The Need for Creative Thinking

    1.The Theoretical Need

(p. 8) The Theoretical Need

passive systems-the recording "surface" and the information are inert,
with external organizer acting to relate and move info.

active-the information and "surface" are active, self-organizing.
Incoming information sets up a sequence of activity.

So whenever we look at the world we are only too ready to see the world
in terms of our existing patterns.  This is what makes perception so
powerful and so useful. We are rarely at a loss. We can recognize most
situations. This is also why the analysis of information will not yield
new ideas. The brain can only see what it is prepared to see (existing
patterns). So when we analyze data we can only pick out the idea we
already have.

(p. 12) ...this pattern-forming and pattern-using behavior ... of the
brain is magnificent.  Without it, life would be impossible.  Perception
is the process of setting up and then using these patterns.

(p. 15) the brain is a wonderful device for allowing incoming
information to organize itself into patterns. Once these patterns are
formed, with their broad catchment areas, we use those patterns in the
process known as perception. The patterns are not symmetric. This lack
of symmetry gives rise both to humor and to creativity.

This then is the logical need for creativity. It is the logic of
self-organizing patterning systems.

    2.  The Time Sequence Trap

(p. 16) The Time Sequence Trap

given   forms
a       a
t       at
r       rat
e       rate
g       grate
t       ?

(p. 16)  "the time sequence of arrival of  information sets up structures
which have to be disrupted in order to put things together in a
different way."

    3.  Misperceptions about Creativity

(p. 30) Misperceptions about Creativity

1. Creativity is a natural talent and cannot be taught
2. Creativity comes from the rebels
3. Creativity comes from right brain/left brain
4. Creativity is for artists and art
5. Creativity just takes release of inhibitions
6. Intuition will do the job (gut feelings),
7. Creativity means you have to be "crazy"
8. Creativity is scatter gun success - just brainstorms
9. Creativity only means big jumps versus small jumps
10. Creativity can only be done in groups or by individuals
11. Creativity takes intelligence (and vice versa)

    4.  Sources of Creativity

(p. 43) Sources of Creativity

1. innocence--not knowing the usual approach/solution/concepts, you may
come up with a fresh approach

2. experience--"bells and whistles" or "son of lassie" (take it apart
and try repackage recombine)

3. motivation--take time to look for alternatives

4. tuned judgement--recognize and support new ideas

5. chance, accident, mistake, and madness

6. style--working within a "style"

7. release--just drop your inhibitions and something will happen

    5. Lateral Thinking

(p. 54) Lateral Thinking

specific: a set of systematic techniques used for changing concepts and
perceptions and generating new ones.

general: exploring multiple possibilities and approaches instead of
pursuing a single approach

    6.  Design and Analysis

(p. 63)  Design and Analysis

"The traditions of Western thinking are based on analysis and argument. 
The major thrust of Western education is "analysis."  In order to
understand information, in order to understand situations, we need to
analyze them.  Through analysis we break down complex and unknown
situations into bite-sized chunks that we can recognize and with which
we can cope."

"With analysis we are interested in 'what is.'  With design we become
interested in 'what could be.'"

"...Unfortunately, design is not just the putting together of elements
in a sort of additive way.  There is a need for concepts and these
concepts will not come simply from the synthesis of separate elements."

(p. 64) "instead of assuming that analysis reveals a map with ready-made
roads upon it, we should assume that the map only shows the terrain and
we have to 'design' the roads."

(p. 73)  "Creativity is a great motivator because it makes people
interested in what they are doing.  Creativity gives hope that there can
be a worthwhile idea.  Creativity gives the possibility of some sort of
achievement to everyone.  Creativity makes life more fun and more
interesting.  Creativity provides a framework for working with others as
a team."

Lateral Thinking Tools and Techniques

    1.  The Six Thinking Hats

Six Thinking Hats

    White Hat -  neutral data and information

    Red Hat - feelings, intuition, hunches, emotion

    Black Hat - Caution, critical judgment

    Yellow Hat - Optimism, logical positive view (feasibility, how can
it be done, benefits!)

    Green Hat - creative, new ideas, additional alternatives,
possibilities, hypotheses

    Blue Hat - overview, process-control, agenda setting, summaries,
conclusions and decisions.

