Wednesday, March 5, 2014

"Creative Conspiracy" in our Everyday Lives

A book review by: Diane Bessel, PhD, LMSW, CNM
Assistant Professor and Undergraduate Program Director (Sociology and Social Work)
Daemen College

Creative Conspiracy


Think about the various items included on your work-related to-do list. Review each item and consider which you can perform completely independently and which items require assistance from at least one other individual. Chances are the most important tasks on your to-do list require you to work with others, and the success of those endeavors depends on your ability to collaborate effectively.

The nature of business collaboration – and creative collaboration, in particular – is at the heart of this thoroughly researched yet highly accessible work of non-fiction: Creative Conspiracy. According to management expert and author Leigh Thompson, collaboration is “the art and science of combining people’s talents, skills, and knowledge in order to achieve a common goal” (p. 1). While an essential part of contemporary work life, Thompson argues that creative collaboration remains one of the most challenging tasks undertaken by professionals due, in part, to critical misunderstandings of creative problem solving processes and research.

To underscore this point, Thompson identifies a series of commonly held beliefs about creativity and links to research findings that fly in the face of conventional wisdom. She debunks several “myths” by sharing data that demonstrates that teams are typically less creative than individuals when left to their own devices; that providing specific “rules” and engaging in a stimulating environments actually lead to increases in a group’s inventiveness; and that changing a team’s membership and composition can enhance a team’s innovation. She notes that most business leaders are unable to articulate the four basic rules of brainstorming – a staple of the creative problem solving process.

Nevertheless, Thompson also suggests that when collaboration is conscious, planned, and focused on generating new or novel ideas, it can develop into a "creative conspiracy." Teams that “conspire” organize themselves, motivate their members, and combine their talents to commit creative and innovative acts. They are considered the hallmark of highly successful organizations.

In the book, Thompson reveals what she considers to be some of the major barriers to creative conspiracies including the tendency for group members to change their behavior to go along with the team (conformity); free riding or social loafing among group members; the development of a team superiority complex; the tyranny of the average (also known as regression to the mean); the tendency among group members to multi-task; and the purposeful dumbing down of participants to avoid attracting unwanted attention.

Thompson also discusses key strategies that enable teams to reach their full creative potential and maximize results. These “best practices” center on opportunities to develop a nimble and diverse team; provide appropriate leadership and motivation to members; address and ultimately transform team conflict; and set the stage for building a creative conspiracy through the development of an associated action plan.

Likewise, Thompson offers tips to address specific concerns. Her advice is practical and drawn from real-life experiences making it useful to myriad groups from start-ups to seasoned professionals. Drawing on research conducted by Paulis, Thompson argues that individuals should engage in idea-generating activities on their own before participating in brainstorming as a group. She insists that teams should never be set up just for the sake of having a team, but should only be used if one needs to draw upon a range of skills and views. She states that teams should be kept small and should be as diverse as possible.
Thompson also argues that new members should constantly be brought into the group and old ones removed, as this keeps members on their toes and working at a high level. Citing research that shows that quiet and relaxed areas are not always best when it comes to idea generation, Thompson suggests that sessions should be held in places that get the mind buzzing or run the risk of allowing members to get too comfortable.
While the book could benefit from some additional examples of creative conspiracies and a discussion of their real life impact, it is, at its core, about increasing creative collaborations and has the potential to become a powerful resource for those in a position to implement these best practices. The book draws on strong empirical evidence to support the appropriate use of creative problem solving techniques including brainstorming, brain writing, and rules-based facilitation among others. This information is particularly helpful to individuals who are not trained in creative problem solving as well as those in need of a skills refresh. Many constituencies can be aided by this book including business executives, team leaders, entrepreneurs, educators, researchers, and students of creativity, in general.


References

Thompson, L. (2013). Creative conspiracy: The new rules of breakthrough collaboration. Boston, MA: Harvard Business Review Press.

