When studying creativity as a scientific subject, the idea is to create data that shows patterns and predictabilities we can draw on for ourselves. This is not an easy thing to do because the creative process is often subjective and emotional. Truly creative people who naturally gravitate towards creative pursuits without outside motivation often do so because it is emotionally rewarding. They enjoy the process and the outcome as well as have an affiliation for new and interesting ideas. This is where our first scientific stumbling-block manifests because emotions create subjective experience rather than objective facts. A qualitative approach is the only appropriate way to assess emotions and any attempt to quantify the answers for scientific purposes risks losing vital nuances within the data, forcing certain attitudes and conclusions without considering the differences within.  

 

Our emotions are thought to be an archaic information system, designed by evolution to present conscious experiences we can act upon from non-verbal information. Our verbal minds give us another layer of thought that overlays the emotional information and these work together. Animals without language are much more reliant on their emotions to put their mind’s ideas into conscious thought. Because of this background to the purpose of emotion, it can be effectively stated that emotions act as mind-body responses to stimuli in the mind and in the world that promotes action. Emotions therefore provide the motivation to carry out activity and creative pursuits can be included in this. It is the interaction between our linguistic or flow-chart-based mind and our chaotic and non-localised subconscious mind that results in intelligent creativity.  

 

The kind of things we are drawn to create can be determined by our mood. To be creative requires a mood, or a prolonged emotional state, and the emotional trigger for the mood is often associated with the enjoyment and excitement of bringing the imagination to life. Moods and emotions are subjective because the information about them we can express is determined by many surrounding factors and influences that span across several social dimensions. The kind of action response our moods and emotions motivate are dependent on many factors also, with various individuals and cultures experiencing things and events with different mentalities and learning. This makes the initial process of creating something new difficult to manage in a scientific way. Understanding the psychological processes that bring about creativity can also help to prepare environments and settings for the optimum creative output.  

 

Emotions don’t just govern how and what we create, and when, they are integral to the uptake of the new idea or product by the world at large. Creativity in scientific terms is important because innovation and adaptation are necessary for social and economic growth. This means that when we create something for the world to use that improves lives and makes things more enjoyable, easier, or more valuable, the idea may not be accepted for uncertain and unpredictable emotional reasons. Because emotions are subjective and related to previous experiences and personality differences, we can’t control the emotional response, or the amount of desire people express towards what we have made. What we can do is use data and insights that help us to choose presentation and methods that encourage desire and acceptance. Used in combination with value and interest, this can ensure the creative output is given the best chance to make a positive difference. However, when using data to drive our choices we can lose out on individual selling points and unique attributes that are not represented on the large number models.  

 

Creativity is notoriously difficult to predict. We cannot tell from a person’s main attributes whether they are creatively inclined or are naturally inventive and experimenting. There are patterns in society that can help us understand creative social settings however the individuals involved are as varied as the contents of any municipal building. It’s also difficult to predict the outcome of creative exploration, this is because the process involves the abstract and loosely connected subconscious mind. Not only is this unavailable to the conscious mind, it also can’t be explored with tools. One method of shortening the odds of what people create is to offer a subconscious priming. Primed creativity occurs when subconscious influences are offered that lead a creative person down one path or another. This can be accidental or purposeful, self-initiated, or initiated by an outside entity. Scientific processes rely on predictability and an understanding of the complete process. This means that the priming of creative thinking must be considered when determining the environment.  

 

The objective study of a subjective phenomenon must be able to handle the divergent thinking which results from data gathering. In most scientific arenas we are expected to think convergently, with all members agreeing on one answer for any given problem. Innovation requires new ideas and novel concepts which means convergent thinking can’t produce the result we need. When thoughts do converge, it is in the attribution of purpose. Perhaps we need a bridge or a best-selling novel. We can agree on the principle we are aiming at, the way we get there is not so clear-cut. Divergent thinking is tricky ground for scientific assessment because the quantification of the data loses coherency with the human influence. We can’t plan and replicate the divergent thinking that spans from one moment in time to another. We can only plan for it and replicate the environment in which it happens.  

 

Data driven creativity is nothing new. Before we can create something, we must understand the materials we have in a way that related to the purpose we can envisage. An appreciation for the way the world works is also vital as moving parts and predictable responses are all part of the creation of new processes and tools. Even with artistic creativity, the artist knows how their tools work and what they want to result in upon use. Artists also understand what their audience is looking for and can create for this ideal. Because creativity involves creating something new from things we already have, it often requires some form of interdisciplinary knowledge. The science of the situation is of natural importance because it is how we predict and appreciate the physical real-world effects of our work. The other subjects we need to appreciate are dependent on the field in which we are creating for and the fields in which our motivations and materials come from.  

