WHERE DO NEW TECHNOLOGICAL IDEAS COME FROM?

Since Man has existed on earth, he has continued to develop new technologies, such as bows and arrows. Which has allowed tribes to hunt their prey with greater efficiency, giving them the advantage to progress and evolve more efficiently than humans who did not have this technology. But where does the emergence of new ideas? Researchers at the Smithsonian Institution have discovered how this process occurs in humans.

CREATIVITY IS A BIOLOGICAL MANDATE

A small mollusk known as a sea squirt is doing something strange. Because he no longer needs his brain. He has found his permanent home. The brain allowed it to identify and decide where to stand, and now that its mission is complete, this creature uses nutrients from its brain to fuel other organs. The lesson of a sea squirt is that brains are used for research and decision-making. As soon as an animal is installed in a place, it no longer needs its brain.

While we don’t eat our brains, our constant need to fight routine makes creativity a biological mandate. As a result, vivid imagination has characterized the history of our species: we build complex dwellings, develop recipes for our food, we dress in clothes to deal with climate change, we travel in boats on the oceans to discover new lands, and these are just a few examples. So, no facet of our lives remains intact because our ingenuity powers it landscape drawing.

Innovative force inhabits every human brain, and the resulting war on the repetitive is what fuels the colossal changes that distinguish one generation from another, a decade of the next year, a year of the following year. The desire to create something new is part of our biological composition. We are building enlightenments by the gazillions and new fables by the hundreds. We surround ourselves with paraphernalia that has never been there before, whereas pigs, llamas, and goldfish do not.

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WHERE DO NEW IDEAS COME FROM?

In all of the human endeavors, prior art has propelled the creative process. Consider the auto industry at the start. Earlier in 1908, the structure of a new car was laborious. Each vehicle was custom-built, with different parts assembled in different places, then painstakingly put together. Its assembly line changed: rather than keeping the design on pits and moving the men, the line kept the men still and shifted the work they needed to do. Thanks to these innovations, cars left the factory unprecedentedly; a new industry was born.

But Ford’s opinion of ​​the congregation line had a long ancestry. Eli Whitney had created ammunition with interchangeable parts for the US military in the early 19th century. This innovation made it possible to repair a damaged rifle using parts recovered from other firearms. This opinion of ​​indistinguishable parts for Ford was a boon: parts could be made in bulk rather than tailoring parts for individual cars. Smoke workshops of the previous century had sped up production using continuous-flow performance – moving the congregation through a correct sequence of starts. Ford saw the virtuoso in this and followed, and the assembly line itself was something Ford learned from the Chicago meat industry. I gathered in a car the discoveries of other men behind whom were centuries of work. ”

The exploitation of history occurs not only in technology but also in the arts. Samuel Taylor Coleridge was the accomplished sentimental artist: passionate, impetuous, with a wild inventiveness. He wrote his song “Kubla Khan” after an opium-induced vision. Here is a poet who seemed to be in communion with the Muses.

CREATE NEW SHAPES

Picasso extracted the raw materials that surrounded him, and in doing so, he was able to bring his culture to a place he had never been before. Analyzing Picasso’s controls in no way abbreviates his imagination. His peers all had an approach to the same derivations as he did. The only one brought these influences together to create Les Demoiselles d’Avignon, which several art specialists consider a vital work.

Just as nature modifies existing animals to create new creatures, so the brain works from previous ones. So, in their way, they create work. Even with coins borrowed from others, we transform and melt them into a personal piece of work, or as Steven Johnson, a modern science historian, says, “we take the ideas that we have discovered, and we put them together into new forms. ”

Whether making cars or creating modern art, creators absorb the world into their nervous systems and manipulate it to create possible futures. In 2007, she suffered from a near-fatal infection that crippled her memory. She survived but found herself with complete amnesia, unable to remember her marriage, divorce, or even people she had met earlier today.

The reservoir of his memories had emptied mainly, and the ecosystem of his creativity dried up. So, I stopped painting because I couldn’t think of anything new. No internal model fueled her creativity, no new ideas for the following combination of things she had seen before. When the female sat down in the foreground of her newspaper, there was nothing but a blank.

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CREATIVITY OUT OF NOWHERE

But indeed, there are times of eureka. When someone is suddenly struck by an idea that materializes out of nowhere, take, for example, an orthopedic surgeon named Anthony Cicoria, who in 1994 was talking to his mother from an outside pay phone when he was struck by lightning. A few weeks later, he suddenly started to compose. Over the next few years, presenting his “Illuminating Sonata,” he explained that “the other side” gave his music to him. If ever there was an example of creativity coming out of nothing, Cicoria could be one of those people who suddenly starts to create.

But, on closer inspection, Ciboria also turns out to rely on the raw materials that surround it. He says that after his accident, he developed a strong desire to listen to 19th century piano music. It’s hard to know what lightning did to Cicoria’s brain, but it’s clear that he quickly absorbed this musical repertoire. Much like Lonni Sue Johnson, he needed materials to make it his own. His sudden desire to compose may have come out of nowhere, but his basic creative process didn’t.

Many people have imagined themselves in thunderstorms, waiting for the creative lightning to strike them. Instead of new ideas being ignited by lightning, they are born among billions of tiny sparks that intermingle in the vast darkness of our brain’s wiring.

THE WIRING

Indeed, researchers have found that very creative people have a “wiring of their brains that would be different from ordinary people.” This study was published January 15, 2018, in the journal Proceedings of the National Academy of Science’ demonstrates that the creative brain is connected differently. New ideas emerge in different ways, but ultimately it is through them that we are propelled into an evolutionary process, which may well be limitless.

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