À propos du projet
Parce que Spacebase se donne comme mission de fournir aux entreprises un environnement stimulant et productif n'importe où dans le monde, nous avons entrepris la tâche de trouver les meilleures façons de stimuler votre créativité; Ainsi, Expérimental strong> est né. Au cours de la réalisation de cette série Web, nous avons pris 7 groupes d'inconnus et leur avons donné un stimulis pour interagir. Lorsqu'ils ont terminé leur activité, nous avons mesuré leur production créative avec des tests de créativité normalisés. Nos participants ont été soumis à une séance d'observation télévisée, un cours de sport, à une réunion improductive, à une réunion interactive, à Cards Against Humanity et à de nombreux verres d'alcool. Les résultats ont été surprenants, intéressants et absolument hilarants. Jetez y un oeil, et restez connecté pour plus d'épisodes de Experimental strong>.
Philipp Kraatz - Directeur / co-créateur
Philipp might have be background in Business Administration, but his passion has always been acting and performing. That’s why he happily accepted the challenge to revitalize ExperiMENTAL and organize and director the fourth episode on the impact on heavy lunch on creative performance. His experience in Design Thinking helped him to choose suitable challenges for the participants. He enjoyed writing the script and directing the project on the shooting day.
Dominika Czajak - Facilitateur / co-créateur
As CMO of Spacebase, Dominika is always looking for unorthodox methods to boost creativity- both of her team and the Spacebase clients. With her clear vision, she made sure ExperiMENTAL was continued and pushed everybody involved to make the fourth episode as interesting as possible. On set, she split up the groups, analysed their results and guaranteed the consistency of the outcomes.
Erin Westover - Hôte / co-créateur (Les épisodes 1-3)
En tant que Directeur des partenariats stratégiques internationaux pour Spacebase, Erin a eu l'opportunité de s'essayer en tant que créative, en développant la série Web Experimental strong>. Son implication en tant qu'organisateur et hôte a rapidement migré vers la production de contenu, scénario, réalisation, l'édition et le statisticien amateur. Son rôle précédent en tant qu'assistant dans un laboratoire de biology evolutive lui a permis de structurer le contenu en utilisant des méthodes scientifiques garantissant la légitimité des résultats .
Sa passion pour l'industrie colaborative et ses habitudes de travail dynamiques ressortent de manière significative dans ce projet.
Interview with Caroline Bienert
Caroline Bienert is a qualified nutritional therapist, motivational speaker and detox expert. An internationally acclaimed metabolism expert, Caroline has been dedicated to health and holistic wellbeing for over 20 years to the benefit of her clients who come from a variety of backgrounds including royalty, entrepreneurs and CEOs, as well as celebrities and models. In New York she graduated as a nutritional consultant in the field of detox and orthomolecular medicine and gained further qualifications in Chinese dietetics and microbiological homeopathy in Munich, as well as Ayurvedic dietetics in Sri Lanka. In her book “Detox Body Book”, published in 2016, Caroline offers a real insight into her work and provides useful ideas for overcoming the obstacles on the way to a healthy diet and lifestyle. Caroline is a sought-after expert with the German and international press and has published health and beauty advice in magazines such as VOGUE, Myself, Gala and Healthy Living.
PK: Hi Caroline, thank you for taking time and talking to us about food! What sparked your interest in the topic of nutrition?
CB: I originally worked in the fashion industry and went to New York as a fashion stylist. My job was extremely exhausting and one day I had a major breakdown. My boss sent me to a very skilled nutritionist in Manhattan and after only 24 hours I felt like a whole different person. That really impressed me and made me so curious to learn more about the power of nutrition that I started studying first nutrition, then detox medicine and later also traditional alternative medicine. One personal advantage this had for me is that once I changed my eating habits, I was able to cure the neurodermitis I had suffered from since being a child that no medicine ever worked against.
PK: We’re here today to talk about experiMENTAL, a study in which we tried to analyze the effect on different foods on the creativity of participants. When most of us analyze the the quality of foods, we mainly think about calories and fats...
CB: What matters most in our nutrition are the vitamins! They are necessary for our survival. We can’t live without vitamins! Instead of wondering how much fat or how many calories a food contains, the question should be: Are there enough vitamins in my food?
PK: What’s a typical mistake people make when trying to eat more healthy?
CB: People tend to focus on one or two ingredients they heard is healthy, like Broccoli, and and then overeat on them. Nutrition is all about variation! I always advise my clients to eat more vegetables and less carbohydrates, especially wheat. In the end however, it can all be broken down to a very simple piece of advice: All foods which are not proceeded are good and the more natural and organic, the better. Just avoid anything that contains an “e-number”, has added sugar or artificial sweeteners.
