
I’m looking for a connection.
Let’s say that the city of Groverton has 100,000 residents and produces X number of innovations per year. Down the road, the city of Pecaville has 1,000,000 residents. Since Pecaville has ten times more residents than Groverton, it should produce 10X innovations per year, correct?
Actually, no. Other things being equal, Pecaville should produce far more than 10X innovations. In predicting innovation capacity, it’s not the number of people (or nodes) that counts, it’s the number of connections. The million residents of Pecaville have more than ten times the connection opportunities of the residents of sleepy little Groverton. Therefore, they should produce much more than ten times the number of innovations.
In Where Good Ideas Come From, Steven Johnson makes the point that connections are the fundamental unit of innovation. The more connections you can make, the more likely you are to create good ideas. Scale doesn’t matter — more connections are better at a very small scale or a very large scale. This is where cities come in. In terms of innovation, larger cities have multiple advantage over smaller cities, including:
Does this work in real life? Johnson provides some very interesting anecdotes. More recently, last Friday’s New York Times had an article (click here) on manufacturing and innovation. The article argues that more innovation happens when designers are close to the manufacturing floor. Why? Because of information spillover. Researchers claim that offshore manufacturing reduces our ability to innovate precisely because it reduces information spillover. Connectivity seems to work on the manufacturing floor as much as it does in big cities. Scale doesn’t matter. Bottom line: if you want to be more innovative, get connected.

Pardon me while I unitask.
Interesting items I’ve discovered in the past week or so:

I alternate between fantasy and reality.
I recently wrote that Mihaly Csikszentmihalyi, in his book, Creativity: Flow and The Psychology of Discovery and Invention, identified ten different pairs of opposing traits that occur commonly in creative personalities. We looked at three pairs in that post (click here). Let’s look at three more today.
Creative individuals alternate between imagination and fantasy at one end, and a rooted sense of reality at the other. Csikszentmihalyi notes that Albert Einstein believed that both art and science “are two of the greatest forms of escape from reality that humans have devised.” To create new truths — to change the paradigm in Thomas Kuhn‘s phrase — one needs a great imagination, bordering on fantasy. At the same time, the creative person realizes that the fantasy could actually be true. The imagination extends well beyond reality but, sooner or later, reality catches up. Csikszentmihalyi also notes how artists respond to Rorschach tests. Creative artists tend to respond with more original and more detailed stories than “normal” people. But the artists rareley give “bizarre” answers as normal people sometimes do. Csikszentmihalyi concludes, “Normal people are rarely original, but they are sometimes bizarre. Creative people, it seems, are original without being bizarre. The novelty they see is rooted in reality.” Thus, it seems that it’s good to study reality so you can connect it to your imagination. Imagination disconnected from reality is simply bizarre.
Creative people seem to harbor opposite tendencies on the continuum between extroversion and introversion. Being truly creative requires a lot of time alone. You need solitary time to master your domain, to learn how to play the piano, or to write your magnum opus. Yet many of Csikszentmihalyi’s creative people said it was equally important to interact with other people and just kick ideas around. As Freeman Dyson puts it, “Science is a very gregarious business. It is essentially the difference between having this door open and having it shut.”
Creative individuals are also remarkably humble and proud at the same time. Highly creative people understand that they “stand on the shoulders of giants” — they first mastered their domain and then they extended it. Csikszentmihalyi points out that they also understand the role of luck in their discoveries and that they’re more focused on future work, making past work seem less boast worthy. At the same time, creative individuals realize that they have indeed created new forms and structures that genuinely make them proud. Csikszentmihalyi sees this duality as the contrast between competition and cooperation. To change your field (or to change the world), you need to be aggressive. “Yet at the same time, [creative individuals] are often willing to subordinate their own personal comfort and advancement to the success of whatever project they are working on.”
Click here for Csikszentmihalyi’s book. By the way, his surname is pronounced Six-Cent-Mihaly.