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Creativity isn't born, it's cultivated—this innovative guide distills the work of extraordinary artists and thinkers to show you how.
All the imagination needs to be fruitful is exercise. Robert and Michele Root-Bernstein identify the thinking tools employed by history's greatest creative minds—from Albert Einstein and Jane Goodall to Amadeus Mozart and Virginia Woolf—so that anyone with the right mix of inspiration and drive can set their own genius in motion. With engaging narratives and ample illustrations, Robert and Michele Root-Bernstein investigate cognitive tools as diverse as observing, imaging, recognizing patterns, modeling, playing, and more to provide "a clever, detailed and demanding fitness program for the creative mind" (Kirkus Reviews).
- Sales Rank: #40060 in Books
- Brand: Root-Bernstein, Michele/ Root-Bernstein, Robert
- Published on: 2001-08-09
- Released on: 2001-08-09
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.05" w x 6.00" l, 1.14 pounds
- Binding: Paperback
- 416 pages
From Publishers Weekly
Operating on the arguable assumption that creative thinking is essentially pre-verbal, intuitive and emotional, the Root-Bernsteins (Honey, Mud, Maggots, and Other Medical Marvels) outline 13 "tools" that help translate spontaneous imaginative experiences into specific media, such as painting, music, scientific experiments and poetry. Among the techniques they identify and describe are "imaging," "abstracting," "body thinking" and "empathizing." Although there is considerable overlap between categories (for example, in the sections on "analogizing" and on "recognizing patterns"), the Root-Bernsteins succeed in defining each category's uniqueness. Freely acknowledging that they are not asserting anything startlingly novel, the authors present an impressive number of firsthand accounts of the creative process, from Albert Einstein and Merce Cunningham to Oliver Sacks and Charles Ives. Some may have trouble accepting the premise that all creative thinking--whether for poetic composition or scientific experiment, and regardless of the thinker's native culture or language--is "universally" categorizable, but the authors make a strong case for a view that is becoming increasingly popular. They conclude with a list of suggestions for how to transform education from the elementary level up so that it is better suited to our demanding, multidimensional culture. (Jan.)
Copyright 1999 Reed Business Information, Inc.
From Library Journal
Are there special thinking strategies that characterize genius? How did the Einsteins, Freuds, Picassos, Galileos, and Mozarts come up with their ideas? The Root-Bernsteins, Robert (physiology professor, Michigan State Univ.) and Mich?le (history and writing teacher), have been studying creativity for more than a decade. Using results from these studies, they have identified the following 13 thinking tools to help us tap into our own personal genius and free our minds to be more creative: observing, imaging, abstracting, recognizing patterns, forming patterns, analogizing, body thinking, empathizing, dimensional thinking, modeling, playing, transforming, and synthesizing. The book is well written and easy to follow, with each chapter containing a thorough discussion of each tool. An outstanding section of "Minds-on-Resources" assists the reader in using the tools. Scholarly and inspiring, this book is highly recommended for psychology and education collections in academic and large public libraries.
-Elizabeth Goeters, Roswell, GA
Copyright 2000 Reed Business Information, Inc.
From Booklist
How different the painter at the easel and the physicist in the laboratory! Yet the Root-Bernsteins recognize the deep-down similarity of all creative thinking, whether in art or science. They demonstrate this similarity by comparing the accounts that various pioneers and inventors have left of their own creative processes: for Picasso just as for Einstein, for Klee just as for Feynman, the creative impulse always begins in vision, in emotion, in intuition. Such intuition naturally resists parsing, but the authors do identify and explain the use of 13 tools--from body thinking to synthesizing--for breaking out of inherited categories and exploring new possibilities. With a lavishly illustrated chapter devoted to each tool, readers quickly realize just how far the imagination can stretch. The authors concede that cataloging the tools of creative thought does not guarantee success in their application. Yet they hope that with a better understanding of those tools, society will erect bridges between isolated specialties and will establish schools that kindle rather than smother the creative spark. Bryce Christensen
Most helpful customer reviews
72 of 76 people found the following review helpful.
Brilliant; Outstanding; Better than 5-star book
By S. A. Felton
It is such a pleasure to write a review of a book of this caliber. I don't have to balance what is good with what is not so good, because "Sparks of Genius" is an excellent, superb book, from start to finish. I would have only one small addition to one of the chapters, which I will mention below.
I think that "Sparks of Genius" is the first book I have ever read on the subject of how to develop genius, but I cannot imagine a better complilation of what it takes to foster and inspire genius and creativity in people. The main reason for this is that the authors base their material on how creative people in the arts, sciences, etc., acquire and develop their skills, and every chapter except the last one (appropriately) are full of firsthand examples from people of genius and creativity in (almost!) all walks of life. Yet the authors themselves exhibit their own kind of genius in organizing the material, writing chapter after chapter with genuine vision and clarity, and most importantly, after intellectually explaining "sparks" such as observing, imaging, analyzing, and empathizing, give specific, generally uncomplicated, exercises on how to develop these skills.
Throughout the book the authors demonstrate that people in very diverse walks of life exhibit the same "sparks of genius" in their work, which I find quite inspiring in itself. In this way they themselves exemplify the value of "synthesis," perhaps the key that links all the methods they depict.
The book is a call to "rethink thinking," to teach cross-discipline learning, and I feel that the methods discussed in the book, and then discussed specifically in the context of education in the final chapter, would be invaluable as educational tools. I believe that if children's education could be fostered along the lines of these tools of creative genius, if children could be taught to use their own internal resources instead of relying on the obvious external garbage such as TV and video games, the improvement to society would be tremendous.
My favorite chapter in the book is called "Empathizing," where the authors discuss what artists and scientists do to go inside of whomever or whatever they are portraying (actors), drawing (artists), treating (physicians), as well as other real-life examples.
