Effect Of Colors: Blue Boosts Creativity, While Red Enhances Attention

A new University of British Columbia study reconciles a debate that has long raged among marketers and psychologists: What colour most improves brain performance and receptivity to advertising, red or blue?

It turns out they both can, it just depends on the nature of the task or message. The study, which could have major implications for advertising and interior design, finds that red is the most effective at enhancing our attention to detail, while blue is best at boosting our ability to think creatively.

"Previous research linked blue and red to enhanced cognitive performance, but disagreed on which provides the greatest boost," says Juliet Zhu of UBC's Sauder School of Business, author of the study which will appear in the Feb. 5 issue of Science. "It really depends on the nature of the task."
Between 2007 and 2008, the researchers tracked more than 600 participants' performance on six cognitive tasks that required either detail-orientation or creativity. Most experiments were conducted on computers, with a screen that was red, blue or white.

Red boosted performance on detail-oriented tasks such as memory retrieval and proofreading by as much as 31 per cent compared to blue. Conversely, for creative tasks such as brainstorming, blue environmental cues prompted participants to produce twice as many creative outputs as when under the red colour condition.
These variances are caused by different unconscious motivations that red and blue activate, says Zhu, noting that colour influences cognition and behavior through learned associations.

"Thanks to stop signs, emergency vehicles and teachers' red pens, we associate red with danger, mistakes and caution," says Zhu, whose previous research has looked at the impact of ceiling height on consumer choices. "The avoidance motivation, or heightened state, that red activates makes us vigilant and thus helps us perform tasks where careful attention is required to produce a right or wrong answer."

Conversely, blue encourages us to think outside the box and be creative, says Zhu, noting that the majority of participants believed incorrectly that blue would enhance their performance on all cognitive tasks.

"Through associations with the sky, the ocean and water, most people associate blue with openness, peace and tranquility," says Zhu, who conducted the research with UBC PhD candidate Ravi Mehta. "The benign cues make people feel safe about being creative and exploratory. Not surprisingly it is people's favourite colour."

The study finds that these trends carry over to our receptivity to consumer packaging and marketing messages. Using a series of fictional ads and product packages, researchers explored how colour impacts our receptivity to consumer packaging and advertising.

It found that when the background colour was red, people formed more favorable evaluations of products when its ad featured specific product details as opposed to evocative, creative messaging. However, when the background was blue, the opposite pattern of results emerged.

Similarly, people were more receptive to a new, fictional brand of toothpaste that focused on negative messages such as "cavity prevention" when the background colour was red, whereas people were more receptive to aspirational messages such as "tooth whitening" when the background colour was rendered in blue.

7 Ways to Be Happier at Work


1. Smile.

Turns out, smiling is directly linked to happiness. It may have started as a correlation but, over time, the brain linked the two. Don't believe me? Try this: smile (a nice big smile) and attempt to think of something negative. Either you will stop smiling or you won't be able to hold the negative thought.

2. Stop worrying.

Worrying happens to be one of humanity's best traits. It is the underlying emotion behind foresight, planning, and forecasting. We worry because some future event is uncertain and that feeling is a cue for us to start thinking about how to address it. The problem is, we worry too much about things that are out of our control (like the economy, stupid). The US has one of the highest rates for mental disease and yes, worry is among the leading indicators. While it's true that there are plenty of things to worry about these days, take a deep breath, America, and stop sweating the small stuff.

3. Take a break.

The US is one of the most overworked industrialized nations. But this is counterproductive for a nation of "knowledge workers." Overworking people to exhaustion is a horrible way to extract knowledge from people. Taking a break provides an opportunity to reflect and often it is during such times when the best ideas, our deepest insights, emerge. I insist on taking lunches out of the office; I insist that my colleagues do the same. Call it a siesta, naptime, or a mini-vacation. It works for many of the happier nations too.

4. Do things differently.

Part of the problem at work for many people is boredom. We are stuck in a rut where we come in and do the same thing over and over and over again. Get your enthusiasm back by doing things differently. Make every effort to learn, to grow, and to challenge yourself. Take on more responsibility or attempt something you never thought you were capable of doing. Even if your responsibilities don't allow for much flexibility, try a different approach to your existing responsibilities.

