How to Use Radiant Thinking to Maximize T H E Your Brair ntapped PotentialMind Map fT am concerned about having too much to say or what to cover in a speech, I organize it by Mind Mapping the mi —Dr. Ken Blanchard, co-author of The One-Minute Manager Mind Map Book will do for the brain what Stephen Hawking’s A Brief History of Time did for the universe.” —Raymond Keene, 0.B.E., Chess Grandmaster, Mind Sports Correspondent, Times (London) “Luse Mind Maps!” —Anthony Robbins, author of Awaken the Giant Within “More than a few serious minds out there are paying attention.” —International Herald Tribune ‘he use of Mind Mapping is an integral part of my quality ‘This program has provided savings of over $10 million this year for my orga- on (ten tim —Dr. Mike Stanley, Director of Special Projects, Boeing With 84 illustrations in full color and 44 in black and white UNLEASH AND HARNESS YOUR MIND’S UNTAPPED RESOURCES WITH THIS REVOLUTIONARY NEW PROGRAM FROM USD Oe se MON aOn EXPERT AND AUTHOR OF USE BOTH SIDES OF YOUR BRAIN ISBN 0-525-93906-0 | | | | 7805; 25939047" 9 9Foor lint is supor:bio-vompiiter Bhat divaricony achine on the market. If you understand how it works and how to work with it, you ean employ and enjoy astonishing powers of learning, memory, concentration, and creativity in planning and structuring thought on all levels, Now, in The Mind Map Book, Tony and Barry Buzan have provided a comprehensive operating man- ual for all who want to use their brains to their fullest potential ‘Mind Mapping and Radiant Thinkiing, the revolu- tionary new method of accessing heretofore untapped intelligences, was developed by world-famous brain- power expert Tony Buzan by analyzing original break- through scientific insights into the workings of the brain. Iisa process currently used with extraordinary success by multinational corporations, leading univer- sities, champion athletes, and outstanding artists. The Mind Map Book is the only book that both explains the fundamental operation of the brain in terms of its thinking processes and explains how to unleash and harness its power. This remarkable book clearly and concisely describes how your brain actually stores and processes all the information that pours into it. Then, with the aid of vivid diagrams and exciting, easy-to-follow exercises, it shows you precisely how to: ® mirror and magnify your brain’s pattern of percep- tion and association in the way you learn, think, and create...and have it serve as the tool you need to suc- ceed in business as well as in school, in the studio, in sports, in your love life and other relationships % quickly master the right way to take notes, organize a speech, a writing assignment, a report ® join with others to pool thinking productively, memorize a mammoth amount of data, free your ideas to grow and expand constantly in depth and dimension (continued on beck fap)(continued fom eon flap) On another level, you will see how the great thinkers scientists, and artists of the past and present have lized the principles of Mind Mapping and Radiant Thinking. Include », are fascin ase histories of ordinary men and women, young and old, who have vaulted to achievements previously beyond their reach. Through this world-acclaimed program you will gain the information, the instruction, and the inspiration to make what has worked so well for so many work for you. From the moment you open The Mind Map Book you will know it is not a book that merely read: it demands to be used, Tony Buzan, the leading author- ity on the brain and learning tech niques, is Chairman of the Brain Foundation. An international media personality, founder of the Brai y, and the originator of Mind Maps, he is the author of fifteen books, including Use Both Sides of Your Brain, Use Your Perfect Memory. and Speed Reading (all available in Plume editions), He is also an Olympic coach, Barry Buzan is Professor of International Studies at the Uni- versity of Warwick and a Project Director at the Centre for Peace and Conflict Researeh in Copenhagen Jacket design and illustration by Robert uf Vieq Dt Cumptieh Black and white jacket photograph by Tsizo Tashiro/Photoniea DUTTON Fay rent Penguin usa 375 Hudson Street, New York, N.Y. 10014 Saud Printed in US.A. SaPhelpTHE MIND MAP BOOK“a THE ee MIND MAP BOOK’ | How to Use Radiant Thinking to Maximize _ Your Brain’s Untapped Potential by Tony Buzan with Barry Buzan A DUTTON BOOK CU ra cae OR eRe areaWe dedicate this book to the expanding freedom of human intelligence DUTTON Published by the Penguin Group Penguin Books USA Ine., 375 Hudson Street, New York, New York 10014, U.S.A. Penguin Books Lid, 27 Wrights Lane, London W8 STZ, England Penguin Books Australia Lud, Ringwood, Victoria, Australia Penguin Books Canada Ltd, 10 Alcorn Avenue, Toronto, Ontario, Canada MAV 3B2 ‘Penguin Books (N.Z.) Ltd, 182-190 Wairau Road, Auckland 10, New Zealand Penguin Books Lid, Registered Offices: Harmondsworth, Middlesex, England Published by Dutton, an imprint of Dutton Signet, a division of Penguin Books USA Inc. Published by arrangement with BBC Books, a division of BBC Enterprises Limited. First Dutton Printing, September, 1994 W9876S8321 (Copyright © Tony Buzan and Barry Buzan, 1993, All rights reserved LIBRARY OF CONGRESS CATALOGING-N-PUBLICATION DATA Buzan, Tony. “The mind map book : how to use radiant thinking to maximize your brain's ‘untapped potential Tony Buzan, with Barry Buran. ISBN 0:525.93904-0 L Intellect. 2.Brain. 3. Thought and thinking. 1. Buzan, Barry. Il. Title. BF431.B883 1994 153.4—de20 9415644 cP. Printed inthe United States of America Setin Plantin Designed by Sara Kidd Artwork by Julian Bingley Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, oF transmitted, in any form, or by any ‘means (electonie, mechanical, photocopying, recording, or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book. PuOTOGRAPH, PAGE 2: Natural Archtectne Plate IACKNOWLEDGEMENTS n would like to thank the following for providing photographs and for jon to reproduce copyright material. While every effort has been made and acknowledge all copyright holders, we would like to apologise there have been any errors or omissions. van Amsterdam page 300 Planck-Institut, Dortmund, ), 122, 167 (both, B. Jones and M. 6k), 187 and 222 (both, N. A. Callow); Dr ‘Nicholson/Sigma Chemical Co. page 134; smn University Library, Evanston, s, USA Special Collections Dept. page 299 9: Oxford Scientific Films pages 62 K. G, Vock), 70 (Animals Animals! p78 (HL. Taylor), 95 (Animals Animals! J. Lemke), 118 (T. Tilford), 142 (R. Jackman), 151 (P Henry), 179 (T. Heathcote), 247 (S. Hauser) and 254 (J. Watts); Royal Collection © 1993 Her “Majesty the Queen pages 41 (botiom) and 301 (bottom); Royal Observatory Edinburgh and Anglo-Australian Telescope Board (D. F. Malin) pages 2-3; Science Museum, London page 2975 ‘Science Photo Library pages 30 (K. Kent), 42 J.C. Revy), 55 (A. Smith), 135, 155 (S. Moulds), 203 (NASA), 218 (J. Burgess), 234 (K. Kemt), 263 (Acroservice), 275 (J. Burgess) and 282 (M. Kage): Dr M, Stanley/Boeing page 171; Syndies of Cambridge University Library pages 295, 298 and 304; Tate Gallery, London page 303 (top); UPLBertmann pages 296 (10p) and 303 (bottom); Witt Library, Courtauld Institute of ArtMoraveké Galerie, Brno page 299 (top lef). technical reasons all but four of the Mind Maps in this book have been :d below. ‘Adam, page 143; Tony Bigonia, Richard » Matthew Puk, John Ragsdale, Chris ach, Thomas Spinola, Thomas Sullivan, Williams, page 171 (top); Claudius Borer ), page 119; Douglas Brand, page 227; Brown, page 106; Barry Buzan, page 226; ‘Buzan (sketches) page 73, Mind Maps pages 194 (original), 198 (original), 244, 258, 259 Pan Collins, page 146; Lynn Collins and Ayre, page 207; Kathy De Stefano, page page 219; Lana Israel, page 242; Jean-Luc Kastner, page 271; Raymond Keene OBE, page 259; Donna Kim and family, page 202; Charles La Fond, page 230; B. H. Lee, page 270; James Lee, page 215 (bortom); Jim Messerschmitt and Tony Messina, pages 266 and 268; Jonathan Montagu, page 290; Katarina Naiman, page 214 (Gortom), Vanda North, pages 126 and 239; Karen Schmidt, page 214 (op); Jan Pieter Six, page 262; Lars Soderberg, page 231; Norma Sweeney, page 1625 Sheikh Talib (ovina), page 2915 Nigel “Temple, page 263; Tessa Tok-Hart, page 186; Lady Mary Tovey, page 246; Graham Wheeler, page 227; Benjamin Zander, page 163 ‘The authors ofthe Mind Maps on pages 178 and 251 prefer not o be named, he authors would also like to offer their special thanks to Dr Stanley and ing for allowing the reproduction of Dr Stanley in front of his Mind Map erpiece! (See page 171.)APPRECIATION We would like to express once again our great appreciation and enormous thanks to: our parents, Gordon and Jean Buzan, for launching us on this incredible journey, and especially to Mum for the depth of caring and days of work she has contributed to the preparation of this manuscript; Vanda North, our External Editor, who put in as much work in helping us with The Mind Map Book as most authors do in writing their own creations; Lorraine Gill, the artist, for her profound insights into the importance and nature of seeing, the image, and the relationship of art to the brain, memory and creativity; Deborah Buzan for sus- tained encouragement and support over the many years of this project; Michael J. Gelb for his persistent and impassioned support of us, this book, and a Mind ‘Mapping World; our friends who spent so much time both reading and helping us with the various drafts ~ Paul Collins, who among many other things helped us realise that a quantum leap was a small onel; Judy Caldwell, who was able to criticise in the true sense of the word, firing us with enthusiasm as she did so; John Humble, whose support for the concept of Mind Mapping over the years has provided a constant emotional strength; Sean Adam, for his enormous personal support, his 10-year commitment to the project and his consistent friendly cajoling of Tony to ‘get that book out’; George Hughes, the first to apply success- fully the Mind Map Family Study Technique; Edward Hughes, who applied Radiant Thinking and Mind Mapping to ‘ace’ Cambridge University; Peter Russell, the Brain Book man, for his continuing support; Geraldine Schwartz, who has done so much to help nurture the concept; Phyllida Wilson for regularly finding her way through the most complex of mazes while wrestling with the typing of this book; Tony’s office staff — Carol Coaker, Kate Morrell and Lesley Bias — for keeping all systems going throughout the creation of The Mind Map Book, and for their Mind Map contributions to the work; my entire BBC team: Nick Chapman, Director of Consumer Products, Chris Weller, Head of Book Publishing, Sheila Ableman, Joint Head of Editorial, Deborah Taylor, Project Editor, Kelly Davis, Copy Editor, Kate Gee, Production Controller, Sara Kidd, Designer, and Jennifer Fry, Picture Researcher, for putting their hearts and souls into the project; Martin and Alison Cursham, who provided the summer respite that helped initiate the work; Caro, Peter, Doris, Tanya and Julian Ayre for pro- viding support, sustenance, and the beautiful home and grounds of Greenham Hall, where much of this was written; the Foley Family, for providing a home and work area of exquisite quality; Peter Barrett who was the first to develop a valid Mind Map computer software; and to all Mind Mappers, radiant thinkers and members of the Brain Club who have supported and inspired us. 6OUT THE AUTHORS 3 the originator of Mind Maps™, the President of The Brain under of The Brain Trust and the Brain Clubs, and the creator of Mental Literacy. in 1942, Tony Buzan graduated from the University of (964, achieving double Honours in Psychology, English, ‘General Sciences. In 1966 he worked for the Daily also editing the International Journal of MENSA (the ‘authors, he has published 14 books (13 on the one volume of poetry). His books (which in, Use Your Perfect Memory, Make the Most of | Training) have now been published in fifty ‘twenty languages. His classic book Use Both Sides de sales ofa million, and is a standard intro- IBM, General Motors, EDS, Fluor Daniel, ‘and for students of the Open University. ; become an international media star featuring in, presenting ng many satellite broadcasts, television, video and radio pro- s, both national and international, including the record-breaking Use 'series (BBC TY), the Open Mind series (ITV), The Enchanted Loom feature documentary on the brain), and numerous talk shows. His videos are MindPower, distributed by BBC Video, which teaches the of Mind Mapping for business use, and which won a top award at the ‘for Kids’, presented by Tony Buzan and Lana Israel. advisor to government departments and multinational organisations BP, Barclays International, Digital Equipment Corporation, Elec- ‘Data Systems, Hewlett-Packard, and