1. Cog Notes
2. John Cleese on Creativity
2.1. http://goo.gl/qgsbh
2.2. Video Arts Speech on YouTube
3. Note-taker
3.1. +Rod Dunne
3.2. http://squidinky.com
4. What makes folks more creative?
4.1. Elements of speech based on Berkley research in the 70s by psychologist Donald McKinnon
4.2. Preamble
4.2.1. Creativity cannot be explained
4.2.1.1. Creativity is not a talent, it is a way of operating
4.2.1.2. Creativity is not related to IQ
4.2.2. The most creative have developed a facility that lets them get into a particular mood
4.2.2.1. AKA a method of operating
4.2.2.2. This is an ability to play
4.2.2.3. Able to play and explore ideas, just for enjoyment
4.2.3. People work and function in two modes
4.2.3.1. OPEN
4.2.3.1.1. Open mode is relaxed and less purposeful, contemplative, is inclined to humor & playful and curious
4.2.3.2. CLOSED
4.2.3.2.1. Creativity is not possible in the closed mode (the default mode - purposeful)
4.2.3.3. EG
4.2.3.3.1. Example: Alexander Fleming's discovery of penicillin.
4.2.3.3.2. Example: Alfred Hitchcock's writer
4.2.4. To be most efficient you need to be able to switch between open and closed modes.
4.2.4.1. We need to be in the open mode when pondering a problem.
4.2.4.2. But need to be in the closed mode for implementation.
4.2.4.3. Once we make a decision we are efficient only if we are decisive and free of any doubts.
4.2.4.4. After implementation we should return to the open mode for review of the feedback to make a go/no go decision on the rest of the plan.
4.2.4.5. But the problem is we too often get stuck in the closed mode (tunnel vision).
4.3. Conditions for making it more likely you can get into the open mode
4.3.1. Space
4.3.1.1. Creativity cannot happen if you're under your usual pressures.
4.3.1.1.1. These require you to be in closed mode
4.3.1.2. You need space away from these demands to get into your open state of mind.
4.3.1.2.1. Make a quiet space for yourself where you will be undisturbed.
4.3.2. Time
4.3.2.1. Create a space for a specific period of time. Have a specific start point and end point.
4.3.2.1.1. Play is distinct from ordinary life both as to locality and duration This is its main characteristic, its secludedness & limitedness. Otherwise it is not play - Huizinga
4.3.2.1.2. Creativity is now possible once you have space and time, and pushed out the other distractions
4.3.2.1.3. Your mind will start racing again initially. Accept this. Allow yourself a large enough space-time oasis for you to gradually move into the open mode.
4.3.2.2. Recommendation
4.3.2.2.1. 90 min.
4.3.2.2.2. 90 min. is generally better than spending an entire morning as breaks are reqd
4.3.3. Time
4.3.3.1. Using the oasis of space and time
4.3.3.2. Story:
4.3.3.2.1. Monty Python colleague who rushed to using first solutions to problems.
4.3.3.2.2. John's persistence and patience to allow more time came up with more creative solutions.
4.3.3.3. McKinnon found that the most creative professionals always played with problems for much longer before they tried to resolve it.
4.3.3.3.1. They were prepared to tolerate that slight discomfort or anxiety we experience when we haven't solved a problem.
4.3.3.3.2. That internal agitation & uncertainty.
4.3.3.3.3. You want to get rid of that discomfort by solving the problem rapidly by making the decision.
4.3.3.3.4. But you should hold out.
4.3.3.4. The most difficult people to be creative with are those who\nneeds to portray a decisive persona at all times.
4.3.3.4.1. I.e. making decisions quickly and with a great deal of confidence.
4.3.3.5. Before making a decision, ask yourself when this decision has to be finally made. Once established you defer the decision until that point to give yourself maximum pondering time.