PK: What foods do promote brain health?
CB: For the brain, fatty acids contained in nuts and seeds are very good.
PK: Steve jobs reportedly advised students to ‘Stay hungry, stay foolish.’ Are we more ambitious when we’re hungry?
CB: As it is often case, the truth here too lies in moderation. It's always better to stay a little bit hungry because if you overeat you have less energy left to power the brain. So generally, it’s more healthy to eat a little less than too much. However, if you eat little but all the wrong things, that’s bad for you, too.
PK: What causes the lethargic feeling many of us experience after lunch? The type or the amount of food you consume?
CB: The food coma feeling is caused by eating very heavy meals that the metabolism can't nearly digest. What happens then is that a lot of energy and blood is floating from the brain to the digestive system. Due to the resulting lack of it in your brain, you can’t concentrate properly and feel like you can only sleep.
PK: What’s your top lunch pick to prevent that from happening?
CB: It might sound obvious, but my advice simply is to have veggies! In whatever form; as a soup, steamed, with spices. You can never eat too many veggies! But food is a very personal issue. What’s best for you really depends on your age, your gender, your height and what your day looks like.
PK: Many people are aware that they probably shouldn’t be having Burger and fries again for lunch. But then they still order it again! What is it that drives our appetite for such a heavy meal and how can learn to better control it?
CB: It's because of our habits. If the body is used to having burgers, then it will ask for them. Changing food habits isn’t the easiest thing to do, but it always has to start with making a confident decision in your mind. You can get the best advice but never follow through with it if you don’t really want to change. What helps is to organize and schedule your meals better. Doing so is what I teach in my nutrition classes. But if it was all that easy, my job would not exist…
PK: How important is ‘when’ we eat?
CB: Very important. The human metabolism is working in three shifts. From 4 am -12 am, our body is in a detox phase, where it is cleaning itself. That’s is also the reason why we have morning breath. Our body is expelling all the toxins from inside. I recommend having a light breakfast.
Then, from 12 am - 8 pm is the intake phase. Have lunch between 12am and 2pm, that’s when it is easiest to digest for the body. If you really crave a burger, that’s also the best (and only) time of the day for your digestion system to handle it.
Try to have your dinner before 8pm because afterwards, from 8pm to 4am is the metabolism phase. Avoid eating during this time because it stops the metabolizam. In addition, it’ll raise the acid level in your body and negatively impact your sleep.
PK: If these times interfere with the structures we have at work, can we change these times to fit better to our lifestyle?
Our metabolism is an organ system which is 25.000 years old. And it also still works like it used to 25.000 years ago. Our modern lifestyle on the other hand is only 100 years old. That’s a huge discrepancy! And it’s a huge mistake to believe that we can manipulate our metabolism with modern medicine or special diets. In our young years our bodies have a lot of resources but as we get older, our bodies reach their limits much faster. There are so many diseases these days that were unheard of 100 years ago, like people at the age of 35 already suffering from high cholesterol and nutrition-related cancer.
PK: Why should companies care about the nutrition of their employees?
CB: Because heavy lunches that are lacking in vitamins lead to less energy available for powering the brain after lunch which decreases the efficiency of employees and will lead to them making more mistakes. In addition, improving your nutrition has a proven positive effect on the quality of your sleep and helps with stress management.
PK: How so?
CB: To cope with high stress levels, our body, in particular the nerve system, needs 3-10 times more vitamins and minerals than normally. But people tend not to eat more vitamins when stressed, quite the opposite actually. The consequence is a strong deficit in vitamins. People that work in stressful environments should eat more vitamins!
Now, if you are exposed to a lot of stress and don’t eat properly during the day, it gets difficult to calm down in the evenings. Many respond to that by overeating and drinking alcohol at night to calm down. As I explained, that’s a really bad idea because it’s very demanding for your body to digest and makes it harder to fall asleep. Sleep on the other hand is vital for the regeneration of your body so ensure it’s fit to function again properly the next day.
A lot of stress can be made up for by a good night sleep which you will only get if you eat lightly for dinner and not too late in the evening. One or two glasses of wine are okay. I believe the most healthy diet is the Italian one. Not only because it is rich in good foods, but also because eating there is done in a joyful way. It’s a social happening and they take their time to do it properly. Food should be enjoyed!
PK: You’ve worked in different countries and different cultures. What strikes as you as the most interesting difference when comparing how Germans, Americans and Emirati people?
