5.1. The birth of human creativity

Creativity is related to the verb “to create”, i.e. giving birth to something and giving rise to original “things” that derive from the human brain or, more precisely, result from our three neuronal centers (brain, heart, stomach). Everyone has a creative potential that can be developed. Then how can it be that some individuals are more creative than others? Thus, the issue is to find out what are the objective reasons that allow us to distinguish between these two categories of individuals. Here are five main ideas that partially account for the phenomenon of human creativity.

The first idea, according to which an individual is more creative than another, is the “need for recognition”, which is one of the first and fundamental needs. It can be found in the expression “I see you”³ and it means “I witness and recognize you”. Every child feels this recognition through his or her parents’ eyes and their love. If a child experiences a substantial lack of recognition, then he or she will look for this relationship with others in an activity like painting, theater, music and generally any activity that highlights “exceptional” individuals, just as Kepler, Newton, Darwin, Escher, Gödel, Bach, Jung, Kuhn or Picasso did.

The second idea that accounts for why someone is creative is perhaps the expression of strong inner pain. The creative act becomes then therapeutic. To some extent, this was the case for Niki de Saint Phalle, an artist who, after experiencing a traumatic relationship with her father, expressed this pain artistically.

The third idea that makes an individual more creative is naturally intuition, which is at the root of creativity. Let us mention, for example, Leonardo da Vinci, who invented the forerunner of the helicopter well before its actual existence. Plato’s intuition led him to establish the idea of the “seven universes”, whereas Mozart intuitively saw music scores being written before his own hands.

The fourth idea according to which an individual is more creative than another is the world of dreams, namely the oneiric dimension. Dreams inspire, validate or guide individuals in their research, work and discoveries. Let us consider the example of Albert Einstein, who once dreamed of winning a horse race on a light beam. This may have been what inspired him to develop his works on general relativity. He was able to share this idea with Carl Gustav Jung, whom he met a while before the development of his relativity theory. Jung substantially developed his relationship with the oneiric world in The Red Book, which was written in the 1930s but published in French only in 2011 [JUN 11]. Finally, we can conclude with a quote from the play Back to Methuselah, by George Bernard Shaw: “I dream things that never were; and I say, ‘why not’”.

The fifth idea that may make an individual more creative is the world of games, which is more usually associated with children. These games continue in adulthood in the shape of other role-playing games, online games or serious games in businesses. Individuals with a playful “streak” remain “big kids” whose spontaneity and fresh mindset make them highly creative, as was the case for the animator Walt Disney.

Adults seem less creative than teenagers, who in turn seem less creative than children. Land and Jarman’s study shows a decrease in the level of creativity during the passage from childhood to adulthood mainly due to education, conformism and training, which in some way freeze and reduce creativity [LAN 92]. The other personal barriers that constrain creativity are of the same nature as those that block intuition; these have been explored in Chapter 3. Even if the exuberant creativity of children is less significant in adults, it may be reactivated and redeveloped because of exercises and creative activities.

Logically, creative individuals are more curious, optimistic and intuitive, they are passionate about their activities, uncertainty is an ally for them and creativity comes more naturally to them.

Is creativity a type of vibratory phenomenon? Intuition is regarded as a vibratory phenomenon that starts from the heart and generates a radial pulse variation that can be perceived naturally. We have been able to train ourselves to access intuition, for example, because of the feelings and perceptions induced by listening music. The heart is one of the three neuronal centers (see Chapter 1) that communicate with one another, and several studies reveal the connections between music and the brain [BUS 05, PLA 05, PLA 10a, PLA 16]. However, we still cannot claim scientifically that creativity is a vibratory phenomenon like intuition.

Research has demonstrated that music positively affects creativity [LES 05] and recent works tend to reveal the existence of links between intuition and creativity, in particular the direct influence of intuition on creativity [PET 16].

