Awakening the Creative Mind

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Awakening the Creative Mind© Increasing productivity, effectiveness and creative solutions. Produce better results, faster. By Jonathan Grigg

Transcript of Awakening the Creative Mind

Awakening the Creative

Mind©

Increasing productivity, effectiveness and

creative solutions.

Produce better results, faster.

By Jonathan Grigg

2 Awakening the Creative Mind©

Awakening the

Creative Mind©

Increasing productivity, effectiveness and creative solutions.

Produce better results, faster.

By Jonathan Grigg

3 Awakening the Creative Mind©

Awakening the Creative Mind©

Increasing productivity, effectiveness and creative solutions.

Produce better results, faster.

By Jonathan Grigg

Awakening the Creative Mind is copyright Jonathan Grigg

2014.

Except as provided by the Copyright Act 1968 no part of this

publication may be reproduced, stored in a retrieval system or

transmitted in any form or by any means without the prior

written permission of the publisher.

Acknowledgements

I’d like to thank Dr Sonia Logan, for

her feedback and support without

which this document would never

have made it to any reader.

My parents, for teaching me to

question everything, encouraged my

unquenchable thirst for knowledge,

who taught me to look at the system,

not merely events and showed me

from a young age that the most

valuable thing that any one person

can do is to develop themselves, and

in so doing share this with others.

My life teachers, both stated and

unstated, for every lesson that you

have taught, and continue to teach,

whether intended, or otherwise.

And finally to my two boys Aidan and

Ryan, who continually act as a source

of inspiration. Who both challenge

and encourage me to better myself

and who give clear and concise

feedback regarding my level of

complexity and my ability to

understand.

4 Awakening the Creative Mind©

Contents

Introduction ........................................................................................................................................................5

The Workings of the Creative Mind ..............................................................................................................8

The Creative Process .....................................................................................................................................9

Where are you now? ................................................................................................................................... 12

Gardner’s Theory of Multiple Intelligences .......................................................................................... 15

Flow State ..................................................................................................................................................... 17

Neuroplasticity ............................................................................................................................................ 20

Environment and Self-Awareness ............................................................................................................ 22

Environment .............................................................................................................................................. 22

Self-Awareness ....................................................................................................................................... 23

Application of the process ............................................................................................................................ 24

Preparation .................................................................................................................................................... 24

Incubation ..................................................................................................................................................... 25

Illumination ................................................................................................................................................... 26

Evaluation ...................................................................................................................................................... 27

Conclusion .......................................................................................................................................................... 28

Biography ........................................................................................................................................................... 29

References ........................................................................................................................................................ 30

5 Awakening the Creative Mind©

Introduction

This book will provide you with a framework to

understand the creative power of your own mind. It

is also designed to help you see the creative

capability that is in constant action in those around

you - your work colleagues, family and friends.

Finally, it will provide you with a practical, time-

tested process that when applied and practiced, will

increase your productivity to amazing new heights.

In a short space of time (dependant only upon your

application of the methods provided), you will be

able to achieve more, of a higher quality, in less

time and with less stress than you currently imagine

is possible, all by tapping into the power of your

creative mind.

You will find that your understanding will expand

as you read and re-read this material. Rather than

being linear, the expansion will become

exponential with more practice. Your productivity

will increase, as will your ability to focus on those

items that are critical to achieving the result or

creating the solution, and you will be less distracted

by the “smoke and mirrors” that seem to be on the

increase in our fast paced world.

Aspects of what I share may be challenging. I can’t

say which ones will be specifically challenging to

you, as that will vary from one person to another.

However, the challenge will be present and the

reason for this is simple. Your current level of

thinking has achieved your current level of success

up to this point in time. Maintaining that level of

thinking will continue to provide you with the same

level of results. To achieve new results, you will

need to change your thinking. In order to change

your thinking, you will need to challenge what you

have thought and believed in the past.

You will find that the information provided is

straightforward. The practical application is simple.

What will achieve lasting results is your dedication

to the practice. You are reading this because you

want to make some sort of change. What you need

to be clear on from the outset is your why.

Your motivation, your why, is what will determine

your outcome in this, and in any aspect of your life.

What does it mean to you to put your creativity to

greater use? Why is it important to you at this

particular point in time? Why do you want to

achieve this new level of success? Why do you

want to be more efficient? Why do you want to be

more effective? Why do you want to have more

creative results in your life? Make sure you have a

clear answer to these questions. If you have a big

enough why, it becomes much easier to see the

“what” and the “how”.

While it may seem counterintuitive that to increase

productivity requires you to have fun, it has been

well documented (and my personal experience) that

having fun is an essential element of igniting the

creative mind. As you add the right balance of fun,

you will find that your creative mind will engage

more and more. Consider this - if something is

boring or uninspiring to you, what is your level of

engagement? If something is interesting and

inspiring to you, what is your level of engagement?

The same is true of the creative mind. In this way

you will become more productive and you will

enjoy doing so more and more.

This book is the culmination of thousands of hours

of study and practice over many years, and is

prepared in such a way as to make it one of the

most powerful tools that you will come across. The

synergy of the information provided here is

enormously powerful. However, words are just

words unless acted upon. For this work to be

effective for you, you need to take action. Take

some time to answer the “why” questions listed

below. We will be referring back to these answers

later, so now is the time to complete them.

It is important to note that I have not asked you to

describe what you wish to do. The questions posed

at this time are around your motivation. You may

have an idea of what it is you would like to

achieve; however, for the purpose of this exercise,

limit your responses to why it is important to you to

achieve them.

6 Awakening the Creative Mind©

Why do you want to have more creative results in your life?

__________________________________________________________________________________

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What does it mean to you to put your creativity to greater use?

__________________________________________________________________________________

__________________________________________________________________________________

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Why is it important to you at this particular point in time?

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Why do you want to achieve this new level of success?

__________________________________________________________________________________

__________________________________________________________________________________

__________________________________________________________________________________

__________________________________________________________________________________

Why do you want to be more efficient?

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7 Awakening the Creative Mind©

Why do you want to be more effective?

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8 Awakening the Creative Mind©

The Workings of the Creative Mind

Over the centuries, there have been numerous

descriptions of creativity. These beliefs have

shaped the collective group behaviours into certain

courses of action and non-action. More important

than the specifics of the beliefs held is what actions

those beliefs led to and what results were achieved.

