Understanding the Pillars of the Creative Process is essential for nurturing and developing idea seeds into fully realized creative outcomes. While creativity is often associated with the generation of new ideas, the creative process extends far beyond ideation, encompassing the development and refinement of existing concepts. The seven pillars—Imagination, Combination, Transformation, Physicality, Others, Chance, and Mystery—provide a comprehensive framework for guiding and amplifying the creative process. Each pillar represents a fundamental aspect of creative thought and action, contributing to the multifaceted nature of creativity. By harnessing the power of these pillars in tandem, individuals can enhance their creative potential, fostering innovation and breakthrough insights across various domains. Whether through intentional practice, environmental factors, or embracing the unknown, the pillars of creativity serve as guiding principles for unlocking the full spectrum of creative expression and discovery.
The previous lesson discussed idea seeds; this one focuses on how these seeds grow into creative outcomes. While coaxing new ideas from the universe is part of the process, creators often spend more time developing existing ideas. The key question is: what does this process look like for ideas to be conceived and fully developed? How do creators do it, and how can you?
No single factor can guarantee a creative outcome, but certain elements are necessary. Creativity experts often present factors as secret ingredients—like being curious or embracing ambiguity—as if they will surely result in creativity. However, even with all supportive factors in place, there is no guarantee a creative idea will emerge. The best we can do is get close to it.
Let's focus on what is necessary, which I call the seven pillars of the creative process. These pillars must always be used to some extent to hatch and develop idea seeds into creative concepts.
How do we know these pillars are the right ones? Creativity experts often propose numbered lists of key components, but confidence in their ultimate accuracy is low. For example, Stephen Covey's "The 7 Habits of Highly Effective People" used this approach and sold over 25 million copies. While his seven principles are useful and inspiring, they are somewhat arbitrary. Similarly, the seven pillars of the creative process should be seen as essential elements to guide creativity, though they may not be the definitive list.
Imagination, the first pillar of creativity, is often misunderstood. Commonly, people equate it with creativity, thinking it means coming up with original and effective ideas. Einstein's famous quote, “Imagination is more important than knowledge,” is often cited, but it suggests that imagination is akin to artistic creativity, an engine for inventive thought.
Another common misconception is that imagination means visualisation, picturing things in the "mind's eye." While the term “imagination” is rooted in the word “image,” it encompasses more than visualising.
True imagination is about mental modelling of alternative realities, producing information independent of sensory input. This can include recalling past experiences or creating new forms. It involves more than just seeing; it also encompasses other senses and emotions.
The imagination is not synonymous with creativity but is necessary for it. It's a mechanism that evolved to help us navigate everyday life by modelling reality. This faculty is shared with other animals, evidenced by their dreaming and behaviours that suggest a form of imagination.
Research shows that imagination tends to align with real-world experiences, influenced by existing knowledge frameworks. For instance, when people imagine alien creatures, they often resemble Earth animals, demonstrating how structured imagination is.
Despite its limitations, imagination is foundational to creativity in two ways. First, it supports intuitive modelling, essential for understanding and creating new ideas. Second, it allows for counterintuitive thinking, leading to breakthrough insights like Einstein's theory of relativity.
Imagination also extends beyond visualisation to include other senses and abstract concepts, making it a versatile tool for creative thought. Studies show that engaging with imaginative content, like magical films, can enhance creativity by activating counterintuitive thinking.
Imagination plays a crucial role in both arts and sciences. While artists can rely on physical experience, scientists and philosophers often depend on imaginative modelling to understand concepts beyond sensory perception. Thus, imagination is less about unbounded creativity and more about foundational modelling of reality and experience.
Combination, the second pillar of creativity, is fundamental to our understanding of the world. Everything around us is a combination of various elements. A house combines bricks, mortar, and numerous other materials. A bicycle consists of wheels, a frame, brakes, gears, and more. Even objects that seem singular, like a mug or a wooden figurine, are made up of multiple components at the atomic level.
Intangible human constructs, such as ideas, words, and songs, are also combinations. No intangible construct is pure; each can be broken down into smaller parts. Creativity thrives on combination, but creative combinations are distinct—they are both new and counterintuitive, breaking conventional rules and merging elements in unique ways.
