<blockquote><h1>“It doesn't matter if I'm writing a book, producing a TV show, or creating a podcast—the journey is always similar and starts from nothing.”</h1></blockquote>&nbsp;What is your definition of creativity?LB: "Creativity is like embarking on an exploration within. What fascinates me the most is diving into the unknown. Almost every idea I pursue turns into a quest for simplicity, a journey toward distilling everything down to its essence. You might not know exactly how to get there, but you have to navigate through a myriad of options until everything clicks into place. And when it does, that moment of clarity where everything works together perfectly? That's golden.&nbsp;

It doesn't matter if I'm writing a book, producing a TV show, or creating a podcast—the journey is always similar and starts from nothing. I truly love that, but I've noticed over the years that not everyone is cut out for this. Some thrive when they have some starting blocks to build upon. But to start with nothing and lay down the building blocks from scratch? That's a different ball game that not everyone is eager or willing to play."

Where does that unwillingness come from?LB: "I'm not entirely sure. I think it comes down to a dislike for discomfort and change. When you start a creative project, you're essentially beginning with nothing, and you have no idea where it will end up. You must trust this gut feeling and dive into the unknown, which isn't comfortable. It's a process filled with uncertainties, potential mistakes, and no guarantees. The process can be enjoyable but does not get easier over time. You have to go through this process repeatedly with every new project you embark on. It's the uncertainty and the inherent discomfort of creativity that I think deter a lot of people."&nbsp;<blockquote><h1>“It's the uncertainty and the inherent discomfort of creativity that I think deter a lot of people.”</h1></blockquote>&nbsp;Speaking of discomfort, you made quite the career switch. You went from being a very independent creative to heading a whole department of creatives at a broadcasting agency. How do you foster a creative and supportive environment in your current role? LB: "You need space to be creative. An environment that's all about churning out content or products can stifle that creativity. It's essential to carve out a space where creativity can thrive, even within structured systems. It's about creating momentum while also allowing room for the creative process to unfold naturally. My approach involves flexibility. For instance, with new projects, I prefer setting up a structure where we can explore ideas without the immediate pressure of deadlines. This allows for creativity to flow more freely and means that we can fail without significant consequences early on in the process. &nbsp;<blockquote><h1>“It's my job to foster an environment where creativity is valued and nurtured.”</h1></blockquote>&nbsp;My work experiences have taught me the importance of a space where you can freely explore and create. I've been fortunate to have that in my career, and I aim to pass that on. Whether it's a creative industry or any other field, the principle remains the same. Innovation comes from giving people the room to experiment, fail, and learn. Creativity flourishes in an environment with room to explore and make mistakes. And it's my job to foster an environment where creativity is valued and nurtured."

How much creative freedom do you attribute to luck versus personal choices?LB: "Well<span style="background-color:rgb(255,255,255);color:rgb(13,13,13);font-family:Söhne, ui-sans-serif, system-ui, -apple-system, &quot;Segoe UI&quot;, Roboto, Ubuntu, Cantarell, &quot;Noto Sans&quot;, sans-serif, &quot;Helvetica Neue&quot;, Arial, &quot;Apple Color Emoji&quot;, &quot;Segoe UI Emoji&quot;, &quot;Segoe UI Symbol&quot;, &quot;Noto Color Emoji&quot;;">, you need a certain amount of luck to find yourself in a setting where creativity can flourish, but once you're there, your decisions can certainly shape things. I've declined certain opportunities to maintain my focus on writing, choosing positions that offered freedom over prestige. Structuring your life around your passions involves intentional decision-making rather than passively accepting opportunities. Opting for a day job as a safety net allowed me to pursue creative projects without financial pressure." When are you most creative?LB: "Mornings are my prime time, especially in the quiet moments when I'm still in bed. That's when my thoughts flow most freely, and I can clearly visualize my work. I always keep pen and paper close by to capture any fleeting ideas." &nbsp;<blockquote><h1>“Accepting the ebb and flow of creativity helps to manage expectations and prevent frustration.”</h1></blockquote>&nbsp;Do you follow any rituals to stay in the creative zone? LB: "Adhering to a specific routine is crucial, but so is carving out uninterrupted time. Deep concentration periods are essential: I need time when I'm free from meetings or other distractions. Creativity demands dedicated time, and it cannot be forced into the gaps between tasks. Planning for undisturbed periods, whether by rising early or setting boundaries, is critical.&nbsp;Accepting the ebb and flow of creativity helps to manage expectations and prevent frustration. I have also learned that a wholly scheduled life is a major creativity killer. I need time to think and write simultaneously, as writing helps clarify my thoughts. Interruptions, especially from people around me, pull me out of deep concentration, which is killing for my creative process. But working in a lively café where no one disturbs me can be perfectly fine, as long as I can stay in my bubble."&nbsp;

How much time do you spend in that bubble when you're writing a book? &nbsp;LB: "Fiction is mystical. Writing fiction feels like I'm tapping into something beyond my control. The characters and storylines just come to me. The funny thing is that you can't force these things; you can only create conditions that make it more likely to foster them. It's like love in that sense. You can't guarantee meeting someone, but you can increase the chances of it happening.&nbsp;It’s an incredibly elusive process. And sometimes, it feels almost like a condition to me—a kind of socially accepted deviation. When you think about it, it's wild. I'm an adult woman fantasizing about imaginary friends, laughing at my own jokes, imagining a whole story unfolding in my head, and putting that in writing. It is truly wild.”

Lisa Boersen (born 1975) heads the youth department at Dutch broadcaster NTR. She is the author of several popular children's books including “Jani Kekke and the Blue Daydreamer” and the successful series "Timo and the Ninja Babysitter." Her most recent book (2022) is for adults, and it is titled: "García Márquez and the Honeymoon Quiz - How Stories Shape Us."

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<a href="http://www.lisaboersen.nl/">Lisa Boersen</a> (LB) is a storyteller at heart, weaving narratives that resonate with audiences both young and old. With a solid foundation in cultural anthropology and literature, she has made significant contributions to Amsterdam's cultural scene, creating innovative art and socially impactful programs for esteemed institutions like De Balie and <a href="https://tioc.nl/profile/paperdoll?id=24">Paradiso</a>. Lisa has authored several top-rated children's books. Currently, she serves as the head of the youth department at the Dutch broadcaster NTR—a conversation about storytelling, fostering a creativity-rich environment, and the socially acceptable ‘condition’ of writing fiction.

