A. You can go from A to C (you follow the usual routine or path towards B and in a roundabout way you come round to the other end of the side track, i.e. C) whereas, if you were to enter the side track from another point at point C, route C to A is very straightforward (you go straight down the side track to the main path or route).
Consider instead that the main path from point A then narrowed to a point D. The narrowing of the track means that, while going from A to D is difficult, the reverse is not so difficult. Then the path from A to B is wide open in comparison so the possibility of taking the track to D is remote.
This asymmetry is the logical basis for bothhumour andcreativity.
HUMOUR AND CREATIVITY
Humour is by far the most significant behaviour of the human brain, far more significant than reason. Humour tells us more about the underlying system. Humour tells us that the brain makesasymmetric patterns.
In humour, we are led along the main path from A and then suddenly we are shifted to the end of the side path (B) and immediately we see the track we might have taken (from B to A). Once there, we can see that it actually makes sense and is perfectly logical.
For example, an old man of 90 goes down to hell. Wandering around, he sees a friend of his of a similar age. Sitting on the knee of this friend is a beautiful young blonde.
He says to his friend: 'Are you sure this is hell? You seem to be having rather a good time!'
The friend replies: 'It is hell all right. I am the punishment for her.'
The explanation is perfectly logical but reverses the situation completely. That is the surprise of humour.
An Englishman on a railway station in Ireland storms into the stationmaster's office to complain that on the platform there are two clocks each showing a different time.
The stationmaster looks at him and says: 'To be sure, and what would be the use of having two clocks if they showed the same time?' There is an unexpected logic in the reply. It is the surprise element of suddenly switching perceptions that makes us laugh.
Two blondes are walking along a canal, one on each side of the canal. One blonde calls out to the other, 'How do I get to the other side?' The other blonde replies, 'But you are already on the other side.'
Humour derives part of its effect by bringing in various prejudices and preconceptions.
Returning to my seat on an aeroplane I hit my head on the overhead luggage locker. The person next to me said, 'I also hit my head on that locker. It must be too low.'
'On the contrary,' I said, 'the trouble is that the locker is placed too high, not too low.'
There is nothing humorous about this exchange but there is the same sudden switch in perception, which eventually makes sense. If the luggage locker were placed really low, you would realise you must duck your head. If the locker were placed really high, it would not matter whether you ducked or not. If the locker is placed at a level that suggests you do not need to duck, you do not duck and you hit your head.
The humour model of the asymmetric pattern is also the model for creativity. You suddenly see something differently and it makes sense in hindsight.
All valuable creative ideas will be logical in hindsight. In a sense, the definition of 'valuable' means logical in hindsight.
For the first time in human history we have a logical basis for creativity. Creativity is no longer a mysterious gift or special talent. We can now see creativity as the behaviour of aself-organising information system that makes asymmetric patterns (the brain).
Once we can understand the underlying system, then we can design tools for the deliberate use of creativity. These tools can be very powerful. It need no longer be a matter of sitting and waiting for ideas and inspiration. We can do certain things that will result in the brain having new ideas. This is a big step forwards in the history of mankind.
Being without this for 2,400 years has caused immense