Teaching Creativity

Tina Seelig teaches creativity and innovation at Stanford. She has a new book out on the topic called Insight Out. She answered questions about the book recently and gave this answer (I’ve reformatted it into bullet points for clarity):

The model I present in Insight Out describes a series of steps from ideas to actions. Each step requires more effort than the one before.

Imagination requires engaging and envisioning what might be different.

Creativity is applying your imagination to solve a problem. This requires motivation and experimentation.

Innovation is applying creativity to come up with unique solutions. This requires focus and reframing. And,

entrepreneurship is applying innovations to bring the to the world. This requires persistence and inspiring others.

–Tina Seelig on Reddit.com.

In response to a question about testing students:

I don’t test my students. In fact, I tell them to never ask about their course grade. 🙂
I want the students to be internally motivated. I tell them that I expect them to put as much work into the course as I do, and that they should “never miss an opportunity to be fabulous.” Guess what? It works! They are waiting for someone to give them this freedom to tap into their own motivation, not respond to an external motivation.

The Elements of Creativity

Jonah Lehrer’s has an excellent interview on Fresh Air about his new book on how creativity works, called Imagine.

There are three key components:

Relaxed state of mind: Like when you’re in the shower and your mind is free to wander. It’s another reason not to be afraid of a little boredom, and setting aside personal time time in the day.
Hard work: But the relaxed mind needs to have something to work with, and that’s all the hard work that came before. When you’re relaxed the mind processes things in different ways, it mulls over the things you’ve been thinking of, and makes unexpected connections.
Uninhibited, childlike perspective: You need to allow your brain the opportunity to be creative. All the hard work requires good focus and persistence; things the pre-frontal cortex develops the ability to do (and something we train it to do) during adolescence. But the ultimate, creative insight often requires you to turn off that part of the brain so you can thing uninhibited, creative thoughts.

Enhancing Creativity Just by Doing Things a Little Bit Differently

When my verbal students complain about having to do diagrams (or vice versa) I try to explain that it’s useful for them to see, and be able to learn from, different points of view. There also a body of research showing that breaking familiar routines enhances creativity.

Actively doing something different, just by changing your routine for example (milk first then cereal instead of the other way around), seems to improve people’s cognitive flexibility (see: Ritter et al., 2011), but you have to do it yourself.

… being exposed to simple unconventional events, such as preparing breakfast in the “wrong” order, increased cognitive flexibility. Furthermore, these effects were found only when people actively participated in the unconventional activities. Just seeing someone else perform the activities was not enough (my emphasis).

— Damian, R., 2012: Why Would Doing Something Unconventionally Make Us More Creative? in Science + Religion Today.

These findings also suggest that greater diversity also promotes creativity — periods of greater immigration have been followed by increases in innovation.

Challenge vs. skill, showing "flow" region. (Image and caption by Wikipedia User:Oliverbeatson).

It also suggest one reason why a little challenge is essential for motivating students to get into the flow zone for learning. People learn more, and become more engaged, when they’re challenged, have to struggle a little, and think differently, while figuring things out for themselves.

An interesting interview with Csikszentmihalyi is here.

Doodling is Good!

To Doodle: to make spontaneous marks to help yourself think.
–Sunni Brown (2011): Doodlers, unite! (at 3:19) in TED.

Doodling on a notepad is often seen as evidence that a student is not paying attention. Very much to the contrary, argues Sunni Brown in this TED talk:

Studies show that sketching and doodling improve our comprehension — and our creative thinking.
— TEDtalksDirector: Sunni Brown: Doodlers, unite! on YouTube.

She describes doodling as a, “preemptive measure to stop you from loosing focus.” In addition, doodling helps integrate all four modes of learning (visual, auditory, reading/writing, kinesthetic) as well as helps provoke an emotional response, all of which greatly aid retention of information and creative thinking. Finally, doodling is most useful when we’re trying to process a heavy, dense load of information.

Brown has more details in her article in .net, Why the Doodle Matters.

(hat tip: The Dish)

Creativity, Depression and Anger

[A]nger … triggers a less systematic and structured approach to the creativity task, and leads to initially higher levels of creativity. … [However] creative performance should decline over time more for angry than for sad people.

— Bass et al (2011): Creative production by angry people peaks early on, decreases over time, and is relatively unstructured

Here are a couple of studies on the interaction between negative emotions and creativity whose implications require some very careful consideration. We want to encourage creativity, but how and at what cost to the student?

Social rejection was associated with greater artistic creativity

— Akinola and Mendes (2011): The Dark Side of Creativity: Biological Vulnerability and Negative Emotions Lead to Greater Artistic Creativity

Anger

Anger, it appears, leads to more unstructured thinking, thinking that is more flexible and able to make new connections among different categories of information. However, anger’s creativity boost does not last that long – strong emotions take a toll – and people soon revert back to a more normal baseline.

These results come from an initial study, and there are a lot of unanswered questions. In particular, I wonder just how much anger is useful for this beneficial outcome. I find it hard to believe that too much anger is terrible useful. And, I’m also curious about the negative consequences in terms of group interactions. Brett Ford points out that some studies have found that anger is useful in negotiation, but only when that negotiation is confrontational. Another study found that angry leaders were better at motivating groups of less agreeable people. Conversely, more agreeable people responded better to less angry leaders.

In a scenario study, participants with lower levels of agreeableness responded more favorably to an angry leader, whereas participants with higher levels of agreeableness responded more favorably to a neutral leader.

— Kleef et al. (2010): On Angry Leaders and Agreeable Followers
How Leaders’ Emotions and Followers’ Personalities Shape Motivation and Team Performance

It seems that the ability to project anger may be a useful skill to have in one’s toolbox, given the variety of people we will have to deal with in life.