About Diane Bessel

Diane R. Bessel, PhD, LMSW, CNM is a student in the Creativity and Change Leadership Certificate Program. She recently joined the faculty at Daemen College as Assistant Professor and Undergraduate Program Director of the Sociology and Social Work Department. Prior to joining Daemen College, she served as the Director of Research, Investments, and Advocacy at the United Way of Buffalo & Erie County where she was responsible for regularly assessing community trends for the purposes of coordinated planning and decision-making. Bessel regularly uses the skills she has acquired through the ICSC program in her consulting work with non-profit organizations, government groups, collaborative initiatives, and foundations.

Tuesday, November 19, 2013

Approaching the Big Questions


A book review by: Mariano Tosso
Graduate Student
International Center for Studies in Creativity


Big Questions

Big Questions In Creativity 2013 is a non-fiction, scholarly book which presents a selective collection of short research papers. These pieces approach original questions and provide fresh perspectives about different themes related to the fascinating field of creativity. The ten authors of the book are graduate students who recently wrote their respective essays while pursuing the course “Current Issues in Creativity.” This course is part of the M.Sc. program in Creative Studies from the International Center for Studies in Creativity (ICSC), housed at SUNY Buffalo State. The publication of this book by the ICSC press represents a novel opportunity to showcase contemporary perspectives, and a high quality emerging approach from the publishing point of view. I see high potential for the future to continue adding more volumes, reflecting the expansion of the creativity field.

This book will have a high appeal for those with curious minds who are willing to discover new viewpoints (including beginners and experts in different disciplines that consider creativity an essential ingredient) and others who wish to benefit from applying creative insights in new domains.

Big Questions In Creativity 2013 examines numerous themes, and brings a broad diversity of perspectives. It is rewarding to discover plenty of coherent elaborations, hypotheses, facts, and explorative links addressing big, open challenges. In my experience, it is very likely that a reader gains new valuable insights, while often breaking old thoughts and myths. What I truly enjoyed about this book is that every chapter also permeates the personal character, writing style, and acumen behind each of the ten authors, while conveying substantial answers. Being packed with inspiring new connections and useful references, it also opens the ground for future work.

The main purpose of the book is raising and exploring critical and highly relevant questions within the theme-scope of four broad categories with creativity at center-stage: society and creativity, organizational creativity, individual creativity, and creativity and education. The title “big questions” reflects the enormous relevance beyond each question. It is written in a friendly reading, academic style, and has a conveniently condensed format: every single topic is a chapter no longer than twenty pages.


An overview

Overlapping the domains of Society and Creativity, Irina Mishina answers what is a “creative economy,” and how, in the new context of the creative age, the concept of creative economy has to be revised to become more integrative. She also displays some key features about creative business strategies and business model innovations, and identifies four dynamic pillars of the new creative economy: digital technologies, networks, collaboration, and entrepreneurship. Irina’s chapter is not only entertaining; it is a forward-thinking masterpiece.

Within the “organizational creativity” category, Sarah Thurber presents her perspective about how organizations can tap creativity and unlock innovation to tackle change. She points out how organizations may build sustainable innovation teams with the use of deliberate thinking processes. She explains how to leverage the use of creative preference assessment instruments such as the Foursight test to bring significant positive benefits to empower organizations. As a bonus, she also discloses an essential practical guide revealing the seven habits of highly effective thinking teams. A reference chapter for readers in need of breakthrough thinking in organizations!

Vicci Recckio selects another enjoyable theme within the category “organizational creativity”: what is behind the generational group defined as “the Millennials,” why they are becoming increasingly important, and how learning about this group will benefit creativity trainers and facilitators. You will learn what is different about them (i.e. their expectation to receive more frequent feedback), what could be expected from “Millenials” as creative leaders, and some tips about designing successful innovative products such as assessment tools to appeal to the needs of Millenial customers. Her view not only increased my awareness about the Millenials but also helped me to reconsider some strategies to bring about change as a future creative professional.

Within the theme-cluster of “individual creativity”, Catherine Tillman addresses “what activities, exercises, and habits enhance personal creativity”. She identifies eight simple and effective practices to enhance one’s natural creative abilities, utilizing the full palette of the physical, social/emotional, mental, and spiritual worlds. She gives pertinent details about these practices and complementary references. Her healthy tips were truly useful; it was very interesting to learn about “research that links cognitive ability to exercise,” and about happiness and mindfulness that helped to frame the “full picture.”