Creative methods – such as associative methods (words, ideas, mental maps); analogic, divergent or integrative methods, systemic methods, antithetical methods (upside down, inverted paradigms, photography) as well as spectral and systemic methods – are based on reflection, combinational logic and analysis. Which of these creative methods explicitly resort to intuition? Naturally, the arts and techniques that arouse emotions resort to intuition, for example painting, drawing, sculpting and other “manual” arts that involve the five senses. As one of the creative methods, the Six Thinking Hats approach develops an activity based on intuition.

The creativity and ideation⁴ approach called “the Six Thinking Hats” [DEB 85, DEB 90] is based on “creative thinking”. This method approaches intuition in relation to one of its six activities, each ranked by a “colored hat”: white, red, black, yellow, green and blue. Each hat has the following meaning:

• – the white hat describes facts, data and essential information simply and neutrally;
• – the red hat takes into consideration the individuals’ intuitions, the expression of their impressions, their feelings and emotional criticism (especially anger);
• – the black hat focuses on negative criticism and judgments, with the identification of potential risks and threats;

• – the yellow hat describes positive, constructive and optimistic observations and comments on the related topic, and it details hopes and advantages with the ideal vision dreamed by the subject;
• – the green hat develops all creativity, with new ideas and possible paths or alternatives, without any boundaries;
• – the blue hat sums up and summarizes the process, objectively putting into perspective the subject, the ideas and the organization of the reflection process.

The Six Thinking Hats method works in the following way: a reflection time is assigned to each hat. As we have stated, the hat color determines the line of thinking. This approach allows us to focus energies in the same direction for a given period of time. Thus, when faced with a given problem, the members of a team will work at the same time on the same topic related to the hat color. When the time spent working on a hat color is over, it is necessary to pass to the following hat, and going back is not allowed. For example, if a participant working on the yellow hat is still making a negative comment (related to the black hat), this criticism will not be taken into consideration, as the time spent working on the black hat is over. For each hat color, only interventions related to the theme linked to the color will be accepted.

Using this approach creates a calm environment, as the whole group thinks along the same lines about each hat, and there are no contradictions, inefficiencies or back tracking, as all the members of the team make progress simultaneously about the same topic. In terms of intuition, the Six Thinking Hats method is interesting since, when it is time to work on the red hat, it leaves some room to express intuitions and feelings that are not of a rational nature. In practice, some individuals contribute more when working on certain hat colors. This could be explained by their natural behaviors, such as their enneagram profiles, which we saw in Chapter 3.

The second method that clearly resorts to intuition is the empathy map. Based on human beings, this approach allows us to express what an individual thinks, feels, sees, hears, says, does and shares in relation to his or her sorrows and hopes. Whether we consider the point of view of the customer, the user or the creative designer, the expression spaces are the same for the different items [DSC 14].

The Six Thinking Hats method and the empathy map both significantly rely on intuition. According to us, it is these first two methods that resort most substantially to intuition. The third method is serendipity, which we aim to discover and develop in order to train ourselves.

5.2. Serendipity

The origin of the word “serendipity” comes from a Persian tale written in 1302 by Amir Khusrau about the three princes of Serendip. Horace Walpole used the word “serendipity” in 1754 to define the ability to discover by chance and perspicaciously something that one was not looking for.

Therefore, serendipity is the art of finding something that an individual was not directly looking for, but which is still pertinent and interesting in the eyes of the person looking. Rationally, serendipity is the smart use of chance, which leads to a new, unexpected solution that is advantageous and fortunate. It is also a significant synchronization of events without the appearance of direct causality or an implicit form [PRA 97, REE 95].

According to Carl Gustav Jung, synchronicity is the principle that connects our psyche to an external event where we feel in communion with others and the universe.

The contexts in which synchronicity takes place are coincidences, parallel phenomena without causal relation, or creative acts.

How can we describe scientifically a method which is not an actual method? Is “pure chance” a coincidence or synchronicity, as if “all the planets were aligned”?

Works on serendipity describe discoveries made by chance, supposed mistakes or coincidence. Christopher Columbus “found” the Americas while aiming to discover India. It was a fortunate mistake. We can class the French candy bar Carambar, Velcro, the Post-it sticky note, ice wine and even Viagra as discoveries attributed to serendipity.