Everyone puts on each hat - i.e., we all take part in Yellow Hat
thinking about the idea or problem under consideration.  Then, later, we
all might put on our black hats and look at difficulties.

    2.  The Creative Pause

The Creative Pause

(p. 87) "The creative pause is an interruption in the smooth flow of
routine in order to pay deliberate attention at some point."

    3.  Focus

Focus

"simple focus"

(p. 91) "Suppose...that you focus on something that no one else has
bothered to think about.  In such cases, even a very little creative
thinking can produce spectacular results. .... there are inventors who
pick out areas that no one else has noticed and with a slight
improvement develop a significant invention.  Seeking out these unusual
and unnoticed focus points is a creative technique..."

"specific focus"

(p. 93) There are two broad areas of creative application

    1.  Everyday creativity.  This involves the attitudes, motivation,
and habits of creativity.  Here creativity becomes part of any person's
thinking skills.
    2.  Specific focus.  Here there is a defined focus.  The focus may
be defined by the individual or group doing the creative thinking or it
may have been assigned to that group....The important point is that
there is a 'defined creative task.'  There is a specific focus.  The
systematic techniques of lateral thinking are now applied seriously,
deliberately, and formally in an effort to generate new concepts and new
ideas.

"The ability to pick and to define a creative focus is an essential part
of the skill of creative thinking."

Two kinds of Focus

1.  General-area-type focus -- simply define a general area in which we
want some new ideas (with the only purpose being to generate some new
ideas in that area.  i.e., NO SPECIFIC PROBLEM!)

Why bother?  It allows us to think creatively about anything, and it
avoids constraining our thinking to the "problem".

2.  Purpose-type focus -- what are we trying to achieve, what is the
goal, what is the target?
    improvement?  problem solving?  defined task?  Opportunity?

(p. 99) When might we try to focus?

1.  Defined need or purpose
2.  Routine Review
3.  Idea Sensitive Point (find points that would respond to a new
idea--then come up with new ideas!)
4.  Whim -- why not?

Multiple Focuses

When breaking down a broad focus, don't be too worried about overlaps. 
This is NOT strict logic, with its careful divisions.

Alternative Definitions

Sometimes it helps to redefine the focus.

Rephrasing the focus

Even changing the emphasis may help.

Be cautious about always delving for "the underlying problem." 
Sometimes you just want to deal with the current problem.

    4.  Challenge

(p. 104) Challenge

Why is it done this way?
Why does it have to be done this way?
Are there other ways of doing it?

"The creative challenge does not set out to criticize, judge, or find
fault.  The creative challenge operates outside of judgement. The
creative challenge is a challenge to 'uniqueness.'"

The Next step--block, escape, drop.

1. block the current way--what alternatives are there?

2. escape--if we remove a dominating idea or the necessity of satisfying
some condition, what could we do?

3. drop it--suppose we just didn't do it.  What would happen?

We can repeat why and why again.

Are we doing it just because we've always done it this way?

continuity of neglect--it has never given us a problem, why should we
    think about it?
continuity of "lock-in"--we do it this way to satisfy someone else
continuity of complacency--concept has done well enough in the past
continuity of time sequence--it happened this way, and we've never looked.

Break Free

Look at technology change.  Look at value changes.  Look at changes in
circumstances.  Look at changes in costs.  Then break free from old
concepts.

Concept Challenge and Idea Challenge

(p. 113)  "We can challenge the basic concept behind an operation or we
can challenge the particular way in which the concept is put into
operation (the idea)."

What is the concept here?
Is this concept still valid?
Does the concept have to be carried out in this way?

Challenge Shaping Factors
    Dominating Concepts
    Assumptions
    Boundaries
    Essential Factors
    Avoidance Factors
    Either/Or Polarization

    5.  Alternatives

Alternatives

Is there another way?
What are the alternatives?
What else can be done?

Stop to Look for Alternatives

Often, the alternatives are provided (e.g. menu, or limited to
experience/training).

Finding more alternatives--even when some alternatives are available or
given, it may be worthwhile to stretch.  (QUOTA!)