CB: I think the Germans are very serious. If they decide to change something, they become more expert than the experts. When talking about the Americans, you need to clearly distinguish between two kinds: People in New York and Los Angeles are treating nutrition like a religion and are into a super-healthy lifestyle. In almost all other parts of the country, there is very little consciousness about health. The Emirati people are similar to the the Americans in that regard. Plus, most aren’t big fans of sports. In combination with their sweet tooth, that makes for one of the highest rates of diabetes and obesity worldwide.
PK: Speaking of sweet tooth: What’s your guilty food-pleasure?
CB: I am passionate about gummy bears, especially the sour ones. If I eat just one, I need to eat the whole package.
Interview with Eliot Gattegno - NYU Shanghai
Eliot Gattegno is an entrepreneur, musician, and a professor. He’s currently part of the program on Creativity and Innovation at NYU Shanghai. Furthermore, he’s the Founder and former Director of The Chinese University of Hong Kong, Shenzhen Center for Innovation, Design & Entrepreneurship and was a professor at the CUHK Business School, where he worked with all Colleges and Schools to train the next generation of entrepreneurial-minded science, technology, and business innovators. Professor Gattegno’s research focuses on creativity, innovation, and entrepreneurship. He is an advisor, consultant and mentor to accelerators and companies throughout China, the Middle East and USA. His writing has been published by media outlets ranging from Oxford University Press to TechCrunch and Quartz.
PK: You’re teaching in the Creativity & Innovation program at NYU Shanghai. Creativity is difficult to grasp and even more difficult to measure. How do you teach it?
EG: Admittedly all too little is known about creativity; but why shouldn’t students be exposed to the amount that is known? We are still somewhat in the dark about colds and cancer, yet these diseases are not excluded from medical education.
Known facts and tentative theories about creative imagination provide plenty of teachable substance. The principles are fairly clear. Some techniques, although unprecise, are workable. But even greater than such pedagogical material is the limitless subjective substance. For if and when a student is “introduced” to his own creative power, he will find his own mind an ever-widening source of self-revelation.
PK: With ExperiMENTAL, Spacebase attempts to give advice that will support people to reach their creative potential at the workplace. How can creativity be learned?
EG: In summary of the findings of the most profound study of creativity ever undertaken, Dr. J. P. Guilford concluded: “Like most behavior, creativity probably represents to some extent many learned skills. There may be limitations set on these skills by heredity, but I am convinced that, through learning, one can extend the skills within those limitations. The least we can do is to remove the blocks that are often in the way.”
PK: What are these blocks?
EG: One of those blocks is student unawareness of the fact that everyone is filled with creative potential. Other blocks include lack of understanding of how creativity works, and failure to realize that all of us can keep ourselves from becoming less creative, and can do much to make ourselves more creative.
PK: In a recent article for Techcrunch, you stated that “creativity is overrated”. What causes the perceived longing for creativity in today’s business world?
EG: Creativity is a difficult thing to understand. It’s illusive. What is creativity? Where does creativity come from? Why does creativity matter? Perhaps the longing for creativity in today’s business world has something to do with wanting what we do not have or know.
PK: What advice would you give leaders that try to implement creativity in their organizations?
EG: The challenge that confronts us as leaders is to develop ingenuity, initiative, and resourcefulness in our organizations. This challenge becomes all the more important when we are brought to the realization that the economic supremacy of a country will rest upon the creative ability of its citizens rather than upon the rich natural resources it once possessed.
PK: In addition to being a university professor, you’re also a critically acclaimed musician. Which principles from inventing music can be applied to the business world?
EG: The world of artists and entrepreneurs are not all that dissimilar. Successful artists and entrepreneur are highly sensitive people, attuned to pleasures and pains of the world they live in. Cultivating sensitivity to the pleasure and pains of existence is relevant to both.
PK: Let’s broaden the focus beyond the individual organization: What would happen to our society happen if we all started to appreciate creativity more?
EG: Let us suppose that creative power is possessed by everybody; and that there are ways of stimulating and of training it which are capable of increasing it far beyond its latent condition. Education would be revolutionized. Its major energies would be directed toward the arousing and training of the inventive powers. A society alive with inventive power would, on the whole, be the most powerfully progressive society.
PK: What personal motivations are there to try and tap into one’s personal creative potential more?
EG: Although we cannot count on education to prepare our minds for every demand of later years, a higher order of resourcefulness would enable us to live better with ourselves and with others. Nothing can brighten our lives as much as a well-directed imagination. Then, too, education in creativity could help compensate for our loss of those environmental influences which formerly forced us to develop our imaginations. Thus it could help preserve our planet. Our very destiny may involve a race between education and our ability to keep ahead creatively.
