chapter04

(Chapter 4)(The Path of Least Resistance)A Lesson from the GhettoRecently I was traveling from New York’s La Guardia Airport to Manhattan. My cabdriver chose to avoid the congested traffic on the East River Drive. His route brought me through my old neighborhood in East Harlem.I had moved there after getting a master’s degree from the Boston Conservatory of Music. What a contrast that was, cultural Boston and “culturally deprived” East Harlem. For a musician just if for the New York music scene, East 110th Street between Second and Third Avenue was just the right price in those days.Most of us have a talent for selective memory. We remember the past as containing many more good experiences than bad ones. (My grandmother had it just the other way around.) And so, as I studied my old turf, I was flooded with wonderful memories of my ghetto days. Suddenly I was brought back to the present by an extraordinary example of ghetto art, graffiti.This art from developed years ago. Its origin was the wanton vandalizing of property. When I lived in East Harlem, graffiti was not yet an art form. Just kids, spray cans, and walls. Mostly the kids used the walls to express their hostility by painting expletives in large, sloppy letters. Occasionally a kid would express his romantic tendencies with great declarations of love; Jose’ loves Judy.Over the years the letters became more artistic and then developed into complex artistic creations. The young artists became competitive with each other. Originality and craft became the norm. The bravado of youthful energy came to beexpressed in painting rather than in gang warfare. Bold designs gave way to bolder designs. The color was strong, direct, primary.The city became the canvas. These artists would stalk at night and paint on whatever surface they found. They used up the available walls quickly and then found the perfect symbol of their art: subway cars- owned by the society the artists were separate from, vital to the movement of the populace, gray, drab, dilapidated, lifeless and institutional.The graffiti writers would break into the railway yards and spend the night painting subway cars. Then the Transit Authority would spread their works to a mass audience throughout the city. Influenced by each other’s work, the artists’creations got better. The authorities became alarmed and put armed guards around the railway yards. But by that time the highbrow art world had taken notice. Some of the best ghetto artists were sought out by art dealers. The artists switched to real canvasses. A fad rose and fell in short order.Gallery success might have been temporary, but the artists kept on painting, growing, and developing. New artists emerged, pushing the art form further and further still. Later the city of Tokyo would invite one of the best artists to come to Japan and paint long murals on their subway cars.What a story. Too strange to be fiction. If someone had told you twenty-five years ago that somebody in New York City the “culturally deprived,”undereducated children of welfare would rise up, not in violence, but in art and in dance (break dancing) and in poetry (rap), you might have asked to examine that person’s sugar cube for traces of LSD.What caught my eye and captured my imagination that day in East Harlem was a new evolutionary step in graffiti art. It was the choice of colors. Pastels. No longer the bright, bold, shouting colors of a few years ago, but colors that were soft, translucent, subtle, and penetrating.Somewhere in the destructive life of the inner city, a young artist is think about color. Experimenting with quinacri-done violet and cerulean blue. Mixing and blending opposite colors to create illusions of space and dimension. And somehow, because of this, I experience hope for our civilization.There is a profound lesson here. It is partly about the human spirit. We have been led to believe that the circumstances of our life determine our ability to express ourselves. That for us to explore new dimensions of our being, our conditions need to be favorable. If that were true, how could such creativity, originality, and vitality come from such humble and adverse beginnings as the ghetto? How is it that it was from there, and not there sacred institutions of academia, that new thought, born of what is highest in humanity, developed and grew? Perhaps our true is that of creators, who can bring forth new life out of any set of circumstance.Creating Is Not a Product of the CircumstancesCreating is completely different from reacting or responding to the circumstances you are in. The process of creating is not generated by the circumstances in which you find yourself, but the creation itself.It is popular to think of creativity as a product of your environment, culture, or other circumstances that foster the creative process. An example of this notion was the corporate fad, popular just a few years ago, of “engineer environments” that weresupposed to the conducive for creating. But a quick survey of the history of creativity will make it obvious that people have created in a wide range of circumstances, from convenient ones to difficult ones.As you begin to consider what you want to create in your life. It is good for you to know that the circumstances that presently exist are not the determining factor of the results you desire to create. You are not limited by them, eve though it may seem you are entrenched in them.Because creating is so essentially different from the creative-responsive orientation to which you have been exposed, it may seem ridiculous to consider life to be any different from what you have experienced before. You may be reading these words with the suspicion that this is yet another pep talk designed to inspire you to a new way of life. Or you may think that creating is possible only for the artist, that the creative process is limited to painting, music, filmmaking, poetry, or the other arts.Even though the most obvious expression of the creative process is found in the arts, it is in no way limited to the arts. Almost all of your life’s desires can be the subject of the creative process. There need be no separation from the creative process as practiced in the arts and the same creative process as practiced in other human endeavors. In