WE ARE ALL CREATIVES

Being creative is making art with what you got.

Einstein was definitely a man who never stopped failing, at trying to achieve something. They history is full of how he attempted time and again to discover something that had not been discovered. He is the epitome of the creative spirit we’ve seem to have lost in this generation. Yes, technology has eased many hard played out roles yet we still are hanging loose on some beachhead.

“Every child is an artist, the problem is staying an artist when you grow up” – Pablo Picasso

We notice uncountable things with our subconscious mind without being conscious about it at all. Then we wonder where the hack certain ideas come from and why others had simular ones. Well it's already scientifically proven that our brains are wired on a higher level l.. that's another story .. But it explains our smart ideas sometimes. They are actually a product from our very own (thinking) mind and daily experiences we have when we encounter others, read the news, walk through the city. Often an idea has already been thought millions of times by other people, generations etc.. but there are only a few of us out there who are eager enough to turn them into reality.

Do we need to work hard or invest lots of time for being creative?

In order to put in the hard work to acquire a skill, you need to believe that the activity really is a skill you can learn. When you believe the activity is a talent then you don’t bother to work hard at it, because you attribute any limitations in your performance to your lack of talent.

RETHINKING CREATIVITY AS A SKILL

This way of thinking about talents and skills is particularly important when it comes to thinking about creativity. For skills that involve actions in the world, such as shooting a free throw or playing a musical instrument, people have a pretty good idea of what they need to do to improve. But for mental skills like creativity, few people know enough about the way their minds work to be able to treat it like a skill.As a result, most people tend to look at those people who develop creative ideas consistently with a kind of reverence. And people who do seem blessed with a talent for creativity live in fear that talent will run out some day and they will be just like everybody else. In order to enhance your creativity, here are three things you can do to practice.

A_BECOME AN EXPLAINER

The most creative people in any field are people who have a tremendous amount of knowledge. Creative people like Einstein, Edison, Coltrane, and O’Keefe were also experts in their own field. In this age of Google, there is a tendency to assume that information is available when you need it and so you don’t need to internalize it. But, if you have to interrupt your flow of work whenever you need to look something up, you can't follow ideas to new places.

In order to maximize the quality of your knowledge, you have to develop the habit to explain things back to yourself. Think about what happens when you sit down to watch a TED talk. A great speaker gives an inspirational 15-minute presentation. While you are listening, you feel that you have understanding of what the speaker is saying. Afterward, if you try to repeat what you learned to someone else you may realize that your feeling of understanding was a reflection that the speaker understood the topic very well. Unless you explain talks like that back to yourself afterwards, though, you have no idea whether you understand it, too.

B_PRACTICE OPENNESS

One of the five core personality dimensions is openness. It reflects how much you are motivated to consider new ideas, concepts, and experiences. The most creative people are typically very open people. If you are someone who resists new ideas and experiences, that does not mean you cannot be creative. It just means that you need to develop a new set of habits to try new ideas on for size rather than rejecting them just because they are new.

If you find yourself unwilling to consider new ideas or dismiss things that are "not the way we do things here," try this exercise:

When you encounter a new idea, listen to it or read it through, but don’t engage with it much right away. Instead, put it aside for a day and come back to it later. When you read it again, it will feel more familiar based on the mere exposure effect. Mere exposure is the observation that we like things better after we have seen them once before. Let that familiarity help you open yourself up to new prospects.

C_ KEEP ASKING NEW QUESTIONS

A third critical aspect of creativity is to remember that any idea you have is something that you pulled out of your memory. That means that when you have a brilliant idea, you retrieved a helpful piece of information from memory and used it.

How do you get information from memory? All you do is ask your memory a question, and it pulls out information related to that question. If I ask you to think about an ice cream you ate, you do that. Even if you did not expect me to start talking about ice cream. Memory serves up experiences related to the questions you ask it.

That means that whenever you want to think about a problem or situation differently, you have to ask your memory a different question. The most creative people don’t settle on a single way to think about a problem. Instead, they keep finding new descriptions of that problem and allowing their memory to find more information that might help to solve it. The more different questions they ask, the more creative ideas they have. As an easy exercise to practice asking questions, think about a problem you are trying to solve right now. Now, ask yourself how a variety of your friends would approach that same problem.

Creative is making art with what you got.

Basically being creative is just connecting things in a new, never encountered or interesting way across all fields. For sure creatives are not only the ones working in the so called creative businesses. Sometimes mothers are the most creatives i have met lately. Or as one of my teachers Sharon Gannon likes to say: "Magic (being creative) is a change of perception." That's why i practice inversions every day. 