Many ancient cultures did not have a concept called

creativity, and saw their behaviours as being that of

discovery and exploration. While the act of

exploration and discovery may excite some

individuals to undertake more of a particular

activity, others who may be less inclined to take

risks and who see exploration and discovery as

risky, may not participate.

These beliefs about what creativity is and what it

means to be creative hold the key to unlocking our

creative abilities. As such, a large part of the

process will be to look at your particular beliefs

about creativity. Further to that, you will receive

information which will stretch your understanding

of creativity and so take you to new levels of

creative success.

There has been much debate about whether

creativity is a product of our environment or

whether it is inherently part of us, i.e. the nature or

nurture argument. Pulling together the observations

of scientists and psychologists over the past 140

years, it seems apparent that creativity (the act of

creative thinking) is an inherent part of each and

every one of us; it is part of our very nature.

However, nurture plays a vital role in how we

express our creative capability, or more accurately,

how our creativity has been taught to express itself.

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The Creative Process

Hermann von Helmholtz (1821-1894) worked in

the fields of physics, physiology and psychology.

His work covered a huge range of areas. Through

the course of his research he also documented the

creative process. It is through the deliberate and

consistent application of this process that the most

profound results can be achieved. Through

deliberate application of the process, the power of

the creative mind can be channelled to produce

results most efficiently and most effectively.

Consistent application of any process (assuming

that the process is effective) will produce consistent

results. Further to this, repetition

of the process will lead to

improvements in performance.

“Practice makes the master”, as

the old saying goes.

Once we have an understanding

of the creative process we can

make deliberate use of it, and by

making deliberate use of the

process, we can be certain of

producing results. We can

produce different results

(divergent and creative) and

improve the quality of these

results by repeating the process

and changing our focus.

The process which Helmholtz documented has

three steps. Since then, four and five-step processes

have been described (both linear and cyclical). I

believe that the Helmholtz three-step process is the

most effective because of its simplicity. It provides

structure while allowing the user flexible

expression. The conscious mind likes to seek out

complexity and detailed understanding of as much

as possible, whereas the subconscious mind likes

simplicity. As you will see, the creative process is

the means by which we can make direct use of the

subconscious mind to produce results. So by

keeping it simple and being diligent in the

application, we are able to produce exceptional

results.

The Helmholtz Creative Process:i

1. Preparation

The preparation phase is the stage where he

would gather all the information that he

believed was relevant. This included his own

observations and experimental data, the

research of his peers in the applicable field, and

the question that he sought to answer. A good

deal of time was spent in understanding and

defining the question(s).

The importance of time spent in

developing the right question(s)

cannot be overemphasised. The

quality of the answers that we

obtain is in direct proportion to

the quality of the question(s) that

we asked. Albert Einstein is

quoted as saying “If I had an hour

to solve a problem and my life

depended upon the answer, I'd

spend 55 minutes thinking about

the problem and 5 minutes

thinking about solutions.”

This in itself can be challenging

to most people, as our society has

been conditioned, through both

school and work, that it is

important to be able to answer questions

quickly. Tests are timed, meetings are short and

must be productive, and so answers must be

forthcoming immediately.

However, the speed of an answer does not

always equate to the best result. In fact,

decisions made in haste can be far from the

desired result.

Consider a time where you felt the need to

provide an answer quickly. You provided the

best answer you could; however, you found

more information later and discovered that you

didn’t provide the best answer initially. It was a

“If I had an hour to

solve a problem and my

life depended upon the

answer, I'd spend 55

minutes thinking about

the problem and 5

minutes thinking about

solutions.”

Albert Einstein

10 Awakening the Creative Mind©

learning opportunity to make sure that you

have more information next time. Proper

preparation leads to better use of time, better

use of resources, more targeted responses and

better results.

2. Incubation

During this period we literally drop the subject,

walk away and do something else. In this time,

the information and questions are taken into the

subconscious mind.

While it may seem that we are doing nothing,

our subconscious mind is, in fact, actively at

work. Betty Philips (PhD in Psychology) states

“The conscious mind actually has limited

processing capacity, according to one data

source averaging 40 bits of information per

second compared to the subconscious mind,

which has an accelerated processing speed of

40 million bits of information per second.”ii

Mihaly Csikszentmihalyi’s work in 1956 found

that the conscious mind can process

approximately 126 bits of information per

second.iii While the exact numbers may vary

due to assessment method, it is well recognised

that the subconscious mind’s operation is in

magnitudes to that of the conscious mind.

Herein lies part of the reason that Helmholtz

would spend a good deal of time in preparation,

and why Einstein would spend a good deal of

time in understanding the problem and getting

clear on the elements of the problem. When the

subject material is passed from the conscious

mind to the subconscious mind, the processor

power is magnified enormously. To ensure that

the processor power is being put to good use,

there must be clarity around the objective.

The type of activity performed while away

from the task is entirely optional. What is of

critical importance is that the subject is

dropped completely. The conscious mind must

be totally distracted from the matter to allow

the subconscious mind to work most

effectively.

Further to this, there is evidence to suggest that

you can improve the incubation period by

performing enjoyable and relaxing tasks. This

is most likely a result of the psychology of

doing something fun. When you are doing

something that you enjoy, you will engage

more of your senses and conscious thoughts,

thus dropping the original task even more.

3. Illumination

The illumination stage is what James Webb

Young describes as “out of nowhere

inspiration”; another term used is the “light

bulb moment”.

James Webb Young (1886-1973) was an

advertising executive who became the first

chairman of “The Advertising Council”. In his

book “A technique for producing ideas”,

Young describes a five-step creative processiv.

Evident in his description, and all other

documentations of the creative process, is that

the illumination appears to come out of

nowhere.

There are many urban stories of “waking in the

middle of the night with the answer”. Our

language is filled with phrases such as “and

then it hit me”, “it will come to me later” and

so on.

This moment can be out of nowhere and

apparently random as the subconscious mind

produces the answer and then drops it into the

conscious mind as soon as it is prepared.

However, the mind can also be trained to

respond to triggers to provide the answer on

demand.

Whichever method is found useful, the ultimate

result is the same - a solution has been

provided. The solution must be tested and

critiqued by the real world, and if it is found

useful, it will be adopted.

