# Fire in the Crucible * Author: [John Briggs](https://www.amazon.com/John-Briggs/e/B000APLTZA/ref=dp_byline_cont_ebooks_1) * ASIN: B007EF7V8I * ISBN: 0874775477 * Pages: 382 pages * Publication: January 1, 2002 * Publisher: Phanes Press (January 1, 2002) * Reference: [[https://www.amazon.com/dp/B007EF7V8I]] * [Kindle link](kindle://book?action=open&asin=B007EF7V8I) --- Creators create in order to find some truth about life and we value them precisely because we see that they have found it and have bequeathed to us their mind-altering vision. — location: [212](kindle://book?action=open&asin=B007EF7V8I&location=212) --- the lives of great creators are importantly motivated or guided by some quest for truth, some vision, some inner spirit, like the voice of Socrates’ daemon, which he consulted when he was worried about going off in the wrong direction. — location: [219](kindle://book?action=open&asin=B007EF7V8I&location=219) --- Part 1 asks, What is creative vision and where does it come from? Part 2 discusses the standard equipment of genius such as talent, the ability to think profitably by means of contradictions, comparisons or images, and the necessity of the creator to interact with the forces of history. This part ends with a chapter considering whether a touch of madness is also a necessary part of the creative equipment. Part 3 traces some of the key movements involved in the lifelong process to create a particular work that shows genius, a magnum opus. — location: [259](kindle://book?action=open&asin=B007EF7V8I&location=259) --- The geniuses discussed in this book are, for the most part, women and men who have altered in some significant way our perception of a major field of human endeavor. — location: [265](kindle://book?action=open&asin=B007EF7V8I&location=265) --- A major objective of this book is to show how the combination of these ingredients—including such elements as vision, talent, absorption, courage, even history—together form a whole, integral process, — location: [280](kindle://book?action=open&asin=B007EF7V8I&location=280) --- The book also aims to review the fascinating new research being done into creativity, and to expose a number of myths about creative genius, — location: [282](kindle://book?action=open&asin=B007EF7V8I&location=282) --- The ability of someone to choose and arrange the details of their creative field guided by a vision is a major hallmark of a genius. — location: [318](kindle://book?action=open&asin=B007EF7V8I&location=318) --- Vision guides a great scientist fatefully toward those problems whose solution will eventually shatter the conventional wisdom of the day. — location: [320](kindle://book?action=open&asin=B007EF7V8I&location=320) --- Vision seems to make it possible for the creator to see things freshly and more deeply, not just by some clever permutation of the previous way of looking, but by coming up with a new way of looking. — location: [321](kindle://book?action=open&asin=B007EF7V8I&location=321) --- Probably from time to time nearly everyone has felt the rise of their unique vision into awareness—as nuances, as uncanny moments, as a fleetingly strong sense that a mix of different contours and feelings one has about the world must somehow go together. — location: [332](kindle://book?action=open&asin=B007EF7V8I&location=332) --- Holton has discerned that the work of scientific creativity is shaped by clusters of presuppositions and “gut” assumptions which each scientist has about the universe. He calls these gut assumptions “themata”: themes. — location: [443](kindle://book?action=open&asin=B007EF7V8I&location=443) --- most scientists doing what Thomas Kuhn has called “normal” science share basically the same set of underlying assumptions. Scientists who end up revolutionizing their fields appear to have a collection of themata at variance in some significant ways with the theme clusters held by most of their colleagues. — location: [450](kindle://book?action=open&asin=B007EF7V8I&location=450) --- The themata are central to scientific process because they are imposed “on your observations and they often tell you which kinds of experiments to try or not to try.” — location: [454](kindle://book?action=open&asin=B007EF7V8I&location=454)Similar to the concept of mental models. --- Man seeks for himself, in whatever manner is suitable for him, a simplified and lucid image of the world, and so to overcome the world of experience by striving to replace it to some extent by this image. — location: [481](kindle://book?action=open&asin=B007EF7V8I&location=481) --- Holton's point is that the scientists who were trying to master the rules of the cosmic puzzle were passionately committed to different sets of themata, so they had different visions that shaped their orientation. — location: [526](kindle://book?action=open&asin=B007EF7V8I&location=526) --- Holton calls these obstinately held constituents of the scientist's vision themata because they recur through history and the total number which have thus far appeared