Creativity and survival

Creativity for surviving not just for genius types
Academia hits window cleaning, I was interviewed by a PHD student and this was her study
An Academic Study into the minds of highly creative people case study Mr Willie Erken and his invention the Wagtail Pivoting Squeegeehttp://www.wagtail.com.au/Home.htm
Q1. How does Mihaly Csikszentmihalyi's work on creativity help explain the professional profile of a creative individual, group or organization that you admire?
Professional Profile: Willie Erken, Inventor of ‘Wagtail’ - The Pivoting Squeegee.
Creativity is a complex system. Creativity is not innate, belonging only to the ‘genius,’ nor is it a light bulb moment, but rather creativity evolves from a synergy of sources. Csikszentmihalyi breaks away from conventional assumptions and traditional views on creativity, to argue that creativity is available not only to a certain few, but to anyone who is willing to put in the time and effort into a given pursuit. The corollary of Csikszentmihalyi’s argument is that creativity is a central source of meaning and happiness to those who practice it - as expressed in his notion of ‘Flow’.
I will use the work of Csikszentmihalyi to help us understand the creative process and professional profile of innovator Willie Erken, examining the role of ‘Flow,’ the pleasurable moments of immersion in the activity, which come to characterize the creative individual, the creatives’ complex personality and how resourceful this quality is and finally, how creativity is bigger than one person, it is part of a circuit. Examining this through the context of Willie Erken’s creative profile will lead to a greater, more holistic understanding of creativity.
Csikszentmihalyi (1997) believes creativity is the result of years of hard work and it is the love for the thing that one is doing that brings happiness and motivates them to pursue their creative task. Csikszentmihalyi describes ‘Flow’ as the driving force behind creative endeavors. He argues that once involved in flow, you are living more fully than during the rest of your life (Csikszentmihalyi, 1997). By understanding the characteristics of flow and the dispositions of individuals inclined to find it, we can gain a better understanding of the professional profile of Erken and develop our understanding of creativity. Flow is a state of heightened focus and immersion into what one does, and therefore is shaped by the individual and their environment. Erken had been working as a window cleaner in his own business when he invented the pivoting squeegee, the invention that would go on to revolutionize professional window cleaning (Walters, 1997).
This link between person and environment shaping the experience of flow can be recognized as ‘emergent motivation,’ (Csikszentmihalyi et al, 2002) the act that proximal goals arise out of the interactions of that environment. Erken was one of the many window cleaners who suffered from Carpal Tunnel Syndrome caused by the heavy tools and unnatural movements conducted when cleaning windows. Because of this suffering, Erken was motivated to find a solution (Robinson, 2011). This idea goes back to Adam Smith’s Wealth of Nations (1776). Smith argued that the division of labour among the workforce, such that workers’ tasks became increasingly specialized, would lead to increased “inventive activity”, as workers encountered issues in the manufacturing process, and invented ways to circumvent or overcome them, or they would simply invent ways to speed up their tasks. This is precisely the creative ingenuity that Csikszentmihalyi alludes to, and it is the creative ingenuity that Erken exhibited in his invention the ‘Wagtail’.
By understanding the basis of ‘Flow’ and the characteristics that influence one to immerse themselves in the creative process, we can begin to understand that creativity and innovation is the result of years of hard work and initiative, not a sudden revelation. According to Csikszentmihalyi, the importance of curiosity for creatives’ is paramount. For instance, if one is to bring novelty into a symbolic domain, they must be curious enough about their domain that they involve themselves deeply in it: deeply enough that they come to understand and challenge their domain’s boundaries. The next step in the creative process is the desire to push these boundaries further with their own contribution to their form, in the hope that this contribution will bring about general positive improvements (Csikszentmihalyi, 1996). Erken’s involvement with the professional window-cleaning business inspired his creative desire to innovate “a squeegee that limits arm strain, is light weight and fast” (Robinso, 2011). The thrill of seeking/creating improvements prompted Erken to seek Flow.
Experiencing Flow encourages a person to persist at and return to an activity because of the experimental rewards it promises’ (Csikszentmihalyi et al 2002). Seeking Flow is evident in the experiences of Erken as he admits “The future of window cleaning is what I work for, I get obsessive, working night and day on something simple until I get it right” (Erken cited in: Robinson 2011: p. 9). Clear goals, distorted sense of time, concentration, immediate feedback, lack of awareness of bodily needs, absorption in the activity (Csikszentmihalyi, 1997) are evident in Erken’s statement, which are identified characteristics of being in Flow. Csikszentmihalyi claims that when a person enters flow, they enter a subjective state with these particular characteristics, operating on a balance between skill and challenges to achieve optimal experience (Csikszentmihalyi, 1997).