Within the category of “creativity and education,” Lee Anne White investigates the question “what is the role of creativity in talent development?”  She reviews how the concept of giftedness evolved and expanded, exploring further some models and ideas to unlock talent development. She integrates concepts like self-actualization and how gender differences play a significant role in defining achievement. I appreciate Lee Anne’s instructive contribution, and look forward to bringing to life her insights in the future.

The book goes on with chapters from five other insightful authors: Mary Kay Culpepper, Ginny Santos, Amy Frazier, Robert Frantz, and Ted Mallwitz.  As if the book was a varied menu of a meal, my advice to readers is to select the best possible “appetizer” to start with by looking at the table of contents, rather than reading it from beginning to end.

In summary, if you are looking for a book that addresses a palette of today’s big questions related to the multidisciplinary field of creativity, that pushes further the boundaries beyond previous approaches, and that fosters depth and reveals unique insights and perspectives, Big Questions In Creativity 2013 is a must. I look forward to see future annual volumes of this book published by the ICSC, showcasing fundamental work of graduate students pursuing the “Current Issues in Creativity” course. As the pool of talented graduate students in creativity enrolled in the ICSC program renews periodically, it is expected that sustainability and quality be guaranteed.  


References

Burnett, C., & Reali, P. (Eds.). (2013). Big questions in creativity 2013. Volume 1. Buffalo, NY: ICSC Press.


About Mariano Tosso

Mariano Tosso is a versatile professional with 15+ years of experience leading R&D Food and Petcare innovations at Mars Inc. in the USA, Argentina, Brazil, the United Kingdom, and Germany. He earned an M.Sc. in Food Science and Technology from Cornell University and is pursuing the MS Program in Creativity and Change Leadership at the ICSC, currently in his second year. Mariano is a front-end innovation expert who loves to tackle complex challenges and realize possibilities. He is passionate about designing and conducting meaningful creative learning experiences as a trainer and coach. Mariano is also an experienced facilitator who helps organizations unlock opportunities to generate more value.

Wednesday, November 13, 2013

Dissecting the Interview: Dr. Amabile at Buffalo State

A review by: Julia Figliotti
Graduate Assistant
International Center for Studies in Creativity
Images and sketchnotes by: Melinda Walker


The Interview

Sketchnotes by Melinda Walker
On October 18, Buffalo State was graced by the presence of one of the most gifted and forward-thinking minds in Creativity: Dr. Teresa Amabile, a researcher and writer who was born and bred right here in Buffalo, NY.  In an hour-long sitting, the ICSC's own Dr. Gerard Puccio went back and forth with Dr. Amabile, discussing everything from her childhood inspirations to the future of creativity.  And now, almost a month later, we are taking a look back on the interview that was the first of many in an up-and-coming series: Dissecting Creativity.

The interview with Dr. Amabile kicked off right at the beginning of her creative career: during her childhood.  A charming, animated woman, Dr. Amabile was more than ready to dive into the details.  We learned about her early creative influences, her childhood blocks to creativity, and her family's drive to nourish creativity every day.  Apart from being incredibly relatable (scientists are people, too!), Dr. Amabile's stories and anecdotes were engaging and fun, inviting the audience in and making us want to know that much more.

Sketchnotes by Melinda Walker
As the interview progressed, we were introduced to two of Dr. Amabile's publications: Growing Up Creative, a book for parents and teachers about limitations to childhood creativity and how to better avoid them; and The Progress Principle, which examines the creative climate in businesses, along with intrinsic and extrinsic motivators.  (A review of The Progress Principle can be found here.)

The brief Q&A session at the end of the interview provided us with a final, compelling insight into the world of creativity research.  Dr. Amabile tentatively explored what she believed to be the future of creativity, and the solutions to the lack of creativity found in schools today.

