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The use <strong>of</strong> metaphor is also considered as a way <strong>for</strong> <strong>in</strong>spiration. As all<br />

metaphors are juxtapositions, which means that two th<strong>in</strong>gs are put<br />

toge<strong>the</strong>r to f<strong>in</strong>d <strong>the</strong>ir shared characteristics. Any metaphor, <strong>the</strong>re<strong>for</strong>e,<br />

triggers new ways <strong>of</strong> th<strong>in</strong>k<strong>in</strong>g which encourages <strong>in</strong>spiration and <strong>in</strong> turn<br />

encourages creative th<strong>in</strong>k<strong>in</strong>g.<br />

Shank and Gleber 199 state that juxtaposition<strong>in</strong>g encourages<br />

bra<strong>in</strong>storm<strong>in</strong>g:<br />

“The human m<strong>in</strong>d cannot tolerate a mean<strong>in</strong>g vacuum. If we compare<br />

some X to Y, <strong>the</strong>n we strive mightily to understand that comparison.<br />

Sometimes <strong>the</strong> comparison is simple and transparent. When we<br />

compare, say, a smile to a flower, <strong>the</strong>n it is easy to abduct that <strong>the</strong> smile<br />

is pretty and pleasant, much as a flower is pretty and pleasant. When<br />

we make such simple abductions, <strong>the</strong>n we are stay<strong>in</strong>g well with<strong>in</strong> our<br />

current 11 range <strong>of</strong> preconceptions about <strong>the</strong> mean<strong>in</strong>g <strong>of</strong> th<strong>in</strong>gs <strong>in</strong> <strong>the</strong><br />

world. When our metaphors are arbitrary, however, <strong>the</strong>n we are no<br />

longer <strong>in</strong> “safe” preconceptual territory. There is no easy and apparent<br />

solution to <strong>the</strong> metaphor “puzzle”. Also, even though we know that <strong>the</strong><br />

comparison is arbitrary, we still feel <strong>the</strong> tug <strong>of</strong> our desire to render <strong>the</strong><br />

comparison as mean<strong>in</strong>gful. There<strong>for</strong>e, we have no choice but to leave<br />

our familiar preconceptions and engage <strong>in</strong> mean<strong>in</strong>g exploration”. 200<br />

In academia <strong>the</strong>re are arguments if creativity is someth<strong>in</strong>g that can be<br />

taught to student. Many researchers believe that creativity can be<br />

acquired through learn<strong>in</strong>g only if <strong>the</strong>re is an adequate place <strong>for</strong> it <strong>in</strong> <strong>the</strong><br />

curricula.<br />

Casak<strong>in</strong> 201 conducted a study to assess <strong>the</strong> use <strong>of</strong> metaphor <strong>in</strong> creative<br />

problem-solv<strong>in</strong>g <strong>in</strong> <strong>the</strong> context <strong>of</strong> first year <strong>design</strong> <strong>studio</strong> students.<br />

Casak<strong>in</strong> argues that <strong>the</strong>se tools are very important <strong>for</strong> <strong>the</strong> student <strong>in</strong><br />

<strong>the</strong>ir first year to overcome <strong>the</strong>ir lack <strong>of</strong> experience <strong>in</strong> <strong>design</strong> problems,<br />

and concludes that<br />

199 Shank G., Gleber C. (2001). Six Metaphors <strong>in</strong> Search <strong>of</strong> <strong>the</strong> Internet. (Accessed March 22, 2010).<br />

200 Ibid. p4.<br />

201 Casak<strong>in</strong> H. P. (2007). op.cit. p22-33.<br />

65

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