The Fertile Unknown

Creativity Engages Both the Intuitive Mind and the Rational Mind

Michelle James ©2023

Valuing Intuition in the Creative Process

“The intuitive mind is a sacred gift
and the rational mind is a faithful servant.
We have created a society that honors
the servant and has forgotten the gift.”

― Albert Einstein

We've been generally educated and socialized to see reality/create/act from only the rational mind - from only what we currently see or consciuosly know (and it times of challenge, when people contract, that becomes louder). But the intuitive mind allows us feel into/see into/have knowings into that which goes beyond what we currently know, have evidence for, or can be proven - in our own lives and in society.

 

The intuitive mind allows us to leave the confines of "space-time" and go into the world of our yet-untapped possibilities - our emerging-future selves - and bring the knowledge it carries back into the present. It allows us to access more and varied ways of knowing and imagining - from much more deeply in our creative unconscious - and it bypasses the conscious editor, who carries a lot of limited stories and assumptions about who we are, who others are, why we are here, what's ours to do, etc.

The intuitive "right brain" information we get is direct and immediate, and sometimes abstract (colors, feelings, shapes, a-has, awareness', knowings, glimpses, words, energies, sounds, surprising connections, etc) - and it's the job of that rational mind to unpack it - to mine its riches - for next-level information...and often transformation. The rational mind is supposed to carry out the insights of the intuitive mind, not block it, keep it down, discredit it, and treat is as "woo-woo" like is done on most of our current systems.

So if you get an idea or intuitive feeling out of "space-time" (something that does not fit into your current knowledge or information system, or may not make complete sense to your current self), don't be quick to discard it just because it's unfamiliar, incomplete, or disjointed. Honor it, and bring the rational mind on board to explore and engage it, and see what it has to tell you.

Creative Emergence is all about that future what's next showing itself into the present...where the whole is greater than the sum of its parts and can not be predicted by what the rational mind knows alone, since there is no existing evidence yet for what the emerging future carries - outside of the hints from the intuitive mind. And connect them with the rational mind. That's the "Both-And" sweet spot of next-level creative thinking and being...and the sweet spot of cultivating our sacred calling in the world. For that, intuition is the sacred gift indeed. When we value it, we can experience the creatively unique ways it wants to engage with us.

Michelle James ©2020

Facilitating Creative Process: Being with the Awkward Silence

Inevitably, when facilitating creative process;
introducing participants to a new activity, process
or framework; or asking them a question they
don't readily know the answer you get a
deer-in-the-headlights look, often accompanied
by a palpable silence.

This silence can feel awkward for facilitators. It did for me when I first started facilitating, and I used to do anything to fill it - re-explaining or over-explaining what I just said, asking them questions, asking for their questions, interjecting comments, or anything else to try to reduce the uncomfortableness in the room - theirs and mine. Until I got that this is part of the emergence process when introducing people to something new and unfamiliar for them. I learned over the years to love the pauses, and see them as fertile and alive, and an indication of creative up-leveling.

They are processing in the silence. They are taking it in. They are experiencing the dissonance and discomfort (for some) that comes with learning something new, making new connections, or taking a perceived  - or real - psychological risk within a group. They are thinking, reflecting, and being with whatever you just asked. It's new so not readily available to their conscious awareness. The more experience I got, the more inner work I did, and the more I learned about the brain and its natural meaning-making system, the more I came to love these palpable "pregnant" moments of potential, before something emerged.

Here are some reflections on holding the space and be with the silence while facilitating creative process:

1. Give them the time to take it in and be with it. Hold the space. If they ask questions for clarity of your instructions or your question, clarify. Then go back to holding the space without intervening or trying to fill it. Hold the space for someone to eventually say something, or start the process.

2. Hold the space with positive intention. Have faith in them and their creativity - even if they don't. If you hold the intention that they will absolutely be able to do come up with what they need, you impact the energy in the room differently - with an inner authority - than if you are filled with doubts about whether they can do or get it. Or if they'll like what you're doing. The facilitator is there to be the strong container-holder for the participants, not the other way around. If you hold it with peace and ease in your heart, they will feel it, and it will open them up and put them more at ease.

3. Let it take however long it really takes. (Not how long you think it should take.) Whether they feel ready, or just feel uncomfortable in the silence, someone will eventually start the process. Every time. Then others will follow. That is creative process, and the "group field" at work. Jumping in too soon breaks the dynamic tension that is often needed in the creative process for something new to emerge.

4. Do your inner work to hold space with your full presence. That might include your own pre-workshop rituals to get yourself centered, or energized, or whatever you need to be able to hold space with presence. Being present mean showing up as the facilitator full-on to whatever shows up in your session, and standing in that presence for the group as they navigate their doubts or fears.