Finding and creating alternatives

(p. 125) "...as a general principle, at least be aware of the existing
possible alternatives before setting out to develop some new ones.  It
does not make sense to seek out an exotic way of doing something when
there is a very good way available if you made the effort to find it. 
When you are aware of the standard ways, it does make sense to look for
more creative ways."

Watch for "the fixed points" -- "whenever we set out to look for
alternatives there is always a reference point."  E.g.
    purpose--what other ways of achieving this purpose are there?
    groups--what kind of groups does this belong to?  What specs?
    resemblance--what other things look like this, act like this, etc.
    concepts--what kind of concept are we dealing with?
Think about the fixed point(s) you are using, and consider changing
them.

    6.  The Concept Fan

The Concept Fan

Move back and forth (up and down) the concept fan, from ideas to
concepts to directions.

    Ideas--specific concrete ways of putting a concept to work.
    Concepts--general methods or ways of doing something
    Directions--very broad approaches

(my gloss--change the level of abstraction, then take another look)

Move upstream "how does this help?" and downstream "how can this be
carried through?"

Provocative Alternatives

"here is a provocative alternative:  let us see if we can find value in
it"

Evaluation

    Feasible:  Does the idea actually work?  Can the idea be made to
work?

    Benefits:  What are the benefits?  How large?  Where do they come
from?  How durable are they?

    Resources: Are the resources available for implementing the idea?

    Fit:  Does the idea 'fit' the needs of whomever is supposed to
implement the idea?  The concept of 'fit' includes strategy, policy,
personalities, agendas, and so on.

    7.  Concepts

Concepts

extract and make visible a concept

As a 'fixed point' for generating alternatives

To strengthen it.  "When we extract a concept we can strengthen it
through a deliberate improvement effort.  We can remove faults and
weaknesses and enhance the apparent power of the concept."

Change--"Once we know the concept we can decide to change it."

We often work at the idea level, and need to 'pull back' to find the
concept.  Stop sometimes and ask "What is the general method here?"
and similar questions.

How do we pick a "useful" level of abstraction for concepts?  Try one,
then make it more general and more specific and see if those are easier
to use.  If so, change.

Types of Concepts

(p. 142) "From the point of view of philosophical definition, dealing
with concepts is very frustrating because there are different levels of
concepts.  There is no point whatsoever in getting bogged down in
philosophical gymnastics. From a practical point of view you simply try
different versions of the possible concepts and then chose whichever one
seems most useful to you."

    Purpose concepts--What are we trying to do?  What is the purpose?
    Mechanism concepts--How does it work?  How does it achieve the
purpose?
    Value concepts--why is this useful?  What value does it provide?

    8.  Provocation

Provocation

(p. 145) "...many important new ideas came about through chance,
accident, mistake, or 'madness.'  All these provided a sort of
discontinuity, which forced us outside the usual boundaries of
'reasonableness' that had been established by our experience.  With
deliberate provocation we have a systematic method that can produce the
same effects. ... We use the symbolic word 'po' to indicate that this is
intended as a provocation..."

(p. 146) "The definition of a provocation is simple:

    With a provocation there may not be a reason for saying something
until after it has been said."

(p. 148) "The purpose of the provocation is precisely to get us out of
the usual maintrack of thinking.  From the provocation we move on to
find a new point which in hindsight seems to offer value.  It is the
escape from the established main track that is so important.  The brain
has to work to establish the main tracks.  That is the very essence of
the excellence of the brain.  At the same time we need ways of getting
out of those main tracks in order to be creative.  That is why
provocation plays so central a role in lateral thinking."

    9.  Movement

Movement

(p. 151) "The brain acts as a self-organizing system which allows
incoming information to organize itself as patterns, tracks, channels,
sequences, and so on..."
    "Perception os the original formation and subsequent use of the
patterns.  This involves 'recognizing' the appropriate patterns and
being sure that we follow along the pattern.  This is where judgment
comes in."
    ...
    "The second role of judgment is to be sure that we do not wander off
the track.  Judgment points out the mistake, the wandering, the
deviation, or the mismatch and hastens us back to the established track.
This second aspect of judgment deals with the rejection of ideas that
are wrong or contrary to experience."

