Posts Tagged ‘creativity’
Juárez Correa didn’t know it yet, but he had happened on an emerging educational philosophy, one that applies the logic of the digital age to the classroom. That logic is inexorable: Access to a world of infinite information has changed how we communicate, process information, and think. Decentralized systems have proven to be more productive and agile than rigid, top-down ones. Innovation, creativity, and independent thinking are increasingly crucial to the global economy. And yet the dominant model of public education is still fundamentally rooted in the industrial revolution that spawned it, when workplaces valued punctuality, regularity, attention, and silence above all else. We don’t openly profess those values nowadays, but our educational system—which routinely tests kids on their ability to recall information and demonstrate mastery of a narrow set of skills—doubles down on the view that students are material to be processed, programmed, and quality-tested.
Juárez Correa aún no lo sabía, pero se había encontrado con una filosofía educacional nueva, la cual aplica la lógica de la era digital, al salón de clase. Esa lógica es inexorable: El acceso a todo un mundo de información ha cambiado la forma de como nos comunicamos, como procesamos información, y como pensamos. Los sistemas descentralizados se han mostrado más productivos y ágiles que los rígidos. La innovación, la creatividad, y un modo de pensar independiente, son cada día más importantes para la economía global. Y aún así, el modelo dominante en la educación pública tiene todavía sus raíces en la revolución industrial que lo engendró—cuando los centros de trabajo valoraban la puntualidad, la regularidad, la atención, y el silencio sobre todo. Ya no proclamamos esos valores hoy en día, pero nuestro sistema de educación – el cual pone en prueba la habilidad de los niños de memorizar información y de dominar solo un juego estrecho de técnicas—mantiene que los estudiantes son material que tiene que ser procesado, programado y examinado por su calidad.
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!