LISA BOERSEN: STORYTELLER, CULTURAL INNOVATOR & CHILDREN'S AUTHOR

It's the question we tend to open with: what is your definition of creativity?CB: “It's a lot of different things. You can define creativity as a process that allows you to develop new ideas or challenge existing problems. But I also like to think about creativity as a team culture. And yes, you can also think about creativity as an end product. Creativity is also a skill set that gives you the confidence to be creative.”&nbsp;<blockquote><h1>“No matter what your skill level is when it comes to creativity, you can always advance those skills.&nbsp;</h1><h1>You can become more creative through practice.”</h1></blockquote>&nbsp;Can you learn to be creative?CB: “If you go back a couple of hundred years in history, there was a strong belief that creativity was something you inherited. Some famous researchers looked at European families where creativity existed over multiple generations, like the Bach family, which had some 28 musicians. So, from that perspective, it could seem like creativity is something you can inherit or pass on. It could also be that having the same surname as a famous ancestor allows you to follow in their footsteps simply because certain doors might open a little easier. But there's also the cultural dimension of early childhood, the environment you grew up in, the school you attended, the sports you played, and the organizations you're involved with and work for: they can all nurture your creativity. So it's probably a mix of everything. But the most important thing for everyone to remember is that no matter what your skill level is when it comes to creativity, you can always advance those skills. You can become more creative through practice.”

What kind of practice are we talking about?CB: "If you want to learn a new language, say Chinese or Spanish, more is needed than simply watching a Spanish movie with the subtitles on. You don't learn the language by seeing, hearing, or even understanding it; you have to practice the pronunciation and grammar over and over again. And then suddenly, you become better at it, become more confident about your language skills, and feel emboldened to speak Spanish whenever you can.The learning curve for creativity is the same. If you want to improve your creativity, you need to practice it. It's not enough to read a book on the subject or watch a video about a creative person. You have to start practicing it so you become better at it. And the exciting thing is that, as you become better, you boost your confidence by quite a lot. I've seen studies where If you practice your creativity for 5 to 10 hours, you can advance your skill set for thinking about ideas by 20 to 30 percent. But the creative confidence can boost by even more."&nbsp;What does practicing your creative skills mean? Take up painting?CB: "Funny you should mention painting. For me, that's an expression of an idea. And it's essential for creativity that you're good at expressing ideas.When you develop novel ideas, it can be difficult to persuade others about your idea simply because they can't match it with what they've seen before. If you're launching a new shampoo brand and change the bottle and the scent and opt for a funny color scheme, the procurement officers in the supermarkets will still recognize it as a shampoo bottle. And in their minds, they will be able to link it to a similar shampoo and feel confident they can sell this one as well. But what if you present that same supermarket with a novel idea that the procurement officer cannot relate to existing or historical experiences?&nbsp;Let's say your new shampoo brand comes in a paint can and has an accompanying paintbrush that you use to apply the shampoo. And instead of rinsing the product off in the shower, you let it sit and dry before you shake your head to get it all off. Now that shampoo isn't recognizable as something else: it looks weird and has strange instructions. Very few customers would even recognize it as a shampoo. So, selling that particular shampoo requires much more persuasion if you want people to understand the value and potential of this new idea. You must be very good at expressing the idea and how good it is."

So persuasion is one skill set; what's another?CB: "You need to be able to challenge standards and problems that most people don't recognize as problems yet. If, in a company setting, you only work on problems that everybody else is trying to solve, chances are you will probably come up with some very similar solutions as your competitors. Now, if you want a competitive advantage over everybody else in the industry, you will need a new starting point. Focus on things that most others don't focus on, and find different problems or perspectives. It requires that you're good at challenging the standards that most take for granted.Let's say you work in the swimming pool industry, you own a couple of swimming pools, or maybe run a holiday resort, and you need lifeguards. Now, you cannot just hire anybody because lifeguards need to be able to swim and maybe know CPR. Nobody would challenge the idea that lifeguards need to be able to swim. And that is precisely why it's such a good reason to at least challenge that idea, even though it goes against all logic.So what if you hire lifeguards who don't know how to swim and come up with a system where there is some net on the floor of a swimming pool and all these emergency buttons? So the minute someone is in trouble, you push a button, and up comes the net, lifting everybody out of the pool. In this scenario, you wouldn't need lifeguards who know how to swim but ones who know how to climb a net and how to administer CPR while hanging in the air.This net idea might be unique. It might be interesting. It might be good. It might not be. It might lead to a new type of swimming pool where people with a fear of water – the elderly, disabled, and those without a diploma can safely enjoy the water. But regardless, we now have a fascinating new perspective on safety in a swimming pool."&nbsp;The point of the exercise is to challenge the status quo, then?CB: "Yes, you have to look for the standards in your industry that nobody is challenging—practice identifying them and then challenging them. You can do that by making them extreme or removing them and watching what happens. And then, later, you can start trying out some of these ideas. But it starts with identifying the standards. And you will need to practice that repeatedly before it becomes a skill, a habit, or even second nature."&nbsp;<blockquote><h1>“You have to look for the standards in your industry that nobody is challenging—practice identifying them and then challenging them.”</h1></blockquote>

How long, generally, before it becomes second nature?CB: "Maybe weeks, months, depending on how creative you are already. You can practice for half an hour every week, 10 minutes every morning, or one hour every month. It depends on your ambition and how fast you want to improve your creativity.There's power in repetition: when you have practiced a lot over time, it becomes a mindset. It becomes a new pair of glasses that allows you to see these standards suddenly. And you instantly start to challenge them as well. It's a great skill to have."&nbsp;It does, depending on the company you're keeping or the company that you work for. When surrounded by people who resist change or creativity, it can be a curse.&nbsp;CB: "It goes back to your first question about the definition of creativity. If you only see creativity as a skill, a process, a technique, or a method, then you will end up having lots of great ideas, but you will start to feel like a weirdo because people need to understand and appreciate your ideas.It's also important to note that you can only expect creativity from somebody who knows how to be creative. It's like expecting people to play the violin when they've never learned to play it. You know it's going to sound horrible, right? It takes time to create a culture of creativity where people have a sense of accomplishment and confidence in their creative abilities. Developing these skills, which we discussed before you start expecting people to be creative, is a crucial step in creating a culture of creativity.In the second part of my book, I write about how you take a journey as a team, as an educational institution, or as a complete organization where you don't just take one of these creative perspectives but a holistic perspective. As a team or company, you must establish when and for what type of problems you need creativity."