Creative combinations are evident throughout history. The invention of the wheel is a prime example, relying on the non-intuitive combination of a disc and an axle. Similarly, Johannes Gutenberg's invention of the printing press combined a coin punch with a wine press, revolutionising literacy and learning.
Ice skates, with origins dating back at least 5,000 years, illustrate another creative combination. Attaching bones to the bottom of shoes to glide on ice was a novel and counterintuitive idea. In the modern era, the iPhone exemplifies creative combination by merging an iPod, a phone, and an internet communicator into a single device, a concept that was revolutionary at its introduction.
Combination is central to creativity across various fields—music, fiction, architecture, science, comedy, and the culinary arts. The recognition that combination drives creativity is not new. George Washington Bethune, Henri Poincaré, Sarnoff Mednick, and Arthur Koestler all highlighted the importance of unusual combinations in creative thought.
Researchers have shown that creativity often involves stages, starting with the subconscious generation of ideas or combinations, followed by the conscious emergence of novel concepts. Henri Poincaré described this process as a dynamic interplay of ideas, where new combinations arise from the subconscious activity of the mind.
Combination is also crucial for cognitive development. Susan Carey and Elizabeth Spelke emphasise that children's intelligence grows through constructing and exploring mappings across different knowledge systems. Steven Mithen's concept of "cognitive fluidity" suggests that the emergence of creativity in human evolution involved the combination of information from previously isolated mental domains.
Combination is not limited to imagination; it can occur in the tangible world as well. Artists often combine elements they perceive to create something new and potentially creative.
In summary, while combination is ubiquitous and essential, it is the unique and counterintuitive combinations that drive creativity, making combination a foundational pillar of creative thought.
Transformation, the third pillar of creativity, involves producing something new and counterintuitive. While combining elements, as explained in the second pillar, can lead to transformation, it often occurs without combination.
To understand transformation outside the creative process, consider a small plant growing into a full-grown plant. This transformation happens through expansion and gradual addition, not by combining with something else. Similarly, a star's explosion in a supernova typically results from internal processes rather than collision. Eating an apple transforms it not through combination but by reducing it as it's consumed.
Transformation as a creative pillar operates at a new and counterintuitive level. For instance, Dutch sculptor Florentijn Hofman's "Rubber Duck" is a giant version of a typical rubber duck. Its transformation lies in its enormous size, not in any combination of elements.
Conceptual transformations work similarly. Charles Darwin’s theory of evolution by natural selection revealed that species evolve over time through natural transformation, not combination. His realisation of the "tree of life" was a creative transformation that defied the prevailing logic of his time.
Muhammad Ali’s "rope-a-dope" strategy against George Foreman in the 1974 "Rumble in the Jungle" is another example of creative transformation. Ali transformed from an aggressive fighter to a passive defender, a counterintuitive tactic that ultimately led to his victory.
Transformation also plays a key role in developing createmes into full-blown creative ideas. For example, many electronic musicians start with a single sample and transform it into a complete song. The genre of breakbeat, the foundation of hip-hop music, emerged from the transformation of standard pieces of music by isolating and emphasising the "break."
When a createme becomes valuable, it undergoes transformation, leading to a eureka moment. Scientists view these moments as transformational insights, often achieved by restructuring or reorganising the problem, similar to how an optical illusion shifts in perception.
Gestalt psychology, which originated in the 1930s, proposed that creativity arises from a sudden shift in the problem’s gestalt or pattern of elements. Wolfgang Köhler, Norman Maier, and Karl Duncker suggested that creative insights involve a spontaneous restructuring of the problem’s mental representation.
This transformational insight can be likened to Henri Poincaré's experience when he suddenly realised the connection between arithmetical transformations and non-Euclidean geometry. Such moments are often placed in multistage models of creativity, like Graham Wallas' four-stage model: preparation, incubation, illumination, and verification. Each stage can involve transformation, particularly incubation and illumination, where sudden creative realisations occur.
