This week’s post celebrates International Creativity Month with an array of ideas and challenges and questions and techniques to stimulate us all into upping our creativity at work at least a little bit more. Enjoy…
For one month each year the world celebrates International Creativity Month – a month to remind individuals and organizations around the globe to capitalize on the power of creativity.
Unleashing creativity is vital for the personal and business success in this age of accelerating change.
January, the first month of the year, provides an opportunity to take a fresh approach to problem-solving and renew confidence in our creative capabilities.
International Creativity Month was founded by Randall Munson and is celebrated around the world annually in the month of January.
Take advantage of International Creativity Month to refocus your attention to creatively improve your business and personal activities.
Creativity is reflected in human innovation and problem-solving endeavors throughout history. It is present in arts, education, technology, science, and in almost everything we do. Creativity encourages children’s curiosity and helps them learn to think independently and critically. For adults, creativity inspires innovation, progress, and joy. As we evolve as a species, creativity helps us evolve as a society.
January is International Creativity Month. Founded by motivational speaker and author Randall Munson, International Creativity Month is geared towards celebrating the power of creativity across the globe…
Anna Davies, Devin Fidler, Marina Gorbis
Global connectivity, smart machines, and new media are just some of the drivers reshaping how we think about work, what constitutes work, and the skills we will need to be productive contributors in the future. We have identified ten skills that we believe will be critical for success in the workforce.
Definition: ability to determine the deeper meaning or significance of what is being expressed
As smart machines take over rote, routine manufacturing and services jobs, there will be an increasing demand for the kinds of skills machines are not good at. These are higher level thinking skills that cannot be codified. We call these sense-making skills, skills that help us create unique insights critical to decision making.
Definition: ability to connect to others in a deep and direct way, to sense and stimulate reactions and desired interactions
While we are seeing early prototypes of “social” and “emotional” robots in various research labs today, the range of social skills and emotions that they can display is very limited. Feeling is just as complicated as sense-making, if not more so, and just as the machines we are building are not sense-making machines, the emotional and social robots we are building are not feeling machines.
Novel and Adaptive Thinking
Definition: proficiency at thinking and coming up with solutions and responses beyond that which is rote or rule-based
Massachusetts Institute of Technology Professor David Autor has tracked the polarization of jobs in the United States over the last three decades. He finds that job opportunities are declining in middle skill white-collar and blue-collar jobs, largely due to a combination of the automation of routine work, and global offshoring. Conversely, job opportunities are increasingly concentrated in both high skill, high-wage professional, technical and management occupations and in low-skill, low-wage occupations such as food service and personal care. Jobs at the high-skill end involve abstract tasks, and at the low-skill end, manual tasks
Cross Cultural Competency
Definition: ability to operate in different cultural settings
In a truly globally connected world, a worker’s skill set could see them posted in any number of locations. They need to be able to operate in whatever environment they find them- selves. This demands specific content, such as linguistic skills, but also adaptability to changing circumstances and an ability to sense and respond to new contexts.
Definition: ability to translate vast amounts of data into abstract concepts and to understand data-based reasoning
As the amount of data that we have at our disposal increases exponentially, many more roles will require computational thinking skills in order to make sense of this information. Novice-friendly programming languages and technologies that teach the fundamentals of programming virtual and physical worlds will enable us to manipulate our environments and enhance our interactions. The use of simulations will become a core expertise as they begin to feature regularly in discourse and decision-making. HR departments that currently value applicants who are familiar with basic applications, such as the Microsoft Office suite, will shift their expectations, seeking out resumes that include statistical analysis and quantitative reasoning skills.
New Media Literacy
Definition: ability to critically assess and develop content that uses new media forms, and to leverage these media for persuasive communication
The explosion in user-generated media including the videos, blogs, and podcasts that now dominate our social lives, will be fully felt in workplaces in the next decade. Communication tools that break away from the static slide approach of programs such as PowerPoint will become commonplace, and with them expectations of worker ability to produce content using these new forms will rise dramatically.
Definition: literacy in and ability to understand concepts across multiple disciplines
Many of today’s global problems are just too complex to be solved by one specialized discipline (think global warming or overpopulation). These multifaceted problems require transdisciplinary solutions. While throughout the 20th century, ever-greater specialization was encouraged, the next century will see transdisciplinary approaches take center stage. We are already seeing this in the emergence of new areas of study, such as nanotechnology, which blends molecular biology, biochemistry, protein chemistry, and other specialties.