 

When data is abundant, it can be limiting in the way it defines what should be divergent thinking. By creating convergent ideas in places where creativity allows change, data can become limiting and persuasively design friendly. Sometimes we must ignore the data when it means opening the scope of what’s possible or experimental within the process of producing the desired and convergent ideas. Creativity by nature applies unusual or uncommon ideas to known phenomena to allow a new purpose, an easier process, or a stronger ability within the original design. This means that the tried and tested results can’t provide the expression we need. The creative element is not something we can always go to previous experience for.  

 

There is a part of the creative process with intuition and spontaneity taking the lead. Apart from primed creativity, mentioned earlier, the results of these lightbulb moments are seemingly random and related to the infinite resource of experience and memory that people carry. If something is in the mind or has recently made a strong impression, this is likely to manifest somehow in the expression. The subconscious mind is the source of our instant ideas, preformed and only a verbalisation away from being explained to oneself. This part of the mind does not work in the same way as our scientifically trained and linear thought processes the conscious mind is known for. We can’t ask the subconscious to provide the working, and if we did, it’d not make a lot of sense to us. It’s like a dream that’s playing out all the time behind the waking mind.  

 

In large scale information gathering, we can create databases of intuitive and instant ideas that appear. We can take the results of this hidden process and look for patterns. It has been shown that people who have unusual ideas more often are also more likely to experience poor mental health. Serious mental health problems are thankfully rare however minor issues like an uncontrollable depressive mood, or a sense of underlying nervousness can be managed with help. When the individual is prone to uncommon thoughts then there is a stronger chance of them having challenging or unwanted thoughts. These can create difficult internal environments that can become instigators or inhibitors of creativity. Another link that can be shown is that people who have unusual or uncommon ideas are usually more intelligent. We know that expensive sports cars go wrong in the engine more often than standard family ones. Perhaps it’s the same for the brain.  

 

When solving a real-world problem, a scientific approach to creativity can be highly useful. Data-driven responses to data-driven problems often make the most sense. However, sometimes people have clever ideas that ignore the data and find new ways of doing something that solves the problem in a novel way. This artful creativity is done by using non-scientific thinking to result in a scientific response. Hunches, intuition, and experimental changes can always be applied, however sometimes someone can look through all of that and see a brand-new answer as if it was there already. This is the kind of creativity that is motivated by emotion and care, principles that are notably difficult to scientifically explore. 

 You can find out more about this fascinating subject with this book: Explaining Creativity: The Science of Human Innovation

What life means can be different for all of us, with various cultures, religions, stories, and personal backgrounds determining how we view the world, the universe, and our place in it. There are a few universal core elements of being human that connect us all. Our experience of the world may be shaped by our upbringing and our own innate perspectives, however on a deeper level we all have the same basic make-up. All of us are on the planet, we exist among one another, and we experience each other’s outward expressions of life. We’re in the web of humanity and now the internet has made the web global, we’re more connected than ever before.  
 
We are all in this together, no matter if you have a plank of wood or a beautiful yacht. We exist alongside each other and maintain our shared society. This is something each of us have in common and can attribute to a degree of purpose in our own lives. Getting on and getting by, it’s something we can all agree on. We all have our own stories, backgrounds, and deeper causes for the things we do based on psychological, learned, cultural, and creative reasons. It is the creative things we do that drive change, in little adaptations over time new concepts and ideas can be built.  
 
Because we’re connected in so many ways, it’s nearly impossible to create or be creative in complete isolation. Someone somewhere will see your idea and learn from it. They might put it into practice for themselves, especially if they share a trade or interest with you and can make instant use of it. Other times, they might simply file the knowledge away somewhere and then apply it in their own way sometime later when the concept is seen to be useful. This adaptation of concept from one arena to another is an important part of being creative. It’s not always about inventing something completely new, we can invent a new use for something we already have.  
 
When we see creativity realised in matters that interest us, we are often inspired to begin thinking creatively for ourselves. To act of witnessing something being shown to be done can help us to find the motivation to begin thinking about what we can apply for ourselves. It’s in our nature as social and learning beings to imitate and abstractly reflect what we see around us. It can even happen by accident, how many times have you misunderstood, mis-seen, or been misinformed and ended up doing something useful? Not often, but it can happen.  
 
The things we produce from the inner depths of our imagination can speak to and inform others about their own imaginations. It can become a cue for a process that results in something creative for themselves. This subliminal communication between creatives occurs naturally, as new concepts, emotional and psychological relevancies, and methods filter into the conscious awareness of those who are within their sphere of influence.  
 
Something that many of us aspire to be is personally involved in some sort of mission or adventure that solves our problems and those of others. Sometimes we do it artistically by watching dramas or being part of a band, other times we do it in our work. People with professional careers are often highly motivated to continue because of a sense of passion within their field. Other people have a much more unorthodox lifestyle to satisfy this deep need for what some might call the hero’s journey. A creative lifestyle is often the way these can manifest. People who want the excitement of bringing their ideas into reality either for themselves or for the betterment of society are often drawn to it for reasons that touch on this desire.  
 