The general idea of transformation is more fitting than the staged process because the creative process is often non-linear. Incubation happens daily, and illumination occurs sporadically. Preparation and verification often overlap, with transformation happening gradually or rapidly as ideas develop.
The fourth pillar of creativity is physicality. This pillar encompasses both the physical body and our relationship to physical space, highlighting the material and spatial aspects of creativity.
The role of the body in creative thought is increasingly recognised through research in "embodied cognition," which examines how bodily states and processes influence thinking. Studies have shown that being in a physically relaxed state, such as during deep meditation, enhances creative thinking. Creativity is linked to slower brain wave activity (alpha and theta waves), while high alertness and stress (beta and gamma waves) hinder it. This makes Wag Dodge's escape fire idea during a crisis, as explored in Course 1 Lesson 1, all the more remarkable.
Simple physical movements can also boost creativity. In a study published in Psychological Science, participants asked to hold up two hands as if weighing different ideas generated more creative ideas than those using one hand. Another study found that fluid arm movements enhanced creativity in multiple domains. These symbolic gestures can stimulate creative thought.
Walking is another powerful enhancer of creativity. A 2014 study in the Journal of Experimental Psychology found that walking, and even shortly after walking, significantly improved creativity test scores. Similarly, a study in Psychological Science showed that doing a simple, undemanding physical task allowed the mind to wander, facilitating creative incubation.
Meditation, despite promoting relaxation, can reduce creativity by focusing too strictly on the present moment and discouraging mind-wandering. However, a balance between meditation and creative thinking can be achieved, as I will explore in a future book.
Research also shows that speaking out loud during creative tasks can hinder performance, a phenomenon known as verbal overshadowing. Additionally, closing your eyes while thinking creatively can enhance performance, as found in a 2018 study published in Frontiers in Psychology.
The physical environment also affects creativity. Exposure to colours like blue and green, associated with growth and space, can boost creative thinking. The presence of living plants and certain scents, like vanilla and orange, can also enhance creativity. Ceiling height impacts creativity too, with higher ceilings fostering more abstract thinking by promoting a sense of freedom.
Social psychologists explain these effects through "construal level theory," which suggests that psychological distance promotes abstract thought. Images of distant places can stimulate creativity more than familiar images.
These simple physical factors—silence, closed eyes, spacious environments, walking, exposure to certain colours, and symbolic movements—underscore the importance of physicality in creativity. Embracing our physical nature can enhance our creative potential.
Developing a ritual can further support creativity. Many successful creators use ritualised routines. For example, Stephen King and Haruki Murakami follow specific daily routines to signal their minds that it's time to be creative. Even simpler rituals, like Roald Dahl sharpening pencils before writing, can be effective.
The fifth pillar of creativity is the influence of others. As social animals, even the most solitary creators depend heavily on social and cultural factors. In Chapter 2, I discussed the social and connective aspects of creativity, and in Chapter 3, I explored how others can sometimes hinder creativity by causing fixation or increasing arousal, which can undermine creative thinking.
However, others can also significantly support and enhance creative thought. No single cultural model can explain creativity entirely; instead, numerous social and cultural factors contribute to fostering creativity across humanity in various ways.
The most direct way others influence creativity is by contributing ideas. No one exists in a cultural vacuum; even history’s greatest thinkers built upon the breakthroughs of others. As Isaac Newton famously said, “If I have seen further it is by standing on the shoulders of Giants.”
Sometimes, others’ ideas inspire us through competition or admiration. For instance, Isaac Newton’s rivalry with Robert Hooke spurred both to greater discoveries. Inspiration can also be more positive, driven by admiration for predecessors. Picasso, despite his own greatness, admired Paul Cézanne, whom he called “my one and only master.”
Often, creative breakthroughs depend directly on previous innovations. Mozart’s music, for example, was influenced by advancements in instrument technology in the 18th century. Similarly, The Verve’s 1997 song “Bitter Sweet Symphony” relied on the Rolling Stones’ 1965 song “The Last Time.” Such examples illustrate how new creations often build on earlier works.
