Although studying is considered a legitimate scientific nowadays, it is still a very young one. In the early 1970s, a psychologist named J. Guilford was one of the first academic researchers who dared to conduct a study of creativity. One of Guilford’s most famous studies was the nine-dot puzzle. He challenged research subjects to connect all nine dots using just four straight lines without lifting their pencils from the page. Today many people are familiar with this puzzle and its solution.

In the 1970s, however, very few were even aware of its existence, even though it had been around for almost a century. If you have tried solving this puzzle, you can confirm that your first attempts usually involve sketching lines inside the imaginary square. The correct solution, however, requires you to draw lines that extend beyond the area defined by the dots. At the first stages, all the participants in Guilford’s original study censored their own thinking by limiting the possible solutions to those within the imaginary square (even those who eventually solved the puzzle).

Even though they weren’t instructed to restrain themselves from considering such a solution, they were unable to “see” the white space beyond the square’s boundaries. Only 20 percent managed to break out of the illusory confinement and continue their lines in the white space surrounding the dots. The symmetry, the beautiful simplicity of the solution, and the fact that 80 percent of the participants were effectively blinded by the boundaries of the square led Guilford and the readers of his books to leap to the sweeping conclusion that creativity requires you to go outside the box. The idea went viral (via 1970s-era media and word of mouth, of course). Overnight, it seemed that creativity gurus everywhere were teaching managers how to think outside the box. Consultants in the 1970s and 1980s even used this puzzle when making sales pitches to prospective clients.

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Because the solution is, in hindsight, deceptively simple, clients tended to admit they should have thought of it themselves. Because they hadn’t, they were obviously not as creative or smart as they had previously thought, and needed to call in creative experts. Or so their consultants would have them believe. The nine-dot puzzle and the phrase “thinking outside the box” became metaphors for creativity and spread like wildfire in, management, psychology, the creative arts, engineering, and personal improvement circles. There seemed to be no end to the insights that could be offered under the banner of thinking outside the box. Speakers, trainers, training program developers, organizational consultants, and university professors all had much to say about the vast benefits of outside-the-box thinking. It was an appealing and apparently convincing message.

Indeed, the concept enjoyed such strong popularity and intuitive appeal that no one bothered to check the facts. No one, that is, before two different research —Clarke Burnham with Kenneth Davis, and Joseph Alba with Robert Weisberg—ran another experiment using the same puzzle but a different research procedure. Both teams followed the same protocol of dividing participants into two groups. The first group was given the same instructions as the participants in Guilford’s experiment. The second group was told that the solution required the lines to be drawn outside the imaginary box bordering the dot array.

In other words, the “trick” was revealed in advance. Would you like to guess the percentage of the participants in the second group who solved the puzzle correctly?

Most people assume that 60 percent to 90 percent of the group given the clue would solve the puzzle easily. In fact, only a meager 25 percent did. What’s more, in statistical terms, this 5 percent improvement over the subjects of Guilford’s original study is insignificant. In other words, the difference could easily be due to what statisticians call sampling error. Let’s look a little more closely at these surprising results.

Solving this problem requires people to literally think outside the box. Yet participants’ performance was not improved even when they were given specific instructions to do so. That is, direct and explicit instructions to think outside the box did not help. That this advice is useless when actually trying to solve a problem involving a real box should effectively have killed off the much widely disseminated—and therefore, much more dangerous—metaphor that out-of-the-box thinking spurs creativity.

After all, with one simple yet brilliant experiment, researchers had proven that the conceptual link between thinking outside the box and creativity was a myth. Of course, in real life you won’t find boxes.

But you will find numerous situations where a creative breakthrough is staring you in the face. They are much more common than you probably think.

*From Copyright 2014 Drew Boyd. There are many theories of creativity. What the latest experiment proves is not that creativity lacks any association to thinking outside-the-box, but that such is not conditioned by acquired knowledge, i.e., environmental concerns. For example, there have been some theories such as those of Schopenhauer (see his remarks about Genius) and Freud (see his remarks about Sublimation) that propose creativity is something more like a capacity provided by nature rather than one acquired or learned from the environment.

Rather than disproving the myth, in other words, the experiment might instead offer evidence that creativity is an ability that one is born with, or born lacking, hence why information from the environment didn't impact the results at all. It's an interesting experiment, but the author's conclusion cannot possibly follow from the results of it. I conduct soft skills training and outbound training for Corporates and individuals. To enhance creativity we motivate the participants to approach the problems from variety of vantage points. Even repeatedly checking the boundary conditions we are able to come up with variety of ways of solving the problem. This is akin to checking the walls of the box.

