The Mathematics of Creativity

I''ve teamed up with a "book buddy" - a strange hybrid between a "book club"  and a "fuck buddy" where the idea is that you occasionally meet up to fondle each other's manuscripts because you can't be arsed to find someone to do it with on a more committed basis.

My working title for her book is {sorry : removed after second meeting - she want's to keep it confidential for now}

Anyhow, the idea is that we each commit to do a certain amount of writing between meetings so here is my "homework" :   a rough outline for the book.

The content of the first chapter i put on my blog previously

http://patternrecognition.typepad.com/pattern_recognition_/2007/04/the_formula_for.html.

The Mathematics of Creativity :

how to beat the odds and deliver great ideas.

In which we propose to stop treating “creativity” as a magical and unknowable force but instead consider the statistical basis for how creative magicians “do it” (whether consciously or not) and thereby learn how to increase the odds of doing it ourselves.

This book takes a dozen or so different perspectives on “the creative process” and finds the simple maths that justifies what often appears irrational or counter-intuitive.  Using no more than GCSE maths the book seeks to “prove” to the logical mind that the creative mind is not that crazy after all.

Each chapter will include examples from the advertising and design industries as well as broader creative phenomenon such as song writer duos and fashion designers.

1. The Equation for Good and Bad Meetings

In which we explore, through a simple piece of algebra, the statistical value of diversity and stimulation in creative meetings, and calculate the negative effect of fear in the boardroom. 

2. The Quantity Theory of Creativity

In which we compare the logical thinkers’ habit of generating three options with the creative thinkers habit of generating 20 or more.  We use the normal distribution (the Bell Curve) to explore the statistical advantages of quantity.

3. The Statistical Advantage of Error

In which we explore the survival benefits of making mistakes and explore the way mutant ideas increase the chances of companies flourishing.

4. Operating in the Chaotic Zone

In which we explore the difference between companies who like to play it safe and companies who dare to play out at the extremes. We use a mathematical model of a football league competition to understand who wins over the long term.

5. A Random Walk on the

   Creative

   Mountain

In which we explore the evolutionary advantages of diversity and “wild leaps” by quantifying the success of different populations of ideas spread across a 3 dimensional mathematical mountain.

6. Clipping Off the Tail to Spite your Face

In which we explore the dangers of means, medians and modes and in particular the perils of statistical surveys in killing marginal (but valuable) ideas.

7. Crossing the

   Suspension Bridge

   of

   Disbelief

In which we explore the effects that negative and optimistic responses to ideas have on their ability to do their job : reach out to new, valuable economic spaces.  We explore how extreme positivity can create “gravity defying bridges” to new pastures.

8. Lost in translation

In which we explore the perils of imitation and calculate the decline in economic returns that will result.

9. How discourse beats triscourse

In which we analyse the creative power of the duo and contrast its mathematical characteristics with solo working or working in larger groups.

10. The Prisoners Dilemma and the Hard but Fair client

Where we consider the strategies available to the clients who buy work from creative people and via the mathematical model of the Prisoner’s Dilemma we discuss the virtue of “forgiving tit for tat”.

11. The Non-Coincidental Creativity of the Well Fed Mind

In which we model the mathematical phenomenon of an idea occurring and note the two pre-conditions for this occurring (with reference to the mathematical disproof of ley lines)

12. From Zero to Infinity.

In which we discover the paradox that great creativity flourishes in conditions of either almost zero pressure or almost total pressure (but flounders in between).

13. Good Creativity Should Not be Left to Chance

In which we conclude that creativity is not a random or ill-disciplined craft, or indeed one that only the truly gifted can hope to work.  Rather we find that a series or techniques, processes, attitudes and cultures – all of whom can be acessed by anyone – can increase the chances of great ideas being delivered.

Other possible chapters : The Bible and the Power Law Distribution of Good Ideas.  How the Persistence Genius Braves the Long Odds of Discovery.

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