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Creativity moves beyond mere synthesis and evaluation and is, he says, “the higher order skill.” This has not been a sudden development. Nearly 20 years ago “creating” replaced “evaluation” at the top of Bloom’s Taxonomy of learning objectives. In 2010 “creativity” was the factor most crucial for success found in an I.B.M. survey of 1,500 chief executives in 33 industries. These days “creative” is the most used buzzword in LinkedIn profiles two years running.

The method, which is used in Buffalo State classrooms, has four steps: clarifying, ideating, developing and implementing. People tend to gravitate to particular steps, suggesting their primary thinking style.

What’s igniting campuses, though, is the conviction that everyone is creative, and can learn to be more so.

Just about every pedagogical toolbox taps similar strategies, employing divergent thinking (generating multiple ideas) and convergent thinking (finding what works).The real genius, of course, is in the how.

as content knowledge evolves at lightning speed, educators are talking more and more about “process skills,” strategies to reframe challenges and extrapolate and transform information, and to accept and deal with ambiguity.

Ideating is brainstorming and calls for getting rid of your inner naysayer to let your imagination fly.

Clarifying — asking the right question — is critical because people often misstate or misperceive a problem. “If you don’t have the right frame for the situation, it’s difficult to come up with a breakthrough,

Developing is building out a solution, and maybe finding that it doesn’t work and having to start over

Implementing calls for convincing others that your idea has value.

“the frequency and intensity of failures is an implicit principle of the course. Getting into a creative mind-set involves a lot of trial and error.”

His favorite assignments? Construct a résumé based on things that didn’t work out and find the meaning and influence these have had on your choices.

“Examine what in the culture is preventing you from creating something new or different. And what is it like to look like a fool because a lot of things won’t work out and you will look foolish? So how do you handle that?”

Because academics run from failure, Mr. Keywell says, universities are “way too often shapers of formulaic minds,” and encourage students to repeat and internalize fail-safe ideas.

“The new people who will be creative will sit at the juxtaposition of two or more fields,” she says. When ideas from different fields collide, Dr. Cramond says, fresh ones are generated.

Basic creativity tools used at the Torrance Center include thinking by analogy, looking for and making patterns, playing, literally, to encourage ideas, and learning to abstract problems to their essence.

students explore definitions of creativity, characteristics of creative people and strategies to enhance their own creativity.These include rephrasing problems as questions, learning not to instinctively shoot down a new idea (first find three positives), and categorizing problems as needing a solution that requires either action, planning or invention.

angst and sadness promote “information-processing strategies best suited to dealing with more-demanding situations.” This helps explain why test subjects who are melancholy — Forgas induces the mood with a short film about death and cancer — are better at judging the accuracy of rumors and recalling past events; they’re also much less likely to stereotype strangers and make fewer arithmetic mistakes.

shoppers in the “low mood” condition remembered nearly four times as many of the trinkets. The wet weather made them sad, and their sadness made them more aware and attentive.

There are two important lessons of this research. The first is that our fleeting feelings can change the way we think. While sadness makes us more focused and diligent — the spotlight of attention is sharpened — happiness seems to have the opposite effect, so that good moods make us 20 percent more likely to have a moment of insight. The second takeaway is that many of our creative challenges involve tasks that require diligence, persistence and focus. It’s not easy making a collage or writing a poem or solving a hard technical problem, which is why sometimes being a little miserable can improve our creative performance.

Why is mental illness so closely associated with creativity? Andreasen argues that depression is intertwined with a “cognitive style” that makes people more likely to produce successful works of art. In the creative process, Andreasen says, “one of the most important qualities is persistence.”

While Andreasen acknowledges the burden of mental illness — she quotes Robert Lowell on depression not being a “gift of the Muse” and describes his reliance on lithium to escape the pain — she argues that many forms of creativity benefit from the relentless focus it makes possible. “Unfortunately, this type of thinking is often inseparable from the suffering,” she says. “If you’re at the cutting edge, then you’re going to bleed.”

show that the proportion of participants who were able to solve the toughest problems for the first time after receiving their designated stimulation, were higher for those receiving negative stimulation at 32%, compared to just 5% for positive and sham stimulation.

suppression of activity in the left dorsolateral prefrontal cortex helps to override constraints in thinking learned from experience.

negative stimulation resulted in participants becoming less able to tackle one of the other types of matchstick problem – suggesting that the electrical currents had impaired participants’ working memory.

the negative stimulation would not boost efforts in cases where individuals need to keep track of a number of different things at the same time.