5. Stop managing and start leading.

If you're in management, you need to find ways to motivate and stimulate your employees. How? Stretch their minds. Empower your team by giving them more responsibility, more decision-making power, more autonomy. Equally important: be inclusive. Explain what is happening in the company as a whole and give your employees a broader perspective on how their jobs influence the overall business.

6. Delegate.

One of the most destructive and counterproductive byproducts of the downsizing era is fear many managers are scared to let go of control for fear that doing so will make them obsolete. I have news for you: if you feel that way, you already are obsolete. Being controlling is bad for business, not to mention bad for your physical and mental health. The best leaders always look for people better, smarter, and more capable than themselves.

7. Have fun.

Here is some tough advice: If you don't like what you are doing, stop doing it. Life is too short to not have fun. I love what I do and when I stop loving it, I do something else. Even in this economy, you will be in high demand if you are good at what you do and can do it with a smile on your face.


Are you an egg,potato or a coffee bean?



Once upon a time a daughter complained to her father that her life was miserable and that she didn't know how she was going to make it.
She was tired of fighting and struggling all the time. It seemed just as one problem was solved, another one soon followed.
Her father, a chef, took her to the kitchen. He filled three pots with water and placed each on a high fire.
Once the three pots began to boil, he placed potatoes in one pot, eggs in the second pot and ground coffee beans in the third pot.
He then let them sit and boil, without saying a word to his daughter. The daughter, moaned and impatiently waited, wondering what he was doing.
After twenty minutes he turned off the burners. He took the potatoes out of the pot and placed them in a bowl. He pulled the eggs out and placed them in a bowl. He then ladled the coffee out and placed it in a cup.
Turning to her, he asked. "Daughter, what do you see?" "Potatoes, eggs and coffee," she hastily replied.
"Look closer", he said, "and touch the potatoes." She did and noted that they were soft.
He then asked her to take an egg and break it. After pulling off the shell, she observed the hard-boiled egg.
Finally, he asked her to sip the coffee. Its rich aroma brought a smile to her face.
"Father, what does this mean?" she asked.
He then explained that the potatoes, the eggs and coffee beans had each faced the same adversity-the boiling water. However, each one reacted differently. The potato went in strong, hard and unrelenting, but in boiling water, it became soft and weak.
The egg was fragile, with the thin outer shell protecting its liquid interior until it was put in the boiling water. Then the inside of the egg became hard.
However, the ground coffee beans were unique. After they were exposed to the boiling water, they changed the water and created something new.
"Which one are you?" he asked his daughter. "When adversity knocks on your door, how do you respond? Are you a potato, an egg, or a coffee bean?"
In life, things happen around us, things happen to us, but the only thing that truly matters is what happens within us.

Which one are you?
When problems come (and they will) how will we react? Will they make us weak, hard hearted or will they cause us to change into something worthwhile?
Motivational Quote: "Happiness is not something you find, it's something you create."
Inspirational Quote: "Smile in pleasure, smile in pain; Smile when trouble pours like rain; Smile when someone hurts you, Smile coz someone cares for you."