Definition: literacy in and ability to understand concepts across multiple disciplines
The sensors, communication tools and processing power of the computational world will bring with them new opportunities to take a design approach to our work. We will be able to plan our environments so that they are conducive to the outcomes that we are most interested in. Discoveries from neuroscience are highlighting how profoundly our physical environments shape cognition. As Fred Gage, a neurobiologist who studies and designs environments for neurogenesis (the creation of new neurons), argues, “change the environment, change the brain, change the behavior.
Workers of the future will need to become adept at recognizing the kind of thinking that different tasks require, and making adjustments to their work environments that enhance their ability to accomplish these tasks.
Cognitive Load Management
Definition: ability to discriminate and filter information for importance, and to understand how to maximize cognitive functioning using a variety of tools and techniques
A world rich in information streams in multiple formats and from multiple devices brings the issue of cognitive overload to the fore. Organizations and workers will only be able to turn the massive influx of data into an advantage if they can learn to effectively filter and focus on what is important. The next generation of workers will have to develop their own techniques for tackling the problem of cognitive overload. For example, the practice of social filtering—ranking, tagging, or adding other metadata to content helps higher-quality or more relevant information to rise above the “noise.”
Definition: ability to work productively, drive engagement, and demonstrate presence as a member of a virtual team.
Connective technologies make it easier than ever to work, share ideas and be productive despite physical separation. But the virtual work environment also demands a new set of competencies. As a leader of a virtual team, individuals need to develop strategies for engaging and motivating a dispersed group. We are learning that techniques borrowed from gaming are extremely effective in engaging large virtual communities. Ensuring that collaborative platforms include typical gaming features such as immediate feedback, clear objectives and a staged series of challenges can significantly drive participation and motivation.
To be successful in the next decade, individuals will need to demonstrate foresight in navigating a rapidly shifting landscape of organizational forms and skill requirements. They will increasingly be called upon to continually reassess the skills they need, and quickly put together the right resources to develop and update these. Workers in the future will need to be adaptable lifelong learners.
“Eat, Pray, Love” Author Elizabeth Gilbert muses on the impossible things we expect from artists and geniuses — and shares the radical idea that, instead of the rare person “being” a genius, all of us “have” a genius. It’s a funny, personal and surprisingly moving talk.
In today’s knowledge-based economy, coming up with new ideas under pressure is essential
Many people think creativity occurs naturally. Marty Sklar, the former executive vice president of Walt Disney Imagineering, the group that designs Disney theme parks, knows better.
Sklar holds regular “gag sessions” in which all kinds of ideas are encouraged and none are dismissed as stupid. He provides employees with time and budget restrictions so they don’t waste energy on the impossible. And he seeks diverse perspectives from employees ranging in age from their early 20s to late 80s. “It’s about listening and bringing out the best in people,” he told participants at a conference. Those strategies helped create Epcot’s spacecraft simulator, the Magic Kingdom’s Haunted Mansion, and a Disney resort in Hong Kong.
Sklar is part of a growing number of businesses, organizations, and individuals trying to boost creativity, driven largely by the fact that today’s economy requires it. “As the knowledge part of the economy grows, evidence seems to be showing that businesses are demanding more and more conceptual thinking,” says Charles Hulten, professor of economics at the University of Maryland.
In other words, it’s not just Walt Disney designers who need to be creative at work—it’s all of us…
If you find yourself wondering how to constantly create at your own job, here are a dozen ways to rev your creativity engine:
Branch out. Read a magazine you would never normally look at, suggests Henry. “You need to be intentional about experiencing new things in your life,” he says. Collect ideas and interesting articles in a folder that you review regularly for inspiration.
Recharge. Henry says people tend to think about time management but neglect energy management. Take time out between meetings. Avoid socializing with people who leave you feeling drained. Set aside time each week for relaxation.
Protect your time. Don’t let anyone interrupt the creative time you set aside for yourself. For Henry, it’s at 5:30 a.m., before the rest of his family wakes up.
Get into a “relationship” with art. Whether it’s museums or music, Gregg Fraley, creativity consultant and author of Jack’s Notebook, a novel about creative problem solving, suggests incorporating art into your life because it can inspire you to approach your work in new ways. Fraley recently started playing guitar.