It would be beneficial to think ‘what exactly do I need to be creative on this task’ rather than how to improve creativity in general,”

“When the [dorsolateral prefrontal cortex] was ‘cooled down’, the brain seems to have stopped applying old rules, and been more successful at finding new rules

technology could be exploited by consumers.

it is possible that people may turn to tDCS for creative inspiration, in the same way that people turn to drugs or alcohol.”

the study also offers insights into how to boost creativity without a thinking cap.

as Albert Einstein put it, “You can never solve a problem on the level on which it was created.”

Koselleck observes that prior to the French revolution, a crisis was a medical or legal problem but not much more. After the fall of the ancien regime, crisis becomes the “structural signature of modernity”, he writes. As the 19th century progressed, crises multiplied: there were economic crises, foreign policy crises, cultural crises and intellectual crises.

When he looked at 5,000 creative individuals over 127 generations in European history, he found that significant creative breakthroughs were less likely during periods of political crisis and instability.

Victor H Mair, a professor of Chinese literature at the University of Pennsylvania, points out that in fact the Chinese word for crisis, wēijī, refers to a perilous situation in which you should be particularly cautious

“Those who purvey the doctrine that the Chinese word for ‘crisis’ is composed of elements meaning ‘danger’ and ‘opportunity’ are engaging in a type of muddled thinking that is a danger to society,” he writes. “It lulls people into welcoming crises as unstable situations from which they can benefit.” Revolutionaries, billionaires and politicians may relish the chance to profit from a crisis, but most people world prefer not to have a crisis at all.

A common folk theory is that times of great crisis also lead to great bursts of creativity.

The first world war sparked the growth of modernism in painting and literature. The second fuelled innovations in science and technology. The economic crises of the 1970s and 80s are supposed to have inspired the spread of punk and the creation of hip-hop

psychologists have also found that when we are threatened by a crisis, we become more rigid and locked into our beliefs. The creativity researcher Dean Simonton has spent his career looking at breakthroughs in music, philosophy, science and literature. He has found that during periods of crisis, we actually tend to become less creative.

psychologists have found that it is what they call “malevolent creativity” that flourishes when we feel threatened by crisis.

during moments of significant crisis, the best leaders are able to create some sense of certainty and a shared fate amid the seas of change.

These are innovations that tend to be harmful – such as new weapons, torture devices and ingenious scams.

A 2019 study which involved observing participants using bricks, found that those who had been threatened before the task tended to come up with more harmful uses of the bricks (such as using them as weapons) than people who did not feel threatened

Students presented with information about a threatening situation tended to become increasingly wary of outsiders, and even begin to adopt positions such as an unwillingness to support LGBT people afterwards.

during moments of crisis – when change is really needed – we tend to become less able to change.

When we suffer significant traumatic events, we tend to have worse wellbeing and life outcomes.

, other studies have shown that in moderate doses, crises can help to build our sense of resilience.

we tend to be more resilient if a crisis is shared with others. As Bruce Daisley, the ex-Twitter vice-president, notes: “True resilience lies in a feeling of togetherness, that we’re united with those around us in a shared endeavour.”

Crises are like many things in life – only good in moderation, and best shared with others

The challenge our leaders face during times of overwhelming crisis is to avoid letting us plunge into the bracing ocean of change alone, to see if we sink or swim. Nor should they tell us things are fine, encouraging us to hide our heads in the san

Waking up each morning to hear about the latest crisis is dispiriting for some, but throughout history it has been a bracing experience for others. In 1857, Friedrich Engels wrote in a letter that “the crisis will make me feel as good as a swim in the ocean”. A hundred years later, John F Kennedy (wrongly) pointed out that in the Chinese language, the word “crisis” is composed of two characters, “one representing danger, and the other, opportunity”. More recently, Elon Musk has argued “if things are not failing, you are not innovating enough”.

