Look to many of history's cultural symbols, and there you'll find an ancestor of Frosty, the snowman in the movie Frozen. It appeared on some of the first postcards, starred in some of the earliest silent movies, and was the subject of a couple of the earliest photos, dating all the way back to the 1800s. I discovered even more about one of humanity's earliest forms of life art during several years of research around the world.

    For example, snowmen were a phenomenon in the Middle Ages, built with great skill and thought. At a time of limited means of expression, snow was like free art supplies dropped from the sky. It was a popular activity for couples to leisurely walk through town to view the temporary works of chilly art. Some were created by famous artists, including a 19-year-old Michelangelo, who in 1494 was appointed by the ruler of Florence, Italy, to build a snowman in his mansion's courtyard.

    The Miracle of 1511 took place during six freezing works called the Winter of Death. The city of Brussels was covered in snowmen—an impressive scene that told stories on every street corner. Some were political in nature, criticizing the church and government. Some were a reflection of people's imagination. For the people of Brussels, this was a defining moment of defining freedom. At least until spring arrived, by which time they were dealing with damaging floods.

    If you fear the heyday of the snowman has passed, don't worry: I've learned that some explosive snowman history is still being made today. Every year since 1818, the people of Zurich, Switzerland, celebrate the beginning of spring by blowing up a snowman. On the third Monday of April, the holiday Sechselauten is kicked off when a cotton snowman called the Boogg is stuffed with explosive and paraded through town by bakers and other tradesmen who throw bread to the crowds. The parade ends with the Boogg being placed on a 40-foot pile of firewood. After the bells of the Church of St. Peter have rung six times, representing the passing of winter, the pile is lit. When the snowman explodes, winter is considered officially over—the quicker it is burnt down, the longer summer is said to be.

"What would the world be if there were no hunger?" It's a question that Professor Crystal would ask her students. They found it hard to answer, she wrote later, because imagining something that isn't part of real life—and learning how to make it real—is a rare skill. It is taught to artists and engineers, but much less often to scientists. Crystal set out to change that, and helped to create a global movement. The result一an approach known as systems thinking—is now seen as essential in meeting global challenges.

Systems thinking is crucial to achieving targets such as zero hunger and better nutrition because it requires considering the way in which food is produced, processed, delivered and consumed, and looking at how those things intersect (交叉) with human health, the environment, economics and society. According to systems thinking, changing the food system—or any other network- requires three things to happen. First, researchers need to identify all the players in that system, second, they must work out how they relate to each other, and third, they need to understand and quantify the impact of those relationships on each other and on those outside the system.

Take nutrition. In the latest UN report on global food security, the number of undernourished (营养不良) people in the world has been rising, despite great advances in nutrition science. Tracking of 150 biochemicals in food has been important in revealing the relationships between calories, sugar, fat and the occurrence of common diseases. But using machine learning and artificial intelligence, some scientists propose that human diets consist of at least 26,000 biochemicals—and that the vast majority are not known. This shows that we have some way to travel before achieving the first objective of systems t hinking - which,in this example, is to identify more constituent parts of the nutrition system.

A systems approach to creating change is also built on the assumption that everyone in the system has equal power. But as some researchers find, the food system is not an equal one. A good way to redress (修正) such power imbalance is for more universities to do what Crystal did and teach students how to think using a systems approach.

More researchers, policymakers and representatives from the food industry must learn to look beyond their direct lines of responsibility and adopt a systems approach. Crystal knew that visions alone don't produce results, but concluded that "we'll never produce results that we can't envision".

During an interview for one of my books, my interviewer said something I still think about often. Annoyed by the level of distraction(干扰)in his open office, he said, “That's why I have a membership at the coworking space across the street —so I can focus. "His comment struck me as strange. After all, coworking spaces also typically use an open office layout (布局). But I recently came across a study that shows why his approach works

The researchers examined various levels of noise on participants as they completed tests of creative thinking. They were randomly divided into four groups and exposed to various noise levels in the background, from total silence to 50 decibels(分贝),70 decibels, and 85 decibels. The differences between most of the groups were statistically insignificant; however,the participants in the 70 decibels group—those exposed to a level of noise similar to background chatter in a coffee shop-significantly outperformed the other groups. Since the effects were small, this may suggest that our creative thinking does not differ that much in response to total silence and 85 decibels of background noise.

But since the results at 70 decibels were significant, the study also suggests that the right level of background noise—not too loud and not total silence—may actually improve one's creative thinking ability. The right level of background noise may interrupt our normal patterns of thinking just enough to allow our imaginations to wander, without making it impossible to focus. This kind of "distracted focus" appears to be the best state for working on creative tasks.

So why do so many of us hate our open offices? The problem may be that, in our offices, we can't stop ourselves from getting drawn into others' conversations while we're trying to focus. Indeed, the researchers found that face-to-face interactions and conversations affect the creative process, and yet a coworking space or a coffee shop provides a certain level of noise while also providing freedom from interruptions.