GBUS-How To Be Creative-Eng/Sp Version

The following information is used for educational purposes only.

How To Be Creative


The image of the 'creative type' is a myth. Jonah Lehrer on why anyone can innovate—and why a hot shower, a cold beer or a trip to your colleague's desk might be the key to your next big idea.


By JONAH LEHRER

Creativity can seem like magic. We look at people like Steve Jobs and Bob Dylan, and we conclude that they must possess supernatural powers denied to mere mortals like us, gifts that allow them to imagine what has never existed before. They're "creative types." We're not.
The myth of the "creative type" is just that--a myth, argues Jonah Lehrer. In an interview with WSJ's Gary Rosen he explains the evidence suggesting everyone has the potential to be the next Milton Glaser or Yo-Yo Ma.
But creativity is not magic, and there's no such thing as a creative type. Creativity is not a trait that we inherit in our genes or a blessing bestowed by the angels. It's a skill. Anyone can learn to be creative and to get better at it. New research is shedding light on what allows people to develop world-changing products and to solve the toughest problems. A surprisingly concrete set of lessons has emerged about what creativity is and how to spark it in ourselves and our work.
The science of creativity is relatively new. Until the Enlightenment, acts of imagination were always equated with higher powers. Being creative meant channeling the muses, giving voice to the gods. ("Inspiration" literally means "breathed upon.") Even in modern times, scientists have paid little attention to the sources of creativity.
But over the past decade, that has begun to change. Imagination was once thought to be a single thing, separate from other kinds of cognition. The latest research suggests that this assumption is false. It turns out that we use "creativity" as a catchall term for a variety of cognitive tools, each of which applies to particular sorts of problems and is coaxed to action in a particular way.
It isn't a trait that we inherit in our genes or a blessing bestowed on us by the angels. It's a skill that anyone can learn and work to improve.
Does the challenge that we're facing require a moment of insight, a sudden leap in consciousness? Or can it be solved gradually, one piece at a time? The answer often determines whether we should drink a beer to relax or hop ourselves up on Red Bull, whether we take a long shower or stay late at the office.
The new research also suggests how best to approach the thorniest problems. We tend to assume that experts are the creative geniuses in their own fields. But big breakthroughs often depend on the naive daring of outsiders. For prompting creativity, few things are as important as time devoted to cross-pollination with fields outside our areas of expertise.
Let's start with the hardest problems, those challenges that at first blush seem impossible. Such problems are typically solved (if they are solved at all) in a moment of insight.
Consider the case of Arthur Fry, an engineer at 3M in the paper products division. In the winter of 1974, Mr. Fry attended a presentation by Sheldon Silver, an engineer working on adhesives. Mr. Silver had developed an extremely weak glue, a paste so feeble it could barely hold two pieces of paper together. Like everyone else in the room, Mr. Fry patiently listened to the presentation and then failed to come up with any practical applications for the compound. What good, after all, is a glue that doesn't stick?
On a frigid Sunday morning, however, the paste would re-enter Mr. Fry's thoughts, albeit in a rather unlikely context. He sang in the church choir and liked to put little pieces of paper in the hymnal to mark the songs he was supposed to sing. Unfortunately, the little pieces of paper often fell out, forcing Mr. Fry to spend the service frantically thumbing through the book, looking for the right page. It seemed like an unfixable problem, one of those ordinary hassles that we're forced to live with.
But then, during a particularly tedious sermon, Mr. Fry had an epiphany. He suddenly realized how he might make use of that weak glue: It could be applied to paper to create a reusable bookmark! Because the adhesive was barely sticky, it would adhere to the page but wouldn't tear it when removed. That revelation in the church would eventually result in one of the most widely used office products in the world: the Post-it Note.
Mr. Fry's invention was a classic moment of insight. Though such events seem to spring from nowhere, as if the cortex is surprising us with a breakthrough, scientists have begun studying how they occur. They do this by giving people "insight" puzzles, like the one that follows, and watching what happens in the brain:
A man has married 20 women in a small town. All of the women are still alive, and none of them is divorced. The man has broken no laws. Who is the man?
If you solved the question, the solution probably came to you in an incandescent flash: The man is a priest. Research led by Mark Beeman and John Kounios has identified where that flash probably came from. In the seconds before the insight appears, a brain area called the superior anterior temporal gyrus (aSTG) exhibits a sharp spike in activity. This region, located on the surface of the right hemisphere, excels at drawing together distantly related information, which is precisely what's needed when working on a hard creative problem.
Interestingly, Mr. Beeman and his colleagues have found that certain factors make people much more likely to have an insight, better able to detect the answers generated by the aSTG. For instance, exposing subjects to a short, humorous video—the scientists use a clip of Robin Williams doing stand-up—boosts the average success rate by about 20%.
Alcohol also works. Earlier this year, researchers at the University of Illinois at Chicago compared performance on insight puzzles between sober and intoxicated students. The scientists gave the subjects a battery of word problems known as remote associates, in which people have to find one additional word that goes with a triad of words. Here's a sample problem:
Pine Crab Sauce