<blockquote><h1>“Creativity is a chance process. You never know if something good will come up, but you have to invest time in this creative effort regardless.”</h1></blockquote>&nbsp;How do you decide what requires creativity and what doesn't?CB: "First, you need to develop a common language for creativity where everybody's on the same page about why we need creativity and what the value of creativity is in certain situations. Once you have the language, you go to step 2, which is developing these specific skills, like the skill to challenge what most people take for granted and the skill that allows you to persuade people and make sure they clearly understand the value of your ideas. Then, there's the skill of developing ideas beyond current logic. And the last skill is the ability to be curiously open-minded.Now, creativity is a chance process. You never know if something good will come up, but you have to invest time in this creative effort regardless. And that circles back to your question of when to be creative. If the problem is important and complex, it's worth investing in creativity. And here, it's essential to understand the difference between complicated and complex. Complicated problems generally only need data and analysis to be solved. For complex problems, we don't need data; we need ideas. And we don't need much analysis. Instead, we need visionary thinking. We cannot just analyze complex problems and then choose the correct solution. We have to come up with new solutions. Things we never thought about before, which is what makes it complex. You're entering unknown territory."&nbsp;You mentioned being curiously open-minded. That seems a difficult skill to master simply because it requires you to put your ego aside and refrain from judgment.CB: "When someone presents an idea, instead of thinking things like - 'This is not perfect. I could do it better. Let me tell him how to do it better next time. This idea is just really weird' – opt for a more constructive approach: 'This is different from how I think about the problem. There must be something they have seen that I haven't seen. Let me try to understand what they have seen. Maybe I could learn something here.' It's about having a curious mind and being open to learning. An idea might contradict everything you believe or know to be true, but maybe this could be interesting because it's something you haven't thought about before.Mind you, this is not easy. It might make you feel uncomfortable at first. But you'll have to learn to tolerate the discomfort. Sit with a pit in your stomach if you have to, but be sure to be curiously open-minded when presented with new ideas. This is a particularly good skill because it will help you actively look for potential in ideas where most people only tend to see problems.Ultimately, it's about integrating creativity into your everyday life, making it a habit. And when you reach that point where everybody in a team knows how and when to be creative, you can expect to see more ideas. We generally consider more ideas to be a good thing because it creates a better foundation for decision-making. When you have five bad ideas and one good one, there is little of a choice. You want to be spoilt for choice and consider the best option out of a dozen ideas."&nbsp;<blockquote><h1>“It's about integrating creativity into your everyday life, making it a habit.”</h1></blockquote>

We feel like we're forever preaching the Gospel of Creativity, but there are still plenty of people who don't see the added value of creating a culture of creativity. How do you get those non-believers on board?CB: "They should consider the value of creativity on both an organizational and societal level. The World Economic Forum considers creativity the second most important skill for the workforce. It used to be number five a few years ago, but now it's considered the second most important skill. So, from a future work perspective, let's say you're going to apply for a job soon; it's probably a good idea to be able to say that you can practice and implement creativity. It's rational to invest time in creativity, not just in training but also in doing it regularly. Cause it will become even more important in the future.But it's not just about work. You can use creativity in your private life as well. Creativity is about more than just solving big problems. It can also make life easier. It can help you create the life you want. And using creativity, you will become able to design your local society and the global society. So, from a societal point of view, creative people have the ability to engage in a democracy or any situation more actively because they start to get ideas. You see problems around you, and you suddenly start to get ideas for how to solve them more often. When you practice creativity together, you suddenly see some people as creative. Maybe even some people that you've never considered creative before, so being creative together is nice. It has been suggested that these creative moments are some of the peak experiences in life.'&nbsp;Earlier this year, we interviewed brain researcher Dick Swaab and talked about how neurodivergents tend to be good at creativity. What's your take on that?CB: "Say you want to engage in certain activities but don't want others to know you might have some anxiety or phobia; you are actively practicing your creativity in every situation where you feel like you want to seem 'normal.' Society was not designed to support this fear or the issues you face, so you must find your way around them. And as a consequence, you're constantly practicing your creativity because you have to find solutions that aren't standard.What is interesting is that the more creative teams in organizations tend to be better at making effective use of diversity, and that includes diverse thoughts, diverse personalities, diverse backgrounds, diverse perspectives, as well as people who may have a disorder in some way. It's very much related to this notion of having a curious mind. It's good to have diversity. But only if you have a curiosity of mind; otherwise, it becomes ineffective, and those who think outside of the box will soon find themselves in a situation where they are considered the oddballs with the weird ideas, and that is something you don't want."

<blockquote><h1>“You want to create a sandbox environment where everybody gets to know one another as creative human beings and get positive experiences.”</h1></blockquote>&nbsp;Is it bad to be considered the one with weird ideas?CB: “You don't want people to be afraid to be judged about their weird ideas or feel like they are not interesting, intelligent, or 'good' enough. You want to create a sandbox environment where everybody gets to know one another as creative human beings and get positive experiences. You can start by practicing ideas with nothing at stake and where you cannot lose face professionally. That way, you get some really good experience, and you build that creative confidence.”&nbsp;What are creativity killers?CB: “Focus requires concentration. Interruptions kill creativity. The phone can be a creativity killer. As can the computer, the mental to-do lists, or the fight with your spouse earlier in the day. To be creative, you need to rid yourself of all those distractions. Think about it as erasing your working memory from all the disturbing thoughts. And there are very personal ways to do that. Some take a bath, others do push-ups, some drink a cup of tea or walk in nature. Whatever the method, when you see someone is trying to focus and get into a creative mode, leave them be. Don't interrupt them. Refrain from striking up a conversation. Because if you do, you're killing creativity.”&nbsp;And potentially great ideas.CB: "Absolutely. Creativity is a powerful skill. It's very influential. If you're good at it, you can get ideas that can challenge the way people relate to or look at certain something. And those people may have different insights than you have or need help to grasp the full consequences, both positive and negative, of the idea you've persuaded them to like. Ethics are very important in this. We affect people's lives by trying to make them follow new ideas. And therefore, we have a certain responsibility for thinking morally and ethically about these ideas and their impact on the world."&nbsp;<blockquote><h1>"Creativity is a powerful skill. It's very influential."</h1></blockquote>

Speaking of impact, we can only talk about creativity and mention AI, right?CB: "We are entering into a period where AI can help us be more creative. In a recent study I did, we tested Chat GPT 4 using the Torrance test for creativity. The program ranked in the top one percent of human performance, and very few people can think up original ideas as well as Chat GPT 4 can. We have to find ways to use this advantage and use AI to help us in our creative efforts. Maybe AI can help us even solve problems too complex for us to solve, or maybe it can give perspectives we have yet to think about.If you are good at creativity, you can help AI think more creatively and become more creative. You get more creative resources from AI if you are creative yourself, meaning the more creative, the more you can get out of AI.You can call it a Sputnik moment, referring to the time when Russia got into space quicker than America. Similarly, we're seeing a Sputnik movement here where educational institutions and corporations may have been sleeping slightly. And now AI is so powerful creatively. And we are behind in how to use it effectively, and we may have to be more creative to make effective use of it.We may have to speed up the investment in education to develop creative cultures in educational and corporate settings so we can make effective use of this new powerful tune. Those who become the best at it may get innovative competitive advantages."&nbsp;<blockquote><h1>“If you are good at creativity, you can help AI think more creatively and become more creative.”</h1></blockquote>&nbsp;Any final thoughts?CB: “You asked in the beginning what creativity is, and I refused to give you one single definition. Still, please think about creativity this way: it's a rigorous approach. It's a rigorous process in a similar way to research. It has to be done right to be successful in being created. Once you develop it into a habit, the creative culture will feel far more playful, of course, but that's a very important thing to think about: when it starts to feel rigorous, it's a good thing because that means you're on track to becoming a professional creative."