addition, the art is a perfect arena for learning the special ability and skill of creating.It is wise to learn about the creative process from those practitioners who know the most about it and who have used it to bring the highest fruits of the creative process into being. This is a different skill from what you have learned in school, at home, or at work, and yet it is one of the most important skills to develop in your life.Pablo Casals, one of the greatest cellists of our century, did not limit his concept of creating his music.I have always regarded manual labor as creative and looked withrespect- and, yes, wonder- at people who work with their hands. Itseems to me that heir creativity is no less than that of a violinist orpainter.And psychologist Carl Rogers has written:The action of the child inventing a few game with his playmates;Einstein formulating a theory of relativity; the housewife devising anew sauce for the meat; a young author writing his first novel; all ofthese are, in terms of our definition, creative, and there is no attempt toset them in some order of more or less creative.When one does not consciously know the skill of creating, it is common to suppose the creative process a product of the unconscious, or of mysticism. Then the creative process becomes a search for the formula that will tap your hidden powers. Because your “normal” self seems not to be the possessor of such powers, you might assume they must lie somewhere else.In the story of Dumbo the elephant, a mouse convinces Dumbo that he can fly because of a “magic” feather. Dumbo tries out the feature and finds he can fly. But one day he loses his feather and thinks he has lost the ability. The mouse confesses that the story of the magic feather was a hoax and that Dumbo’s ability to fly was his own. Dumbo discovers he can fly without benefit of feather.Many of the theories about the creative process are similar to Dumbo’s magicfeather. In these theories the power to create what you want depends on a magical talisman that will enable you to unlock your hidden powers once and for all.To some jungle tribes who have not had contact with modern civilization，the jet planes they see flying overhead take on a magical meaning. These planes are seen as gods or at least vehicles of gods.It is common to assume that the unknown is unknowable, or at lease unknowable by normal means. It is our inexperience and ignorance that can make the creative process seem as if it is an outcome of magical operations, the same kind of inexperience and ignorance a jungle tribe may have about modern aviation. But, in fact, creating is a skill that can be learned and developed. Like any skill, you learn by practice and hands-on experience. You can learn to create by creating.The StepsThe steps in the creative process are simple to describe, but they do not constitute a formula. Instead, each step represents certain types of actions. Some aspects of the creative process are active, some are more passive. Different aspects call for different skills. You ma have developed some of these skills already and find that other skills are not as easy at first. Each time you create a new result, you are involved in a unique creation. While your ability will develop over time with experience, every new creation has its own individual process.In this chapter I will outline the basic steps of creating. In later chapters I will develop these steps so that you will be able to begin to experiment with them in your own life. Think of the following as an overview of the creative process rather than as a formula to adopt.1.Conceive of the result you want to create.Creators start at the end. First have an idea of what they want to create. Sometimes this idea is general, and sometimes it is specific. Before you can create what you want to create, you must know what you are after, what you want to bring into being. Your original concept may be clear, or it may be simply a rough draft. Either will work well. Some creators like to improvise as they create, so they begin with a general concept. A painter may not know exactly how the final painting may look, but he or she has enough of a concept to make adjustments during the creative process so that the painting in progress will come closer and closer to what the artist wants. Other painters know exactly what the final painting will look like before they pick up a brush. Georgia O’Keeffe said, “I don’t start until I’m almost entirely clear. It is a waste of time and paint if I don’t. I’ve wasted a lot of canvasses, so be pretty clear.”Knowing what you want is itself skill. Our traditional educational system does not encourage you to know what you want. Instead you are encouraged to choose the “correct” response from narrow choices that life seems to offer. Frequently this has little relationship to what you really want. Because of this, many people develop an ambivalence toward what they want. And why not? It is hard to be enthusiastic about the choices most people are left with. But as you develop your own creative process, conceiving of the results you want will become meaningful and interesting.2.Know what currently exists.If you were painting a painting, you would need to know the current state ofthe painting as it developed. This would be important knowledge. If you did not know what you had created so far, it would be impossible for you to add more brushstrokes or change what you had done so as to bring the painting you wanted into being.Knowing what currently exists is another skill. While this may sound deceptively simple, in fact most of us have been encouraged to view reality with particular biases. Some people make reality seem better than it is, some make it seem worse than it is, and some minimize how good or bad it can be. One of the most important abilities creators have is the ability to be objective about their own creation. There is a notion, popular in many university philosophy departments, that you can never really view reality objectively. But in the same university, the art department teachers those students to draw portraits of models. This drawing skill helps students learn first to see, and then represent, what they are looking at. Even though each art student may have his or her own style of portraiture, anyone