The creative process as described here is very

simple and extremely effective. What is becoming

increasingly apparent is that it is taking place all the

time, and in all areas of life.

11 Awakening the Creative Mind©

Recall a time when you were working on a

particular matter, perhaps working intently on the

computer for an extended period.

At some point in time you became mentally

fatigued, drained or perhaps frustrated. And so your

response was to step away from the computer and

grab a cup of coffee, talk to a co-worker, take a

five-minute break, or perhaps you decided to sleep

on it.

When you returned to your work, it may have taken

a moment of “Where was I up to?”, but soon you

were back into it and feeling less fatigued, and

what had previously frustrated you now has a

solution that you could not see before.

With this new information, you can now reframe

some past experiences and even look at present

events with a different lens.

So if all people are capable of and are naturally

using the creative process, what then distinguishes

those who we typically classify as creative from the

rest of the population?

While the answer might be the results that they

achieve, the reason is twofold: a degree of self-

awareness, along with the consistent and refined

application of, and engagement with, the creative

process.

Understanding ourselves and an honest appraisal of

our capabilities will lead us to make better

decisions as to where to focus our efforts. Working

hardest on those aspects where we have some

natural capability will reap better results faster as

there is less creative re-work to be done by the

brain.

Repeated application of the process, as already

discussed, will lead to better results which are

achieved more efficiently. As we become more

accustomed to the new way of working, we

improve our performance.

12 Awakening the Creative Mind©

Where are you now?

A variety of studies have found that society as a

whole has experienced a decline in creativity in

recent years. If the creative process, as described

previously, is one which is present in our everyday

actions, how can that be the case?

The answer is not one of process but of product.

The results we achieve in our everyday lives are a

direct result of the creative process producing those

results. And the quality of those results is in direct

proportion to how effectively we apply the process

and our use of quality questions.

In psychological literature, the term often used to

describe creativity is divergent thinking. Divergent

thinking seeks to find multiple solutions for a

single problem. Convergent thinking is focused on

finding one solution to the problem at hand.

In part, we are a product of our past experiences

and the meaning that we attach to those

experiences. Our educational system is structured

to train us to answer questions in a particular way

and to provide a specific answer. The training we

received through the course of schooling and

university are designed to produce convergent

thinking results.

In 1968, George Land began a study testing the

creativity of a group of 1600 five-year olds.v The

test was the same one used by NASA to screen

Innovation Engineering applicants, adjusted for the

age of the participants. The results were published

in 1992 and showed that of the 1600 five-year old

children tested, 98% of them scored as highly

creative. By the age of 10, the tests showed that

30% tested as highly creative and by 15 years, the

numbers had dropped to twelve percent. A large

group of adults over the age of 25 (280,000 in total)

were tested and the results found that only 2%

scored as highly creative. The conclusion they

reached is that non-creative behaviour is learned.

In addition to our educational system guiding the

development of our thinking toward convergent

thinking, there is another factor which is at work

during this period of an individual’s development.

In his 1943 paper "A Theory of Human

Motivation"vi, Abraham Maslow developed a

framework which has come to be referred to as

“Maslow’s Hierarchy of needs” (shown to below in

a graphical representation)

Through his work, Maslow identified and created

this hierarchy to help us understand what factors

motivate an individual. Through this framework, it

is possible to see what need(s) an individual may be

seeking to fulfil by taking a certain course of

action.

Maslow described the four deficiency needs which

are found in the four lower levels of the pyramid

shown. These needs are ‘Esteem’, ‘Love and

Belonging’ (friendship and love), ‘Safety’

(security) and ‘Physiological’ (physical) needs.

He suggested that if these needs were not met, there

was little or no desire to seek out expression and

development of the other need, that of ‘Self-

actualisation’.

During our early childhood developmental years

we seek out friendship with our peers. Typically,

this is through our schooling and extracurricular

activities. As we grow, friendship and acceptance

are very important.

13 Awakening the Creative Mind©

Consider a hypothetical example. The example is

that of a child - prior to attending school, living

with his/her parents, and whose physical and

security needs are met.

Almost any activity that the child undertakes

receives praise from their parents, whether it be a

childish dance, singing, drawing or any other

creative activity. They receive recognition that

what they are doing is good, and as such their

esteem, friendship and love needs are also met.

Upon arriving at school, they are now surrounded

by an entirely new group of peers. They have learnt

that self-expression in whatever form provides for

their esteem, friendship and love needs. As such,

the child proceeds to get up in the middle of class

and perform a song and dance. The teacher will

have a reaction of some kind

which will bring about the end of

the song and dance so that the

class can continue. In addition,

the children in the classroom will

also have a reaction, perhaps

laughter or similar. The child’s

esteem, friendship and love needs

have not been met in the same

way as in the past. Over time, the

child will learn new strategies for

obtaining these needs, and will let

go of behaviours that do not assist

in their effort.

Another way of looking at this scenario is that our

creative mind has a problem to solve.

The problem may be stated in several ways:

I have these particular needs to be met.

I am in an environment where

remembering the right answer is rewarded,

and coming up with alternatives is not so

easily rewarded or considered wrong.

I am in an environment where my

complete, open self-expression is not

resulting in my needs being met.

What do I need to do, or stop doing, to

achieve my esteem, friendship and love

needs?

Through the use of the creative process, applied in

a perfectly natural way, we arrive at a solution. The

answer comes in the form of learning to fit in and

thus learning non-creative behaviour. In later years,

this solution will be stated in the form of a belief,

such as “I am not into art”, “I don’t like to dance”,

“English is boring”, “I can’t draw”, or “I’m no

good at it”.

A famous quote by legendary martial artist Bruce

Lee describes this well - “If you always put limits

on everything that you do, physical or anything

else, it will spread into your work and into your

life.”

If left unquestioned, these beliefs and limits held

from an early age result in what is now described as

the declining levels of creativity.

However, just as the creative

mind produced the solution which

has led to this current state, the

creative mind can and will lead to

a new solution. Businesses are

beginning to realise that creative

solutions are necessary for

survival in the future. For an

organisation to thrive in years to

come, creativity and creative

thinking will be rewarded. While

this may vary from organisation

to organisation and from industry

to industry, there is a growing understanding that

creative thinking is needed to overcome the

challenges faced in the future.

There is a new problem that is being presented to

the creative mind, which may be stated as:

I have these particular needs to be met.