Write down your ideas. Fraley says people have lots of good ideas, but they ignore and then forget them. He suggests keeping a notebook handy.
When you’re stuck, take a break. Brad Fregger, author of Get Things Done: Ten Secrets of Creating and Leading Exceptional Teams, says whenever his employees were struggling with a creative problem, he asked them to work on something else for an hour. That mental break allowed them to see their problem with a new perspective and make a breakthrough, he says.
Seek support from your supervisors. Marty Sklar, executive vice president of Walt Disney Imagineering, says employees can waste valuable time and energy worrying about whether management will support their creative endeavors. Feeling supported by higher-ups is essential to productivity.
Work with people across a variety of experience levels. Some of the best ideas for Disney theme park adventures have come from people in their 60s, 70s, and 80s, Sklar says, so don’t count out the older generation. Younger workers can often learn from their experience.
Never dismiss someone’s idea as stupid. “If you tell someone they have a stupid idea, you’ll probably never get another one from them,” says Sklar. Plus, he adds, ideas that appear dumb at first often generate new, useful ideas. When listening to ideas from coworkers during brainstorming sessions, try to be encouraging so no one feels shut down.
Connect with your passion. If people are working on projects they enjoy, they will be more creative, says Fregger
Think like a boss. “We encourage our employees to think like owners … It frees up a lot of the boundaries,” says Wendy Miller, chief marketing officer for Bain & Co.
Embrace diversity. Miller says Bain recruits people from top business schools as well as concert violinists and top athletes. “That diversity is very helpful in not getting too narrow and bogged down,” she says.
Creativity is intrinsic to humanity. The ability to creatively adapt to and adapt our environment lies at the core of our genetic success (or at least the success of our genes.) We can’t help ourselves. We make, we compose and play, we organise in new ways, we invent new institutions and adapt old ones, we research and discover, invent and improve, we apply knowledge to material and systems in new ways developing new technologies in the process and so it goes on. It’s a mystery how an attribute so basic to human character has been sectioned off and made into an exclusive trait found in ‘creatives’, the ‘creative class’, the ‘creative economy’. We don’t have the ‘language elite’, the ‘language class’ (other than in language schools!) or the ‘language economy’. Yet creativity is just as strong a part of who and what we are as language.
If we accept that more creativity is not only a desirable thing but a necessary thing also, as my colleague Adam Lent argues in his invigorating new year blog, then it’s important that we understand its true nature. If it is intrinsic to our humanity, then it must be a democratic rather than elitist concept. This then raises the questions: why don’t we see more of it? Why are we all not exploiting our creative potential to the full? Could it be that we aren’t powerful enough?…
We all need that foundational power to take risks, experiment, explore and create. That comes from community and it comes from the collective institutions – democratic, legal, economic, social, and educational – that we create….
…The institutional structure matters if you want the power to create to be really dispersed rather than concentrated. That’s why we need to talk about power, its form, the ethos that seeks to deploy it, and its purpose: our purpose as individuals who wish, need, and should create.
…Firstly, and perhaps crucially, does it matter then that people claim not to be creative? And often vociferously so. Is it because they default to the narrow association of creativity = art? Who are these people? And what implications does this have for our growing mission of the ‘power to create’ and the broadest definition of creativity.
Secondly, and perhaps fundamentally, I have to throw into the concept driven mix that creativity is FUN! Don’t we all want to be more creative? Personally and professionally?
Creativity enables us to solve problems, to meet people, to feel more human, to relax, to use our hands, to express ourselves, to experiment, to get dirty, to learn a new skill, to be brave, to get something wrong, to have a laugh, to feel fulfilled, to innovate, to feel a sense of achievement, to take a risk, to grow inside, to allow us to think a bit bigger.
But in case you were wondering , think you are not creative? Oh yes you are. It is in us all, it is innate. Embrace it. Follow it. See where you go…
and Adam Lent‘s original RSA post that has stimulated both of these responses
Stella Duffy writes in The Guardian…
“Choose what you want to do … dance, talk or be lifted up to where you can see how other people make things work. Sit out over space with a drink and tune in to what’s happening elsewhere in the city. Try starting a riot or beginning a painting – or just lie back and stare at the sky”
In 1961, Joan Littlewood and Cedric Price conceived the fun palace, a revolutionary venue, housing culture and science, encouraging engagement, debate and enjoyment. The cybernetician Gordon Pask later added to their dream. Joan knew she had not yet discovered a way to welcome those who found buildings and institutions daunting – the fun palace was about public engagement at its most inclusive.