My only small addition to "Sparks of Genius" would be in the penultimate chapter, called "Synthesizing," some mention of the "gestalt" in experiencing the whole in music, art, etc. I liked this term from personal experience and from books on gestalt therapy that came out some time ago, and it's a very intuitive concept that fits in well with the chapter's discussion.
I cannot recommend this book highly enough!
2 of 2 people found the following review helpful.
A brilliant examination of "the whole point of gourmet thinking and education"
By Robert Morris
I agree with Robert and Michele Root-Bernstein: "By half-understanding the nature of thinking, teachers only half-understand how to teach and students only half-understand how to learn." If true and I am convinced that it is, the knowledge exchanges to which the Root-Bernsteins refer include both formal and informal education. Whatever the nature and extent of the given teaching-learning situation, "it is imperative that we learn to use the feelings, emotions, and intuitions that are the bases of creative imagination. That is the whole point of gourmet thinking and education."
Since this book was published more than a decade ago, there has been significant research conducted on metacognition - especially creative thinking -- that adds to the support of several of the Root-Bernsteins' key points. For example, as they explain, "Creative thinking in all fields occurs preverbally, before logic and linguistics comes into play, manifesting itself through emotions, intuitions, images, and bodily feelings." Only by formulating a new conception of knowledge can we formulate a new form of both formal and informal education. The Root-Bernsteins wrote this book to explain how to do that. More specifically, they studied some of the world's most creative thinkers in the arts and sciences, then share in this book what they learned from them.
Consider these two quotations, first from Paul Horgan: "Illusion is first of all needed to find the powers of which the self is capable"; then from Albert Einstein: "In creative work, imagination is more important than knowledge." However, as the Root-Bernsteins' affirm, they are both important, in fact [begin italics] interdependent [end italics]. "Fantasy and imagination suggest how the world might be; knowledge and experience limit the possibilities; melding the two begets understanding. Without the illusions of the mind, a clear grasp of reality is impossible, and vice versa."
I am greatly indebted to Howard Gardner and his research in the field of multiple intelligences. The Root-Bernsteins may have had that concept in mind as they conducted their own research for this book. They may also agree with a paraphrasing of Walt Whitman's affirmation in "Song of Myself," that human beings are "large," they contain "multitudes."
When I first read the book and then re-read it recently, these are three of the subjects of greatest interest and value to me:
o There is a common set of thinking tools at the heart of creative understanding that need to be mastered: observing, imaging, abstracting, recognizing patterns, forming patterns, analogizing, body thinking, empathizing, dimensional thinking, modeling, playing, transforming, and synthesizing (what Roger Martin describes as integrative thinking). The Root-Bernsteins thoroughly discuss each, citing various creative thinkers and including their own thoughts about how they use one or more of them.
o The Root-Bernsteins stress "six important points about these thirteen tools" (Pages 27-29), noting that most people can at least try to "unite Illusions and Reality into Understanding through the medium of Tools for Thinking."
o In Chapter 16, after having "teased apart the threads of creative thinking and rewoven them into a synthetic understanding of innovation," they shift their attention to explaining "a new kind of transdiciplinary, synthetic education." First they note, "we need not change [begin italics] what [end italics] we teach. At synthetic education requires only that we change [begin italics] how [end italics] we teach, bearing eight goals in mind." (Pages 316-319)
Those who read this book with appropriate care will be generously rewarded by the substance and quality of the content, brilliantly presented by the Root-Bernsteins in their lively and eloquent narrative. After reading and then re-reading Sparks of Genius, I have concluded that "the whole point of gourmet thinking and education" involves a never-ending process of exploration and discovery rather than any one head-snapping insight, a process best viewed as a journey. Think of Robert and Michele Root-Bernstein as your travel agents, then as you expert guides. Bon voyage!
6 of 6 people found the following review helpful.
A Fantastic Book
By S. Thomas
I'd have to place this book near the top of my all-time favorite books. I don't think this is intended to be a formula or how-to book on creative thinking, which some perhaps were expecting it to be. (If you want something like that, the hands-down best one is James Adams' Conceptual Blockbusting: A Guide to Better Ideas) Here the authors immediately get to the main problem: "Creative Thinking in all fields occurs preverbally, before logic or linguistics comes into play, manifesting itself through emotions, intuitions, images, and bodily feelings. The resulting ideas can be translated into one or more formal systems of communication, such as words, equations, pictures, music, or dance only after they are sufficiently developed in their prelogical forms..." I've found in my own work that this is true and it's difficult in a modern command and control corporate environment to be allowed enough room to function at an intuitive level. Managers want concrete results this quarter and have no patience for intuition, yet this is a huge paradox because the people who really accomplish important things function fluently in the pre-verbal and pre-logical realm. Yes, you have to learn to translate the ideas to other forms to communicate, deliberate, document and profit from them, but if you cut of the environment for the initial synthesis, you are only shooting yourself in the foot.
I personally haven't attempted to memorize the 13 particular methods discussed; frankly if we could master the first two, observation and imagination, the world would be much different. My day job involves creating and supporting manufacturing equipment- there are so many times people ask for help, being stuck on a problem. Countless times I've been able to figure it out simply by looking- sometimes you have to squat down and look from another angle, but I come away solving the problem and people think I'm a genius. I've also run into development efforts where people say "I'll believe it when I see it". But I think we have to imagine it, then figure out how to make it come into reality. It's not that the methods listed are obtuse or strange, it's just people don't use them, let alone master them.
If you find yourself interested in multiple diverse fields, such as music and engineering, and feel things inside that make these fields feel connected, yet no one around you understands, get this book!
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