This means people won’t feel an overwhelming sense of threat. It also means people do not feel alone. When we feel some certainty and common identity, we are more likely to be able to summon the creativity, ingenuity and energy needed to change things.

the primary benefit of a diary as a purely pragmatic record of your workday productivity and progress — while most dedicated diarists would counter that the core benefits are spiritual and psychoemotional — it does offer some valuable insight into the psychology of how journaling elevates our experience of everyday life:

We can’t, however, simply will ourselves into better habits. Since willpower is a limited resource, whenever we’ve overexerted our self-discipline in one domain, a concept known as “ego depletion” kicks in and renders us mindless automata in another

the key to changing a habit is to invest heavily in the early stages of habit-formation so that the behavior becomes automated and we later default into it rather than exhausting our willpower wrestling with it. Young also cautions that it’s a self-defeating strategy to try changing several habits at once. Rather, he advises, spend one month on each habit alone before moving on to the next

a diary boosts your creativity

This is one of the most important reasons to keep a diary: it can make you more aware of your own progress, thus becoming a wellspring of joy in your workday.

The second reason is focalism. When we contemplate failure from afar, according to Gilbert and Wilson, we tend to overemphasize the focal event (i.e., failure) and overlook all the other episodic details of daily life that help us move on and feel better. The threat of failure is so vivid that it consumes our attention

the authors point to a pattern that reveals the single most important motivator: palpable progress on meaningful work: On the days when these professionals saw themselves moving forward on something they cared about — even if the progress was a seemingly incremental “small win” — they were more likely to be happy and deeply engaged in their work. And, being happier and more deeply engaged, they were more likely to come up with new ideas and solve problems creatively.

Although the act of reflecting and writing, in itself, can be beneficial, you’ll multiply the power of your diary if you review it regularly — if you listen to what your life has been telling you. Periodically, maybe once a month, set aside time to get comfortable and read back through your entries. And, on New Year’s Day, make an annual ritual of reading through the previous year.

This, they suggest, can yield profound insights into the inner workings of your own mind — especially if you look for specific clues and patterns, trying to identify the richest sources of meaning in your work and the types of projects that truly make your heart sing. Once you understand what motivates you most powerfully, you’ll be able to prioritize this type of work in going forward. Just as important, however, is cultivating a gratitude practice and acknowledging your own accomplishments in the diary:

Fields argues that if we move along the Uncertainty Curve either too fast or too slowly, we risk either robbing the project of its creative potential and ending up in mediocrity. Instead, becoming mindful of the psychology of that process allows us to pace ourselves better and master that vital osmosis between freedom and constraint.

Schwalbe reminds us of the “impact bias” — our tendency to greatly overestimate the intensity and extent of our emotional reactions, which causes us to expect failures to be more painful than they actually are and thus to fear them more than we should.

When we think about taking a risk, we rarely consider how good we will be at reframing a disappointing outcome. In short, we underestimate our resilience.

what you do every day is best seen as an iceberg, with a small fraction of conscious decision sitting atop a much larger foundation of habits and behaviors.

don’t let yourself forget that the good life, the meaningful life, the truly fulfilling life, is the life of presence, not of productivity.

and that they would make perfect theoretical sense. The observation that the VHI was affected by the type of creativity task and performance in the creativity tasks was affected by the synchrony manipulation suggests some degree of overlap between the ways that engaging in particular creativity tasks and experiencing particular degrees of synchrony are able to bias perceived ownership and agency. In terms of our theoretical framework, this implies that engaging in divergent thinking biases metacontrol towards flexibility in similar ways as experiencing synchrony between one’s own movements and those of a virtual effector does, while engaging in convergent thinking biases metacontrol towards persistence as experiencing asynchrony does. What the present findings demonstrate is that both kinds of manipulation together bias the VHI in the predicted direction, but they do not allow to statistically or numerically separate and estimate the contribution that each of the two confounded manipulations might have made. Accordingly, the present findings should not be taken to provide conclusive evidence that priming tasks alone are able to change self-perception without being supported (and perhaps even enabled) by the experience of synchrony

between proprioceptive and visual action feedback.

There is much to be said, however, for art’s ability to evoke emotion based on common experience, sincerity, talent, and unique skill. Rich proves that AI can be used to answer complicated questions. But what we think of as creative work in the humanities is much more often about asking questions than it is about answering them.

"When we innovate, we have to depart from existing solutions and come up with new ideas by drawing broadly from our knowledge. Coming up with alternative ways to use known objects requires the same psychological process," she explained.

Researchers also used eye-tracking software, which found that virtual participants spent more time looking directly at their partner, as opposed to gazing around the room.