from the philosophy department could identify the model by looking at any of the drawings of the model.In music conservatories students are taught to identify rhythms, harmonies, and intervals by hearing them. This skill is called ear training. This is another skill in which students are taught to identify and represent reality correctly. When they write down the music that was played, it is not a matter of “interpretation.” If the student correctly identifies what was played, he or she gets an A. Students who do not correctly identify what is played get less than an A. Music students learn how concrete the perception of music can be. This is another example of training designed to enhance the ability to view reality objectively.In a similar way, you need to develop the skill of viewing reality objectively.For many people reality is an acquired taste. At first glance you may have uncomfortable and disturbing experiences. If you were in a problem-solving mode, you would take action to restore feelings of balance and well-being. The most common way people do this is by misrepresenting reality. They may lie, rationalize, or distract themselves from what is going on. But as you learn to master your own creative process, you develop a capacity for truth. Good, bad, or indifferent, you will still want to know accurately what is going on.3．Take actionOnce you know what you want and what you currently have, the next step is to take action. But what kind of action do you take? Creating is a matter of invention rather than of convention. Education emphasizes convention, so you may have had little experience with inventing. Inventing is another skill that can be developed. When you take an action that is designed to bring your creation into being, the action may either work or not work. If the action works, you can continue taking it or discontinue taking it. Sometimes it will be useful to continue, sometimes it will not be useful to continue. You will know what to do by watching the changes in the current state of the result. All the actions, the ones that work and the ones that do not work, help to create the final result. This is because creating itself is a learning process, learning what works and what does not work. The stock-in-trade of a creator are the abilities to experiment and to evaluate one’s experiments.Invention is not all trail and error. As you invent actions to bring your creations into being, you begin to develop an instinct for the actions that work best. Creators are able to develop an economy of means. This generally happens over time, and themore you create, the more chance you have to develop your own instincts.Some of the actions you take will help you move directly to the result you want, but most will not. The art of creating is often found in your ability to adjust or correct what you have done so far. Many people have been encouraged to “get it right the first time”or, even worse, to “be perfect.”This policy can lead to profound inexperience in the adjustment process. Instead of making the most of what you have done so far, in order to bring creation into existence, you may be tempted to give up anytime the circumstances seem against you. Sometimes people encourage others to “stay with it”and develop “determination and fortitude”in reaction to habitual quitting. But this manipulation hardly ever works. Without an ever-increasing ability to adjust the actions you take, trying to “stay with it”can seem like banging your head against a wall. After sincere attempts to “stay with it” fail and fail again, the path of least resistance is to quit. You may have thought your habitual giving up was a serious character flaw. But this is probably not the case. It is not fortitude, willpower, or determination that enables you to continue the creative process, but learning as you go.4. Learn the rhythms of the creative process.There are three distinct phases of the creative process: germination, assimilation, and completion. Each phase has its own energy and class of actions.Germination begins with excitement and newness. Partly this germinational energy comes from the unusualness of the new activity.Assimilation is often the least obvious phase of the process. In this phase the initial “thrill is gone.” This phase moves from a focus on internal action to a focus onexternal action. In this phase you live with your concept of what you want to create and internalize it. It becomes part of you. Because of this, you are able to generate energy to use in your experiments and learning. The drama of the first blush of germination is over, but this new, quiet energy of assimilation helps you form the result.Completion is the third stage of creation. This stage has a similar energy to germination, but new it is applied to a creation that is more tangible. In this phase you use the energy not only to bring to final completion the result you are creating but also to position yourself for your next creation. In other words, this stage leads also to the germination of your next creation.5. Creating momentumMany of the theories describing creativity these days have a tone of “beginners luck.”For professional creators there is a different tone, that of ever-increasing momentum. Not only is the creative process a reliable method for producing the results you want, it also contains seeds of its own development. Who do you think has a greater chance for successfully creating the results they want: those who have done it for years, or those who are novices? It is true that some first-time novelists write masterpieces, but this is the exception, not the rule. Even Mozart, perhaps the most gifted composer in history, developed and grew in his art. The music he wrote in his thirties was far more advanced than what he wrote in his twenties or in his teens. The more music he wrote, the more he was able to write. His increasing experience gave him the momentum typical of the creative process. If you begin to create the results you want today, you are more prepared to create the results you want ten yearsfrom now. Each new creation gives you added experience and knowledge of your own creative process. You will naturally increase your ability to envision what you want and your ability to bring those results into being.。

