Max y yo cuando desarrollo un cuestionario sobre Creatividad para la entrevista de Edite Amorin de Thinking Big y escuchamos algo de música barroca en esta tarde de viernes — en Soulsight. Design Thinking.
Acercar la Arquitectura, el Diseño a los niños, entenderla desde edad temprana igual que se entiende la ortografía.
Del cambio al Cambio.
Estamos asistiendo a un cambio eminente, a un cambio de formas y de fondos, a una transformación, un cambio de perspectivas, de puntos de partidas, un cambio de era. Están los que se resisten y están los que se han “apuntado al cambio”… pero, hablando de estos últimos, ¿realmente lo estamos haciendo?, ¿en realidad estamos siendo parte del cambio siendo el cambio mismo en el cambio?
“La gran tentación de un cerebro miedoso y perezoso que quiere amarrar todas las respuestas con facilidad es diseñar un mundo en blanco y negro donde los buenos moran de un lado y los malos de otro”. Elsa Punset.

Cambiar una cosa por otra, cambiar de ropa, cambiar de trabajo, cambiar de discurso, cambiar de ciudad, son cambios que siempre, no solo vienen bien sino que marcan o identifican el cambio de una determinada etapa de nuestra vida, así sea el fin de un curso o el comienzo del día. ¿Cambiar a mirar las cosas? ¿Y cambiar la mirada? Cambiar la forma de mirar las cosas, ¿qué supondría?
“El propio hecho de la observación altera al observador ya lo observado”. Heisenberg.
Cuando uno observa no hace nada más que observar y permitir que todo el sistema cognitivo realice su función. Según la R.A.E. es examinar atentamente, advertir, reparar. Cuando uno observa, investiga con diligencia y cuidado de algo.
El primer paso del método científico de Francis Bacon es la Observación: Observar es aplicar atentamente los sentidos a un objeto o a un fenómeno, para estudiarlos tal cual se presentan en realidad, puede ser ocasional o causalmente.
Observar es poner atención, es darse cuenta, es tomar la realidad tal y como es, sin intervención de nuestros juicios y prejuicios, que son solo falacias inútiles. Observar es entonces tomar la realidad para hacer algo con ella.
Vemos, miramos y nos convertimos en agentes repetidores de palabras, de conceptos, de modas, de métodos, de discursos.
¿Sabemos realmente lo que repetimos? ¿Cuál es nuestra intervención en todo este mar de sucesos “nuevos”? ¿Nuestros hábitos realmente han cambiado? Nuestra manera de hablar, nuestro punto de partida, nuestra actitud… ¿o sí que hemos cambiado nuestra forma de ver las cosas más allá de los discursos de la actualidad? ¿Cuál es mi propuesta de cambio en este cambio? ¿Estoy observando o miro a través de los ojos de otro? Sigo comenzando mis charlas con “yo creo / yo pienso” o por el contrario iniciamos la frase con “he observado / he experimentado”? ¿No sería más convincente de ser así y acorde con lo que solemos predicar?
Repetir una metodología sin haberla aprehendido previamente es igual de dañino que repetir las tablas de multiplicar o las capitales del mundo 100 veces al día para memorizarlo.
“Lo que se necesita mejorar no es el Universo, si no su modo de mirarlo” - Lama Dirhavansa
Un pensamiento creativo integra –no juzga–, acomoda –no separa–, reconcilia –no disipa–, ordena. Un pensamiento de diseño no determina los pasos que dar, según la escuela, para dar con la ansiada idea nueva de un servicio novedoso, sino que invita a ver las cosas desde otro punto y luego otro punto, u otro punto de vista para experimentar la perspectiva desde los puntos más variados y posibles. Un pensamiento de diseño propone una experiencia poyética1 absoluta.
¿Cuántas veces alguien te ha dicho; “desde que estoy/trabajo contigo veo las cosas diferentes, de diferente manera”? ¿Estamos involucrados en este cambio de formas, figuras y fondos o solo estamos memorizando formulas sin comprometernos a transformarnos?
Si reabrimos el cerebro a muchas otras posibilidades y desaprendemos y nos desprendemos de creencias y juicios y métodos repetitivos, observaremos otros colores, personas nuevas en las mismas personas, necesidades evidentes, nuevas figuras en el mismo fondo, una realidad en la que ya podremos ahora sí ingerir, intervenir, proponer diseñar y, en consecuencia, mejorar.