5. Delight in and support whatever does finally emerge. If it needs re-direction, or modified instructions, do it then...but build on and support what is happening - that will bring out more from the group. They're already are infinitely creative - you're just helping them remember that, and part of that is giving them the space to pause as they generate from within.

Take what resonates and leave the rest. :-)

Michelle James ©2019
Image from: https://imgflip.com/memegenerator/22654108/deer-in-headlights

Look for more on this topic and others in my upcoming book, Pattern Breaks: A Facilitator's Guide for Cultivating Creativity

The Energized Facilitator: Getting the Most out of Creative Process Facilitation

image from fitnessandwellnessnews.com

As a facilitator of creative process, your energy has an impact of those in the room. It’s an often overlooked part of facilitating creativity, yet it's the most immediate, primal, and direct way of connecting in ways words and actions alone can not (like when someone walks in a room and you get a feel about them before they even say anything). Most people feel energy immediately and instinctively, before the analytical brain gets on board to think about it. Your energetic state can help draw out or hinder the creativity of others, as well as your own.

While most facilitators of creative process already have Energizer activities for participants, not all take time to prepare their own energetic field before the workshop. The energy you enter a space with, and cultivate as the day goes on, adds to or takes from participant experience. Actors, improvisers, athletes all warm-up before they preform. They don’t just show up and start performing. Similarly, warming yourself up with pre-workshop “energizer rituals” helps you not only get present, but also energized and enlivened. If you find ways of energizing yourself before entering the room - “prep rituals” you do alone before the workshop starts - that begins to create an energized container for participants as they enter. Because energy is something felt, and not thought, it is immediate, and has an impact on the nervous system of participants, non-verbally - not just their minds.

There's no limit to the ways you can generate energy for yourself before a workshop or meeting. Over the past 14 years facilitating Creative Facilitation workshops, I’ve heard countless ways facilitators get energized. I play around with different ones myself to keep it fresh in me, and to stay on my own creative edges, mostly improvising as I go with the goal of trying something new. The times I did not warm up, I noticed a difference in the group’s creative energy, cohesiveness, and output, and how I was holding their energy. I learned the hard way how important it is for me to do my own energy prep work. Some people naturally have a full-on energizing presence any time of day, and in almost any circumstance…and others of us can cultivate it consciously.

You can try it playing around with Brain Gym (Google it), dancing wildly, moving non-habitually, brain teasers, tongue twisters, acting things out, meditation and other centering practices, yoga, marshal arts, and other body-centered practices, solo improv games, etc. If you do something more meditative, try also adding in something that expands and heightens your energy, so you can hold an expanded energetic space for a group - a big part of generating risk taking and creative novelty form a group. And, if you try something that pushes your own envelop - breaking your pattern with something you normally do not do - which also engages your own creative edges, the brain research repeatably shows that enhances presence, creativity, and adaptability.

If you already have awesome activities and content to share, and they are interactive and highly participatory, you can take it to a new level if you take some time to generate your own energy before showing up. Preparing yourself energetically is like starching out like a rubber band when you are by yourself, so when you get with a group, you are energetically flexible enough to expand out to whatever emerges in the group. Research had also shown that most people in groups will either consciously or subconsciously not feel psychologically safe to out-energize a facilitator, and that can impact what and how they create. A facilitator who shows up as flexible, energized, and ready for anything makes it safer for participants to engage more enthusiastically and energetically in interactive activities, and explore their own creativity in a group and each other’s creativity as a group.

If you try something new that works well for you, or if you want to chat about some ideas for your next facilitation, please drop me a line. :-) 

©Michelle James 2018

Our 2011 Creativity in Business Conference - October 23 in DC!

http://www.creativity-conference.com 

Come learn, think, create and engage with applied-creativity thought leaders, pioneering entrepreneurs and business innovators from around the country - in the fields of creativity and innovation, organizational change, social media, and transformational leadership - for a full-day event focused on:

* Harnessing and focusing individual, group and organizational creativity
* Organizational structures/business models conducive for creativity & innovation
* The integration of creativity, purpose, business and serving the greater good
* Bringing your whole brain - and whole self - to work

This new breed of business conference conference is about going beyond talk-only into exeperiential immersion - immersing you into the experience of creative process and your own creativity. The content is is designed to be informative, intelligent and practical. It will expand your knowledge and understanding. The experiences are designed to be rich and revelatory. They will expand your self.

New ideas, new innovations, new systems and new structures depend on accessing new levels of creativity. At this event, we will explore different facets of creativity as the key driver in navigating and thriving in the new work paradigm.

Come engage your whole brain with practices such as applied storytelling, improvisation, visual thinking, creative inquiry and dialogue, movement and embodiment along with innovative business models and approaches you can apply right away to your work or business.