PK: What does it take to develop an innovative product or service?
EG: My understanding of innovation is perpetually evolving. The current definition I’m working with is something new that adds value. Accordingly, innovative products and services are highly subjective to the user.
PK: Is creativity “too inexact” to teach?
EG: Surely this subject can qualify under the broad definition of scientia as “organized knowledge”—as opposed to the narrower definition of science as “numerically organized” knowledge. As an art, creativity is of the same empirical character as music, painting, writing, speaking, philosophy, ethics, religion and other such subjects which are offered by many colleges and universities, and rightly so.
Interview with Dr. Joachim Krueger - Brown University
Dr. Joachim Krueger is a Professor of Cognitive, Linguistic and Psychological Sciences at Brown University in Providence, Rhode Island, where he focuses his research on various topics of Social and Cognitive Psychology. His contributions include many publications pertaining to his research in social cognition. His book “The Quest for Happiness in 31 Essays,” has recently been published as a kindle edition on Amazon. Dr. Krueger regularly blogs on Psychology Today Online on a wide variety of topics, which is, as he puts it, “promiscuous, opportunistic, and heterodox.” One of his thought-pieces titled Dialectics of Creativity, explores the idea that creative thought and behavior arises from a set of psychological tensions. Because Spacebase is a driver in the creative industry we welcome enhanced understanding of creative output, and what better way than interviewing Dr. Krueger himself.
EW: In the introduction of your thought piece, “Dialectics of Creativity” you mention creativity, when regarded as capacity or process, can be seen as “value-free.” Can you explain how this would be consistent amongst various demographics, i.e., students, working professionals, or international societies?
DJK: By “value-free,” I mean that creativity is not inherently good or bad. Many psychological capacities share this characteristic. Rationality, for example, can be used for good or bad purposes. Likewise, we can use creativity for good or bad ends. Of course, most of us think of our good intentions first, and tend to think of creativity as a positive psychological capacity. That is only natural.
My view is that creativity can play an important role in everyone’s life. Creativity is not limited to experts, artists, or other types of high achievers. What such exceptional achievers have is often called “Big C,” but the rest of us can use and enjoy “Little C,” the kind of everyday creativity that brings variation and inspiration to everyday life. All demographics can partake of Little C.
EW: According to your view of creativity, it emerges from the interplay between opposing forces that are in a perpetual state of push and pull, and if one were to overthrow the other creativity would collapse. What are these opposing forces and how do they mutually encourage creative output?
DJK: There are at least half a dozen of such tensions between opposing forces. I call these ‘dialectics,’ which is a fancy way of saying that there is no free lunch. Let me give you one example. It is a cliché to say that you need to ‘think outside of the box’ in order to be creative. It is a cliché but it is also true. But what does it mean? It is easy to overlook the fact that to think outside of the box you first need to have a box. This means that you need to be familiar with the conventions, routines, and skills of ‘business-as-usual’ in order to transcend them. Salvador Dalí, for example, was an exceptionally creative artist. But he did not just throw paint at the canvas. He was an expert draftsman and master of the techniques of his day. He employed conventional skills in innovative ways. He had done the hard work to understand and master the ‘box’ of his trade, to then go beyond it.
EW: Creativity in many instances pops-up without any traceable origin. These spontaneous thoughts have lead to the many ideas that creativity can be evoked by stimuli based on your immediate surroundings (environment, sound, visual, people, situations etc.). Conversely, creativity is thought to be a cumulation of ideas and experience gathered and stored subconsciously over our lifetime, and appear as spontaneous in the moment of discovery. In your opinion what is the most effective driver of creativity when considering these two positions?
DJK: The first position you are describing is what intuition and subjective experience suggest to us, that is, we sometimes feel that creative ideas come out of nowhere. They seem to present themselves spontaneously in consciousness. The second position you are describing is more in line with psychological science. Most of our mental work is not available to our awareness. Some call this work ‘incubation.’ Ideas, such as bits of images or verbal associations, can be connected and rearranged until they cohere in a Gestalt that makes sense or provides an answer to a question we have had. At that point, the result pops into awareness and we say Aha!, not being privy to the magic that has occurred underground. The dialectic here is that although the process appears to be spontaneous, the ground needs to be prepared so that we may enjoy creative insights. The dialectic here is between effortful study on the one hand, and relaxation and temporary withdrawal from the task on the other.