- Artículo publicado en la revista Yorokobu en su número de Abril 2011.-
1.-El término poyética hace referencia a una ciencia general de la creación. El método poyético utiliza a la imaginación como medio.
2.- Fotografía tomada en Puerta del Sol, Madrid 20 Marzo 2011.
¿Y ahora qué? o De aquí para allá y vuelta a empezar
Hoy se inaugura el Master de Creatividad - Comunicación y Dirección de Arte ” Del Presente Imperfecto al futuro perfecto” de Mr Marcel School y el primer taller me toca a mi.. aunque después de leer las cartas de motivación de los alumnos no se quien va a motivar a quien y quien va a enseñar a quien porque solo al leerlas las lecciones ya me las dieron ellos a mi ……
Lugar: Mr Marcel School
Titulo: “¿Y ahora qué? o De aquí para allá y vuelta a empezar”
De la dificultad de comenzar y las horas mirando el techo, de la capacidad de observar lo que otros no miran y la obsesión de continuar una vez trazada la primera línea. La importancia de la proporcion y la armonía en cualquier elemento, imagen o entorno. De la naturaleza del proceso creativo y de su aplicación e implicación en cualquier campo más allá de la hoja en blanco. Del Diseño como herramienta estratégica más allá de un fin estético / funcional. De la fascinación de las imagenes, de los elementos y de nuestra facilidad para integrarlos. De la Revoución Industrial a la Era PostIndustrial del S. XXI. De la contemplación a la experiencia. Del hemisferio izquierdo del cerebro al derecho y viceversa o la milésima de segundo que te muestra la belleza de la vida en cada descubrimiento de esos que a veces se dan y que son los que hacen que insistamos en esto de la “Creatividad”. Creatividad Aplicada: su naturaleza, su desarrollo, su practica, su fin.
Taller Creatividad Aplicada
17.30 a 21.30 pm
Teoría: Un poco de historia, un poco de neurociencia, un poco de biología, un poco de antropología, un poco de educación y economía.
Practica: Un mucho de dinámicas individuales y en equipo.
The Habits of Creative People by Leo Babauta
The No. 1 Creative Habit
In a word: solitude.
Creativity flourishes in solitude. With quietness, you can hear your thoughts, you can reach deep within yourself, and you can focus. Of course, there are lots of ways to find this solitude.
Here are a few different ways of creative people I’ve talked to or researched on:
Felicia Day—actress, known for her work on Dr. Horrible’s Sing-along Blog, Buffy the Vampire Slayer, and The Guild.
Day says makes “sure to be creative first thing in the morning, before doing anything for the outside world, really sets the day up for me. It makes it feel that creating is my job, not answering emails.”
Ali Edwards—an author, designer, and leading authority on scrapbooking.
One of her top habits wasn’t exactly solitude, but is related: “Do nothing. I have a habit of welcoming time away from my creative work. For me this is serious life-recharging time where my only responsibility is to just be Mom & Wife & Me. Doing nothing has a way of synthesizing what is really important in my life and in my work, and inspires me beyond measure. When I come back to work I am better equipped to weed out the non-essential stuff and focus on the things I most want to express creatively.”
Chase Jarvis—an award-winning photographer.
“Creativity sometimes washes over me during times of intense focus and craziness of work, but more often I get whacked by the creative stick when I’ve got time in my schedule. And since my schedule is a crazy one and almost always fills up, I tend to carve out little retreats for myself. I get some good thinking and re-charge time during vacations, or on airplanes, but the retreats are more focused on thinking about creative problems that I’m wanting to solve. That’s why I intentionally carve time out. I make room for creativity. Intentionally. The best example of what I mean by a retreat is a weekend at my family’s cabin. It’s a 90-minute drive from my house on the coast. There are few distractions. Just a rocky beach and a cabin from the 60s with wood paneling and shag carpet. I go for walks, hikes, and naps. I read. I did get an internet signal put in there to stay connected if I need it. But the gist is—quiet. Let there be space for creativity to fill your brain,” he says.
The Greats on Solitude
Of course, many other creative people have believed in the habit of solitude.
Wolfgang Amadeus Mozart—prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music. He is among the most enduringly popular of classical composers.
Mozart says: “When I am, as it were, completely myself, entirely alone, and of good cheer–say, traveling in a carriage or walking after a good meal or during the night when I cannot sleep–it is on such occasions that my ideas flow best and most abundantly.”