I am in an environment where developing a

new way of working to produce a creative

solution, is rewarded, and just

remembering what we used to do may not

be rewarded or may even be considered

wrong.

I am in an environment where my

complete, open self-expression is now

rewarded by my needs being met more

“If you always put limits

on everything that you

do, physical or anything

else, it will spread into

your work and into

your life.”

Bruce Lee

14 Awakening the Creative Mind©

fully (NB. the level of environmental

acceptance will vary from organisation to

organisation).

What do I need to do, or stop doing, to

have my needs met?

In the last section of the book you will be provided

with a systematic approach to enhance and develop

your creativity to achieve improved performance in

your career and life. The approach provided is

structured in such a way as to accelerate creative

thinking results.

Gardner’s Theory of Multiple Intelligences

In his book “Frames of Mind: the theory of

multiple intelligences”, Howard Gardner proposed

a model which describes eight different forms of

intelligence: Musical-Rhythmic, Visual-Spatial,

Verbal-Linguistic, Logical-Mathematical, Bodily-

Kinaesthetic, Interpersonal, Intrapersonal and

Naturalistic.vii

While scholastic life focuses primarily on the

Verbal-Linguistic and Logical-Mathematical

intelligences, much less emphasis is placed on the

other six and the development of some of these

intelligences is treated almost as a by-product of

the course material.

When reading the list provided below, it is

important to remember that each individual will

have their own aptitude level in each area and their

own unique blend of each form of intelligence.

Gardner’s purpose was not to limit anyone to one

form of learning or to one field, but to provide a

framework to understand where an individual’s

strengths may lie.

Musical–Rhythmic

This intelligence is expressed as sensitivity to

sounds, rhythms, tones and music. Typically people

with high musical intelligence have exceptional

pitch, are good singers, play instruments and are

able to compose music.

Visual–Spatial

This area deals with spatial judgment and the

ability to visualize with the mind's eye.

Verbal–Linguistic

The Verbal-Linguistic intelligence is displayed in

the individual’s ability to use words, learn

languages, and an aptitude for reading, writing and

storytelling.

Logical–Mathematical

This intelligence represents logic, reasoning,

critical thinking and numbers. Logic also has to do

with having a high capacity to understand the

underlying or fundamental principles of a system.

Bodily–Kinaesthetic

This intelligence is described as the ability to

control one’s body, and the capacity to handle

objects skilfully. A common term used in sporting

is that of muscle memory. It includes those

individuals who dedicate time and energy to

developing muscle memory, practice timing and

have a clear sense of what their goal or purpose of

the activity is.

Interpersonal

This area relates to interaction with others and

includes individuals who are sensitive to the moods

of others, their feelings, motivations and

temperament. They typically work well in groups

or teams. The individual may not necessarily be an

extrovert, but enjoys and learns best through

discussion and debate.

Intrapersonal

This refers to those individuals with a high level of

self-awareness and a deep understanding of their

strengths, weaknesses and their unique capabilities.

Naturalistic

This intelligence applies to one’s nurturing ability,

and the ability to relate information to the natural

surroundings.

The provided list shows the variety of different

aptitudes or intelligences that have been researched

and documented. Consider which of these you may

have a tendency toward. When reviewing the list,

take into account not only your occupation, but also

your pastimes, hobbies and interests. For a more

detailed analysis of your occupation, consider

which elements of your current work you enjoy,

and which ones are less enjoyable.

List those work activities, hobbies and pastimes that you find most enjoyable and that you have a natural

affinity for:

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

Now mark next to each which intelligence is most closely aligned to that activity.

Even though you participated in an educational system and are living in a society that has placed a higher value

on logical and verbal intelligences, you have many other aspects that are of equal (or perhaps even greater)

significance to you.

Review your list above and ponder the following questions:

What aptitudes have you made less use of in order to grow your logical and verbal aptitudes?

In what ways has your mind adapted over time to have your needs met?

And given this, how adaptive and creative has your mind had to be in order to achieve the level of success that

you already have in your life?

What aptitude, that you still have but that you may not have been making full use of, is seeking a means of

expression?

What additional benefits could be possible through the further development of your other aptitudes?

17 Awakening the Creative Mind©

Flow State

Mihaly Csikszentmihalyi, Hungarian psychology

professor and former head of the Psychology

Department of the University of Chicago, is best

known for his work on ’flow’.viii

’Flow’ is the

mental state of a person who is performing and is

completely immersed in an activity.

Terms often used in our everyday language to

describe this state include being ‘in the zone’,’ in

the moment’, ‘on a roll’, ‘on fire’, ‘in tune’ and ‘in

the flow of things’. Csikszentmihalyi’s use of the

term ’flow’ came from his interviews with a variety

of people who described this state as being carried

along by a current of water.

One is said to be in a flow state when:

1. Challenge and skill are balanced;

2. Complete focus is on the task at hand;

3. They receive clear and accurate feedback

of their progress;

4. They find the activity intrinsically

rewarding (it is enjoyed for its own sake);

5. Their perception of time is distorted;

6. They experience a loss of self-

consciousness;

7. They have a high sense of personal control;

8. There is a merging of their actions with

their awareness.

Flow is a pleasant state of mind which most, if not

all, people experience at times. The saying “time

flies when you are having fun” characterises that

distortion of the perception of time which is

described by flow state.

It is important to recognise that the flow state is

very different from being so busy that we lose track

of time. Hyperfocus, a very different state of the

mind, can result in a person starting many tasks, but

completing very few of them. People in a

hyperfocused state actually appear unfocused and

may also experience a distortion of time.

Flow theory states that there must be three

conditions present in order to achieve flow state:

1. There must be an activity being undertaken

with a clear set of goals.

2. The task must provide immediate and

accurate feedback; this allows the person

undertaking the task to make adjustments

in a timely manner.

3. There must be balance between what the

person perceives as the challenges and the

perception of their own ability to meet

those challenges.

The diagram provided, first published by

Csikszentmihalyi in 1997, shows the correlation

between challenge and skill level. Where there is a

mismatch of skill to challenge (as perceived by the

individual), Csikszentmihalyi identified a

predictable emotional response. There has been

debate about the specifics of the emotional

responses when there is a mismatch of skill to

challenge. That being said, it remains a suitable

tool and framework for understanding the

correlation between skill and challenge.