in science is really quite small—around one hundred, he believes. — location: [536](kindle://book?action=open&asin=B007EF7V8I&location=536) --- Great creators are different in the sense that they feel compelled to show the world that their themata in fact point to a hidden reality that people pursuing the consensual themata of the moment have failed to notice. — location: [547](kindle://book?action=open&asin=B007EF7V8I&location=547) --- from the outset truth is of vital importance to the creator. A creator doesn't want to deceive him- or herself, or anybody else. To avoid self-deception you need self-criticism. — location: [575](kindle://book?action=open&asin=B007EF7V8I&location=575) --- A screen memory is a recollection of an event that may not even have actually occurred. It's an image that has become a personal myth representing some significant early period in one's life and concealing unconscious drives and motivations. — location: [610](kindle://book?action=open&asin=B007EF7V8I&location=610) --- the half-awake, half-asleep moment remembered in the St. Ives nursery evidently contained an ambience, a nuance or subtle reality which was an endless source of inspiration for this genius of the English novel. She could return to it again and again from different angles and never exhaust it. — location: [638](kindle://book?action=open&asin=B007EF7V8I&location=638) --- Manuel believes that the emotional meaning of attraction for Newton accounted for the physicist's interest in magnetism and in the alchemic notion of sympathetic attraction, and that it gave him “his ardent religious longing for God the Father.” — location: [702](kindle://book?action=open&asin=B007EF7V8I&location=702) --- But Manuel's interpretation suggests that it was essentially the complex coloring, the powerful personal perfume enveloping these themata that drove Newton on. — location: [711](kindle://book?action=open&asin=B007EF7V8I&location=711)What if these themata or emotional themata are also what drive people to believe in less logical things orr tto myatycism by making them believe the confirmation off their themata as truth, has meaning. Or they see the themata everywhhere as a result "to the man with a hammer everything looks like a nail." --- Thoughts containing a similar nuance of feeling are filed together, even if they aren't logically or chronologically connected. — location: [790](kindle://book?action=open&asin=B007EF7V8I&location=790) --- “Thoughts are sort of like cartoons of reality,” LaViolette says. “Once formed they shape the way we perceive the world. When we look at a tree, we're filtering the stream of sense data through a stereotyped thought pattern, the pattern we're accustomed to. As a result, there's a lot of data there that never comes to our consciousness.” — location: [806](kindle://book?action=open&asin=B007EF7V8I&location=806) --- As these waveforms circulate through the Papez circuit and pass through the hippocampus, they evoke long-term memories having waveforms with similar nuance characteristics. — location: [858](kindle://book?action=open&asin=B007EF7V8I&location=858) --- LaViolette says, “It is good to tune into feelings before they get abstracted into a thought. People who can do this are able to directly tune into data of far greater complexity. Such sensitivity fosters creativity and the ability to see things in new ways.” — location: [910](kindle://book?action=open&asin=B007EF7V8I&location=910) --- In a similar way, LaViolette is saying, attention to nuance would power up the brain's loops that attend to nuance. — location: [963](kindle://book?action=open&asin=B007EF7V8I&location=963) --- Bergström's more than thirty years of primary research on brains and neuroanatomy have led him to believe that creativity lives at a threshold between neuroelectrical order and chaos. — location: [976](kindle://book?action=open&asin=B007EF7V8I&location=976) --- Bergström thinks that an illustration of this is the effect of alcohol on the brain. Alcohol depresses the information-generating capacity of the cortex. The random-generating capacity is therefore relatively higher. At low levels of alcohol intake people feel looser and more alive, wittier, more in touch with others, more open. — location: [1004](kindle://book?action=open&asin=B007EF7V8I&location=1004) --- Faraday, who made several major chemical and electrical discoveries, called the two sides of his creative mental activity “imagination” and “judgment.” One biographer reports that, in essays, “Faraday described imagination as akin to idle wool-gathering yielding pleasure but little else. Judgment, on the other hand, was what forced the mind to attend to its business and unravel twisted skeins of events — location: [1012](kindle://book?action=open&asin=B007EF7V8I&location=1012) --- The desire to achieve wholeness (or, to put it more precisely, the desire to reach the meeting place between the nuances of personal themata and universal laws) is synonymous, in the creator's mind, with a journey across the terrain