Albert Einstein—theoretical physicist, philosopher and author who is widely regarded as one of the most influential and best known scientists and intellectuals of all time. He is often regarded as the father of modern physics.
Einstein says: “Although I have a regular work schedule, I take time to go for long walks on the beach so that I can listen to what is going on inside my head. If my work isn’t going well, I lie down in the middle of a workday and gaze at the ceiling while I listen and visualize what goes on in my imagination.”
Franz Kafka—one of the most influential writers of the twentieth century. Novelist and writer of short stories whose works came to be regarded as one of the major achievements of twentieth century literature.
Kafka says: “You need not leave your room. Remain sitting at your table and listen. You need not even listen, simply wait, just learn to become quiet, and still, and solitary. The world will freely offer itself to you to be unmasked. It has no choice; it will roll in ecstasy at your feet.”
Pablo Picasso—Spanish painter best known for co-founding the Cubist movement and for the wide variety of styles embodied in his work. His revolutionary artistic accomplishments brought him universal renown and immense fortunes throughout his life, making him one of the best-known figures in twentieth century art.
Picasso says: “Without great solitude no serious work is possible.”
The best art is created in solitude, for good reason: it’s only when we are alone that we can reach into ourselves and find truth, beauty, and soul. Some of the most famous philosophers took daily walks, and it was on these walks that they found their deepest thoughts. My best writing, and in fact the best of anything I’ve done, was created in solitude.
A few of the benefits that I’ve found that I gain from solitude are:
- time for thoughts
- getting to know ourselves better
- facing our demons, and dealing with them
- space to create
- space to unwind, and find peace
- time to reflect on what we’ve done, and learn from it
- isolation from the influences of other helps us to find our own voice
- quietness helps us to appreciate the smaller things that get lost in the roar
The No. 2 Creative Habit
While it might seem contradictory, the No. 2 habit when it comes to nurturing creativity is: participation. This can come in many forms, but it requires connecting with others, being inspired by others, reading others, and collaborating with others.
But how can you have both solitude and participation? They obviously have to come at different times. Finding the balance is key, of course, but it takes a conscious effort.
Why are they both important? We need both inspiration from outside, and creation from within.
Felicia Day says:“When I am most productive I am the most ruthless with my schedule. I will literally make a daily checklist with, ‘one hour gym’, ‘30 minutes of internet research’, and ‘drink 3 glasses of water’ on it. For some reason being that disciplined creates a sense of control that I wouldn’t have otherwise, as a self-employed person. And I get the most out of the scheduled hours that I have for writing.”
Ali Edwards says: “Take notes… It’s essential for me to write down my ideas when they come to mind…otherwise, poof, they disappear way too quickly as I move on to the next task. I use my phone, my computer, and a Moleskine notebook to jot down thoughts and ideas, and then I move them into Things every week or so.”
Chase Jarvis says:
- Live a creative life everyday: I very much believe in doing creative things everyday. For one, I take photos and videos almost everyday. The camera doesn’t matter. I use my iPhone everyday. Just taking photos keeps me in a creative head space. Hell, I play with my food and draw and doodle.
- Moderate Expectations: Make it a habit not to judge yourself on your creative output. Sometimes your creativity is on fire. Other times, it’s not. It’s hard sometimes when you make art in a professional commercial capacity because you’re paid to be ‘ON’, but you’ll save yourself a lot of grief if you make it a habit to be cool to your psyche when your creative mojo isn’t firing on all pistons.
- Shake Your Tree: When I’m starting to feel stale, I make a habit of getting into adventures. Break molds. Drive home from work a different way. Stir up my routine. I get active and shake my tree.
- Find fun: Doing what you love inspires you to be more creative. Make time and space for having fun. All work and no play makes Jane a dull girl.
- Lastly, being creative means living a creative life. Expect yourself to have one. Believe you are creative. Know that you are. Make that the most important habit of all.
Habits No. 1 and No. 2 might seem contradictory. But in my experience you can’t really hit your creative stride until you find a way to balance both habits.
“Creativity is essentially a lonely art. An even lonelier struggle. To some a blessing. To others a curse. It is in reality, the ability to reach inside yourself and drag forth from your very soul an idea.” —Lou Dorfsman
This is a cross-post from zen habits