4.3.3.5.1. Give yourself/your mind as long as possible to come up with something creative.
4.3.4. Confidence
4.3.4.1. While you are being creative nothing you say or do is wrong. Any mistake may lead to a breakthrough.
4.3.4.1.1. Nothing stops creativity more in the time space oasis than the fear of making a mistake.
4.3.4.1.2. To play is experimentation - an openness to try different things.
4.3.5. Humor
4.3.5.1. Humor takes you from the closed mode to the open mode rapidly.
4.3.5.2. By contrast, solemnity serves pomposity and the self-important always know in some level of their consciousness that their egotism is going to be punctured by humor.
4.3.5.3. Humor is an essential part of spontaneity and playfulness required to solve problems matter how serious the issue.
4.3.5.3.1. So giggle all you want in order to get into your open mode.
4.4. Operationally
4.4.1. Just keep your mind resting against the subject in a frendly but persistent way.
4.4.1.1. Sooner or later you will get a reward from your unconscious.
4.4.1.2. But only if you put in the pondering time beforehand.
4.4.2. Creative teams
4.4.2.1. Creativity when done with two or more people generally results in even more creative leftfield original ideas.
4.4.2.2. However the danger is if you have one person around makes you feel defensive then you lose the confidence to play and the creativity will wane. Therefore make sure your play friends are people you like and trust.
4.4.2.3. Never say 'no' or 'wrong' or 'I don't like that' as\nthat just squashes their confidence.
4.4.2.3.1. Would be even better if?
4.4.2.3.2. I don't quite understand that?
4.4.2.3.3. Go on..
4.4.2.3.4. What if..
4.4.2.3.5. Let's pretend..
4.4.2.4. Try to establish as free and environment as possible.
4.4.2.4.1. For example, Japanese business meetings which use an unstructured format to foster creativity.
4.4.2.4.2. Therefore, plan that unstructured opportunity
4.4.3. Random juxtapositions
4.4.3.1. With creativity, it's like humor. The laugh comes at a moment when you connect two different frameworks of reference in a new way.
4.4.3.2. Connecting two hitherto separate ideas in a way that creates new meaning. The juxtapositions are only relevant if they generate new meaning. So during play, try randomly inserting or adding random juxtapositions and use your intuition to see if you can establish whether any of them have significance for you.
4.4.3.3. Intermediate Impossibles
4.4.3.3.1. De Bono (Po)
4.4.3.3.2. You can try loosening up your assumptions by playing with deliberately crazy connections (intermediate impossibles).
4.4.3.3.3. The use of an intermediate impossible is contrary to normal logical thinking which assumes you have to be right at each stage.
4.4.3.3.4. This doesn't matter if it's absurd as the intermediate point can become a stepping stone to another idea which is right.
4.4.3.4. To summarize, start generating random connections to see where it takes your mind.
5. How to stop your subordinates from becoming creative too (ironic)
5.1. Untitled
5.1.1. No one appreciates better than I do what trouble creative people are and how they stop hard-nosed decisive bastards like us from running businesses efficiently. We encourage someone to be creative the next thing is they are rocking the boat coming up with ideas and asking us questions. If we don't nip this kind of thing in the bud will have to start justifying our decisions by reasoned argument and sharing information, the concealment of which gives us considerable advantages in our power struggle.
5.2. Allow subordinates no humor.
5.2.1. It threatens your self-importance. Treat all humor as frivolous or subversive.
5.2.2. Blame humor for the resistance which your way of working creates.
5.2.3. Then you don't have to blame your way of working.
5.3. Keeping ourselves feeling irreplaceable means\ncutting everybody else down to size.
5.3.1. Don't miss an opportunity to undermine your employees confidence.
5.3.2. EG
5.3.2.1. When reviewing their work use your authority to zero in on all the things you find wrong.
5.3.2.2. Criticize just like your school teachers did.
5.3.3. Remember praise makes people uppity.
5.4. Demand that people are always doing things.
5.4.1. Accuse anyone found pondering of indecision or laziness.
5.4.2. This starves employees of time to ponder and therefore crushes creativity and insurrection.
5.4.3. Demand urgency at all times.
5.4.4. Use fighting talk and war analogies and create a permanent atmosphere of stress and anxiety.
5.4.5. Keep the atmosphere closed