"This visual focus on the screen narrows cognition. In other words, people are more focused when interacting on video, which hurts the broad, expansive idea generation process," Brucks said.

"Objects in the room can prompt new associations easier than trying to generate them all internally,"

"The field study shows that the negative effects of videoconferencing on idea generation is not limited to simplistic tasks and can play out in more complicated and high-tech brainstorming sessions as well," she said.

The study found that videoconferencing didn't hinder all collaborative work

However, she said it was a mistake to conclude that creativity and videoconferencing are incompatible.

"Perhaps many of us make friends faster in person than over Zoom, and creativity flourishes when we're relaxed. But when Zooming from home, people are probably more relaxed than when in an experiment," she added.

"I wouldn't want to see a company double their in-person meetings hoping to improve their innovation, if this also means doubling the commute time resulting in less happy -- and perhaps less creative -- employees."

, we know from the science of linguistics and the philosophy of knowledge that they differ profoundly from how humans reason and use language. These differences place significant limitations on what these programs can do, encoding them with ineradicable defects.

It is at once comic and tragic, as Borges might have noted, that so much money and attention should be concentrated on so little a thing — something so trivial when contrasted with the human mind, which by dint of language, in the words of Wilhelm von Humboldt, can make “infinite use of finite means,” creating ideas and theories with universal reach.

The human mind is not, like ChatGPT and its ilk, a lumbering statistical engine for pattern matching, gorging on hundreds of terabytes of data and extrapolating the most likely conversational response or most probable answer to a scientific question

the human mind is a surprisingly efficient and even elegant system that operates with small amounts of information; it seeks not to infer brute correlations among data points but to create explanations

such programs are stuck in a prehuman or nonhuman phase of cognitive evolution. Their deepest flaw is the absence of the most critical capacity of any intelligence: to say not only what is the case, what was the case and what will be the case — that’s description and prediction — but also what is not the case and what could and could not be the case

Those are the ingredients of explanation, the mark of true intelligence.

Here’s an example. Suppose you are holding an apple in your hand. Now you let the apple go. You observe the result and say, “The apple falls.” That is a description. A prediction might have been the statement “The apple will fall if I open my hand.”

an explanation is something more: It includes not only descriptions and predictions but also counterfactual conjectures like “Any such object would fall,” plus the additional clause “because of the force of gravity” or “because of the curvature of space-time” or whatever. That is a causal explanation: “The apple would not have fallen but for the force of gravity.” That is thinking.

The crux of machine learning is description and prediction; it does not posit any causal mechanisms or physical laws

any human-style explanation is not necessarily correct; we are fallible. But this is part of what it means to think: To be right, it must be possible to be wrong. Intelligence consists not only of creative conjectures but also of creative criticism. Human-style thought is based on possible explanations and error correction, a process that gradually limits what possibilities can be rationally considered.

ChatGPT and similar programs are, by design, unlimited in what they can “learn” (which is to say, memorize); they are incapable of distinguishing the possible from the impossible.

Whereas humans are limited in the kinds of explanations we can rationally conjecture, machine learning systems can learn both that the earth is flat and that the earth is round. They trade merely in probabilities that change over time.

For this reason, the predictions of machine learning systems will always be superficial and dubious.

some machine learning enthusiasts seem to be proud that their creations can generate correct “scientific” predictions (say, about the motion of physical bodies) without making use of explanations (involving, say, Newton’s laws of motion and universal gravitation). But this kind of prediction, even when successful, is pseudoscienc

While scientists certainly seek theories that have a high degree of empirical corroboration, as the philosopher Karl Popper noted, “we do not seek highly probable theories but explanations; that is to say, powerful and highly improbable theories.”

The theory that apples fall to earth because mass bends space-time (Einstein’s view) is highly improbable, but it actually tells you why they fall. True intelligence is demonstrated in the ability to think and express improbable but insightful things.

This means constraining the otherwise limitless creativity of our minds with a set of ethical principles that determines what ought and ought not to be (and of course subjecting those principles themselves to creative criticism)

True intelligence is also capable of moral thinking

To be useful, ChatGPT must be empowered to generate novel-looking output; to be acceptable to most of its users, it must steer clear of morally objectionable content

In 2016, for example, Microsoft’s Tay chatbot (a precursor to ChatGPT) flooded the internet with misogynistic and racist content, having been polluted by online trolls who filled it with offensive training data. How to solve the problem in the future? In the absence of a capacity to reason from moral principles, ChatGPT was crudely restricted by its programmers from contributing anything novel to controversial — that is, important — discussions. It sacrificed creativity for a kind of amorality.

