Books

Notes from A Technique for Producing Ideas by James Young

[A Technique for Producing Ideas by James Young](https://kindle.amazon.com/work/technique-producing-ideas-ebook/B000AJYAPW)

A good friend and great designer pointed me to this book, a pithy summary of James Young’s learnings from years in advertising. After reading [Steven Johnson’s extended treatise on the subject](http://www.ryskamp.org/brain/?p=4043), this resonated with me personally much more.

*Looking around*

> I venture to suggest that, for the advertising man, one of the best ways to cultivate it is by study in the social sciences. A book like Veblen’s Theory of the Leisure Class or Riesman’s The Lonely Crowd, therefore, becomes a better book about advertising than most books about advertising. – 120

> Gathering raw material in a real way is not as simple as it sounds. It is such a terrible chore that we are constantly trying to dodge it. The time that ought to be spent in material gathering is spent in wool gathering. Instead of working systematically at the job of gathering raw material we sit around hoping for inspiration to strike us. – 129

> This, I suppose, is because a real knowledge of a product, and of people in relation to it, is not easy to come by. Getting it is something like the process which was recommended to De Maupassant as the way to learn to write. “Go out into the streets of Paris,” he was told by an older writer, “and pick out a cab driver. He will look to you very much like every other cab driver. But study him until you can describe him so that he is seen in your description to be an individual, different from every other cab driver in the world.” – 134

> There are some advertisements you just cannot write until you have lived long enough-until, say, you have lived through certain experiences as a spouse, a parent, a businessman, or what not. The cycle of the years does something to fill your reservoir, unless you refuse to live spatially and emotionally. – 227

> The principle of constantly expanding your experience, both personally and vicariously, does matter tremendously in any idea-producing job. – 235

(reminds me of [Steve Job’s quote about diversity and design](http://www.ryskamp.org/brain/?p=3880))

*Combining things*

> With these two general principles in mind-the principle that an idea is a new combination, and the principle that the ability to make new combinations is heightened by an ability to see relationships-with these in mind let us now look at the actual method or procedure by which ideas are produced. – 121

> If the surface differences are not striking we assume that there are no differences. But if we go deeply enough, or far enough, we nearly always find that between every product and some consumers there is an individuality of relationship which may lead to an idea. – 139

> In advertising an idea results from a new combination of specific knowledge about products and people with general knowledge about life and events. – 148

*Stop trying so hard*

> So when you reach this third stage in the production of an idea, drop the problem completely and turn to whatever stimulates your imagination and emotions. Listen to music, go to the theater or movies, read poetry or a detective story. – 188

> This, then, is the whole process or method by which ideas are produced: First, the gathering of raw materials-both the materials of your immediate problem and the materials which come from a constant enrichment of your store of general knowledge. Second, the working over of these materials in your mind. Third, the incubating stage, where you let something beside the conscious mind do the work of synthesis. Fourth, the actual birth of the Idea-the “Eureka! I have it!” stage. And fifth, the final shaping and development of the idea to practical usefulness. – 212

*Follow up*

> The Art of Thought by Graham Wallas.

> Science and Method by H. Poincare.

>The Art of Scientific Investigation by W. I. B. Beveridge.

Notes from Where Ideas Come From by Steven Johnson

(I’ve started reading more books on the Kindle; this is an experiment to see how well clipping and sharing highlights from there works. The numbers after each quote are the Kindle “locations”.)

[Where Good Ideas Come From: The Natural History of Innovation by Steven Johnson](https://kindle.amazon.com/work/where-good-ideas-come-ebook/B003SCJR1U)

*How ideas happen*

> The adjacent possible is a kind of shadow future, hovering on the edges of the present state of things, a map of all the ways in which the present can reinvent itself. 362

> Good ideas are not conjured out of thin air; they are built out of a collection of existing parts 417

> Carbon atoms measure only 0.03 percent of the overall composition of the earth’s crust, and yet they make up nearly 20 percent of our body mass. That abundance highlights the unique property of the carbon atom: its combinatorial power. Carbon is a connector. 559

