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THE
MATHEMATICIAN'S
MIND
THE
MATHEMATICIAN'S
MIND
The Psychology of Invention
in the Mathematical Field
Jacques Hadamard
PRINCETON UNIVERSITY PRESS
PRINCETON, NEW JERSEY
Published by Princeton University Press,
41 William Street, Princeton,
New Jersey 08540
In the United Kingdom by Princeton University Press,
Chichester, West Sussex
All Rights Reserved
Originally published as
The Psychology of Invention in the Mathematical Field,
Copyright © 1945 by Princeton University Press;
Copyright renewed © 1973 by Princeton University Press;
Preface to the paperback edition by P. N. Johnson-Laird © 1996 by
Princeton University Press
ISBN 0-691-02931-8
First paperback printing, for the Princeton Science Library, 1996
Princeton University Press books are printed on acid-free paper and
meet the guidelines for permanence and durability of the Committee
on Production Guidelines for Book Longevity of
the Council on Library Resources
Printed in the United States of America
3 5 7 9 10 8 6 4 2
A la compagne de ma vie et de mon oeuvre.
CONTEXTS
PREFACE TO THE PAPERBACK EDITION IX
FOREWORD XV
INTRODUCTION XVII
I. GENERAL VIEWS AND INQUIRIES 1
II. DISCUSSIONS ON UNCONSCIOUSNESS 21
III. THE UNCONSCIOUS AND DISCOVERY 29
IV. THE PREPARATION STAGE.
LOGIC AND CHANCE 43
V. THE LATER CONSCIOUS WORK 56
VI. DISCOVERY AS A SYNTHESIS.
THE HELP OF SIGNS 64
VII. DIFFERENT KINDS OF MATHEMATICAL MINDS 100
VIII. PARADOXICAL CASES OF INTUITION 116
IX. THE GENERAL DIRECTION OF RESEARCH 124
FINAL REMARKS 133
APPENDK I 137
APPENDIX II 142
PREFACE TO THE PAPERBACK EDITION
THIS book is a small masterpiece. Its author, Jacques
Hadamard (1865-1963), was a distinguished French math-
ematician who in New York City during World War II turned
his attention to the question of how mathematicians invent
new ideas.1 He was inspired by some observations on math-
ematical creation made by his illustrious predecessor Henri
Poincare in Science and Methode. But Hadamard made his
own introspections on the creative process and asked major
scientists, mathematicians, and artists for their views as well.
He reported some of their insights, including those of the lin-
guist Roman Jakobson, the anthropologist Claude Levi-
Strauss, and the mathematicians George Polya and Norbert
Wiener. Perhaps his most famous informant, however, was
Albert Einstein, who described his own thinking process. In
a letter to Hadamard, Einstein wrote that words seemed to
play no role in his mechanism of thought, which instead re-
lied on "certain signs and more or less clear images" (see
Appendix II).
The basis for Hadamard's theorizing was the observation
that mathematicians, and other creative individuals, often
struggle unavailingly for some days on a problem, but subse-
quently, whilst consciously engaged in another activity, the
answer comes to mind in a sudden inspiration. Thus, Poincare
told of a solution that popped into his head from out of no-
where, just as he put his foot on the step of an omnibus from
Coutances (see p. 13). Hadamard himself had a similar expe-
rience, as did Gauss, Helmholtz, and others.
1
S. Mandelbrojt wrote: "Few branches of mathematics were uninfluenced
by the creative genius of Hadamard." In the Dictionary of Scientific Biogra-
phy, ed. Charles C. Gillespie.
x PREFACE (1996)
How are we to understand this phenomenon? Hadamard
proposed four chronological stages in the process of creation:
(1) Preparation. You work hard on a problem, giving your
conscious attention to it.
(2) Incubation. Your conscious preparation sets going an
unconscious mechanism that searches for the solution.
Poincare wrote that ideas are like the hooked atoms of
Epicurus: preparation sets them in motion and they continue
their dance during incubation. The unconscious mechanism
evaluates the resulting combinations on aesthetic criteria,
but most of them are useless.
(3) Illumination. An idea that satisfies your unconscious
criteria suddenly emerges into your consciousness.
(4) Verification. You carry out further conscious work in
order to verify your illumination, to formulate it more pre-
cisely, and perhaps to follow up on its consequences.
This theory has been enormously influential, and some
recent authors take it to be a theory that Hadamard himself
formulated.2 However, as he made clear, the four stages of
the creative process were distinguished by Graham Wallace
in The Art of Thought, which was published in 1926. Wallace,
in turn, was anticipated both by Helmholtz and by Poincar6,
who suggested that a sudden inspiration was the manifest
sign of long, unconscious prior work.