IBM), and is a regular lecturer to international businesses, universities and schools. Among members of Young Presidents’ Organisation he has become affectionately known as ‘Mr He is Founder of the Memoriad, the World Memory Championships, Founder of the Mind Sports Olympiad, the ‘Mental Olympic Games’ ch of his work is devoted to helping those with learning disabilities. He is holder of the world’s highest ‘creativity 1Q’ Buzan is an advisor to international Olympic coaches and athletes and British Olympic Rowing Squad as well as the British Olympic Chess 7THE MIND MAP BOOK Squads. He is an elected member of the International Council of Psychologists and a Fellow of the Institute of Training and Development. He is a Member of the Institute of Directors, a Freeman of the City of London, and is also a Patron of the Young Entrepreneurs’ Societies of both Cambridge and Bristol Universities. Adding to his list of honours, including the YPO Leadership Award, was his recent recognition by EDS with the Eagle Catcher Award — given to those who attempt the impossible and achieve it! Barry Buzan Barry Buzan is Professor of International Studies at the University of Warwick, and a Research Director of the Centre for Peace and Conflict Research in the University of Copenhagen. He was also Chairman of the British International Studies Association 1988-90. He took his first degree at the University of British Columbia (1968), and his doctorate at the London School of Economics (1973). He has been extensively engaged in using and developing Mind Maps since 1970, and has been working with Tony Buzan on The Mind Map Book since 1981. In his academic work, he specialises in the history and structure of the international system as a whole. He is therefore necessarily a generalist, with a broad knowledge of world history, politics, economics, science and sociology. He has written and lectured widely on the conceptual aspects of international security, on international relations theory, and on regional security in Europe, Southern Africa, South Asia, Southeast Asia, Northeast Asia, and the Midlle East, He has been described by Lawrence Freedman as ‘one of the most interesting theorists of contemporary international relations’. ‘Throughout his academic career Barry Buzan has used the Mind Map as a tool for grappling with massive and complex subjects, for preparing and giving academic and public presentations, and for planning and writing articles, Papers and books. His previous publications include: Seabed Politics (1976), People, States and Fear: The Navional Security Problem in International Relation. (1983, revised 2nd edition 1991); South Asian Insecurity and the Great Poses (1986, with Gowher Rizvi and others); An Introduction to Strategic Studies Military Technology and International Relations (1987); The European Securicy Order Recast: Scenarios for the Post-Cold-War Era (1990, with Morten Kelstrup, Pierre Lemaitre, Elzbieta Tromer and Ole Waever); The Logic of Anarchy (1993, with Charles Jones and Richard Little; and Identity, Migration and the New Security Agenda in Europe (1993, with Ole Waever, Morton Kelstrup and Pierre Lemaitre).CONTENTS n- The Mind Map Book and How to Use It SION 1 NATURAL ARCHITECTURE The Amazing Brain ‘The Great Brains Brains in Quandary Radiant Thinking The Way Ahead Brainstorming Words Brainstorming Images From Brainstorming to Mind Mapping ‘Mind Mapping ISION3 STRUCTURE Chapter 10 The Guiding Principles Chapter 11 Developing a Personal Style SION 4 SYNTHESIS Chapter 12 Making Choices Chapter 13 Organising Your Own Ideas Chapter 14 Organising Other People’s Ideas _ Chapter 15 Memory Chapter 16 Creative Thinking Chapter 17 The Group Mind Map ane 16 24 26 39 43 53 59 63 63 71 79 83 OL o1 115 123 123 132 139 147 153 165THE MIND MAP BOOK DIVISION 5 USES Section A = Personal: Chapter 18 Self-Analysis Chapter 19 Problem-Solving Chapter 20 The Mind Map Diary Section B - Family: Chapter 21 Family Study and Story-Telling Section C - Educational: Chapter 22. Thinking Chapter 23 Teaching Chapter 24 Creating the Master Mind Map Section D - Business and Professional: Chapter 25 Meetings Chapter 26 Presentations Chapter 27 Management Chapter 28 Computer Mind Mapping Section E - The Future: Chapter 29 Towards a Radiant Thinking and Mentally Literate World DIVISION6 ADDENDA Notes by the Great Brains Quiz Answers to Natural Architecture Plates Quiz Answers to Great Brains Quiz Also by Tony Buzan Bibliography Index 175 176 183 191 283 312 317FOREWORD 1: In my second year at university, I strode purposefully into the library, ked the librarian where I could find a book on my brain and how to use he immediately directed me to the medical section of the library! hen I explained that I did not wish to operate on my brain, but to use it, T olitely informed that there were no such books. eft the library in astonishment. e others around me, I was going through the typical student’s ‘pilgrim’s the slow realisation that the volume of academic work is increasing it the brain is starting to buckle under the strain of all the thinking, y, memory, problem-solving, analysis and writing required. Again, like Thad begun to experience not only diminishing returns but accelerating wns. The more I took notes and studied, the worse, paradoxically, I to do! logical progression of either situation led me to catastrophe. If I cut my studying, I would not absorb the appropriate information and would ntly do progressively badly; if I were studying harder, making more es, putting in more time, I was similarly spiralling into failure. he answer, I assumed, must lie in the way I was using my intelligence and aking skills — thus my visit to the library. is I walked away from the library that day, I realised that the ‘problem’ of ng able to find the books I needed was actually a blessing in disguise. the most staggering importance. to study every area of knowledge I felt would help shed light on the do I learn how to learn? is the nature of my thinking? are the best techniques for memorising? rare the best techniques for creative thinking? hat are the best current techniques for reading? What are the best current techniques for thinking in general? there a possibility of developing new thinking techniques or one master ique? a consequence of these questions, I began to study psychology, the sro-physiology of the brain, semantics, neuro-linguistics, information theory, mory and mnemonic techniques, perception, creative thinking and the sciences. Gradually I realised that the human brain functioned more uTHE MIND MAP BOOK effectively and efficiently if its various physical aspects and intellectual skills ‘were allowed to work harmoniously with each other, rather than being divided, The tiniest things produced the most significant and satisfying results, For example, simply combining the two cortical skills of words and colours trans. formed my note-taking. The simple addition of two colours to my notes improved my memory of those notes by more than 100 per cent, and perhaps even more importantly, made me begin to enjay what I was doing. Little by litle, an overall architecture began to emerge, and as it did, I began {p coach, as a hobby, pupils who had been described as ‘learning disabled’, ‘hopeless’, ‘dyslexic’, ‘backward’ and ‘delinquent’. All these so-called ‘failures. very rapidly changed into good students, a number of them rising to the top of their respective classes. One young gitl, Barbara, had been told that she had the lowest IQ her school had ever registered. Within a month of learning how to learn, she raised ner 1Q to 160, and eventually graduated as the top student from her college. Pat, a young American of extraordinary talent, who had been falsely categorised as learning disabled, subsequently said (after having shattered a number of cre. ativity and memory tests), ‘Iwasn't learning disabled; Iwas learning prpRivep! By the early 1970s artificial intelligence had arrived and 1 could buy a megabyte computer and with that computer I could receive a 1,000-page Cperating manual. Yet, in our supposedly advanced stage of civilisation, we Were all coming into the world with the most astoundingly complex bio. Computer, quadrilions of times more powerful than any known computer, and where were our operating manuals?! It was then that I decided to write a series of books based on my research: An Encyclopedia of the Brain and Irs Use. 1 started in 1971, and as I did so the image on the horizon became ever clearer ~ it was the growing concept of Radiant Thinking and Mind Mapping. In the early stages ofits development, I envisaged Mind Mapping being used Primarily for memory. However, over months of debate, my brother Barry Convinced me that creative thinking was an equally important application of this technique. Barry had been working on the theory of Mind Mapping from a very different Perspective, and his contribution enormously accelerated my development of the Mind Mapping process. His own story is an intriguing one, and is best told by himself. 12FOREWORD ntersected with Tony’s idea of Mind Maps in 1970, shortly after I in London. At that time, the idea was in its formative stages, to take on an identity of its own, as distinct from mere taking. It was just one part of Tony’s broader agenda of learning understanding of the human brain. As a sometime participant in tk, Iwas on the fringes of this developmental process. My own serious ment with the technique began when I started to apply it to the business. ag a doctoral thesis. ated political question of why peace movements almost always sir stated objectives. My experience was that Mind Maps were ‘tool for thinking because they enabled me to sketch out the ‘see quickly and clearly how they related to each other. ly committing words to paper. of bridging the gap between thinking and factor in success or failure for my fellow post- ed to bridge this gap. They became more and ‘tesearch subject but less and less able to pull write about it. comps advantage. It enabled me ‘without going thtough the time-consuming , By separating thinking from writing, I was - When it was time to start writing, I a firm sense of direction, and this made the enjoyable. I completed my doctorate in under s, and also had time to write a chapter for another then edit, a new quarterly journal of international or of the student newspaper, take up motorcycling, ‘@ Mind Map with my wife-to-be to compose our cause of these experiences, my enthusiasm for the creative technique grew. remains a central element in my whole approach to academic as made it possible for me to sustain an unusually high output of icles and conference papers. It has helped me to remain a generalist here the weight of information forces most people to become also credit it with enabling me to write clearly about theoretical € complexity all too often inspires incomprehensible prose. Its 13THE MIND MAP BOOK impact on my career is perhaps best refiected in the surprise with which I am frequently greeted when first meeting people: ‘You are much younger than I expected. How could you have written so much in such a short time?” Having experienced the dramatic effect of Mind Mapping on my own life and work, I became a propagandist for the particular importance of creative thinking within the broader range of applications that Tony was developing. At the end of the 1970s Tony decided that there should be a book about Mind Mapping, and we discussed how I might participate in this project. In the intervening decades we had developed very different styles, From his teaching and writing work, Tony had worked out a very wide range of appli- cations, had begun to link the technique to brain theory, and had worked out many of the rules of form. As an academic writer, I had ploughed a much narrower furrow. My Mind Maps incorporated only a few elements of form, almost no colour or image, and evolved a rather different basic architecture. I used them almost exclusively for writing projects, though I increasingly, and with great benefit, took them up for lecturing and management tasks. I learned how to think deeply over long periods, using Mind Maps to structure and sustain large research projects. There were’several reasons why we wanted to collaborate on this book. One was the thought that by synthesising our two understandings, we would produce a better book. Another was that we shared a profound enthusiasm for Mind Maps, and wanted to make them more widely available to the world. A third reason was the frustration I had experienced when trying to teach some of my students the technology of Mind Mapping. Several unsuccessful attempts convinced me that Tony was right when he said that people needed to be taught not just a technique but also how to think. I wanted a book that I could give to people and say: ‘This will teach you how to think and work as I do? ‘The