Creativity: Theory and Practice

When nature finds itself in need of new ideas, it strives to connect, not protect.

Whatever inspiration is, it’s born from a continuous 'I don’t know.'

Wisława Szymborska

Regardless of whether or not we’re formally making art, we are all living as artists. We perceive, filter, and collect data, then curate an experience for ourselves and others based on this information set. Whether we do this consciously or unconsciously, by the mere fact of being alive, we are active participants in the ongoing process of

In creative work there are two phases: exploration and execution. In the exploration phase, you don’t know what the thing is going to be, you don’t have all of the information or ideas you want to have, you don’t even know if what you’re thinking about is important, and any little breeze in the wrong direction might blow you off course. In the

This gives us a roadmap to doing more creative work. What we need to do is, in the exploration phase, raise the perceived value of doing the work, raise the perceived costs of not doing the work, and lower the perceived value of doing other things.

Another key aspect of idea generation is to embrace variance. Research shows that, to find good novel ideas, we likely have to come up with many bad novel ideas because most new ideas are pretty bad. Fortunately, we are good at filtering out low-quality ideas, so if we can generate novel ideas quickly and at low cost, we are more likely to generate

Reframe non-productive time. One of the reasons the exploration phase of the work is low value is that most of it doesn’t look like work. It’s lots of reading, and sitting and thinking, and doodling, and trying things that lead to dead ends. Non-productive time feels like a waste—but it doesn’t have to! One way to think about this kind of time is

Try writing about why the work is important, or spend some time reflecting on times in the past where you’ve felt most connected to it.