We can class serendipity into three large families:

• – NRD serendipity: no research and unexpected discovery (Velcro, ice wine, etc.);
• – RDU serendipity: intended research, expected discovery and unexpected usage (Post-its, Viagra, etc.);
• – RDI serendipity: intended research and unexpected discovery (Carambar, Christopher Columbus’ “discovery” of the Americas, etc.).

If intuition⁵ is an element of serendipity, let us hypothesize that serendipity is a vibratory phenomenon. In that case, serendipity would be a form of vibratory synchronization.

A wave is a vibration that propagates without any movement of matter. Waves can be superimposed and create a new form of vibration that will be dependent on the frequency and amplitude of each initial vibration.⁶

A periodic vibration is the superimposition of a pure and fundamental vibration and pure harmonic vibrations. In order for this to work, the frequencies of harmonic vibrations must be integer multiples of the frequencies of pure fundamental vibrations.

These vibrations cannot be perceived, as sound waves can be heard by humans at frequency ranging from 20 to 20,000 Hz. The sound level modifies this frequency range, which will be reduced if the sound level is weak. Infrasound, below 20 Hz, and ultrasound, over 20,000 Hz, do exist but they cannot be heard by humans. Some ultrasound frequencies can be heard by animals such as dolphins, bats and cats.

The light waves that humans can see range from the ultraviolet⁷ frequency (7.6 × 10¹⁴ Hz) to the infrared⁸ one (4.5 × 10¹⁴ Hz), corresponding to a wavelength of 700 nm. Simply put, this is the spectrum of the colors that can be seen in a rainbow.

Unperceivable waves include, among other things, radio waves, microwaves, X-rays and gamma rays. Radio waves range between (10⁵–10¹¹) Hz, microwaves range between (10⁹–10¹²) Hz, X-ray waves range between (10¹⁷–10²²) Hz and gamma ray waves exceed 10²² Hz. In order to be used, they require specific tools for each range of frequencies.

Thus, in the electromagnetic frequency range between 1 and 10²² Hz, humans have the ability to see light between 4–7 x 10¹⁴ Hz, and for sound waves, can hear between 20–20,000 Hz. The physiological limitations of human perception are clear, and it is evident that we can only see and hear a reduced part of the existing visual and sound waves.

Today, with our current knowledge and scientific measuring instruments, the hypothesis that serendipity is a vibratory phenomenon cannot be verified, invalidated or confirmed yet. In quantum physics, particles are “probability waves” that propagate in a quantum vacuum. This hypothesis will perhaps be tested in the future.

5.3. Intuitive creativity

The creative process, in the Wallas cycle, has two preparatory stages that bring out intuition in the third stage, verifying it later during the last stage [WAL 26]:

• – preparation: this stage involves the assimilation of the research topic (formulation and compilation of the available data according to the latest developments);
• – incubation: this is a long stage that involves the conscious or unconscious preparation of the solutions (memorization, problematization, relativization of the data and new perspectives);
• – illumination: this stage breaks with the previous two. Appearance of a solution that may or may not derive from an intuition;
• – verification: final stage where the previous intuition is verified.

The ways in which creativity is seen and practiced have developed in several stages and manners.

Creativity, like intuition, requires a will, emotions and training to develop them. According to Csíkszentmihályi, the creative forces are pleasure and entropy [CSI 96]. Pleasure finds its root in emotions, feelings and perceptions. The notion of pleasure is essential for anyone happy to discover new things. In the creative process, the individuals’ attention and concentration provoke in the brain the release of dopamine, which will physiologically lead to a positive feeling. For this type of person, creativity will be synonymous with well-being. On the contrary, individuals for whom discovery is not a pleasure will be stressed by the creative activity. In this case, cortisol will be released instead of dopamine, leading then to a lack of well-being.

To make this activity more natural, spontaneous and prolific, we are required to train the three neuronal centers (brain, heart and stomach) with simple and practical exercises.