working process that ensued has been very long. It has taken the form of a sustained dialogue at regular but infrequent intervals in which each of us has tried to bring the other to a full understanding of his own ideas. About 80 per cent of the book is Tony’s: all the brain theory, the linkage of creativity and memory, the rules, much of the technique, nearly all the stories, and all the linkage to other research. His also is the prose, for he did nearly all the drafting, My main contributions were in the structuring of the book, and the argument that the real power of Mind Maps is unleashed through the use of Basic Ordering Ideas. Beyond that, I played the role of critic, foil, nag, support and co-idea-generator. It took a long time before we fully understood and appreciated each other's insights, but eventually we reached an almost complete consensus. Although 14FOREWORD » joint writing can sometimes produce a book that has juch more range depth than either author could have achieved alone. This is such a work. As Barry has stated, we have practised what we preached, and preached we practised, in that we have used the Mind Map itself to write The Map Book. Over a period of 10 years, we have composed individual instorming Mind Maps, and then met and interlinked our two sets of ideas. deep discussion, we have incubated and blended the next set of ideas, time observing natural phenomena, individually Mind Mapped our tions of the next stage, and once again met in order to compare and on. Mind Map of the complete book generated the individual Mind Maps the chapters, each Mind Map forming the basis for the text of that chapter. process has given new meaning to the word ‘brother’, and especially to word ‘brotherhood’. Even as we were writing about it, we realised that we had created a group mind that contained all the elements of our vidual minds as well as the explosively synergetic results of their meeting. We hope that The Mind Map Book gives you the same thrill of discovery, itement in exploration, and sheer delight in the creative generation of ideas communication with the universe of another human being that we have ves experienced.INTRODUCTION The Mind Map Book and How to Use It Preview © Purposes of The Mind Map Book @ Organisation of divisions e Organisation of chapters @ Doing the exercises e Levels of Mind Map knowledge @ Feedback The Mind Map Book and you PURPOSES OF THE MIND MAP BOOK This book is designed as an adventure to entice, delight, stimulate and challenge you. You will discover some astonishing facts about your brain and its function, and will take your first major steps on the path to freedom of mind. The Mind Map Book has five main purposes: 1 To introduce you to a new concept in the development of thought ~ Radiant Thinking. 2 To introduce you to the new tool that allows you to use Radiant Thinking to best advantage in all aspects of your life ~ Mind Maps. 3 To give you a profound intellectual freedom by demonstrating that you can control the nature and development of your thinking processes, and that your ability to think creatively is theoretically infinite.HOW TO USE THIS BOOK To give you practical experience of Radiant Thinking, and in so doing raise significantly the standard of many of your intellectual skills and jigences. ‘To give you a sense of excitement and discovery as you explore this new erse. IRGANISATION OF DIVISIONS 0 accomplish these goals, the book has been arranged in six major divisions: Natural Architecture this division you are introduced to the most up-to-date information about human brain, its design, architecture and function. You are shown that of the great thinkers of history (referred to in this book as the Great s) used skills that are available to everyone. You are then shown why, fe this, more than 95 per cent of people experience major problems in ch areas as thinking, memory, concentration, motivation, organisation of eas, decision-making and planning. emonstrating how each is a natural offshoot of the brain’s fundamental struc- and how each can improve dramatically your mental performance. Foundations 1¢ Foundations division guides you through the practical applications of the of the left and right hemispheres of your brain, demonstrating how you mn use each separately, and how you can then combine them in specific ways multiply dramatically the advantages you get from using your brain. The esult is the complete Mind Mapping technique (explained in chapter 9). Structure in this division you are given the complete set of laws and recommendations using Radiant Thinking and Mind Mapping to best advantage. These laws nd recommendations are designed to increase the precision and freedom of thinking.‘THE MIND MAP BOOK In conjunction with this advice on how best to do a Mind Map, you are given guidance and encouragement to develop your own personal style of Mind Mapping. 4 Synthesis The Synthesis division gives you an overview of all the different intellectual tasks you can successfully tackle with Mind Maps. These include: making choices (decision-making), organising your own ideas (note-making), organ- ising other people’s ideas (note-taking), creative thinking and advanced brain- storming, improving memory and imagination, and creating a group mind. 5 tee The Uses division is your menu of Mind Map applications. This is itself sub- divided into: © Personal ¢ Family ¢ Educational Business and Professional The Future ‘These headings represent the areas in which Mind Maps are most frequently used. In each area you will learn a full range of specific and practical Mind Mapping skills. These are designed to give you a comprehensive tool kit for your intellectual life and work. Specific applications include self-analysis, problem-solving, memory, essay-writing, management and meetings. The div- ision ends with the first-ever introduction of computer-Mind Maps and a glimpse of a mentally literate future. 6 Addenda This division has been included as a back-up for all that has gone before, and also for your amusement and entertainment. Consequently you will find information, which is given on the Natural Architecture Plates and Notes by the Great Brains, presented as straight data or, alternatively, as quizzes. 6.1 Notes by the Great Brains Quiz This is a collection of 17 notes ftom 14 of the world’s great thinkers selected from the fields of art, science, politics and literature. To make this a quiz, oppostte: Natural Architecture Plate 2 = 18THE MIND MAP BOOK examine each note and attempt to identify its creator. The highest score on this quiz at the time of going to press was seven out of 17 — see if you can beat it! (For the answers to this quiz, see page 307.) 6.2 Natural Architecture Plates Throughout the book you will find images taken from the animal, vegetable, mineral and conceptual worlds which demonstrate nature’s architecture. These have also been arranged as an optional quiz. The object is to see if you can recog- nise nature’s maps, each of which mirrors in its own special way the structure and thinking patterns of your brain. At the time of going to press, the highest score in this quiz was 15 out of a possible 31. (See page 305 for the answers.) 6.3 Brain Foundation information For those who wish to continue their study of the brain, this section includes details of books, training courses, video tapes and audio tapes, as well as the Mind Map Kit, the Universal Personal Organiser, and other Buzan products. You can also find out how to join the Brain Club, an international organisation designed to promote Mental Literacy and help you increase your mental, physical and spiritual awareness. 6.4 Bibliography ‘The Bibliography includes novels, popular science and more traditional scien- tific volumes on the brain. It also mentions a number of research papers, should you wish to go further into this endlessly fascinating subject. ORGANISATION OF CHAPTERS 1 Chapter design Each chapter in The Mind Map Book contains the following main elements: a natural architecture plate shows an image from the natural world reflecting Mind Map and Radiant Thinking forms a preview of the chapter content a foreword introducing the main thrust of the chapter @ the chapter itself ¢ an onword, linking each chapter with the next. 20HOW TO USE THIS BOOK d text ‘The Mind Map Book you will find es our students have repeatedly as! d especially helpful in their learning. boxed areas in the text. These Jked us to emphasise, as they tart of a paragraph indicates the beginning of provided to show why it is so ade throughout The Mind Map the book a { at the st text in which research stories are to follow the recommendations m: THE EXERCISES a new dimension of understanding and expertise if you do the ‘ed in The Mind Map Book. These take the form of quizzes, or _ It is best to use a Mind Map pad (a blank white , good-for-writing felt-tip pens, four or more bright Shters, and a standard writing pen. by post (see pages 308-1 1). will be able to make full use of your Radiant abilities, and will learn these new techniques . Another advantage of following the recommended ‘Map pad becomes a visual record of your progress. D MAP KNOWLEDGE ur level of knowledge concerning Mind Maps, tbe to browse through the book fairly rapidly, scanning its those areas that will be of particular interest to you, and -your initial goals. ‘your approach will differ according to your level of knowledge and your initial had either no experience with continue by reading The Mind h this, see re a beginner, meaning that you have 1s or only the slightest acquaintance, as a study text, For a succinct summary of how to approacl a 2THE MIND MAP BOOK Chapter 14, pages 139-144. (For a fuller explanation of the study technique, see Use Your Head, 1989 edition, Chapter 9.) 2 Intermediate students If you are an intermediate, meaning that you have some knowledge of Mind Maps and have started some form of basic application, once again use the study technique. Try to perfect your technique in the light of this book, as well as pursuing your specific goals from the Mind Map Menu in Division 5 (Uses). 3 Advanced students If you are advanced, meaning that you have considerable experience with Mind Maps, you are advised to concentrate more on the first three divisions, focusing on those areas where either you need more in-depth knowledge, or where the information is new to you. Then scan Division 5 (Uses) in order to reinforce, refine and supplement your existing skills. ‘Whatever your level, we encourage you to construct ~ either during or after reading The Mind Map Book - a Master Mind Map of the entire book. FEEDBACK The Mind Map Book will always be a work-in-progress. As such, we would enormously appreciate your feedback in many ways: 1 Stories Any stories you have, or indeed stories of friends or acquaintances who have been able to use Mind Mapping in some notable or extraordinary way. 2 Research If you are aware of any research, experiments or studies that support any of the points we make in this book, please do let us know, care of the Buzan Centres (see pages 308-1 1), with references that are as detailed as possible. 3 Additions If there are any general additions, new chapters, or even new divisions that you would like to see incorporated in future editions, please let us know. a 22 eeeHOW TO USE THIS BOOK Great Brains’ Notes -need as many examples as we can get! ExercisesiGames yourself have developed, or know of other people who have developed, ercises or games that can enhance the development of Mind Mapping tech- ,, please send us an outline. Mind Maps rly, if you have superb examples of Mind Maps that could go into future , please send originals or coloured photocopies for our consideration. Bibliography are other books or research papers you think are useful, please send us tion details. [E MIND MAP BOOK AND YOU. fu who now read these words are doing so with your own unique personality uniquely developed set of learning skills. You will therefore progress at a and rhythm particularly suited to you. In the light of this, it is important you measure yourself primarily against yourself. The examples contained The Mind Map Book should be used not as standards that must be ined but as beacons to guide you towards your goal. When you have completed The Mind Map Book we recommend that you it again rapidly. This ‘after completion reading’ will be like meeting an old again, and will give you a knowledgeable reader’s enhanced perspective neach of the developing segments.DIVISION 1 NATURAL ARCHITECTURE Whoever, wherever, you are, you are using — to read these words — the most beautiful, intricate, complex, mysterious and powerful object in the known universe: your brain. We are, as an evolutionary model, a mere 45,000 years old, and we now stand on the brink of a revolution that will change the course of human development. For the first time in the three and a half million year history of human intelligence, that very intelligence has realised that it can understand, analyse and nurture izself. By applying itself to itself it can develop new ways of thinking that are far more flexible and powerful than the traditional modes of thought currently in use throughout the world. Only during the last few centuries have we begun gathering information about the structure and workings of our brains. As excitement about what we find gains momentum, so does the number of papers and articles published on the subject, Indeed it has been calculated that in the last 10 years we have accumu- lated as much as 95 per cent of all information ever gathered about the human brain. Although still a very long way from a complete understanding (we are increasingly aware that what we do know is only a tiny fraction of what there is to be known), we now know enough to change, for ever, our view of others and ourselves. What then are these discoveries and what are the answers to the following questions? 