References
1 Brown, L. (2001). Live Your Dreams. New York, NY: Harper Collins Publishing.
2 Seldin, P. (2009). The Teaching Portfolio. Bolton, MA: Anker Publishing Co.
3 Ward, W. (1970). Fountains of Faith. New York: Droke House.
4 Zubizarreta, J. (2009). The Learning Portfolio. San Francisco, CA: Jossey‐Bass.
Further Reading
1 Foster, R.D. and Akdere, M. (2007). Effective organizational vision: implications for human resource development. Journal of European Industrial Training 31 (2): 100–111.
2 Kirkpatrick, S.A. , Wofford, J.C. , and Baum, J.R. (2002). Measuring motive imagery contained in the vision statement. The Leadership Quarterly 13 (2): 139–150.
3 Lipton, M. (1996). Demystifying the development of an organizational vision. MIT Sloan Management Review 37 (4): 83.
4 Seldin, P. (2009). The Teaching Portfolio. Bolton, MA: Anker Publishing Co.
5 Zubizarreta, J. (2009). The Learning Portfolio. San Francisco, CA: Jossey‐Bass.
6 Zuckerman, A.M. and Coile, R.C. Jr. (2000). Creating a vision for the twenty‐first century healthcare organization/practitioner application. Journal of Healthcare Management 45 (5): 294.
4 Creativity and Novel Hypotheses
Anthony V. D'Antoni
Division of Anatomy, Department of Radiology, Weill Cornell Medicine, New York, NY, USA
4.1 Creativity and Science
The winter of 2014 was a particularly harsh one in New York City with a significant amount of snowfall, and so in February I decided to do something about it and painted the seascape shown in Figure 4.1 (La Jolla, oil on canvas, 2014). This painting took about four hours to complete from start to finish (blank canvas to what is shown in the figure). Some might say that a person has to be creative to paint such a composition. Perhaps, but I believe that creativity is an innate part of every human being.
Figure 4.1 La Jolla, oil on canvas, 2014, by Anthony V. D'Antoni.
Human intellectualism requires a great deal of creativity, and science is no exception. Science is a very creative endeavor, and in my experience scientists are often the most creative people I know. They have to be. The research process described in the chapters of this textbook (from conducting a literature review to generating novel hypotheses to designing experiments, analyzing data, and ultimately writing the manuscript) necessitates creativity at every stage. Mumford (2003) analyzed two authoritative handbooks on creativity and defined it as the fabrication of a novel and useful product. This definition fits well for my oil painting but how does it relate to the aforementioned research process? The final outcome, reporting novel findings in a scientific manuscript, clearly fits this definition, although it may not be as tangible as my oil painting.
The purpose of this chapter is not to present a treatise on the scholarship of creativity but, rather, to highlight how novel hypotheses (or other forms of knowledge) can be generated using a specific and creative strategy called mind mapping.
4.2 What Are Mind Maps?
Mind mapping was developed by Tony Buzan (Buzan and Buzan 1993) and the inspiration for this creative strategy arose from the notebooks of Leonardo da Vinci. Mind maps, like da Vinci's notes, are multisensory tools that use visuospatial orientation to integrate information, and consequently, help scientists organize and retain information (D'Antoni et al. 2009, 2010). Mind maps can also be used to generate novel hypotheses whereby existing information from the peer‐reviewed literature is incorporated with a scientist's expertise of the topic and infused into a visual framework that highlights knowledge gaps. These gaps allow the scientist to generate novel hypotheses and then develop experiments to test these hypotheses.
4.2.1 How to Create Mind Maps
A mind map is a nonlinear, creative strategy that encourages the scientist to think radially using visuospatial relationships (D'Antoni et al. 2010). According to Buzan and Buzan (1993), a mind map should be drawn on blank paper that is larger than standard 8½ by 11 in. paper. The rationale behind using larger paper is to allow the scientist to break away from the boundaries inherent in standard‐size paper and thus propagate creativity. The use of lined paper is discouraged because it theoretically restricts thought. Once suitable paper is obtained, a medium for drawing the mind map is necessary – namely, colored pens or pencils. The scientist begins by drawing an image in the center of a horizontally positioned blank paper that reflects the central theme, or topic, of the mind map (D'Antoni and Zipp 2006). For example, a mind map on the rules of mind mapping could have an image of the cerebrum in the center of the page. This central image allows the scientist 360° of freedom to develop the mind map. Next, the scientist would draw the main branches with associated key words extending from the central image and these branches represent the different categories relevant to the content of the mind map. In the previous example, some of the key words are start, connect, print, and association. It is important to print the words and ensure that their length is the same as the lines underneath them so that the completed map will be easier to comprehend. From these main branches, relevant sub‐branches are created. Each of the branches and sub‐branches should contain accompanying pictures to aid the scientist in recalling the information. Table 4.1 summarizes the steps used to create a mind map. The result is a nonlinear, pictorial representation of information that highlights interconnections between concepts. As more sub‐branches are created, scientists can recognize patterns between key words that should be connected, which may result in the integration of different parts of the mind map. The final map is a creative illustration that can highlight gaps in the literature or novel hypotheses. Mind maps can be created using any type of information or even experimental data.
Table 4.1 Steps for creating a mind map.
| 1. | Begin with blank paper (preferably greater than 8½ by 11 in.) in landscape format. |
| 2. | Draw an image in the center of the paper that represents the theme of the mind map. |
| 3. | From the central image, draw main branches with accompanying key words that represent the major headings of the topic. |
| 4. | Further divide the main branches into sub‐branches that contain key words. |
| 5. | Begin to find associations between different areas of the mind map and draw connections between these associations. |
| 6. | Always print one key word per line, allowing the word to be the same length as the line upon which it rests. |