The creative personality is complex: creatives’ have the ability to move from one extreme to the next, as the occasion requires (Csikszentmihalyi, 1996). A complex personality entails contradictory extremes of thought and action, which often won’t be found in the same individual (Csikszentmihalyi, 1996). This ability has lead to many studies of the link between creativity and mood disorders (Dykes et, al 2013). Glazer (2009) suggests the stereotype of the genius’ temperament mirrored mood disorders; influencing eminent creative’s to be afflicted with this psychopathology. This perhaps contributed to the notion that creativity is inherent, belonging only to the gifted few often labeled as ‘Genius.’ Csikszentmihalyi takes issue with this assumption by asserting that creativity is in reach for anyone willing to put time and effort into their given pursuit (Csikszentmihalyi, 1997). He argues that creativity is not exclusive, however these conflicting personality traits displayed in creative individuals bestow opportunities on them, by allowing creatives’ to adapt to the personality they see fit.
It is the individuals who work at and can draw upon opposite poles of character who create novelties that go on to contribute innovations to society (Csikszentmihalyi, 1996). We can see evidence of this notion in the context of Erken: “Erken has been recognized as a leading innovator of tools used in the cleaning industry” (Kichenside, 1999). Csikszentmihalyi believes a complex personality leads to creative opportunities, by examining notable traits, we will enhanced our understanding of Erken’s creative process and how the complex personality works in favour of creatives’. Csikszentmihalyi (2006) believes divergent thinking (the ability to generate a quantity of ideas through no agreed upon solution) is a common trait in highly creative individuals, which is evident in Erken’s work pattern: “I saw the advantages of a swivel handle but I was unimpressed with it so I obsessed over it, making many variations and always trying to improve it.” (Robinson, 2011 p.12) Erken’s capacity to imagine alternative solutions was a prominent contributing factor to the creation of his invention.
Another trait seen in creative’s is being extremely passionate and extremely objective about their work at the same time, which allows them to stay motivated whilst enduring creative difficult tasks at the same time as having the ability to critically judge their own work (Csikszentmihalyi, 1996). We can see this in Erken’s comment: “You have to find a fine balance between having deep faith in yourself and product idea and at the same time not being too emotionally attached you can’t walk away when signs are not good” (Erken, cited in: Beverley, 2000, P.10). Csikszentmihalyi believes these characteristics can be beneficial for creative’s, supported by Davis (1995) who suggests that to think and act novel, one must possess a constellation of personalities and motivational traits that support deviation.
Erken’s ability to move from one extreme to the next as required perhaps is a major factor for his success as an innovator. Although this characteristic trait may be beneficial, creative types who possess a complex personality have been studied in reference to mood disorders and to the mind of a ‘genius,’ (Glazer, 2009) however, Maslow (cited in: Davis, 1995) distinguished between ‘Self-Actualized Creativity’, the mentally healthy tendency to be creative in all aspects of one’s life and the ‘Special-Talent Creativity,’ referring to persons with great talent who may or may not be mentally healthy (Davis, 1995). This distinction breaks away from the assumption that creativity only belongs to the selected few and gives light to Csikszentmihalyi’s notion that creativity is not innate but rather a complex system made of many contributing factors.
