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"Considering I'm a creative coach, some people are surprised to learn I'm a little sceptical about creative thinking techniques. For one thing, there's a lot more to creativity than thinking. It's possible to sit around having lots of creative thoughts, but without actually making anything of them. But if you start making something, creative ideas seem to emerge naturally out of the process. So if I had to choose, I'd say creative doing beats creative thinking. And for another thing, a lot of 'creative thinking techniques' leave me cold. Brainstorming, lateral thinking and (shudder) thinking outside the box have always felt a bit corporate and contrived to me. I've never really used them myself, and after working with hundreds of artists and creatives over the last 14 years, I've come across plenty of other creative professionals who don't use them. I don't think you can reduce creative thinking to a set of techniques. And I don't think the process is as conscious and deliberate as these approaches imply."

What is creativity? Where does it come from? The workings of the creative mind have been subjected to intense scrutiny over the past 25 years by an army of researchers in psychology, sociology, anthropology and neuroscience. But no one has a better overview of this mysterious mental process than Washington University psychologist R. Keith Sawyer, author of the new book Explaining Creativity: The Science of Human Innovation (Oxford; 336 pages). He's working on a version for the lay reader, due out in 2007 from Basic Books. In an interview with Francine Russo, Sawyer shares some of his findings and suggests ways in which we can enhance our creativity not just in art, science or business but in everyday life.

"Much like other crossover sensations from the creative world such as design thinking and information design, the visual thinking phenomenon has sustained interest for some time now. From the most staid corporate institutions to the most enlightened young startups, visual thinking techniques are being sought after as part of a new business toolkit in the quest to create "cultures of innovation." Post-its, whiteboards, and flipcharts are infiltrating once stodgy conference rooms and work spaces. Unbridled creativity - not industrial-era efficiency - is the key to better products, smarter services, and increased profit. But behind the glowing promise of the vizthink movement, a challenge persists for many in the business world: how best to harness the power of visual thinking to achieve real results?"

Leaders are expected to operate at such a rapid pace and high level in this business environment that critical-thinking skills are paramount for success. Even though critical thinking may seem like a soft or unquantifiable skill, it's actually a key competency for leaders who operate in today's business climate. In fact, the lack of critical thinking can lead to questionable decisions, which in turn could potentially tarnish a business' reputation.

"Thinking. The capacity to reflect, reason, and draw conclusions based on our experiences, knowledge, and insights. It's what makes us human and has enabled us to communicate, create, build, advance, and become civilized. Thinking encompasses so many aspects of who our children are and what they do, from observing, learning, remembering, questioning, and judging to innovating, arguing, deciding, and acting."

Somewhere around the early 1990s, MRIs-the technique of magnetic resonance imaging-tiptoed out of the pall of cancer wards into the sunnier campuses of universities, and forged a melange among the departments of psychology, neuroscience, management and economics. The result of this academic straddle is a literary niche called pop neuroscience, into which science writer Jonah Lehrer's newest offering, Imagine: How Creativity Works, neatly slots itself.

One of the many paradoxes of human creativity is that it seems to benefit from constraints. Although we imagine the imagination as requiring total freedom, the reality of the creative process is that it's often entangled with strict conventions and formal requirements. Pop songs have choruses and refrains; symphonies have four movements; plays have five acts; painters still rely on the tropes of portraiture.

A great deal has changed since the term eLearning first entered the vocabulary in 1999 and since web-based courses and modules started appearing in volume in the early 2000s. We need to rethink eLearning in light of these changes and other changes (like Social Learning) that are only now starting to impact the world of work. I'm sure most of us are aware that the major challenge for learning is no longer about 'content' or 'knowledge' (if it ever were).