Enjoyed this interview and interested in reading more about cultivating team creativity?&nbsp;Click on the link below to buy Christian Byrge's book.&nbsp;<div class="raw-html-embed"><a target="_blank" href="https://www.amazon.nl/Everyday-Innovator-powerful-cultivate-creativity/dp/9063696817/ref=sr_1_1?__mk_nl_NL=%25C3%2585M%25C3%2585%25C5%25BD%25C3%2595%25C3%2591&amp;crid=75V93FGHJT5K&amp;keywords=everyday+innovators&amp;qid=1699435419&amp;sprefix=everyday+innovato%252Caps%252C318&amp;sr=8-1&amp;_encoding=UTF8&amp;tag=tioc08-21&amp;linkCode=ur2&amp;linkId=c0f3de56ceba7d1638d08289a0949e3c&amp;camp=247&amp;creative=1211">Everday Innovator: BUY THE BOOK</a></div>

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Christian Byrge, an accomplished expert in creativity, serves as a full professor in Business Creativity at Vilnius University Business School. With a track record of training over 100,000 professionals globally and advising 300+ organizations on creativity development, he's a leading authority in the field. Byrge is also the author of Everyday Innovator, a practical guide that equips readers with skills to challenge norms, spark innovative ideas, and nurture open-minded cultures. Our discussion with him focused on cultivating creativity as a habit and transforming workplaces into innovation hubs.

CHRISTIAN BYRGE: CULTIVATING CREATIVITY

Where does your interest in creativity come from?&nbsp;BS: “As a teacher, I’m always trying to get students excited about the creative process. I push them to try new things and aim for originality, not just functionality. I want to unlock their creative potential. That isn’t always an easy task because you’re working in this big educational institution. But thankfully we have minors where I can facilitate creative growth in students.”What does that look like?BS: “Your level of creativity is linked to how your brain is wired but you can still influence things by opening yourself up to the creative process and to the uncertainty that comes with that. I for one always try to get out of my comfort zone. I try to be open to new ideas, work with people and move forward. And I urge my students to do the same. I also create the en environment that is conducive to creativity. Location is important: we have a studio at Amsterdam’s NDSM where we’re surrounded by all sorts of creative people: designers, artists, etc.We also make sure that the group of students we work with is diverse in that we have students from various international programs and backgrounds. Research shows that having a diverse group of people benefits creativity and innovation. I’ll give you an example: I set up the minor Immersive Environments and here students are exposed to an abundance of inspiration and opportunities. We use all kinds of new techniques and materials, like projection mapping with sensors.&nbsp;

My role as a teacher is more that of a co-creator and together with the students I get to explore whole new fields. We invite experts in their own specific field, from art to philosophy, to give a lecture and share their knowledge. And we also select interesting project partners to collaborate with. We have students working on projects for museums, but they can also create retail experience for consumer brands. The students really get bombarded with a lot of information and inspiration in a short amount of time. By exposing them to all these different things students can find something that makes their creative hearts beat faster. They become intrinsically motivated to work on something and you end up seeing tremendous personal growth.”&nbsp;&nbsp;<blockquote><h1>“Research shows that having a diverse group of people benefits creativity and innovation.”</h1></blockquote>

&nbsp;Working with other people. Sounds simple enough but it seldom is, isn’t it?BS: “You just need to beware of creativity killers. For instance, brainstorming in a large group never works. You really need to give people more space and time to reflect and come up with ideas. You also need a safe environment, one where there isn’t that much hierarchy or pressure. You want people to feel comfortable so they can express themselves. You can’t think big when you’re stuck in a small cubicle.” &nbsp;Why do you consider creativity a crucial 21st-century skill?BS: “AI can generate a lot of ideas and come up with a lot of different and new combinations. But we people still have our gut feeling. Our primal instincts help us determine whether or not something can have an impact on other human beings.Francis Bacon famously said that wonder is the seed of knowledge. I’d argue that wonder is often the seed of creativity. We need to hold on to this sense of wonder and we also need to believe that anything is possible. We’re facing enormous challenges and creativity can help create some much needed answers and solutions.”

&nbsp;Okay, so when you talk about challenges we’re thinking water shortage, climate change, economic disparity: to what extent can creativity help to ‘solve’ these big issues?BS: “In the Immersive Environments minor we’re mainly concerned with creating experiences, but these relatively ‘small’ creative exercises could very well translate into bigger things. You can take small steps and end up solving big problems. Working together is key. In our minor we have students from different backgrounds working together but they usually graduate by themselves. I’d love to change that and have students from art academies and technical universities work together on a graduation project. By bringing people from different disciplines together you get fresh perspectives and quite possibly the kind of creative solutions that we so desperately need.”&nbsp;&nbsp;Love that idea of a communal graduation project, but how realistic is that? Having a minor to experiment is one thing but what you’re proposing means cutting through a lot of red tape.BS: “I believe that even with a small group you can bring about a lot of change in education and learning experiences. Gradually, colleagues are also looking into this and together we’re trying to find ways to use new educational methods on a larger scale. Project education hasn’t really allowed much room for things like incubation of ideas and rumination time, which are extremely important in the creative process. I believe in design by doing. Learning about methods is one thing but there’s more to creativity than desk research and reading books: you need to test things and try things out. And not just at the end of the project, but throughout the project. You need to make things physical and visual in an early stage and then you can really start making progress.”

So why set up TIOC?BS: “I noticed that everybody is so busy doing their own thing that they don’t really know what’s happening in a different minor, let along a different school or country. I saw a lot of graduation shows and it struck me that many students were reinventing the wheel instead of building on what previous students had done. At Delft University you see the opposite with new students working on a new iterations of the solar car and with great succes! My goal is to make student work and their progress more transparent. The focus should lie less on an end product and more on the process of creative growth and the different ideas that students have. It's really just about showing creative growth. We interview experts about creativity. We offer tips, tools and training. We help to unlock creative potential, link students to companies, and set out creative challenges.”&nbsp;&nbsp;<blockquote><h1>“If you surprise yourself, you're already being creative."</h1></blockquote>&nbsp;Who is the target audience?BS “The platform is primarily aimed at students or young creatives who are still in their creative development. But anyone with a love for creativity and a willingness to learn new skills and link to other creatives is welcome to take part.”