Conference: 9:00-5:30 Festival: 5:30-7:30

CONFERENCE:  - Lively, Content-rich, Experiential Break-out Sessions each with a different focus related to the theme of Applied Creativity in Business  - Engaging Thought Leader Panels explore the creativity-centered work paradigm through the lens' of leadership, social media and creative thinking. There are no keynoters - just thinkers, leaders and facilitators in service of YOUR creativity and your business.

IMAGINATION FESTIVAL:  Improvisation, Live Music, Connectworking, Book Signings, Give-Aways and tasty hors d'oeuvres.

REGISTRATION:  Earlybird discount through Friday, September 16, 2011. Seating is limited - early registration is recommended. http://www.creativity-conference.com

Hope you can join us! :-)

15 Foundations for Facilitating Creativity at Work

The following are lessons learned and insights gleaned from the trial and error of facilitating creative process with hundreds of individuals and organizations over the past 12 years. It requires a different focus, skill set, way of being and "container creation" than facilitating analytical processes. Below are some of the many principles and practices I've learned or discovered. Take what resonates and leave the rest :-)

Dynamic Balance and Facilitating Creativity in the Workplace 

1. Set intention and embody purpose. Get clear on your intention - not only from a business perspective, (i.e., leave with a Strategic Plan), but also from the human element. Creative process in human beings is organic, and contains emotional energy. In fact, the more passion and inspiration, the deeper and more coherent the creativity that emerges. If you intend to support the growth, creativity and awareness of those you serve, you facilitate from a more meaningful place than if focused only on the business goal. If you take time, both in the program design and in the room when facilitating, to think about what is the service you are providing - the gift you are offering - it frees up your own creativity more to support that in your facilitation. Focusing solely on the task limits the creative potential. By genuinely focusing on what is yours to GIVE, (not how you come across doing it), participants pick that up – either consciously or unconsciously - and are more receptive to trying new things with you. Creative Facilitation adds some new “yes-ands” to what already works.

2. Focus on awareness in addition to what happens. Focusing on the awareness aspect allows it to be transformative. In all facilitation, the debrief can be one of the most powerful parts. It integrates the learnings and serves as a bridge to what’s next. In debriefing creative process, focus on what was going on INSIDE of the participants as well as what actually was created OUTSIDE in the room. This leads to self-awareness, which increases the chances of continued creativity and co-creativity after the workshop, program, or process is over. The more aware participants become of what emerges within themselves as they create - both what was most alive as well as what was most challenging - the easier it is to continue to navigate and cultivate their creativity beyond the workshop setting.

3. Understand the normal resistance that occurs with navigating the unfamiliar. Resistance is a healthy, natural part of the creative process. It only becomes unhealthy when it is allowed to block the process (by overemphasizing it and spending too much time engaging it, or by not acknowledging it all and trying to barrel past it). Be prepared for resistance to show up. It's usually a result of fear of entering the new territory, and it can show up in a myriad of forms - deflection, sarcasm, distraction, disengagement or, most often and most subtly, talking about what is already known. It's not something to be pushed down or avoided, but rather something to be acknowledged and moved through if it shows up. Acknowledgment ahead of time gives it permission to follow it natural course when and if it emerges. It is the natural “contraction” to balance the creative expansion. You find this in all of nature’s creativity. The flower feels the resistance of the bud most just before it blossoms.

4. “Fail” gracefully - be comfortable with messing up. This is a great lesson from improv theater. Improvisers do not see mistakes as static failures. Instead, we see them as dynamic invitations to learn in real time and an opportunity to create something new. To authentically learn how to deepen your experience in facilitating a transformational creative process requires you to be the explorer as well. Unlike facilitation that relies on what is known, creativity depends elements of the unknown. You can better facilitate that which you're willing to experience for yourself. Applied creativity has vulnerability attached to it as being experimental means being vulnerable. And, that means something you try may not work, or may work differently than you had anticipated. Go with it. USE that information as feedback to either refine for the future, or, in that moment, to take the group to another place. The facilitator’s discomfort with the challenges of creativity can inhibit the group's craetive process. (If you can take an improv class, do it…it's the quickest way I know to free yourself of the “the fear of failure” and develop a comfort with thinking on your feet.)