Thanks for reading, 

Esther

The Most Important Design Jobs of the Future

Designers at Google, Microsoft, Autodesk, Ideo and fuseproject predict 18 new design jobs.

Yesterday‘s graphic designers are today‘s UX designers. Will tomorrow‘s UX designers be avatar programmers, fusionists, and artificial organ designers? Yes, according to the illustrious roster of design leaders we spoke with here.

Design has matured from a largely stylistic endeavor to a field tasked with solving thorny technological and social problems, an evolution that will accelerate as companies enlist designers for increasingly complex opportunities, from self-driving cars to human biology. „Over the next five years, design as a profession will continue to evolve into a hybrid industry that is considered as much technical as it is creative,“ says Dave Miller, a recruiter at the design consultancy Artefact. „A new wave of designers formally educated in human-centered design—taught to weave together research, interaction, visual and code to solve incredibly gnarly 21st-century problems—will move into leadership positions. They will push the industry to new heights of sophistication.“

Here are 18 of the most important design jobs of the future, as identified by the men and women who will no doubt do much of the hiring. Most looked three to five years out, but some peered farther into the future (see: organ designer).

 

Augmented Reality Designer

Nominated by Gavin Kelly, co-founder and principal, Artefact

As technologies for augmented reality evolve, they will allow for new information to be layered over the physical world in seamless ways. This will open up an increasing demand for designers who can deliver intuitive and immersive experiences that are tailored to a wide spectrum of industries, from entertainment to education and health care.

 

Avatar programmer

Nominated by Glen Murphy, director of UX, Android and Chrome

Our celebrity clients will need help in representing themselves best in virtual scenarios such as VR, mobile games, and movies. This job will entail creating a celebrity‘s best representation in low-poly, high-polygon variants, and will depend upon rigging a client up for motion capture and text-to-speech emotive output. Some AI-response programming knowledge would be helpful. A version of this job actually exists today (see the digitized actors in L.A Noire), but will become increasingly important and complicated as actors‘ likenesses become more prevalent in games and VR. As these representations become more mainstream and more powerful, actors will want increasing control of their image, just as they have in every other form of media.

 

Chief Design Officer or Chief Creative Officer

Nominated by Yves Béhar, founder, fuseproject

The CDO or CCO will be a job in every company, overseeing the design of a business‘s every touchpoint and solidifying a fluid visual narrative that can maximize efficiency and purpose. Design is more and more central to the success of the modern business; designers are no longer being brought in at the end of the process to make things look pretty, but rather are providing essential insights from the ground up. In the future, I see a role on every executive team for a designer—someone whose role it is to ensure that every element of the business is designed well, and designed holistically.

 

Chief Drone Experience Designer

Nominated by Gavin Kelly, co-founder and principal, Artefact

As companies such as Amazon deploy unmanned drones in their business, there will be an increased demand for the design of the entire service experience. For example, what are the end customer interactions? How are fleets managed and maintained? How are risks to the population mitigated? How are privacy concerns addressed? How do we build trust in these semi-autonomous machines?

 

Conductor

Nominated by Bill Buxton, principal researcher, Microsoft Research

Carrying on with the musical analogy, design has typically been preoccupied with creating new instruments. However wonderful any one of those instruments might be, the true potential is only realized when they play well together—essentially as one. It is the creativity and skill of the conductor that is essential to that happening.The next „big thing“ is not a thing. It is a change in the relationship amongst the things. Without the Conductor’s input, we are on a fast path to hitting the complexity barrier, since the cumulative complexity of a bunch of simple things—regardless of how delightful, simple and desirable they may be—will soon exceed the ability of humans to cope. It is the Conductor who carries the responsibility for the design of those relationships and ensuring that their collective value significantly exceeds the sum of their individual values, and their cumulative complexity is significantly less than the sum of their individual complexities.

 

Cybernetic Director

Nominated by Matías Duarte, VP, Material Design at Google

Cybernetic directors will be responsible for the creative vision and autonomous execution of highly personalized media services. They will train cybernetic art directors and visual-design bots in the distinct visual language of a brand. They will provide conceptual leadership on creative projects from starting point through execution, and will actively participate in the growth and development of machine-learning infrastructure to keep current with innovations.Cybernetic directors will need to be well versed in the visual language and traditions of North American audiences and their subcultures. The job requires at least four years of formal training in visual communication, graphic arts, modern American studies, or equivalent, and at least 10 years of relevant experience working in media, communications or entertainment. Exposure and familiarity with modern popular Western media is a bonus, but not a substitute. Also requires experience with learning systems training and reasonable fluency in HALtalk 9000, Lovelace++, and human-cyborg relations.

