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P. De Giacomo and R.A. Fiorini Creativity Mind

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Piero De Giacomo and Rodolfo A. Fiorini

CREATIVITY MIND

(PREVIEW)


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Copyright 2015 by Rodolfo A. Fiorini. All rights reserved.

This book is protected by copyright. No part of it may be reproduced,

stored in a retrieval system, or transmitted, in any form or by any

means, electronic, mechanical, photocopying, recording, or otherwise,

by methods known or to be invented, without prior written permission

of the publisher.

Piero De Giacomo and Rodolfo A. Fiorini

Creativity Mind

1stDigital Edition: August 2015

Cover credits: "Creativity Mind" by Tiziana Sala 2015,

Oil on canvas cm. 100x100.

Illustrations and Layout design by Patrizia E. Mattioni

Ebook conversion byCICT CORE Group
http://cicthub.github.io/http://cicthub.github.io/http://cicthub.github.io/http://cicthub.github.io/


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CREATIVITY MIND

Table of Contents

Preface 7

1. Introduction

1.1 Survival Strategy1.2 Paradigm Shift

1.3 Interdisciplinary Competence

1.4 Interdisciplinary and Transdisciplinary

References Chapter 1.

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1823

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2. Creativity, Innovation, and Knowledge

2.1 Information and Knowledge

2.2 Edge of Chaos

2.3 Cognition and Emotion

2.4 Innovation and Creativity


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3. From Innovation to Creative Thinking

3.1 Inventive Innovation

3.2 Inventive Creativity

3.3 Creative Innovation

3.4 Heulogic Thought


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4. A Few Principles of Creativity

4.1 Classic Types of Creativity4.2 The Fourth Way

4.3 Established Creativity Processes

4.4 Unconscious, Aware, Self-Awareness


5. Unlocking Your Creativity5.1 Identify Your Passions

5.2 Open Logic Imagination

5.3 Create Your Own Inspiration

5.4 Train Yourself Into Being Creative


6. Creativity Excellence

6.1 Define and Distill the Problem

6.2 Break Learned Rules

6.3 Hedge Your Bets

6.4 Do More


7. Neuroscience, Systems Science and Cybernetics

7.1 Inner and Outer Worlds

7.2 Art of Balancing and Balance Breaking

7.3 Anticipation as Fundamental Resource

7.4 Cybernetics Update


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8. How Technology Can Enhance Creativity8.1 The Four-Part Brain

8.2 How the Brain Relates to the Mind

8.3 Elementary Pragmatic Model

8.4 Evolutive Elementary Pragmatic Model


9. The Power of Your Dreams

9.1 Align Yourself with the Flow of Evolution

9.2 Essential Points Before Your Leap

9.3 Powering Up Your Interface

9.4 Wellbeing


Cover Credits

Glossary

Index

Additional Content


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APPENDICES

APPENDIX A: The APA Guide To ResilienceAPPENDIX B: Brain AMS Modeling

APPENDIX C: Three Fundamental Reference Paradigms for

Interdisciplinary Competence

APPENDIX D: Overview on Creativity

APPENDIX E: From Information to Knowledge

APPENDIX F: Paleologic Thought Table

APPENDIX G: Neologic Thought Table

APPENDIX H: EPM Basic Function Table

APPENDIX I: EPM Interaction Table

APPENDIX J: EPM Math-Logic Background

APPENDIX K: Evolutive EPM (EEPM) Math-Logic

Background

Authors Profile

Piero de Giacomo

Rodolfo A. Fiorini


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PREFACE

Man muss noch Chaos in sich haben, um einen tanzenden

Stern gebren zu knnen (en.tr. One must still have chaos within

oneself, to give birth to a dancing star; tr.it. Bisogna avere ancora il

caos dentro di s per generare una stella danzante). This sentence

captures the essence of the creative process. Later we will turn to it.

