Central Concepts: A Recap
What did we learn from Monet? What did we
learn from Wright? What did we learn from
Debussy? What did we learn from Klee? What
did we learn from Kundera? What did we learn
from Aalto? What did we learn fromStravinsky?
Everyone who reads this book should learn some of the same things, but also some different things. The same things, hopefully, will be how constraints are used as creative tools; the different, examples of particular interest or usefulness to an individual reader. So, a summing—up of some important [same] things.
The creativity problem is strategic and structural. For the creator, it involves goal-directed specifying of paired constraints. One precludes (or limits search among) familiar, reliable responses; the other promotes (or directs search to) novel, surprising ones. The specification process structures the problem space, producing a solution path that simultaneously defines and satisfies a novel goal criterion.
The specification also turns an initially ill-defined problem into a welldefined one. Since well-defined problems can be solved with little search