5. Adapt in real time. There's always a dynamic balance between creating enough structure and releasing. If you as a facilitator need to control the process, do whatever you can on your free time to get comfortable with letting go, shifting gears, and modifying the agenda in real time. Use the real-time feedback loop: engage, get feedback, modify; engage, get feedback, modify, etc. It’s an ongoing process, and like with all things, takes practice to embody. Do this enough and it becomes comfortable and easy…and alive! In fact, you will get to a point where it takes more energy to try to stick to the exact plans than to follow the creative aliveness of what is trying to emerge in the room. Be ready to adjust your "agenda" at any time for what is REALLY going in the room. Otherwise, you can get engagement, and even expanded perspectives, but generally no real novelty. Novelty contains an unpredictability within it, and to facilitate creative process means adapting to that unpredictability in real time. May as well have fun with it :-)

6. Work from your own Creative Edges, not your comfort zone. This creates a palpable dynamic aliveness in the room. You are all in it together. This may seem antithetical to our "expertise" culture. The paradox is that you must still deeply know and understand what you are doing before you enter the room, but then once in the room, hold it loosely and respond in real time. Be in your own unknown - a co-discoverer instead of the expert on their creativity. Allow yourself to be surprised. Don't limit them, or yourself, by your creativity experience or pre-existing assumptions. While you are the one creating the container and holding the space, this role is balanced with your own openness to what emerges. Creative facilitation is an open system.

7. Respect creative style diversity. To further expound on #6, one size, approach, method, technique, or even paradigm does not fit all. One creativity model definitely does not fit all. Understand that each person in that room is at a different comfort level, and will have a unique relationship with the creative process. Each carries unique and different stories of creativity in his or her consciousness. You give them tools and techniques as entry points, but be ready to let their creativity show you ways of creating that you can’t imagine. This expands your own Creative Practices repertoire.

8. Understand patterns found in the creative process. This allows you to facilitate during times of resistance. Another paradox: while each person has different creating styles and approaches that work for them, there are also re-occurring universal patterns that tend to emerge in a creative process. The deepest understanding comes from your OWN experimentation and learning, and will most likely be refined over time. Start with what you know, and open up to being "yes-anded" all the time. Look for patterns, not just techniques. Techniques only get you so far…patterns and principles allow you to create new techniques on and ongoing basis. Start where you are, be gentle with yourself as you learn, and learn from direct experience. Insights that emerge from experience and observation are give you a real-time agility that book learning alone cannot offer.

9. Embrace dynamic balance. Divergence AND convergence. Left AND right brain. Structure AND flow. Reflection AND action. That is one of the re-occurring themes in this post because it permeates all of creative process...and the complexity of being human. Creativity is filled with paradox. Setting up conditions for creativity is as well. Like with all natural systems, every situation, project, and group has a dynamic balance that will allow the most amount of creativity to emerge in that situation. Too rigid keeps the creativity bound; too loose, it gets unfocused. There is a balance between structure and flow. This is why whole brain practices are needed...the right brain to access NEW levels of ideas and information, and the left to discern and organize it.

10. Allow for self-organization when facilitating a group project. Inherent in the creative process is a self-organization found in all of nature. You see this all the time in improvised jazz or improv theater...something larger than the sum of the parts emerges and it is a coherent whole and unexpected. It is similar to the experience you have in those moments when everything just seems to effortlessly come together in a brilliant, yet totally unexpected, way. This possibility always exists in any group. One key is to not over-control the experience and allow enough space for the next level of creativity to emerge in the room. This takes some trust in the creative process itself...and practices recognizing, like in an improv performance, when you need to step up and lead, or step back and follow. Without question, groups have the capacity to self-organize around a creative task - a collective creative intelligence can take over that is larger than any one person's idea. You have nature on your side. We are natural meaning-makers, and creativity is naturally self-organizing. By balancing both directing and following in real time, you can more naturally moving to higher levels of coherence, meaning, and sense. (All “Aha’s” are deeply grounded in common sense at their new level). We have simply been socialized, educated, and trained to over-plan. Instead, we can learn how to work WITH the natural creative process.

11. Seek to make it safe, not comfortable.  
Safety will allow people to open up and move into
unknown territory without the fear of criticism, failure. Too much stability, and nothing new emerges. Asking people to share what they already know is different than guiding them into their unknown. On the other side, without doing the “container creating” to make it safe, taking people in too deep too soon can throw them into chaos and they will shut down – and they lose trust in you. In either case, nothing new emerges. Find the balance of the Creative Zone - the place of creative potential between stability and chaos. Create a safe space AND guide your participants into new territory, which can be uncomfortable. Discomfort is a normal part of the creative process. In fact, if everyone is the room is entirely comfortable the whole time, chances are you did more
of an information gathering process than a creative one.

12. Fun is functional. There is more research emerging all the time that shows how fun, play, and “lightening up” have a serious role to play in increasing creative thinking and establishing creative work culture - not just as an outlet to do on your free time, but as a driver to navigating change and working on serious challenges in work and life. It frees the brain to think more creativity, and frees the energy in the room for more effective and safe collaboration. In fact, I have not come across any research anywhere that points to not having fun and not being playful as a more effective way of living and creating. To facilitate creativity requires accessing and being comfortable with having fun yourself. And, knowing how to bring it in purposefully, and in a way it can be accepted (and not shut people down). It's different for every group and every culture. Once you access your own "deep fun" self, you have more choice on what methods to use and how. As with all facilitation, know your audience.

