This paper is published on [Academia.edu](https://www.academia.edu/129697041/Musings_of_a_Non_Linear_Mind?source=swp_share) as well. #### Abstract This paper is a short personal reflective analysis on the nature of interdisciplinary thinking based on Dreyfuss’s (2011) article, Something Essential About Interdisciplinary Thinking. The musings talk about the relevance of non-linearity, openness, and ambiguity in creative practices, specifically in visual arts and contemporary classical music. The dynamic space between domains creates new connections that amplify the return value more than achieving depth in individual fields. The paper also argues that interdisciplinarity often mirrors human relationships. It is ultimately a reminder of the transformative nature of interdisciplinary thinking in any endeavours. --- A substantial part of my time I live in the space between ideas. It is a place with boundless depth and blurred lines. I restore most of my creative force from here. Taking the time to reflect on Dreyfuss’s (2011) article was an absolute delight for me primarily because I could connect immediately with the idea of illustrating interdisciplinary thinking by employing a poem. I am an artist myself, with decades of experience in the many nuances of human nature and behaviours, in the complexities of music composition, in the art's transformative role, and in thought leadership by materializing disruptive ideas through constant innovation. The reading itself didn’t introduce me to new paradigms, nor spark in me any anxiety or resistance; rather it offered a pleasant re-affirming overall experience. It was so much beauty in the sophisticated depiction of such a well-known territory for me, so well-articulated thoughts about the dynamic function of ideas and their gravitational powers. ##### The Non-Linearity of Meaning The first relatable point to me was Dreyfuss’s assertion that "meaning is seldom a linear affair" (2011, p. 72). That is because, in my experience, in most of visual art forms, meaning is anything but linear. The intention is to leave it open-ended and, by doing so, offer the participants compelling subjective experiences. The public, therefore, is actively engaged with the creation process and experiences the richness of the idea from a co-creator place. In contemporary classical edgy music composition, the player can add their personal touch to the pieces with clear instructions on when and for how long to co-create. Every representation of the same work becomes unique by allowing these small insertions of improvisations. This non-linear aim seems universal, and it extends beyond abstract art or contemporary classical music, the domains that I am most familiar with; I believe it is a fundamental objective in any endeavour that seeks to arouse, incite, or innovate. In abstract art, for example, the collapse and compositing of recognizable objects intend to trigger pure subconscious reactions. It is a push of the audience outside their pre-defined comfort zone boundaries. Art forms manifestations and interdisciplinary thinking share complexity, go far beyond established frameworks and promote openness while requiring creative engagement and embracing ambiguity. ##### Beyond Depth to Dynamic Relationships Dreyfuss’s (2011, p.74) distinctions between multidisciplinary knowledge (depth) and interdisciplinary thinking (relationships) capture an essential aspect of my creative direction career. The value of my role is not in the exhaustive knowledge in every area of visual communication, design, animation, video production, storytelling, editorial illustration, etc., but in fostering balanced relationships between these disciplines, recognizing their complex dynamic nature and how much they resemble human relationships. Recently, I introduced myself as someone whose role is to recognize, understand, and manage emotions in myself and others. That is a way of accelerating creative excellence and influencing human behaviour. Furthermore, the text reinforces the idea that being knowledgeable does not guarantee the creation and nurturing of deep connections in meaningful ways. The cultivation of connections is what defines interdisciplinary creative work. ##### Complexity and the Fertile Void Dreyfuss’s points continue with a caution advice to "not jump too quickly to resolution" (2011, p. 74). This is also perfectly applicable in any creative process. Premature closure limits exploration, reduces accuracy, reinforces biases, reduces connections therefore innovation is affected as well, and overall leads to poor decision-making. I am a champion of the idea that complexity requires patience which also aligns with (Dreyfuss’s, 2001, p. 72) notion of art’s “fertility”. Fast vertical growth without sufficient rooting leads to collapse at the slightest ground shake, and there are shakes in the applied arts field. Historically speaking, the richest ideas in art or technology are drawn from bridging multiple disciplines from Leonardo da Vinci’s work to contemporary fields like cognitive sciences and AI research. Interdisciplinarity is more than ready to receive high academic appreciation. ##### The Pattern and the Storytelling Dreyfuss's (2011, p. 72) observation that "We humans are constantly recording, sorting, classifying, and passing judgments on things. We are pattern-seeking animals." reminds to the visual artis in me of pareidolia. It is a well-known evolutionary human tendency to seek patterns in random information, even if nothing familiar is truly in that visual information. It is how our brains are wired. This common human quirk is such a powerful creative engine. How a coffee splash can suddenly become a story, how chaos morphs into coherence with the help of a little bit of narration which leads to the value of storytelling, which, essentially, is the manipulation of the focus from evaluation to immersion. That is precisely how interdisciplinarity connects domains and builds new narratives. ##### The Truth The discussion of intersubjectivity and truth as “evolving or emergent, multi-faceted phenomenon” (Dreyfuss, 2011, p. 77) makes me think of meaning-making human tendencies. Humans have a persistent, perhaps even romantic, relationship with looking for underlying objective realities. Sadly, this is one of the possible explanations for why humans seek governance of an absolute authority either in material or immaterial form. Meaning-making out of just some illusory objective realities creates tensions. I agree with Dreyfuss’s championship of relational meaning. “A chair only means something in relationship to someone who uses it”. I also agree with Plato’s reflection that ideas are stronger than reality, which could mean that mathematics may be a valid direct connection to an objective truth. Subjective internal and external dialogues create complex tension networks with various truths that need dynamic validations. A holistic approach that respectfully acknowledges the depths of the layers, perhaps more abstract than immediately relatable, could lead to solutions. Overall, as I mentioned in the opening, the reading did not restructure significantly my core beliefs. It provided an enjoyable, sophisticated academic articulation of otherwise intuitive applications of interdisciplinarity that I developed and practiced over the years. I recognized from the beginning a subtle alignment between Dreyfuss’s scholarly perspective and my lived experience and the reading felt fulfilling and validating. A true mirror reflecting familiar landscapes ordered by intellectual rigour. ##### References Dreyfuss, S. (2011). Something essential about interdisciplinary thinking. _Issues in Integrative Studies_, _29_, 67–83. [https://our.oakland.edu/server/api/core/bitstreams/29a78779-c34a-4562-8ca0-f38ec0dfb757/content](https://our.oakland.edu/server/api/core/bitstreams/29a78779-c34a-4562-8ca0-f38ec0dfb757/content) --- #### Related Topics [[A Brief History]] [[The Truth]] [[Patterns-seeking]] [[Storytelling]] [[Relationships]] [[Interdisciplinary Thinking]] [[Poetry]] [[Complexity in Art]] [[Art]] [[Music Composition]]