The concept was extended to include “Flow

Channel”.ix A person performing a specific task at a

specific time may achieve a flow state. However, if

the challenges are increased without allowing the

person to learn skills to match this increase, then

flow state is lost. Similarly, as skill in a given task

increases over time and with repetition, if further

challenges are not matched, flow state may again

be lost.

18 Awakening the Creative Mind©

While the following example may not necessarily

describe flow state, it is a useful analogy to gain a

better understanding of the forces at play. Consider

a manager taking on a new position. The manager

takes on the new position and as they become

accustomed to the activities of their new role, their

skills increase. As their skills increase, they may

take on new and further challenges to maintain

their interest.

It is important to clearly understand the concept of

flow channel as it relates to creativity. The balance

between skill and challenge must be maintained or

creative output will deteriorate.

More specifically, if the perceived challenges

exceed the current perceived skill level, the result

will be poor performance (due to a need for more

training). If the perceived challenges are below the

current perceived skill level, the results may

likewise be poor performance (due to boredom).

As we have already discussed, our educational

system has provided us with conditioning limiting

our creative potential. When assessing your results,

particularly after applying the creative process, it is

important to undertake an accurate and complete

appraisal of the results. Did the results achieve the

objective? Were your skills correctly matched to

the task at hand? Were the expectations or

challenges you faced in line with your perception at

the commencement? The actual results are

important. Why the results were achieved is more

relevant to future outcomes.

Apathy is the emotional response associated with

low skill level and low challenge. Should you find

yourself experiencing this emotional response,

consider how the skill and challenge elements have

contributed to this. If the activity is still in progress,

be aware of this with a view to getting a better

result than if left unchecked. If you become aware

of this after completing the activity, you will still

need to objectively review your results. Keep in

mind that the mismatch of skill to challenge has

been a contributing factor toward the results that

you have achieved. In this way you can work

towards ensuring appropriate alignment for future

activities and projects.

Boredom is the emotional response to a situation

where challenges are perceived as low, and skill

levels high, illustrated by the phrase “I could do

this in my sleep.” When you are aware of this

response to the activity, ensure that this is also

considered when reviewing your results.

Performance may vary from poor to excellent -

poor performance because no effort was applied; or

excellent performance because “it was all too

easy”. Either way, the mismatch of skill to

challenge has affected the result. To achieve

significantly better results through the use of the

creative process, the skill level and the challenge

must be increased in alignment.

Anxiety may result when the perceived challenges

are very high and the skill level to perform the task

is low. The emotional response may vary from

uneasiness through to great distress. When this

occurs, examine the skill to challenge mix.

Additionally, take time to consider whether the

goals and objectives stated are clear, and whether

the feedback has been accurate and timely.

As you begin to implement the creative process in a

deliberate manner, you can use the concepts of flow

state and flow channel as a framework for assessing

your results. It is not enough to say that the result

met or did not meet the stated objective. To

maximise results when applying the creative

process, you will need to have greater

understanding of why a certain result occurred.

19 Awakening the Creative Mind©

In order to improve performance, you may need to

learn new skills, or have a greater awareness of the

skill to challenge ratio. This is also an intrinsic part

of the creative process. Accurately assessing the

results, including the why behind the result, is part

of the preparation for the application of the creative

process.

20 Awakening the Creative Mind©

Neuroplasticity

Until fairly recently, it has been a long held opinion

in the medical and scientific communities that the

brain is a static organ. That is, after a certain point

of development, the brain remains unchanged and

deteriorates with time. This belief has also formed

in society on the collective level.

Research on the brain that began in the 1970’s has

now expanded into the field of neuroplasticity,

which refers to the ability of the brain to change

and rewire itself over time. The neural pathways

and synapses (i.e. connections) in our brains change

as a result of both environmental and behavioural

influences.

Numerous studies have made use of MRI (magnetic

resonance imaging) and similar scans of the brain

structure in order to detect these changes in the

brain and by 2005, it had been

accepted that the brain has the

ability to change over time. The

results of a study published in

The Journal of Neuroscience in

2006x provided evidence that the

grey matter of student’s brains

increased significantly in a matter of months. The

research was undertaken during the months leading

up to an examination where the student’s study was

performed more frequently, consistently and with

greater intensity.

Research in the area of brain plasticity has included

testing a variety of different activities, including

brain changes following amputation of a limb or

body part; behavioural changes; study and learning;

and the practice of music, meditation and juggling.

Ongoing research is documenting that the brain is a

highly active organ, constantly in a state of change.

The concept of synaptic pruning can be described

as the brain’s removal of individual connections

within the brain that are no longer used, or no

longer considered necessary. Conversely, the brain

also adds connections where the synapses fire in

unison. The saying “neurons that fire together, wire

together” has developed as a convenient way of

referring to synaptic activity in this regard.

Over the course of our lives, our brains have

created wiring to achieve a specific set of goals.

One of the primary goals has been meeting our

needs through repetitive behaviours that seem to

meet those needs most efficiently.

The emphasis placed on logical and verbal

intelligences during the course of education has

wired our brains more strongly in this way.

Furthermore, the emphasis placed on convergent

rather than divergent thinking has wired our brain

to seek singular and standardised solutions rather

than multiple and varied solutions.

Our level of efficiency is quite high if we consider

Land and Jarman’s study of

creativity cited earlier. Between

the ages of five and ten, 68% of

children’s brains rewired such

that the testing found a decline in

creativity. Over the following five

years, this proportion increased to

86%.

The importance of this research into neuroplasticity

as it relates to creativity is threefold.

Firstly, we have scientific evidence that the brain

can and does rewire itself to operate in a different

way, and it does this very efficiently.

Secondly, through repeated and consistent

behaviour, we can effect this change ourselves in a

very short period of time. While it is not dependent

upon any outside force, the rewiring is impacted by

our interpretation of the environment.

And finally, this means that we can select any

activity, aptitude or intelligence that we would like

to develop. Given our intrinsic motivation and

Csikszentmihalyi’s work in the field of flow state,

coupled with Gardner’s theory of multiple

intelligences, it seems reasonable that we can

achieve results more quickly by focusing on those

“non-creative

behaviour is learned.”

George Land

21 Awakening the Creative Mind©

areas that we find more enjoyable and by

capitalising on our strengths.