of truth. — location: [1086](kindle://book?action=open&asin=B007EF7V8I&location=1086) --- From the eighteenth century through the twentieth century intellectual history records a growing uneasiness over absolute truths. — location: [1099](kindle://book?action=open&asin=B007EF7V8I&location=1099) --- Indeed, the drive to share the truth that (s)he sees is the heart's blood of every creator's vision. Why else would creators engage in the lifelong, often arduous struggle to mold a language for expressing creative insights that others can understand? — location: [1151](kindle://book?action=open&asin=B007EF7V8I&location=1151) --- Artists try to capture the truth of personally detected nuance by creating a context (a painting, poem, symphony) in which someone else may experience the truth, “see” it as Conrad says. — location: [1181](kindle://book?action=open&asin=B007EF7V8I&location=1181) --- Kuhn concluded, there are long periods when a certain way of looking at nature is explored. Then a revolution comes (science historians dispute Kuhn's contention of how quickly these revolutions happen) and a new way of looking at nature is explored. Kuhn calls these revolutions “paradigm shifts.” — location: [1189](kindle://book?action=open&asin=B007EF7V8I&location=1189) --- Philosopher Max Black has said worldview shifts occur when one metaphor or scientific model becomes exhausted. — location: [1193](kindle://book?action=open&asin=B007EF7V8I&location=1193) --- In the long run, scientific truths may prove no more absolute than the human truths discovered by Homer in The Iliad. — location: [1205](kindle://book?action=open&asin=B007EF7V8I&location=1205) --- Darwin wrote: “From earliest childhood on I have had the strongest desire to understand and to comprehend whatever I observed.” — location: [1217](kindle://book?action=open&asin=B007EF7V8I&location=1217) --- Holton speculates that an important aspect of a creator's psychology is a sense that (s)he is “chosen,” a special person assigned the task of unifying and revealing. — location: [1226](kindle://book?action=open&asin=B007EF7V8I&location=1226) --- A sense of chosenness goes hand in hand with a certain ambition, creative ambition it might be called because it focuses not so much on the attainment of money or fame as on achieving the “cosmical” task. — location: [1231](kindle://book?action=open&asin=B007EF7V8I&location=1231) --- All this suggests humility and conceit are in circular paradox. — location: [1255](kindle://book?action=open&asin=B007EF7V8I&location=1255) --- Darwin's struggle on the cross of the humility-conceit paradox indicates its connection to creators’ perfectionism and their desire for “more” (discussed in chapter 6 — location: [1262](kindle://book?action=open&asin=B007EF7V8I&location=1262) --- Holton agrees that for high-level creators, doing their work is at least figuratively “a matter of life and death.” Put another way, creators feel that they are not alive unless they can find their way into the cosmic center. — location: [1285](kindle://book?action=open&asin=B007EF7V8I&location=1285) --- René Descartes saw his work in the fields of geometry, optics, anatomy, theology, developing a universal language and perfecting the scientific method as a single creative endeavor. “He became less desirous of solving a particular problem than of finding the universal principle which lay behind all such problems,” says one Descartes scholar. — location: [1304](kindle://book?action=open&asin=B007EF7V8I&location=1304) --- Howard Gruber has shown that a common feature of the highly creative life is the development of what he calls a “network of enterprises,” projects and lines of thought that to the outsider might seem unrelated. However, in most cases these disparate projects appear to be aspects of an underlying unity, the prima materia the creator is trying to distill. — location: [1307](kindle://book?action=open&asin=B007EF7V8I&location=1307) --- “It has to do with the interests of the person. If you're interested in what is the nature of reality in the universe, these thoughts will be circulating more than in someone else's mind who's just concerned with lunch.” — location: [1317](kindle://book?action=open&asin=B007EF7V8I&location=1317) --- From all of this it is evident that the creator's task is very large. It is nothing less than the re-creation of the universe or, more precisely, finding or constructing a whole, integrated microcosm in order to reflect the whole macrocosm. — location: [1322](kindle://book?action=open&asin=B007EF7V8I&location=1322) --- The impression created by a great work of art is a little like the impact of peering through a microscope into a drop of pond water teaming with a life and structure that seems in a startling and thoroughly alien way to mirror the life and structure that we ourselves are immersed in at the other end of the eyepiece. — location: [1368](kindle://book?action=open&asin=B007EF7V8I&location=1368) --- A typical class of polarity stressed by biographers seems related to