A GOOD CLASS ROOM






What is a 'Good' Classroom?
A classroom is essentially defined by the nature of interaction among its participants, that is children and teachers, and occasionally community members as well
It is often said that most teachers are not interested in teaching. Hence, the point in trying to identify what makes for a 'good' classroom, especially for teachers, does not arise at all! Just a waste of time, it is said.
Why bother about it?
The people who argue thus also tend to be full of platitudes about the dos and don'ts that a teacher should follow. They tend to overlook the fact that the typical government school teacher has a very difficult situation - a shifting population of children who are at different levels, with home conditions that do not always support education, with having to handle more than one language and more than one class! Naturally, teachers end up finding much of the advice given to them as merely a pile of someone else's dreams that they have to try to live up to under impossible circumstances.
To my mind, therefore, the question 'what is a good classroom?' is closely linked with what is possible and not just what is desirable. When teachers find that a good classroom is actually possible, more and more of them will actually try to improve their classrooms. Why? Because they will find in it much more fun and satisfaction than continuing to live the same humdrum life as before.
What is a classroom?
So, to start with, what do we mean by 'classroom'? In fact, it was a teacher who provided the real answer to this, during a discussion on the future of a foreign funded project, on whether it would continue or not, and what would happen to schools if it did not. This teacher said, "Nothing! Nothing will happen to the school merely because the foreign funding stops. It is a mistake to think that a school is its building, and books and doors and windows. It is, actually, what happens between my children and me. People can come and remove the doors or break the building, but nobody can touch the real thing - that is, what happens between my children and me!"
Thus a classroom is really a learning situation, the physical aspect of which, though important in its own way, is not as crucial as the emotional, intellectual, social and cultural one. A classroom is essentially defined by the nature of interaction among its participants, that is children and teachers, and occasionally others as well (e.g. community members). By itself, the physical aspect can help but not determine this interaction. The focus in this note, therefore, is more on this interaction rather than things that need financial resources.
Work less!


Some years ago, I visited a 'model' school that was implementing what was considered to be 'activity-based teaching'. A teacher from this school complained that such teaching was very, very tiring! On going to his classroom I found that the teacher himself was doing all the singing, action, and so on, while the children sat and watched! Naturally, it was very tiring.
In many ways, even in the traditional classroom this is what we end up doing much of the time. We think out everything for the child, provide all the answers, spoon feed much of the time and believe that we are very hardworking! Often, even if something is already known to children, we teach the same thing over again without bothering to find out whether children can do it on their own or not.



So the first step in getting to a good classroom is: work less! Avoid doing for children what they should be doing for themselves. See yourself as a facilitator rather than a dispenser of knowledge. Make use of their previous knowledge and understanding (and there is plenty of that, believe me). Create room for students to arrive at their own understanding. Instead of wasting time on issues already known to them, identify areas where they really need support and concentrate on them.


Create tasks and beginnings
How can you get around to working less? By finding interesting tasks, which children would like to work upon on their own, leaving you free to offer support where it is needed.
All children are naturally more active than passive. They love challenges, and working on situations that 'move' from one point to another (e.g. games, or making things, or enacting something, or solving a problem). They also find it fun to work with each other, and help each other. Make use of these tendencies to create interesting tasks that you start children off on (as against doing it all for them), and then support them as they complete these tasks.
For example, if you want to teach counting, set up dice games where children are required to count (can you think of a few examples of this?). Or fill up a small container with pebbles, ask them to guess how many there are, and then count to verify. Or, if you are teaching language, create card games where they pull out letter cards randomly and then make words. Or give them a riddle about a character in a story and then read the story on their own (rather than having it read aloud by you) to find the answer. Or, if you are teaching environmental studies, ask students to find out about leaves by making a collection, sorting it, and answering interesting questions. Or ask them to devise an experiment to counter or justify a claim you might have made (e.g. a needle can be made to float).
In all this your role really is that of identifying tasks or activities that:
students will find interesting and challenging (that is, they will be possible, but not too easy for their level),
have a purpose for them (which may be different from the purpose they have for you!), and
are related to curricular objectives you are focusing on.
Once you have presented the task, children start on them and you offer help only where it is needed.
Finally, once the tasks are over, your role is that of enabling reflection on what has just been experienced, in order to consolidate it in terms of learning. Thus children are not learning by memorizing, but by thinking on their own and coming to their own understanding.
As you can see, a good classroom is very different from one where the teacher is doing the talking and pushing and driving much of the time. It is infinitely more relaxing to create interesting tasks and watch students do them, with minimum help from you. All this, of course, does not happen in one go. You have to start carefully, with what can actually be done, before moving on into a situation where your class has children working on their own for a great part of the time.
Don't allow yourself to get bored
Even the most interesting tasks, done repeatedly, begin to wear out and soon stop being interesting. And the loss of interest on the learners' part results in loss of learning. So what is being suggested is not merely doing a few apparently interesting tasks over and over again there is a need to build in a natural amount of variety in what is being done. In the absence of variety, learning suffers.