In five years machine learning will enable computers to make the kinds of aesthetic choices that humans make today—the more on the production end of the spectrum, the more quickly it will happen. This will enable massively more personalized experiences. Imagine reading a magazine article where the photo editor wasn‘t just aware of you as part of a broad demographic, but knew your visual fluency and consumption more intimately than your spouse. Yet who teaches the computers to make those creative choices? How do we balance the possibilities of personalization when each article wants to have its own editorial flavor, each publication its own style? Training and directing creative machines will be one of the most exciting and important creative jobs of the future. It‘s starting today.

 

Director of Concierge Services

Nominated by John Edson, president, Lunar

Retailers will harness the power of big data to give their most valuable customers a higher level of service than the general public. Smart merchants will start acting more like airlines or credit card issuers and really focus on the small percentage of VIP clients who drive a disproportionate percentage of profit. Concierges will provide the kinds of bespoke services normally associated with high net worth brands like American Express Centurion („The Black Card“): exclusive perks but also customized products and services designed with an extra level of care to match the individual’s tastes.

 

Embodied Interactions Designer

Nominated by Matt Schoenholz, head of design, Teague

Screens have demanded a lot of attention from designers over the past 30 years. After all, they have been the source of so much content and so many interactions. They still require our thoughtful attention, but we will also see the rise of software that only rarely manifests on a screen. Or, perhaps it very much manifests on a screen, but the screen is an overlay on reality or it is outright virtual reality. These new modes of interaction require a new type of designer: one that is focused on embodied interactions. Whether this embodiment is physical or virtual, this new designer is concerned with virtual and augmented reality, as well as the computers embedded into things and spaces. Therefore, this role is expert in interface pattern languages and touch-points that have largely been considered as alternative or merely subservient to screen-based GUIs. This designer will borrow practices from industrial design and architecture, so that she can model interactions that are oriented in space.

 

Fusionist

Nominated by Asta Roseway, principal research designer, Microsoft Research

Early technology was, in its most basic form, like a huge block of ice: not very accessible, clunky, and necessitating specialists to handle. Now as technology melts, it will transform from solid to liquid to gas, permeating almost every aspect of our lives and creating a cross-disciplinary opportunities. Such diffusion will become the foundation for future design jobs. The designer’s role therefore will be to act as the „fusion“ between art, engineering, research, and science. Her ability to think critically while working seamlessly across disciplines, blending together their best aspect, is what will make her a „Fusionist.“While still expertly versed in classical design skills, the fusionist will mix those skills with a „generalist“ approach to technology, working across disciplines and interest groups. In many cases, the fusionist may feel like an outlier. The technologies she bridges will require her to expand her own capacities. She’ll need to be an expert collaborator and communicator, extending her vocabulary so that she can reverse engineer her vision into discrete items that specialists can act upon. The Fusionist will remain driven by her passion for the Future and her ability to use Design as the unifying vehicle to drive the best experience.

The prospect of artificially made human organs is just around the corner. Who’s going to fit these organs to their end user? Designers.
The global challenges that lie ahead can only be solved by a collaboration of minds and vocations, and a diversity of views. The challenge and reward for the Fusionist will be in her ability to communicate, comprehend, and connect all parties through design. This is already beginning to happen in the emerging fields of biofabrication and wearable technology. Stemming from biotech, biofabrication is a new cross disciplinary movement between the design and science that is generating the next wave of sustainable materials and solutions for our survival. It is not uncommon to see artists and biologists sitting together tackling the same problem. Additionally, wearable technology will see an influx of fashion designers and artists partnered with engineers, in order to create technologies that will go into our fibers and onto our skin. Fusionists will act as the bridges between emerging fields, and their ability to bring all parties together through communication and design will help bring about the greatest experiences.

 

Human Organ Designer

Nominated by Gadi Amit, founder, New Deal Design

Human organ designers will be experts in bio-engineering and design, fitting newly created organs and artificial limbs to humans. They will be fully capable of executing end-to-end design and implementation process for ready-to-use or custom-fit organs; have deep knowledge of the software and hardware involved in bio-electronics; and work within a team tackling multiple biological sub-systems.

