The crisis began, they say, as American education put creative thinking on the back burner in favor of measurable rote memorization in the 1990s. Americans wanted to test better than other people at the expense of innovation — ergo, finding answers that don't exist on an answer key. The outcome has been a continual decline in education and creativity. And now we see it in other places, too — everything from business automation to book and film reboots. Almost everything seems stuck on rinse and repeat.
Ironically, decades ago, it was our creativity and not our test scores that used to set America apart. In fact, Nobel Prize winner Richard Feynman warned us away from the rote memorization route. He suggested thinking things through instead of rehashing the past. But that's why he won a Nobel Prize. Thinking.
So what's the real problem? We're so confused about creativity nowadays that more and more people harbor an aversion to creativity. Even people who are attempting to ignite creativity in the classrooms are accidentally trying to make it an off-the-shelf commodity by denying the concept of creative genius.
The creativity equation.
Like most things, answers to complex problems are somewhere in the middle, let's say between Project Zero, which operates on the belief that anybody can be creative, and the polar opposite, which believes relatively few individuals are born with it. More than likely, we're all born with a capacity to be creative (although some with a greater capacity than others) until society crushes our natural instinct for it.
But let's set that debate aside and look at what's new in neuroscience. Some researchers studying our brains have found that creativity is linked to two different semantic memory processes: clustering, which is related to divergent thinking; and switching, which is related to combing distant associations between concepts.
In short, aside from magic, our capacity for creativity is tied to how we develop associations between things and our ability to draw upon the broadest possible network of associations to connect and combine those ideas and concepts that are distant (unrelated stuff that fits together without being forced).
There is more to it, no doubt, but let's go with this idea to build a real blueprint. There are five steps in supercharging creativity. And while anybody can follow it, those who start young have even more time to get it right (and with less concern for society's insistence on conformity).
Expansion. The more we learn and experience will increase our capacity for creativity. There isn't any other way to expand our conscious and subconscious database of distant ideas and concepts if we are not continually looking beyond our comfort zones. Dreams count too.
Immersion. More uninterrupted time invested in creative pursuits through meditation, reflection, or experience will provide more time to explore the furthest reaches of our conscious and subconscious. We need to take the road less traveled and engage our alpha frequency.
Evaluation. Great ideas seldom follow pre-existing models so it's better to measure them based on their feasibility, flexibility, and originality. Very often, original ideas are not as compelling as their next iteration — something that's been mulled over more than a minute.
Execution. Creative ideas have to be actionable. So, in addition to placing creativity at the forefront, we have to develop a secondary skill set to share it — writing, drawing, painting, producing, choreographing, or even implementing a system inside an organization. This is why creativity is hard work.
Vacation. Sometimes our minds need a break. The best breaks tend to be spending time in nature, improving our creative spaces, taking in some new entertainment, or otherwise busting up a routine so we can come back to the project with fresh eyes. And if you are one of those people who are guilty doing it, just remember that vacations still stimulate the expansion of our database.
That's all there is to it, sort of. There is magic that David Lynch likes to talk about (and I love to listen to him talk about it). There is the conversation about whether ideas come from one, some, or many. And there is plenty more we can learn about the mind. That's all fine. We'll save it for another time.