In this case, the answer is "apple." (The compound words are pineapple, crab apple and apple sauce.) Drunk students solved nearly 30% more of these word problems than their sober peers.
What explains the creative benefits of relaxation and booze? The answer involves the surprising advantage of not paying attention. Although we live in an age that worships focus—we are always forcing ourselves to concentrate, chugging caffeine—this approach can inhibit the imagination. We might be focused, but we're probably focused on the wrong answer.
And this is why relaxation helps: It isn't until we're soothed in the shower or distracted by the stand-up comic that we're able to turn the spotlight of attention inward, eavesdropping on all those random associations unfolding in the far reaches of the brain's right hemisphere. When we need an insight, those associations are often the source of the answer.
This research also explains why so many major breakthroughs happen in the unlikeliest of places, whether it's Archimedes in the bathtub or the physicist Richard Feynman scribbling equations in a strip club, as he was known to do. It reveals the wisdom of Google putting ping-pong tables in the lobby and confirms the practical benefits of daydreaming. As Einstein once declared, "Creativity is the residue of time wasted."
Of course, not every creative challenge requires an epiphany; a relaxing shower won't solve every problem. Sometimes, we just need to keep on working, resisting the temptation of a beer-fueled nap.
There is nothing fun about this kind of creativity, which consists mostly of sweat and failure. It's the red pen on the page and the discarded sketch, the trashed prototype and the failed first draft. Nietzsche referred to this as the "rejecting process," noting that while creators like to brag about their big epiphanies, their everyday reality was much less romantic. "All great artists and thinkers are great workers," he wrote.
This relentless form of creativity is nicely exemplified by the legendary graphic designer Milton Glaser, who engraved the slogan "Art is Work" above his office door. Mr. Glaser's most famous design is a tribute to this work ethic. In 1975, he accepted an intimidating assignment: to create a new ad campaign that would rehabilitate the image of New York City, which at the time was falling apart.
Mr. Glaser began by experimenting with fonts, laying out the tourist slogan in a variety of friendly typefaces. After a few weeks of work, he settled on a charming design, with "I Love New York" in cursive, set against a plain white background. His proposal was quickly approved. "Everybody liked it," Mr. Glaser says. "And if I were a normal person, I'd stop thinking about the project. But I can't. Something about it just doesn't feel right."
So Mr. Glaser continued to ruminate on the design, devoting hours to a project that was supposedly finished. And then, after another few days of work, he was sitting in a taxi, stuck in midtown traffic. "I often carry spare pieces of paper in my pocket, and so I get the paper out and I start to draw," he remembers. "And I'm thinking and drawing and then I get it. I see the whole design in my head. I see the typeface and the big round red heart smack dab in the middle. I know that this is how it should go."
The logo that Mr. Glaser imagined in traffic has since become one of the most widely imitated works of graphic art in the world. And he only discovered the design because he refused to stop thinking about it.
But this raises an obvious question: If different kinds of creative problems benefit from different kinds of creative thinking, how can we ensure that we're thinking in the right way at the right time? When should we daydream and go for a relaxing stroll, and when should we keep on sketching and toying with possibilities?
The good news is that the human mind has a surprising natural ability to assess the kind of creativity we need. Researchers call these intuitions "feelings of knowing," and they occur when we suspect that we can find the answer, if only we keep on thinking. Numerous studies have demonstrated that, when it comes to problems that don't require insights, the mind is remarkably adept at assessing the likelihood that a problem can be solved—knowing whether we're getting "warmer" or not, without knowing the solution.
This ability to calculate progress is an important part of the creative process. When we don't feel that we're getting closer to the answer—we've hit the wall, so to speak—we probably need an insight. If there is no feeling of knowing, the most productive thing we can do is forget about work for a while. But when those feelings of knowing are telling us that we're getting close, we need to keep on struggling.
Of course, both moment-of-insight problems and nose-to-the-grindstone problems assume that we have the answers to the creative problems we're trying to solve somewhere in our heads. They're both just a matter of getting those answers out. Another kind of creative problem, though, is when you don't have the right kind of raw material kicking around in your head. If you're trying to be more creative, one of the most important things you can do is increase the volume and diversity of the information to which you are exposed.
Steve Jobs famously declared that "creativity is just connecting things." Although we think of inventors as dreaming up breakthroughs out of thin air, Mr. Jobs was pointing out that even the most far-fetched concepts are usually just new combinations of stuff that already exists. Under Mr. Jobs's leadership, for instance, Apple didn't invent MP3 players or tablet computers—the company just made them better, adding design features that were new to the product category.
And it isn't just Apple. The history of innovation bears out Mr. Jobs's theory. The Wright Brothers transferred their background as bicycle manufacturers to the invention of the airplane; their first flying craft was, in many respects, just a bicycle with wings. Johannes Gutenberg transformed his knowledge of wine presses into a printing machine capable of mass-producing words. Or look at Google: Larry Page and Sergey Brin came up with their famous search algorithm by applying the ranking method used for academic articles (more citations equals more influence) to the sprawl of the Internet.