(p. 152) "In judgment, when we come to an idea we compare the idea with
our existing patterns of experience.  If the idea does not fit, we
reject the idea. ... In movement, we come to an idea and we are totally
uninterested in whether the idea is right or wrong or whether it fits
our experience.  We are solely interested in where we can 'move' to from
the idea.  We seek to move forward."

(p. 153) "The general sense of 'movement' means the willingness to move
forward in a positive exploring way rather than stopping to judge
whether something is right or wrong.  In creativity we are indeed
interested in arriving at practical, useful, valid ideas.  The
difference is that creativity accepts many ways of getting there.  Every
step in the process does not have to be accepted by judgment."
    "The general attitude of movement is important.  Someone says
something.  One person is quick to judge whether what is said is correct
and even seeks to find some small aspect of it that is not correct. 
Another person is interested in what the statement leads to."

Techniques of Movement

1.  Extract a Principle--take something out of the provocation and build
a usable idea around it.

2.  Focus on the Difference(s)--compare the provocation to the existing
idea or way of doing things and look at the differences.  Do they lead
to useful ideas?

3.  Moment to Moment--imagine the provocation in effect.  What happens,
frame by frame?  Can we get useful ideas out of this?

4.  Positive Aspects--what benefits, positive aspects, or values are
there in the provocation?  Can we build on that?

5.  Circumstances--what circumstances would make this provocation
valuable?  Can we build on that?

    10.  Setting Up Provocations

Setting Up Provocations

(p. 163) Why do we need the word 'po'?

"Provocation covers a very wide spectrum.  With provocation we put
forward statements not to describe what is but to make things happen in
our minds.  At the milder end of the spectrum we have phrases like 'what
if...'; 'suppose...'; 'what would happen if....' ... But there is
nothing in language to cover the more extreme end of the specturm, where
a provocation can be something we know to be impossible, contradictory,
or logical nonsense.  There is no word in language to allow us to use
such provocations because language is there to describe reality and such
things could not exist in reality."

"...the deliberate and formal ways of setting up provocations...provide
the systematic provocation tools of lateral thinking."

The Escape Method

1.  Spell out something we take for granted.  Formally and specifically.
2.  "Escape" it.  cancel, negate, drop, remove, deny, or otherwise
revoke it.  This becomes the provocation.

(p. 167) "Anything at all that we take for granted can be 'escaped from'
in order to create a provocation.  It does not matter how impossible or
absurd the resulting provocation may appear."

The Stepping-Stone Methods

    1.  Reversal--look at the 'normal' or usual direction in which
something is done and then go in the reverse or opposite direction.

    2.  Exaggeration--"this method is directly related to measurements
and dimensions: number, frequency, volume, temperature, duration, and so
on.  There is a normal range of measurement to be found in any
situation.  Exaggeration means suggesting a measurement that falls far
outside this normal range.  The exaggeration may be upward...or
downward."

    3.  Distortion--"In any situation there are normal relationships
between parties.  There are also normal time sequences of action.
...take these normal arrangements and change them."

    4.  Wishful thinking--put forward a fantasy, an impossible thing.

    11.  The Random Input

The Random Input

(p. 177)  "There is a creative focus where we need new ideas.  So we
obtain a word which has no connection whatsoever with the situation and
hold the two together."

Best suited to:
    stagnation--you think you have run out of ideas.
    blank sheet--you don't know where to start.
    additional ideas--you feel as if there are some other ideas out
there...
    blocked--there doesn't seem to be any way to progress

(p. 183)  "The general principle of the random input is the willingness
to look for unconnected inputs and to use these to open up new lines of
thinking."

    12.  Sensitizing Techniques

Sensitizing Techniques

Stratals

(p. 184)  "A stratal is a number of parallel statements or observations
that are put together as a whole.  The statements need not be connected
in any way whatsoever.  There is no attempt to be comprehensive.  There
is no attempt to cover all aspects or to be descriptive.  There is no
attempt to be analytical. ... A stratal is a number of unconnected
statements put together solely to form a stratal."

Five lines, phrases or statements.

The Filament Technique

Take the creative focus, list some of the normal requirements when
designing something for that focus.  Then take each requirement and
ifnore the context.  Reel out a "filament" consisting of ways of
satisfying that requirement.  Look at the parallel filaments and pick
out certain elements on each strand.  Put these together...