A new activity might need to be repeated in more or less the same manner in the beginning. But very soon, variations in it would be needed. For example, a guessing game where the teacher gives hints for children to guess on the basis of (e.g. I am a plant, whose leaves you eat), after some time would have to be done differently (e.g. asking children to make the riddle, or switching on to animals or gases). Instead of asking children to answer as a whole class, they could be divided into small groups or even be required to work individually. Clues could be given in writing, or children be asked to pick up cards on which a word is written or picture drawn, on the basis of which they may have to frame the riddle. In fact, it is very easy to make an activity easier or more difficult depending on the level, background and interests of children, something that is not always possible with the typical textbook lesson.
As you can see, whether a session of 40 minutes or a whole day, there can be sufficient variety across the period, enabling children to retain their interest. At the same time, since all children do not necessarily learn in the same way, this variety enables all children to find a means suited to their particular way of learning.
What all this implies is that the old system - of teaching the whole class in the same way the whole time with the same material - is not very appropriate. In an activity-oriented classroom, it should be possible for variety, and even for different children (say in different groups) doing what is appropriate for them. Such self-learning phases during a day or session provide the teacher an opportunity to help those children who might need such help more.
Discover how rich you are!
Make a list of all those things that can be found in or around your school: e.g. benches, polythene bags, seeds, sticks, pebbles, charts, leaves, sand, old calendars, strings, and countless other things. You'll find that most of them can serve as learning material for something or the other you might want to teach. For example, leaves help in classification and mathematical operations, sticks in seriation and spatial skills and so on. The best part is that they are all free, and you don't even have to make an effort to get them yourself - asking children to collect such material is part of the learning process.

In addition, there are plenty of things you and children can make together, which can be used for a variety of learning purposes. For example, masks, clay toys, picture charts, flash cards of all kinds and so on.
Finally, many of you will be lucky enough to have material that has been supplied (e.g. kits for science or mathematics, or library books, etc.) or even be given a certain amount for purchase of materials. Earlier, teachers used to be worried that if any material is spoilt they would have to pay for it, and this resulted in all this material being kept in cupboards or trunks. But now, authorities have realized that material is actually to be used! Hence, torn books or weathered material is no longer considered disastrous. Use it as well and as much as you would like to.
In interaction with such material, children learn through the use of their sense organs and through the dynamic manipulation of material from one state to another, as in arranging or making a model or solving a problem and the like.
Thus it is no more true to say that there is a shortage of material, and in a good classroom one would expect to see plenty of it - in children's hands rather than displayed on the wall!
Get children to run the class
Ah, but how can the teacher do all this? By looking upon children as team members who play a role in running the class, rather than as a 'herd to be managed'. One critical assumption here is that once children have purposeful tasks to do, they do not need 'discipline' (you have to try this out before doubting this statement!). In an atmosphere of freedom where children can talk, ask questions, collaborate in completing a task, it is usual to find that they are able to take decisions, handle responsibility, and are eager to support the teacher in as many ways as possible. This includes handling material collection, distribution and storage; helping other children if needed; maintaining discipline on their own. This last is facilitated best if the whole class (that is, teachers and children together) make commonly agreed upon ground rules for functioning, including deciding upon the consequences of violating them. In such a situation it is common to find that children rarely need to be made to do something. Instead, they come on their own to find out what they should do.
Of course, the difficulty arises when the teacher himself violates the agreed upon ground rules. If he willingly accepts the consequences, he sends a strong message of equality and participation to his children, and discipline is really no problem.
In a good classroom, therefore, we would expect to see everyone working as a group, having both a say and a responsibility too.
Plan like it's a meal
Naturally, such a classroom would not come about on its own. It needs to be planned for. Again, you'll find many people saying that teachers cannot really plan. And once again, this is something that is simply not true. Take for example the situation when some important and desired guest is unexpectedly arriving for dinner and you have to ensure that you do a 'good job' hosting him. Only a few hours are left. You quickly examine what there already is at home, think of a menu that can be achieved within the time but would also be up the 'standard' you want to set. Then you quickly get what is needed, start making preparations in the order that is necessary but also do those things together which can be done together. And so on. Do you really think you do not know how to plan?
With your classroom too you would need to start by finding out where the children already are, where you think they should get to in the time available, what you have to do and the sequence in which you have to do it, and so on.
However, in order to do a 'good job' while the meal is being cooked you keep checking from time to time whether things are OK or not, whether you have added the salt or things are cooked sufficiently. This is what ongoing evaluation is like - you keep an eye on whether learning is going in the right direction or not. Similarly, it is crucial to ensure that you make sure things are available where they should be, that time is not wasted and all resources you have are well utilized. This is what, in the big words of academic educationists, is called 'management' or 'classroom organisation'. In reality it is something that anyone who has ever hosted a guest (or done hundreds of ordinary everyday tasks) already knows enough about.
At the same time, you do your best to put your guest at ease, to make him feel wanted and cared for. You want to make sure that he feels like coming to your place again! In classroom terms, this would be called a welcome atmosphere, and is one of the key enabling factor that helps learning.
And finally
What this note assumes is that the teacher is not an 'empty vessel' who has to be told what to do. Instead, the teacher here is regarded as a partner with whom the basic principles need to be shared and agreed with, based on which she or he will find her or his own solutions. And the key question that needs to be addressed is that of 'hosting' children, and of doing one's best to ensure that they learn actively in an encouraging atmosphere.