the creator's circular paradox of humility and conceit. — location: [1407](kindle://book?action=open&asin=B007EF7V8I&location=1407) --- Einstein was the “apostle of rationality,” yet insisted that to do serious work it was necessary to make unlogical (intuitive) leaps from experience to theory. He was simultaneously agnostic and deeply religious. — location: [1430](kindle://book?action=open&asin=B007EF7V8I&location=1430) --- “There's a high level of ambivalence in the personalities of creative people which fuels the creative process.” — location: [1462](kindle://book?action=open&asin=B007EF7V8I&location=1462) --- The life of Leonardo da Vinci, for example, was shot through with ambivalence. According to de Vinci's biographer, Antonina Vallentin, the great Renaissance artist-scientist had an “ambition to leave a lasting memory of his activities on earth,” which lived “side by side with his keen interest in research for its own sake. — location: [1465](kindle://book?action=open&asin=B007EF7V8I&location=1465) --- Vallentin explains that da Vinci's desire for perfection continually ran counter to his desire to immediately carry out a task; his ability to become totally absorbed in a project continually ran counter to his tendency to become deflected into other trains of thought by some detail. — location: [1473](kindle://book?action=open&asin=B007EF7V8I&location=1473) --- It's fair to say Beethoven's works are in important ways musical representations of the torrents of ambivalence he experienced. — location: [1529](kindle://book?action=open&asin=B007EF7V8I&location=1529) --- Getting him to make a decision to go anywhere was next to impossible. In the context of such extraordinary ambivalence surrounding even the most ordinary activities, it is interesting to hear Picasso describe his working process—an echo of da Vinci: — location: [1544](kindle://book?action=open&asin=B007EF7V8I&location=1544) --- A few years ago scientists found that when they presented people with conflicting or incongruous information, dyssynchronous brain waves, indicating alertness, appeared. The investigators concluded that conflict can be a source of drive which causes increased learning and attention. — location: [1620](kindle://book?action=open&asin=B007EF7V8I&location=1620) --- Ambivalence is derived from conflict and it arouses the brain. If the ambivalence in some area or context is not denied, suppressed or resolved but instead is “tolerated” it leads individuals to experience a state which Desy Safán-Gerard, a UCLA psychologist who is also a painter, described as “an enrichment in our appreciation of reality and ourselves.” — location: [1622](kindle://book?action=open&asin=B007EF7V8I&location=1622) --- Famed physiologist Claude Bernard said doubt is crucial because “those who have an excessive faith in their ideas are not well fitted to make discoveries.” — location: [1628](kindle://book?action=open&asin=B007EF7V8I&location=1628) --- He postulates that staying with that ambivalent movement (exercising negative capability) gives a creator access to great energy and insight into nuances usually obscured by our polarized patterns of thought. — location: [1658](kindle://book?action=open&asin=B007EF7V8I&location=1658) --- Contradictory feelings are experienced not as mere conflict or ambivalence, but as possibilities, potentials, mystery, openness. Omnivalence might be a better term. — location: [1707](kindle://book?action=open&asin=B007EF7V8I&location=1707) --- For irony, metaphor, humor—all undercut our fixed meanings, suddenly springing upon us the revelation that things which we have categorized emotionally as contraries and contrasts (grandes dames and slung food) are not so contrasting and contrary after all. — location: [1774](kindle://book?action=open&asin=B007EF7V8I&location=1774) --- “If you hold these opposites together, then you suspend thought and your mind must move to a new level. The suspension of thought allows an intelligence beyond thought to act. Then you can create a new form.” — location: [1782](kindle://book?action=open&asin=B007EF7V8I&location=1782) --- Ambivalence about life, sexuality, authority, money or anything else can undermine or cripple (as it usually does) or it can link to a wider questioning, sensitivity and exploration at the boundaries of the contraries that schematize our existence. — location: [1795](kindle://book?action=open&asin=B007EF7V8I&location=1795) --- It appears Darwin is near the core of what compels him to do his creative work. His emotional state and his cognitive quest for a simple explanation to nature's wildness have merged. — location: [1804](kindle://book?action=open&asin=B007EF7V8I&location=1804) --- His state is almost ambivalence about this chaos, but it is much more than that because it includes mystery and wonder—and negative capability. This capability is evident in his willingness to let the swarming wildness and his desire for simplicity remain suspended together until the “future.” — location: [1806](kindle://book?action=open&asin=B007EF7V8I&location=1806)Are people generally afraid of the chaos and uncertainty? Does this push them to force a simplistic model of reality onto the world, even if its not true, in order to feel safety or certainty? --- Shainberg thinks the dynamic contraries and the space between of omnivalence help the creator see the truth without judging or excusing it. — location: [1823](kindle://book?action=open&asin=B007EF7V8I&location=1823) --- For other creators, mystical beliefs or interests seem largely a spillover from the omnivalence in creative activity rather than a primary preoccupation informing the activity. — location: [1882](kindle://book?action=open&asin=B007EF7V8I&location=1882) --- Two of the fathers of quantum theory became fascinated by oriental mystical thought. Erwin Schrödinger believed our scientific view needed to be “amended, perhaps by a bit of blood transfusion from Eastern thought.” — location: [1886](kindle://book?action=open&asin=B007EF7V8I&location=1886) --- The creator attempts to find for him- or herself and for others with whom (s)he shares the creation, the center of existence—however the creator defines that center, whether religiously, mystically, skeptically, scientifically, artistically, ritualistically. Whatever strikes us as “new” or “original” (even in a piece of conforming ritual art) is an inevitable by-product of this motivation. — location: [1953](kindle://book?action=open&asin=B007EF7V8I&location=1953) --- Doing easily what others find difficult is talent; doing what is impossible for talent is genius. —HENRI-FRÉDÉRIC AMIEL — location: [2027](kindle://book?action=open&asin=B007EF7V8I&location=2027) --- The scale in the next few chapters will be the special capacities of mind and motivation that are possessed by creative genius. — location: [2050](kindle://book?action=open&asin=B007EF7V8I&location=2050) --- In chapters 7 and 8 we will try to discern the psychology and biology of talent by looking at science's attempts to measure it and at the scientific studies being made of the extraordinary talent of prodigies. We'll also speculate about how talent is “mapped” in the brain. Chapter 9 will examine evidence for some unusual talents or turns of mind that geniuses seem to favor. Chapter 10 investigates a piece of the creative engine called the powers of concentration or absorption—a hallmark of genius. Chapter 11 suggests that the collision of a creator's talents and a vision with the forces of history may also be a faculty of genius. Finally, in chapter 12 we'll find out if the old cliché is true, that there is madness in genius. — location: [2064](kindle://book?action=open&asin=B007EF7V8I&location=2064) --- A more effective critique of IQ (at least among some educators and psychologists) has been its inability to predict very much about how well people do with their brains when they go out into the world and actually use them. — location: [2108](kindle://book?action=open&asin=B007EF7V8I&location=2108)Is this true? Very interesting if so. Apparently poincare scored very poorly --- Marian Diamond, a neuroanatomist at the University of California at Berkeley examined the embalmed remains of some of Einstein's frontal cortex and the inferior parietal regions, which she obtained thirty years after Einstein's death. Diamond compared these regions with tissue taken from eleven men who had died between the ages of forty-nine and eighty and were known to have had no brain damage. She learned that the seventy-six-year-old physicist who said he had no brain muscles did have statistically more glial cells in his parietal lobe. — location: [2137](kindle://book?action=open&asin=B007EF7V8I&location=2137)What are glial cells? how can we encourage growth of them? --- Variations in the hormone level in boys, Geschwind hypothesized, would result in a less developed left hemisphere and such brain activities as speech and handedness—normally located in the left side of the brain—would be sited in the right side of the brain. This would lead to left-handedness. It has been found that left-handed people have a much higher incidence of dyslexia, migraines, allergies, autoimmune disorders like arthritis—and talent in math. Lefthanders have also been discovered to have a larger corpus callosum, the area that joins the two halves of the brain. — location: [2153](kindle://book?action=open&asin=B007EF7V8I&location=2153) --- These examples illustrate many points, but one should be noted immediately. While prodigies are amazing, they are not creative geniuses, though occasionally a prodigy, like Mozart, may grow into one. — location: [2193](kindle://book?action=open&asin=B007EF7V8I&location=2193) --- “There has never been a child genius in the sense that there has never been a child who has fundamentally reorganized a highly demanding domain of knowledge and skill. Nor by any means have individuals who have produced works of genius all been prodigies.” Not genius itself, David Feldman believes, prodigy is an instance of pure and specialized