First of all, for definition-lovers, we like to give a definition of

creativity, immediately. According to Rom Harr, Charles Lamb andLuciano Mecacci "La creativit la capacit dell'uomo di produrre

nuove idee, intuizioni, invenzioni, oggetti artistici ai quali si riconosce

valore sociale, estetico, scientifico o tecnologico" (en.tr. Creativity is

the human ability to produce new ideas, intuitions, inventions, art

creations endowed with social, aesthetic, scientific or technologicalvalues).

In a summary of scientific research into creativity, Michael

Mumford suggested: "Over the course of the last decade, however, weseem to have reached a general agreement that creativity involves the

production of novel, useful products", or, in Robert Sternberg's words,

the production of "something original and worthwhile". As a matter of

fact, authors have diverged dramatically in their precise definitions

beyond these general commonalities: Peter Meusburger reckons that

over a hundred different analyses can be found in the literature.

Latest findings in cognitive neuroscience and complex system

theory show that each new human concept, idea or product (either

artistic or not), even the simplest one, emerges out of the deep

interaction between a dichotomy of two coupled irreducible

complementary processes both interacting with their common

environment, which a subject-interactor (observer + performer) is

immersed within: creativity and innovation.

On one hand, creativity is a phenomenon whereby something

new and somehow valuable is formed. Creativity is connected to both


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fantasy and imagination. Fantasy is something which is not "real," as

in perceived explicitly by any of the senses, but exists as an imagined

situation of object to subject. It is the human ability to synthesize

something which before was not available ("the new"), even if it isnot realizable (without a physical support out of ones mind).

The postmodern intersubjectivity of the 21stcentury has seen a

new interest in fantasy as a form of interpersonal communication.

Here, we are told, "We need to go beyond the pleasure principle, the

reality principle, and repetition compulsion to...the fantasy principle "

- "not, as Freud did, reduce fantasies to wishes...(but consider) all

other imaginable emotions;" and thus envisage emotional fantasies as

a possible means of moving beyond stereotypes to more nuancedforms of personal and social relating. Such a perspective sees

"emotions as central to developing fantasies about each other that are

not determined by collective typifications."

Fantasy in a psychological sense is broadly used to cover two

different human states, conscious and unconscious. Imagination is the

human faculty to represent "the new" without a physical exterior

support (i.e. within one's brain support only). It is also called the"faculty of imagining," it is the ability to form new images and

sensations in the mind that are not perceived through senses such as

sight, hearing, or other senses. Imagination helps make knowledge

applicable in solving problems and is fundamental to integrating

experience and learning process.

On the other hand, Innovation can be viewed as the

application of better solutions that meet new requirements,

unarticulated needs, personal needs or existing market needs.Innovation comes from combining ordinary things in extraordinary

ways. Innovation as term can be defined as something original and

more effective and, as a consequence, new, that "breaks into" the

market or society. This is accomplished through more effective

products, processes, services, technologies, or ideas that are readily

available to individuals, teams, markets, governments and society.

Innovation does not develop new theories, and it does not search for

the unknown. Innovation involves a "put-it-all-together" competence,

where the knowns are reconfigured or architected in some new


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configuration. Innovation is a new realizable idea, more effective

device or process. Innovation is connected to both invention and

visualization.

Invention as process is a process within an overall engineering

and product development process. It may be an improvement upon a

machine or product, or a new process for creating an object or a

result. An invention that achieves a completely unique function or

result may be a radical breakthrough. Such works are novel and not

obvious to others skilled in the same field. You may be taking a big

step in success or failure. Another meaning of invention is cultural

invention, which is an innovative set of useful social behaviors

adopted by people and passed on to others. In a broader senseinvention is the human ability to synthesize something which before

was not available ("the new"), and it is completely realizable and

transferable (by a physical support out of one's mind).

Then, Visualization is the capability to represent "the new" by

a physical exterior support, subjected to formal constraints or rules

(e.g. writing, drawing, printing, technical drawing, computer graphics,

virtual reality, 3-D printing, etc.). Visualization today has ever-expanding applications in science, education, engineering (e.g.,

product visualization), interactive multimedia, healthcare, etc. Typical

of computer visualization applications are the fields of Computer

Graphics, Virtual Reality and 3-D Printing. The invention of

computer graphics may be the most important development in

visualization since the invention of central perspective in the

Renaissance period. The development of animation also helped

advance computer graphics and hence visualization.