If you missed the interview, or simply want to watch it again and again (we don't blame you!), it can be found here.  If you would like to see photos from the event, simply click on this link.  The International Center for Studies in Creativity would once again like to thank Dr. Teresa Amabile for her interest and enthusiasm in this interview series, as well as everyone who supported the event.  We look forward to planning and hosting our next Dissecting Creativity interview!

About Dr. Teresa Amabile

Aside from being a Buffalo native and one of the most celebrated authors in her field, Dr. Teresa Amabile has used her creativity expertise and research to work with companies such as Procter & Gamble, Motorola, IDEO, and the Creative Education Foundation. She has spoken at Ted x Atlanta and was the host/instructor of the 26-part instructional series, Against All Odds: Inside Statistics, which aired on PBS.  She currently holds the position of Edsel Bryant Ford Professor of Business Administration in the Entrepreneurial Management Unit at Harvard Business School, and is also a Director of Research.  Dr. Amabile has been published in countless studies in the field of creativity, and has authored several books relating to creativity and motivation.

About Julia Figliotti

Julia is a current student in the Master's program at the International Center for Studies in Creativity. Aside from working as a Graduate Assistant in the Creative Studies department and going to school full-time, Julia enjoys writing children's stories and short fiction. She has a B.A. in Writing from SUNY Buffalo State and plans on completing her M.Sc. in Creativity in May 2014.

About Melinda Walker

Melinda Walker has a B.A. degree in Art, with a double concentration in studio art and graphic design; a California Clear teaching credential, with subject authorizations in the arts, as well as a CLAD (Cultural, Language, and Academic Development) certificate; and a Master of Science in Creativity, Innovation, & Change Leadership. She also has an A.A. degree in commercial art.  Melinda has experience teaching kids how to make ideas visible, flesh them out, and communicate them to others. She has coordinated and installed her students' work at public libraries and the San Francisco International Airport. She also has a passion for designing educational materials for children, some of which have been published in various children's magazines.  

Melinda is now establishing a visual thinking business that provides visual thinking services to make complex ideas simple so people can better understand, decide, communicate, or act on them. Find out more about Melinda's work here!

Tuesday, October 29, 2013

Creativity: The Diagnosis and the Cure

A literature review by: Julia Figliotti
Graduate Assistant
International Center for Studies in Creativity 

See the full article here

Introduction

We're seeing more and more of it everyday: children and young teens being diagnosed with extreme mental disorders such as schizophrenia, Attention-Deficit/Hyperactivity Disorder and bipolar disorder.  They start on one medication, and before you know it, they're taking five.  The negative side effects make themselves known, and more medications are added to counteract those.  It's a vicious cycle, but a necessary one.  Right?

Actually, we very well might be looking at this the wrong way.  Mahnaz Sadre and Linda J. Brock, in their article "Systems in Conflict: Labeling Youth Creativity as Mental Illness," provided us with a beautiful new perspective on mental disorders in children and teenagers.  According to them, "the characteristics of creative people... may overlap [with] some symptoms of mental illness" (p. 358), thereby causing misdiagnoses of mental disorders in our creative youth (and supporting the myth that one must be "mad" in order to be creative).

But how can this be?  You would think that clinicians and mental health professionals would have confronted the possibility of misdiagnosing years ago.  Yet according to Sadre and Brock, many professionals in the field of mental health simply see what they have been trained to see: they end up "misunderstanding the creative expression of children and adolescents as symptoms of mental illness" (p. 359), a mistake which often leads to treatment and results in negative physical, emotional, and mental results.