13. Your inner stories directly impact the container you create for others. Check out all the stories you carry around creativity, fun and play. Do you hold them as separate from a business bottom line? Most of us grew up with the programming that creativity is something you do on your free time after the “real work” is done. Facilitating Applied Creativity carries a new story – that it is an essential part of the real work. It is more than something fun to open up a group, but actually something to help transform individuals, groups, teams and organizations; create a thrivable work culture, and feed the bottom line. Do you carry a story that creativity is for the domain of the arts...or do you know it to be present, in infinite abundance, for every person, group and system? What stories do you carry about yourself as a Creator? In knowing yourself as a Creator, and knowing that you are walking into a room filled with other Creators (whether they are aware of it or not) allows you to help facilitate a new story for those in the room.

14. Diverge...and Converge with discernment. 
Facilitating transformational creativity requires your presence, adaptability, agile thinking…AND
discernment. Discernment keeps whatever
emerges in the room focused on the objectives, relevant, and purposeful…not just random creative expression (unless that is your goal). This means having processes for Convergence as well as Divergence. Divergence explores, discovers, yes-ands, and accepts to expand the playing field – the increase the field of potential from which to draw. Convergence discerns, focuses, fleshes out, uses what is relevant and leaves the rest. For a visual with more on Divergence and Convergence click here. As with each of these points, the dynamic balance is the key: expand, contract; explore, refine; value logic and intuition; planning and spontaneity. Most people naturally gravitate to more comfort with diverging or converging…find out which is your preference and practice giving more time and attention to the other. 



15. Prepare yourself with pre-workshop creativity rituals. Creativity, by its nature, contains a lot of energy and newness. Facilitating novelty is not "business as usual." It's about leading a group into the non-habitual. It requires being resilient, agile, compassionate and an "expedition guide." Taking some time to do whatever you need to enter your own non-habitual state first can makes a significant difference. One of the best ways to do that is by taking some alone time before the facilitation, to do pattern-breaking exercises to increase your own energy and become present, alert, and responsive. The more of the whole-brain - and whole-body! - you bring in, the better. Like an athlete who warms up by stretching muscles, you’re a creativity facilitator who warms up by stretching beyond your familiar patterns. Try different things, like moving in non-habitual ways around your living room before you leave your house. You'll be alone, so the more “out there” you can be in the privacy of your own space, the better. Surprise yourself at how “out there” you can get! It will also help you be more comfortable when something “out there” emerges from a participant. Do it until you transform any negative self-judgment or evaluation you have into the joy of exploration. It will increase your energy and aliveness, and help you be more attentive and at ease with what shows up in the room. Creativity is messy. Non-judgment of self and others during the process is essential!

I am so passionate about this topic that I could go on ad infinitum :-) I have covered some of the basics here. It's challenging to use words-only to describe a fullness of whole-brain experience. This is not about one right way - it's a loose guide and exploration. My hopes is that something in here gives you food for thought, inspiration or validation. 

~ Michelle James ©2010

Go to http://www.creativeemergence.com/wbfacilitation.html  for more on our next Creative Facilitation Workshop. Offerred once or twice a year since 2005 in the Washington, DC area. 

Whole Brain Thinking

This is revised from an article I wrote last year, with updated chart.

In today’s rapidly changing business environment, leaders and entrepreneurs are required to be more adaptive, responsive  and innovative than ever before. Assessing situations quickly, developing novel solutions and flexible strategies have become a requirement (or invitation - depending on how you see it) for all of us.

If you approach a new situation with the your habitual thinking, it’s impossible to generate new ideas, visions or solutions. Your thought patterns will travel down the same neural pathways in your brain the same way they always do--and the outcome will be the same ideas you typically have. Thinking in novel ways requires new connections within the brain. New thinking requires pattern breaking. Research shows that by actively engaging the brain’s capacities from both hemispheres, you have a larger "playing field" from which to create – there is more cross fertilization between neural synapses which leads to original ideas and "A-ha" moments.

The "left brain" organizes what already exists and thinks linearly. There is a sequential, analytical process toward a specific outcome. The "right brain" imagines what can be and thinks in nonlinear interconnections. It has immediate access to insights and novel connections.  Cultivating the use of both sides leads to breakthrough leaps and the ability to think on your feet under pressure

 

I developed a simple Whole Brain Dimensions chart of the generally accepted differences. You can use it to get a glimpse into your dominant thinking approach. The words in the left hand column are typically associated with the "left brain thinking," and the words in the right hand column are typically associated with "right brain thinking." These are simple generalizations, designed to get you thinking about your habitual thinking patterns. The more integrated your brain hemispheres are – accessing and using the elements associated with both sides of this list - the more effective you will be at generating elegant solutions and developing new, generative visions. Most individuals and most organizational cultures lean more toward one side or the other. Which are you? Which is your organization? Which are valued in your work culture? Which are invisible, repressed or even criticized?