Could you tell a bit more about the design challenges?BS: “We’re going to set out a number of design challenges, which are basically briefings that hopefully will excite students. One challenge will focus on how to design not for capitalism. How can you, in a society where almost everything is about making a profit, design for a better world? Another design challenge could be designing new experiences. Everybody is on their screen these days, which is a very isolated experience, but how can you create an overwhelming experience that people can enjoy, together, in one room?&nbsp; We’re also interested in asking students about coming up with new, immersive retail or restaurant experiences.”How do you feel about everybody jumping on the creativity train? Is there a danger of ‘creative washing’ with companies doing creative exercises but never really implementing change or unlocking their employees’ full creative potential?BS: “Like how design thinking has been embraced by the corporate world? I don’t see any immediate danger there. I would love for corporate giants to focus more on design thinking and really reevaluate the design process because that can lead to improved service design or better products. Creative growth isn’t necessarily easy to obtain, but it’s something that companies should aim for. Embrace creativity and allow for creative opportunities in your team.”Finally, what is your definition of creativity?BS: “There are a lot of different definitions that I agree with. One that resonates with me is this idea that you change your way of thinking and make connections that are new to you. If you surprise yourself, you're already being creative.”

Check out <a href="/profile/bart-jan">Bart-Jan's TIOC profile</a> for a portfolio of his work and his creative process.&nbsp;

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Bart-Jan Steerenberg (1975), designer, artist, teacher and founding father of The Institute of Creativity. For the past couple of years he’s been doing research into creativity at The Amsterdam University of Applied Sciences. As a result, he believes creativity is one of the most important 21st century skills, which led him to set up an educational platform on creativity.

BART-JAN STEERENBERG: FACILITATING CREATIVE GROWTH IN EDUCATION

What is creativity?&nbsp;DS: “Creativity is a brain process where old building blocks are combined to make something new.&nbsp;The front part of the brain plays an integral role in this creative process. All day long, we’re bombarded with information. We’d go crazy if we tried to process all of that information. That’s why we have filters in the prefrontal cortex and the thalamus that allow us to focus on what is essential. That filter differs from one person to the next.&nbsp;Some people have a wide open filter, which allows them to process an enormous amount of information. These people are very creative but also at risk for psychiatric problems because their ability to process information verges on the edge of what is humanly possible. Then there are people whose filters are so closed that there’s hardly any room for creativity, so they end up working as an accountant.”&nbsp;

<blockquote><h1>"People who are in love can be very creative. Just think of the artist and his muse."</h1></blockquote>&nbsp;Can we open up that filter and allow for more creativity?DS: “Alcohol works for some people. Others use L-dopa, a drug that is used in the treatment of Parkinson's disease. Oxytocin, the love hormone, also helps. People who are in love can be very creative. Just think of the artist and his muse.”&nbsp;Are there also methods that have less of a negative impact on one’s health and well-being? Relying on drugs or alcohol just doesn’t seem ideal.DS: “Being in a new environment is also very effective. In our institute , we send our Ph.D. students to other labs for a period of two years. The change of scenery and surrounding results in new ideas and impressions.&nbsp;What also helps is taking a multidisciplinary approach: take people from different backgrounds to discuss a problem or concept in a safe environment.”

We can influence the filter. Is there anything else we can do to train our creative muscles?DS: “In the 1960s and 70s, the 10,000-hour rule became popular, the idea being that you could master any skill if you put in the work and the time. That theory hasn’t held up. The level of creativity is determined by things that cannot be changed, namely your genetic makeup.Then there’s your IQ. A rise in IQ corresponds to increased creativity, although that effect only works up to an IQ of 124.Your character also determines how creative you are. And all those things are 50% determined at conception. And the other 50% in the very early developmental years.”&nbsp;<blockquote><h1>"The level of creativity is determined by things that cannot be changed, namely your genetic makeup.”</h1></blockquote>&nbsp;So it’s nature over nurture?DS “That’s a misconception. When we say 50% is genetic, people tend to assume that the other 50% is upbringing. But the nine months we spent in our mother’s womb, plus those early stages of development, also determine a lot. We come into this world with many character traits ingrained in us already.And then there’s this thing called self-organization. The brain, like any complex system, organizes itself. That makes every brain different and unique. If you’re lucky, you make special connections in that early process and end up with a specific talent, although that usually comes at the expense of other qualities. By attending school and receiving an education, we discover what we’re good at and if we have any talents.”

We're trying to find a one-size fits all solution to increasing one’s creativity, but I’m beginning to understand that there is no such thing, right?&nbsp;DS: “No, there isn’t. Every brain is different and needs different stimuli. Friedrich Nietzsche famously said, ‘All truly great thoughts are conceived while walking.’ Long walks worked for him, but that doesn’t mean they work for all. Some people get ideas while fast asleep. I’ve tried going to bed with a notebook and pencil on my nightstand, just in case I wake up with a brilliant idea. But, unfortunately, I have yet to write anything down.&nbsp;So what works for some doesn’t necessarily work for everybody. Although, in general, it helps to set the mood and create an environment where people feel good, where they can have fun and dare to think out loud and make mistakes.”

You’ve mentioned in your book ‘Our Creative Brains’ that having a history of psychiatry in the family also helps when it comes to creativity. How so?DS: “Ideally you want a history of psychiatric disorders in the family without suffering from any yourself. That way you have a genetic background that results in a different kind of brain that can make unique, more creative, and unexpected combinations."&nbsp;That plays into the old stereotype of the troubled artist who suffers for his work and whose genius borders on madness.&nbsp;DS: “Yes, except it’s not a stereotype. There are a lot of good artists who are bipolar. Take composer Robert Schumann. He was bipolar and when he was depressed, he didn’t produce anything. However, when in his hypomanic state, he created an enormous amount of work. He was composing day and night, only to fall back into a depression.&nbsp;Not all brain disorders lead to more creativity. People who have schizophrenia tend not to be very creative. But when you look at a movement like Art Brut you do see neurodivergent people who aren’t trained artists but whose work is incredibly creative. And for them creativity works as a kind of medicine.”

Speaking of medicine: some people fear medication to aid their psychological distress will effect their creativity. Is there some truth to that?DS: “Yes, there is. A big pharmaceutical company published a book composed of works of art that were made&nbsp; before and after the makers took psychotropic drugs. The company wanted to show the effectiveness of their medication, but art critics generally agreed that the works that were made before the artists took medication were far more interesting.”&nbsp;Well, that’s depressing! So some people really do have to suffer for their art, then? It’s wonderful to have these masterpieces that the general public can enjoy, but it comes at a huge personal cost for people like Schumann or Van Gogh.DS: “If Van Gogh had been given modern-day treatment, we wouldn't have a Van Gogh museum. Van Gogh knew he would always be half crazy. His brain functioned differently, but because of that, he could make new combinations and create something completely new.”

