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The creative pause allows the space for your mind to drift, to imagine and to shift, opening it up to new ways of seeing. There’s just one small problem: The creative pause might soon become a thing of the past. When was the last time you remember being bored? Or even having a moment free from distractions?

A quick glance around and you’ll notice that it’s almost impossible to be bored in our 21st-century environment. Every bar now has at least one television blaring. And just as night follows day, your eyes will be drawn to the moving pictures above, sapping whatever creative thoughts you could be having. Or take, for example, the last time you were alone at a restaurant waiting for a friend to join you. Chances are you reached for your phone and did something with it, anything to avoid appearing like the lonely loser in the corner.

These days, I schedule a regular dose of boredom into my day. Furthermore, I don’t check messages if I’m waiting for a friend. I choose, instead, to watch people in bars, cafes, and restaurants. I don’t play games on my phone or my computer

What are the key steps of the invention process? I describe it with my model, the Innovation Engine. First, there's an internal part. People normally start with imagination, being able to conjure ideas up in your mind. You need a base of knowledge with which you can work; if you don't have a base of knowledge, then you don't have a toolbox for your imagination. You also have to have the motivation and drive to solve the problem, because getting beyond the obvious answers requires a tremendous amount of activation energy.You need the imagination, you need the knowledge, and you need the attitude, which is the spark for this process, but there are also a lot of external factors that people do not take into account. What are these external factors?You need an environment where creativity is supported: everything from the physical space you're in, to the people you're with, the rules, the rewards, the constraints, the culture, and the resources present. All of these things have a huge impact on how an individual, a team, or an organization functions from a creative perspective.

How can managers create an environment nourishing to creativity? I've talked to some executives about this question, and they say, "My job as a manager is to create a habitat that fosters innovation." The innovation engine can get sparked anywhere--it's a kind of Möbius cube--there's no beginning and no end. If you're a manager, your job is to create a habitat that stimulates the imagination of your team, of your employees, of your colleagues.

I'll come into class with a suitcase and say, "I travel a lot and I really don't like my suitcase. It causes a lot of problems: I'm traveling and it doesn't fit into the overhead bin, I'm always running through crowds and its getting in the way, it's really annoying. Could you design a new suitcase for me?" And the students go off and design a new suitcase. Then I come back and say, "Okay, why do we use a suitcase in the first place?" We use a suitcase to have the things we need when we're traveling at our destination. Solve that problem. Once you take the suitcase out of the equation and open up the frame of possibilities, then there's some really interesting solutions. What if I didn't have to bring my suitcase at all? Maybe it's spray-on clothes. Maybe I have a suitcase that I pack once and then it travels around the world, wherever I'm going to be.Once you open up the frame of possibility, really interesting ideas come forward. One thing I try to do with my students is to try to help them understand how to frame a problem.

although the experience of insight is sudden and can seem disconnected from the immediately preceding thought, these studies show that insight is the culmination of a series of brain states and processes operating at different time scales."

This echoes the favored Fast Company definition of creativity, that it's finding the connections between seemingly unrelated things.

Among all the networks and specific centers in our brains, there are three that are known for being used in creative thinking. The Attentional Control Network helps us with laser focus on a particular task. It’s the one that we activate when we need to concentrate on complicated problems or pay attention to a task like reading or listening to a talk. The Imagination Network as you might have guessed, is used for things like imagining future scenarios and remembering things that happened in the past. This network helps us to construct mental images when we’re engaged in these activities. The Attentional Flexibility Network has the important role of monitoring what’s going on around us, as well as inside our brains, and switching between the Imagination Network and Attentional Control for us.

1. an idea is nothing more or less than a new combination of old elements 2. the capacity to bring old elements into new combinations depends largely on the ability to see relationships

Preparing your brain for the process of making new connections takes time and effort. We need to get into the habit of collecting information that’s all around us so our brains have something to work with.

We uploaded over half a million variations of Harlem Shake to YouTube in the past few months. Google searches for Cat GIFs hit an all-time high last month.

The research showed us that far from distracting us from more serious things, these viral pictures, videos, and memes reconnect us to an essential part of ourselves. And by understanding what’s at the root of our obsession with the visual web, brands can create the kind of content that resonates in today’s culture.

It may seem that all we’re doing is just capturing every mundane moment. But look closely. These everyday moments are shot, displayed, and juxtaposed in a way that offers us a new perspective. And then all of a sudden these everyday moments, places, and things look . . . fascinating.

When brands come to agencies for agile content development, the main criteria is usually that the content must be high quality, compelling, low-cost, high frequency, and quick-turnaround. But often their internal structure and processes aren’t yet optimized to embrace this type of approach. In agile content development, timing and efficiency is everything. Without it, there is no liftoff.

Brands can optimize themselves for agile content development by making internal adjustments that improve communication, the first of which should be to empower a small team to manage the process. This team should have the authority to secure and approve budgets, as well as weigh in creatively and strategically on content as it goes to market. Creating a nimble group that has real ownership of the process will make things more efficient and reduce the chances of unnecessary stress being put on your brand marketing team as a whole.

This exercise will also help your brand get into the right mind-set. Think of your brand marketing team as the police force, and your agile content group as the SWAT team.

According to the many advertising leaders we surveyed, connected devices and wearable technology--or, more broadly, the Internet of things--are top of mind for 2014. But where the last decade of digital experimentation has generally made technology front and center of an experience, the feeling is that the general relationship with technology has now matured to a point where it doesn’t need to be the star of the show. Instead, people are predicting a more seamless integration of technology into brand’s efforts. Or, as Scott Prindle, partner/chief digital officer, Made Movement puts it: “I think we'll see interesting opportunities to use technology to save us from technology.”

We'll see a trend towards ambient intelligence where our devices learn about our individual habits and interests, anticipate the kinds of information we're looking for, and surface it at the right time and in the right place. Our technology will be doing more work for us in the background, helping to free up the time that we're currently spending staring at screens.

It's better to try to invent the future rather than predict it.

“The quality of shibumi evolves out of a process of complexity, though none of this complexity shows in the result.

Koko emphasizes restraint, exclusion, and omission. The goal is to present something that both appears spare and imparts a sense of focus and clarity.

Refrain from adding what is not absolutely necessary in the first place.