How can people get better at making these kinds of connections? Mr. Jobs argued that the best inventors seek out "diverse experiences," collecting lots of dots that they later link together. Instead of developing a narrow specialization, they study, say, calligraphy (as Mr. Jobs famously did) or hang out with friends in different fields. Because they don't know where the answer will come from, they are willing to look for the answer everywhere.
Recent research confirms Mr. Jobs's wisdom. The sociologist Martin Ruef, for instance, analyzed the social and business relationships of 766 graduates of the Stanford Business School, all of whom had gone on to start their own companies. He found that those entrepreneurs with the most diverse friendships scored three times higher on a metric of innovation. Instead of getting stuck in the rut of conformity, they were able to translate their expansive social circle into profitable new concepts.
Many of the most innovative companies encourage their employees to develop these sorts of diverse networks, interacting with colleagues in totally unrelated fields. Google hosts an internal conference called Crazy Search Ideas—a sort of grown-up science fair with hundreds of posters from every conceivable field. At 3M, engineers are typically rotated to a new division every few years. Sometimes, these rotations bring big payoffs, such as when 3M realized that the problem of laptop battery life was really a problem of energy used up too quickly for illuminating the screen. 3M researchers applied their knowledge of see-through adhesives to create an optical film that focuses light outward, producing a screen that was 40% more efficient.
Such solutions are known as "mental restructurings," since the problem is only solved after someone asks a completely new kind of question. What's interesting is that expertise can inhibit such restructurings, making it harder to find the breakthrough. That's why it's important not just to bring new ideas back to your own field, but to actually try to solve problems in other fields—where your status as an outsider, and ability to ask naive questions, can be a tremendous advantage.
This principle is at work daily on InnoCentive, a crowdsourcing website for difficult scientific questions. The structure of the site is simple: Companies post their hardest R&D problems, attaching a monetary reward to each "challenge." The site features problems from hundreds of organization in eight different scientific categories, from agricultural science to mathematics. The challenges on the site are incredibly varied and include everything from a multinational food company looking for a "Reduced Fat Chocolate-Flavored Compound Coating" to an electronics firm trying to design a solar-powered computer.
The most impressive thing about InnoCentive, however, is its effectiveness. In 2007, Karim Lakhani, a professor at the Harvard Business School, began analyzing hundreds of challenges posted on the site. According to Mr. Lakhani's data, nearly 30% of the difficult problems posted on InnoCentive were solved within six months. Sometimes, the problems were solved within days of being posted online. The secret was outsider thinking: The problem solvers on InnoCentive were most effective at the margins of their own fields. Chemists didn't solve chemistry problems; they solved molecular biology problems. And vice versa. While these people were close enough to understand the challenge, they weren't so close that their knowledge held them back, causing them to run into the same stumbling blocks that held back their more expert peers.
It's this ability to attack problems as a beginner, to let go of all preconceptions and fear of failure, that's the key to creativity.
The composer Bruce Adolphe first met Yo-Yo Ma at the Juilliard School in New York City in 1970. Mr. Ma was just 15 years old at the time (though he'd already played for J.F.K. at the White House). Mr. Adolphe had just written his first cello piece. "Unfortunately, I had no idea what I was doing," Mr. Adolphe remembers. "I'd never written for the instrument before."
Mr. Adolphe had shown a draft of his composition to a Juilliard instructor, who informed him that the piece featured a chord that was impossible to play.
Before Mr. Adolphe could correct the music, however, Mr. Ma decided to rehearse the composition in his dorm room. "Yo-Yo played through my piece, sight-reading the whole thing," Mr. Adolphe says. "And when that impossible chord came, he somehow found a way to play it."
Mr. Adolphe told Mr. Ma what the professor had said and asked how he had managed to play the impossible chord. They went through the piece again, and when Mr. Ma came to the impossible chord, Mr. Adolphe yelled "Stop!" They looked at Mr. Ma's left hand—it was contorted on the fingerboard, in a position that was nearly impossible to hold. "You're right," said Mr. Ma, "you really can't play that!" Yet, somehow, he did.
When Mr. Ma plays today, he still strives for that state of the beginner. "One needs to constantly remind oneself to play with the abandon of the child who is just learning the cello," Mr. Ma says. "Because why is that kid playing? He is playing for pleasure."
Creativity is a spark. It can be excruciating when we're rubbing two rocks together and getting nothing. And it can be intensely satisfying when the flame catches and a new idea sweeps around the world.
For the first time in human history, it's becoming possible to see how to throw off more sparks and how to make sure that more of them catch fire. And yet, we must also be honest: The creative process will never be easy, no matter how much we learn about it. Our inventions will always be shadowed by uncertainty, by the serendipity of brain cells making a new connection.
Every creative story is different. And yet every creative story is the same: There was nothing, now there is something. It's almost like magic.
—Adapted from "Imagine: How Creativity Works" by Jonah Lehrer, to be published by Houghton Mifflin Harcourt on March 19. Copyright © 2012 by Jonah Lehrer.

