Jonah Lehrer Quotes

Rejection process is not fun. It's the red pen on the page, the discarded sketch, sometimes is the only way forward.

Why is music capable of inflicting such pain? Because it works on our feelings directly. No ideas interfere with its emotions. This is why "all art aspires to the condition of music." The symphony gives us the thrill of uncertainty
the pleasurable anxiety of searching for a pattern
but without the risks of real life. When we listen to music, we are moved by an abstraction. We feel, but we don't know why.

It doesn't matter if people are playing jazz or writing poetry
if they want to be successful, they need to learn how to persist and persevere, how to keep on working until the work is done. Woody Allen famously declared that "eighty percent of success is showing up." NOCCA (New Orleans Center for the Creative Arts) teaches kids how to show up again and again.

...Prions violate most of biology's sacred rules. They are one of those annoying reminders of how much we don't know.

You break out of the box by stepping into shackles.
From Imagine: How Creativity Works pg 23 (hardcover)

If our DNA has a literary equivalent, it's Finnegan's Wake.

The answer will only arrive after we stop looking for it.

Three individuals form a partnership and agree to divide the
profits equally. X invests $9,000, Y invests $7,000, Z invests
$4,000. If the profits are $4,800, how much less does X receive
than if the profits were divided in proportion to the amount invested?

There is something scary about letting ourselves go. It means that we will screw up, that we will relinquish the possibility of perfection. It means that we will say things we didn't mean to say and express feelings we can't explain. It means that we will be onstage and not have complete control, that we won't know what we're going to play until we begin, until the bow is drawn across the strings. While this spontaneous method might be frightening, it's also an extremely valuable source of creativity ... the lesson about letting go is that we contain our own creativity. We are so worried about playing the wrong note or saying the wrong thing that we end up with nothing at all.

There simply is no way to describe the past without lying. Our memories are not like fiction. They are fiction.

New ideas are merely several old thoughts that occur at the exact same time.

Harlow would later write, If monkeys have taught us anything, it's that you've got to learn how to love before you learn how to live.

Grit is the stubborn refusal to quit.

Every creative story is different. And every creative story is the same. There was nothing. Now there is something. It's almost like magic.

Creativity shouldn't be seen as something otherworldly. It shouldn't be thought of as a process reserved for artists and inventors and other 'creative types.' The human mind, after all, has the creative impulse built into its operating system, hard-wired into its most essential programming code. At any given moment, the brain is automatically forming new associations, continually connecting an everyday x to an unexpected y.

Love is just another name for what never gets old.

The fatal misconception behind brainstorming is that there is a particular script we should all follow in group interactions ... [W]hen the composition of the group is right - enough people with different perspectives running into one another in unpredictable ways - the group dynamic will take care of itself. All these errant discussions add up. In fact, they may even be the most essential part of the creative process. Although such conversations will occasionally be unpleasant - not everyone is always in the mood for small talk or criticism - that doesn't mean that they can be avoided. The most creative spaces are those which hurl us together. It is the human friction that makes the sparks.

People assume that they perceive reality as it is, that our senses accurately record the outside world. Yet the science suggests that, in important ways, people experience reality not as it is, but as they expect it to be.

If you're trying to be more creative, one of the most important things you can do is increase the volume and diversity of the information to which you are exposed.

Just because an idea is true doesn't mean it can be proved. And just because an idea can be proved doesn't mean it's true.

Children can't help but create: they need to put their mind on the page, they want to paint, to sculpt, to write short stories.

And so we keep on thinking, because the next thought might be the answer.

The only way to maximize group creativity - to make the whole more than the sum of its parts - is to encourage a candid discussion of mistakes. In part, this is because the acceptance of error reduces cost. When you believe your flaws will be quickly corrected by the group, you're less worried about perfecting your contribution, which leads to a more candid conversation. We can only get it right when we talk about what we got wrong.

The vocational approach at NOCCA (New Orleans Center for the Creative Arts) helps build grit in students. It teaches them how to be single-minded in pursuit of a goal, to sacrifice for the sake of a passion. The teachers demand hard work from their kids because they know, from personal experience, that creative success requires nothing less.

For too long, people have disparaged the emotional brain, blaming
our feelings for all of our mistakes. The truth is far more interesting.
What we discover when we look at the brain is that the
horses and the charioteer depend upon each other. If it weren't
for our emotions, reason wouldn't exist at all.

Creativity is not a trait that we inherit in our genes or a blessing bestowed by the angels. It's a skill.

Colin Powell made a number of mistakes in the run-up to the Iraq war, but his advice to his intelligence officers was psychologically astute: "Tell me what you know," he told his advisers. "Then tell me what you don't know, and only then can you tell me what you think. Always keep those three separated.

When you overthink at the wrong moment, you cut yourself off from the wisdom of your emotions, which are much better at assessing actual preferences. You lose the ability to know what you really want. And then you choose the worst strawberry jam.