Ask yourself the following questions:

Which aspects of your intelligences do you

wish to develop?

How are you able to ensure that your needs

(as described by Maslow) continue to be

met during the course of the changes that

you seek to undertake?

How will the people in your immediate

environment react to the changes that you

are seeking to make? How will you

respond to their reaction(s)?

The next section provides details of the application

of the creative process. Before reading on, go back

and review your answers written in the

introduction. Re-examine your motivation and

refresh your mind on why it is important to you to

do this. Next, review your response to the section

on Gardner’s multiple intelligences. Take time to

consider your natural aptitudes, i.e. those ways in

which your brain seems to have a natural tendency

to want to wire itself.

Environment and Self-Awareness

To maximise productivity and performance through

the creative process, we must be deliberate in our

application of the process. Our intention is to train

ourselves to develop a new way of thinking and

processing information, or more accurately to

unlearn the way we have been conditioned to

process information. As we are training the brain to

operate in a new way there will be some initial

resistance. To make the transition with the least

resistance, it is helpful to consider several elements

that will influence the rate of adoption of the

creative process and creative thinking.

Whether you are planning on applying the creative

process directly to your own work, training your

team in the use of the creative process, or seeking

to develop a more creative workplace culture,

environment is one critical aspect.

Environment

Several elements are critical when considering our

physical environment. To develop our creativity, it

is important to ensure that our needs are supported

(as discussed in the section regarding Maslow’s

hierarchy of needs). Your deliberate application of

the creative process may draw the attention of those

around you, so ensuring that we support our

psychological needs adequately is imperative to

allowing one’s creative expression to develop. This

is particularly true if you are choosing to develop

an area of intelligence other than Logical or

Linguistic.

Two other essential factors related to the physical

environment are purpose and order.

Creating a space with a single purpose ensures that

one can eliminate unnecessary distractions. By

creating such a space you can then be selective

about what elements you will bring into it. This is

critical to the preparation phase of the creative

process. Elimination of the “noise” in the

environment allows the brain to focus fully on the

task at hand and assist in putting aside any other

matters. It is important to recognise here that

’space’ may or may not be limited to an actual

physical area. Having a physical space dedicated to

the activity is important; however, ’space’ may be

extended to include digital space both in terms of

storage, or in terms of a virtual world.

Order is essential to creative expression and to your

development of the creative process. This may

sound counterintuitive as the stereotypical “artist”

can have the appearance of chaos.

However, nothing interferes with this creative flow

like frustration. Nothing creates frustration like

being unable to find that specific object or

information when you need it. Frustration creates

an unhealthy tension and if allowed to fester, it may

result in all manner of responses which hinder

expression and have a negative effect on the overall

results. Order is subjective. The level of order

required will vary from person to person.

Consequently, consider what level of order is

necessary for your own creative expression.

When developing creativity within a team, it is

important that the members discuss their own

personal needs regarding order. This needs to be

respectfully facilitated with a solution that is

satisfactory to all parties. Discussing this up front

can save a great deal of unnecessary tension later.

One other important connection to be made

between order and purpose is that of control. For

flow state to occur, there needs to be a high sense

of personal control. When working with a team it

may be helpful to establish a policy statement to

maintain boundaries. This ensures autonomy and

increases the opportunity for flow state to be

achieved.

Without this sense of control, flow state is difficult

to achieve and creative expression will be

hampered.

23 Awakening the Creative Mind©

Self-Awareness

To develop your ability in making use of the

creative process effectively, a degree of self-

awareness is required. Being able to recognise the

mental triggers that signify moving from one stage

to the next improves your performance with the

creative process. That being said, the development

and practiced use of the creative process will also

increase this self-awareness.

In the early stages of practice, there are two very

common responses that occur within the mind. It

may be helpful to consider these two responses as

the “objections” of the mind toward learning a new

way of thinking.

When applying the incubation phase of the creative

process (i.e. “dropping the subject”), a common

response of the mind is to continue to think about

it. This may take the form of internal dialogue, such

as saying “just one last note”, “just one more….”.

The reason behind this is that we have trained our

mind to continue to work on a task until it is

completed. This conditioning has been with us

throughout school, life and in the workplace.

It is easy to see why the belief that continuing work

will achieve results faster. This logic is sound for

any manual task. Everything that we do gets done

because we apply effort and take action. There is a

direct correlation between time spent on the task

and how soon the task is completed. However, for

creative and intellectual tasks, there is an

opportunity to gain better results faster. Recall the

difference in brain processing power between the

conscious and subconscious mind. Consciously we

can process around 156 bits of information per

second, whereas subconsciously around 40 million!

To put this in perspective, a task that would take

the subconscious mind one second to perform

would take the conscious mind around two days

and 23 hours.

The next common “objection” raised by the

conscious mind in the incubation phase is that we

are being lazy, procrastinating or avoiding the task.

Recognising your own state of mind is critical. Is

this “objection” a statement of fact, or is it an

attempt to continue working as I have been

conditioned to do?

This resistance may occur as self-talk, or be stated

or implied by those around you. Regardless of the

source, it is important to have measures in place to

know where you are in the process and why you are

there.

In the following section, I have included some

structural suggestions for each stage of the creative

process. These will be helpful in the early stages of

learning the process and I encourage you to make

use of them as you develop your practice of the

creative process.

Application of the process

When applying the creative process in any area of

life, we will follow the core three steps with an

extra step added for the purpose of continuous

improvement:

1. Preparation

2. Incubation

3. Illumination

4. Evaluation

The structure required within and between each

step establishes the new mental conditioning to

achieve best results and maximum productivity.

The more diligently you apply the process, the

better the results will be and the quicker you will

achieve them. Rushing the process will be both

counterproductive to quality and the slow the rate

at which you achieve results.

Preparation The preparation phase is priming the mind. It is

giving direction to the creative process, and so it is

extremely important to prepare well. By way of

analogy, it is akin to setting the destination address

into your GPS before you start your trip. Without a

clear destination, any road will do; however, you

will most likely not arrive at your desired

destination. From the outset, take the time to

clearly define your objective. The creative mind

comes into its own when it has to unearth the real

question. When the question is just as elusive as the

answer, these are the challenges which will show

the maximum value of the creative mind.