It was never built.
Buildings cost and continue to cost, but we have plenty already: museums, theatres, libraries, shops, schools, universities, tents and caravans. The spaces to make fun palaces are already there, often standing empty for part of the day or night.
Joan would have been 100 on 6 October 2014. The weekend before her centenary, 4 and 5 October, will see hundreds of pop-up fun palaces across the UK and beyond. The radical difference between Joan’s never-built fun palace and our new Fun Palaces project is that we don’t want to make a new building; we want to make a new attitude, based on what we already have, breaking out into what we need – true engagement.
More than 150 venues and companies are already enlisted, with independent artists, theatre-science makers and producers also signed up. These creators will work with local people and organisations, combining arts, culture, technology and science to create local fun palaces. Our aim is to connect them all in tone and spirit, and also digitally through an online fun palace that will be part-game, part-content, but all-engagement…
In this time of austerity we have been encouraged to think smaller, to dream less, but small visions are no good for culture and they are no good for science. If we want to make the breakthroughs many of us came into creative work to make, and if we want to be as engaged and inclusive as we say we do, then we have to do more, and soon.
This is a campaign of cultural participation that calls for a fundamental change in our thinking about creative work, not as something that is done for us, but as something we all do. As the Olympics did for sport, fun palaces could show that arts, culture and science are also core passions for Britain. We’ve all been looking for the next big thing in culture and creative work. This is it, only it was here all along. It’s all of us, working together. If you would like to join us, you can. It’s that simple.
And here is the link to find out more about becoming involved in Fun Palaces 2014
What do Disney Television honcho Anne Sweeney and internationally renowned education theorist Sir Ken Robinson have in common? Ideas for unlocking creativity in both children and adults.
1. SHOW UP
“Walk around the halls. Eat in the cafeteria. When you show up, it means you are paying attention. It means you want to make sure people know how their world connects to the bigger whole..
2. HOLD EVERYONE ACCOUNTABLE FOR EACH OTHER
“We are stapled together. We live and die by each other’s successes and failures.
3. COMMUNICATE AS A PERSON, NOT SIMPLY AS A BOSS
“Have a conversation. Don’t have it be a reporting relationship.”
KR: The continuum, as I see it, starts with imagination. It’s the most extraordinary set of powers that we take for granted: the ability to bring into mind the things that aren’t present. It’s why we are so different from the rest of life on earth. That’s why we’re sitting in a beautiful building, drinking from these cups. Because human beings make things. We create things. We don’t live in the world directly; we live in a world of ideas and of concepts and theories and ideologies.
“If you’re always thinking about possibility, you’ll find it. You’ll keep creating the future.”
“The ‘element’ is where natural aptitude meets personal passion. It’s great if you’re in your element at work, because you get energy from that. But for people who aren’t, finding this elsewhere is important.”
“People get locked into their job descriptions. If you create a culture where they feel encouraged to unleash their various talents, they’re more engaged.”
AS: … a couple of weeks ago I just had time on my hands. I never have a couple of hours in the office that aren’t totally scheduled. And I just asked a couple of people to come in and sit. And they came in, they all had their notebooks or their iPads. After about half an hour, everybody relaxed and realized no, this really isn’t a meeting. This is really just sitting around, talking. When they left, I thought it was one of the most enjoyable meetings, maybe the most enjoyable meeting, I’d had in a long time. I loved how much we’re going to accomplish because we had this very unstructured, very meandering conversation about many different things.
…One of the core themes of the book is the rate and nature of change in the modern world. The last ten years have offered dramatic demonstrations of this theme. Just think of the breathtaking innovations in technology and digital culture. Ten years ago, Google was still a novelty; there were no smart phones, no IPods or IPads; no Twitter or Facebook or any of the social media that are transforming life and work today. Then think of the increasing pace of population growth, the growing strains on the environment and the effects of all of these on people’s lives and future prospects and the fact is that the world is becoming more complex and unpredictable than ever…
…In the last ten years, I’ve worked with business of all sorts all around the world. For all of them, cultivating creativity is a bottom line issue. Last fall, IBM published a report on the challenges facing business in 2011 and beyond. The report was based on survey of 3000 CEOs. It showed that the top priority for CEOs everywhere is to promote creativity systematically throughout their organizations. The reasons are clear enough. In a world of rapid change, companies and organizations have to be adaptable as circumstances change and be able to develop new products and services as new opportunities emerge. Most people occasionally have a new idea. For companies that isn’t enough. To remain competitive, they need to develop cultures where creativity is a habit and innovation is routine. The new edition of Out of Our Minds sets out the core principles for doing this and for leading a dynamic and reliable culture of innovation.
