De staat van terminale serieusheid


We weten inmiddels dat humor en een open mind een positieve invloed heeft op onze creativiteit. Maar niet iedereen weet nog dat we rond ons 44e levensjaar een serieus probleem hebben op precies deze twee punten en dat dat een enorme invloed heeft op onze creativiteit. Een aantal jaren geleden Paul Iske (o.a. van Instituut voor Briljante Mislukkingen) ontmoet en van hem heb ik deze creativiteitsindex gezien die hij in een paper heeft geplaatst in 2005. Ik gebruik ‘m veel in presentaties, maar een blog is het ook zeker weer eens waard.


Opvallend is dat we op ons 5e levensjaar blijkbaar nog veel lachen en veel vragen stellen en dat we op ons 8e al zo’n beetje in de gevarenzone komen. Het lijkt erop dat onze scholing en misschien zelfs opvoeding, maar toch ook ons banen ons onvoldoende kietelen en speelruimte bieden. Op ons 44e zitten we blijkbaar te…

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Best Ideas Are Never Very Creative | The Creativity Post

If you are looking for truly original ideas, you need to remove the word “best” from your evaluation process

Brainstorms, ideas, campaigns and similar idea extravaganzas very often end with a vague notion of choosing the best idea. The problem is that a truly creative idea, the kind of idea that has the potential to become a breakthrough innovation, is seldom the best solution to the problem or the best path to achieving a goal — for the very simple reason that highly creative ideas are original. They cannot directly be compared to existing notions. If you come up with a technology for a hyper-space drive, you cannot compare it to other hyper-space drives. You have invented the only one. Rather, you can compare it to similar existing technology, such as rocket engines or ion thrusters. But these are very different things and so the comparison is difficult and may focus on the wrong criteria. Let’s look at some more concrete examples.

Read article: Best Ideas Are Never Very Creative | The Creativity Post.

The Complexity of Improvisation and the Improvisation of Complexity | Alfonso Montuori –

The concept of improvisation has become increasingly popular in thediscourse of organizational theory.This paper explores the severalaspects of improvisation, in the context of musical, organizational, andeveryday activities, in order to address some of the philosophical issuesrelevant to this emerging interest.It addresses, for instance, the way the term improvisation has fallen into disrepute, referring to something that is, ultimately, a pale and messy copy of the ‘correct’way.It argues that in western music, this can be traced to the modernist valorizationof the order provided by a written musical score, perfectly represent-ing the composer’s wishes, and the concommitent devalorization of the spontaneity and creativity of musicians who, before approximately 1800, improvised a substantial amount of their performances.Con-nections are made between the modernist concept of organizationand postmodern or complexity-based approaches that stress creativity as an emergent property of the relationship between order anddisorder.It concludes by suggesting that the study of improvisationdemands a profound immersion into (inter-)subjectivity, emotions, time, aesthetics, performance, and social creativity, none of which have traditionally been the focus of organization and management studies,or the social sciences in general.

1 The Complexity of Improvisation and the Improvisation of Complexity | Alfonso Montuori –