I have found that working with pen and paper -

writing and rewriting the objective, and rewording

the question or statement in different ways - is

extremely effective. As you do this, it is helpful to

ask probing question such as:

“What is really at the heart of this matter?”

“How can I best describe what it is that I

am after?”

“Does this best describe what I am after?

Can I describe it better?”

Once you are happy with the objective statement it

is time to consider what data, information or

materials will be needed. While going through the

process of defining the objective as described

above, several ideas will most likely come to mind.

Pull these materials together.

A common impulse at this stage of the process is to

begin analysis, which is a consequence of the

conditioning that “the sooner we start, the sooner

we finish”.

In learning the new process, I recommend that you

resist the urge to begin analysis at this point.

Instead, ask questions such as:

“What other information do I need?”

“What other information might I need?”

“Looking at this from a completely

different perspective, what could be some

different information that would be

useful?”

Continue asking these types of questions until you

can no longer think of any other viable resources.

Once you are satisfied that you have all of the data,

information and materials needed, again resist the

urge to start analysing. Rather, return to the

objective that you settled on and question it:

“Is this objective really going to achieve

the results that I am after?”

“What is the result that I am after?”

“How can I rewrite this objective to be

more targeted?”

“What may I have overlooked before that I

am now aware of that may change my

direction?”

This process trains the mind to be more flexible and

helps to eliminate egocentric beliefs about our

25 Awakening the Creative Mind©

ability to understand something the first time we

encounter it. By further questioning at this early

stage, we reduce or remove any attachment to the

specific objective and subsequently free our mind

from becoming locked into a path that may not

serve the overall purpose.

Once you are satisfied that you have a sound

objective and the necessary materials, it is time to

set the parameters for the work. Establish a time

frame for how long you will work. Depending on

the size of the task, it is suggested that 50 minutes

is a period of time that most people can maintain

heightened focus without distraction. The more

engaging a task, the longer the period you may

choose to set. Regardless of the level of

engagement, it is important to set the upper limit of

time and stick to it.

Incubation Before moving to the incubation

period, there are two important

tasks that must be performed.

Firstly, you need to refocus on the

overall objective. Re-read, or

better yet, re-write your objective

statement. Based on your progress

with the task , you now need to

establish specific expectations for

what you want to achieve when you return to the

task.

These expectations will set the creative mind to

work on the specific direction decided upon. Up to

this point, you have provided your mind with a lot

of information and you are now telling it what you

want done with this information in the interim.

This may come in the form of:

“When I return, I will be able to see the

theme which will highlight the most critical

factor”

“When I return, I will be able to complete

the presentation with a clear and easily

understood message.”

“When I return, I will know what other

information I need to analyse to get the

result I am after.”

“When I return, I will have a completely

clear head and be better able to continue

work on this task for another two hours.”

Setting the expectation is an important step. The

expectation must be challenging enough, without

being overly demanding. As you are teaching your

mind to operate differently, give it achievable tasks

without it being too easy. As you practice the

process, you will begin to make larger requests of

your mind.

Once the expectations have been set, it is critical to

drop the subject completely. Many people focus on

the length of time the incubation period takes;

however, there is evidence to suggest that the

results of the incubation phase are more closely

linked to how well the mind is distracted rather

than the actual duration of the time. With practice I

have found that the length of time away from a task

can be reduced significantly. To

achieve this, one must focus on

distracting the mind as quickly

and as completely as possible. To

begin with, I suggest a minimum

period of 20 minutes. For most

people, during the first five to ten

minutes the mind wants to

continue to work on the subject

through internal dialogue. With practice, the mind

learns to disengage from the task quicker.

When selecting a diversion during the incubation

phase, there are two important factors to consider.

Select an activity that can be carried out in most

environments (such as getting a cup of tea). By

making the activity easily transportable and one

that you can perform anywhere, the brain comes to

learn that this specific task means “drop the

subject”. The benefit of repeating the activity with

the intention of “dropping the subject” is having

your brain more quickly learn to do so.

An important note regarding this is that if you have

spent years getting a cup of tea and returning to

your desk to continue working, then you have

already established neural connections between a

“Questions provide the

key to unlocking our

unlimited potential.”

Anthony Robbins

26 Awakening the Creative Mind©

cup of tea and continuing work. If this is the case,

choosing an alternate activity will be more helpful.

Secondly, performing an engaging task which

requires a significant amount of your conscious

attention will assist in dropping the subject more

quickly. For example, juggling requires substantial

mental attention to maintain smooth movement of

the balls through the air. If other thoughts come to

mind, this will result in dropping one or more of the

balls. However, it may not be socially acceptable to

start juggling in a professional work environment.

Some workplace examples that may be considered

include going for a short walk as a means of

distraction. While you have moved away from your

work area, your mind may continue to “work” on

the task and so “dropping the subject” has not been

achieved. Choosing a different form of exercise

with more intensity may assist in distracting the

mind. The challenge with this is

that it is not replicable several

times during the day and may not

be possible in certain

environments.

Talking to a work colleague is

another means of distraction. This

takes you away from your work

area and engages the mind on a

different topic. It is, however, dependent on a co-

worker being available for conversation and there is

also the matter of how this may be perceived in the

workplace.

There are several other techniques and activities

that can be used to increase the rate of distraction

and so reduce the overall length of time required.

These activities, when practiced diligently, have

numerous additional benefits. For the purpose of

their use with the creative process they are

exercises for the brain to respond in a certain way.

These include the mental exercises of Centring,

Attending, Concentration and Mindfullness.xi

Illumination Regardless of the method of distraction you have

chosen, complete the following three tasks once

you return to work:

1. Review your objective;

2. Review the expectation which you set prior

to the incubation phase; and

3. Resume work.

It is important to eliminate all distractions when

you return to your work after the incubation period.

This may be challenging if you have received an

urgent task to perform during the incubation phase.

For the purpose of retraining the brain it is

important to return to focussed work on the task as

quickly and with the least distraction possible.

The response you are training from your brain is

that when you follow this process (directly after

you return from the incubation activity), the brain

must produce a result. You are establishing a new

routine for it.

By allowing other activities to take priority over the

task at hand, the brain is learning

what I call “lazy response habits”.

We are seeking to sharpen and

hone our brain to produce the best

possible outcome on command. If

this is a priority, then you need to

follow up in a consistent manner

on the expectations that you set as

soon as you returned to work.