Depression and Creativity

Modupe Akinola and Wendy Berry Mendes point out that highly creative people tend to introversion, emotional sensitivity and, at the extreme, depression and other mood disorders. Unfortunately:

[M]ood disorders are 8 to 10 times more prevalent in writers and artists than in the general population (Jamison, 1993).

— Akinola and Mendes (2011): The Dark Side of Creativity

On top of the general mood, strong, more transient, activating moods, like anger and happiness, also affect a person’s ability to be creative. Both positive and negative activating moods (the hedonic tone) enhance creativity, but in different ways:

negative activating moods, like anger and fear, increase perseverance;
positive activating moods, like happiness and elatedness, increase mental flexibility.

Curiously enough, although creativity is associated with a baseline of sadness and depression, these two are not among the activating moods that can spur the creativity of the moment.

A Matter of Control

The implications of these studies are complex. I certainly need to think about them a lot more, but it would seem reasonable, or perhaps responsible, to encourage students to carefully monitor their moods and to help them better understand themselves and their behavior. Ultimately, it is probably better if we are able to control how we use our emotions, rather than the other way around.

The pre-frontal lobe, which is responsible for formal thinking, is the part of the brain that can put the brakes on impulsive emotional behavior. It can also, to a degree, modulate how emotions are expressed. As adolescents’ pre-frontal cortex develop, they should be better able to control and use their emotions to their benefit. But to do so, they need to be aware of their emotions and the power of their emotions, which would suggest training in emotional awareness and control.

I’m not aware of any programs or curricula that delve all the way into how to use your emotions proactively, but I’d like to see something that particularly discusses how to use the different activating moods.

The Myth of Adolescent Angst

Fortunately, we also know from extensive research both in the U.S. and elsewhere that when we treat teens like adults, they almost immediately rise to the challenge.
— Epstein (2007): The Myth of the Teen Brain in Scientific American Mind.

Is the angst and turmoil we usually associate with adolescence just a result of the way human brains develop, or is it something learned, and depends on the society that shapes our kids? Robert Epstein argues (Epstein, 2007) it’s the latter not the former, and, despite a lot of other research to the contrary, he may have a point. He believes the main problem is that western teens are treated more as children than young-adults, and they spend most of their time socializing with other teens and not with adults.

Cerebral Lobes — Cerebral lobes (image via Wikimeida Commons).

Alex Chediak posts a good overview of the work.

We’ve seen that one of the major problems with most psychological studies is that they only focus on WEIRD people, typically represented by college students in the Western world, who are the easiest people for university researchers to study. Using any such subset must, necessarily, be unrepresentative of the full range of human behavior. Furthermore, since society influences brain development, even studies that focus less on behavior and more on neurological imaging are likely to be affected by the some bias.

A similar argument can be made for studies of adolescence since most studies of adolescence focus on western teens. As a result, separating behavior learned via social interaction, from the regularly progression of genetically programmed brain development is going to be difficult.

Much of Epstein’s argument is based on the book Adolescence: An Anthropological Inquiry (Schlegel and Barry, 1991), which compared teens in almost 200 pre-industrial societies. Epstein summarizes this and other work to indicate that in pre-industrial cultures:

about 60 percent had no word for “adolescence,”

teens spent almost all their time with adults,

teens showed almost no signs of psychopathology

antisocial behavior in young males was completely absent in more than half these cultures and extremely mild in cultures in which it did occur.

teen trouble begins to appear in other cultures soon after the intro- duction of certain Western influences, especially Western-style schooling, television programs and movies.

— Epstein (2007) (my bulleting): The Myth of the Teen Brain in Scientific American Mind.

As a result, teens:

learn virtually everything they know from one another rather than from the people they are about to become. Isolated from adults and wrongly treated like children, it is no wonder that some teens behave, by adult standards, recklessly or irresponsibly.

Apprenticeship (image by Emile Adan via Wikimedia Commons).

Epstein’s antidote is to treat teens like adults. I agree. However, it’s essential to keep in mind what type of adults we want them to be: responsible and logical, while retaining the creativity we usually associate with childhood. This is something that typifies the ideal of Montessori education, all the way from early-childhood up.

“The only time anyone fails is when they are scared to try”

“[My father] used to say it was better to fail through lack of ability than lack of effort,” he says. “He also said fear of failure was something you had to go through because the only time anyone fails is when they are scared to try.”
— Ian Holloway in The Guardian

One of the things I really like about European (and other) soccer leagues is the relegation and promotion system. It encourages competition, and the dream that one day your small town side can make it up the the big leagues. Or as in Blackpool’s case, return to the top after thirty years in the lower divisions.

When they barely qualified for the top English division last year, it was widely expected that they would set records for most goals conceded, and be the first team to be relegated. But they’ve done well enough. They’re well out of the relegation zone at the moment and have impressed, even though they’re still playing in the smallest stadium and have the cheapest team. So their coach, Ian Holloway, knows something about facing potential embarrassment, and the fear of failure.

Blackpool_F.C._FL_finishing_positions_(overall) — Keeping with our theme of graphing for this cycle, here is a graph showing the position of Blackpool in the English football leagues. Each league has about 20 teams so the graph shows a range of about four divisions. (From Wikipedia user Dudesleeper).

Schools kill creativity

If you’re not prepared to be wrong, you’re not going to be creative. But when do we give kids the chance to be wrong. Ken Robinson’s argument in this TED talk, is that schools are designed to produce workers good at automatic tasks and bad at creative, heuristic ones. This may have worked well during the industrial revolution, but is painfully deficient in the modern world. It’s the same argument made by Daniel Pink in Drive.

Robinson is a most entertaining speaker, so the presentation is a joy to watch. It’s a great reminder that we need to foster some risk-taking, and students need to know that sometimes the ultimate consequence of failure is learning.