Quickly scan the list for the words that apply to you. Don’t think about it - go by initial instinct even if you are unsure about what something means. Answer intutively. Keep track of how many words in each column describe you. You don't have to choose between the 2 columns - just check off each word that speaks to you as part of your own process, even if they seem opposite. For example, you may find you already use both detailed and big picture thinking in your work. If so, check both. 



Add up the totals on each side to become aware of your dominant thinking approach.
What are your natural gifts, trained skills, habits or growing edges?

Whole Brain Integration Techniques

The flowing are some quick and simple exercises you can use anytime to begin to integrate the hemispheres and strengthen your less dominant side.



1. Opposite functions - Spend some time doing everything with your non-dominant hand. Every time you break a dominance habit, you create new neural pathways and give the brain more options. It become easier to think in new ways throughout your day, and easier to adapt, respond and create in high pressure environments.



2. Color and No Lines - Instead of using lined legal paper and a pen in meetings, brainstorming sessions or any other work related functions, try use unlined paper and colored markers. Lines have a subconscious effect on us which keep the brain locked in habitual thought patterns. By removing the lines, the brain is more free to think visually and instead of just in words. Using colored markers has a stimulating effect on the brain because the right brain thinks in color.



3. Sensory Immersion - engage all of your senses in your ideation process instead of coming to a situation from analytical thinking alone:

 The more senses you use simultaneously, the more the brain sides work in harmony and the information you receive. Immerse yourself in right-brain touch, taste, smell, imagery, movement, sounds and music while focused on your project and you can unfold more insights, awareness' and novel connections.

4. Embodiment - become the project, problem, vision, product and act from its point of view. New ideas will flood your mind. This is easy to prove. First, try imagining new features to add to any product in a certain time period, i.e., 5 minutes. You will come up with a number of features. Then, pretend you actually are the product - become the product -and start talking as the product, again for 5 minutes. You will learn exponentially more about what additional features it "needs." The act of becoming a product or concept will give you new insights and awareness' into the product, and therefore, potential new features, that you cannot get from just thinking about it.

Our Creativity in Business Conference ~ October 4 in DC

http://www.creativity-conference.com

Join applied-creativity thought leaders, pioneering entrepreneurs and business innovators from around the country - in the fields of creativity and innovation, organizational change, social media and transformational leadership - for a full-day event focused on:

* Harnessing and focusing individual, group & organizational creativity
* Organizational structures/business models conducive for creativity & innovation
* The integration of creativity, purpose, business & serving the greater good

New ideas, new innovations, new systems and new structures depend on accessing new levels of creativity. At this event, we will explore different facets of creativity as the key driver in navigating and thriving in the new work paradigm.

Conference: 9:00-5:30 Festival: 5:30-7:30

CONFERENCE:  - Lively, Content-rich, Experiential Break-out Sessions each with a different focus related to the theme of Applied Creativity in Business  - Engaging Thought Leader Panels explore the creativity-centered work paradigm through the lens' of leadership, social media and creative thinking

FESTIVAL:  Comedy, Live Music, Networking, Book Signings, Give-Aways and hors d'oeuvres from award-winning Mie N Yu restaurant

ALSO INCLUDED:  Arts and Business Services Silent Auction - all proceeds from the auction go to ProjectCreateDC. For more info on how to donate a work of art or a business service, email [email protected].

REGISTRATION:  Earlybird discount through August 21: $149 ~ Regular rate after August 21: $197 ~ Sponsorship: $500. Seating is limited - early registration is recommended. http://www.creativity-conference.com

SPONSORS: - The Center for Creative Emergence (Conference Producer) - Capitol Creativity Network - Center for Digital Imaging Arts - Teratech - Timothy Flatt Studios - Mie N Yu - Over The Horizon Consulting, LLC - Associated Producers - Brandwithin - Integral Company - Thoughtlead -Photograhy by Alexander

ALL THE DETAILS:  http://www.creativity-conference.com

Hope you can join us! :-)

Creative Genius Thinking

I came across an article on the Innovation Tools website about a creative thinking technique. It was written by Michael Michalko, author of ThinkerToys and Cracking Creativity, and creator of the ThinkPak. Here are some excerpts on what he had to say about how geniuses think. For the creativity technique and the full article click here. 