EW: When we refer to thinking out-of-the-box, this usually refers to moving beyond social confines. When exploring out-of-the-box brainstorming can we expect creative output to be hindered by various social situations including peer-pressure, or static working environments?
DJK: Absolutely. It is interesting to note society tends emphasize creative production, while at the same time inhibiting it. Organizations, for example, pride themselves of innovation and they demand that their workforce contribute to it. At the same time, creativity is perceived as a threat. Creativity, by definition, breaks new ground; it may even change the game. Societies, social groups, and organizations tend to be conservative. They have an interest in perpetuation hierarchies and power structures. From this point of view, creativity and innovation poses a potential threat. Ideally, an organization would say to its members ‘Be creative, but please don’t overdo it.’
EW: As stated previously, you describe creativity as being value-free with regards to principles or learned perspectives. With that being said, do you think that this process should have a monetary value when companies look to invest in the productive outcome from their employees?
DJK: As creativity is a pre-condition of innovation, and as innovation is a pre-condition for success, creativity is among the antecedents or precursors of profit. Companies vary greatly in how and how much they encourage and invest into employee’s creative pursuit. Overall, I think that such efforts should be stepped up in our time, and I think that it is critical that the originators of creative production, by it individuals or groups, receive due credit. All too often, credit is syphoned off by individuals higher up in the organizational hierarchy.
EW: In your personal opinion do you think there is validity to pursuing research pertaining to the idea that creative productivity correlates with environmental surroundings/stimuli in the workplace?
DJK: Your question, I think, is whether work environments can be designed to foster creativity. The short answer is yes. A variety of physical factors (e.g., office design), social factors (type and frequency of meetings), and personal factors (habits of thought) can be leveraged to enhance creative output. Again, the main obstacles are habit, tradition, fear of status-ranking upsets etc.
Interview with Simon Dewulf - AULIVE
Simon Dewulf is a researcher and entrepreneur. He wrote his PhD thesis on innovation and was given the INSEAD Innogator prize for Innovator of the Year in 2010. He subsequently founded his first company CREAX, which focuses on bringing together analytical thinking and creativity, which allowed him the expertise to develop the creativity test, TestMyCreativity.com, used during the making of Spacebase ExperiMENTAL. The test has been featured in BBC World and the New York Times helping it become one of the most popular online creativity test. Today, Dewulf continues to develop various ideas on the structuring of creativity while bringing a more analytical approach to innovation and inspiration. We caught up with Simon Dewulf, to find out how his research can be utilized and applied by anyone looking to for better ways to gauge, or integrate creativity.
EW: What led you to become an expert in innovation and creativity?
SD: At Imperial College I was invited to conduct a research project for the UK Department of Education and Employment to study how engineering could become more creative; less ‘engine’, more ‘ingenious’. As I was always interested in engineering creativity, I took up the study as a PhD research topic, and started my company CREAX in 2000. There we were studying the best approaches to creative thinking for innovation. Soon we came up with our own structure combining the best/new insights to our Innovation Logic.
EW: How did you create your creativity test?
SD: Darrell Mann, then part of CREAX, did the research. He took existing research in the field, and combined it all into the test of today. When BBC World and the New York Times covered it in 2003, it became a very popular test.
EW: It can be hard to inspire creativity in technology, as it can be very methodical. What are some tips or questions to ask when searching for creativity in tech?
SD: I believe it is a process like maths. Some people are better at it than others, but everyone can improve by using a structured approach. It is easy to classify knowledge for inspiration. Once theses structured approaches or systems are used as checklist for innovators, the step by step approach is a very fruitful process to generate new ideas.
EW: What are the major hurdles to overcome when trying to inspire innovative mindsets or creativity?
SD: One of them is that we tend to look in our own domain. We are not always aware that we blind ourselves to anything else…the fish doesn’t know he’s wet. To open up to other domains, and be willing to explore existing solutions across industries is the first hurdle to overcome. That can then help us to use global knowledge as inspiration to our own challenges. The hurdle of ‘not invented here’ should change to ‘proudly found elsewhere’. For example, the patent database is an excellent tool to find where those other “domains” are, which could actually be an expert tool used to assist with the challenges we face today.
EW: Your company hosts a variety of innovation workshops. What do you hope your participant will take away from these sessions?
SD: The workshops are about giving the people a structured approach to idea generation for innovating any product or process, on one side, and on the other side, to have an easy access to the global knowledge through Patent Inspiration, so you can challenge the brains of the best inventors in the world.