10 Quick Creativity Hacks


1. Color Me Blue
A 2009 study found that subjects solved twice as many insight puzzles when surrounded by the color blue, since it leads to more relaxed and associative thinking. Red, on other hand, makes people more alert and aware, so it is a better backdrop for solving analytic problems.

2. Get Groggy

According to a study published last month, people at their least alert time of day—think of a night person early in the morning—performed far better on various creative puzzles, sometimes improving their success rate by 50%. Grogginess has creative perks.

3 Don't Be Afraid to Daydream- Daydream Away

Research led by Jonathan Schooler at the University of California, Santa Barbara, has found that people who daydream more score higher on various tests of creativity.

4. Think Like A Child

When subjects are told to imagine themselves as 7-year-olds, they score significantly higher on tests of divergent thinking, such as trying to invent alternative uses for an old car tire.

5. Laugh It Up

When people are exposed to a short video of stand-up comedy, they solve about 20% more insight puzzles.
When people are exposed to a short video of stand-up comedy, they solve about 20% more insight puzzles.

6. Imagine That You Are Far Away

Research conducted at Indiana University found that people were much better at solving insight puzzles when they were told that the puzzles came from Greece or California, and not from a local lab.

7. Keep It Generic

One way to increase problem-solving ability is to change the verbs used to describe the problem. When the verbs are extremely specific, people think in narrow terms. In contrast, the use of more generic verbs—say, "moving" instead of "driving"—can lead to dramatic increases in the number of problems solved.
According to a new study, volunteers performed significantly better on a standard test of creativity when they were seated outside a 5-footsquare workspace, perhaps because they internalized the metaphor of thinking outside the box. The lesson? Your cubicle is holding you back.

