Michael Michalko is one of the most highly acclaimed creativity experts in the world and author of the best sellers Thinkertoys (A Handbook of Business Creativity), ThinkPak (A Brainstorming Card Deck), Creative Thinkering (Putting your Imagination to Work), and Cracking Creativity (The Secrets Of Creative Genius). As an officer in the United States Army, Michael organized a team of NATO intelligence specialists and international academics in Frankfurt, Germany, to research, collect, and categorize all known inventive-thinking methods. His international team applied those methods to various NATO military, political, and social problems and in doing so it produced a variety of breakthrough ideas and creative solutions to new and old problems. After leaving the military, Michael facilitated CIA think tanks using his creative thinking techniques. Michael later applied these creative-thinking techniques to problems in the corporate world with outstanding successes. Michael has provided keynote speeches, workshops, and seminars on fostering creative thinking for clients who range from Fortune 500 corporations, such as DuPont, Kellogg’s, General Electric, Kodak, Microsoft, Exxon, General Motors, Ford, USA, AT&T, Wal-Mart, Gillette, and Hallmark, to associations and governmental agencies. In addition to his work in the United States, Michael has worked with clients in countries around the world.
Here is an excerpt from my interview of him. To read the complete interview, please click here.
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Morris: Before discussing any of your books, a few general questions. First, who has had the greatest influence on your personal growth? How so?
Michalko: My mother was my greatest influence because she taught me by example that your life and happiness are determined by what you choose to or refuse to do.
We do not choose to be born. We do not choose our parents. We do not choose our historical epoch, or the country of our birth, or the immediate circumstances of our upbringing. We do not, most of us, choose to die; nor do we choose the time or conditions of our death. But within all this realm of choicelessness, we do choose how we shall live: with purpose or adrift, with joy or with joylessness, with hope or with despair, with humor or with sadness, with a positive outlook or a negative outlook, with pride or with shame, with inspiration or with defeat and with honor or with dishonor. We decide that what makes us significant or insignificant. We decide to be creative or to be indifferent. No matter how indifferent the universe may be to our choices and decisions, these choices and decisions are ours to make. We decide. We choose. In the end, the meaning of our own life is decided by what we choose to do or what we refuse to do. And as we decide and choose, so are our destinies formed.
Morris: The great impact on your professional development? How so?
Michalko: While in the military I observed that the more an expert one became in an area of military specialization, the less creative and innovative that person became. The paradox is that people who know more, see less; and the people who know less, see more. Consequently, the majority of the generals had a fixed mindset about what is possible and what is not. The creative and innovative solutions to military problem came from the youngest noncoms and officers who still had open minds.
I discovered the same paradox in civilian life. An example of this is when Apple Computer Inc. founder, Steve Jobs, attempted, without success, to get Atari and Hewlett-Packard interested in his and Steve Wozniak’s personal computer. As Steve recounts, “So we went to Atari and said, ‘Hey, we’ve got this amazing thing, even built with some of your parts, and what do you think about funding us? Or we’ll give it to you. We just want to do it. Pay our salary; we’ll come work for you.’ And their experts laughed and said, ‘No.’ So then we went to Hewlett-Packard, and they said, ‘Hey, we don’t need you. You haven’t gotten through college yet.”
It seems that once a person has formed an expectation concerning the subject being observed–this influences future perceptions of the subject. Ken Olson, president, chairman and founder of Digital Equipment Corp., thought the idea of a personal computer absurd, as he said, “there is no reason anyone would want a computer in their home.” Robert Goddard, the father of modern rocketry, was ridiculed by every scientist for his revolutionary liquid-fueled rockets. Even the New York Times chimed in with an editorial in 1921 by scientists who claimed that Goddard lacked even the basic knowledge ladled out daily in high school science classes. Pierrre Pachet, a renowned physiology professor and expert, declared, “Louis Pasteur’s theory of germs is ridiculous fiction.”
If we experience any strain in imagining a possibility, we quickly conclude it’s impossible. This principle also helps explain why evolutionary change often goes unnoticed by the experts. The greater the commitment of the expert to their established view, the more difficult it is for the expert to do anything more than to continue repeating their established view. It also explains the phenomenon of a beginner who comes up with the breakthrough insight or idea that was overlooked by the experts who worked on the same problem for years.
