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What Is An Inventor and What It Means to Invent
Creativity excites people. I would venture to say, almost universally. The more we judge an invention to be within our means of production, the more we are attracted to it. I doubt I would have thought of the aerofoil. Even simple inventions win us the kind of applause the winner would have been me, if I had been a little faster. If the inventor of the current sticky note had never been born I’m sure many other people would have thought of it.
Most of us have heard the phrase, “necessity is the mother of invention.” This so-called American phrase (actually very old) is accepted as an adequate description of inventions, while not saying anything at all about what “something” is made of. The French, in the same way, say “Fear is a great inventor.” Although Mark Twain felt compelled to express the invisible link when he said, “Danger is the name of the greatest of all composers.” While need, fear, and danger may be perceived and materially present before a product is born, none of these define design; none of this tells us how a person composes. At best, these expressions describe catalyst or motivation, these are not complete explanations. These are not descriptions.
The word “invented” means to find or discover, if my Latin introduction is of any value. This may give us an initial understanding but let’s examine whether the finding is original or the result of previous input. The words of Sir Joshua Reynolds (1723-1792), purposeful and sincere, seem worthy of investigation: “Strictly produced, it is more than a new combination of those images that have been assembled and stored in the memory; nothing can come. out of nothing.” The main argument presented by Sir Joshua Reynolds is, nothing can come out of nothing.
The way people react is often caused by what has been done when it is seen to reveal a universal consent that needs to be recognized. Many times we hear exhortations like, “That guy was thinking!” or “what a brilliant idea!” If these two exhortations have value, then we can say that thoughts and ideas are important in design. What is thought? What is the idea? If we allow those thoughts to be the work of the mind, and if we allow more of those thoughts that the mind works with, we can quickly examine it and make a logical teaching about creativity, even if it is done in the concept. The assumptions in the formula are not all that far-fetched or unreasonable. Let’s first look at the physical aspect of the act of thinking, the idea. From there we can easily understand how this thing called perception can be controlled.
Thought is the mental representation of reality. This is a common understanding in western civilization. The mind receives and collects ideas, first from a perceptual experience after the described experience goes through the process of absorption. Often, with the theater of life experience, the experience of the mind is stored in the right energy but the hidden foundations that the mind works through the experience of the mind, are stored in another field, the intellectual memory. These things are taken for granted.
Ideas fall into many categories but let’s briefly consider the category of complexity. The concept is simple or complex. A simple idea needs only one article to explain. “Dark” or “quick” or “wet” or “yellow” are examples of simple concepts. A complex concept uses many ideas that are easy to explain. Most of our ideas are complex which is why we have dictionaries that list a set of simple concepts that describe a complex concept. In this field of work there is a creative process. That’s why we see, because there are dictionaries, that we can divide complex ideas into a group of simple concepts that describe a complex concept. We call this “extracting” analysis. We can also understand that simple ideas can be combined to build new and original complex ideas. This “combination” is called synthesis. I think the discerning reader already knows what a designer is or what it means to design.
Analysis and synthesis are two simple mental processes and these two processes comprise the heart of creativity. Creativity is an act of assimilation. What is connected? In the act of creating a composite is an arrangement of simple ideas and this arrangement includes a new complex idea. While the arrangement may be original the parts present are not original. Similarly, something as ordinary as a pile of bricks can be rearranged in such a way as to produce a structure unlike any previous arrangement of bricks. Bricks are not the first idea. A new building can be very original. Who, then, is the most creative?
Everyone with functional mental capacity can compose. One has only to perform a simple mental act called abstraction in order to maintain, initially in the experience of the mind, a library of simple ideas. These ideas are thus kept in mind and organized into a new and original scheme that always responds to demand. The first thing a designer does is define a need. Then he goes to work organizing ideas until he finds an arrangement that works. The creative attitude, that is, the willingness to define a need, and the willingness to search internally and externally to discover a solution that solves the need, is very important to the inventor’s personality. In addition to these necessary changes is a large library of simple ideas, taken and preserved from many previous projects.
With so much life experience to draw from, the seasoned composer sometimes seems overconfident about the challenge before him. Just ask him to tell you about all the things he did that didn’t work. Not only will you get a good laugh, you’ll know that good designers fail all the time. They did not fail permanently because every failure added to their library of ideas. Intellectual failure is fundamental to being a good inventor.
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