talent; — location: [2197](kindle://book?action=open&asin=B007EF7V8I&location=2197)Talent is the ability to climb the mountain quickly, quicker than almost anyone else. Genius is realising there is an elevator that takes you there quicker. Talent is often content taking the same route because itts efficient. Genius finds a different way. Is this fair? not realy, since geniuses are also really talented. --- Feldman observes that prodigies seem only to occur in fields where there are well-defined steps for achieving mastery. — location: [2270](kindle://book?action=open&asin=B007EF7V8I&location=2270) --- Perhaps what is really the most extraordinary thing about prodigies is their ability to concentrate. Feldman says, “They all seem to have tremendous energy that they can focus on the task at hand. — location: [2278](kindle://book?action=open&asin=B007EF7V8I&location=2278) --- Csikszentmihalyi discovered that people enter an almost addicting state when they can “concentrate their attention on a limited stimulus field, forget personal problems, lose their sense of time and of themselves, feel competent and in control and have a sense of harmony and union with their surroundings.” — location: [2285](kindle://book?action=open&asin=B007EF7V8I&location=2285) --- “Flow is the best of life and that's part of it. But prodigies also keep going when things aren't working well, when it isn't flowing. And for them what they're doing is not just the best of life, it's all of life.” — location: [2295](kindle://book?action=open&asin=B007EF7V8I&location=2295) --- Bamberger speculates that musical prodigies often suffer a “mid-life” crisis when the developmental processes that occur during adolescence force them to analyze and conceptualize musical structure. Apparently many are unable to make this transition without a fatal loss of the sensory, perceptual, emotional contact with their instrument and the music. — location: [2343](kindle://book?action=open&asin=B007EF7V8I&location=2343) --- In the literature on prodigies, there is little indication that themata, nuance-laden ‘themes’, truth, omnivalence or the individual-universal equation are key elements in a prodigy's experience. — location: [2368](kindle://book?action=open&asin=B007EF7V8I&location=2368) --- Hollander's memory of becoming the notes of the music he was playing and Sartre's memory of discovering that in “writing I was existing,” might be an early step in that evolution. Both these prodigies went on to mature creative work. Most prodigies don't. We might put the difference this way: Prodigies commit themselves intensely to their talent; geniuses commit their talents intensely to their vision. — location: [2370](kindle://book?action=open&asin=B007EF7V8I&location=2370) --- with the prodigy “the early fit between talent and field is too good. For prodigies everything goes too well, in a way. For creativity things can't go that well. If this goes too well, then the person's going to be satisfied with things the way they are.” — location: [2373](kindle://book?action=open&asin=B007EF7V8I&location=2373) --- The site that represented the monkey's hand, for instance, was not in exactly the same place (though it was in the same general area) as that hand's site in another monkey. — location: [2447](kindle://book?action=open&asin=B007EF7V8I&location=2447) --- However, a statistical examination of the important contributions made by some four hundred mathematicians does not entirely validate this wisdom. There are numerous instances of creators who didn't make a significant contribution till they were past seventy. — location: [2521](kindle://book?action=open&asin=B007EF7V8I&location=2521) --- Great creators on the whole are “very conscious of the special skills they have and their special way of looking at things,” Gardner says. “But if they lack something they need, they will study to get it or look for somebody to collaborate with. They will look for artful dodges, for ways to solve the problem or fashion the product where they don't have to use that particular talent they don't have.” — location: [2633](kindle://book?action=open&asin=B007EF7V8I&location=2633) --- The mercurial distilling agent of genius also takes many forms. One is talent. Others might be called the creator’s “insight strategies.” Though researchers believe creators use these strategies extensively in their work, it is still not certain whether such capacities are inborn, inclinations of mind learned early, later mental distillations, the dynamical effects of talent or even talents themselves. — location: [2705](kindle://book?action=open&asin=B007EF7V8I&location=2705) --- It is “the creator’s ability to actively conceive of multiple opposites or antitheses simultaneously.” He calls this ability “janusian thinking” after the Roman god Janus who could look in many directions at the same time. — location: [2717](kindle://book?action=open&asin=B007EF7V8I&location=2717)This is a brilliant section. An ability to hold opposing thoughts, and not get married to one idea.