Others' work can also be co-opted without permission. For example, Francis Crick and James Watson's discovery of the DNA double helix in 1953 was made possible by Rosalind Franklin’s research, although the extent of this "theft" is debated.
The notion that “great artists steal” underscores that creative processes often involve adapting and transforming others’ ideas. This principle, attributed to various famous figures, highlights the importance of drawing on existing work to create something new.
Additionally, others can support creativity by fostering environments conducive to it. Modern organisations often implement changes to enhance creativity, and research shows that a positive workplace climate can significantly boost creative outcomes. Historically, certain cultural contexts, like 5th-century BCE Greece or 19th-century Paris, naturally facilitated creativity.
Some subcultures, like the punk movement of the mid-1970s, embody a creative philosophy that encourages radical expression. Similarly, the fictional group in the film Dead Poets Society inspires boys to break free from conformity through the appreciation of poetry.
Belonging to a group that values creativity can counteract negative effects and foster empowerment. Many great ideas result from collaborations, such as those between the Beatles, Crick and Watson, and Monty Python.
Creators often consider how their ideas will be received by others, even if they don't intend all their ideas to be shared. The potential judgment of others influences how ideas are developed. Writers, painters, musicians, scientists, and inventors all seek to share their work, indicating that others’ opinions shape creative output.
Moreover, how others perceive and influence creative work is crucial. Great creators often become leaders in their fields, with their ideas influencing others over time. For example, the impact of Charles Goodyear’s invention of vulcanised rubber was recognised long after his death, and Nikola Tesla’s contributions are celebrated today.
Remarkably, even the mere concept of others can enhance creativity. A 2011 study published in Personality and Social Psychology Bulletin found that people are more creative when making decisions for others rather than for themselves. This research, explained by construal level theory, shows that thinking about others can be a powerful catalyst for creative thinking.
The sixth pillar of creativity is chance.
Chance, luck, and randomness might seem contradictory to the notion of a process, which implies predictability and intention. However, the precise opposite of creativity is a completely fixed and controlled outcome. Totalitarian regimes often strive to eliminate creativity by enforcing rigid controls over morality, religion, dress styles, and public rituals. For instance, the UK’s Remembrance Sunday, with its meticulously planned National Service of Remembrance, exemplifies an event with no room for improvisation or new ideas, leaving nothing to chance.
In contrast, creativity and chance are intertwined, both embodying novelty and unpredictability. Many creative breakthroughs throughout history have depended on unexpected events. The previous pillar, others, often intersects with chance. For example, the invention of the potato chip in 1853 by George Crum at the Moon Lake Lodge resort was a result of a chance encounter with a dissatisfied customer.
Chance alone, without the influence of others, has also led to significant discoveries. Alexander Fleming’s discovery of penicillin, Georges de Mestral’s invention of Velcro, Percy Spencer’s microwave energy discovery, and Edouard Benedictus’s creation of safety glass all resulted from accidental, fortunate events. These instances underscore the role of chance in creative processes.
Some scholars place randomness at the core of creativity. Donald Campbell’s “blind variation and selective retention” and Dean Keith Simonton’s “chance configuration” models emphasise the importance of random combinations and selections in generating new ideas, akin to Darwinian evolution. Simonton’s book "Scientific Genius: A Psychology of Science" discusses how “mental elements” combine in seemingly random ways to produce creative outcomes.
Recent research by Nicolas Gauvrit, Hector Zenil, and colleagues studied how chance operates in the brain. They assessed 3,429 individuals aged 4 to 91 on their ability to generate random sequences. The study found that while humans tend to produce patterns, the ability to think randomly peaks at age 25, gradually declines until 60, and then drops more sharply.
This aligns with findings by Bruce Weinberg and David Galenson, who explored the creative careers of Nobel Laureates in economics. Their 2019 study identified two types of innovators: “experimental” and “conceptual.” Experimental innovators accumulate knowledge over time, producing their best work later in their careers, while conceptual innovators, relying more on randomness and cognitive abilities, peak earlier, around age 25.
Chance is an inherent part of life and creativity. The practical question is how to harness chance to benefit creative endeavours. By recognising and embracing the role of randomness, creators can enhance their potential for innovative breakthroughs.