4出行平衡在出行产生过程中，出行产生量和吸引量分别采用不同的模型预测得到，这必然会导致一个地区的出行产生量和吸引量有差别。

为了确保所得出行结果的一致性，我们使用出行平衡方法来保证出行吸引量和产生量相等。

本章内容出行平衡 (2)出行平衡TransCAD 提供了平衡出行产生量和吸引量的程序，几种出行目的的出行产生量和吸引量能在一个步骤中得到平衡。

该程序提供用于平衡出行的下列几种方法: • 保持出行产生量恒定：出行产生量保持恒定，调整出行吸引量使它与出行产生量相等。

• 保持出行吸引量恒定：出行吸引量保持恒定，调整出行产生量使它与出行吸引量相等。

• 对出行产生量和吸引量进行加权：对出行产生量和吸引量都进行调整，使他们的和等于用户指定的加权后的出行产生量和吸引量。

•总和等于用户规定值：调整出行产生量和吸引量，使它们各自的总和等于用户规定值。

当用户平衡出行时，可以选择特定的地区作为特殊产生地（special generators ），在该区域中出行产生的初始值在平衡过程中无需更改。

同样，用户还可以指某特定区域作为特殊吸引地（special attractors ），在那里出行吸引量的初始值不需要改变。

若要使用这些选项，用户需创建区域选择集，指定那些区域是特殊产生地和特殊吸引地。

特殊产生地和吸引地也可以使用同一选择集。

♦ 平衡出行产生量和吸引量1. 打开包含用户想要平衡的数列（出行产生量和吸引量字段）的地图层或数据表。

2. 选择 Planning-Balance 显示数列平衡（Vector Balancing ）对话框。

3. 从 Dataview 数据表下拉列表选择所需平衡的层。

4. 从Records 记录下拉列表中选择所有的记录（All Records ）或选择集。

5. 增加或编辑要平衡的数列。

数列滚动列表的每一行代表用户想要平衡的一组数列，以便每一数列的总数等于给定值。

如用户有n 个出行目的，则在滚动列表中就需要有n 行。