Morris: Years ago, was there a turning point (if not an epiphany) that set you on the career course you continue to follow? Please explain.
Michalko: The realization that most educated people have a fixed mindset that encourages robotic thinking and determines a person’s outlook and behavior. Think of the fixed mindset shaped like an upside down funnel. At the wide bottom, there is a wide variety of different experiences. At the top, there is the narrow opening which represents a fixed mindset that superimposes itself on all the experiences. Once people with a fixed mindset have settled on a perspective, they close off all other lines of thought. Whereas, a creative thinker’s mind is shaped like a right side up funnel with the narrow opening over one experience. At the wide top there is a wide variety of different ways to see and think about the one experience. This represents a creative thinker’s growth mindset.
Imagine a mud puddle waking up one morning and thinking, “This is an interesting world. I find myself in this hole and I find that it fits me perfectly. In fact, it fits me so well, it must have been made to have me in it. Everything is fine and there is no need for me to worry about changing anything.” Yet every day as the sun rises in the sky and the air heats up, the puddle gets smaller and smaller. Yet the puddle frantically hangs on to the notion that everything’s going to be all right, because the puddle believes the world is what it is and was meant to have him in it. The moment he disappears catches him rather by surprise.
People with fixed mindsets are like the mud puddle. They were taught by authority figures that their genes, family, education and environment have determined their destiny, and they, like the atom, just are. Many of them were taught that they are not creative. Consequently, they believe they are a certain kind of person and there is not much they can do to change that. They might be able change some small things but the important part of who they are can’t be changed.
It was this realization that encouraged me to research, write and teach the importance of understanding these cognitive mindsets, how they influence us and how we can easily change the dynamics of a mindset and change the way we think and see things.
Morris: To what extent has your formal education been invaluable to what you have accomplished in life thus far?
Michalko: What I learned from observing and listening to academics in college was their curious tendency to assimilate new information into their pre-existing views. Their mental image of the established view interferes with their perception and understanding of new ideas and concepts. In the case of real life, physicists could not see Einstein’s theory of relativity because of their established, accepted view. For years, they tried to incorporate his view into the established view without success.
Experts always try to assimilate new insights, ideas and concepts into their view. What happens in real life is, despite ambiguous stimuli, people form some sort of tentative hypothesis about what they see. The longer they are exposed to this hypothesis, the greater confidence they develop in this initial and perhaps erroneous impression, so the greater the impact this initial hypothesis has on subsequent perceptions.
Suppose an expert has an established theory about the danger of boxes and their effect on human life and the environment. The theory is that boxes might be harmful and the use of boxes should be regulated. Now, suppose that I leave a box on the floor, and my wife trips on it, falling against my son, who is carrying a carton of eggs, which then fall and break. The expert’s approach to an event like this would be that the best way to prevent the breakage of eggs would be to outlaw leaving boxes on the floor. As silly as this example is, it is analogous to what is happening in the world of global warming. If you survey the history of science, it is apparent that most individuals who have created radical innovations did not do so simply because they knew more than others. One of the most important experiences Noble laureate, Richard Feynman, had in his life was reading a copy of James Watson’s typescript of what was to become his famous book, The Double Helix, about his discovery, together with Francis Crick, of the structure of DNA. Feynman had become unproductive and began to believe he had run out of ideas. The discovery Feynman made was that Watson had been involved in making such a fundamental advance in science, and yet he had been completely out of touch with what everybody else in his field was doing.
As told in Watson’s classic memoir, The Double Helix, it was a tale of boundless ambition, impatience with authority and disdain, if not contempt, for received opinion. “A goodly number of scientists,” Watson explained, “are not only narrow-minded and dull but also just stupid.” Feynman wrote one word, in capitals: DISREGARD on his notepad when he read that. This word became his motto. That, he said, was the whole point. That was what he had forgotten, and why he had been making so little progress. The way for thinkers like himself to make a breakthrough was to be ignorant of what everybody else was doing and make their own interpretations and guesses.
So Feynman “stopped trying to keep up with what others were doing and went back to his roots, comparing experiment with theory, making guesses that were all his own.” Thus he became creative again, as he had been when he had just been working things out for himself, before becoming a famous physicist in academia. While this is an important lesson for science, it is a supreme lesson for any discipline where “current knowledge” can be dominated by theories that are simply incoherent.