> One flask connected to the chemical soup contained a pair of electrodes, which Miller and Urey used to simulate lightning by triggering a series of quick sparks between them. They ran the experiment for seven straight days, and by the time they had completed the first cycle, they found that more than 10 percent of the carbon had spontaneously recombined into many of the organic compounds essential to life: sugars, lipids, nucleic acids. 573

> The work of dreams turns out to be a particularly chaotic, yet productive, way of exploring the adjacent possible.1146

> Kekulé’s slow hunch had set the stage for the insight, but for that hunch to turn into a world-changing idea, he needed the most unlikely of connections: an iconic image from ancient mythology. 1157

> John Barth describes it in nautical terms: “You don’t reach Serendip by plotting a course for it. You have to set out in good faith for elsewhere and lose your bearings serendipitously.” 1224

> The problem with assimilating new ideas at the fringes of your daily routine is that the potential combinations are limited by the reach of your memory. 1276

> The errors of the great mind exceed in number those of the less vigorous one. 1562

> Error is not simply a phase you have to suffer through on the way to genius. Error often creates a path that leads you out of your comfortable assumptions. 1569

> Being right keeps you in place. Being wrong forces you to explore. 1571

> Benjamin Franklin, who knew a few things about innovation himself, said it best: “Perhaps the history of the errors of mankind, all things considered, is more valuable and interesting than that of their discoveries. Truth is uniform and narrow; it constantly exists, and does not seem to require so much an active energy, as a passive aptitude of soul in order to encounter it. But error is endlessly diversified.” 1711
Note: study failures instead of successes in business? biz books and school both…

> New genres need old devices. 1820

*How to measure innovation*

> There are many ways to measure innovation, but perhaps the most elemental yardstick, at least where technology is concerned, revolves around the job that the technology in question lets you do. All other things being equal, a breakthrough that lets you execute two jobs that were impossible before is twice as innovative as a breakthrough that lets you do only one new thing. 210

*Environments that encourage good ideas*

> Kleiber’s law proved that as life gets bigger, it slows down. But West’s model demonstrated one crucial way in which human-built cities broke from the patterns of biological life: as cities get bigger, they generate ideas at a faster clip. 146

> The argument of this book is that a series of shared properties and patterns recur again and again in unusually fertile environments.224
Innovative environments are better at helping their inhabitants explore the adjacent possible, because they expose a wide and diverse sample of spare parts—mechanical conceptual—and they encourage novel ways of recombining those parts. 495

> The trick to having good ideas is not to sit around in glorious isolation and try to think big thoughts. The trick is to get more parts on the table. 515

> Building 20 resisted those calcifying forces for a simple reason: it was built on the cheap, which meant its residents had no qualms about tearing down a wall or punching a hole in the ceiling to adapt the space to a new idea. 747

> Building 99 was created from the ground up to be reinvented by the unpredictable flow of collaboration and inspiration. All the office spaces are modular, with walls that can be easily reconfigured to match the needs of the employees. 750

> Liquid networks create an environment where those partial ideas can connect; they provide a kind of dating service for promising hunches. They make it easier to disseminate good ideas, of course, but they also do something more sublime: they help complete ideas. 853

> The groups that had been deliberately contaminated with erroneous information ended up making more original connections than the groups that had only been given pure information. The “dissenting” actors prodded the other subjects into exploring new rooms in the adjacent possible, even though they were, technically speaking, adding incorrect data to the environment. 1622

> The best innovation labs are always a little contaminated. 1630

> Old ideas can sometimes use new buildings. New ideas must use old buildings. 2324

> In the private sector, the proprietary breakthrough achieved in a closed lab turns out to be a rarity. 2621

> Innovative thinking was much more likely to emerge from individuals who bridged “structural holes” between tightly knit clusters. Employees who primarily shared information with people in their own division had a harder time coming up with useful suggestions for Raytheon’s business, when measured against employees who maintained active links to a more diverse group. 1918