24NATURAL ARCHITECTURE What are the component parts of our brains? How do we process information? What are the brain’s main functions? How are the skill centres distributed through the brain? How do we learn and what do we recall most easily? Is the human brain fundamentally a pattern-making and pattern-secking What are the techniques used by those extraordinary yet normal people who have been able to remember so much more than their peers? Why are so many people in despair over the capacity and function of ir brains? What is the natural and appropriate way to think? 0 What is the natural and appropriate expression of human thought? sion 1 answers all these questions, introducing you to the amazing natural hitecture of your brain on both the cellular and macro levels, and to the jor principles of brain function. You are shown how the Great Brains used ls that are available to everyone, and why it is that 95 per cent of people are lissatisfied with their mental functioning. In the final chapters of this division you are introduced to the new, brain-based mode of advanced thought: Radiant Thinking, and its natural expression, the Mind Map. 25CHAPTER 1 THE AMAZING BRAIN Preview e Foreword © Modern brain research © The psychology of. learning — remembering © Gestalt ~ wholeness @ The brain as a Radiant Thinking Association Machine ¢ The development of the history of human intelligence @ Onword FOREWORD This chapter takes you on a Concorde-flight overview of the latest bio- Physiological and neurophysiological research into that amazing bio-computer - the human brain. You will discover how many brain cells you have, and how they interact in astoundingly complex and sophisticated ways. You will also discover the true nature of your brain’s information-processing systems, and will learn about state-of-the-art research into the left and right hemispheres, As you read about the nature and workings of your memory, and about your brain’s other major functions, you will realise the extraordinary extent of its capacity and potential. MODERN BRAIN RESEARCH The brain cell Te was after studying the brain cell that Sir Charles Sherrington, considered by many to be the grandfather of neurophysiology, was moved to make the fol- lowing poetic statement: _ _ 26 _THE AMAZING BRAIN human brain is an enchanted loom where millions of flashing shuttles weave ing pattern, always a meaningful pattern, though never an abiding one, g harmony of sub-patierns. It is as if the Milky Way entered upon some dance? each human brain there are an estimated one million, million 1000 000 000 000) brain cells. h brain cell (neuron) contains a vast electrochemical complex and a power- ticro-data-processing and transmitting system that, despite its complexity, uld fit on the head of a pin. Each of these brain cells looks like a super- us, with a central body and tens, hundreds, or thousands, of tentacles. we increase the level of magnification, we see that each tentacle is like the of a tree, radiating from the cell centre or nucleus. The branches of in cell are called dendrites (defined as ‘natural tree-like markings or ures’). One particularly large and long branch, called the axon, is the n exit for information transmitted by that cell. ch dendrite and axon may range from a millimetre to 1.5 metres in length, ed dendritic spines and synaptic buttons (see overleaf). ving further into this super-microscopic world, we find that each dendritic ptic button contains bundles of chemicals which are the major mes- ers in our human thinking process. dendritic spine/synaptic button from one brain cell will link with a synaptic chemicals ‘slot into’ the receiving surface, creating an impulse that Isthrough the receiving brain cell from whence it is directed to an adjoining cell (see illustration detail, page 31). gh simply illustrated, the cascade of biochemical information that across the synapse is awe-inspiring in its volume and complexity. It is, smic terms, a Niagara Falls. brain cell may receive incoming pulses from hundreds of thousands of g points every second. Acting like a vast telephone exchange, the cell : A single one of the brain’s million million (1000 000000000) brain cells, dem- onstrating a radiant natural architecture. 27THE AMAZING BRAIN ntaneously compute, microsecond by microsecond, the sum data of information and will redirect it along the appropriate path. Ja given message, or thought, or re-lived memory is passed from brain cell cell, a biochemical electromagnetic pathway is established. Each of yeuronal pathways is known as a ‘memory trace’. These memory traces maps are one of the most exciting areas of modern brain research brought us to some startling conclusions. time you have a thought, the biochemical/electromagnetic resist- ce along the pathway carrying that thought is reduced. Its like trying ar a path through a forest. The first time is a struggle because you to fight your way through the undergrowth. The second time you el that way will be easier because of the clearing you did on your journey. The more times you travel that path, the less resistance will be, until, after many repetitions, you have a wide, smooth which requires little or no clearing. A similar function occurs in brain: the more you repeat patterns or maps of thought, the less ce there is to them. Therefore, and of greater significance, repe- in itself increases the probability of repetition. In other words, the more a ‘mental event’ happens, the more likely it is to happen again. eturn to the forest analogy, repeated use keeps the track clear, thus raging further ‘traffic’. The more tracks and pathways you can create and ‘clearer’, faster and more efficient your thinking will become. The ies of human intelligence can, in many ways, be related to the brain’s create and use such patterns. winter of 1973, Professor Petr Kouzmich Anokhin of Moscow Uni- de his last public statement on the results of his 60-year investigation nature of our brain cells. His conclusion, in his paper ‘The Forming and Artificial Intelligence’, was as follows: We can show that each of the ten billion neurons in the human brain has a lity of connections of one with twenty-eight noughts after it! If a single has this quality of potential, we can hardly imagine what the whole can do. What it means is that the total number of possible oveRLeAr: Natural Architecture Plate 3 29THE AMAZING BRAIN # ws. Dba op) SLY, a 5 ui > Sa were _ é é : = i iTHE MIND MAP BOOK IMPLICATIONS The vast potential of your associative machinery Consider the fact that every sight, sound, smell, taste or sensation you ever received ~ either consciously or paraconsciously ~ is like a tiny radi centre with millions of associations emanating from it. Now think about trying to note down all these associations, It would be impossible, because every time you noted something you have a thought about what you had noted. That would be another asso which you would be obliged to note down, and so on, ad infinitum. The h brain can make an infinite number of associations; and our creative this potential is similarly infinite. : In the average human brain there are multiple quadrillions of ‘used’ a ations. This vast network may be considered not only as your memory personal reference library, but also as your entire conscious and paraconsci self (see Tony Buzan, Harnessing the ParaBrain). The uniqueness of each individual The fact that individuals share so few common associations for a given word, image or idea means that we are all magically and eerily different from each other. In other words, every human being is far more indi- vidual and unique than has hitherto been surmised. You who are now reading this sentence contain, in your brain, trillions of associations shared by no one else, past, present or future. If we find a unique mineral we call it: ‘a gem’, ‘priceless’, ‘a jewel, ‘invaluable’, ‘precious’, ‘a treasure’, ‘rare’, ‘beautiful’, ‘irreplaceable’, In view of what research has revealed about us, we should start applying these terms to ourselves and our fellow human beings. APPLICATIONS Our extraordinary uniqueness has many benefits. For example, in any brain storming or problem-solving situation, the greater the diversity of ideas the better. Each individual thus becomes an extremely valuable part of the process. 68BRAINSTORMING WORDS vider social context, so-called ‘delinquent’, ‘abnormal’ or ‘eccentric’ may often now be perceived in a new light as ‘appropriate divergence norm, leading to increased creativity’. In this way many apparent iblems may actually turn out to be solutions. ts of these exercises also highlight the dangers involved in viewing groups rather than individuals. Appreciating our uniqueness can help misunderstandings and conflicts, both personal and social. exercises reveal the unlimited power of every human brain, both people and those previously considered to be ‘average’. These jcan therefore liberate billions of people from their self-imposed mental By simply performing the ‘happiness’ exercise described in this nyone can experience an instant explosion in mental power. example of an eight-year-old boy in a deprived area of London who idered to be virtually a moron, both by his teacher and by himself. shad completed the ‘happiness’ exercise I asked him whether he could rther associations for any of the ten words he had written down. He [for a moment, wrote down two, then looked up with the beginnings of in his eyes and asked, ‘Can I keep going” en I said, “Yes,’ he started tentatively, like someone going into the sea for time. Then, with an increasing beat, almost like a drum roll, words Sociations started to pour from him. His entire physical posture was into one of eagerness, energy and happiness, as he filled the page, ating, I’m smart! I’m smart!’ He was right. His education was lacking. erstanding the radiant nature of reality gives us an insight, not only @ the nature of understanding but also the nature of mis- derstanding, and consequently helps us to avoid many of the al and logical traps that bedevil our attempts to communicate. context of this book, brainstorming is the first step towards the Mind These exercises can strengthen and tone your associative abilities in for the full development of Radiant Thinking. fiant Thinking ability of the brain can be applied to the ‘left cortical words, can the same power be applied to the ‘right cortical skilP’ of mn and images? The next chapter explores this question. =z 69 —geek facie _ RRS BE ee Brn ; Os : eeCHAPTER 7 INSTORMING IMAGES power of images ‘Mind Map image exercise discusses recent brain research which has astounded experts world. Together with the practical exercises described here, this POWER OF IMAGES 0 Scientific American magazine published the results of a fascinating nent carried out by Ralph Haber. Haber had shown his subjects a series jotographic slides, presenting one image every 10 seconds. It took nately 7 hours for the subjects to view all the slides, but this viewing divided into separate sessions over a period of several days, An hour last slide had been shown, the subjects were tested for recognition. h person was shown 2560 pairs of slides, in which one slide came from they had seen, while the other came from a similar sct which they seen. On average, the accuracy of their recognition was between 85 5 per cent. g confirmed the unrivalled accuracy of the brain as a receiving, holding oppostre: Natural Architecture Plate 9 nTHE MIND MAP BOOK and recalling mechanism, Haber carried out a second experiment to check! brain’s ability to recognise at speed. In this experiment one slide was every second. The results were identical, indicating that not only does the brain have extraordinary capacity to imprint and recall, but that it can do so, with no of accuracy, at incredibly high speeds. To test