EW: What are some behaviors or beliefs that you’ve seen that majorly hinder innovation/creativity?
SD: When people say they are realist, it often means they are pessimist. The glass can be half empty or half full, or too big. I believe worrying and creative thinking are the same but opposite, they are basically about what can go wrong or right.
There is a lot of work on creative hinders, spaces, constraints, expressions to avoid, postponement of judgment, and I believe known researchers have dealt with this. I haven’t really focused on them.
EW: What are some behaviors or beliefs you’ve seen that boost, or nurture innovation and creativity?
SD: Good and different meeting spaces, along with design thinking. If we place a set of new products in an innovation gallery (a design thinking structure), we can copy existing concepts to inspire new ideas. If you create an abstract of your product or business in subtasks by using major brands as a marker (IKEA, Virgin, Skype, etc), their success, as well as their humble beginnings can inspire and remove blocks to help you move through your own limitations. In any case, a canvas, structure, plan will boost creativity immensely, since it then changes from ‘what could we do’ to ‘this is how other people made successful innovations’. At the end of the day, innovation is predictable, because we as customers always want more of the good, less of the bad, easier and cheaper, and we want function, whatever the solution (maybe, we want to communicate, but not always by phone, or maybe we want transport, but not always by car, etc). How these solutions evolve can be extrapolated, we just have to fill in the gaps.
Pourquoi nous avons fait cela ?:
Des milliards de dollars sont consacrés chaque année pour des réunions, mais de nombreuses entreprises continuent de conduire des rencontres improductives, répétitives, traditionnelles et non réfléchies dans des endroits peu inspirants chaque jour. Nous avons décidé d'expérimenter divers stimulis pour créer des voies qui conduiront à nouvelles idées contribuant à l'avenir des réunions. Que ce soit en utilisant votre environnement en dessinant sur le mur plutôt que dans un cahier ou en participant à un cours de yoga avant une séance de brainstorming, nous croyons que le processus d'obtention du plus haut niveau de créativité vient de provoquer des tendances stagnantes. L'objectif de la série Web, ainsi que l'éthique de Spacebase, sont de briser les limites des réunions traditionnelles, tout en encourageant de manière congrue l'innovation par l'environnement.
Comment nous avons procédé ?:
We took two groups of strangers and asked them to perform an online creativity test from Kellogg Northwestern University (“Solving Problems Creatively” exercises taken from Developing Management Skills by David A. Whetton and Kim S. Cameron) which allowed us to appropriately distribute individuals to maintain similarly averaged groups based on their test scores (Figure 1). The test helps determining if individuals have the personality traits, attitudes, values, motivations, and interests that characterize creativity and scores current creative ability between 1-116.
The participants were then put into groups (Team A and Team B) of 15 individuals each and provided with various stimuli to determine the effects on their creative output.
|Equipe A||Equipe B|
|Average creativity score||62,36||62,46|
|Repas servi||Proteinbowl with Avocado||Cheeseburger with Fries|
Both foods were provided by our partner, food delivery platform Lieferheld.
After each stimulus activity, the groups were given three creative challenges to solve:
For the Marshmallow challenge and the Alternative Usage Task, the teams were further split in three sub-teams of equal size. The groups were scored on whether they were able to complete the tasks with various solutions, the quality of their solutions and how many suggestions were given by the group as a whole. We evaluated each of the three challenges individually. All calculations were adjusted for number of participants in each group.
Ce que nous en avons déduit :
There is a statistically significant difference between Team A and Team B in the Alternative Usage Task (AUT) such that group A performed better:
Group A = 142, Group B = 85. Chi squared equals 14.313 with 1 degrees of freedom, The two-tailed P value equals 0.0002
There is a statistically significant difference between groups A and B in the Marshmallow test such that group B performed better:
Group A = 166, Group B = 253. Chi squared equals 18.064 with 1 degrees of freedom, The two-tailed P value is less than 0.0001
Based on 3 independent coders' coding of the data, there are no significant differences between groups in the Circles test for number of circles used:
Group A = 10.82, Group B =10.18, t(1,22) = .25, p = .750
Based on 3 independent coders' coding of the data, there are no significant differences between groups in the Circles test for number of recognizable objects:
Group A = 5.85, Group B =7.27, t(1,22) = .25, p = .278
Participants from the Team A (which ate the Protein Bowls) reported feeling more energized in comparison to the participants of Team B (that ate the burger) and fell in the typical, infamous “food coma” state. Surprisingly, these feelings did not result in Team B performing worse in the creativity challenges. In fact, Team B clearly outperformed Team A in the Marshmallow challenge and built the tallest freestanding structure.
