Burstiness requires trust: a connection in the group that creates psychological safety. But I would go one step further. It also requires respect -- an intuitive acknowledgement of the value of contribution from everyone in the group. It’s a type of recursive high that builds on itself, as each contribution sparks something else from the group. It’s like the room has caught fire and, as the burstiness continues, everyone tries to add to the flames.
We’ve used jazz as an example of burstiness. But there are other great examples, like theater improv. Research has found that the brain actually changes how it acts when it’s engaged in these activities, according to a Psychology Today article.
A 2008 fMRI study found that that different parts of the brain lit up when musicians improvised rather than just playing scales. The brain shifted into a different gear. The dorsolateral prefrontal cortex decreased in activity, and the medial prefrontal cortex increased. This is a fascinating finding, because the dorsolateral prefrontal cortex is the part of the brain where we look at ourselves critically and the media prefrontal cortex is linked with language and creativity. A follow-up study was done on improv actors, and the findings were remarkably similar.
This modality of the brain is important to understand. If we can create the conditions that lead to creativity, magic can happen.
Also, this is a team sport. Creativity is almost never exclusively a solo pursuit.
In 1995, Alfonso Montuori and Ronald Purser wrote an essay deconstructing the myth of the lone genius. In it, they showed that creativity almost always relies on social interaction. There is a system of creativity, an ecology that creates the conditions necessary for inspiration.
We love the story of the eccentric solitary genius toiling away in a loft somewhere, but it almost never happens that way. Da Vinci and Michelangelo had “schools” of apprentices that helped turn out their masterpieces. Mozart was a pretty social guy whose creativity fed off interactions with his court patrons and other composers of the era.
But we also have to understand that a little creative magic can go a long way. You don’t have to be 100% creative all the time. In a corporate setting, creativity is a spark. Then there is a lot of non-creative work required to fan it into a flame.
Given this, perhaps the advent of hybrid virtual-traditional workplace models might be a suitable fit for encouraging inspiration, if we use them correctly and not try to force-fit our intentions into the wrong workplace framework.
A virtual work-from-home environment is great for efficiency and getting stuff done. Our boss isn’t hovering over our cubicle asking us if we “have a second” to discuss whatever happens to be on his mind at this particular moment. We’re not wasting hours in tedious, unproductive meetings or on a workplace commute.
On the flip side, if creativity is our goal, there is no substitute for being “in the room where it happens.” A full bandwidth of human interaction is required for the psychological safety we need to take creative risks. These creative summits need to be in person and carefully constructed to provide the conditions needed for creativity. Interdisciplinary and diverse teams who know and trust each other implicitly need to be physically brought together for “improv” sessions. The rules of engagement should be clearly understood.
And unless bosses can participate fully “in kind” (a great example of this is Trevor Noah in the “Daily Show” example I mentioned last week from Adam Grant’s “Worklife” podcast), they should stay the hell out of the room.
Be ruthless about limiting attendance for creative sessions to just those who bring something to the table and have already built a psychological “safe space” with each other through face-to-face connections. Just one wrong person in the room can short-circuit the entire exercise.
This hybrid model doesn’t allow for the serendipity of creativity -- that chance interaction in the lunchroom or the offhand comment that is the first domino to fall in an inspirational chain reaction. It also puts a constrained timeline on creativity, forcing it into specific squares on a calendar. But at least it recognizes the unique prerequisites of creativity and addresses them in an honest manner.
One last thought on creativity. Again, we go back to Anita Williams Wooley, the Carnegie Mellon professor who first identified “burstiness.” In a 2018 study with Christopher Riedl, she shows that even with a remote workplace, “bursty” communications can lead to more innovative teams.
“People often think that constant communication is most effective, but actually, we find that bursts of rapid communication, followed by longer periods of silence, are telltale signs of successful teams,” she notes.
This communication template mimics the hybrid model I mentioned before. It compartmentalizes our work activities, adopting communication styles that best suit the different modalities required: the effectiveness of collaboration and innovation, and the efficiency of getting the work done. Wooley suggests using a synchronous form of communication for the “bursts” -- perhaps even the old-fashioned phone. And then leave everybody alone for a period of radio silence and let them get their work done.