We are very close to being able to reproduce artificial biologically fitted tissues. Some of these tissues will come from genetic-engineering, some will be manufactured in bio-reactors, and some will be merged with micro-electronics. The prospect of artificially made human organs is just around the corner. Who’s going to design and fit these organs to their end user? Designers will be there, sooner or later

 

Intelligent System Designer

Nominated by John Rousseau, executive director, Artefact

The intelligent system designer doesn’t design discrete objects or experiences, so much as the software systems that make possible the design solutions of others. This designer works as part of a large and diverse network of specialists to create a continually evolving lingua franca of aesthetic production. The systems this person designs will integrate multiple domains, and those domains will themselves be the product of designers, artists, and technologists.

 

Interventionist

Nominated by Ashlea Powell, location director, Ideo New York

Interventionists are already in our midsts, we just haven’t named the role or cultivated it. As organizations and their challenges become more networked and complex, it will be harder work to help them digest new ideas and build towards a better future . This is the work of an Interventionist, and it’s time that the craft of intervention design takes shape, whether it’s designing an experience that creates transformational empathy or hosting a conversation that puts an end to polemics. These designers will come from backgrounds in organizational psychology or behavior change and be experts in facilitating creative conversations, framing unexpected questions, and navigating the uncomfortable.

 

Machine-Learning Designer

Nominated by Aaron Shapiro, CEO, Huge

A machine-learning designer‘s job will be to construct data models and algorithms that allow companies to create artificially intelligent products. Those products will anticipate the needs of users, and fulfill them before the user ever has to ask. Machine-learning designers must not only be designing the experience, but also ensuring that it uses the best algorithms. Data, design, and artificial intelligence will be the next frontier in digital experience. Companies will compete and win based on the personalization and intelligence in their marketing. The companies that have the smartest, most individually resonant products and experiences are going to do the best job of attracting and retaining their users. In this world, good AI will become essential to the user experience and the companies with smart experiences will have an exponential advantage over the ones that don‘t.

 

Program Director

Nominated by Dave Miller, recruiter, Artefact

This is the design agency‘s version of a product manger, and the evolution of its entire project management, engagement, and client services departments. This person is a business strategist; they understand the „who,“ „what,“ and „why“ behind a project/product; have a deep understanding of what it means to be a designer and a developer; and also have a track record of effecting change and influencing the end product. They are peer-level to a design director and usually come from creative backgrounds. They have practiced design, research, or engineering. They share ownership of a projects success. They handle timelines and client interactions, while creating long-term relationships founded upon their deep industry experience.

 

Real–time 3-D Designer

Nominated by Dave Miller, recruiter, Artefact

Virtual and augmented realities are on the forefront of design and technology explorations. Interaction design and game design will collide and integrate. Any design team tasked with creating a full experience in this realm will be in need of a 3-D designer.

Game design as an industry is such a focused discipline and craft: It takes years of practice to operate at a high level. With that in mind, senior level 3-D designers will be pioneers, leaving behind game design and joining product teams to create entertainment and productivity tools with complex interaction problems. We will start to see shifts in school curriculum, where both 3-D and UX disciplines share the same halls and work together to invent the same future.

 

Sim Designer

Nominated by Rob Girling, co-founder and principal, Artefact

The sim designer pulls together customer data, behavioral models, and statistical models to design simulated people that can be used to help predict future customer behavior. In this way future products, ad campaigns, software, environments, and services are extensively „experienced“ by artificial sim users who give sim reviews, tweets, recommendations, and predicted user data. These simulations help drive improvements into the design of all things before the product is ever realized. But would these sim insights replace talking to real people? I doubt it.

 

Synthetic biologist/nanotech designer

Nominated by Carl Bass, CEO, Autodesk

In five to 10 years, we’ll see current cancer treatment as totally barbaric. Chemotherapy kills all kinds of cells in the body, not just the cancerous ones. We’re already on the path to creating customized medicine, and within five years synthetic biologists will be designing treatment that ties to the DNA of the patient. These medicines will be designed in software and printed on 3-D biological printers.

 

Q: https://www.fastcodesign.com/3054433/design-moves/the-most-important-design-jobs-of-the-future

The Value of UNINTERRUPTED creative time

If you look at the first 1-2 hours of my day, there are no meetings scheduled. On my calendar, there’s a 2-hour block that’s marked as writing and creation time. It’s a period in which I make sure there are absolutely no interruptions: 

  • No mindless social media / webbrowsing
  • No e-mail checking
  • No phone calls
  • No news checking (which i do less and less anyways)
  • No responding to texts

The truth is, if you really want to create something in your life it can't be treated as a by product and always shifted to “later”. You HAVE to make it your first priority and because we all have obligations, jobs, children etc... to care for as well, that means i sometimes have to get up at 5 am. 