<blockquote><h1>If Van Gogh had been given modern-day treatment, we wouldn't have a Van Gogh museum</h1></blockquote>&nbsp;In recent years, employers began to see that they could gain from hiring workers on the spectrum, which has taken away some of the stigma associated with neurodivergence. Given what we now know about the brain and creativity: could the same happen to people with psychiatric disorders?&nbsp;DS: “It’s the very reason why I wrote books for general audiences. I wanted to do something about the stigma and taboo that comes with brain disease. When you learn what a fantastic machine the brain is and the molecular biology behind brain development, it’s a surprise that people turn out reasonably well on the whole. It is such a complex mechanism and so many things can go wrong. Autism is a good example. Sometimes people on the spectrum have difficulty making eye contact or communicating with someone face to face, but they can communicate perfectly over the Internet or can focus on one particular task. At the Philips laboratories and at the Technical University in Eindhoven relatively more employees were on the spectrum. These people ended up marrying one another and having kids. And because autism is 70% genetic, there is a huge spike in autism in Eindhoven and surrounding areas.”&nbsp;How do you, as a man of science, look at AI's developments and their effect on creativity?DS: “AI is a huge hype right now, but it’s not creative. Nothing good comes out of it and computers aren’t taking over. AI takes over simple tasks that we would like to get rid of. Routine chores we’re not interested in. AI can carry out a certain assignment in a short amount of time and ad infinitum. A computer program can beat anyone at a chess game or checkers if programmed to do so. But you can’t surprise it with a game of snakes and ladders.I also don't see AI writing a really good novel because it lacks the emotions that a human has.”&nbsp;For now at least.DS: “No, I really don't see that happening. AI is good with big data and pattern recognition, but not with emotions. And you need emotions for art. There was a monkey in London Zoo, and he created works of art that fetched a lot of money, and even Picasso and Matisse were interested. But when you saw the monkey at work he was like a 3-year-old, just churning out work after work in great succession. There was no emotion in it at all. And you need emotions to make something special.”&nbsp;

So in conclusion, I don’t have to fear AI just yet because as a human, I have something special, namely emotions. But how about the story I’ve told myself: that I’m creative because of my upbringing or the constant exposure to art. Is there any truth to that narrative or is my creativity simply the result of a genetic lottery?DS: “You can come up with any narrative you like. That’s what we do. As humans, we have a number of useful illusions we tell ourselves and one of them is the illusion of free will. The other, that life makes sense.In the end, every human being is unique, every brain is unique. But it's not unique to be unique.&nbsp;Everyone is unique.”&nbsp;

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Dick Swaab (1944), a distinguished Professor of Neurobiology at the University of Amsterdam, is a leading authority on the human brain. Throughout his extensive career, he authored numerous publications, received many awards and honors, and wrote several bestsellers, including 'We Are Our Brains' and 'Our Creative Brains.' A conversation about the incredible machinery that is the brain and how it sparks creativity.&nbsp;

DICK SWAAB: THE CREATIVE BRAIN

Holly Blondin is an accomplished creative professional and design strategist. Her creative roots run deep, thanks in part to her upbringing. She was born and raised in Flint, Michigan, to parents who were both creatives. Her father was a carpenter with a love for music and a talent for working with his hands. Her mother had a flair for the unexpected, leaving behind a trail of creative doodles. Growing up in such a creative environment, it's no wonder that Holly developed a passion for the arts at a young age. She pursued a career in acting (she holds a BFA in musical theatre performance) before earning an MBA in Marketing and Entrepreneurship: “After years working in professional creative industries, I both experienced and observed the pitfalls that most creatives have while building careers in the arts. I yearned for solutions, and my curiosity led me to a business education.” Today, Holly resides in Barcelona where she works as a design strategist and educator, combining her love of creativity and business.&nbsp;<blockquote><h1>"CREATIVITY IS YOU RIGHT NOW."</h1></blockquote>

Your book is titled 'Creative Struggle is Real,' before we talk about the struggle, let's talk about the creative part: what is creativity?&nbsp;HB: “I don't think creativity has a fixed definition: it depends on your creative context. What motivates you? Why do you need or want to be creative? What drives you? What are your barriers? What are your opportunities? What are your perceived limitations? All those things play into what you define as creativity in the moment. Creativity is you right now.”

If creativity is fluid and its definition varies from person to person, it's hardly surprising that creative collaborations can be a bit of a struggle.HB: "Whenever we collaborate or co-create with others, we must acknowledge that we have different ways of approaching creativity. Respect the fact that everyone has creative vulnerabilities as well as creative strengths. Try to build some trust and find common ground you can build on. Accept that everyone contributes something different, which makes working with others dynamic, exciting, and valuable. It's the differences that make for extraordinary moments of creativity or imagination.If you want to be a true collaborator, you have to respect that other people work differently and try to find ways to share creative leadership. As an introvert-turned-forced-extrovert, I object to the fact that we're all rushed into these collaborative environments. In our society, the extroverted, outspoken creative is often placed on a pedestal. But not all creatives are extroverts. Plenty of creatives are introverts who need time to mull things over. I would urge extroverts to pause, listen more, and invite those who seem to be observers to participate and speak up. Make those people feel comfortable, and give them time and space. And introverts should consider taking a theater or improv class. That's probably the scariest thing imaginable for them, but that's precisely the point. It can help you release those inhibitions and push yourself to the limit."&nbsp;

<blockquote><h1>“TO BE CREATIVE, YOU HAVE TO DO CREATIVE.”</h1></blockquote>&nbsp;Is creativity innate? Is one born with more creative talent than the other, or is it something you can learn?&nbsp;HB: "I teach creative methodologies, so I will say yes. You can learn to access your imagination, work your making skills, or get your hands moving. You can learn how to activate your creative action points - imagine, make, connect, and reflect - through creative methodologies such as design thinking, future thinking, or a beginner's course to creativity; one I have designed called Creativity 101.&nbsp;&nbsp;There are different parts in the creative process, specific touch points that scare or worry us. And you can try exercises to strengthen those capacities. Although some of your vulnerabilities you'll likely never overcome, and that's okay. Everyone has creative strengths and vulnerabilities.It's essential to remember that to&nbsp;be creative, you have to&nbsp;do creative. So if you want to improve your creative skills, you have to figure out why you want to be creative and what drives you. And you have to activate those muscles through practice. So you must create your own creative practice and find that unique fit. Because, again, creativity is just different for everyone."&nbsp;So creativity isn't just a struggle when working with others: a lot of soul searching and 'personal struggle' is involved. In the book, you write that creative struggle is inevitable.&nbsp;HB: “Yes, but it doesn't have to feel impossible. A big struggle for many creatives is that they have too many great ideas and don't know how to harvest one to work with. They have so many talents that they can't choose one thing and instead do nothing at all. And before you know it, depression kicks in. That's part of the struggle: if you're not making, if you're not creating, if you're procrastinating, you become depressed.”&nbsp;What's the solution?&nbsp;HB: "Find out what motivates you. And that can differ from one project to the next. It can be recognition, status, fame, money, authenticity, or the need for expression."&nbsp;