> Apple calls it concurrent or parallel production. All the groups—design, manufacturing, engineering, sales—meet continuously through the product-development cycle, brainstorming, trading ideas and solutions, strategizing over the most pressing issues, and generally keeping the conversation open to a diverse group of perspectives. 1974

*How to keep track of your thoughts*

> Keeping a slow hunch alive poses challenges on multiple scales. For starters, you have to preserve the hunch in your own memory, in the dense network of your neurons. 947

> We can see Darwin’s ideas evolve because on some basic level the notebook platform creates a cultivating space for his hunches. 953

> Darwin was constantly rereading his notes, discovering new implications. His ideas emerge as a kind of duet between the present-tense thinking brain and all those past observations recorded on paper. 955

> The great minds of the period—Milton, Bacon, Locke—were zealous believers in the memory-enhancing powers of the commonplace book. In its most customary form, “commonplacing,” as it was called, involved transcribing interesting or inspirational passages from one’s reading, assembling a personalized encyclopedia of quotations. 962

> Each encounter holds the promise that some long-forgotten hunch will connect in a new way with some emerging obsession. 1000

> You need a system for capturing hunches, but not necessarily categorizing them, because categories can build barriers between disparate ideas, restrict them to their own conceptual islands. 1004

> Bill Gates (and his successor at Microsoft, Ray Ozzie) are famous for taking annual reading vacations. During the year they deliberately cultivate a stack of reading material—much of it unrelated to their day-to-day focus at Microsoft—and then they take off for a week or two and do a deep dive into the words they’ve stockpiled. By compressing their intake into a matter of days, they give new ideas additional opportunities to network among themselves, for the simple reason that it’s easier to remember something that you read yesterday than it is to remember something you read six months ago. 1280

> I use DEVONthink as an improvisational tool as well. I write a paragraph about something—let’s say it’s about the human brain’s remarkable facility for interpreting facial expressions. I then plug that paragraph into the software, and ask DEVONthink to find other passages in my archive that are similar. 1318

> But imagine if the FBI had been using a networked version of a DEVONthink archive instead of the archaic Automated Case Support system. The top brass at the Radical Fundamentalist Unit would still have read the search warrant request for Moussaoui’s laptop and thought to themselves, “This sounds like a pretty shaky hunch.” But a quick DEVONthink query would have pointed them to the Phoenix memo, to another hunch about flight training and terrorism. 1464

*Designing for context*

> Designing an incubator for a developing country wasn’t just a matter of creating something that worked; it was also a matter of designing something that would break in a non-catastrophic way. 319

> This is not the wisdom of the crowd, but the wisdom of someone in the crowd. It’s not that the network itself is smart; it’s that the individuals get smarter because they’re connected to the network. 679

*Follow up*

> In 1964, Arthur Koestler published his epic account of innovation’s roots, The Act of Creation. 680

> (In a New Yorker essay, Malcolm Gladwell wonderfully described this trend as the West Village-ification of the corporate office.) 728

> For more on Apple’s design and development processes, see Lev Grossman’s “How Apple Does It.” 3566

The Walker Library of Human Imagination

Best. Museum. Ever.


The Walker Library of Human Imagination.

Jay Walker, founder of Priceline.com, has collected an amazing set of items that represent human ingenuity. 3 stories, mood lighting, carefully curated for maximum creative stimulus. At TED 2008, he gave a historical walkthrough of some of his favorites.

What I like most is that this library so clearly reflects Walker’s own perspectives and the connections he sees. I’d love to walk through the libraries that each of my friends create, and I’d love to create my own. To me, this blog is my current library, and hopefully I’ll make it easier to “walk through” soon.

For now, though, take a tour of Jay’s:


My New Year’s media diet

I would like to be more intentional about how I consume media. Here are some thoughts on how I might do that in the coming year.


*Read the Eternities* ([via](http://www.ryskamp.org/brain/?p=3640))

Focus my reading on classical writing, not modern writing

*Books first*

Books are the complete thought meal (Tim Sanders). Films can be good as well, but leave less to the imagination. Video/tv is the least considered and most ephemeral.