the brain even further, Haber conducted a third experiment in wi slides were still presented at the rate of one per second but were all shot mirror images. Again, the results were identical, indicating that even at speeds the brain can juggle images in three-dimensional space with no loss efficiency. Haber commented: “These experiments with visual stimuli suggest that RECOGNITION OF PICTURES IS ESSENTIALLY PERFECT. The results would probably have been the same if we had used 25000 pictures instead of 2500. + Another researcher, R. S. Nickerson, reported in the Canadian Journal Pyychology the results of experiments in which each subject was present with 600 pictures at the rate of one per second, When tested for recogniti immediately after the presentation, average accuracy was 98 per cent! Like Haber, Nickerson expanded on his research, increasing the number pictures from 600 to 10000. Significantly, Nickerson emphasised that each his 10000 pictures were ‘vivid’ (i.e. striking, memorable images like the used in Mind Maps). With the vivid pictures, subjects achieved a recognition accuracy rate of 99, per cent. Allowing for some degree of boredom and exhaustion, Nickerson his colleagues estimated that had their subjects been shown a million pict rather than 10 000, they would have recognised 986 300 — an accuracy rate 98.6 per cent. In his article ‘Learning 10000 Pictures’ in the Quarterly Journal of Experimental Psychology, Lionel Standing commented that ‘the capacity of recognition memory for pictures is almost limitless!” ‘The reason why, to quote the old adage, pictures are ‘worth a thousand words’ 72 4BRAINSTORMING IMAGES ke use of a massive range of cortical skills: colour, form, line, rexture, visual rhythm, and especially imagination ~ a word taken | imaginari, literally meaning ‘to picture mentally’. | therefore often more evocative than words, more precise and ing a wide range of associations, thereby enhancing creative ,. This shows how ludicrous it is that over 95 per cent of imaking is done without the benefit of images. n for this rejection of the image is partly our modern over-emphasis Jas the primary vehicle of information. However it may also be due ple’s (mistaken) belief that they are inéapable of creating images. last 30 years we and others, including the artists Dr Betty Edwards ne Gill, have surveyed opinion in this area. In these experiments as cent of subjects said they had mo visualisation capability, and |per cent believed they had a genetic inability to draw or paint in ther research has shown that anyone with a ‘normal’ brain (i.c. lly or physically damaged) can learn to draw to good art school artistic effort of dominantly right-handed author using right hand. artistic effort of author t2vo hours later, after training, using left hand. 3THE MIND MAP BOOK ‘The reason why so many people assume that they are incapable of creat images is that, instead of understanding that the brain always succeeds thro Continued experimentation, they mistake initial failure for fundamental i Pacity and as its true measure of their talent. They therefore leave to wit and die a mental skill which could have flourished naturally. tn his book Ghosts in the Mind’s Machine, §. M. Kosslyn states that ‘in m of our imagery experiments people definitely improve with practice’, Mind Mapping reawakens this exceptional visualising capacity. Where brain develops its ability to image, so it develops its thinking capacity, i Penceptual abilities, its memory, its creativity, and its confidence, ‘Two widespread and damaging beliefs have led to the modern rejection our visualising skills: 1 ‘That images and colours are somehow primitive, childish, immature irrelevant, 2 That the power to create and reproduce images is a god-given tal dispensed to a tiny minority. (It is in fact a god-given talent bestowed on. everyone!) With a more complete understanding of the human brain, we are beginning realise that a new balance must be established between the skills of the im; and those of the word. In the computer industry this is reflected in the increasing development of machines that allow us to link and manipulate words and ‘images together. On the personal level it has given rise to the Mind Map. MINI-MIND MAP IMAGE EXERCISE The exercise recommended for people wishing to build up their visual ‘mental ‘Ruusculature’ is identical to the ‘happiness’ exercise described in the previous chapter, except that an image is placed in the centre, and on each of the ten branches surrounding the image, the first ten ‘image associations’ are drawn. In an exercise like this, itis essential for people to overcome their inhibitions about drawing ‘bad’ images. No matter how ‘bad’ the initial images may seem, eeBRAINSTORMING IMAGES Example of Mini-Mind Map image exercise (see pages 74-77) 5THE MIND MAP BOOK A good, and recommended, central image to begin with is ‘home’ becauseii provides plenty of opportunities for easy associative image development. Aims of the exercise The aims of this visual association exercise are: 1 To unleash the enormous power of the visual cortex. 2 To enhance the memory’s storing and recalling capabilities through the use of images for emphasis and association. 3 To increase aesthetic pleasure — simple enjoyment of the images them- selves. 4 ‘To break down resistance to the use of images in learning. 5 To aid mental relaxation. 6 To begin to develop the extraordinary powers of visualisation and per ception utilised by great artists/thinkers such as Leonardo da Vinci. Image association in practice Here is an entertaining and exhilarating example of how image association works in practice. A number of adults were joined in a seminar by the five-year-old son of one of the participants. The little boy, Alexander, who was only able to write a few disjointed letters of the alphabet, valiantly and persistently insisted that he join in the exercise. Over the adult protestations, he was finally allowed to join in, Alexander chose the human brain as his central image because he had heard it mentioned so many times during the preceding days. He then began to ‘image aloud” in the following manner. ‘Now, let’s see, what does my brain do?... Ah yes, it asks questions!’ So saying, he drew a rough image of a question mark and immediately continued: ‘Now, what else does my brain do?... Ah yes, it has friends!’ And so saying, — 16 4BRAINSTORMING IMAGES alittle image of two hands holding cach other, and proceeded: my brain do?..? ys “thank you”!’ And so saying, he drew a tiny envelope and h increasing joy and bouncing up and down in his seat with : “What else does my brain do?..” Mummy and Daddy!’ And so saying, he drew a little heart, visual associations without a moment’s hesitation, and with a enton completion. This was a brain working totally naturally — , open and elegantly associative. cise ‘all this information about your inbuilt capacity for image associ- exactly as you did with the word association exercise, creating image for the concept of ‘home’ (or using the one on page the images that spring to mind. ed these two brainstorming exercises using different cortical ‘need to integrate the two worlds of words and images. The next tinues the journey from basic brainstorming to Mind Mapping. 7CHAPTER 8 BRAINSTORMING TO MIND MAPPING g your powers of association tinues the process begun in Chapter 6 with the ‘happiness’ ng on from the Mini-Mind Map stage, this chapter takes you to full Mind Mapping by showing you how to expand any Mini- 9 any size you want. iG YOUR POWERS OF ASSOCIATION p is to extend the original ‘happiness’ exercise, following the same way that your ten original words radiated from the of happiness’, each of these ten words can also radiate its own ociating’ on each of the ten words, connecting the concepts that ‘them with lines and clearly printing single key words on lines which ength as the words, you can begin to build a verbal Mind Map jations like the one on page 80. opposite: Natural Architecture Plate 10 79 =THE MIND MAP BOOK When you look at the illustration you will notice that the original ten have been written in larger letters, and that the lines on which they rest thicker than the secondary ones. This serves to emphasise their significance: the ten key concepts which originally sprang to mind. As you make connections between words in your Mini-Mind Map you be increasing the sophistication and power of your memory. In 1985 Anderson and Parlmutter carried out an interesting experiment memory. They presented the subjects with key central words and asked to generate associations beginning with a given letter. For example, one group was given the key word and letter sequence ‘dog ¢, bone —_m’, A second group was given the sequence ‘gambler — c, bone - ‘The subjects were then tested on the speed with which they generated the w ‘meat’. The people in the first group were faster because the preceding ‘dog’ activated the memory link of ‘dog — bone - meat’. As a result of observations, Anderson and Parlmutter suggest that: ‘Memory works by an activation process, which spreads from word t0 associated word via these links. The extended original ‘Happiness’ exercise, leading to basic verbal Mind Mapping. 80_ FROM BRAINSTORMING TO MIND MAPPING at the illustration opposite. Then expand each of your ten with further associations. Spend 1 minute on each key word ye completed this exercise, you will be at the second, third and on your Mini-Mind Map. At this point you will realise that ever! integrated and expanded your powers of image and word are now ready to express your full range of cortical and mental Map itself. 81CHAPTER 9 MIND MAPPING the full range of your cortical skills tion to hierarchies and categories through the mind of a Mind Mapper, Part 1 jons: through the mind of a Mind Mapper, Part 2 about hierarchies and categories antages of hierarchy categorisation and BOIs ntages of Mind Mapping over linear iking/taking introduces you to techniques for ordering and structuring your the Journey through the mind of a Mind Mapper’ enables you process of Mind Mapping ‘from the inside’. In addition, you will be further evidence of your brain’s infinite linking and creative ESSING THE FULL RANGE OF YOUR AL SKILLS er of the Mind Map is realised by having a central image instead word, and by using images wherever appropriate rather than oppostre: Natural Architecture Plate 11 83THE MIND MAP BOOK words. Combining the two cortical skills of words and images multiplies intellectual power, especially when you create your own images. {In 1989 W. M. Matlin described an experiment showing this. It was carri out by Bull and Whittrock 16 years earlier to discover effects of images learning. Bull and Whittrock asked 9 and 10-year-old children to learn words such ‘brain’, ‘magazine’, ‘trouble’ and ‘truth’. The children were divided into groups. Group 1 read the word and its definition, wrote them down and created their own images of both the word and its definition, The children i Group 2 did the same as those in Group 1, except that instead of creating thet own images they traced a picture. The children in Group 3 simply wrote d the word and its definition over and over again. A week later the children were tested for their recall of the words and th definitions. The children in Group 1, who had created their own images, did far the best, while the children in Group 3, who had done no drawing, did wor This finding supports the argument that the Mind Map is a uniquely appy priate learning tool. It not only uses images, it is an image. ‘The Mind Map harnesses the full range of cortical skills — word, image, number, logic, rhythm, colour and spatial awareness ~ in a single, uniquely powerful technique. In so doing, it gives you the freedom to roam the infinite expanse of your brain. INTRODUCTION TO HIERARCHIES AND CATEGORIES In order to control and apply this vast mental power, you need to struct your thoughts and your Mind Map using hicrarchy and categorisation. first step is to identify your Basic Ordering Ideas (BOIs). Basic Ordering Ideas are key concepts within which a host of other con: can be organised. The term ‘machines’, for example, contains a vast array categories, one of which is ‘motor vehicles’. This in turn generates a la range, one of which is ‘cars’. ‘Cars’ in turn contains a host of types, includi Fords, which can themselves be subdivided into various models. Seen from this perspective, ‘machines’ is a more powerful word than For because it encompasses and potentially structures a huge range of informati “Machines’ both suggests a set of categories and puts them in a hierarchi order subordinate to itself. 