Can it be done?









Are you ready?









Here's wishing you the very best in this effort!
Subir Shukla
primary@vsnl.com; subir@hotmail.com

Tips to improve your CONFIDENCE



1. Make an effort to spend time with confident and positive people. And try to stay clear from negative people. Negativity can spread like a wildfire, so be careful. Fortunately, positivity also has similar effect, it can also spread like a wildfire. Being in the midst of self-assuring and positive people will give you the vitality and strength to always look on the bright side of life despite surrounded by negativity.



2. Find a mentor. All successful people have mentors in life, those who can efficiently guide you, advise you and also offer some confident-boosting tips. You will achieve success faster if you can find a good mentor. He or she may have a great deal of experience in the field that is similar to yours. Therefore, can help you avoid mistakes in your endeavor. In order to find a mentor, you need to be open-minded and willing to discuss both your strengths and weaknesses as well.



3. Understand that confidence is just a feeling. Think about all the situations where you have felt confident. Such positive thoughts can make you confident in future. Sit down for a few minutes everyday and analyze the happenings during your day. Imagine all the things that make you feel certain. This can boost your morale and make you even more poise.



4. List all your reasons to be confident. Try and list all the qualities that have helped you to be confident today. Include your victories, skills and also mention about your goals. After you have done this you will see how powerful your analysis can be. It will make you feel even more confident.



5. Never stop learning! Learning doesn't stop after school graduation. There are much more things to learn in real life than in school. Be a big advocate of continuing education. Never stop to improve and upgrade your skills. That's how you improve and maintain your confidence in real life. DO NOT strive for perfection or flawless performance as this will only make you feel stressed. Always strive for IMPROVEMENTS instead!



6. Practice Self-Inquiry. Self-inquiry is a spiritual process to get in touch with your inner power. Everyone has "inner power", it's the natural state of our being. By getting in touch with the power within you, you will gain clarity and focus to help you achieve your goals in life. You can practice self-inquiry through meditation.



I hope by reading this article, it makes you feel confident. But again, remember that you must apply these tips in order to see results. So start using the confidence tips you've just learned in your daily life. Don't waste them!

Have fun with your photos






Ever wanted to see yourself on a coin?
How will you look on a huge poster?
site give endless ideas for people who love creativity.
Just check it out...
have fun....

You too can be creative; it just takes hard work



You too can be creative; it just takes hard you desire to be a more creative person but don't think you have the "creative" gene? You may have some hard work ahead, but it's possible to become the next Walt Disney or Martha Stewart, says an expert on creativity at Washington University in St. Louis.