8. Work Outside the Box

According to new study, volunteers performed significantly better on a standard test of creativity when they were seated outside a 5-foot-square workspace, perhaps because they internalized the metaphor of thinking outside the box. The lesson? Your cubicle is holding you back.

9. See the World

According to research led by Adam Galinsky, students who have lived abroad were much more likely to solve a classic insight puzzle. Their experience of another culture endowed them with a valuable open-mindedness. This effect also applies to professionals: Fashion-house directors who have lived in many countries produce clothing that their peers rate as far more creative.

10. Move to a Metropolis

Physicists at the Santa Fe Institute have found that moving from a small city to one that is twice as large leads inventors to produce, on average, about 15% more patents.

—Jonah Lehrer

Copyright 2012 Dow Jones & Company, Inc. All Rights Reserved
This copy is for your personal, non-commercial use only.



****************************************************************************


Cómo ser creativo


La innovación no es el privilegio de unos pocos iluminados, sino una habilidad que todos podemos aprender y, con la práctica, mejorar

Por Jonah Lehrer | The Wall Street Journal Americas


La creatividad puede parecer cuestión de magia. Nos fijamos en personajes como Steve Jobs y Bob Dylan y concluimos que tienen poderes sobrenaturales que nos fueron denegados al resto de los mortales, un don que les permite imaginar lo que nunca existió. Son "tipos creativos". Nosotros no.

La creatividad, sin embargo, no es magia y no existen los tipos creativos. No es una característica que heredamos en nuestros genes, ni una bendición concedida por los ángeles. Es una habilidad. Cualquiera puede aprender a ser creativo y mejorar. Nuevos estudios arrojan luz sobre los factores que permiten a las personas inventar productos revolucionarios y resolver los problemas más complejos. Como resultado, ha surgido una serie sorprendentemente concreta de lecciones sobre lo que es la creatividad y cómo estimularla en nosotros mismos y en el trabajo.

La ciencia de la creatividad es relativamente nueva. Hasta la Ilustración, los actos de imaginación quedaban relegados a los poderes superiores. Ser creativo significaba canalizar a las musas y darles voz a los dioses. Incluso en tiempos modernos, los científicos prestaron poca atención a las fuentes de la creatividad.

En la última década, no obstante, eso ha empezado a cambiar. Las últimas investigaciones sugieren que la presunción de que la creatividad es un tipo de conocimiento independiente es falsa. En realidad, usamos el término de "creatividad" como una etiqueta que abarca una variedad de herramientas cognitivas, cada una de las cuales aplica a tipos concretos de problemas.

El desafío que afrontamos, ¿necesita de un momento de lucidez? ¿O puede resolverse gradualmente? La respuesta a menudo deterina si debemos tomarnos una cerveza para relajarnos o quedarnos hasta tarde en la oficina.

Los nuevos estudios también sugieren la mejor manera para abordar los problemas más peliagudos. Solemos dar por sentado que los expertos son genios creativos en sus respectivos ámbitos. Pero los grandes descubrimientos a menudo dependen de inocentes osadías de personas de fuera.

Partamos por los problemas más difíciles, aquellos que a primera vista parecen imposibles. Éstos suelen resolverse (si es que se resuelven) con un momento de lucidez.

Consideremos el caso de Arthur Fry, un ingeniero del departamento de productos de papel de 3M. En 1974, Fry asistió a una presentación de Sheldon Silver, un ingeniero que trabajaba con adhesivos. Silver había desarrollado un pegamento extremada-mente débil que apenas servía para pegar dos trozos de papel. No parecía que el compuesto tuviera aplicaciones prácticas. Después de todo, ¿para qué sirve un pegamento que no pega?

Sin embargo, una gélida mañana de domingo, Fry se acordó del pegamento en un contexto insólito. El ingeniero cantaba en el coro de la iglesia y solía poner pequeños pedazos de papel en su cantoral para marcar las piezas del día. Los papeles a menudo se caían, obligándolo a buscar frenéticamente la página correcta. Parecía un problema insoluble, uno de esos fastidios ordinarios con los que no nos queda otra que convivir.