84MIND MAPPING hierarchy can be extended upwards to even higher levels of ‘artefacts’, for example, has ‘machines’ as one of its subjects er words or Basic Ordering Ideas are the key to shaping and steering : process of association, To put it another way, they are the chapter would use if you were writing a book on the subject. carried out by Bower, Clark, Lesgold and Wimzenz in 1969 in Group 1 were shown words organised hierarchically. For word ‘instrument’ was placed at the top, and there were branches ’ and ‘percussion’, On the next level there were branches word ‘strings’ down to ‘violin’, ‘viola’ and ‘cello’, while ‘percussion’ nto ‘timpani’, ‘kettledrum’, ‘bongo’ and so on. in Group 2 were shown exactly the same words but arranged oth groups were then tested on their ability to recall the words. As ld now expect, those in Group 1, who had been shown words in did far better than those in Group 2, who had been shown random Y THROUGH THE MIND OF A MIND , PART 1 chance to ‘get inside’ the mind of an individual and explore his or thenature ofhappiness. In the process, you will have an opportunity ll the Mind Mapping techniques you have learnt so far, as well as a ind Mapper starts with a central image that expresses the concept of This image needs to incorporate dimension and at least three Basic Ordering Idea that comes to the mind of our mapper is °. This is printed in large capital letters on a thick, curving line to the centre, the line being the same length as the word. sk spray of associations — a sailing boat, a heart, a person running and al ‘Sharing’ ~ radiates from the idea of ‘activities’. ‘Mapper’s brain now flashes to another BOI ~ ‘PEOPLE’. This is the left side of the Mind Map, again enlarged, again attached to the ge by a thick line. The multiple colours used to write the word multiple colours of the various races, including Martian! pray of ideas ~ ‘family’, ‘friends’, ‘performers’, ‘supporters’, ‘ani- 85THE MIND MAP BOOK mals’ radiates from this key word. Some of these thoughts themselves generate ideas. To ‘family’ is ‘brother’, ‘mum’, ‘dad’. To ‘performers’ is added ‘magicians’, ‘actors’, ‘cl And ‘supporters’ generates ‘doctors’, ‘nurses’, ‘teachers’ and ‘coaches’. ‘The next three thoughts are all BOIs — ‘roops’, ‘ENVIRONMENTS’ ‘sENSATIONS’ — and as such are given appropriate status on the Mind Map. The next two thoughts are triggered by the word ‘environments’. Our immediately adds a picture of mountains and the word ‘rural’, At this poi let’s pause to consider the implications of what has been done so far. IMPLICATIONS On considering the Mind Map our host has created, it is clear that any of key words or images could be placed at the centre of a new Mind Map whic would again radiate outwards. Bearing this in mind, any Mind Map is potentially infinite. In view of its radiant nature, every key word or image added to a Mind Map itself adds the possibility of a new and greater range of associations, which themselves add the possibilities of new and greater ranges, and so on ad infinitum. This demonstrates yet again the infinite associative and creative nature of every normal human brain. It also completely contradicts the widely held belief that the generation of i is much more difficult than the editing and organising of those ideas. If our Mi Mapping ability is infinite, the only difficulty is deciding when to stop; thot the Mind Map can help with this decision as well. By contrast; linear notes in the form of lists directly oppose the workings the mind, in that they generate an idea and then deliberately cut it off ftom ideas preceding and following it. By continually disassociating each idea its context, they stunt and cauterise the natural thinking process. Lists rein in the free-ranging movement of the brain, eventually reducing to stasis and establishing narrow neural pathways of thought that increasi reduce the probability of creativity and recall. +The reason why lists do this is that they act in direct opposition to associative nature of the brain. As an idea is set down it is ‘finished with! divorced from the ideas which precede or follow it. This constant guillotii of new thoughts is one of the major factors behind the appalling internatio 86MIND MAPPING ration of creative ideas. In the Torrance tests, for example, are asked to think of as many uses (associations) for a given the average number — given as much time as the student y 26. This, in the face of evidence that had the student known nking, he or she would have scored in the multiple millions p through sheer exhaustion. Y THROUGH THE MIND OF A MIND Mind Mapper, we find our host ~ momentarily affected by jon ~ experiencing a mental block. ck of knowledge about our own minds, such mental blocks strike b for seconds, minutes, hours, years, sometimes even for life. you have understood the infinite associative nature of your in a position to help it help itself. the brain’s tendency to function in gestalts or wholes, our host s blank lines to the key words on the Mind Map, enticing the brain beckoning areas. human brain realises that it can associate anything with ig else, it will almost instantaneously find associations, especially juen the trigger of an additional stimulus. = jint on, we watch with delight as our host completes the associative fing more images; second, third and fourth level ideas; linking propriate codes; and embracing outlines when a major branch is d to be complete. stage another major aspect of Radiant Thinking/Mind Mapping apparent: that the Mind Map is based on the /ogic of association, and of time. The Mind Map reaches out in any direction and catches aght from any angle. generated enough ideas to satisfy the requirements for his or her presentation, essay or exploration, our host decides to order the ideas giving them each a number, thus putting the Mind Map into a gical sequence should that be necessary. (For more on chronological g, see Chapters 22, 23, 25, 27 and 28.) 87THE MIND MAP BOOK MORE ABOUT HIERARCHIES AND CATEGORIES ‘The Basic Ordering Ideas in any Mind Map are those words or images are the simplest and most obvious ordering devices. They are the key co gathering the greatest number of associations to themselves, Itis the use of hierarchy and categorisation which distinguishes the full Map from the Mini-Mind Maps described earlier. In these, the first ten or images gained their importance simply by occurring first. In the full Map, they are placed according to their inherent importance. A simple way of discovering primary Basic Ordering Ideas is to ask questions as: © What knowledge is required? ¢ If this were a book, what would its chapter headings be? © What are my specific objectives? ¢ What are the most important seven categories in the arca under considera ¢ What are my basic questions? “Why?, ‘What?’, “Where”, “Who, ‘Hi “Which?’, ‘When? often serve remarkably well as major branches ina Map. Very often, the simple act of asking yourself these questions will unearth desired Basic Ordering Ideas. If not, start with the central image or subject draw between four and seven lines branching out from it. Then ask the questions. Alternatively, you can go back to the Mini-Mind Map technique, write the first ten words or images that spring to mind, then ask yourself which them can be combined under more general headings. 1 ‘The primary ideas are in place so that secondary and tertiary ideas follow quickly and easily to facilitate a harmonious thought structure. 2 BOIs help to shape, sculpt and construct Mind Maps enabling the to think in a naturally structured way. Exercise Using all the Mind Mapping techniques you have learnt so far, make your 88MIND MAPPING { Map on the concept of happiness, and compare it with the one lrrtegniece <1 No Bot OF MIND MAPPING OVER LIN G/TAKING idvantages of modern note-taking (described on pages 49 e to summarise the advantages of Mind Mapping ed by noting only relevant words: between 50 and 95 per cent wed by reading only relevant words: more than 90 per cent of ed reviewing Mind Map notes: more than 90 per cent of total by not having to search for key words amongst unnecessary s than 90 per cent of total. tion on real issues enhanced. il key words made more easily discernible. key words juxtaposed in time and space, thus improving recall. ad appropriate associations made between key words. in finds it easier to accept and remember visually stimulating, multi-dimensional Mind Maps, rather than monotonous,THE MIND MAP BOOK 1 0 While Mind Mapping, one is constantly on the verge of coveries and new realisations. This encourages a continuous and p. endless flow of thought. 1 1 The Mind Map works in harmony with the brain’s natural completion or wholeness. 1 2 By constantly utilising all its cortical skills, the brain becomes ingly alert and receptive. ONWORD Having completed Divisions 1 and 2, you have familiarised yourself wit architecture and foundations of Radiant Thinking. You have also pro from basic brainstorming to Mini-Mind Mapping, and from there to fll Mapping. You now need a structure within which to express your Radiant Division 3 provides the fundamental guidelines that will release rather inhibit your natural creativity.DIVISION 3 STRUCTURE all the Mind Map laws and recommendations. will guide you towards being able to increase massively | precision, creativity, power and freedom. Once you have d absorbed the basic Mind Map laws, you will be able to D rapidly your personal Mind Mapping style. CHAPTER 10 | GUIDING PRINCIPLES n view of human intelligence ‘A’s of Mind Mapping Map laws and recommendations of the Mind Map laws e of the Mind Map laws of the Mind Map recommendations onale of the Mind Map recommendations anger areasTHE MIND MAP BOOK FOREWORD Chapter 10 begins by looking at the development of human intelligence ft the viewpoint of an imaginary Martian. This extra-terrestrial pers enables you to explore the guiding principles of Radiant Thinking with gre objectivity than would otherwise be possible. The Mind Map laws and recommendations are set out — supplemented practical exercises ~ to help you break mental blocks, remember what you Mind Mapped, and to prepare appropriate working conditions. Finally yo shown how to avoid the most common pitfalls awaiting fledgling Mind Mapp A MARTIAN VIEW OF HUMAN INTELLIGENCE Imagine you are a Martian from a billion-year-old civilisation who has b asked to study, help and eventually befriend the racially young but very talen inhabitants of Earth. You study the Earth-dwellers intensively and find that they have a stag complex cortex, with a wide range of advanced mental skills, an infinite ative capacity, a virtually limitless storage capacity, and a similarly limi ability to generate new ideas and associations. In addition, they have a.m nificently complex and flexible physical body to support and transport intelligence, the psychological ability to enhance their own skills, and anil curiosity that drives them to explore all aspects of the universe. You next observe that, in attempting to gain access to their vast capabilities, the members of this race are squeezing their intelligences outa through the incredibly narrow and restrictive channel of language. As a res many of them experience actual nausea at the mere prospect of learning, in the millions of learning institutions dotted around the planet most of students are either sleeping or trying to get out! Moved by this tragicomic situation, you decide to give the humans as Mind Mapping laws to help them release their incredible capabilities. laws must be valid from any academic perspective to which the humans m choose to apply them ~ semantics, neurophysiology, information pro theory, cortical hemisphere theory, physics, psychology, philosophy, memal research or learning theory. What follows are the laws, theories and ommendations you propose. THE THREE ‘A’S OF MIND MAPPING In many ancient Eastern cultures, master teachers traditionally gave new stl dents only three basic instructions: ‘obey’, ‘cooperate’ and ‘diverge’. Each 92THE GUIDING PRINCIPLES icterised a specific learning stage. that the student was to imitate the master, only asking for ary, Any other questions were to be noted and raised to the second stage in which the student, having learnt began to consolidate and integrate the information by estions. At this stage the student would assist the master ‘that, having thoroughly learnt all that the master could ouldhonour the master by continuing the process of mental y the student could use the master’s knowledge as a ich to create new insights and paradigms, thus becoming a generation. quivalents of these three instructions are the three ‘A’s: and ‘Apapr’. that, in the first stage, you should set aside any pre- have about your mental limitations, and follow the Mind imitating the models given as precisely as you can. ‘Second stage, when you have completed the basic training At this point, we suggest that you create a minimum of 100 ing the laws and recommendations contained in this chapter, Personal Mind Mapping style, and experimenting with the ‘Mind Maps outlined in the following chapters. Mind Maps {for all aspects of your note-taking and note-making until you entirely natural way of organising your thoughts. to the ongoing development of your Mind Mapping skills. several hundred ‘pure’ Mind Maps, this is the time to exper- of adapting the Mind Map form. Let us know the results... MAP LAWS AND RECOMMENDATIONS Taws are intended to increase, rather than restrict, your mental Context, it is important not to confuse order with rigidity or chaos. All too often, order is perceived in negative terms as rigid We, Similarly, freedom is mistaken for chaos and lack of structure. ental freedom is the ability to create order from chaos. The Mind Il help you do exactly this. They are divided into the laws of the laws of layout:THE MIND MAP BOOK Technique 1 Use emphasis 2 Use association 3 Be clear 4 Develop a personal style Layout 1 Use hierarchy 2 Use numerical order The recommendations The recommendations supplement the laws and are sub-divided as follows: 1 Break mental blocks 2 Reinforce 3 reper opposite: Natural Architecture Plate 12 94THE MIND MAP BOOK SUMMARY OF THE MIND MAP LAWS Techniques 1 Use emphasis © Always use a central image. © Use images throughout your Mind Map. © Use three or more colours per central image. © Use dimension in images. © Use synaesthesia (the blending of the physical senses) © Use variations of size of printing, line and image. © Use organised spacing. @ Use appropriate spacing. 