Creative Synthesis Quotes

There is no such thing as a new idea. We simply take a lot of old ideas and put them into a sort of mental kaleidoscope.

True poetry is truer than science, because it is synthetic, and seizes at once what the combination of all the sciences is able, at most, to attain as a final result.

The creative is always an act of recombination, with something added by new juxtaposition—as making a spark requires two things struck together.

I think I needed to really move past my first public work as memorialist, and be equally balanced. It's a bit unusual, to be working between the architecture, the art, and what I would say is a synthesis, the memorials - they're problem solving, but it's very symbolic. You get this triangle; I need to be balanced with those three. They're all equally a part of who I am. I love how different they are, and yet they're coming out the same thing, whatever it is.

There are places where writing is acting and acting is writing. I'm not so interested in the divisions. I'm interested in the way things cross over.

Innovation comes from recombining existing technology and different perspectives in innovative ways.

What I have to do is utilize as best I can the ideas which objects suggest to me, connect, fuse, and color in my way the shadows they cast within me, illumine them from the inside. And since of necessity my vision is quite different from that of the next man, my painting will interpret things in an entirely different manner even though it makes use of the same elements.

My little notebooks were beginnings - they were the ground into which I dropped the seed... I would work in this way when I was out in the crowds, then put the stuff together at home.

Originality and creativity are nothing but the result of the wise management of combinations. The creative genius combines more rapidly, and with a greater critical sense of what gets tossed out and what gets saved, the same material that the failed genius has to work with.

It's great when a director like Cameron Crowe can take what you do and fit it into what he's doing. If someone's a fan of you already, they can take what you do and make it work for what they're doing. You don't know their vision, and you're thinking, 'How is this guy going to take what I do and make it work in this movie?'

Your inspiration is better if it comes from many different sources and your sensibilities will transform all those influences and inspiration into your own visual world. It's like reading the book instead of watching the movie.

As a total activity - I practice curating, art, architecture, writing, and publishing all together. I still act as a living creature.

Consensus isn't just about agreement. It's about changing things around: You get a proposal, you work something out, people foresee problems, you do creative synthesis. At the end of it, you come up with something that everyone thinks is okay. Most people like it, and nobody hates it.

The bees pillage the flowers here and there but they make honey of them which is all their own; it is no longer thyme or marjolaine: so the pieces borrowed from others he will transform and mix up into a work all his own.

Poems, to me, do not come from ideas, they come from a series of images that you tuck away in the back of your brain. Little photographic snapshots. Then you get the major vision of the poem, which is like a giant magnet to which all these disparate little impressions fly and adhere, and there is the poem!

Two things significantly distinguish human beings from the other animals; an interest in the past and the possibility of language. Brought together they make a third: Art. The invisible city not calculated to exist. Beyond the lofty pretensions of the merely ceremonial, long after the dramatic connivings of plitical life, like it or not, it remains. Time past eternally present and undestroyed.

A-ha is not me, Paul, or Magne: it is its own individual that has its own identity and characteristics. It is a result of a particular meeting point between the three of us.

I do my best writing between 10 p.m. and 5 a.m.. Almost every friend I have who is a consistently productive writer, does their best writing between 10 p.m. and 8 a.m. My quota is two crappy pages per day. I keep it really low so I'm not so intimidated that I never get started. I will do the gathering of interviews and research throughout the day. I'll get all my notes and materials together and then I'll do the synthesis between 10 p.m. to bed, which is usually 4 or 5 a.m.

Synthesize new ideas constantly. Never read passively. Annotate, model, think, and synthesize while you read, even when you're reading what you conceive to be introductory stuff. That way, you will always aim towards understanding things at a resolution fine enough for you to be creative.

...combining the concrete and the universal is at the center of what makes art important.

I knew I had to have a hit. I would get no more chances. Analyzing what they had in common I discovered they had many similar elements: harmonic rhythm, placement of the chord changes, choice of harmonic progressions, similar instrumentation, vocal phrases, drum fills, content, even the timbre of the lead solo voice. I decided to write a song that incorporated all these elements in one record.

A little bit of one story joins onto an idea from another, and hey presto, . . . not old tales but new ones. Nothing comes from nothing.

What I appreciate about Radiohead's work - and it's most evident in 'Hail to the Thief' - is how the juxtaposition of narratives on the band's albums somehow creates a sense of wholeness.

It has taken a great deal of energy, which has not been so difficult to summon as the necessary patience to wait, simply wait much of the time - until my instincts assured me that I had assembled my materials in proper order for a final welding into their natural form.

The design process, at its best, integrates the aspirations of art, science, and culture.