Hadamard had much more to tell us about creation in
general and mathematical invention in particular. His book
was extraordinarily prescient. In the 1940s, America was in
the midst of the dark ages of Behaviorism—the doctrine that
psychology should eschew introspection as a method and
mental processes as a topic of investigation. Hadamard would
have none of this. Moreover, he considered what would now
be termed the "modularity" hypothesis: the notion, which he
2
See, e.g., P. Langley and R. Jones, "A Computational Model of Scientific
Insight." In The Nature of Creativity, ed. Robert J. Sternberg (New York:
Cambridge University Press, 1988), pp. 177-201.
PREFACE (1996) xi
correctly traced back to Gall and the phrenologists, that there
are separate mental faculties for each subject—a faculty for
mathematics, a faculty for language, and so on. In Hadamard's
view, however, modularity did not go far enough. Mental fac-
ulties that seemed at first to be simple often turned out to be
composite, and here he cited the precursors to modern
cognitive neuropsychology, observations of the effects of brain
damage on mental competence. There are, he said, distinct
components of mathematical ability and distinct styles of
mathematicians (see Chapter VII).
Hadamard made a cogent case for the existence of uncon-
scious mental processes. In recognizing a face, he noted, one
is sensitive to hundreds of features without being explicitly
aware of them. Many parallel unconscious processes must
therefore underlie this everyday ability. Hadamard rejected
the view that thinking is possible only with the use of lan-
guage, and he argued that many mathematicians, like
Einstein, make use of images and "mental pictures." Levi-
Strauss, it seemed, made use of three-dimensional mental
representations. Hadamard was thus the first to discuss
mental imagery during this Behaviorist epoch, and he an-
ticipated its rehabilitation in psychology by somefifteenyears.
He had intimations too of many notions that have become
standard elements of contemporary cognitive science: the dis-
tinction between what the mind does and how it does it; the
study of naive physics and of idiot savants; the notion that
attention resembles a flashlight with a central focus of full
consciousness and a penumbra of elements on the fringe; the
hypothesis that creation may depend on lateral thinking,
which in his own delightful English Hadamard called "think-
ing aside"; and the need for a certain degree of disorder (or
chaos) in the generation of original ideas—not pure chance
on the one hand, and not pure logic on the other.
What has happened in thefiftyyears of research into math-
ematical invention since he first published this book? The
xii PREFACE (1996)
biggest single change has been made by the computer. Com-
puters have been programmed to assist in the proof of major
mathematical theorems, to automate theorem-proving logic,
and to model the process of developing interesting mathemati-
cal conjectures (with more than a little help from their hu-
man friends).3 If creation is a computational process, then a
case can be made that there are only three sorts of creative
processes.4 First, processes that mimic the neo-Darwinian
account of the origin of species: a generative stage in which
there is a random combination or modification of existing
ideas and a critical stage in which knowledge is used to
select the more viable possibilities. Evolution depends on re-
peated iterations of these two stages. Second, neo-Lamarck-
ian processes that use all their knowledge to constrain the
generative stage and make a random selection when knowl-
edge fails to select among equally viable alternatives. Such
processes seem particularly appropriate for creation in "real
time," such as musical improvisation or poetic extemporiza-
tion. Third, and most plausible for mathematical invention,
processes that use knowledge both to generate ideas and to
3
In 1976, Kenneth Appel and Wolfgang Haken used many hours of com-
puter time to help prove the famous four-color-map theorem; i.e., the differ-
ent regions of any map on a planar surface can be distinguished from their
neighbors using no more than four colors (see "The Solution of the Four-
Color-Map Problem," Scientific American, September 1977,108-121). There
is a vast literature on fully automated theorem-proving; for a review, see
Robert C. Moore's "Automatic Deduction," Overview, Section A of Chapter
XII in The Handbook ofArtificial Intelligence. Volume 5, ed. P. R. Cohen and
E. A. Feigenbaum (Reading, Mass.: Addison-Wesley, 1982). Douglas Lenat's
program, AM, does not prove theorems, but rather searches for interesting
mathematical conjectures. It relies on guidance from its human user (see,
e.g., D. B. Lenat and J. S. Brown, "Why AM and Eurisko Appear to Work,"
Artificial Intelligence 23 (1984): 269-294.