One the other hand, Team A performed significantly better at the Alternative Usage Task and came up with not only more, but also more unique ideas on what to do with a frying pan other than cooking.
In the 30 circles challenge, there was no clear winner. There were people performing extraordinarily well in each of the two teams.
Pourquoi ce résultat est intéressant :
De nombreuses entreprises cherchent à maximiser la production créative de leurs employés, ce qui est plus pertinent aujourd'hui que jamais, car toutes les entreprises s'efforcent d'atteindre l'innovation. Les bureaux ont changé leur culture pour prendre en compte des différentes habitudes de travail de leurs employés, car cela se traduit souvent par une augmentation de la productivité. L'éthique de Spacebase a été construite à partir de l'idéologie selon laquelle les réunions devraient être efficaces et inspirantes pour encourager la créativité, car la plupart des entreprises encourage le brainstorming et la prise de décision.
Nous avons mené cette étude pour montrer à quel point des changements subtils dans les réunions traditionnelles et non-stimunlantes peuvent avoir des effets très significatifs sur le niveau de créativité.
Contributeurs: Eliot Gattegno, NYU Shanghai and Philipp Kraatz, Marketing Manager Spacebase
Pourquoi nous avons fait cela ?:
Des milliards de dollars sont consacrés chaque année pour des réunion, mais de nombreuses entreprises continuent de conduire des rencontres improductives, répétitives, traditionnelles et non réfléchies dans des endroits peu inspirants chaque jour. Parce que Spacebase s'est donné comme mision de proposer aux entreprises des environnements inspirants et productifs dans le monde entier, nous nous sommes engagés dans une mission pour trouver les meilleures façons de stimuler la créativité; Ainsi, Experimental est né. Au cours de la réalisation de cette série Web, nous avons pris sept groupes d'étrangers complets et leur avons donné chaque stimulus pour interagir. Quand ils ont eu terminé leur activité, nous avons mesuré leur production créative grâce à des tests de créativité normalisés. Nos participants ont été exposés à une séance Netflix, un cours de classe, à une réunion improductive, à un rendez-vous interactif, à Cards Against Humanity et à de nombreux verres d'alcool. Nous avons décidé d'expérimenter divers stimulis pour créer des voies qui conduiront à nouvelles idées contribuant à l'avenir des réunions. Que ce soit en utilisant votre environnement en dessinant sur le mur plutôt que dans un cahier ou en participant à un cours de yoga avant une séance de brainstorming, nous croyons que le processus d'obtention du plus haut niveau de créativité vient de provoquer des tendances stagnantes. L'objectif de la série Web, ainsi que l'éthique de Spacebase, sont de briser les limites des réunions traditionnelles, tout en encourageant de manière congrue l'innovation par l'environnement.
Comment nous avons procédé ?:
We took seven groups of participants and asked them to perform an online creativity test provided by TestMyCreativity.com, which allowed us to appropriately distribute individuals to maintain similarly averaged groups based on their test scores (Figure 1). The test accounts for eight metrics (abstraction, connection, perspective, curiosity, boldness, paradox, complexity, persistence) that determine a well-rounded test result that scores current creative ability between 0-100.
The participants were then put into groups of 4-9 individuals and provided with various stimuli to determine the effects on their creative output.
Our first episode compared the creative influence of a Zumba fitness class with an hour long relaxed Netflix-watching session. The second episode compared the creative results from an unproductive meeting in a traditional setting with those of an interactive meeting in an inspiring location. The third episode compared the creative results from three different stimuli: a sober group and a slightly tipsy group which played ‘Cards Against Humanity’ and a third, very intoxicated group who played a variety of drinking games.
After each stimulus activity, the groups were given standardized creativity tests, such as the candle test, the associative object test (a box and a tire), and the 9 dots test. The groups were scored on whether they were able to complete the tasks with various solutions and how many suggestions were given by the group as a whole (Figure 2). Based on the cumulative score of all groups, the total average was calculated at 6.82 suggestions per participant from all activities combined. The Group Creative Output illustrated in Figure 3 was reached by comparing the creative performance of each group as compared to the total cumulative average score. Groups with positive percentages produced more creative output than the average while groups with negative percentages gave less creative output. All calculations were adjusted for number of participants in each group.
Ce que nous en avons déduit :
The interactive meeting showed an increase of 14.7% above the average creative output of 6.82 responses per person, the tipsy group showed an increase of 27.4 %, and the Zumba fitness group with an astounding increase of 51%.