*70/20/10 rule*

* Time: 70% pre-1900, 20% 1900s, 10% 2000s
* Media: 70% written word, 20% films, 10% tv/video
* Reading: 70% books, 20% magazines/journal articles, 10% news/opinion

*Balance media with life*

Media should be a relatively small part of life…80% life, 20% media (meta-life)?

*Balance consumption with production*

80% production, 20% consumption?

*Think in the morning, act in the noon, eat in the evening, and sleep at night. – William Blake*

(I read this originally as “read in the evening”, which likely works better for me than Blake, given the miracle of incandescent light).

*Don’t start the day with someone else’s thoughts* ([via](http://www.ryskamp.org/brain/?p=181))

It’s the only chance you’ll have to think your own.


So, what might this look like in practice? All of these 80/20 or 70/20/10 ratios are terrifically arbitrary, but they’re an interesting starting point.

* 16 waking hours each day
* 20% media = 3 hours
* 80% production = 2 hours, 26 minutes
* 20% consumption = 34 minutes

Of those 34 daily minutes:

* 70/20/10 eras = 22 minutes pre-1900s/7 minutes 1900s/3.5 minutes 2000s
* 70/20/10 media = 22 minutes writing/7 minutes film/3.5 minutes tv/videos
* Of the 22 minutes writing: 15 minutes books/5 minutes magazines/journals/2.5 minutes news/opinion/blogs

Now, pre-1900s is really only books, so that would wipe out the entire “writing” allocation, leaving no room for magazines, journals, or opinion, or for anything since 1900. And you wouldn’t really watch video news from any other era than the present, so the 3.5 minutes on the 2000s would be all video news. So some wiggle room is necessary.

Still, the rough daily schedule is something like: 22 minutes reading classic (pre-1900s) books, 7 minutes watching a film, and 3.5 minutes catching up on the news.

That’s not much time! And it’s hard to imagine watching a film 7 minutes each day. So let’s expand it to a two-week scale: 5 hours reading books, 1 1/2 hours watching a film, and 45 minutes catching up on news. That would roughly correspond to 1 300-page book (at a thoughtful rate of 1 page/min) and 1 film every two weeks, and 45 minutes on blogs/news catchup.

The era breakdown is probably best spread out over time, so that you’d tackle one book or movie at a time rather than splitting your attention between several. So at a rate of 26 books per year, you’d have 18 pre-1900s books, 5 from the 1900s, and 2-3 from the 2000s. Your 26 movies, being mostly from the 1900s and 2000s, could be split more evenly, and perhaps given their rapid evolution give half (13) from the 1900s and half from the 2000s. (Having just reviewed my Netflix queue, I’m tempted to give even more emphasis to recent films. Movies from the mid-80s don’t carry the same weight as Plato’s 2000-year-old dialogues).

How would you practice this? It seems important to first have a set of items that you are interested in consuming in the near future. I keep a massive Amazon wishlist of things I’m interested in, so I’ll need to prioritize from that a set of 18 pre-1900s books, 5 1900s books, and 2-3 2000s that I will actually tackle. Same exercise with films from my Netflix queue.

Next is to set aside the time for consuming and producing. A daily time for reading seems right, as does a biweekly time for a film. News or blogs could be done as either a daily check-in (3.5 minutes! What tools would make *that* possible?) or as a biweekly binge (might help prioritize what’s really important). Experimentation is probably necessary here.

Producing is a more nebulous area, but setting aside an hour to write each morning, and perhaps one afternoon a week to film or write something longer, would be a good use of that time. And, similar to consuming, keeping a list of things I’d like to produce–and scheduling them–would make sure I’m ready to go immediately.


So, given that I started with those arbitrary numbers, how does this look?

The first big ratio was “80% life, 20% media (meta-life)”. Is it right to spend a fifth of my waking life on media? Well, the average America watches 5 hours of television each day (almost a third of their waking life), and my combined internet and video consumption is probably at least that much. So slimming down to “just” 20% actually seems like a good first step, and I enjoy books and films enough that I’m happy to start there.