2 Use association @ Use arrows when you want to make connections within and across the branch pattern. @ Use colours. @ Use codes. 3 Be clear © Use only one key word per line. © Print all words. @ Print key words on lines. @ Make line length equal to word length. © Connect lines to other lines. © Make the central lines thicker. © Make your boundaries ‘embrace’ your branch outline. @ Make your images as clear as possible © Keep your paper placed horizontally in front of you. © Keep your printing as upright as possible. 4 Develop a personal style 96‘THE GUIDING PRINCIPLES E OF THE MIND MAP LAWS have already seen, is one of the major factors in improving tivity. All the techniques used for emphasis can also be used and vice versa, The following laws enable you to achieve propriate emphasis in your Mind Maps. acentral image omatically focuses the eye and the brain. It triggers numerous ‘and is astoundingly effective as a memory aid. In addition an image “on many levels. It attracts you, it pleases you and it draws your word (rather than an image) is absolutely central to your Mind can be made into an image by using dimension, multiple ive form. ‘throughout your Mind Map es wherever possible gives all the benefits described above, as well @ stimulating balance between your visual and linguistic cortical g your visual perception. et aside your fear of being a poor artist, and attempt to draw a or example, you may find your first image unsatisfactory. In some ou might fail magnificently! But the advantage is that you have the next time you see a butterfly you will want to look at it more er to remember and duplicate it. using images in your Mind Maps, you will focus more clearly on 97THE MIND MAP BOOK real life and will strive to improve your depiction of real objects. You literally ‘open your eyes’ to the world around you. Use three or more colours per central image Colours stimulate memory and creativity, enabling you to escape the monochrome monotony, They add life to your images and make them attractive. Use dimension in images Dimension makes things ‘stand out’, and whatever stands out is more remembered and communicated. Thus, the most important elements in Mind Map can be emphasised by being drawn or written in three dimensi WO Use synaesthesia (the linking of the physical senses) Wherever possible, you should include in your Mind Maps words or i that refer to the senses of sight, hearing, smell, taste, touch and kina (physical sensation). This technique has been used by many of the memorisers, as well as by great writers and poets. For example in his epic poem The Odyssey, an astounding work of m: Homer uses the full range of human sensation to convey the excitement danger of Ulysses’ voyage home after the siege of Troy. In the following Ulysses has made the mistake of angering Neptune, god of the sea, who his revenge by raising a terrible storm: ‘As he spoke a sea broke over him with such terrific fury that the raft reeled and he was carried overboard a long way off. He let go the helm, and the the hurricane was so great that it broke the mast halfway up, and both sail yard went over into the sea. For a long time Ulysses was under water, and it all he could do to rise to the surface again, for the clothes Calypso had given weighed him down; but at last he got his head above water and spat out the brine that was running down his face in streams. In spite of all this, h did not lose sight of his raft, but stoam as fast as he could towards it, got hod and climbed on board again so as to escape drowning. The sea took the raft tossed it about as Autumn winds whirl thistledown round and round upon a Iwas as though the South, North, East and West winds were all playing. and shuttlecock with it at once.” = 98 — ee‘THE GUIDING PRINCIPLES repetition, the sequencing, the imagery, the appeal to movement, the exaggeration, the colour and feeling, all sterful and memorable paragraph. ‘observe how young children experience nature with all taste, move and explore; then chant, sing, rhyme and ‘creating captivating Mind Map fantasies and daydreams. the great memoriser Shereshevsky, known as ‘S’, used him remember virtually every instant of his life. In his ‘Mind of a Mnemonisi, Alexander Luria reports: the meaning of words that was predominantly important. effect of summoning up in his mind a graphic image, and d him from the general run of people was that his images were vivid and stable than theirs. Further, his images were invariably tic components...” ‘is a major mnemonic technique, and can also be used to ar Mind Maps. Your words, your pictures, your whole Mind “like the wonderfully memorable animations created by Walt e your images move, simply add appropriate visual indicators the following examples: 5 of size of printing, line and image @ is the best way of indicating the relative importance of items Expanded size adds emphasis, thereby increasing the probability increases the clarity of the image, helps in the use of orisation, Jeaves the Mind Map ‘open’ to additions, and is 99 ——THE MIND MaP BOOK Use appropriate Spacing Leaving the right amount of space around each item gives your Mind order and structure. Taken to its logical conclusion, the space between can be as important as the items themselves. For example, in Japanese arranging, the entire arrangement is based on the space between the fl Likewise, in music the sound is often arranged around the silence. For ing Beethoven’s famous Fifth Symphony actually starts with a rest or silent Bic, Hort 2 Use association Association is the other major factor in improving memory and creativigy the integrating device our brains use to make sense of our physical experi the key to human memory and understanding. Power of association can take your brain into the depths of any subject. As already mentioned, any technique used for association can also be for emphasis, and vice versa. Use arrows when you want to make Connections within and across the branch pattern another. They can be uni-directional, multi-headed, and varied in size, Use colours Colour is one of the most powerful tools for enhancing memory and creat Choosing specific colours for coding Purposes or for specific areas of Mind Map will give you faster access to the information, will improve memory of the information, and will increase the number and range of creative ideas. Such colour codes and symbols can be developed both individuals and by groups, Use codes Mind Map, however far apart they may be on the page. These codes can the form of ticks and crosses, circles, twiangles and underlinings, or they be more elaborate, as in the Mind Map on Page 106. = - 100 = = DeumTHE GUIDING PRINCIPLES vea lot of time. For instance, you could use a range of simple Motes to represent people, projects, elements or processes that nd enhance categorisation and hierarchy through the simple Golours, symbols, shapes and images. They can also be used to (uch as biographical references) to your Mind Map. Word has thousands of possible associations. Placing one per ‘eciational freedom, like giving a limb extra joints, Important lost. (For an extended discussion of this rule, see ‘The idea that ore meaningful’, on page 111.) have a more defined shape and are therefore easier for your hotograph’. ‘The extra time spent printing is more than made up intages of rapid creative association and recall. Printing also ity, and both upper and lower case letters can be used to show ortance of words on your Mind Map. on lines a ‘skeleton’ for the ‘flesh’ of the word. It therefore provides and neatness which improve clarity and aid recall. Lines also er connections and additions (see the Figures on Page 114). — 101 — I EEEEIEOSS'SS'CSSSI rrrTHE MIND MAP BOOK Make line length equal to word length ‘This law makes it easier to place words near each other, thus facili association. In addition, the space saved enables you to include more mation in your Mind Map. (For more on this, see page 224.) Connect lines to other lines Connecting the lines on your Mind Map enables you to connect the thoy in your mind. Lines can be transformed into arrows, curves, loops, ovals, triangles, polyhedrons or any of the other shapes from your br limitless store. Make the central lines thicker and organic ‘Through emphasis, thicker lines immediately signal to your brain the imp ance of your central ideas. If your Mind Map is at the exploratory stage may discover during the Mind Mapping process that some of the periph ideas are actually more important than the central ones. In such cases you simply thicken the outer lines where appropriate. The organic, curved li add more visual interest. Make your boundaries ‘embrace’ your branch outline When a boundary line ‘hugs’ the outline of a completed Mind Map branch defines the unique shape of that branch. This unique shape can then tr the memory of the information contained in that branch, For more ad mnemonic thinkers, such shapes can become ‘living pictures’, dra enhancing the probability of recall. Many of us do this almost unconsciously as children. For instance, doy ever remember lying outside on a sunny day, looking up at a blue sky dap with clouds? If you did, the chances are that you looked up at the drif clouds and thought: ‘Oh, there’s a sheep!” ‘There's a dinosaur!" “There boat!” “There’s a bird? ‘Your brain was creating images from random shapes, thus making the shat more memorable. In the same way, creating shapes in your Mind Map a 102 —‘THE GUIDING PRINCIPLES organise many bits of data in a more memorable form. This known as ‘chunking’, is a well-known mnemonic technique. psychologists, our short-term memory is on average only g seven items of information. Chunking can help us use this git phone number. The skilled brain-user, on the chunk the seven digits in some meaningful way, thus leaving information. ase and Erickson carried out an experiment on this aspect of ibed by Glass and Holyoak in 1986. One subject proved to be interesting. Initially he could only remember the average seven ver, after more than two years of practice in chunking techniques, ber 82 digits. His particular strategy was to chunk digits that ation he had already stored in his long-term memory. For equence 351’ was associated with a previous world record for ( minutes 51 seconds). ag boundaries on a Mind Map has obvious mnemonic advantages. to add further branches after you have drawn a boundary then the es can be enclosed by a new boundary, rather like the rings trunk. re elegant, graceful and attractive. er placed horizontally in front of you al (‘landscape’) format gives you more freedom and space to draw p than the vertical (‘portrait’) position. A horizontal Mind Map ‘Mind Mappers often keep the body and pen in the same rotating the paper. This may not cause any problems while Mind it re-reading the Mind Map will require physiological contortions the abilities of a yoga master! inting as upright as possible rinting gives your brain easier access to the thoughts expressed, and as much to the angle of the lines as to the printing itself, If you ¢ as close to horizontal as possible, your Mind Map will be much‘THE MIND MAP BOOK 4 Develop a personal style ‘As already discussed, we are all astoundingly unique. Our Mind Maps reflect the unique networks and patterns of thought in our individual the more they do so, the more our brains will be able to identify with the In order to develop a truly personal Mind Mapping style, you should the ‘1+? rule. This means that every Mind Map you do should be sii more colourful, slightly more three-dimensional, slightly more imagi slightly more associatively logical, and/or slightly more beautiful than the In this way you will constantly develop and refine all your mental skills. will also produce Mind Maps which you want to review and use for and communication. In addition, the more you personalise your Mind the more easily you will remember the information they contain. (For mo this, see Chapter 11.) Layout 1 Use hierarchy As discussed in Chapter 9, the use of hierarchy and categorisation in the of Basic Ordering Ideas enormously enhances the power of your brain. 