Most Creative When Groggy

I'm a bit behind the times on this one, but it's a cool story that deserves a post. Here's the punchline: according to a December 2011 paper in the journal "Thinking & Reasoning", you're at your most creative when you're groggy and out of it. In the study, Mareike Wieth (Albion College) and Rose Zacks (Michigan State) recruited 428 undergrads and used a questionaire to identify them as either night owls or morning larks. They then gave the students a set of problem-solving tasks, half of which required creative insight and the other half of which were narrow-focus analytical questions. Some of the students were given the test first thing in the morning, and the others were tested in the late afternoon.

Their big finding was that students were much more successful at solving the insight problems when tested at their least optimal time of functioning. When tested "off-peak" (night owls in the morning and vice versa) the students averaged success rates of 56%, 22%, and 49% for the three insight tasks, versus 51%, 16%, and 31% when tested at their preferred time of day. In contrast, the performance on analytical questions was unaffected by time of day.

The explanation is that insight-based problem solving (creativity!) requires a broad, unfocused approach, which is easier when your inhibitory brain processes are weaker and your thoughts are meandering.

Pretty cool. For a more thorough summary, check out this quick post in the BPS Research Digest, or if you're feeling brave dive into the full paper here.

Why Hallways Matter

​If you were setting out to do something that had never been done before, how would you build your team? As it turns out, it depends on the nature of the task: 100 years ago, the Wright Brothers were able to realize human flight with nothing but their own minds and the tools in their garage. But if you're going to revolutionize the world today; say by training a monkey to move a mouse cursor with nothing but it's mind, you might need to do things differently. That's what the Brain Science Program at Brown University set out to do back in 2002. They assembled a group of mathematicians, medial doctors, neuroscientists, and computer scientists and set them on the task of understanding how brain activity could be decoded and interfaced with a computer. Not only did they get it, successfully teaching a rhesus monkey with implanted neural electrodes to control a cursor on the screen, but in doing so they accomplished something far larger than any one individual (or even a pair of brothers) might have been able to accomplish.

As problems have gotten more complex and our knowledge of particular fields deeper, the amount of expertise that needs to be brought to bear on particular problems has increased. This has pushed project teams to be larger and more diverse. After all, building team composed of a variety of experts with different skill sets and interests allows the group to draw on a knowledge base much broader than any one of them would have been bring to bear. This means more knowledge and more interesting combinations of that knowledge. Frans Johansson, author of the Medici Effect, terms this phenomenon "intersection", which describes the process of combining "fields, disciplines, or cultures [in order to] combine existing concepts into a large number of extraordinary new ideas."

And that's where hallways come in.

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Creativity Under the Gun

Few people would dispute that deadlines makes things get done faster, but do they make us more creative? Certainly we do have our moments of brilliance under pressure: during the Apollo 13 disaster in 1970, NASA ground crews had mere hours to engineer a makeshift carbon dioxide scrubber to replace the one aboard the damaged spacecraft. Their high stakes, "under the gun" creativity saved the three astronauts, but is it the way we usually work?

That's exactly the question that a group of Harvard researchers asked when they set out to study the creative processes of 177 employees on 22 project teams back in 2001. In doing so, they collected 9,000 diary entries that link workplace environment, time pressure, and creative output. The research project, summarized in a very accessible HBR article here and a longer working paper here, provides fascinating insight into when being "under the gun" makes us more creative, and when it doesn't.

A couple big takeaways. First, time pressure does NOT improve creativity. In fact, people were 45% less likely to think creatively on the days that they rated as the most hectic. Second, and somewhat amazingly, the impact of high pressure days persisted, depressing creative output for two full days afterward. We thus seem to be subject to "creative hangovers" brought on by exhaustion and cognitive paralysis.

Finally, the authors did find some cases where time pressure dramatically improved creative output - the "Apollo 13 moments." By delving into the qualitative diary entries, they were able to identify a common set of conditions across all of these instances. In particular, workers:

  1. Were protected from distractions and were able to focus on one activity,
  2. Believed that their work was important and challenging, and
  3. Were tasked with both identifying problems and exploring solutions.

Together, these conditions convey a sense of "meaningful urgency" rather than Calvin's "last minute panic". The study thus suggests that while we'd do well to avoid high pressure deadlines whenever possible, there are still ways to be creative even if we find ourselves under the gun. Check out the HBR article here and the longer working paper here.

What is Creativity?

​My goal in starting this blog was to provide a tour of the creative world, and that tour begins at the dictionary. What is creativity? While there are probably a number of definitions, I'll rely on the definition of creativity as the production of novel or useful ideas in any domain. In order to be considered creative, an idea must simply be different from what has been done before, which is a pretty low bar until we add that the idea "cannot be merely different for difference's sake; it must also be appropriate to the goal at hand, correct, valuable, or expressive of meaning" (Amabile, 1996). Note that this is a much broader grab than oil paints and art projects; creativity is fundamentally the creation of novel and useful ideas in any domain. It therefore includes almost every corner of the human world; a movie poster that catches the mind as well as the eye, a novel way to open a can, a better way to cross the road. It excludes only the rote, the unanalyzed, and the purely random.

This definition still has a couple of issues, however.

 

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