…What changes do you hope Out of Our Minds will bring about in the long term?
I say in the Foreword to the new edition that “my aims in this book are to help individuals to understand the depth of their creative abilities and why they might have doubted them; to encourage organizations to believe in their powers of innovation and to create the conditions where they will flourish; and to promote a creative revolution in education.” I couldn’t have put it better myself!
College students experienced heightened connectivity in their left temporal cortexes after reading fiction.
Scientists have proven in the past that reading stimulates many different parts of the brain. In a 2006 study, for example, research subjects read the words “perfume” and “coffee,” and the part of their brains devoted to the sense of smell lit up. While these studies have focused on brain activity while a person is reading, a new study suggests that reading doesn’t just make a fleeting impression. It may make long-term changes to to the brain.
The new study out of Emory University looks at how the brain changes function and structure over the course of reading a novel. Researchers asked 21 Emory undergraduates to come in for fMRIs over 19 days. For the first five days, researchers took baseline fMRIs of the students’ brains. Over the following nine days, participants read 30 pages of the Robert Harris’s novel Pompeii at night and then completed a quiz to ensure they had completed the reading. They underwent fMRIs the next morning. After finishing the novel, participants continued to come in for fMRIs for five more days…
The fMRIs after the reading assignments revealed heightened connectivity in the left temporal cortex, the area of the brain associated with receptivity for language. Heightened connectivity in other parts of the brain suggested that readers may experience “embodied semantics,” a process in which brain connectivity during a thought-about action mirrors the connectivity that occurs during the actual action. For example, thinking about swimming can trigger the some of the same neural connections as physical swimming.
“The neural changes that we found associated with physical sensation and movement systems suggest that reading a novel can transport you into the body of the protagonist,” said Gregory Berns, the lead author of the study. “We already knew that good stories can put you in someone else’s shoes in a figurative sense. Now we’re seeing that something may also be happening biologically.”
The changes persisted over the five days after finishing the novel, suggesting that reading could possibly make long-lasting changes to the brain. The researchers wrote that it remains an “open question” how long the effects would last, but that their results suggest reading could have long-term effects on the brain through the strengthening of the language-processing regions and the effects of embodied semantics.
When we look at children we can see that they don’t let biases or existing information get in their way of asking questions, poking and prodding, and generally just trying something.
Successful creatives are the same. So we, too, must find various ways to be more inquisitive.
We could try changing our perspective of the work to force a mentality of discovery. Looking at the microscopic or macro elements of our work – like painting with tiny dots rather than big brush strokes, or imaging what a novel would read like as a part of a quadrilogy – helps.
We can also try changing our environment or tools. If we’re used to working in a studio or office, getting out and attempting to work in a fancy restaurant or at a park, might be all we need to shake up how we view the work.
BY JANE PORTER
…An interview with Seth Godin appears in the book, Manage Your Day-to-Day, put out by 99U. The book includes insights from artists, entrepreneurs, academics, and psychologists on how to carve out a daily creative practice. Here are five key takeaways from the experts featured in its pages:
1. PUT CREATIVE WORK FIRST.
Setting aside time every day to do creative work keeps your momentum going. One way to do this is creating “hard edges” for when your workday starts and ends, suggests Mark McGinness, a U.K.-based creative business coach. Within that framework, prioritize your creative work first. “The single most important change you can make in your working habits is to switch to creative work first, reactive work second,” McGinness says.
Cal Newport, a writer and professor at Georgetown University, calls these periods of uninterrupted creative work “daily focus blocks.” Put them on your calendar and treat them as you would a formal appointment. Newport recommends starting out with an hour of uninterrupted work time and gradually adding 15 minutes every two weeks, never allowing distractions like email or Facebook to interfere.