4
This case is made by the present author; see, e.g., the chapter on cre-
ation in his book, The Computer and the Mind (Cambridge, Mass.: Harvard
University Press, 1988).
PREFACE (1996) xiii
evaluate viable possibilities. The first stage is presumably
unconscious, and the second is conscious.
But is mathematical invention a computable process?
Hadamard did not address the issue, but one of his succes-
sors, the mathematician and physicist Roger Penrose, gives
a negative answer. Penrose argues that consciousness and
visual images depend on noncomputational processes.5 Cer-
tain physical processes are not computational—for example,
the bleaching of visual pigment in retinal cells when light
falls on them—but such processes can kt least be modeled in
a computer program. According to Penrose, however, the
mental processes of mathematical invention cannot even be
modeled computationally. This singular state of affairs is pos-
sible, but, as yet, there is no decisive evidence either way.
Ironically, the roots of creativity for Hadamard lie not in
consciousness, but in the long unconscious work of incuba-
tion and in the unconscious aesthetic selection of ideas that
thereby pass into consciousness. Latterday cognitive scien-
tists accept the notion of unconscious processes, but
Hadamard's particular conception of the unconscious is more
problematic.6 Cognitive scientists argue that conscious per-
formance rests on a raft of unconscious mechanisms that con-
struct its contents; that is, ideas do not simply pass like pack-
etsfromthe unconscious system to the conscious system. Your
awareness of the meaning of the previous sentence, for
example, depends on many unconscious processes that trans-
form sensory information into a conscious construct. In con-
trast, incubation is supposed to proceed whilst the conscious
mind is otherwise engaged on quite different matters, and to
deliver to consciousness a fully formed packet of inspiration.
5
Roger Penrose, Shadows of the Mind (New York: Oxford University Press,
1994).
6
For a thoughtful analysis of creativity and incubation, see David N.
Perkins, The Mind's Best Work (Cambridge, Mass.: Harvard University Press,
1981).
xiv PREFACE (1996)
Can one really ruminate about a profound mathematical prob-
lem whilst paying attention to breakfast television? What
evidence exists on this matter justifies some skepticism. In
one study, chess experts either worked continuously on a chess
puzzle or were allowed a two-hour break for incubation to
occur. They did not differ in their performance.7 Hadamard
would have surely discounted this study. He would have ar-
gued that the duration of the experiment—hours rather than
days—and the nature of the task—chess puzzles rather than
deep mathematical problems—preclude proper incubation (cf.
his remarks in Section III on Catherine Patrick's experiment
in which the subjects were required to write poems). The
single most important unanswered question about the psy-
chology of creation is accordingly whether incubation, as con-
ceived by Hadamard and his peers, is a genuine phenom-
enon. The question cannot be answered by introspection, and
it has yet to be definitively resolved in the psychological labo-
ratory.
Few psychological works outlast their time; the works that
do have several principal holds on our attention. They ex-
press themselves vividly, and what they have to say is wise.
They convey an insight into psychological phenomena that is
not doctrinaire and that has a timeless good sense. And so
the reader—even though he or she may know better than the
author on some matters—nonetheless comes away from the
book with a deeper understanding of mental life. Hadamard's
volume is no exception. Since he wrote, the psychological prob-
lem of invention in the mathematical field seems to have
grown more difficult to solve. Yet the seeds of its solution are
more than likely to be found in this book.
P. N. JOHNSON-LAIRD
Princeton, 1995
7
Robert M. Olton, "Experimental Studies of Incubation: Searching for
the Elusive," Journal of Creative Behavior 13 (1979): 9-22.
FOREWORD
"Je dirai que j'ai trouve la demonstration de
tel theoreme dans telles circonstances; ce
theoreme aura un nom barbare, que beaucoup
d'entre vous ne connaitront pas; mats cela n9a
pas a"importance: ce qui est interessant pour
le psychologue, ce n'est pas le theoreme, ce
sont les circonstances"
—Henri Poincare
THIS study, like everything which could be writ-
ten on mathematical invention, was first inspired
by Henri Poincare's famous lecture before the
Societe de Psychologie in Paris. I first came back
to the subject in a meeting at the Centre de Syn-
th&se in Paris (1937). But a more thorough
treatment of it has been given in an extensive
course of lectures delivered (1943) at the Ecole
Libre des Hautes Etudes, New York City.
I wish to express my gratitude to Princeton
University Press, for the interest taken in this
work and the careful help brought to its pub-
lication.
JACQUES HADAMARD
August 21, 1944
New York, N.Y.
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Thebas Alia 8
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