The great ages did not perhaps produce much more talent than ours,' [T.S.] Eliot wrote. 'But less talent was wasted.

The advantage of knowing where insights come from is that it can make it easier to generate insights in the first place. When we're struggling with seemingly impossible problems, it's important to find time to unwind, to eavesdrop on all those remote associations coming from the right hemisphere. Instead of drinking another cup of coffee, indulge in a little daydreaming. Rather than relentlessly focusing, take a warm shower, or play some Ping-Pong, or walk on the beach.

Creativity is a spark. It can be excruciating when we're rubbing two rocks together and getting nothing. And it can be intensely satisfying when the flame catches and a new idea sweeps around the world.

A few years ago, Tor Wager, a neuroscientist at Columbia University, wanted to figure out why placebos were so effective. His experiment was brutally straightforward: he gave college students electric shocks while they were stuck in an fMRI machine. (The subjects were well compensated, at least by undergraduate standards.)

Like a work of art, we exceed our materials. Science needs art to frame the mystery, but art needs science so that not everything is a mystery. Neither truth alone is our solution, for our reality exists in plural

Creativity is a catchall term for a variety of distinct thought processes.

To have a style is to be stuck.

Expertise is simply the wisdom that emerges from cellular error. Mistakes aren't things to be discouraged. On the contrary, they should be cultivated and carefully investigated.

The one reality science cannot reduce is the only reality we will ever know.

Knowledge can be a subtle curse. When we learn about the world, we also learn all the reasons why the world cannot be changed. We get used to our failures and imperfections. We become numb to the possibilities of something new

Every creative journey begins with a problem. It starts with a feeling of frustration, the dull ache of not being able to find the answer. We have worked hard, but we've hit the wall. We have no idea what to do next.

Suffering through his classes, the young Igor steeped himself in angst. He would later describe his childhood as 'a period of waiting for the moment when I could send everyone and everything connected with it to hell.

Every brilliant experiment, like every great work of art, starts with an act of imagination. Unfortunately, our current culture subscribes to a very narrow definition of truth. If something can't be quantified and calculated, then it can't be true. Because this strict scientific approach has explained so much, we assume that it can explain everything. But every method, even the experimental method, has limits. Take the human mind. Scientists describe our brain in terms of its physical details; they say we are nothing but a loom of electrical cells and synaptic spaces. What science forgets is that this isn't how we experience the world. (We feel like the ghost, not like the machine.) It is ironic but true: the one reality science cannot reduce is the only reality we will ever know. This is why we need art. By expressing our actual experience, the artist reminds us that our science is incomplete, that no map of matter will ever explain the immateriality of our consciousness.

We see them most when we are o nnthe outside looking in

How do we regulate our emotions? The answer is surprisingly simple: by thinking about them. The prefrontal cortex allows each of us to contemplate his or her own mind, a talent psychologists call metacognition. We know when we are angry; every emotional state comes with self-awareness attached, so that an individual can try to figure out why he's feeling what he's feeling. If the particular feeling makes no sense - if the amygdala is simply responding to a loss frame, for example - then it can be discounted. The prefrontal cortex can deliberately choose to ignore the emotional brain.

You might solve a problem while drunk, but you probably won´t notice the answer

What you discover when you look at creativity from the perspective of the brain is that it is universal. We're all creative all of the time, we can't help but be creative.

Insights, after all, come from the overlap between seemingly unrelated thoughts. They emerge when concepts are transposed, when the rules of one place are shifted to a new domain.

The imagination is unleashed by constraints. You break out of the box by stepping into shackles.

Why are corporations so fleeting? ... Instead of imitating the freewheeling city, these businesses minimize the very interactions that lead to new ideas. They erect walls and establish hierarchies. They keep people from relaxing and having insights. They stifle conversations, discourage dissent, and suffocate social networks. Rather than maximizing employee creativity they become obsessed with minor efficiencies.

Why is a relaxed state of mind so important for creative insights? When our minds are at ease - when those alpha waves are rippling through the brain - we're more likely to direct the spotlight of attention inward, toward that stream of remote associations emanating from the right hemisphere. In contrast, when we are diligently focused, our attention tends to be directed outward, toward the details of the problems we're trying to solve. While this pattern of attention is necessary when solving problems an-alytically, it actually prevents us from detecting the connections that lead to insights. "That's why so many insights happen during warm showers," Bhattacharya says. "For many people, it's the most relaxing part of the day.

The benefit of such horizontal interactions - people sharing knowledge across fields - is that it encourages conceptual blending, which is an extremely important part of the insight process.

When we venture beyond the edge of our knowledge, all we have is art.

I always wanted to be a scientist, I always thought I'd be a scientist, that was the narrative I was carrying around. I worked in a neuroscience lab as an undergraduate and then after, almost five years in total, but I realized I just wasn't good at science. I didn't have the discipline for it.