    1.  Application of the Lateral Thinking Techniques

Application of the Lateral Thinking Techniques

Specific Uses

Any occasion--Focus, Challenge, Alternatives, Random Input, Stratal, Filament

Achievement Thinking (Reach)--How do we get to this point, solve this
problem, carry out this task?--Challenge, Concept Fan, Stepping Stone

Improvement Thinking (Change)--Challenge, Alternatives, Escape

Greenfield Thinking (Start)--invention, design, new beginnings--Random
Input, Filament, Wishful Thinking

Organizing Thinking (Arrange)--plans, strategies, organizing--
Alternatives, Challenge, Distortion

    2.  Harvesting

Harvesting

(p. 210) "In any creative thinking session there are at least three
purposes:
    1.  To find the magic idea.
    2.  To produce new ideas that can be shaped into usable ideas.
    3.  To stock the mind with a repertoire of concepts and ideas that
may not be useful at the moment but that will enrich any future thinking
on the same or related matters (or even on other matters).

Specific ideas--concrete ideas which can be put into action.
"For-Instance" ideas--unworkable, but valuable concept or process
Seedling ideas--just the beginning, but has potential
Direct Concepts--concepts that emerged during the discussion
"Pull-back" Concepts--didn't emerge, but can be "pulled" from the ideas
Directions--capture the broad directions, spelled out or implicit
Needs--clear needs that have become visible
New Focuses
Changes--changes in thinking, direction, etc.
Flavor--what was the overall flavor of the session?

    3.  The Treatment of Ideas

The Treatment of Ideas

What should we do with ideas produced by creative thinking that aren't
ready for evaluation yet?

Quick Rejection?--Avoid quick rejection.  Don't apply real-world
constraints yet.  Be especially leery of "that's the same as..."--this
is one way to kill off ideas!

Shape Ideas--Use constraints to "shape" an idea into more suitable
forms.  This is an active and creative process.  Make a conscious and
active shaping effort to try and get the new idea to fit real-world
constraints.  Don't forget that you can challenge the constraints from
time to time, too.

Tailor Ideas--Tailor the ideas to fit the available resources.

Strengthen Ideas--(p. 218) "Every idea has a certain power or muscle. 
This may be the benefits it offers, or the attractiveness of the idea,
or the ease with which the idea can be implemented.  Part of the
treatment of an idea is to identify that power and to seek to strengthen
the power.  This is not an all-around process of improving the idea.  It
is an attempt to enhance the central power of the idea."

Reinforce Ideas--focus on the weaknesses in the idea and seek to
reinforce those points.

(p. 220) "It is always useful to consider new ideas under conditions of
poor motivation.  Creative people often make the assumption that the
users of a new idea are going to be as enthusiastic as the creators of
the idea.  This is never the case.  To people other than the creators of
the idea, a new idea means hassle, bother, and risk.  So the users of a
new idea need to know 'waht is in it for them.'"

Take-Up of Ideas--who has to decide?  who has to implement it?  Who has
to cooperate?

Comparison--generate alternatives, then compare to see benefits,
savings, and difficulties.

(p. 221) "An idea which seems strong on its own very often seems much
weaker when compared to other ideas.  The advantages of the new idea may
turn out to be based only on hopes, guesses, or ideal conditions.  Any
good new idea must pass the comparison test and must show that the
promised benefits are soundly based.  One strong point is if the new
idea offers to obtain benefits where none were obtained before."

Faults and Defects--At this point the specific faults and defects of the
new idea can be considered directly.  (p. 221) "Can these defined
defects be overcome in a standard way or by some simple thinking
attention?"

Consequences--look forward to the consequences of implementing the idea.
What will happen when the idea is in use?  What happens immediately, in
the short term, the medium term, and the long term?

Testability--consider ways of testing the idea.

Evaluation--and with this kind of treatment finished, it is time to
evaluate the idea.

    4.  Formal Output

Formal Output

Discipline
    Time--fixed time for using a technique, etc.
    Focus--stick to the focus.
    Technique--follow the steps in the technique.  e.g., set up the
        provocation, apply movement, shape the idea, treat it.
    Output--harvest and record the results.

Output
    Focus
    Concept
    Idea
    Value

    5.Group or Individual

The Application of Creative Thinking