Traits versus Symptoms

The foundation of this article lies in the similarities between the traits of a creative mind and the symptoms of a mental disorder.  Sadre and Brock cited several creativity specialists and researchers in their conglomeration of characteristics of creative people.  The brief overview suggests that a creative person may be (p. 361):
bashful
oversensitive
melancholy
solitary*
independent
energetic*
persistent
self-assertive
versatile
withdrawn
attracted to the mysterious
daydreaming*
preoccupation*^
defiant of conventions^
independent in judgment and thinking
radical
discontented
stubborn*
temperamental*^
disturbed by organization*
risk-taking^

Now let's compare these characteristics to many of the symptoms of ADHD, as seen in the Diagnostic and Statistical Manual of Mental Disorders (DSM) IV (Sadre & Brock, p. 365):

easily frustrated
bossy
stubborn*
temperamental*
lacking concentration*
daydreaming*
distractible
impatient
disorganized*
solitary*
energetic*
restless

We can also compare the characteristics of creative people to many of the symptoms of bipolar disorder, as seen in the DSM-IV (Sadre & Brock, p. 365): 

racing thoughts
distractible^
restless
silly
mood swings
temperamental^
oppositional defiance^
risk-taking^

It's amazing to see the similarities of characteristics and symptoms (denoted with * for ADHD and ^ for bipolar disorder) between creativity and these mental disorders.  Sadre and Brock, aware of the negative effects that treatments for mental disorders had on adolescents, decided to focus on diagnoses of creativity for young patients diagnosed with bipolar disorder and ADHD.  They gave three case examples to display the negative effects of misdiagnosing and the positive effects of creativity as a treatment.

Reversing Diagnoses using Creativity

Using five different case studies within the adolescent age range, Sadre and Brock introduced the horrors of youth misdiagnoses ("children as young as 3 years have been diagnosed with bipolar disorder" (p. 366)) and psychostimulant treatments.  One young man, diagnosed with bipolar disorder at age 14, was able to use his interest in music to overcome his creative blocks and embrace his creative nature.  His diagnosis was ultimately removed by his psychiatrist, and he was weaned off of his two medications and graduated from high school with a sizeable scholarship to the college of his choice.

A pre-teen (diagnosed with bipolar disorder and epileptic seizures at age five) was able to channel her interest in drawing to help her overcome her dependence on medications.  She dropped four of her five prescriptions, staying only on the one that helped her control her seizures, and became more sociable.  She ultimately went on to work at a children's theater.

The cases go on - from a fifteen-year old boy diagnosed with bipolar who was weaned off of his medication after focusing his feelings on creative outlets such as poetry and painting, to an 8-year-old with an ADHD diagnosis who ultimately dropped four medications and learned to more productively channel his creativity and energy.  Sadre and Brock used these cases and others to exemplify how creativity can be misdiagnosed, and how a misdiagnosis can have extremely negative effects on young children and adolescents.  However, they also submit that, as seen in these cases, a misdiagnosis is not an irreversible error.  Children can (and do) bounce back into their creative states with the proper guidance and treatment.

It is true (as is usually the case in the field of creativity studies) that further research is needed to determine the truth behind the correlation of mental disorders and creativity in children and adolescents.  However, this study has paved the way to a more novel approach to the myth of madness.  Hopefully others will pick up where Sadre and Brock left off, and there will be fewer misdiagnoses in our creative youth.

Resources

Sadre, M. & Brock, L. J. (2008). Systems in conflict: Labeling youth creativity as mental illness. Journal of Family Psychotherapy, 19(4), 358-378.

About Julia Figliotti

Julia is a current student in the Master's program at the International Center for Studies in Creativity.  Aside from working as a Graduate Assistant in the Creative Studies department and going to school full-time, Julia enjoys writing children's stories and short fiction.  She has a B.A. in Writing from SUNY Buffalo State and plans on completing her M.Sc. in Creativity in May 2014.

Tuesday, October 22, 2013

Keeping Creativity Alive


A book review by: Keri Marrs Barron
Graduate Student
International Center for Studies in Creativity

Could you imagine a childhood without playing outdoors? What if the television was the only spark given to your imagination? Creating images in clouds, dreaming of being rescued by a super hero or being the next president are all images that might not be created following this author's ten step process of destroying a child’s imagination.  Esolen, an English Professor from Providence College, writes the non-fiction book Ten Ways to Destroy the Imagination of your Child, focusing on how our current society is destroying the imagination of our children.  Each chapter concentrates on one of the ten methods using major themes through our everyday society (the environment, machines, sex, heroes, patriotism, politics and man & woman).   After discussing the method of destruction, Esolen references examples of literary characters who would not be desired in this non-imaginative society.  Then he sarcastically implies this is the outcome our society desires.   Esolen reviews the nine other methods the same way: society, character, sarcasm.

