conscience, its obliviousness to the slavery, poverty, disease, and everyday cruelty endured by more than half of the fifty million people who inhabited the empire. The classical heritage represented a narrow and insensitive social and political theory reinforcing a miserably class-ridden and technologically stagnant society.

It struck Hsing suddenly that Masada didn't even understand the nature of his own genius. To him the patterns of thought and motive that he sensed in the virus were self-explanatory, and those who could not see them were simply not looking hard enough. Yet he would readily admit to his own inability to analyze more human contact, even on the most basic level. That was part and parcel of being iru. What a strange combination of skills and flaws. What an utterly alien profile. Praise the founders of Guera for having taught them all to nurture such specialized talent, rather than seeking to "cure" it. It was little wonder that most innovations in technology now came from the Gueran colonies, and that Earth, who set such a strict standard of psychological "normalcy," now produced little that was truly exciting. Thank God their own ancestors had left that doomed planet before they, too, had lost the genes of wild genius. Thank God they had seen the creative holocaust coming, and escaped it.

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.

Many of us who have observed our own behavior don't need science to prove that technology is altering us, but let's bring some in anyway. Dopamine, the neurotransmitter that records certain experiences in our brain (typically described as pleasurable) and prompts us to repeat them, plays a part not only in sex and drugs, but also the swiping and tapping we do on our smartphones. Scott Barry Kaufman--- scientific director of the Imagination Institute...gave me the straight dope on dopamine. "It's a misconception that dopamine has to do with our feelings of happiness and pleasure," he said. "It's a molecule that helps influence our expectations." Higher levels of dopamine are linked to being more open to new things and novelty seeking. Something novel could be an amazing idea for dinner or a new book. . . or just getting likes on a Facebook post or the ping of a text coming in. Our digital devices activate and hijack this dopamine system extremely well, when we let them. ...Kaufman calls dopamine "the mother of invention" and explains that because we have a limited amount of it, we must be judicious about choosing to spend it on "increasing our wonder and excitement for creating meaning and new things like art--- or on Twitter.

While a 10x improvement is gargantuan, Teller has very specific reasons for aiming exactly that high. “You assume that going 10x bigger is going to be ten times harder,” he continues, “but often it’s literally easier to go bigger. Why should that be? It doesn’t feel intuitively right. But if you choose to make something 10 percent better, you are almost by definition signing up for the status quo—and trying to make it a little bit better. That means you start from the status quo, with all its existing assumptions, locked into the tools, technologies, and processes that you’re going to try to slightly improve. It means you’re putting yourself and your people into a smartness contest with everyone else in the world. Statistically, no matter the resources available, you’re not going to win. But if you sign up for moonshot thinking, if you sign up to make something 10x better, there is no chance of doing that with existing assumptions. You’re going to have to throw out the rule book. You’re going to have to perspective-shift and supplant all that smartness and resources with bravery and creativity.” This perspective shift is key. It encourages risk taking and enhances creativity while simultaneously guarding against the inevitable decline. Teller explains: “Even if you think you’re going to go ten times bigger, reality will eat into your 10x. It always does. There will be things that will be more expensive, some that are slower; others that you didn’t think were competitive will become competitive. If you shoot for 10x, you might only be at 2x by the time you’re done. But 2x is still amazing. On the other hand, if you only shoot for 2x [i.e., 200 percent], you’re only going to get 5 percent and it’s going to cost you the perspective shift that comes from aiming bigger.” Most critically here, this 10x strategy doesn’t hold true just for large corporations. “A start-up is simply a skunk works without the big company around it,” says Teller. “The upside is there’s no Borg to get sucked back into; the downside is you have no money. But that’s not a reason not to go after moonshots. I think the opposite is true. If you publicly state your big goal, if you vocally commit yourself to making more progress than is actually possible using normal methods, there’s no way back. In one fell swoop you’ve severed all ties between yourself and all the expert assumptions.” Thus entrepreneurs, by striving for truly huge goals, are tapping into the same creativity accelerant that Google uses to achieve such goals. That said, by itself, a willingness to take bigger risks

