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Out of Our Minds: Learning to Be Creative
Out of Our Minds: Learning to Be Creative by Ken Robinson
2,375 ratings, 3.91 average rating, 254 reviews
Out of Our Minds Quotes (showing 1-22 of 22)
If all you had was academic ability, you wouldn't have been able to get out of be
d this morning. In fact, there wouldn't have been a bad to get out of. No one co
uld have made one. You could have written about possibility of one, but not have
constructed it.
? Ken Robinson, Out of Our Minds: Learning to Be Creative
tags: academic-ability, education, human-intelligence
21 likes
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I asked a professor of nanotechnology what they use to measure the unthinkable sm
all distances of nanospace? He said it was the nanometre. This didn't help me ve
ry much. A nanometre is a billionth of a metre. I understood the idea but couldn
't visualise what it meant. I said, "What is it roughly?" He thought for a momen
t and said, "A nanometre is roughly the distance that a man's beard grows in one
second". I had never thought about what beards do in a second but they must do
something. It takes them all day to grow about a milllimetre. They don't leap ou
t of your face at eight o'clock in the morning. Beards are slow, languid things
and our language reflects this. We do not say "as quick as a beard" or "as fast
as a bristle". We now have a way of grasping of how slow they are - about a nano
metre a second.
? Ken Robinson, Out of Our Minds: Learning to Be Creative
16 likes
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What we become as our lives evolve depends on the quality of our experiences here
and now.
? Ken Robinson, Out of Our Minds: Learning to be Creative
8 likes
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Being in your element is not only about aptitude, it s about passion: it is about l
oving what you do.
? Ken Robinson, Out of Our Minds: Learning to be Creative
2 likes
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The task of education is not to teach subjects: it is to teach students.

? Ken Robinson, Out of Our Minds: Learning to be Creative

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If all you had was academic ability, you wouldn t have been able to get out of bed
this morning. In fact there wouldn t have been a bed to get out of. No one could h
ave made one. You could have written about the possibility of one, but not have
constructed it. Don t mistake me, I think that academic work - and the disciplines
and abilities it can promote - are absolutely vital in education, and to the fu
ll development of human intelligence and capacity. But they are not the whole of
them. Yet our education systems are completely preoccupied with these abilities
to the virtual exclusion of many others that are equally vital - capacities tha
t becoming more important every day.
? Ken Robinson, Out of Our Minds: Learning to be Creative
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Producing works of art doesn't often count as appropriate intellectual work in an
arts department: yet the equivalent in a science department, doing physics or c
hemistry, does. So why is it that in universities writing about novels is though
t to be a higher intellectual calling than writing novels; or rather, if writing
novels is not thought to be intellectually valid, why is writing about them?
? Ken Robinson, Out of Our Minds: Learning to Be Creative
tags: art, creativity, writing
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Civilization is a race between education and catastrophe.
? Ken Robinson, Out of Our Minds: Learning to be Creative
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The human world is created out of our minds as much as from the natural environme
nt.
? Ken Robinson, Out of Our Minds: Learning to be Creative
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There are three related ideas, which I will elaborate as we go on. They are imagi
nation, which is the process of bringing to mind things that are not present to
our senses; creativity, which is the process of developing original ideas that h
ave value, and innovation, which is the process of putting new ideas into practi
ce.
? Ken Robinson, Out of Our Minds: Learning to be Creative
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Classical education was based on the seven liberal arts or sciences: grammar, the
formal structures of language; rhetoric, composition and presentation of argume
nt; dialectic, formal logic; arithmetic; geometry; music; astronomy.14 For centu
ries, the classics dominated the very idea of being educated and attempts at ref
orm were resisted.
? Ken Robinson, Out of Our Minds: Learning to be Creative
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Education is not a linear process of preparation for the future: it is about cult
ivating the talents and sensibilities through which we can live our best lives i
n the present and create the best futures for us all.
? Ken Robinson, Out of Our Minds: Learning to be Creative
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Our schools have a doubly hard task, not just improving reading, writing and arit
hmetic but entrepreneurship, innovation and creativity.
? Ken Robinson, Out of Our Minds: Learning to be Creative
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Our ideas can enslave or liberate us.

? Ken Robinson, Out of Our Minds: Learning to be Creative
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Now, more than ever, human communities depend on a diversity of talents; not on a
singular conception of ability.
? Ken Robinson, Out of Our Minds: Learning to be Creative
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The impossible yesterday is routine today. Wait until tomorrow.
? Ken Robinson, Out of Our Minds: Learning to be Creative
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We build our own cultures not only on the achievements of those that have come be
fore but on their ruins.
? Ken Robinson, Out of Our Minds: Learning to be Creative
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The problem is that too often, and in too many ways, current systems of mass educ
ation are a catastrophe in themselves. Far from looking to the future, too often
they are facing stubbornly towards the past.
? Ken Robinson, Out of Our Minds: Learning to be Creative
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I believe profoundly that we don t grow into creativity; we grow out of it. Often w
e are educated out of it.
? Ken Robinson, Out of Our Minds: Learning to be Creative
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Employers say they want people who can think creatively, who can innovate, who ca
n communicate well, work in teams and are adaptable and self-confident.
? Ken Robinson, Out of Our Minds: Learning to be Creative
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Declining birth rates mean that employers are going to have to become more creati
ve if they want to access the knowledge workers they need. And that means abando
ning the lazy prejudice of age discrimination.
? Ken Robinson, Out of Our Minds: Learning to be Creative
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There is a continual dance between intellect and emotions, feeling and reason, whi
ch is essential to the proper functioning and maintenance of both. 15 In a sense w
e do have two different ways of knowing the world and interacting with it, the r
ational and the emotional. This distinction roughly approximates to the folk dis
tinction between heart and head; knowing something is right in your heart is a di
fferent order of conviction, somehow a deeper kind of certainty, than thinking s
o with your rational mind. 16 There is a steady gradient in the ratio of rational
to emotional control over the mind; the more intense the feeling, the more domin
ant the emotional mind becomes and more ineffectual the rational.
? Ken Robinson, Out of Our Minds: Learning to be Creative
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