The producing/consuming ratio is the part I’m least clear about. Is producing media really 4 times as important as consuming it? Worth spending 2 1/2 hours a day? How would I even do such a thing? Well, blogging is a part of it, and personal journaling could be considered media production as well. Beyond that, it would be interesting to blend more rich media production, creating video or music on a variety of topics. This is something that is subject to big change given experimentation, however. The thinkers I most respect, however, are tremendously prolific in their writing and filming–even if they are not “professional” writers or filmmakers. So there’s something in this media production craft that seems worthwhile.

And the 20% consumption is not the limit of all media I’ll see. Media is a part of many other parts of life (that other top-level 80%), and if movies, books, or the internet are included in my work or social life I consider that separate. Watching a movie with friends is socializing, not “consuming”. But I hope to be more intentional about the things I personally choose to consume on my own time.

Here’s the schedule I’m going to start with during my sabbatical:

* 1 hour of writing daily
* 30 minutes of book reading daily (~1 book every 2 weeks)
* 5 min blogs & news daily (5 min catchup at the end of the day)
* 1 filmmaking or long writing session each week
* 1 film watching session every 2 weeks

I’ve also separated my media wishlists (Amazon & Netflix) into the appropriate categories:

* [Pre-1900s books](http://www.amazon.com/wishlist/QHCSTDGJP4YE/) (targeting 18/year)
* [1900s books](http://www.amazon.com/wishlist/LTW9WYUFTPQD/) (5/year)
* [2000s books](http://www.amazon.com/wishlist/3P4SAB9E93N0T/) (2-3/year)
* [1900s films](http://www.netflix.com/StrangerLists?prid=264588053&showList=353682) (13/year)
* 2000s films (the rest of my Netflix queue; 13/year)


Thoreau said that we should “be careful what objects and what subjects we thrust on [our] attention.” Hopefully my new media diet is an appropriate mix! I’ll check in later with an update…

Classics and creativity

It seems that if you hope to design things that cut to the heart of the human experience, you’re better off drawing inspiration from classical stories and literature than contemporary work. Something that remains relevant hundreds or thousands of years after its writing is a better foundation for meaningful work than the latest tech blog post.

Again: [read not the Times; read the Eternities](http://www.ryskamp.org/brain/?p=3640).

Read not the Times

“We should treat our minds, that is, ourselves, as innocent and ingenuous children, whose guardians we are, and be careful what objects and what subjects we thrust on their attention. Read not the Times. Read the Eternities.” – Henry David Thoreau, Life Without Principle

The iterative writer

I’m very interested in the intersection of fiction (written or filmed) and design, and while science fiction icon Bruce Sterling said recently that [“design has more to offer fiction at the moment than literature has to offer design”](http://magicalnihilism.com/2009/10/14/icon-minds-tony-dunne-fiona-raby-bruce-sterling-on-design-fiction/), I’ve found it extremely valuable as a designer to learn from both writing and the writing process.

The other day I caught up with a friend who had recently completed a screenwriting class. He described his writing process to me and it had many parallels to the conceptual design process.

First, he said, he determines where the story starts and ends. From these two points, he can build up the rest. It’s tempting to tell yourself “I just need an idea, a start or a finish, and I’ll figure out the rest later.” But without a start *and* a finish, you don’t have a unique story yet and your work is likely to wander aimlessly. His first project had only a beginning, and he ended up scrapping the script because it didn’t have anywhere to go. It’s also much easier to try out very different stories when they are simply a pair of beginnings and endings than when you are writing a full script for each version.

In concept design, design principles are analogous to the script’s start and finish. They provide a high-level view of what you want the experience or product to be like, or to accomplish. They are much easier to experiment with than fully-realized products or even prototypes, and without them your solutions will be all over the map.

Next, my friend creates the first section of his story, from the beginning to the main character’s first turning point–for instance, when Luke Skywalker first discovers Princess Leia’s plea for help while cleaning R2D2. Sitting down, he tries to bang out a treatment for this first section in a single sitting. This helps him see if the setting and characters are good enough to support action, dialogue, and getting the plot to the desired end point.