Other animals are exceptionally good at identifying and reacting to predators, rivals and friends. They never act as if they believe that rivers or trees are inhabited by spirits who are watching. In all these ways, other animals continually demonstrate their working knowledge that they live in a world brimming with other minds as well as their knowledge of those minds' boundaries. their understanding seems more acute, pragmatic, and frankly, better than ours at distinguishing real from fake. So, I wonder, do humans really have a better developed Theory of Mind than other animals? ...Children talk to dolls for years, half believing or firmly believing that the doll hears and feels and is a worthy confidante. Many adults pray to statues, fervently believing that they're listening. ...All of this indicates a common human inability to distinguish conscious minds from inanimate objects, and evidence from nonsense. Children often talk to a fully imaginary friends whom they believe listens and has thoughts. Monotheism might be the adult version. ...In the world's most technologically advanced, most informed societies, a majority people take it for granted that disembodied spirits are watching, judging, and acting on them. Most leaders of modern nations trust that a Sky-God can be asked to protect their nation during disasters and conflicts with other nations. All of this is theory of mind gone wild, like an unguided fire hose spraying the whole universe with presumed consciousness. Humans' "superior" Theory of Mind is in part pathology. The oft repeated line "humans are rational beings" is probably our most half-true assertion about ourselves. There is in nature an overriding sanity and often in humankind an undermining insanity. We, among all animals, are most frequently irrational, distortional, delusional, and worried. Yet, I also wonder, is our pathological ability to generate false beliefs...also the very root of human creativity?

We've reached a point in human history where higher education no longer works. As a result of technology, higher education in its traditional college setting no longer works. It will never be effective or progressive enough to keep up with the growing needs of employers who look to college institutions for their future employees. I can appreciate the good intent the college system set out to achieve. For previous generations, the formula actually worked. Students enrolled into universities that were affordable, they gained marketable skills and they earned good jobs. Since there was a proven track record of success, parents instilled the value of college in their children thinking they would achieve the same success story they did, but unfortunately Wall Street was watching. Wall Street, the federal government and the college system ganged up and skyrocketed the cost of tuition to record highs. This was easy to do because not only did they have posters blanketing high schools showing kids what a loser they would be if they didn't go to college, they also had Mom and Dad at home telling them the same thing. This system - spending 4+ years pursuing a college education when the world is changing at the speed of light - no longer works and it's not fixable. We now have the biggest employer's market in human history, where employers have their pick of the litter, and because of this employees will get paid less and less and benefits will continue to erode.

A large brand will typically spend between 10 and 20 percent of their media buy on creative,” DeJulio explains. “So if they have a $500 million media budget, there’s somewhere between $50 to $100 million going toward creating content. For that money they’ll get seven to ten pieces of content, but not right away. If you’re going to spend $1 million on one piece of content, it’s going to take a long time—six months, nine months, a year—to fully develop. With this budget and timeline, brands have no margin to take chances creatively.” By contrast, the Tongal process: If a brand wants to crowdsource a commercial, the first step is to put up a purse—anywhere from $50,000 to $200,000. Then, Tongal breaks the project into three phases: ideation, production, and distribution, allowing creatives with different specialties (writing, directing, animating, acting, social media promotion, and so on) to focus on what they do best. In the first competition—the ideation phase—a client creates a brief describing its objective. Tongal members read the brief and submit their best ideas in 500 characters (about three tweets). Customers then pick a small number of ideas they like and pay a small portion of the purse to these winners. Next up is production, where directors select one of the winning concepts and submit their take. Another round of winners are selected and these folks are given the time and money to crank out their vision. But this phase is not just limited to these few winning directors. Tongal also allows anyone to submit a wild card video. Finally, sponsors select their favorite video (or videos), the winning directors get paid, and the winning videos get released to the world. Compared to the seven to ten pieces of content the traditional process produces, Tongal competitions generate an average of 422 concepts in the idea phase, followed by an average of 20 to 100 finished video pieces in the video production phase. That is a huge return for the invested dollars and time.

Rather, productivity is about making certain choices in certain ways. The way we choose to see ourselves and frame daily decisions; the stories we tell ourselves, and the easy goals we ignore; the sense of community we build among teammates; the creative cultures we establish as leaders: These are the things that separate the merely busy from the genuinely productive. We now exist in a world where we can communicate with coworkers at any hour, access vital documents over smartphones, learn any fact within seconds, and have almost any product delivered to our doorstep within twenty-four hours. Companies can design gadgets in California, collect orders from customers in Barcelona, email blueprints to Shenzhen, and track deliveries from anywhere on earth. Parents can auto-sync the family’s schedules, pay bills online while lying in bed, and locate the kids’ phones one minute after curfew. We are living through an economic and social revolution that is as profound, in many ways, as the agrarian and industrial revolutions of previous eras. These advances in communications and technology are supposed to make our lives easier. Instead, they often seem to fill our days with more work and stress. In part, that’s because we’ve been paying attention to the wrong innovations. We’ve been staring at the tools of productivity—the gadgets and apps and complicated filing systems for keeping track of various to-do lists—rather than the lessons those technologies are trying to teach us. There are some people, however, who have figured out how to master this changing world. There are some companies that have discovered how to find advantages amid these rapid shifts. We now know how productivity really functions. We know which choices matter most and bring success within closer reach. We know how to set goals that make the audacious achievable; how to reframe situations so that instead of seeing problems, we notice hidden opportunities; how to open our minds to new, creative connections; and how to learn faster by slowing down the data that is speeding past us.

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.