The main exercises suggested involve reading for the development of the imaginary frame of reference, a balanced diet that can nourish the three brains and listening music for the amplification of creativity. These exercises contain “an element of surprise”. They encourage us to observe the feeling perceived after the element of surprise.

The first piece of advice is to read short stories, positive and challenging novels, as well as sci-fi works. This can train our brain to visualize characters, to imagine settings and environments and therefore to create new imaginary frames of reference. Reading works and novels develops our imagination more than watching movies. In movies, characters, settings and scenery are established and the imaginary frame of reference is somewhat fixed, whereas reading leaves a lot of room for the imagination of the reader, who will imagine the settings and the scenery.

The second piece of advice involves nutrition. In our brain, neurons need omega-3 fatty acids such as docosahexaenoic acid (DHA) for their development. DHA is an essential type of fuel for the neurons. In his research, Stephen Cunnane states that “selective trace elements in the brain, mostly iodine and iron, but also zinc, copper, and selenium play a crucial role in the development of the brain” [CUN 15]. Nutrition is essential for the brain to work properly [SPE 09], and a balanced diet is especially recommended, in particular by doctors Bourre, Perlmutter and Weinmann [BOU 03, BOU 16, PER 15, PER 16, WEI 17].

The third piece of advice is to listen music. As we have seen in Chapter 1, it is interesting to work with music (without lyrics) and organize music creativity sessions. Lesuick demonstrated the Mozart effect that, according to him, favored creativity [LES 05]. Music creates new neuron pathways that stimulate creativity. Research shows that music prepares the brain for more abstract ways of thinking and favors the development of spatial intelligence. Music is also suitable for “doing nothing”, or even dreaming, and it constitutes an activity. If the brain works without resting, it will be less efficient than it would be if it respected work/rest cycles. These cycles improve efficiency and performance at work.

The fourth piece of advice involves curiosity. Being curious means asking questions and wondering “why?” or “how is this possible?”. Let us consider, for example, the geometric shapes that exist in nature. Why can spiral shapes be found in the DNA, the cochlea of the inner ear of humans, ammonites, snails, nautili, the eye of a storm, or even the collision between two galaxies? Why can the golden ratio be found in nature? Everyone should ask meaningful questions, find the beginnings of some answers and then ask new questions. It is easy to develop curiosity, provided that we want to step out of our comfort zone and explore the “unknown” zone.

The fifth piece of advice is related to the practice of games. Creativity is innate in children who play and create characters, stories and other imaginary activities. On a daily basis, playing a creative game makes the creative activity lighter, for example, writing, painting, sculpting, pottery. Play a game where every day you believe something impossible before breakfast. This is exactly the advice that the Queen of Hearts gives Alice in Alice in Wonderland.

The sixth piece of advice is to train yourself to fail or, in other words, to trust the ideas that occur to you without judging them and with detachment. Then develop as best as possible the idea until the end. If the idea is successful, good, but if it does not lead to anything, that is also fine. You either succeed or you learn, as it is experience that allows us to make progress. Judgment is the main “killer” of creativity. Allowing ourselves to put forward creative ideas, independently of judgments, frees our mind and unbridles creativity, as if we again embraced our childlike carefreeness.

Finally, the seventh piece of advice is to train ourselves to be “surprised” daily. At first, we should reflect, and find and carry out a positive action that will surprise someone without, however, expecting anything in return. Later, we should write what has been surprising during the day.

Training and practicing these exercises allows us, day after day, to become sharper and more open-minded and to make it natural to identify small details and other “weak signals”.

In this chapter, we have seen the creative phenomenon from a human and methodological perspective. Analyzing the Six Thinking Hats method, the empathy map and serendipity has demonstrated the relevance and basic role played by intuition in relation to these methods. This chapter concludes with the above seven pieces of advice which can develop our intuitive creativity.

As creativity belongs to innovation, we will see to what extent intuition is used in innovative methods (Chapter 6).