2. YOUR INBOX CAN WAIT. SERIOUSLY, IT CAN.
Most of us compulsively check email without stopping to think about it. Why? The same reason it’s hard to resist piling your plate high with bad-for-you foods at a buffet. It’s right in front of you, waiting to be nabbed up, says Dan Ariely, professor of psychology and behavioral economics at Duke University. Email and social media also offer what Ariely calls “random reinforcement.” Usually when you check your inbox or Facebook, there’s nothing exciting waiting for you, but occasionally, there is–that random excitement keeps us coming back compulsively.
Resisting the urge to check email and social media while concentrating on creative work can feel next to impossible, especially first-thing in the morning. But your inbox can almost always wait. “It’s better to disappoint a few people over small things, than to surrender your dreams for an empty inbox,” says McGinness.
3. RECOGNIZE YOUR BODY’S LIMITS.
Our bodies follow ultradian rhythms, cycles that last around 90 minutes–at which point most people max out their capacity to work at their optimal level, according to Tony Schwartz, president and CEO of The Energy Project. In other words, your body can only take so much concentrated work at a time before you start seeing diminishing returns.
That means getting enough sleep (more important than food, Schwartz says) and taking breaks is essential if you want to be at your creative best. Instead of slumping over your Facebook or Instagram feed, get away from your desk and phone. “Screen time feeds into a vicious cycle of chronic stress in a way that most of us don’t even realize,” according to writer, speaker and consultant, Linda Stone.
4. SET BOUNDARIES AND DIVE DEEP WITHIN THEM.
Try making rules for yourself and see what happens. George Harrison, lead guitarist of the Beatles, told himself one day that he would pick up a book at random, open it and write a song about whatever words he read first. Harrison saw the words “gently weeps,” set down the book and wrote “While My Guitar Gently Weeps,” long considered one of his best songs.
“Whether or not they’re created by an outside client or you yourself, a set of limitations is often the catalyst that sets creativity free,” says Scott McDowell, founder of the consulting and executive search firm, CHM Partners.
5. START TODAY.
Striving for perfection in everything you do can be so daunting it keeps you from getting started in the first place. “To a perfectionist, settling seems worse than not completing the piece, which is why perfectionists often produce very little,” says Elizabeth Grace Saunders, time coach and author of The 3 Secrets to Effective Time Investment.
Stop worrying about getting the beginning right and just start. You’ll need to experience chaos before you reach the calm. Define the minimum requirements needed to finish whatever you’re working on and use those as a way to press on, suggests Saunders. Keep moving forward. Relinquish your fear of negative feedback and see it instead as an opportunity to learn and grow.
Reflection is an important piece of internal feedback – a way of learning and growing from my mistakes, noticing and celebrating my successes and spotting whether I’ve wandered off my chosen path. It’s an essential skill for anyone who wants to lead others: you need to be sure that you are on the right path if you want others to follow.
Yet reflection is more art than science. When I look in the mirror I can’t assume that what I see is an accurate representation of reality. My visual system is inaccurate and incomplete. My range of vision is limited to a narrow spectrum of visible light and I take the information that is in front of my eyes and I mould it.
I don’t see; I perceive. I make the information meet my expectations. I fill in the gaps. I can be blind to the things I don’t want to see. I create the image just as much as I see it.
The openness to bias and interpretation is even greater when I’m doing something as abstract as reflecting on myself. I won’t see my reflection – I’ll create it. What will I create? Just as beauty is in the eye of the beholder, so is ugliness and unworthiness. If I focus on all the things I haven’t done over the last year, that’s what I’ll see staring back at me. If I only focus on my successes and remain blind to areas of improvement then I’ll only see that. Neither image will be accurate.
Given that reflection is an important skill, how can I reflect in a way that is useful and helps me grow? One of the first things I can do is to notice how I approach the task. A key question isn’t “what do I see?” but “what do I look for?”
When I look back on my year, do I immediately focus on what I did or achieved rather than the choices I made? Do I immediately focus on “areas for improvement” and forget to celebrate or even notice the successes? Does the experience of reflecting feel like getting a report card from a particularly strict schoolteacher or a glowing song of praise from a close friend? Knowing the answer to this helps me be aware of my own bias.
Having noticed how I automatically reflect, the next useful thing I can ask myself is “how do I want to reflect?” Whatever my natural default reflection process is, it doesn’t have to be that way. I can choose what questions I ask when I look in the mirror.
If I want the ultimate lesson in reflection, I can turn to the ultimate moment of reflection. One day I may be looking back at myself and reflecting on my life in the knowledge that I am near the end of it. In that moment, how do I hope to approach the mirror? Will I have learned to reflect with awareness and self-compassion, or will I still focus on the many things I have failed to do?