Are creativity killers also part of the struggle?&nbsp;HB: "Yes, one of the biggest creative killers is distraction. Distractions leave you feeling unmotivated and overwhelmed, which leads to procrastination, which leads to more distraction. It's like this vicious cycle. It's hard not to be distracted, especially in this day and age. Just look at the screen of your computer and see how many tabs are open, which is symbolic of how we live our lives now. We have all the tabs open. And the best thing you can do is focus on one tab at a time. One moment at a time, and practice doing that.&nbsp;Also, find your creative sweet spot. For me personally, that's between 10:00 and 14:00. That's when I do most creative activities. A 4-hour window may not work for you; everybody is different. But try doing it for 15 minutes a day. Or take a class once a week and connect with your tribe. It boils down to figuring out what works for you and then sticking to it because that will help you. It will strengthen that creative muscle, build momentum, and you'll end up getting your creative mojo back." Other tips to stop procrastination and get those creative juices flowing again?HB: "If nothing else, get a notebook and take 15 minutes a day - or even easier than that - 5 minutes in the morning and 5 at night and work on some reflection questions. This way, you're at least thinking about and reflecting on your creativity. Then, carry that notebook with you; write it down when something inspires you. Consider it an archive you can grab and flip through anytime.&nbsp;&nbsp;Sometimes we squash our creativity because we think we have to do everything right now and don't prioritize. But it's okay if an idea just sits there for a while. That business idea may take you four years to put together, and that book may take even longer. But you worked on it every day for 15 minutes. That is energy into your creative soul.&nbsp;But if you sit around waiting for the perfect moment, you'll end up waiting and continue to procrastinate until the soul just dies.The notebook makes perfect sense to me. It's my creative companion. It's my friend I go to for support, ideas, and insights. And if you're not a fan of writing, use the notebook to draw. Or keep a digital notebook. Or post something on Instagram every day. Whatever works for you. Whatever motivates you."&nbsp;

Creativity seems to be the new buzzword; why is that?HB: "We're in this creative space now, where we're accepting creativity in a different way. Historically, creativity was something that was considered God-given. Something that belonged to the gods and that was bestowed upon us.&nbsp;Today creativity is perceived differently. It belongs to the individual. This idea has been pushed forward through design thinking especially and through a business lens. And because we live in a capitalistic society, creativity has become really important to the bottom line.The narrative around creativity is more positive because we need creatives more than ever. And we're not talking about building artifacts here, we're talking about building new systems and changing the world. We're in a very wonderful time right now. The world is truly our oyster. We have a blank canvas right now, and that's why creativity is being pressed upon as being the important thing. We're in the acceptance stage of creativity."&nbsp;&nbsp;There are also high expectations: creativity is sometimes considered the solution to most, if not all, of the 21st problems we're dealing with. That's quite a heavy burden for any creative and potentially a creativity killer.&nbsp;HB: "In the book, I write about designing your creative practice and how to do that. There are five different approaches that are common. One is this idea of exercising those muscles. If you want to improve a technique, you put in that time every day. You build the momentum and eventually, you're going to grow your skill.&nbsp;But then there's one on the list I call create to create, which is no pressure. You just make something and don't worry about it. There is this narrative that says everything has to have a meaningful purpose. But forget about that narrative and just create to create. Doodle for 15 minutes a day. Dance to your 3 favorite songs. Something that removes you from all the crap that's stressing you out. Something that lights your creative soul on fire."&nbsp; &nbsp;

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Creativity. Nobody said it was easy. But no one ever said it would be this hard. But while the creative struggle may be inevitable, author Holly Blondin assures us it doesn't have to feel impossible. In her new book, Holly teaches us how to overcome those all too familiar challenges - distractions, procrastination, depression - and achieve our creative goals.&nbsp;

HOLLY BLONDIN: THE CREATIVE STRUGGLE

Frank Kresin has a background in Artificial Intelligence, photography, and television. He’s passionate about the transformative power of the Creative Industries and higher education. In layman’s terms: he advocates the use of emerging technologies for societal goals, including innovation, responsible design, sustainable development goals, and the doughnut economy, to name but a few. All fields of interest that stand to gain from a surge in creative solutions and innovative ideas.&nbsp;

<blockquote><h1>“AS A SCHOOL, YOU NEED TO CREATE A SAFE AND RESPECTFUL ENVIRONMENT WHERE PEOPLE ARE ALLOWED TO BLOSSOM, GROW, AND FAIL.”</h1></blockquote>

How can a school create a creativity-inducing environment?FK: “I believe creativity flourishes in a safe environment. An environment where there is trust and room for joy. As a creative person, you can feel quite vulnerable. Especially when you’re just starting out, because you have to share something quite personal - a design you made or an idea you’ve formed - only to be criticized by others. And so, as a school, you need to create a safe and respectful environment where people are allowed to blossom, grow, and fail.”

What would that look like?&nbsp;FK: “I’m a firm believer in working cross-disciplinary: creativity blooms where different disciplines, ways of thinking, or cultures intersect and rub off on each other. So you need to create meeting places where people from different backgrounds can come together: everyone brings their expertise, and together you create something new.&nbsp;Look at the world we’re living in with sustainability and diversity issues, social insecurities, and an aging population; it is obvious we need new ideas and creativity. So there is a sense of urgency. We now need to create a sense of agency. People need to start feeling a sense of responsibility and ownership because that will propel them to become creative.”

<blockquote><h1>“THIS WILL BE AN INTERESTING RIDE FOR TEACHERS, SUPPORT STAFF AND STUDENTS ALIKE - I LOOK FORWARD TO IT.”</h1></blockquote>

What’s the role of the traditional college professor or lecturer in all of this?FK: “A college has at least two communities, there’s the student&nbsp;community, and then there’s the teacher community.&nbsp;Students come to receive their education and leave after a few years&nbsp;with a degree and a rudimentary network. Many teachers stay much longer, and if they don’t&nbsp;continue to educate and train themselves, you’ll end up with&nbsp;teachers that eventually&nbsp;have lost touch with the work field.&nbsp;So why not follow the example of&nbsp;art academies, where teachers spend several days given classes&nbsp;and the remainder of the time working in their specific field?Mentors are also incredibly important. Unless you’re uniquely gifted, I think everyone needs a mentor. The old master-apprentice model. Of course, it’s a very labor-intensive and expensive teaching method. But we can start by having teachers divide their time between teaching students and working in the outside world several days a week. It’s a great way to keep your knowledge and know-how up to date and, in turn, create the kind of mentors with relevant experience."