2 Use numerical order If your Mind Map is the basis for a specific task, such as a speech, an essay an examination answer, you will want to communicate your thoughts i specific order, whether chronological or in order of importance. To do this, you can simply number the branches in the desired order, allotting the appropriate time or emphasis to each branch if necessary, Le of the alphabet can be used rather than numbers if you prefer. Bither way, use of order will automatically result in more logical, thought. SUMMARY OF THE MIND MAP RECOMMENDATIONS Break mental blocks 1 Add blank lines. 104 —THE GUIDING PRINCIPLES your mental attitude sitive mental attitude. your workspace / environment you have a moderate temperature in the room. ral light where possible.THE MIND MAP BOOK RATIONALE OF THE MIND MAP RECOMMENDATIONS The Mind Map recommendations are designed to help you implemes laws, to release the flow of your thoughts, and to provide the best p environment for your brain and body. Break mental blocks 1 Add blank lines Should you come up against a temporary block, simply add a line or i your on-going Mind Map. This will challenge your brain to complete w been left unfinished and will ‘tap in’ to your infinite associative power, Mind Map by Mark Brown demonstrating spectacularly the use of images, shape and dimension (see pages 97-100) a 106 — SSS ee‘THE GUIDING PRINCIPLES device by which the brain accumulates networks of mu challenge your brain with appropriate questions you aking response. Mind Map increases the possible triggers for further eness of your infinite associational capacity fareness will free your brain from its accustomed restrictions. useful to do two exercises at this stage. any piece of data from your memory and link it, logically or th any randomly chosen object. ke any part of a Mind Map on which you have got ‘stuck’ and of a new Mini-Mind Map. Do a quick word association yur mental flow going again ur Mind Maps that memory after review alters according to a specific ee Use Your Perfect Memory by Tony Buzan page 82). If you need * After a month * After three months * After six months Mind Map will become part of your on-going long-term 4 107THE MIND MAP BOOK 2 Do quick Mind Map checks Occasionally, while reviewing your Mind Map, you should quickly do as Mind Map (taking only a few minutes) which summarises all you cant from your original. When you do one of these fresh Mind Maps you are actually recreati refreshing your memories, demonstrating yet again that creativity and are two sides of the same coin. If you only check your original Mind Map, your brain remains depen on the external stimulus of the Mind Map to recognise what it has done. Producing a fresh Mind Map, on the other hand, enables you tod what you can recall without external stimulus. You can then compar result with your original Mind Map and adjust any errors, inconsistencie omissions. Prepare ‘To maximise your performance, you need to create the ideal context ~ and physical ~ within which to create your Mind Maps. The following 1 ommendations should help you ensure that you have the best possible attitu materials and working environment, 1 Prepare your mental attitude Develop a positive mental attitude A positive mental attitude unblocks the mind, increases the probability making spontaneous connections, relaxes the body, improves perception, creates a general expectation of positive results. All these benefits reflected in your Mind Map. It is therefore vital to approach each Mapping task positively, even if it takes place in a traditionally ‘nega situation such as an exam. Copy images around you Wherever possible, you should copy other Mind Maps, images and works« art. This is because your brain is designed to learn by copying and then creati new images or concepts from those it has copied. Your reticular activati system (a sophisticated ‘sorting station’ at the base of your brain) will a matically look out for information that will help you improve your Mapping skills. : — 108 aTHE GUIDING PRINCIPLES absurd! ¢ initial, creative stages of any Mind Map, all ‘absurd’ or ‘silly’ recorded, allowing any additional ideas to flow from them. ‘ideas that seem absurd or silly are usually those that are far “These same ideas often turn out to be the ones that contain yughs and new paradigms which are also, by definition, far d Map as beautiful as possible naturally attuned to beauty. So the more beautiful your Mind more you will create and remember from it. (For more on the of temperature will distract you from your work. In a moderate you can easily adjust your clothing for optimum comfort. light where possible itis the most relaxing light for your eyes, and also gives your brain te information on form, colour, line and dimension. 109 ——THE MIND MAP BOOK Ensure that you have plenty of fresh air One of your brain’s main foods is oxygen. Fresh air provides y this fuel, thus increasing your perception and mental stamina. Furnish the room appropriately Make sure that your chair and desk or table are of the best quali and that their design allows you to maintain a relaxed, comfort posture. Good posture increases the supply of blood to your brai perception and enhances mental and physical stamina. In a designed, attractive furniture will make you want to use your worksp Create pleasing surroundings Like good-quality materials and furniture, attractive surroundings age you to use your workspace. Because learning is often as punishment, many people subconsciously make their study or wot a prison cell. Make yours a place where you actively want to gos have no particular learning task in mind. A few favourite pictures an attractive rug — these little touches can all make your works welcoming, appealing environment. Play appropriate music, or work in silence if you prefer We all react differently to music. Some people like to have musie ‘Mind Map; others prefer silence. It is important to experiment b without music, and to choose music — whether classical, jazz, pop, other type — which is appropriate to you and the way you are particular time. FOUR DANGER AREAS There are four major pitfalls for any Mind Mapper: 1 ‘Mind Maps that aren’t really Mind Maps 2 ‘The idea that phrases are more meaningful 3 ‘The idea that a ‘messy’ Mind Map is no good 10THE GUIDING PRINCIPLES emotional reaction to any Mind Map €r areas can easily be avoided as long as you bear in mind the p have not yet fully absorbed all the Mind Map laws. ¢, they look like Mind Maps and seem to obey the fundamental principles. There are, however, a number of differences. As both ed to be developing into order and structure has in fact resulted in onotony and chaos. someone has had a very unhappy afternoon and wishes to d Map diary entries shown in Figures 1 and 2 on page 114. is may appear to be a perfectly adequate record of an afternoon eed ‘very unhappy’. However, on closer examination, a number of s become clear. Firstly, this note makes it extremely difficult to ation of the afternoon. The phrase expresses a fixed concept open to any other possibility. st, Figure 2 breaks the phrase into its individual word meanings, word the freedom to radiate its own unique associations. The of this can be seen even more dramatically in Figure 3, where the id rule is taken to its logical conclusion, and where the additional €s of image and colour have been added. Here you can see that the prin the afternoon is the concept of happiness with the major emphasis min unhappy. You may have been ill, failed dramatically, or received tionally bad news, all of which is true. It is also true that the contained some positives (the sun may have shone, even if very ) which the single-word/image rule. allows you to record truthfully. The unit Mind Map rule allows you to see both your internal and external WmTHE MIND MAP BOOK environments more clearly and realistically, and therefore to be m yourself, At their worst, negative phrases can wipe out days, years, and even of people’s lives. ‘Last year was the worst year of my life’, ‘My scho were pure hell!’, to quote two commonly heard examples. { If such thoughts are constantly repeated they eventually take on the 4 ance of truth. But they are not true. Certainly, we all experience di and frustration at times. But there are always underlying positive nothing else, the fact that we are still alive and conscious of being And of course there is the fact that we still possess the potential for p change and development. me eC > 3S nil << anne ae 4 =e Zoe EN # a \y ae x Mind Maps that aren’t really Mind Maps. Which of these structures leads to con monotony and drastic thought? (See page 111.) i 112 7 I ssTHE GUIDING PRINCIPLES ds in your Mind Maps enables you to see your internal and it more clearly and realistically. It also provides balance, see the ‘other side’ of any issue. It is especially helpful for ng and creative thinking because it opens your mind to all the ea that a ‘messy’ Mind Map is no good. ns, perhaps when you are short of time or you are listening ng lecture, you may produce a ‘messy’-looking Mind Map. nean it is ‘bad’. It is simply a reflection of your state of mind at ‘input your mind was receiving. yy'-looking Mind Map may lack clarity and beauty but it will still record of your mental processes while making it. n linear notes may look aesthetically pleasing, but what kind of retrieval do they give? As we have seen, such notes appear to be ‘organised but — lacking emphasis or association — they are stimpossible for the eye to decode. this can climinate a lot of guilt and self-denigration. Looking at may help you realise that it was not you but the lecturer you fo, or the author of the book you were reading, who was messy and confused! ve emotional reaction to your Mind Map jonally produce a ‘final’ Mind Map straight away but you will a ‘first attempt’. If you are disappointed or depressed by the your Mind Map you should simply remind yourself that it is only Which will require revision before it reaches maturity. ut this book the Mind Maps have been selected or prepared to gs many of the laws and applications as possible. At this point you seful to look quickly at all the Mind Maps in this book, checking st the laws and criticising where appropriate. Having done this, you elements from the best ones in order to produce your own, even ant, beautiful and memorable Mind Maps!THE MIND MAP BOOK VERY UNHAPPY AFTERNOON FIGURE 1: Standard phrase noting, which at first glance appears adequate, but whicheo dangerous inaccuracies. uNHAPPy TERY FIGURE 2: More concise noting, which illustrates the freedom for each word to radia associations, FIGURE 3: Note following the full Mind Map guidelines, which allows the noter to ‘more comprehensive, true and balanced picture of reality, Progression of noting a ‘very unhappy afternoon’ in which application of the Mind, brings the noter much closer to the truth (see pages 111-12). This chapter has given you all the knowledge you need to launch yo the infinite universe of Radiant Thinking! Having absorbed all the recommendations, you need to make your Mind Maps truly your o next chapter, ‘Developing a Personal Style’, explains how you can your Mind Maps by using them to express your particular personal combins of skills and characteristics. a 114 —CHAPTER 11 DEVELOPING A PERSONAL STYLE art of Mind Mapping ples of Mind Map art fits of creating artistic Mind Maps ie story of a great Mind Map artist yord chapter you will learn how to use the Mind Map laws and rec- tions to express your individual personality. We begin with some very amples of the Mind Mapping art, and then explore the potential ofereating artistic Mind Maps. There is also the tantalising story of a ipper who, almost by accident, made a dream come true. ART OF MIND MAPPING provide the ideal opportunity to improve your hand/eye coor- to develop and refine your visual skills. With a little more practice, smaking skills you have already developed can be used to take your into the realms ofart. Such Mind Maps enable your brain to express istic and creative personality. In developing your own personal style ‘useful to apply the guiding principles of image, colour, dimension, 115 a