Here, ChatGPT exhibits something like the banality of evil: plagiarism and apathy and obviation. It summarizes the standard arguments in the literature by a kind of super-autocomplete, refuses to take a stand on anything, pleads not merely ignorance but lack of intelligence and ultimately offers a “just following orders” defense, shifting responsibility to its creators.

In short, ChatGPT and its brethren are constitutionally unable to balance creativity with constraint. They either overgenerate (producing both truths and falsehoods, endorsing ethical and unethical decisions alike) or undergenerate (exhibiting noncommitment to any decisions and indifference to consequences). Given the amorality, faux science and linguistic incompetence of these systems, we can only laugh or cry at their popularity.

What you do is to take the different bits of material which you have gathered and feel them all over, as it were, with the tentacles of the mind. You take one fact, turn it this way and that, look at it in different lights, and feel for the meaning of it. You bring two facts together and see how they fit. What you are seeking now is the relationship, a synthesis where everything will come together in a neat combination, like a jig-saw puzzle.

Then and only then, Young promises, everything will click in the fourth stage of the seemingly serendipitous a-ha! moment: Out of nowhere the Idea will appear. It will come to you when you are least expecting it

In his third stage of the creative process, Young stresses the importance of making absolutely “no effort of a direct nature”: It is important to realize that this is just as definite and just as necessary a stage in the process as the two preceding ones. What you have to do at this time, apparently, is to turn the problem over to your unconscious mind and let it work while you sleep.

[W]hen you reach this third stage in the production of an idea, drop the problem completely and turn to whatever stimulates your imagination and emotions. Listen to music, go to the theater or movies, read poetry or a detective story.

articulates the increasing importance of quality information filters in our modern information diet. This notion of gathering raw material is the first step in his outline of the creative process:

Young calls the last stage “the cold, gray dawn of the morning after,” when your newborn idea has to face reality: It requires a deal of patient working over to make most ideas fit the exact conditions, or the practical exigencies, under which they must work. And here is where many good ideas are lost. The idea man, like the inventor, is often not patient enough or practical enough to go through with this adapting part of the process. But it has to be done if you are to put ideas to work in a work-a-day world. Do not make the mistake of holding your idea close to your chest at this stage. Submit it to the criticism of the judicious. When you do, a surprising thing will happen. You will find that a good idea has, as it were, self-expanding qualities. It stimulates those who see it to add to it. Thus possibilities in it which you have overlooked will come to light.

what’s perhaps most interesting is the following note he made to the postscript of a reprint: From my own further experience in advertising, government, and public affairs I find no essential points which I would modify in the idea-producing process. There is one, however, on which I would put greater emphasis. This is as to the store of general materials in the idea-producer’s reservoir. […] I am convinced, however, that you gather this vicarious experience best, not when you are boning up on it for an immediate purpose, but when you are pursuing it as an end in itself.

students didn't want to be anywhere near the computers

pencil-and-paper creativity quiz, the so-called Remote Associates Test, which asks people to identify word associations that aren't immediately obvious. Four days into the trip, they took the test again

45 percent improvement.

hardly scientific.

researchers had already taken the test once.

Outward Bound is notoriously strict about bringing artifacts of modern life into the wilderness.

Half of the 56 hikers took the test before going backpacking in the wilderness, and the other half took the RAT test on the fourth day of their trip. The groups went into the wild in Alaska, Colorado, Maine and Washington.

took the test four days into the wilderness did 50 percent better than those who were still immersed in modern lif

exposure to nature over a number of days, which has been shown in other studies to improve thinking

exercise

abandoning electronic devices

constant texting and checking in on Facebook are not making us think more clearly.

(4) The academic views of a professor are independent of his or her real-world political views; academic disputes don’t track partisan disputes or vice versa; you can’t reason from an academic’s disciplinary views to the positions he or she would take in the public sphere; they are independent variables.

The answer given in the first lecture — “What is Language?” — is that we are creatures with language, and that language as a uniquely human biological capacity appeared suddenly and quite late in the evolutionary story, perhaps 75,000 years ago.

Chomsky gave three lectures under the general title “What Kind of Creatures are We?”