My hope is that I’ll focus on the questions that are truly important to me. Did I live my life in accordance with my values? Did I live my life as if I was the person I aspire to be?
It’s the answers to these questions that help me grow.
by Maria Popova
“I have led too serious a life; but that perhaps, after all, preserves one’s youth.”
What does it take to live a good life, to flourish, to be happy? The art-science of happiness has been contemplated since the dawn of recorded thought, and yet no agreement seems to have been reached: For Albert Camus, it was about escaping our self-imposed prisons; for Alan Watts, about living with presence; some have pointed to learned optimism as the key, while others have scoffed at optimism and advocated for embracing uncertainty instead. But if there is one immutable truth about happiness, it’s that it is never a static thing — not a permanent state, but a constantly evolving experience of being, one that George Eliot believed had to be learned, transformed in each new moment and sculpted by the passage of time.
One of history’s most beautiful and crystally aware meditations on happiness, specifically in terms of how it illustrates the schism between the experiencing self and the remembering self, comes from The Diary of a Man of Fifty — one of the finest, most timelessly resonant notable diaries of all time — by literary legend Henry James.
“I have led too serious a life; but that perhaps, after all, preserves one’s youth. At all events, I have travelled too far, I have worked too hard, I have lived in brutal climates and associated with tiresome people. When a man has reached his fifty-second year without being, materially, the worse for wear — when he has fair health, a fair fortune, a tidy conscience and a complete exemption from embarrassing relatives — I suppose he is bound, in delicacy, to write himself happy.”
Here is one of our all-time favourite TEDTalks on creativity:
Radio host Julie Burstein talks with creative people for a living – and shares four lessons about how to create in the face of challenge, self-doubt and loss. Hear insights from filmmaker Mira Nair, writer Richard Ford, sculptor Richard Serra and photographer Joel Meyerowitz.
Wed, Jan 15 6pm GMT
10am PT/1pm EDT]
I can say with clarity that the most defining moments of creative/professional success for me have required overtly pouring my most honest, imperfect, afraid, guts-and-all parts of myself into my work. In short – those successes were built on vulnerability – on being real. They were built on daring greatly. What do the viewers / consumers of your art really want? YOU. The want to see YOU. And in seeing YOU, they see themselves.
And so its the perfect way to kick off the 2014 chasejarvisLIVE season with a very special guest, a woman who might just hold the keys to the thing that’s been holding back your unbounded creativity…her name is Brené Brown. You’ve probably seen her on the TEDstage (millions of views), or perhaps as a regular on Oprah (they’re pals), and at damn-near every bookstore (where Daring Greatly is a best-seller). But it’s not necessarily for all her accolades that you’ll want to tune into #cjLIVE this coming Wednesday January 15th. You’ll want to join our LIVE broadcast because you’ll have full access to Brené in a way that few other forums can grant — interactive Q&A with you from wherever on the planet you might be — and she just might have the keys to unlock the thing that’s been holding back your creativity. It was the missing link for me – and I’m guessing it’ll help you too.
WHAT: Interview, discussion + a worldwide Q&A with Brené Brown
WHEN: Wednesday, Jan 15, 10:00am Seattle time (1pm NYC time or 18:00 London)
WHERE: Tune into www.chasejarvis.com/live. It’s free — anyone can watch and we’ll be taking YOUR questions via Twitter + Facebook, hashtag #cjLIVE
This won’t be a marketing lesson or a therapy session, but it will be be THE shortest path between your most authentic self and the professional / personal hold-up-the-mirror, tear-down-the-barrier “success” you crave. Hello, New Year.
A FEW KEY CONCEPTS WE’LL COVER ON THE SHOW
~ Vulnerability does NOT equal weakness – it equals strength (the world’s best artists are living proof)
~ How to cultivate creativity, “gratitude” & “worthiness”
~ Personal + professional transformation happens when we ask the hard questions
~ Explosive creativity happens when we have the courage to share our struggles
~ How to harness the space between our aspirational values (what we want to do, think, feel + become) and our practiced values (what we’re actually doing)
You will find all of these articles and many more in this week’s new Happiness at Work collection, – plus more stories about leadership and learning, and happiness and productivity and resilience at work.
We hope you find much here to enjoy and use.