Pero durante el sermón, Fry tuvo una epifanía. Se le ocurrió que podía aplicar el pegamento débil al papel para crear un marcador de libros reutilizable. Al ser tan débil, se adheriría a la página pero no la rompería al retirarlo. Esa revelación finalmente se convirtió en uno de los artículos de oficina más usados en el mundo: el Post-It.

La invención de Fry fue un clásico momento de lucidez. Si bien esas ocurrencias parecen surgir de la nada, los científicos han empezado a estudiarlas. Lo hacen administrando rompecabezas lógicos y observando lo que ocurre en el cerebro. Las investigaciones de Mark Beeman y John Kounios identificaron de dónde venía la chispa de inspiración que observaban cuando a los participantes se les ocurría la respuesta al enigma planteado.

En los segundos previos al hallazgo, un área del cerebro llamada la circunvolución temporal superior (aSTG por sus siglas en inglés) exhibe un salto en su actividad. Esta región, ubicada en la superficie del hemisferio derecho, se especializa en conectar información muy vagamente relacionada, precisamente lo que hay que hacer a la hora de resolver un problema de creatividad.

Beeman y sus colegas descubrieron que ciertos factores aumentan las probabilidades de uno de esos momentos de lucidez. Por ejemplo, mostrar un breve video humorístico mejora las probabilidades de acierto en un promedio de 20%.

El alcohol también funciona. Investigadores de la Universidad de Illinois, en Chicago, compararon el desempeño en esta clase de rompecabezas entre estudiantes sobrios y ebrios. Éstos últimos resolvieron casi 30% más problemas de palabras que sus compañeros que no estaban intoxicados.

¿Qué explica los beneficios creativos de la relajación y el alcohol? La respuesta involucra la sorprendente ventaja de no prestar atención. Si bien vivimos en una era que le rinde culto a la concentración, este enfoque puede inhibir la imaginación. Puede que estemos concentrados, pero en la respuesta incorrecta.

La relajación ayuda. No es hasta que nos relajamos en la ducha o nos distraemos viendo el video de un humorista que logramos girar el foco de la atención hacia adentro, revisando todas esas asociaciones al azar en el hemisferio derecho del cerebro. Cuando necesitamos un momento de lucidez, esas asociaciones suelen darnos la respuesta.

Los estudios también explican por qué tantos grandes descubrimientos se hicieron en lugares insólitos, como Arquímedes en la bañera o el físico Richard Feynman que garabateaba ecuaciones en clubes de strip-tease. Igualmente validan la lógica de Google de colocar mesas de ping-pong en el vestíbulo y confirman las ventajas prácticas de soñar despierto. Tal como dijo Einstein: "La creatividad es el residuo del tiempo desperdiciado".

Desde luego, no todos los desafíos requieren una epifanía ni una ducha caliente resolverá todos los problemas. A veces, necesitamos seguir trabajando y resistirnos a la tentación de una siesta inducida por la cerveza.

Esa clase de creatividad es menos divertida. Consiste básicamente en sudor y fracasos. Es el lapicero rojo en la página y el boceto arrugado. Nietzsche se refirió a esto como el "proceso de rechazo", señalando que si bien a los creadores les gusta jactarse de sus grandes epifanías, la realidad cotidiana es mucho menos romántica. "Todos los grandes artistas y pensadores son grandes trabajadores", escribió.

Pero si diferentes clases de problemas creativos se benefician de diferentes clases de pensamiento creativo, ¿cómo podemos asegurarnos de que estamos pensando de la manera adecuada en el momento indicado? ¿Cuándo deberíamos fantasear y dar un paseo o cuándo deberíamos seguir dibujando y jugando con las posibilidades?

La buena noticia es que el cerebro humano tiene una sorprendente capacidad natural para evaluar la clase de creatividad que la situación requiere. Numerosos estudios demostraron que, cuando se topa con problemas que no necesitan inspiraciones repentinas, la mente es sorprendentemente hábil para calibrar la probabilidad de que el problema sea resuelto, sabiendo si está cerca o no, aunque desconozca la solución.