One of Esolen’s methods of destruction is titled, “Keep your children indoors as much as possible" or "They used to call it ‘air’.”  The chapter documents how children are more interested in playing with video games, televisions, and even cell phones than exploring outside adventures, which provides little to spark the imagination.  Society has had a large impact on this method.  Now, more families have both parents working outside the home and the children are instructed to stay inside until a parent is home from work.  The day begins with school, where students are instructed to color in the lines, sit down, go to lunch at this time, do this and do that, all indoors.  After school they stay entertained by the technology boxes (phones, television, video games) until the parent gets home and then may run off to another conforming event (possibly soccer practice or band practice).  The child has no time for fresh air or to just observe the outdoors.

During the summer months the imagination is constrained even more as the technology box is the main focus of entertainment.  No school, just time on their own in a house, no outside time. The concept of being able to walk down to a park or to a hangout with friends and partake in some crazed adventure is taken away by a safety concern for the child.  When the opportunity arises to enjoy the outdoors, the child is not interested in being outdoors, as his stimulation is from the box and not from his imagination. One book and character that Esolen references by keeping our children indoors is Tom Sawyer by Mark Twain. Sawyer is a young boy who plays outdoors on the Mississippi River building his independence in discovering the outdoors and creating mischief, yet, he also develops his self reliance and confidence to explore and succeed in the world.  In keeping our children indoors we are defining the imagination by the box and sheltering the development of confidence and self worth rather than providing the opportunity to develop their own imagination comparative to Tom Sawyer.  

As a parent, I was sold by the title and wondered how this book could help me be more aware of the destruction we are causing to our own children’s imagination and creativity.  The book is profound but very true.  In trying to protect our children and educate them to be good students and citizens, we are trampling their creativity and imagination by teaching them to conform.  After I read the first method, I took my book, laptop and my kids to play outside to observe nature rather than our inner walls. 

A very well researched book, I was not expecting the author to have referenced examples throughout literature, from Chopin, Chesterton, and Lewis to the Holy Bible. Written by an English professor, I should have expected no different but I was a bit bored by the numerous literary references.  In all fairness to Esolen, I am an implementer (a preference in the Foursight® creative problem solving analysis). When I read an idea and have evidence, I am ready to move on to another topic, as opposed to reading several more references of characters we would be destroying.  As a parent and former educator, I was interested in any suggestions or solutions, to remedy the problem. Unfortunately, this book did not address solutions.  

My one imaginative takeaway could not have been better said by my three-year-old daughter when she left Sunday school: “He swallowed me whole, he swallowed me whole.”  I thought about what she said for a few minutes and realized even the Holy Bible utilizes the imagination; she was singing a song about Jonah being swallowed by the whale.  Ironically, Esolen’s final method references this same story of Jonah and the whale.  The more I thought about the imagination and creativity, the more I continued to wonder why as a society we are working so hard to conform and eliminate the imagination.  For many years, our most well known innovators such as Albert Einstein, Thomas Edison, Walt Disney, and Steve Jobs were known for their imagination not their conforming, so why are we so insistent on conforming?  Children need to know that if they think outside the box, or color outside the lines, they should not be penalized, rather encouraged for their creativity. Imagination can be restored and we do not need to read about negative topics like destruction of the imagination.

References


Esolen.A. (2010). Ten Ways to Destroy the Imagination of your Child.  Wilmington, DE:  Intercollegiate Studies Institute.

About Keri Marrs Barron 

Keri Marrs Barron is a current student in the Master’s program at the International Center for Studies in Creativity at Buffalo State University.   She is a former administrator in Higher Education. Her positions ranged from the aspect of Student Services from recruiting, advising, teaching and directing Student Activities.  Her current full time position and hobbies are caring for her family and finishing her degree.  Marrs Barron resides in La Porte, Indiana with her husband, 3 sons and 1 daughter.