Therefore, whereas Creativity, Fantasy, Innovation and

Invention "think," Imagination and Visualization help humans "to

see." So, Creativity and Innovation can be thought as a

complementary irreducible couple, an irreducible dichotomy. They

can assume different representation, as process, product, cognitive

system, subjective and personal dimension, shared and social

dimension, etc.


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According to Piero De Giacomo's EPM (Elementary

Pragmatic Model, in P. De Giacomo, "Mente e creativit", F.Angeli,

Milano, 1999) a creative problem solution is achieved by five steps:

- Intention;

- Preparation (with frustration);

- Incubation;

- Illumination;

- Verification.

Nevertheless, our starting point for creative process deep

understanding is nothing less that grasping the concept of mind,

interpreted how and when we develop our mind constructs, our mindmaps. We recall Alfred Korzybski's dictum "The map is not the

territory" used since 1931. He argued that human knowledge of the

world is limited both by the human nervous system and the languages

humans have developed, and thus no one can have direct access to

reality, given that the most we can know is that which is filtered

through the brain's responses to reality. In other words, an abstraction

derived from something, or a reaction to it, is not the thing itself.

Korzybski held that many people do confuse maps with

territories, that is, confuse models of reality with reality itself. So

mind maps lead immediately to the teachings of an English

anthropologist, social scientist, linguist, visual anthropologist,

semiotician and cyberneticist named Gregory Bateson. Bateson

argued the essential impossibility of knowing what any actual

territory is. Any understanding of any territory is based on one or

more sensory channels reporting adequately but imperfectly. Bateson

states, "We live in a life in which our percepts are perhaps always theperception of parts, and our guesses about wholes are continually

being verified or contradicted by the later presentation of other parts.

It is perhaps so, that wholes can never be presented; for that would

involve direct communication."

The usefulness of a map (a representation of reality) is not

necessarily a matter of its literal truthfulness, but its having a structure

analogous, for the purpose at hand, to the territory. Bateson's concept

of mind emerged when he became aware (in 1926) of his own way of


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thinking, i.e. of his immense abductive capacity. This led him to

search for patterns of similarity and difference between organisms

(like in homology). Later, he identified this thought process as being

abstract and formal, relating not just facts but also ideas.

The mind is not a thing, but rather of procedural nature,

allowing living beings to reach the highest levels of

metacommunicative abstraction within onto, phylo and genetic limits.

Mind acts at the intraorganic level (for instance, establishing

connections between several organs). This makes it possible to speak

of an organic cognition by contrasting it with the classic concept of

cognition in psychology which generally encompasses only the one

obtained by quantifiable tests of deductive capacity (and eventuallyinductive), expressing resolutions to mathematical and linguistic's

problems.

A systemic mapping of the world can appear from outside the

tautological contexture of its relational premises to be simply another

paradigm, another way of charting that is different from, but in some

sense comparable to, the dominant Newtonian logic informing current

social science and much of our "common sense" still. It can be takenas "just another language" to describe and explain. But a systemic

approach is a radical departure from other maps, not only because it

enables us to know the world in a different way, to know it in terms of

what Bateson calls "mind," but because it helps us also fold back and

attend to the process of knowing itself. Clearly ahead of his time, yet

much of what he was trying to get at remains difficult to grasp.

This book about creativity is about how to think about mind,

about how to think about thinking, about how to mind your mind. It isabout how to think. It is about how to think differently. It is about

how to think differently about thinking. It is about how to think

differently about thinking differently. It is about how minds change. It

is about how to change your mind about how minds change. It is

about "about."

Nested hierarchies of systems are not themselves systems, but

are entities "meta" to systems. "Life" is a global characteristic of some

nested hierarchies of systems, related to a characteristic pattern of


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spatio-temporal feedback between the levels of the nested hierarchies.

Levels in a living nested hierarchy are "alive" only in the sense that

they are levels in a living nested hierarchy. The term "living system"

does not have an ontological referent.