Otra clase de problema creativo, sin embargo, es cuando uno carece de la materia prima en la cabeza. Si está tratando de ser más creativo, una de las cosas más importantes que puede hacer es aumentar el volumen y la diversidad de la información a la que se expone.

Steve Jobs dijo que "la creatividad consiste simplemente en conectar cosas". Pese a que creemos que los creadores inventan algo de la nada, Jobs asegura que incluso los conceptos más remotos surgen usualmente de combinaciones de cosas que existen. Bajo su batuta, Apple no inventó los reproductores MP3 ni las computadoras tipo tableta, sino que se limitó a mejo-rarlos, incorporando elementos de diseño.

¿Cómo puede mejorar la gente a la hora de establecer esas conexiones? Jobs sostiene que los mejores inventores buscan "experiencias diversas", recopilando muchos puntos que luego pueden ligar.

La creatividad es una chispa. Puede ser exasperante frotar las dos piedras y no conseguir nada. Y puede ser increíblemente satisfactorio cuando sale la llama y una nueva idea conquista el mundo. Por primera vez en la historia, empieza a ser posible ver cómo crear más chispas y asegurar que prendan. Con todo, debemos ser honestos: el proceso creativo siempre será difícil, independientemente de cuánto aprendamos sobre él.

Adaptado del libro "Imagine: How Creativity Works", de Jonah Lehrer

10 consejos para potenciar el ingenio


1. Píntelo de azul
Un estudio de 2009 reveló que los participantes resolvieron el doble de problemas lógicos cuando estaban rodeados del color azul, ya que es relajante y mejora el pensamiento asociativo. Por el contrario, el rojo hace que la gente esté más atenta así que es mejor como telón de fondo para resolver problemas analíticos.

2. Despístese

Según una investigación publicada el mes pasado, la gente se desempeñó 50% mejor en varios problemas creativos durante el momento del día en que estaban menos alerta, como por ejemplo, recién despiertos. El atontamiento tiene sus ventajas.

3. Sueñe despierto

Investigaciones dirigidas por Johathan Schooler en la Universidad de California, en Santa Bárbara, revelaron que las personas que sueñan despiertas durante el día obtienen mejores puntajes en varias pruebas de creatividad.

4. Piense como un niño

Cuando a los participantes de un estudio se les dice que se imaginen que vuelven a tener 7 años, sus resultados en los tests de pensamiento divergente con problemas como tratar de inventar usos alternativos para un neumático viejo son más altos.

5. Una dosis de humor

Cuando la gente ve un video corto de un comediante, resuelve alrededor de 20% más de problemas lógicos.

6. Imagínese que está muy lejos

Investigaciones llevadas a cabo en la Universidad de Indiana revelaron que los participantes eran mucho mejores resolviendo enigmas cuando se les decía que los problemas venían de Grecia o California y no de un laboratorio local.

7. Mientras más genérico mejor

Una manera de de mejorar la capacidad para resolver problemas es cambiar los verbos que describen el problema. Cuando los verbos son extremadamente específicos, la gente piensa en términos limitados. En cambio, el uso de palabras más genéricas (como trasladar en vez de conducir) pueden traducirse en incrementos significativos en la cantidad de problemas solucionados.

8. Abra la mente

Según un nuevo estudio, los voluntarios se desempeñaron mejor en un test estándar de creatividad cuando los colocaron fuera del clásico espacio de trabajo de 0,5 metros cuadrados, tal vez porque internalizaron la metáfora de abrir la mente. La lección: el cubículo limita su potencial.

9. Vea el mundo

Según un estudio dirigido por Adam Galinsky, estudiantes que han vivido en el extranjero son más proclives a resolver problemas clásicos de creatividad. Su experiencia de otra cultura les aportó una valiosa flexibilidad. Este efecto también se aplica a profesionales: los directores de casas de moda que han vivido en muchos países diseñan prendas que son más creativas que sus pares.

10. Múdese a la Metrópolis

Físicos en el Instituto Santa Fe descubrieron que mudarse de una ciudad pequeña a una que es al menos el doble de grande lleva a los inventores a producir, en promedio, 15% más patentes.


Fuente: La Nación