"No one is born highly creative," says R. Keith Sawyer, Ph.D., associate professor of education and of psychology, both in Arts & Sciences. "Psychologists studying creativity have discovered that it is based on cognitive processes we all share. Creativity is not the result of some magic brain region that some people have and others don't."
Creativity is not some magical trait, says creativity expert R. Keith Sawyer, Ph.D. "You have to work hard to be a more creative person. You have to be diligent."
Oxford Press has just released Sawyer's latest book, "Explaining Creativity: The Science of Human Innovation," a seminal overview of the history of creativity and of research into traits that highly creative people all share.
Designed as a textbook for his Washington University course Psychology of Creativity, "Explaining Creativity" is a general overview of the science of creativity for anyone who wants to know more about it. In the book, Sawyer outlines some of the myths that many of us hold about creative people.
Dispelling the myths
"When people say they aren't creative, it's because of some false ideas about creativity that we hold as a society," Sawyer says. "One myth is that if you're a creative person it's a trait and everything you touch turns to gold. That's not the way creativity works. It's not some magical trait. You have to work hard to be a more creative person. You have to be diligent," he says.
It's also a myth that creative people "have pierced body parts and tattoos and they sleep at odd hours and maybe they are not socially smooth or skilled — maybe they are loners."
Actually, when researchers study creative people, Sawyer says, they find that most of them are normal, happy and healthy. Most aren't depressed or alcoholics or schizophrenic.
"Another myth about creativity that many people in our society believe is that there is a link between mental illness and creativity," Sawyer says.
"Hollywood loves this myth. Oftentimes, the role of a highly creative person in a movie is portrayed by a character who is also mentally ill. There certainly are examples of creative people who do have mental illness, like the author Sylvia Plath. But she even said she was a better writer when she wasn't depressed. She wanted to get rid of her mental illness and didn't think it helped her be more creative."

R. Keith Sawyer

Sawyer says that many people have a vision of highly creative people as "lone geniuses." "In reality," says Sawyer, "creative people network with other people. A lot of creativity happens through collaboration. Much of my own research focuses on the relationship between collaboration and creativity.
"In today's technological society, many of the more important or popular creative products are made by large organizations," he adds. "For example, PlayStation® video games are created by a team of more than 100 people."
Sawyer insists that to be creative, one has to have organizational structure and collaboration.
"If you are a loner in a room somewhere doing your own thing, you aren't going to be employed very long," Sawyer says. "Video games are just one example. Think of any major creative organization. Increasingly over the past 20 to 50 years, the important kinds of creativity and innovation have involved large groups of people."
Any Hollywood movie has a large staff, "as you always see in the credits," Sawyer says. "Of course, all the fame goes to the director, the actors, and sometimes the writer or the cinematographer; but unless you're really into movies, you probably don't know that many movies have multiple directors and producers, and most scripts include contributions by as many as 10 different writers. And then there are almost a 100 other creative experts who contribute to the final product."
A computer software application like the Microsoft Windows® operating system is never created by a single individual, Sawyer adds. "There's a large staff, grouped into a complex organizational arrangement, and each programmer and designer makes an essential creative contribution."
Conventional thinking
But the myth of the lone genius still persists because many people, when they think of the stereotypical creative-type person, they think of the ultimate lone genius — the poet. "People see poets as being very solitary and yet very creative. Many people think all a poet needs is a pencil and some paper and he or she never has to talk to anyone. People tend to view painters the same way. They think all the artist needs is a canvas and paint and he or she doesn't require social interaction."
However, Sawyer says, research shows that even writers and painters are very social and creative and they spend a lot of time interacting with other people. "They have to get ideas from somewhere," he adds.
Another myth about creativity held by many is that creativity is the opposite of convention and constraint. "Many people think the best way to be creative is to break all the rules. Anytime you are constrained or limited, that will get in the way of creativity. That's just not true. In fact, creativity could not happen in the absence of convention."
An example of this is something as basic as musical creativity.
"All music, at least in the West, is based on 12 tones and has certain rhythmic patterns," Sawyer explains. "There are structures to songs and a finite number of instruments are available. Those are all conventions for creating music. You wouldn't say that a composer is not creative because he composed a tune in the 12-tone scale. We don't insist that every composer make up a whole new scale. We don't insist that every composer invent his own instruments.
"Music wouldn't exist without this complicated set of conventions that we often don't even think of as conventional. Musicians never get frustrated because they only have 12 notes in the scale. Writers don't get upset because they only have 26 letters to use."