And could those mentors be machines? You studied AI, so we would love to know your thoughts on creativity and AI, machines, and robots.FK: “On a philosophical level, I don’t think there’s a fundamental dichotomy between humans and machines. I don’t think humans are the pinnacle of the evolutionary ladder, if there ever was such a ladder. Still, I don’t believe in a Doomsday scenario where man is replaced by a machine. But technology can help creativity. There’s so much knowledge and information on every subject that it is physically impossible for someone to read and study everything. Now imagine if computers can help to process this enormous wealth of knowledge, which man can use to create new ideas or propel something forward. You’d have an excellent, symbiotic relationship right there.”

What will education look like in the coming years as a result of the rapid developments in the field of AI?FK: “With tools like ChatGPT and Dall-E-2 our education will change. Before we know it, they will be in our computers, phones and refrigerators, but also out medical devices and analytical models. This will possibly change the nature of many if not all of the professions we teach, as well as the teaching profession itself. I would like us to embrace the possibilities and prepare the professionals and professions of the future, while sticking to a human-rights-first approach to the adaptation and further development of these technologies. This will be an interesting ride for teachers, support staff and students alike - I look forward to it.”

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One is not born a creative but instead becomes one. With the skill of creativity being more in demand than ever, it is comforting to know that creativity can be learned. We sat down with&nbsp;Frank Kresin, Dean of the Faculty of Digital Media &amp; Creative Industries at the Amsterdam University of Applied Sciences, and talked about creativity in higher education.&nbsp;

FRANK KRESIN: GROW, FAIL & BLOSSOM

What is creativity, and is it something that you can learn?MB: “Creativity training can improve creative performance: If you train people to develop ideas, they will become better at it. Of course, having ideas is one thing; convincing people that your idea is worthwhile is something else altogether, requiring different skills. Creativity training has an impact, but a limited one, because the focus tends to be on one specific, small element in the whole creative process.”

<blockquote><h1>“THE CREATIVE PROCESS IS A WHOLE SERIES OF STEPS THAT EVENTUALLY LEAD TO A SOLUTION, SERVICE OR PRODUCT.”</h1></blockquote>

What does that complete creative process look like?MB: “There are multiple models and ways of looking at the creative process. Regarding creativity, people tend to go into a problem-solving mode quite quickly&nbsp;without thinking about the problem more deeply first.You first need to analyse a problem and then come up with possible solutions. Even then, you need to identify the most promising solution, which most people aren’t good at. And even if you succeed in identifying the best solution, you need to mobilise people and get them excited about your idea. You might need to win over the management or find the money and resources required to develop your idea further. So in short,&nbsp; the creative process is a whole series of steps that eventually lead to a solution, service or product.”Does creativity differ from one domain to the next?&nbsp;MB: “That’s a pretty complicated puzzle to solve. I think particular skills or cognitive processes are more critical in one domain than another: knowing how to draw is more important in painting than in science.Would Picasso still be creative if he had been a scientist? He certainly mastered a particular field: got to know the material - from canvas to paint - and the different ways to work with this material, etc. And through education, training and experimenting, he ended up making creative art. But getting that expertise, set of skills, and sheer knowledge takes time. In Picasso’s case, the time spent on a painting was time not spent on mastering another domain, like architecture or science.&nbsp;So creativity is often expressed in a domain-specific context, but that doesn’t answer the question of whether&nbsp;the underlying creative process is different in different domains.”&nbsp;

What are creativity killers?MB: “There are multiple. Feelings of insecurity or anxiety can certainly prevent people from opening up to new things.&nbsp;There’s also quite some literature on how leadership can kill creativity. In general, people like to be creative and think of new ideas. But how do you, as a leader, respond to those ideas?&nbsp;It is easy to demotivate employees by criticising their ideas or not doing anything with their creative input. When asking for creative input, managers need to think in advance about what input they seek and what they will do with this input.Be clear at the outset about what your intentions are. Think about the possible solutions people can come up with. Are you willing to carry them out? Are you going to reward people for their effort?&nbsp;Because if not, you’re signalling to people that you don’t care for creativity, which is killing in itself.&nbsp;Being open to creativity also means being okay with taking risks. So management, for instance, needs to allow for a certain amount of chaos, which can be very uncomfortable for most managers. There’s often no room - or money - for failure. There’s a reason why companies like Google and Apple do well when it comes to creativity: they simply have the cash to fail.”

<blockquote><h1>"THERE'S A REASON WHY COMPANIES LIKE GOOGLE AND APPLE DO WELL WHEN IT COMES TO CREATIVITY: THEY SIMPLY HAVE THE CASH TO FAIL."</h1></blockquote>

Shouldn’t people be intrinsically motivated to be creative instead of relying on rewards or praise?MB: “Sure you want people to be intrinsically motivated, but rewards can also motivate people. And studies show that creativity does increase when there are rewards for showing creativity. Although that also means that when you take away any rewards, people may not be motivated to be creative anymore.”You put a lot of emphasis on analysis and thinking through these steps in the creative process, but isn’t it part of creativity the ability to think outside of the box? Letting go of any preconceived ideas or plans?MB: “A plan or some sort of structure can be beneficial. Of course, you have to be careful that the method doesn’t become something sacred, where people become too scared to deviate from the original plan. But overall, I do think you need structure and tools like design thinking, identifying and prototyping. In the end, the method is meant to result in better solutions. And isn’t that what you ultimately want?”

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Matthijs Baas knows creativity, or more specifically, the psychology of creativity. He's associate Professor at the Department of Work and Organizational Psychology at the University of Amsterdam and talked to use about creativity barriers, risk-takers and everything in between.

Education

LISA BOERSEN: STORYTELLER, CULTURAL INNOVATOR & CHILDREN'S AUTHOR

CHRISTIAN BYRGE: CULTIVATING CREATIVITY

BART-JAN STEERENBERG: FACILITATING CREATIVE GROWTH IN EDUCATION

DICK SWAAB: THE CREATIVE BRAIN

HOLLY BLONDIN: THE CREATIVE STRUGGLE

FRANK KRESIN: GROW, FAIL & BLOSSOM

MATTHIJS BAAS: CREATIVITY, METHODS & BARRIERS

Education

LISA BOERSEN: STORYTELLER, CULTURAL INNOVATOR & CHILDREN'S AUTHOR

CHRISTIAN BYRGE: CULTIVATING CREATIVITY

BART-JAN STEERENBERG: FACILITATING CREATIVE GROWTH IN EDUCATION

DICK SWAAB: THE CREATIVE BRAIN

HOLLY BLONDIN: THE CREATIVE STRUGGLE

FRANK KRESIN: GROW, FAIL & BLOSSOM

MATTHIJS BAAS: CREATIVITY, METHODS & BARRIERS

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