Language, then, does not arise from the social/cultural environment, although the environment provides the stuff or input it works on. That input is “impoverished”; it can’t account for the creativity of language performance, which has its source not in the empirical world, but in an innate ability that is more powerful than the stimuli it utilizes and plays with. It follows that if you want to understand language, you shouldn’t look to linguistic behavior but to the internal mechanism — the Universal Grammar — of which particular linguistic behaviors are a non-exhaustive expression. (The capacity exceeds the empirical resources it might deploy.)

In his second lecture (“What Can We Understand?”), Chomsky took up the question of what humans are capable of understanding and his answer, generally, was that we can understand what we can understand, and that means that we can’t understand what is beyond our innate mental capacities

This does not mean, he said, that what we can’t understand is not real: “What is mysterious to me is not an argument that it does not exist.” It’s just that while language is powerful and creative, its power and creativity have limits; and since language is thought rather than an addition to or clothing of thought, the limits of language are the limits of what we can fruitfully think about

This is as good as it gets. There is “no evolution in our capacity for language.”

These assertions are offered as a counter to what Chomsky sees as the over-optimistic Enlightenment belief — common to many empiricist philosophies — that ours is a “limitless explanatory power” and that “we can do anything.”

In the third lecture (“What is the Common Good?”) Chomsky turned from the philosophy of mind and language to political philosophy and the question of what constitutes a truly democratic society

He likened dogmatic intellectual structures that interfere with free inquiry to coercive political structures that stifle the individual’s creative independence and fail to encourage humanity’s “richest diversity

He asserted that any institution marked by domination and hierarchy must rise to the challenge of justifying itself, and if it cannot meet the challenge, it should be dismantled.

He contrasted two accounts of democracy: one — associated by him with James Madison — distrusts the “unwashed” populace and puts its faith in representative government where those doing the representing (and the voting and the distributing of goods) constitute a moneyed and propertied elite

the other — associated by him with Adam Smith (in one of his moods), J. S. Mill, the 1960s and a tradition of anarchist writing — seeks to expand the franchise and multiply choices in the realms of thought, politics and economics. The impulse of this second, libertarian, strain of democracy, is “to free society from economic or theological guardianship,” and by “theological” Chomsky meant not formal religion as such but any assumed and frozen ideology that blocked inquiry and limited participation. There can’t, in short, be “too much democracy.”

It was thought of the highest order performed by a thinker, now 85 years old, who by and large eschewed rhetorical flourishes (he has called his own speaking style “boring” and says he likes it that way) and just did it, where ‘it” was the patient exploration of deep issues that had been explored before him by a succession of predecessors, fully acknowledged, in a conversation that is forever being continued and forever being replenished.

Yes, I said to myself, this is what we — those of us who bought a ticket on this particular train — do; we think about problems and puzzles and try to advance the understanding of them; and we do that kind of thinking because its pleasures are, in a strong sense, athletic and provide for us, at least on occasion, the experience of fully realizing whatever capabilities we might have. And we do it in order to have that experience, and to share it with colleagues and students of like mind, and not to make a moral or political point.

The term “master class” is a bit overused, but I feel no hesitation in using it here. It was a master class taught by a master, and if someone were to ask me what exactly is it that academics do, I would point to these lectures and say, simply, here it is, the thing itself.

Connections are missing between these disciplines, and in particular between the arts and sciences. On almost every project I have worked on thus far, my analytical and creative teammates have struggled to connect.

it would be extremely naïve to think that type of interdisciplinary education can be implemented everywhere - and nor should it be. We still need the classically trained “quant jocks” as well as the “edgy creatives”. Without them, a melting pot of full-fledged hybrids such as myself would lose any sort of concrete base for reference.

So where do we go from here? I believe each individual, no matter how much of a purist they may be in their respective field, should be responsible for entertaining interdisciplinary ideas.

n an era where buzzwords like “collaboration” and “innovation” land you a job, its time to actually start flexing both sides of our brains. At the end of this journey, behind our various languages, it is surprising how similar my analytical and creative peers are.

The proof can be found just looking at the scientific process alongside design theory.

Although one approach may rely more on quantifiable data and the other on a more “human” means of communication, step by step the two share striking similarities. Combining these two theories helps me personally make sense of my own analytical and creative brain. When they come together as one scientific and artistic critical thinking tool, the result is a deeper understanding of defining problems and finding solutions.