"The creative genius will always look for a multiplicity of ways to approach a subject. It is this willingness to entertain different perspectives and alternative approaches that broadens their thinking and opens them up to new information and the new possibilities that the rest of us don’t see. Einstein was once asked what the difference was between him and the average person. He said that if you asked the average person to find a needle in a haystack, the person would stop when he or she found a needle. He, on the other hand, would tear through the entire haystack looking for all possible needles.

"When Charles Darwin first set to solve the problem of evolution, he did not analytically settle on the most promising approach to natural selection and then process the information in a way that would exclude all other approaches. Instead, he initially organized his thinking around significant themes, principally eight, of the problem, which gave his thinking some order but with the themes connected loosely enough so that he could easily alter them singly or in groups. His themes helped him capture his thoughts about evolutionary change by allowing him to reach out in many alternative directions at once and pulling seemingly unrelated information into a coalescent body of thought.

"Darwin used his themes to work through many points that led to his theory of evolution by helping him to comprehend what is known and to guide in the search for what is not yet known.  He used them as a way of classifying the relation of different species to each other, as a way to represent the accident of life, the irregularity of nature, the explosiveness of growth, and of the necessity to keep the number of species constant...By adjusting and altering the number of themes and connections, Darwin was able  to keep his thought fluid and to bring about adaptive shifts in his thinking. He played the critic, surveying his own positions; the inventor, devising new solutions and ideas; and the learner, accumulating new facts not prominent before."

Brain Scientist's Whole Brain Journey

The highest levels of creativity happen when using an integration of both sides of the brain - both the non-linear "flow" of the right, and linear "structure" of the left.

Harvard neuroanatomist, Jill Bolte Taylor, suffered a stroke n 1996. She then used her own brain as her "lab" over the next several years.  In an 18-minute video of her speech at the last TED conference, she recounts the details of her stroke and the insights she cultivated as a result . She explores the differences between the left and right sides of the brain, and how by losing use of the left (sequential processing) side, she fully experienced the right (parallel processing) side - and the euphoria, transcendence, and consciousness that came with that. After 8 years, she regained full use fo both sides, and now it as choice which side to use when and how.

It is worth watching through to the end.  See the video here:
When-a-brain-scientist-suffers-a-stroke video

Laughter is Contageous

Anyone who has experienced deep connection through laughing already know this, but it's great that more and more literature is emerging to back the life-experiential findings up. World Science just put out an article on the resonant power of laughter:

Researchers at University College London and Imperial College London have found that positive sounds such as laughter or a triumphant “woo hoo!” trigger a strong response in the listener’s brain...“It seems that it’s absolutely true that ‘laugh and the whole world laughs with you’,” said Sophie Scott of University College London, one of the researchers...The research team played a series of sounds to volunteers while scanning their brains with functional magnetic resonance imaging, a technology that measures brain activity based on blood flow in the brain...Some of the sounds were positive, such as laughter or triumph; others were unpleasant, such as screaming or retching...the response was greater for positive sounds, suggesting that these were more contagious than negative sounds, according to the group...“This response in the brain, automatically priming us to smile or laugh, provides a way of mirroring the behaviour of others, something which helps us interact socially. It could play an important role in building strong bonds between individuals in a group.”

Dan Pink at the Capitol Creativity Network

On December 11, I will be having a dialogue with Dan Pink, author of the best-selling books,  A Whole New Mind and Free Agent Nation at the Capitol Creativity Network Holiday Gathering. If you are in the DC area, come join the party. We'll discuss Dan's book, A Whole New Mind, and how we are moving from the information age into the conceptual age and the emergence of the "right-brain" approaches as essential for creating what's next. This session will be audience interactive, so come ready to muse, question and engage in story. After the dialogue, there will be food, drink, live music and other festivities as Dan signs books. For location and other details go to the CNN website: capitolcreativitynetwork.com. (FYI, there will only be a limited number of the book on hand at the event. You can purchase copies by clicking here beforehand and bring them in to be autographed).

Mastering Brain States

If you are in the DC area on Wednesday, August 9, join us at the Capitol Creativity Network for:
 
Activate Your Creativity through Mastering Brain States 
Presented by Brian Morrissey, author of Ultimate Learning States and Brain States Mastery, and educator Linda Erdberg

The concepts behind Brain States Mastery were developed by Brian Morrissey after collecting and researching numerous samples of brain states via EEG (brain wave) technology. This data was assembled as individuals engaged in various activities, particularly in accelerated learning and memory. This knowledge will be presented in a practical process of self-discovery for enhancing creative performance.

http://capitolcreativitynetwork.com for details.

Inventions through Dreams

The language of dreams is sensory, visual and non-linear, whereas the language of waking life is predominantly verbal. In a dream state, the "left-brain" editor is off duty, and the "right brain" can work its magic, weaving together solutions to challenges that the conscious mind might ignore if it did not come through habitual thought patterns or verbal channels. Throughout history, inventors, scientists, innovators, and artists have solved problems in their dreams, whether intentionally or not.   