Creativity does not belong to one person but rather to a circuit (Csikszentmihalyi, 1997). Csikszentmihalyi (1997) argues in order to understand creativity we need to look at more than just creative individuals. Without a receptive audience to validate the innovation, it is difficult to declare creative people. Csikszentmihalyi (1997) believes creativity is the result of the interaction between three components, the first; A culture that contains symbolic rules. Window cleaning is the prominent domain in the context of Erken’s creative profile. Professional window-cleaners have specific methods in place for cleaning windows; for example, the ‘S’ stroke method leaves windows with a professional finish (Welch,1997). Csikszentmihalyi (1997) believes symbolic rules and conventions need to be in place in order for them to be challenged and expanded, leading to the second component, a creative person brings novelty into the symbolic domain (Csikszentmihalyi, 1997). Erken identified a need for alternative tools that would reduce the incidence of muscle strain injuries frequently occurring due to the repetitive nature of professional window cleaning (Welch, 1997). Erken’s realization influenced the innovation of a pivoting squeegee. This challenged the status quo by introducing an “innovation that gives precise control for increased reach and use” (Welch, 1997). Moreover, Erken had “perfected window cleaning into one action which cleans and dries at the same time.” (Beverley, 2000) Erken challenged traditional methods of professional window-cleaning with his innovation of a pivoting squeegee that provides a better way by reducing muscle injury and speeding up the process. Burkun (2010) explains that the most potent meaning of innovation is ‘significant positive change,’ (Burkun, 2010) meaning that the thing offered must contribute positive change for whomever it is offered to (Burkun, 2010). Kauffman (2009) goes on to say that creativity must represent something different, new or innovative, simply being novel isn’t enough to qualify, which leads onto Csikszentmihalyi’s final component that allows us to understand creative types and their process; Csikszentmihalyi (1997) believes a series of experts must validate and confirm the ‘innovation’. Erken’s innovation has received profound responses evident by Welch (1997) who states “The tool was introduced to the international cleaning giants in Amsterdam with overwhelming approval.” (Welch 1997: p.14) Supporting this notion further Erken’s invention was awarded a gold medal at the ‘Geneva International Exhibition for Inventions’ and won ‘The Australian Innovation Prize’, which ensued his invention to be displayed at Australia’s Power House Museum (Beverley, 2000). These claims evidently portray Csikszentmihalyi notion of the need for expert recognition and validation. Csikszentmihalyi’s believes these three components need to be in place for a creative idea to flourish and we can see evidence of these components through the work of Erkens’ invention, which allows us to gain a better understanding of the process of creativity. Several researches have argued that evaluating creative ideas in terms of being useful and helpful is frequently over looked and deserves more work (Kauffman, 2009). Perhaps these components are overlooked because of the common mystical attributes creativity is often seen with (Kauffman, 2009). Researches such as Shinton (2008) offers steps to follow that will enable ‘Switching on the lightbulb.’ Although we have established that creativity is more complex than Shinton’s claim, Erken believes he can identify his lightbulb moment when using a conventional squeegee “one day my handle broke and I was left with a loose tool” (Robinson, 2011 p.11) Davis (1995) suggests creative innovations may stem from both hard work and spontaneous insights that supplement each other. Regardless, Csikszentmihalyi’s work on creativity demonstrates that the creative process is complex, arguing that creativity is part of circuit, which is much bigger than one person and rather it is a series of lightbulb moments. (Csikszentmihalyi, 1996)
Csikszentmihalyi’s work on creativity challenges conventional assumptions and traditional views on creativity, arguing that it is available not only to a certain few, but to anyone who is willing to put in the time and effort into a given pursuit. The corollary of Csikszentmihalyi’s argument is that creativity is a central source of meaning and happiness to those who practice it - as expressed in his notion of ‘Flow.’ Creativity is achieved through a synergy of sources rather than simply a ‘lightbulb moment’. This complex system is confirmed through the creative profile of Willie Erken, who exhibits trends and challenges commonly displayed in the demeanor of creative individuals, however these have played a role in creative opportunities and the success of his revolutionary invention the pivoting squeegee he calls the ‘Wagtail.’
References:
Adam Smith. 2000. An Inquiry into the Nature and Causes of The Wealth of Nations. Available at: http://www.marxists.org/reference/archive/smith-adam/works/wealth-of-nations/index.htm. .
Australian Government. 1999. PATENT STRATEGY FOR A CLEANING TOOLS COMPANY. Available at: http://www.ipaustralia.gov.au/understanding-intellectual-property/case-studies/?doc131389&viewDetail. .
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Dykes et al, M, 2013. A comparative study of attentional strategies of schizophrenic and highly creative normal subjects. The British Journal of Psychiatry , . 203, 50-56. Available at: http://bjp.rcpsych.org/content/128/1/50.short .
Emilie Glazer, Rephrasing the madness and creativity debate: What is the nature of the creativity construct?, Personality and Individual Differences, Volume 46, Issue 8, June 2009, Pages 755-764,
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Kaufman, J, 2009. Creativity 101. 1st ed. Australia: Springer Publishing Company.
Mihaly Csikszentmihalyi (1996), Creativity: Flow and the psychology of discovery and invention, HarperCollins, New York: pp. 51-76.
P Welch. (1997). Working with a Wagtail, Does the 'S' Stroke with less arm strain. American Window Cleaner. (1), 14-15.
Robinson, K, 2011. Manufactures Spotlight With Wagtail. Window Cleaning Business Owner Magazine, 9- 12.
Walters, K, 1997. Plenty of Ideas, Short of Money. Business Review Weekly, 21 July. 60 -62.

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