What Is Needed for Good Creative Work?

In his oft-cited essay, “Maker’s Schedule, Manager’s Schedule,” Paul Graham highlights the unique demands of creative work (the type of work produced by a “maker,” in Graham’s lexicon). The maker’s schedule, he explains, is defined by long, open stretches of uninterrupted work. For a maker, “a single meeting can blow a whole afternoon.” Graham describes his own schedule, from his time working in a software start-up, as starting after dinner and lasting until 3am, explaining: “At night no one could interrupt me.”

In Graham’s construction, I identified two justifications for the importance of long stretches of uninterrupted work:

  • Shifting Mental Modes: When the mind knows it has no interruptions looming, it can shift into the flow state required to produce high-quality output.

  • Providing Freedom to Explore: Real creative work is non-linear, often requiring long, unexpected detours to uncover the contours of the problem at hand. Long stretches of time provide the freedom needed to feel comfortable indulging in these detours.

If you’re going to do deep work and leverage a day, that time has to be completely uninterrupted. To truly understand the power of this, it helps to understand its opposite. 

The problem of perpetually interrupted Unfocused Creation Time

Phones buzz with notifications from apps, text messages from friends. Multiple tabs are open on a web browser. And people switch from one task to another spending no more than a minute or two on each one. This is the antithesis of deep work. Working like this is a bit like taking one step forward and one step back while wondering why you’re not actually making any progress. It’s insidious because it feels productive even it though it’s not.

A few days ago I interviewed a friend who has done a few successful businesses by the age of 35. He knows two essential ingredients for flow, focus, and attention.

He wakes up at 4am and writes until 8am. He plays the same music track on repeat, and his environment is setup such that there are absolutely no interruptions or distractions. And he uses a distraction free writing tool so that the only thing he can do is write. Distraction-free writing tools are probably one of the greatest productivity enhancers you can use. I even write my emails in a distraction-free writing software called Macjournal. This makes it difficult for your attention to keep shifting from one thing to another. 

Wondering why there is no progress?

Same thing is working for a friend who works as a salesperson. For the first several hours of the day, he doesn’t respond to texts, emails or slack messages. He’s focused on one thing, selling. The goal is to completely tune out the world around you, to lose yourself in the work and in the moment. Turn off your phone, put on some headphones, and eliminate every potential source of distraction. At first, this will be painful. You’ll struggle to stay focused and be tempted to do something else. But if you stick with it your attention muscle will build. The longer your uninterrupted creation time is, the more intense a state of flow you’ll find yourself in.

If you are getting stuck

When you get stuck, your natural temptation will be to seek out some source of distraction. Getting stuck actually creates space and time for you to think. If you give into some source of distraction you’ll drown out the sound of your own voice. Some of my greatest breakthroughs have happened when I’ve been completely stuck.

Just think of getting stuck as a moment when the gears in your head are doing their work. If you can be patient enough to persist through those moments when you feel stuck, you’ll experience big breakthroughs. Tell yourself “I’m not stuck. I’m just thinking.” When you don’t embrace being stuck, uninterrupted creation time turns into interrupted creation time and multi-tasking.

Uninterrupted creation time can help you accomplish seemingly impossible things like writing 3 books in 3 years or finishing a painting, starting a new business idea.. the list goes on. Set aside a few hours a week for uninterrupted creation time, and you’ll be happy you did at the end of the year.

Getting Creative Things Done: The System

The GCTD system works as follows:

  • At the beginning of each week, decide on the one (or, at most, two) big creative projects that will receive your attention over the next five days. Ignore the temptation to make a small amount of progress on a large amount of projects. Creative work is hard. If you want high-quality output, you have to focus your energy.

  • Block out time for these projects on your calendar. The increments should at least 1 hour long, and preferably 2 to 3. When you block these hours out depends on your schedule for the week. What’s important, however, is that you treat these blocks like you would any other important appointment: the time is inviolable, and you must work around these blocks when scheduling meetings or other work.
  • Set rules for your creative blocks. The rules should describe what is NOT allowed during creative work. For example, I have a strict ban on email during creative blocks.
  • Focus on process, not goals. The final piece is arguably the most important: don’t set goals for your creative blocks. Creative work is not a task to be checked off a next actions list. If you decide that you need to complete a particular project by the end of a block, for example, you’re likely to either be frustrated by your lack of progress or rush out something mediocre. Instead, focus on process. Decide how, exactly, you are going to approach the work. This focuses your energy. High-quality results will follow naturally from this focused work.

Inspired by: elephantjournal.com, medium.com