Brilliant Dreams has compiled a list of twelve of these famous discoveries and creations in literature, science, music and even sports attributed to dreams, including:

Friedrich August Kekulé von Stradonitz discovered the Benzene molecule:

"...I turned my chair to the fire and dozed. Again the atoms were gamboling before my eyes. This time the smaller groups kept modestly in the background. My mental eye, rendered more acute by the repeated visions of the kind, could now distinguish larger structures of manifold conformation; long rows sometimes more closely fitted together all twining and twisting in snake-like motion. But look! What was that? One of the snakes had seized hold of its own tail, and the form whirled mockingly before my eyes. As if by a flash of lightning I awoke; and this time also I spent the rest of the night in working out the consequences of the hypothesis."

The tune for "Yesterday" came to Paul McCartney in a dream:

"I woke up with a lovely tune in my head. I thought, 'That's great, I wonder what that is?' There was an upright piano next to me, to the right of the bed by the window. I got out of bed, sat at the piano, found G, found F sharp minor 7th -- and that leads you through then to B to E minor, and finally back to E. It all leads forward logically. I liked the melody a lot, but because I'd dreamed it, I couldn't believe I'd written it."

Elias Howe invented the sewing machine in 1845 from a dream:

He had the idea of a machine with a needle which would go through a piece of cloth but he couldn't figure out exactly how it would work. He first tried using a needle that was pointed at both ends, with an eye in the middle, but it was a failure. Then one night he dreamt he was taken prisoner by a group of natives. They were dancing around him with spears. As he saw them move around him, he noticed that their spears all had holes near their tips. When he woke up he realized that the dream had brought the solution to his problem. By locating a hole at the tip of the needle, the thread could be caught after it went through cloth thus making his machine operable.

For more examples, go to http://www.brilliantdreams.com/product/famous-dreams.htm.

Hardwired for Collaboration & Altruism

We are hardwired to collaborate, co-create, and serve. In their book, Naked Conversations : How Blogs are Changing the Way Businesses Talk with Customers, Robert Scoble and Shel Israel cite this case study of the brain - one of the many studies on the interplay of collaboration and the brain:

Dr. Gregory S. Berns, an Emory University professor of psychiatry and behavioral sciences, uses functional MRI and other computer-based technologies to study how the human brain responds to various stimuli. In short, his team wires the brain to see how the brain is wired. A few years back, Berns studied the interaction of biology and altruism. He used a functional MRI to scan the brains of 36 women playing the behaviorist’s game “Prisoner’s Dilemma,” in which participants are rewarded according to the choices they make.  Berns found these women displayed cooperative behavior even when they knew they would receive greater rewards for not cooperating. The technology revealed that the striatum, a primitive brain sector, grew active during collaboration. In fact, it secreted five times the normal level of dopamine, the chemical that activates during such stimulating activities as sex and gambling. In short, humans are wired to collaborate.  Altruism turns people on even more than making money.

Intelligence and Change

I am in an organizational storytelling group, Golden Fleece - an international community of practice devoted to storytelling in business and organizations. (To join the listserve, email  [email protected]). Recently, one of the founding members, organizational storytelling pioneer Steve Denning, wrote a post regarding social constructionism and the brain. I am including part of it here because what he wrote speaks to the necessity of using new and different approaches to get people to think and act in new ways.

...I was reading a book called On Intelligence by Jeff Hawkins, the guy who created the PalmPilot and the Treo. He stresses the crucial importance of a well-known fact about the brain, namely, that it is saturated with feedback connections. For every fiber feeding information forward into the neocortex, there are ten fibers feeding information back toward the senses. Put crudely, this means that what we see is only one-tenth what is "out there" and nine-tenths what we expect to see. The image that we have of the eye as a video camera and the ear as an audio recorder is an illusion: the brain is continually prompting us to see what we are seeing and the eyes and ears make minor adjustments at the margin.

It does underlines the truth of the old Talmudic saying: we see things not as they are, but as we are. This means if you want to get people to see things differently, you basically have to change who they are -- change the whole set of values, beliefs and expectations, which they are using to frame what they see.

This helps show why conventional approaches to persuasion - giving people reasons - are unlikely to work. To persuade people to see things differently, you have to catalyze a process by which they themselves adopt new values, beliefs and expectations, and in effect become new people.

Left brain analysis, rationale, and logic alone does not work in change and innovation initiatives that require novel thinking, and news ways of acting and interacting. In order for people to adopt new thinking, values, beliefs, and ways of being, they have to be engaged in new ways - i.e., using more of their brain; establishing conditions that support new types of interactions; using story, improvisation, visual and kinesthetic processes - so new ways of thinking and being can emerge.