Looking inside the box for additional information, additional resources also helps. Looking at the box from bird's eye view triggers some different creative solutions. Let us not get tied down to the mechanics but free ourselves to find the solution. I will give an example. You are playing football with family and friends at a distant ground and someone gets bruised badly.

No first aid kit is available. Your priority is to get the person to a hospital ( at a distance of 2 hours ). The wound is bleeding and needs to be kept clean and bacteria free till the person reaches the hospital.

What will you do? Think of a solution. Autodesk Revit Architecture 2014 Templates Download on this page. It is quite close to you. With all due respect, Professor Boyd, your argument is not at all compelling. It seems that you are taking the 'thinking outside the box' (TOTB) metaphor much more literally than it is intended (or, at least, as I and may others infer).

Let me point out a few false and/or negligent statements that you make: 1. To refer to TOTB as 'dangerous' is naive, at best. I, personally, have seen the positive, tranformative effects of not only the 9-dots exercise, but also the occasional use of the term to remind individuals after-the-fact about the value of thinking differently. The experiment you refer to doesn't even come close to proving what you suggest that it does. To use the term 'proving' in an argument like this is laughable.

In real life, you absolutely WILL find boxes.that is, if you understand what the term 'box' refers to. Here, the term is not literal; rather, it refers to a mindset, a perspective, a belief, or an assumption. It is precisely how the human mind works. We all think in boxes all the time. The 'sin,' if you will, is not in thinking inside of a box.but the neglect to readily switch from one box to another, nimbly (see Alan Iny's new book, 'Thinking in New Boxes').

A different -- and very healthy, positive, and productive -- way to think about TOTB is to understand that it merely represents an insight that can remind an individual to consciously become aware of limiting assumptions. And, upon such awareness, to open ones mind and imagination to actively explore new possibilities beyond the obvious or initial answer. If you don't regard this as valid contribution to creativity, then I suggest you consider spending a bit more time outside of that 'box' that you've presented here. I couldn't have said it any better. TOTB is a beautiful skill to have. We are born into multiple boxes that are created upon social agreements (e.g.

Illustrated by the hermeneutic circle) but the ones who dare to think outside of what is considered as social or scientific correct (all the boxes together) are the minds whom are absolute free and open towards new moralities, paradigms, innovations and creativity in general. Saying that TOTB is a negative thing is a very conservative statement and someone who has such a belief is scared of change, scared of diversity and scared of anything that is abstract and out of order. I'm all about TOTB and the best way to TOTB is to fully understand the box in the first place and why some people are scared of TOTB hence also lacking the ability to do so. Fold the paper so all the dots ovelap.

Drivers Trendnet Rtl 8139d Drivers Downloads there. Use four lines to connect four dots. Hold the folded paper up to the light.all dots connected; Thinking outside The Box. For that matter, you could fold the paper until all the dots overlapped and you would not need to waste any pencil lead; Thinking outside The Box.

Use a very wide pencil lead or charcoal block for that matter, connect all the dots in one fell swoop; Thinking outside The Box. Forego a pencil altogether and use a bucket of paint to create a huge blot over all the dots; Thinking outside The Box. Question the dots and why they need to be connected in the first place; Thinking outside The Box. Erase the dots; they are a distraction to Thinking outside The Box. Create your own dots and lines in any fashion you desire; Thinking outside The Box. People that say, it's a misguided idea,, do not know how to think outside the box, I can look /listen/ at anything an tell you how to fix it.

I play chess with my pc, an beat it all the time, and the reasoning is I do not think logically, like the pc does. It has a set of rules that it was programed with an you were in college, I do not play by the rules, I can play without the queen.Also when you go the a school that teaches how to think about something, that is all you know how to do.I have had engineers come to my deck, hand me a set of blueprints, because that was the way they were taught. They are never taught to look at it, in there mind to see it working. What I do is show them how wrong they are, an ask them what tool in the world can cut a square hole inside the middle of two long tubes.

They can not think outside the box, that they were taught to do. If was going to tell you about an airplane the TR-3B, it travels a little bit under light speed, an it uses nuclear fusion, which turns into plasma an powers the craft, that was built outside the box. An if you do not believe me type it into your search engine, you can also look it up at the library of congress under new patients.

You my brother, do not have the inkling of understanding to think outside the box. That's why you are a psychologist an nothing more.