When we debriefed the participants from these groups (Interactive, Tipsy and Zumba), many of them reported being comfortable with each other as a reason for their positive performance, as well as a sense of community when approaching the creative tasks. When observing the groups we found that these highly creative responses came from stimuli that encouraged groups to work together, helping to break down social barriers allowing for the free flow of creativity.
The antithetical results showed the Netflix session to decrease creative productivity to 15% below the average creative output of 6.82, while the drunk group showed a decrease of 32.6%, and the unproductive meeting showed a decrease of 41.9% (Figure 3).
Participants from the Netflix group and the unproductive meeting attributed their poor performance to not feeling comfortable because they weren’t able to develop camaraderie with those in the group; thus were less likely to feel comfortable giving input. The participants in the drunk group developed a strong bond, however were not able to concentrate on the tasks once they were inebriated.
Pourquoi ce résultat est intéressant :
De nombreuses entreprises cherchent à maximiser la production créative de leurs employés, ce qui est plus pertinent aujourd'hui que jamais, car toutes les entreprises s'efforcent d'atteindre l'innovation. Les bureaux ont changé leur culture pour prendre en compte des différentes habitudes de travail de leurs employés, car cela se traduit souvent par une productivité accrue. L'éthique de Spacebase a été construite à partir de l'idéologie selon laquelle les réunions devraient être efficaces et inspirantes pour encourager la créativité, car la plupart des entreprises encourage le brainstorming et la prise de décision. Nous avons mené cette étude pour montrer à quel point des changements subtils dans les réunions traditionnelles et non-stimunlantes peuvent avoir des effets très significatifs sur le niveau de créativité.
Contributeurs: Prof. Dr. Dirk Hagen, SRH Hochschule Berlin and Erin Westover, ISP Spacebase GmbH
GUICE, Prenzlauer Berg, Berlin
This cozy workshop location owes its name to what it used to be in the past: a cafe called Green Juice. Situated in beautiful Prenzlauer Berg, it offers plenty of space for the development of creative ideas, as the groups in Episode 4, “Does Food coma kill your creativity?”, proved.Regardez
Rent 24 Coworking, Schöneberg, Berlin
Rent 24 est le leader dans la mise à disposition d'espaces de travail productifs et inspirants, ce qui s'illustre dans l'éthique de leur communauté. Cet espace unique incarne le stimulis parfait en terme d'environnement créatif et inspirant. L'équipe de Rent 24 a offert à Spacebase non seulement avec un lieu de tournage, mais aussi une expérience unique qui comprenait l'hospitalité et un soutien sans fin dans le projet Experimental. Les espaces sont présentés dans les trois épisodes, ainsi que l'emplacement d'hébergement dans l'épisode 3, Sobre vs. Éméché vs. Ivre.Regardez
Ahoy! Coworking, Mitte, Berlin
Ahoy! C'est un espace de coworking qui encourage les entreprises à se concentrer sur un objectif innovant. L'espace propose la location de bureaux à court et long terme et la possibilité d'organiser des réunions dans leurs salles de conférences lumineuse. Ahoy! a mis à disposition pour Spacebase un emplacement de film pour l'introduction à l'épisode 1, Netflix vs Zumba.Regardez
Village, Tiergaten, Berlin
Village est un espace polyvalent conçu de manière unique et ouverte, en bordure de Tiergaten et Schöneberg. Cet espace était le choix idéal pour accueillir le groupe de fitness Zumba dans l'épisode 1, Netflix vs Zumba. En rencontrant l'équipe de Village, Zumba a eu le score le plus élevé par rapport à tous nos groupes participants, ce qui prouve l'effet de cet espace sur la créativité.Regardez
The Apartment, Neukölln, Berlin
L'appartement est un lieu original mis à disposition par les cofondateurs de Spacebase. Cette salle de réunion confortable située dans le quartier branché de Neukölln à Berlin est l'espace qui a hébergé le groupe Netflix dans l'épisode 1, Netflix vs Zumba.Regardez
Sankt Oberholz, Mitte, Berlin
Oberholz est connu for ses différents espaces café dans les quartiers branchés de Berlin; Ils sont aussi bien connus pour leurs espaces de coworking que pour le groupe d'entrepreneurs qu'il sont, le plus éclectique des 12 arrondissements de la ville. Si vous recherchez un espace de travail intriguant et inspirant vous pouvez également organiser une réunion exterieure dans l'une de leurs salles de workshop classiques. Leur générosité nous a permis de filmer la réunion interactive dans l'épisode 2, Unproductive vs. Interactive.Regardez
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