Creativity Read Free Page B

specialization is not necessarily a good thing. It can easily lead to a cultural fragmentation such as described in the biblical story of the building of the Tower of Babel. Also, as the rest of this book amply demonstrates, creativity generally involves crossing the boundaries of domains, so that, for instance, a chemist who adopts quantum mechanics from physics and applies it to molecular bonds can make a more substantive contribution to chemistry than one who stays exclusively within the bounds of chemistry. Yet at the same time it is important to recognize that given how little attention we have to work with, and given the increasing amounts of information that are constantly being added to domains, specialization seems inevitable. This trend might bereversible, but only if we make a conscious effort to find an alternative; left to itself, it is bound to continue.
    Another consequence of limited attention is that creative individuals are often considered odd—or even arrogant, selfish, and ruthless. It is important to keep in mind that these are not traits of creative people, but traits that the rest of us attribute to them on the basis of our perceptions. When we meet a person who focuses all of his attention on physics or music and ignores us and forgets our names, we call that person “arrogant” even though he may be extremely humble and friendly if he could only spare attention from his pursuit. If that person is so taken with his domainthat he fails to take our wishes into account we call him “insensitive” or “selfish” even though such attitudes are far from his mind. Similarly, if he pursues his work regardless of other people’s plans, we call him “ruthless.” Yet it is practically impossible to learn a domain deeply enough to make a change in it without dedicating all of one’s attention to it and thereby appearing to be arrogant, selfish, and ruthless to those who believe they have a right to the creative person’s attention.
    In fact, creative people are neither single-minded, specialized, nor selfish. Indeed, they seem to be the opposite: They love to make connections with adjacent areas of knowledge. They tend to be—in principle—caring and sensitive. Yet the demands of their role inevitably push them toward specialization and selfishness. Of the many paradoxes of creativity, this is perhaps the most difficult to avoid.
    W HAT’S THE G OOD OF S TUDYING C REATIVITY ?
    There are two main reasons why looking closely at the lives of creative individuals and the contexts of their accomplishments is useful. The first is the most obvious one: The results of creativity enrich the culture and so they indirectly improve the quality of all our lives. But we may also learn from this knowledge how to make our own lives directly more interesting and productive. In the last chapter of this volume I summarize what this study suggests for enriching anyone’s everyday existence.
    Some people argue that studying creativity is an elite distraction from the more pressing problems confronting us. We should focus all our energies on combating overpopulation, poverty, or mental retardation instead. A concern for creativity is an unnecessary luxury,according to this argument. But this position is somewhat shortsighted. First of all, workable new solutions to poverty or overpopulation will not appear magically by themselves. Problems are solved only when we devote a great deal of attention to them and in a creative way. Second, to have a good life, it is not enough to remove what is wrong from it. We also need a positive goal, otherwise why keep going? Creativity is one answer to that question: It provides one of the most exciting models for living. Psychologists have learned much about how healthy human beings think and feelfrom studying pathological cases. Brain-damaged patients, neurotics, and delinquents have provided contrasts against which normal functioning may better be understood. But we have learned