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P. De Giacomo and R.A. Fiorini

Creativity Mind

P. De Giacomo and R.A. Fiorini

Creativity Mind

Piero De Giacomo and Rodolfo A. Fiorini

CREATIVITY MIND
(PREVIEW)

P. De Giacomo and R.A. Fiorini

Creativity Mind

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
1st Digital 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 by CICT CORE Group
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P. De Giacomo and R.A. Fiorini

Creativity Mind

CREATIVITY MIND
Table of Contents
Preface

1. Introduction

15

1.1 Survival Strategy

18

1.2 Paradigm Shift

23

1.3 Interdisciplinary Competence

33

1.4 Interdisciplinary and Transdisciplinary

42

References Chapter 1.

45

2. Creativity, Innovation, and Knowledge

53

2.1 Information and Knowledge

53

2.2 Edge of Chaos

58

2.3 Cognition and Emotion

66

2.4 Innovation and Creativity

68

References Chapter 2.

72

3. From Innovation to Creative Thinking

3.1 Inventive Innovation
3.2 Inventive Creativity
3.3 Creative Innovation
3.4 Heulogic Thought
References Chapter 3.
4

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Creativity Mind

4. A Few Principles of Creativity

4.1 Classic Types of Creativity
4.2 The Fourth Way
4.3 Established Creativity Processes
4.4 Unconscious, Aware, Self-Awareness
References Chapter 4.
5. Unlocking Your Creativity
5.1 Identify Your Passions
5.2 Open Logic Imagination
5.3 Create Your Own Inspiration
5.4 Train Yourself Into Being Creative
References Chapter 5.
6. Creativity Excellence
6.1 Define and Distill the Problem
6.2 Break Learned Rules
6.3 Hedge Your Bets
6.4 Do More
References Chapter 6.
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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Creativity Mind

References Chapter 7.
8. How Technology Can Enhance Creativity
8.1 The Four-Part Brain
8.2 How the Brain Relates to the Mind
8.3 Elementary Pragmatic Model
8.4 Evolutive Elementary Pragmatic Model
References Chapter 8.
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
References Chapter 9.
Cover Credits
Glossary
Index
Additional Content

P. De Giacomo and R.A. Fiorini

Creativity Mind

APPENDICES
APPENDIX A: The APA Guide To Resilience
APPENDIX 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
Background

K:

Evolutive

EPM

Authors Profile
Piero de Giacomo
Rodolfo A. Fiorini

(EEPM)

Math-Logic

P. De Giacomo and R.A. Fiorini

Creativity Mind

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 and
Luciano 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 technological
values).
In a summary of scientific research into creativity, Michael
Mumford suggested: "Over the course of the last decade, however, we
seem 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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Creativity Mind

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 is
not realizable (without a physical support out of ones mind).
The postmodern intersubjectivity of the 21st century 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 nuanced
forms 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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Creativity Mind

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 sense
invention 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 everexpanding 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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Creativity Mind

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 mind
maps. 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 the
perception 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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Creativity Mind

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 eventually
inductive), 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 taken
as "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 is
about 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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Creativity Mind

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 brain
is 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 systems
and 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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P. De Giacomo and R.A. Fiorini

Creativity Mind

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 whenever
possible to put the different chapters and contributions into a selfexplaining 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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P. De Giacomo and R.A. Fiorini

Creativity Mind

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. De
Giacomo 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:
<http://www.pierodegiacomo.it/>.

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P. De Giacomo and R.A. Fiorini

Creativity Mind

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 Stanford
University (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 international
scientific presenter and keynote speaker.
URLS:
<http://it.linkedin.com/pub/rodolfo-fiorini/45/277/498/it>.
<http://www.researchgate.net/profile/Rodolfo_Fiorini>.
<http://polimi.academia.edu/RodolfoFiorini>.
CICT CORE Group: URL = <http://cicthub.github.io/>.
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17