The year 2016 has been the best of times and the worst of times for lovers of reggae music. You could hardly turn on the radio without hearing a half-hour block of dancehall-style tracks, all too often classified under misbegotten names like “tropical house” and “Caribbean bass.” With both Justin Bieber and Rihanna briefly sporting dreadlocks and Drake publicly referring to himself as “the don,” it would be difficult for longtime fans of the music not to catch feelings this year. While Jamaican artists like Sean Paul and producers like Stephen McGregor and Supa Dups continued to make their mark on the pop charts (not to mention the on Kanye West’s “Famous”), many outstanding albums by reggae and dancehall artists have received far less attention and airplay than they might have. Not that any of that really matters to the hardcore reggae faithful -- this has always been a self-sustaining scene that dances to its own riddims. You may tune in if you wish, but if not then it’s your loss.

Consider this list a crib sheet to catch you up on everything you missed while tropical house flooded the airwaves. Rebelution, Falling Into Place With the release of their sixth studio album, the four-piece band lay their claim as America’s leading reggae ensemble. Former classmates at the University of California Santa Barbara, singer/guitarist Eric Rachmany, keyboardist Rory Carey, bassist Marley D. Williams, and Wesley Finley were brought together by their mutual love of Jamaican sounds and developed their own brand of sunny rock-infused roots music that’s built them a loyal fanbase that knows every word of their lyrics by heart.

(Just check their recent DVD Live at Red Rocks for evidence.) Eschewing faux patois and dreadlocks, Rebelution makes American listeners feel comfortable in their own skin while dancing to the crooked beat, and with the Easy Star Records release Falling Into Place they’ve delivered an album that’s palatable to reggae purists while remaining true to their vision. Jamaican star Protoje guests on the herb anthem “Inhale Exhale,” while “Upper Hand” explores the complex power dynamics of a romantic relationship. The band has never sounded tighter -- twelve years of steady gigging will do that -- and Rachmany’s vocals have never rung out with greater confidence. “No doubt gonna lay my claim,” he sings. “You put in work and just wait/ Let it all unfold, straight from the soul.” Listen and learn. Beenie Man, Unstoppable A true Jamaican superstar, rose from the West Kingston ghetto of Waterhouse to represent dancehall on the worldwide stage. He’s done it all, from acting in movies to battling longtime rival Bounty Killer for street supremacy, and collaborating with everybody from Janet Jackson and The Neptunes to Future Fambo.

On his first full album in a decade, the man who declared himself King of the Dancehall back in 2004 demonstrates that both his lyrical game and his swag remain razor sharp. With production by Major Lazer, Tony Kelly and Don Corleone, and guest appearances by Akon, Sizzla, and even Bounty Killer, Beenie’s 20th album takes its place in a catalog unrivaled by any other dancehall artist. Why do you think he called it Unstoppable?

Vegas, This Is Dancehall Year in and year out, has proven himself to be one of Jamaica’s most consistent hitmakers -- from “Heads High” to “Pull Up” to “Bruk It Down” he’s created song after song that shot round the world without the benefit of major-label promotion. This year he became Jamaica’s most outspoken critic of the appropriation of dancehall sounds by international artists, waging a media campaign against “Drake the fake” so effective that @ChampagnePapi felt compelled to respond with -- what else? -- a subliminal Instagram post.

Vegas also dropped an album this year on his own MV Music label, blazing the fire on culture vultures with tracks like “Real Dancehall.” Over a new lick of the riddim from Super Cat’s “Ghetto Red Hot” he declares “If a neva dancehall, there woulda be no hip hop / Now dem waan take it ’way and take wi fi idiot.” Tracks like “Stopper Wine” and “Dancehall Dab” -- a yardstyle take on the ATL dance -- keep the focus squarely on the Kingston streets. Vegas has stated that this will be his final dancehall release, and that he’ll now become a gospel artist. With any luck that will not prove true. If that’s true this is a fitting coda to a remarkable career. Stephen “Ragga” Marley, Revelation Part 2: The Fruit of Life As the title suggests, ’s second studio album Revelation Pt.

1: The Root of Life dug deep into his family’s mighty musical legacy, featuring collabs with brothers Ziggy and Damian and covers of Wailers classics like “Pale Moonlight” and 'Selassie Is The Chapel.” A sultry collaboration with Canadian-Caribbean R&B singer Melanie Fiona, “No Cigarette Smoking,” was as far afield as he ventured stylistically. As one of the tracks suggested, he ran a “Tight Ship.” Five years later Bob Marley’s second son has delivered the second chapter of the two-part project, and as promised The Fruit of Life comes as a revelation. “We gave them the root, now it’s just the next side of the coin,” he says. “Jamaica me grow and -- yes me born in Delaware, but as a producer, Yo, me ah make something different.” Embracing a wide variety of sounds and styles, the new album showcases the singer/songwriter/producer’s restless creativity and consummate versatility.