Creativity in everyday life
Many people don't realize they're being creative by just carrying on a conversation.
"Everyday conversation is a great example of creativity that everyone does on a daily basis," Sawyer says. "I wrote a book in 2001 called "Creating Conversations" that focused on my study of a Chicago improvisational theatre group. I found that what improvisational groups do on stage mirrors what people do in good conversations.
"There's a lot of give and take and everyone is listening to everyone else," Sawyer explains. "You hear what your partner says and really absorb that and build on it. So a good conversation is truly collaborative and emerges from what everyone is doing together."
He thinks a lot of people are good conversationalists. "You don't have to be Van Gogh or Picasso or Einstein to use good creative conversation skills.
"We just don't think of conversation as being creative because a lot of people do it, we use it every day and it doesn't seem to require any special abilities. When we have a conversation, we don't feel like we're being creative, but we are. It's hard to realize because conversation happens so fast. The creativity is somewhat hidden."

Work hard and work smart
So what's the secret to becoming more creative?

"You can't be creative without knowing a lot about what you are trying to be creative in," Sawyer says. "You can't just decide to be creative in something. Really creative people spend a lot of time in preparation.
"For example, it takes a long time to become a good jazz musician. It's not something you do on your first try. If you try to sit in with a band before you're ready, you'll get booed off in a hurry. It's like that with nearly every creative domain."
If you want to be creative, Sawyer says, spend a lot of time learning about the subject and what others have done before. "Network and find out who else is working in the area. A lot of good creativity comes from collaboration. Creativity takes a lot of time and hard work."
Sawyer thinks much of the difference between highly creative people and the rest of us is hard work and work habits.
"Creative people work hard but they also work smart," Sawyer adds. "There is a certain way they structure their work habits. They structure their day so they alternate between hard work and time off. Researchers call it idle time.
A common pattern for creative people is to work hard in the morning and then take some time away during lunch to take a walk or garden or ride a bike. A lot of creative people have their great ideas when they take time away from their work. Idle time allows them to think of their problems in new ways. People talk about the 'aha' moment emerging when you are doing something else."
Creative people also tend to have multiple related long-term projects going on at the same time. "When they are working on one thing and they get stuck, they shift to another project. That creates potential for unexpected connections between the projects."
Creative people also take breaks to do something radically different from their current project. "They might read a book, play a board game or take a walk. These are times where distant analogies can happen — meaning something on the board game might provide an idea regarding the current project. Something in a book might connect two ideas together. A walk might allow for viewing of new concepts."
When Sawyer talks to corporations about creativity, he always emphasizes the importance of making employees take all of their vacation time.
"Many people don't take their vacation and they end up rolling over all of their off time. If I were a senior manager, I would make everyone take all of their vacation time," Sawyer says. "Time away from work is essential for recharging the batteries, so to speak, and to help people think more creatively on the job. People need freedom in their schedule for idle time."
'Seeing the burr in the dog's fur'
Sawyer says that the brain processes we use for creativity are based on the same building blocks that we all use everyday, like brushing your teeth or taking a shower or fixing breakfast.
"The story of the man who invented Velcro is a good example," Sawyer says. "He was taking a walk with his dog and the dog got a burr stuck in his fur. The guy examined a burr under a magnifying glass and noticed the little hooks. He had the idea that a string of similar tiny hooks could be used as a clothing fastener, replacing the zipper. There's more to it, but that's the basic idea.
"We all have ability to see the burr in the dog's fur," Sawyer explains, "but the more creative person is able to make the connections more easily. Creative people are able to gain insight by forming an analogy between two things that seem really dissimilar."