According to Bateson, creativity can emerge out of the

interaction between our environment and our tautologies, i.e. rigid,

constrained structures that achieve their results by starting from

specific premises (e.g. multiplication table, EPM interaction table,

etc.), where our final result is guided by chance, by environmental

"noise" (back to the starting point of this preface, to our dancing star

and the chaos within oneself by Nietzche.) New ides are generated by

this fundamental interaction.

Creativity arises out of nested hierarchies of big or small

ideas, ideas that evaporate, that are destroyed or those that take hold,

ideas that radically transform or those that result in major innovations,

ideas from individuals, from small groups, and from organizations

themselves. A continuous, evolutive flow that emerges out of new

awareness levels from nested hierarchical networked recurring

interactions with their own environments. In one metaphor, the brainis as a vast hierarchy of nested hierarchical networks of musical

instruments and orchestras, capable of resonating in complex patterns

with the complex patterns on the "sensorium," interacting with its

environment and capable of resonating in complex patterns forming

"internal" creative compositions.

The mind, in this metaphor, is the whole system of potential

and actual resonance patterns. The specific patterns which occur are

neurocognitive systems and conceptual schemes. Cognitive systemsand conceptual schemes emerge from mind, they are not components

of mind; just as literary passages and novels are not components of

language. They give you the unique opportunity to represent and to

see your reality, your world by "new eyes." It is a never ending story

of ideas destruction and continuous renaissance, of creative

destruction.

The field of innovation and creativity has more or less

exploded in recent years with ever new data and applications, but


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there has not been a corresponding explosion of theoretical advances.

Our objective when compiling the current volume has therefore been

not only to update the reader on the latest data and empirical results

but also to provide a coherent theoretical perspective wheneverpossible to put the different chapters and contributions into a self-

explaining organization. The appendices are reserved to the interested

reader eager for more scientific detail. Our final goal is to offer

updated information and latest mind tools to help the reader figuring

out best path to his/her personal training on creativity mind,

throughtout our whole book.

PDG and RAF

Milano, August 2015

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AUTHORS PROFILE

Professor Piero De Giacomo

Piero de Giacomo is Professor of Medicine and Surgery. MD P. De

Giacomo was born in 1935. After graduating from medical school in

1959, he specialized in Neurology and Psychiatry in 1962. Since 1974

he was appointed Director of both Psychiatry Institute and the

Graduate School of Psychiatry. From 1999 to 2002 Prof. P. DeGiacomo has been the Director of the Department of Neurological

and Psychiatric Sciences, School of Medicine, University of Bari,

Italy, where he thaught psychiatry and psychology as full professor.

Past President of Italian Society for Research and Intervention on

Family (section of Italian Society of Psychiatry), of CIRISU (training

school in psychotherapy, recognized by MURST), past member of the

Italian National Health Council. As professional Prof. P. De Giacomo

has been in charge as renowned director for university courses of

higher specialization, and currently owner of the studio MPE in Bari,Italy.

URL:

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Professor Rodolfo A. Fiorini

Rodolfo A. Fiorini is Professor of Bioengineering at the Department

of Electronics, Information and Bioengineering (DEIB), Politecnico

di Milano University, Italy. Graduated in Electronic Bioengineering

in 1975, Dr. Fiorini was awarded for post-graduation C.N.R. research

grants, and later for three-year "Energetics Fellowship," from the

Italian Ministry of Scientific Research and University. He gained his

PhD degree in Energetics from Politecnico di Milano University, in

1984. In the 1980s, Dr. Fiorini was research associate to StanfordUniversity (SU), Department of Aeronautics and Astronautics,

Stanford, CA, and to University of California at Los Angeles

(UCLA), Department of Computer Science, CA, U.S.A. In 1989, the

U.S.A. DOL appointed him with the U.S. PhD. Prof. R.A. Fiorini is

the founder and director of the Research Group on Computational

Information Conservation Theory (CICT), and currently he is

responsible for the main course on Wellbeing Technology

Assessment at DEIB. Prof. R.A. Fiorini is a renowned internationalscientific presenter and keynote speaker.

URLS:

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CICT CORE Group: URL = .

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