Since we are training the brain for a specific

response, I would not recommend using a meeting

as a “drop the subject” activity. While the meeting

may provide the necessary distraction and may

work well in terms of time management, meetings

have their drawbacks. In the early stages of

learning this process, if an urgent task is assigned

to you during the course of the meeting and you

attend to this directly afterwards, what your brain is

learning is that “it’s not important to respond to

these expectations.”

When you first begin to practice this new structured

approach to working, you may find that a “light

bulb moment” may not come immediately, or it

may be dim. Whatever form it takes, pay attention

to that light bulb moment when it occurs and notice

what it “feels” like. Each of us will have a unique

experience of the light bulb moment and so it is

“Consistent application

of any process will

produce consistent

results.”

27 Awakening the Creative Mind©

essential to focus on what it is for you. By paying

attention to this, you further train the brain that this

“event” is important.

If you find that the light bulb moment is not present

in the early stages, it is important not to judge

either yourself or the process too harshly. In

addition to practicing this new process, one which

you may not have used consciously before,

consider the following:

What was your level of engagement with

the actual task?

Did you find it intrinsically motivating?

When you were working, were you in the

’flow’?

Were you feeling some other emotional

response due to a mismatch of skills and

challenge?

Does the task that you selected link to one

of your natural aptitudes (as discussed in

the section of Gardner’s multiple

intelligences)?

Evaluation Once the activity has been completed, it is helpful

to reflect on your experience with the creative

process. This need not be a prolonged reflection

period. In fact, a brief, honest appraisal is often

more helpful than a lengthy, laboured one.

Some questions you may consider asking include:

What aspects of the process did I find the

most helpful?

What worked really well?

What didn’t work so well for me? What

affected my performance in that area?

Did I assess the overall objective well from

the outset?

Did I meet the objective that I set?

Was my mind resistant to the new process?

If so, at what point(s)? What can I do

differently next time to reduce this

resistance?

28 Awakening the Creative Mind©

Conclusion

What you have been provided with is a framework.

This framework will allow you to better understand

your creative mind, and see the creative process in

action in yourself and in those around you.

No doubt you can already see that you apply this

process in many areas of your life. To produce

better results more quickly and effectively requires

the deliberate application of the process. The

process must be applied in a structured way

consistently, and when this occurs, consistent

results will follow.

Structuring your work by making use of active

questioning and targeting those questions to the

three phases of Preparation, Incubation and

Illumination will train your brain to quickly achieve

the best possible results.

Once the mind has been trained in the new process,

you will be able to set greater expectations. You

will ask more challenging questions and receive

more insightful answers. You will increase your

focus and filter out the “noise” more effectively. By

filtering more effectively, you will also increase

your productivity and make better decisions around

the use of your time and other resources.

The process I have shared does not go into the

numerous techniques of brainstorming, or

divergent, parallel or lateral thinking methods. All

of these methods are effective in producing results.

These activities also help to develop more creative

thinking patterns and are extremely useful tools

that I use regularly.

In the business world, it is becoming imperative to

have focussed creative thinking sessions and to

actively make use of the creative process as

frequently as possible.

By combining the use of divergent thinking with

daily practice of the creative process, you will,

quite literally, transform your mind.

29 Awakening the Creative Mind©

Biography

For the past 14 years, Jonathan Grigg has worked in the fields of change

management, continuous improvement and cultural transformation.

He has completed postgraduate studies in Managerial Self-Development and

is the former NSW President of the Supply Chain and Logistics Association

of Australia, based in Sydney, NSW.

Jonathan works with individuals and teams, using his skills and expertise to

coach them to high levels of performance and productivity. He has worked

with numerous businesses on all levels - local, national, multinational;

small, medium and large; and public, private and not-for-profit

organisations.

Jonathan has a real and enduring passion for personal and professional

development which has led to his studies of creativity and creative

development. He is a lifelong student of many disciplines and he actively

practices the development of his own creativity in all areas of his

professional and personal life.

For more resources and self-development tools visit

www.gatewaypersonaldevelopment.com

Awakening the

Creative Mind©

Increasing productivity,

effectiveness and creative

solutions.

Produce better results, faster.

By Jonathan Grigg

30 Awakening the Creative Mind©

References

i Helmholtz, H. v. L. (1896). “Vortrage und reden” (5th Auffl.). Friederich Vieweg und Sohn. ii Betty Philips, “Why Settle for less than Happiness”, http://www.bettyphillipspsychology.com/id127.html

iii

Csikszentmihalyi, M. (1988), "The flow experience and its significance for human psychology", in Csikszentmihalyi,

M., Optimal experience: psychological studies of flow in consciousness, Cambridge, UK: Cambridge University Press,

pp. 15–35, ISBN 978-0-521-43809-4 iv Young, James Webb (reprint 2003), “A Technique for Producing Ideas”, McGraw-Hill, ISBN 978-0-070141094-6

v Land, George & Jarmin Beth (1992), “Breakpoint and Beyond: Mastering the Future Today, HarperCollins Publishers,

ISBN 978-0-96266052-8 vi Maslow, A.H. (1943).”A theory of human motivation”. Psychological Review, 50(4), 370–96

vii Gardner, (1983) “Frames of the Mind. A Theory of Multiple Intelligences.” Basic Books

viii Csikszentmihalyi, M. (1988), "The flow experience and its significance for human psychology", in Csikszentmihalyi,

M., Optimal experience: psychological studies of flow in consciousness, Cambridge, UK: Cambridge University Press,

pp. 15–35, ISBN 978-0-521-43809-4 ix

Mihaly Csikszentmihalyi (1990). Flow: The Psychology of Optimal Experience. Harper & Row. ISBN 978-0-06-

016253-5 x Draganski et al. "Temporal and Spatial Dynamics of Brain Structure Changes during Extensive Learning”, The Journal of

Neuroscience, 7 June 2006, 26(23):6314-6317 xi

Rapgay and Abdaia, (1999), “Tibetan Wisdom for Western Life”, Beyond Words Publishing Inc, ISBN 1-58270-013-3

List of Diagrams

Page 12, Diagram of Maslow's hierarchy of needs, J. Finkelstein

Page 17, Diagram of Challenge to Skill Matrix, Wikipedia.org

Page 18, Diagram of Flow Channel, M. Csikszentmihalyi