After finishing, he sets that treatment aside and does something else for the rest of the day. The next day, he returns to his station, but instead of picking up the draft from before, he begins a brand new version. Without trying to consciously repeat *or* avoid anything from the first version, he simply writes another draft of the scenario, then sets that aside as well. After 3 or 4 versions, the best elements have generally persisted while the extra stuff disappears, and he has a solid section of the story. He repeats this process for each subsequent section until he has a full draft.

Concept design benefits from a similar process. Apple famously [uses a “10 to 3 to 1” process](http://www.businessweek.com/the_thread/techbeat/archives/2008/03/apples_design_p.html) where their designers create 10 separate, equally-detailed and -viable design concepts for each new feature. I talked yesterday to Ford’s head of interior design, and he cited a similar process for physical prototypes–“so many different versions you can’t even count”. Later in the development phase, of course, you want to drive toward convergence, consistency, usability, and feasibility. But early on you shouldn’t be stingy with the concepts–keep them fast and loose, and make sure you cover as broad a range as possible.

Where my books come from

A friend asked where I learn about new books to read, so I dug into my recent Amazon purchases (where they are all bought) to find out:

Candy

Several years ago I read Tim Sanders’ book _Love is the Killer App_. In it, he argued that “Books are the complete thought-meal”. His point was that in a book, you get a complete argument, well-balanced and considered. Email, blogs, newspapers and even magazines are usually less complete and thus less helpful to read. Sanders recommends that you spend 80% of your learning time on books, and just 20% on magazines/web/tv/etc.

Of course, this sounds similar to the advice we’re given to eat our vegetables, do our homework, and mow the lawn–they’re all requirements to do things that we otherwise wouldn’t want to. What might we do to increase our desire to do the right thing?

Time might be an important factor. I’ve noticed that when I’m stressed or tired, I’m more attracted to eating unhealthy things–ice cream, pizza, and yes, candy. Similarly, I tend to read blogs, and reject books, mostly when I’m fatigued, especially late at night or when I’ve been working too hard. Changing my reading habits may require changing my lifestyle, and recognizing when I’m too distracted or tired to handle a big chunk of learning.

Even shifting certain activities to different times of day can help. My favorite William Blake quote alludes to this: “Think in the morning; act in the noon; read in the evening; and sleep at night”. When I follow this schedule, I’m more productive, less stressed, and tend to plan ahead and fill my “reading” time with books and longer thought experiences. In fact, I’m writing this now only because I set it aside “thought” time this morning. Morning works best for me because (once I’m out of bed) it tends to be my most energetic, clear-headed part of the day.

Focusing on big, long-term projects is a luxury that’s new to our culture–for most of history people have been forced to scramble from one small thing to another just to survive. It’s not surprising that small things then hold such appeal to us, but it’s exciting to think about what we might do with the opportunity to think bigger.

Notes from Dune

[Dune](http://books.google.com/books?id=gjJzHgAACAAJ) reminded me in many ways of [Anathem](http://ryskamp.org/brain/books/notes-from-anathem), as it is set in a world with 20,000 more years of history. It’s interesting to read stories of intelligent societies that have lived for hundreds of generations, especially since we have just 6000 years of history so far.

What might our world look like with 20,000 years more? I have trouble grasping [the differences from less than a century](http://www.crichton-official.com/NPC-NewVersion_files/image027.jpg)…

The other theme that stuck with me is scarcity. Dune, as a desert planet, demands absolute adherence to strict rations and rules. It’s sustainability with almost nothing to start with. But it gives me hope that as we move to a sustainable culture, we’ll be able to adapt our behaviors and even benefit from the focus that scarcity brings.

The danger of always taking the road most traveled:

> The Guild navigators, gifted with limited prescience, had made the fatal decision: they’d chosen always the clear, safe course that leads ever downward into stagnation. (472)

The last words of a man who tried to unify the world’s warring religions into one “master” belief system:

> “Religion must remain an outlet for people who say to themselves, ‘I am not the kind of person I want to be.’ It must never sink into an assemblage of the self-satisfied.” (506)