Archive for the ‘Creativity’ Category
Creative potential in childhood, of a kind bearing fruit in maturity, reveals itself in imaginative play, the most complex of which is the invention of imaginary worlds (paracosms). Worldplay often includes the generation of stories, drawings, etc., that provide evidence of little creative behavior. Historical examples (e.g., the Bront¨es) suggest that productive worldplay may thus serve as a “learning laboratory” for adult achievement. Early research explored ties between worldplay and later artistic endeavor. Recent study of gifted adults finds strong links, too, between worldplay and mature creative accomplishment in the sciences and social sciences. As many as 1 in 30 children may invent worlds in solitary, secret play that is hidden from ready view. Worldplay nevertheless figured tangentially in early studies of intellectual precocity. Improved understanding of the phenomenon, its nature and its potential for nurture, should bring childhood worldplay to the foreground as an indicator of creative giftedness.
‘Coolhunting‘ and ‘swarm creativity‘ are powerful concepts about identifying emerging trends and discovering the key trendsetters. They are about uncovering hidden innovation and innovators and they include the how and why new ideas and new knowledge are converted into products and services that correspond to the collective human mindset. Coolhunting involves making observations and predictions as part of the search for cutting-edge trends. It is a way of capturing what the ‘collective mind‘ is thinking, and using what is captured to one’s advantage. Humans swarm around like-minded people, with whom they not only feel comfortable but also can collaborate to produce winning ideas.
The book is structured around a series of “lessons” for unlocking and applying swarm creativity in organizations to build greater creativity, productivity, and efficiency. It explains how to harness an organization’s natural ability to self-organize new processes spontaneously, and explains the traits that characterize collaborative members and community behavior. For business, these processes can result in successful development of products in R&D through lead-user innovation; better customer relationships by finding influencers and early adaptors; and better project management processes by finding gatekeepers and hidden leaders. The applications transcend sectors and organizations. It is about finding what is “cool” and putting that to productive use, whether by a small group of individuals or a large corporation.
Developing new alliances in higher education leadership & governance – Autopoietic application of the “arts” creative capacities
Based on Maturana and Varela’s neurobiological research, reality is a product created by us. Thus this paper is iterative in emphasising that we consider tempering policy, training, development, environment, leadership and management to recognise the presence of our various realities, including multiple meanings of creativity, innovation and finally entrepreneurialism. The benefit for all is a gain in diversity, so long as the actions are both observed and acted out in a narrative of constraint reflecting biologically based domains, rather than a narrative of an independent control world ‘out there’.
This paper suggests we do not need to demystify the creative process; we already live it. Rather we do need, and have made an effort here, to demystify the focus on structures that enhance creativity, and the focus on topologies of creative behaviour that generate ‘useful’ and ‘valuable’ innovations. Facilitating learning, and providing new knowledge regarding creative acts and ‘habits’, as well as developing highly flexible “learning scaffolds”, all offer spaces of adjacent possibility (and not as rewards) where humans might work with “unproven assumptions, practice in different but related scenarios, using known tools in an unknown area”, and even using unknown tools in a known area.
In this paper, a new, non-psychological and non-sociological approach to understanding creativity is proposed. The approach is based on autopoietic system theory, where an autopoietic system is defined as a unity whose organization is defined by a particular network of production processes of elements. While the theory was originally proposed in biology and then applied to sociology, I have applied it to understand the nature of creation, and called it “Creative Systems Theory“. A creative system is an autopoietic system whose element is “discovery“, which emerges only when a synthesis of three selections has occurred: “idea“, “association“, and “consequence“. With using these concepts, we open the way to understand creation itself separated from psychic and social aspects of creativity. On this basis, the coupling between creative, psychic, and social systems is discussed. I suggest, in this paper, the future of creativity studies, re-defining a discipline “Creatology” for inquiring creative systems and propose an interdisciplinary field as “Creative Sciences” for interdisciplinary connections among creatology, psychology, and so on.
A more mundane lesson is that some creative people thrive on chaos. Every pop-psychology nostrum about creativity – the importance of balance, of cultivating undistracted focus, of getting plenty of exercise – is undermined by the many chaotic creatives whose lives looked more like Marx’s. It’s clear that disarray and anxiety were what energised his work; his very lack of balance and calm are what enabled his originality and volume of output. None of which means balance and calm aren’t nicer ways to live, of course. It’s just a reminder that, contrary to the message of virtually every currently popular book on how to “think like Leonardo”, “train your brain” for creativity, “do great work”, etcetera, the most creative work isn’t a matter of methodically implementing certain techniques (and thus, the implication goes, within the reach of us all). Nor is it necessarily compatible with a peaceable life. You want creativity tips from Marx? Be constantly anxious, angry, underslept and broke. Why not try implementing this approach at your Silicon Valley startup, or your edgy Soho marketing agency? The effects could be revolutionary!
The comfortable truth is that the human brain is “plastic” or elastic if you prefer, and adults can adopt and practice the learning techniques of children in order to improve our creative and intuitive capabilities. If intuition and creativity are the best expediters for advancing and integrating our intelligence and behavior capabilities, while creating the best probabilities for innovative progress, then a real paradigm shift calls for sustaining our integrated learning processes throughout life – rather than dis-integrating the natural process of integration evident in early learning, only to discover subsequently, in adulthood, that we are faced with the imminently arduous task of creatively re-integrating our individual abilities when they should have already become intuitively integrated. The next step in cognitive evolution is to realize the common denominators between creativity, intuition, intelligence, and behavior as the interconnecting basis, or integrated foundation for whole brain development. When we tie together the basic building blocks of creativity with early development while realizing that creativity and early development are one in the same with intuitive development – especially, intuitive language development as the primordial tool for defining and instructing the true essence of human abilities – we can neither misdefine the significance of preschool as merely a quaint passage of life in the early stages of development, nor can we undervalue that every type of ability, every stage and experience of learning, and every person’s identity rely on the unlimited possibilities of creativity.
New research shows that reducing brain activation can increase creativity. Have you ever had a sudden inspiration? The proverbial “Aha” experience? These “insight moments” tend to happen when you’re not actively working on a problem—they come to you when you least expect it. You might be exercising, gardening, or taking a shower. Ideas come at these surprising times because of incubation—when you take time off from work, it frees up your conscious mind and allows your subconscious mind to “incubate” on the problem. Psychologists have long known that incubation contributes to creativity. This is also why play is so closely related to creativity—because when you’re playing, your mind is open and wandering more freely.
Read also: Raise Your Left Hand for Greater Creativity!
Good jazz and high performance business depend on creativity, agility, empathy and flexibility. The similarities don’t end there. The business lessons of jazz focus on high performance teamwork, multitasking, cross-functional awareness, innovation and responsiveness to change. Jazz translates seamlessly across cultures and serves as a social model that can be leveraged to teach business the skills of collaboration. Experiencing the business impact of jazz will deepen your human capital’s understanding of the integration of diverse skills and roles. The Jazz Impact Experience will stimulate your company to create and imagine new possibilities, through a live, interactive experience. Jazz Impact is a fusion of insights and parallels drawn from the world of business illustrated through the experience of jazz. Through live music and interactive engagement, Jazz Impact delivers perspectives and techniques that will have an immediate effect on your people and your business.
The new book, Creative Intelligence, shows that creativity is a learned behavior that gets better with training — like sports. You can make creativity routine and a regular part of your life. That’s true for big companies as well as small startups, corporate managers as well as entrepreneurs. Creativity is scalable.
So here are four specific ways to lead a more creative life and boost your creative capacities. Creativity is not about blue rooms and brain waves but about social engagement and mining the existential.