The love song “So Strong” calls to mind Memphis soul from the from Stax era, with Ragga and Shaggy trading heartfelt DJ verses. The Waka Flocka-featuring “Scars on My Feet” explores the links between Niyabinghi and trap rhythms. Spaghetti Western guitar ratchets up the tension as Jr. Reid and dead prez burn on “Babylon.” Ragga flips a Curtis Mayfield sample on the remix for “The Lion Roars,” a soaring track that features Rick Ross and Ky-Mani Marley spitting bars.

Throughout all the experimentation reggae sounds abound: from “Ghetto Boy,” featuring Bounty Killer and Mad Cobra, to “Rockstone” featuring Sizzla and Capleton. The uplifting “Revelation Party” finds Ragga linking with foundation reggae band Inner Circle, as his big sister Cedella provides harmonies and his son Jo Mersa delivers a dancehall-style verse. Sometimes the guest list on this 24-track set can be disorienting, as with “When She Dances” featuring Pitbull and Iggy Azalea -- the sort of collab Stephen didn’t have to include, except perhaps to make a point. “I refuse to be put into any category,” he says. “I do have my roots, and that is the beginning of my story. But at the same time me grow all over the earth, and I am inspired by everything.” 6. J Boog, Wash House Ting The Samoan-American singer born Jerry Afemata grew up in Compton, surrounded by G-funk-era hip hop, R&B, hard rock, and reggae.

“That was the music you could turn up in the house and not be yelled at by the parents,” he recalls. His older brothers passed down cassette tapes that exposed him to classics by Gregory Isaacs, Dennis Brown, Tenor Saw, Aswad, and UB40. “It was always roots,” he says. “It was always lovers.” Upon relocating to Hawaii, Boog linked with Wash House productions and established himself as the Aloha state’s premiere reggae singer: His breakout hit “Let’s Do It Again” grew so popular it was eventually covered by Pia Mia, Chris Brown & Tyga. While his five-song EP Rose Petals was recently nominated for a Grammy Award in the Best Reggae Album category, that was merely a prelude to ’s outstanding third album. Although Wash House Ting omits two tracks from the EP -- solid collabs with Stephen Marley and Snoop Dogg -- the 14-track album stands as his strongest work to date, picking up where 2011’s Backyard Boogie left off. With a rough yet sweet vocal tone reminiscent of Beres Hammond, Boog’s soulful sound shines whether on tender tracks like “Sweet Love” or the hard-edged “Raggamuffin” featuring Gramps Morgan and Buju Banton.

Raging Fyah, Everlasting Ten years ago -- just as dancehall’s Gaza vs. Gully wars were heating up -- three graduates of Kingston, Jamaica’s Edna Manley College of the Visual and Performing Arts (keyboardist Demar Gayle, drummer Anthony Watson, and bassist Delroy “Pele” Hamilton) joined forces to do something rather strange: start a reggae band.

At the time, traditional roots reggae was not exactly the fashionable thing in Jamaica, although folks around the world were steady rocking to the one-drop beat. Bringing in lead singer Conroy Willis and guitarist Cortland “Gizmo” White, they became Raging Fyah, and set about rekindling the flame first set by groups like Burning Spear, Inner Circle, and The Wailers -- but which had nearly flickered out in their homeland.

Their fourth album Everlasting, released this past May on the Dub Rockers imprint, was nominated for a Reggae Grammy, making them the only Jamaican band to be so honored this year. Featuring collaborations with J Boog, Jesse Royal, and Busy Signal, the album is an all-killer no-filler affair, straight-ahead roots rock from top to toe. On “Dash Wata” they employ a playful double-entendre, offering to give their lover “di son or di daughter.” The song “Raggamuffin” plays like a mission statement: “Roots rock reggae still a chant down Rome.” Let the fire keep burning. Various Artists, We Remember Dennis Brown If Bob Marley is reggae’s undisputed King, is the Crown Prince -- a former child star who never stopped singing until his untimely death in 1999 at age 42. This double-disc tribute album features 30 of his best-loved songs as interpreted by a wide range of vocalists, from foundation reggae stars Freddie McGregor (who collaborated with Brown on the 1985 track “Raggamuffin”) and Maxi Priest (who was mentored by Brown early in his career) to next-generation artists Mykal Rose and Sanchez all the way up to current hitmakers Jah Cure, Gyptian, Christopher Martin, Romain Virgo, and Jah9.

Raging Fyah does justice to Brown’s “Milk & Honey” while The Green from Oahu, Hawaii lend a rock edge to their version of “The Promised Land” (originally recorded by Brown backed by North London’s Aswad rhythm section).