There is a spectrum of utility and desire that most creative people can fall on with their project motivation. Most of the time, creative people fall in between the two opposites. The art of creating usefulness is important for practical reasons, the art of creating for desire is for aesthetic or emotional reasons. If emotions are to be considered a valid part of human existence, then this too can be deemed as useful. If, on the other hand, a creator designs purely for their own enjoyment without a care if others like it or can find pleasure in it, then it truly is on the desire end of the spectrum. Then people who create for utility would likely put a lot of thought into the way their creations look and feel, once the problem of engineering has been satisfied. If they simply create something for purpose without a care for how it looks or feels, then it really is on the polar end of the scale.  
 
Both needs and desires are intrinsically linked to happiness. Happiness is defined by whether we have our needs met and some of our desires in moderation. What do we desire apart from sweets and savoury treats? Most of us want to find meaning in life, akin to the hero’s journey, in which our emotional and cultural cues are satisfied with our choices and actions. It’s partly psychological, as in from the brain itself, and partly cultural, from our stories and education. What we decide to do and who we aspire to be or be like can dramatically affect our happiness and that of those around us. We all have slightly different brains, some are empathic, some are intelligent, some are mathematical, some are linguistic, some just think in jokes and colours. Without standing over one another in judgement, the people suited to finding purpose in creativity are those who enjoy learning, enjoy being challenged, and don’t mind being the outsider. It takes courage to implement new ideas and to handle the reactions of those who don’t understand them.  
 
Creativity is perfectly suited to people who love to do an activity. When we are passionate about something it can inspire us to think about it in ways that go beyond the normal thoughts people have. In these trails of ideas and concepts, we are often able to build networks across branches of thought to bring about new perspectives and understandings. Intelligent meditation on our preferred subject is how we get to grips with the larger concepts and techniques that bring about the excellence we desire. This love of our activity is what drives our thinking and the depths of our dives into understanding.  
 
What is the opposite of love? We could say it is fear, and this has been shown to stifle creativity. People who experience anxiety are not as creative; the thoughts that fuel the fear are like Black Knights not letting anyone pass. You need to channel your inner King Arthur. Pressure, stress, judgement, social apathy, rejection, call all put an end to your creativity by zapping you of your passion. Having a strong mind and a thick skin is what being a King (or Queen) is all about. If you genuinely care about the betterment of the world and the emotional well-being of everyone you inspire, your armour ought to be stronger than diamonds. If you have the willpower to learn and adapt your thinking according to the reality and not your dream, your sword can defeat any shade. The reality fuels the dream, not the other way around. You’re creating for the real world now.  
 
In the changing environment with shifts in technology, fashion, people, laws, and more, we are always being called upon to adapt our routines and techniques so that we can make the best use of what there is. We gradually change from one software to another, one set of rules to another, one style to another, and so on. It all requires a subtle creativity with every instance. Perhaps we can follow suit and simply carry on the way someone we trust is doing, however more of us are the kind of person who wants to be an individual and do things slightly differently. We might choose an alternative shop, a different colour, a novel path, we might go retro and choose to not upgrade at all and make do with the drawbacks. With every social change that happens locally and more widely, the differences between us expand as we all go about the navigation in our own way. All this information and decision making goes into what happens next as part of the global subconscious creative conversation. 
 
If we want to tap into this movement and become a moving part in the mechanics of creative culture, we must be prepared to listen to and connect with others as well as actively partake in the joint responsibilities of those around us. Connection and belonging are essential for social fulfilment and a strong aspect of our overall happiness. The culture of creativity is much akin to any other culture. When children grow up, the environment and the education instil key foundation ideas in their personalities that can help or hinder novel and unorthodox thinking. A culture of creativity is taught by inspiring learning independently and the application of new skills on one’s own initiative. It requires a skill for listening and understanding so we can draw on relevant feedback and sort the right from the misinformed. Feedback based creativity is where reality meets our dream and the two must clash. If the dream wants to be dominant, then the idea may never be socially acceptable. We should be able to set our dream to one side and let the reality of the situation move in, and then we can fill in the gaps with our worthy ideas. The ones that remain. It’s possibly the most difficult part, we generally all love our own illusions. They’ve been with us for years.  
 
Creativity is about bringing the imagination into reality, and our illusions make up a huge part of this. However, the imagination is not always compatible with the real world. We have several laws and rules that prevent certain things, and the universe has a whole lot more. Not only do we obey the laws of the land, and the world at large, but we also obey the laws of physics. Finding the gaps is where the creativity happens. What is possible in between the Newton and the Affidavit? It’s completely up to you. IF you listen to what people have to say, sort through the useful and non-useful feedback, decide for yourself how to move forward, and keep going, perhaps that would be just enough meaning for you.  
 
Most often, our best creative ideas come while we are relaxed and enjoying ourselves. A semi-hypnotic or sleepy state is when our dreams and subconscious mind can come to the surface.​ Known for being inspirational to creative thinking and novel idea forming. If you enjoy drinking good wines, here's a quality supplier that cuts out the supermarket. Alternative Fruit gets a reward when you order some.