Make your own interpretations of your experiences to shape your own beliefs and concepts about your world. This is the lesson Feynman called the most important of his life. This is the lesson I learned during my college years.
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To read the complete interview, please click here.
Michael cordially invites you to check out the resources at these websites:
Psychology Today Blog: Creative Thinkering
Facebook Fan Page
Here is an excerpt from an article co-authored by Teresa M. Amabile and Steven J. Kramer that appears in the May 2011 issue of Harvard Business Review.
What is the best way to drive innovative work inside organizations?
Important clues hide in the stories of world-renowned creators. It turns out that ordinary scientists, marketers, programmers, and other unsung knowledge workers, whose jobs require creative productivity every day, have more in common with famous innovators than most managers realize. The workday events that ignite their emotions, fuel their motivation, and trigger their perceptions are fundamentally the same.
The Double Helix, James Watson’s 1968 memoir about discovering the structure of DNA, describes the roller coaster of emotions he and Francis Crick experienced through the progress and setbacks of the work that eventually earned them the Nobel Prize. After the excitement of their first attempt to build a DNA model, Watson and Crick noticed some serious flaws. According to Watson, “Our first minutes with the models…were not joyous.” Later that evening, “a shape began to emerge which brought back our spirits.” But when they showed their “breakthrough” to colleagues, they found that their model would not work. Dark days of doubt and ebbing motivation followed. When the duo finally had their bona fide breakthrough, and their colleagues found no fault with it, Watson wrote, “My morale skyrocketed, for I suspected that we now had the answer to the riddle.” Watson and Crick were so driven by this success that they practically lived in the lab, trying to complete the work.
Throughout these episodes, Watson and Crick’s progress—or lack thereof—ruled their reactions. In our recent research on creative work inside businesses, we stumbled upon a remarkably similar phenomenon. Through exhaustive analysis of diaries kept by knowledge workers, we discovered the progress principle: Of all the things that can boost emotions, motivation, and perceptions during a workday, the single most important is making progress in meaningful work. And the more frequently people experience that sense of progress, the more likely they are to be creatively productive in the long run. Whether they are trying to solve a major scientific mystery or simply produce a high-quality product or service, everyday progress—even a small win—can make all the difference in how they feel and perform.
The power of progress is fundamental to human nature, but few managers understand it or know how to leverage progress to boost motivation. In fact, work motivation has been a subject of long-standing debate. In a survey asking about the keys to motivating workers, we found that some managers ranked recognition for good work as most important, while others put more stock in tangible incentives. Some focused on the value of interpersonal support, while still others thought clear goals were the answer. Interestingly, very few of our surveyed managers ranked progress first. (See the sidebar “A Surprise for Managers.”)
A Surprise for Managers
If you are a manager, the progress principle holds clear implications for where to focus your efforts. It suggests that you have more influence than you may realize over employees’ well-being, motivation, and creative output. Knowing what serves to catalyze and nourish progress—and what does the opposite—turns out to be the key to effectively managing people and their work.
In this article, we share what we have learned about the power of progress and how managers can leverage it. We spell out how a focus on progress translates into concrete managerial actions and provide a checklist to help make such behaviors habitual. But to clarify why those actions are so potent, we first describe our research and what the knowledge workers’ diaries revealed about their inner work lives.
Inner Work Life and Performance
For nearly 15 years, we have been studying the psychological experiences and the performance of people doing complex work inside organizations. Early on, we realized that a central driver of creative, productive performance was the quality of a person’s inner work life—the mix of emotions, motivations, and perceptions over the course of a workday. How happy workers feel; how motivated they are by an intrinsic interest in the work; how positively they view their organization, their management, their team, their work, and themselves—all these combine either to push them to higher levels of achievement or to drag them down.
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Teresa M. Amabile (email@example.com) is the Edsel Bryant Ford Professor of Business Administration at Harvard Business School and the author of Creativity in Context (Westview Press, 1996).
Steven J. Kramer (firstname.lastname@example.org) is an independent researcher, writer, and consultant in Wayland, Massachusetts. He is a coauthor of “Creativity Under the Gun” (HBR August 2002) and “Inner Work Life” (HBR May 2007). Their book The Progress Principle: Using Small Wins to Ignite Joy, Engagement, and Creativity at Work is forthcoming from Harvard Business Review Press.