The seventh pillar is mystery.
The simplest way to describe mystery is through the idea of magic, though mystery and magic are not identical. Another term that might be useful is energy, though this is also not entirely accurate. There is an extra element in the creative process that defies rational explanation, unlike the six pillars discussed previously.
Paul McCartney was recently asked in a New York Times interview on November 30, 2020, "Sixty-something years into writing songs, do you feel any closer to knowing where melodies come from?" He replied, "No. There is something with my ability to write music that I don’t think I’m necessarily responsible for. It just seems to come easier to me – touch wood – than it does to some people. That’s it. I’m a fortunate man."
Mystery motivates us, draws us in, inspires us. Not knowing can be more potent than knowing. In his 2008 TED talk “The Mystery Box,” creator of Lost and director of Star Trek and Star Wars reboot movies J.J. Abrams explored exactly this dynamic and illuminated how much a sense of wonder can be engendered when we don’t know what’s going on.
One manifestation of mystery is what can be called the "get-make gap." When you listen to a comedian's well-constructed joke, you follow their combinations, transformations, and inversions, culminating in a psychological and emotional payoff with the punchline. Through this process, you experience their creativity. You activate the appropriate knowledge to understand the setup, make intuitive assumptions, and have a eureka moment when you grasp the counterintuitive punchline. For example, one of the funniest jokes according to the 2002 LaughLab survey by psychologist Richard Wiseman is:
Sherlock Holmes and Dr. Watson are camping. They pitch their tent under the stars and go to sleep. Sometime in the middle of the night, Holmes wakes Watson up: "Watson, look up at the stars and tell me what you deduce." Watson says, "I see millions of stars, and even if a few of those have planets, it's quite likely there are some planets like Earth, and if there are a few planets like Earth, there might also be life." Holmes replies, "Watson, you idiot, somebody stole our tent."
One-liners achieve this even more efficiently. Three good ones include:
• "This show is about perception and perspective. But it depends how you look at it." (Felicity Ward)
• "I’ve written a joke about a fat badger, but I couldn’t fit it into my set." (Masai Graham)
• "I’ve decided to sell my hoover ... well, it was just collecting dust." (Tim Vine)
To find these jokes funny, you must have the same knowledge and experience as the comedian. That shared reality makes it all work. With the badger joke, you experienced a createmic frisson because the idea of a fat badger is novel and counterintuitive. With all three jokes, you experienced the transition from the setup to the punchline as a creative epiphany, with dopamine activation in your midbrain.
However, does your ability to understand such jokes mean you can easily write them? The answer is no. There is a hard-to-explain gap between getting a joke and making one. The same applies to many other creative products. This gap explains why many creators hold contempt for critics. Critics may have a deep understanding of creative works and the ability to analyse and judge them, but this does not guarantee they can produce creative work themselves, as Jean Sibelius's dismissal of critics illustrates.
The difference lies in passive processing versus active creation. Why can a comedian or composer produce creative work when most people struggle? It remains a mystery.
You might be able to develop an idea through combination not transformation, or vice versa. You might be able to make creativity almost entirely a cognitive thing by using your imagination, or you could generate and develop ideas as you walk or perform a meditative ritual. You might decide to use certain elements to come up with your ideas, or you could use some randomised mechanism. You might know what's going on at all times or you might leverage the strange wonder of mystery.
To magnify the potency of your creative process, including training your creative muscle, it is most valuable to use many if not all of the pillars in the same creative act, project or session.
The Pillars of the Creative Process offer a nuanced understanding of the multifaceted journey from idea inception to creative fruition. By delving into the realms of imagination, combination, transformation, physicality, social influence, chance, and mystery, we uncover the intricate tapestry that underpins creativity. These pillars illuminate not only the diverse pathways to innovation but also the inherent complexities and uncertainties inherent in the creative endeavor. Embracing and harnessing the power of these pillars, both individually and collectively, empowers us to navigate the creative process with intentionality, curiosity, and resilience. As we continue to explore and apply these guiding principles, we unlock new realms of possibility, forging pathways to unparalleled creativity and discovery.