Is Creativity Really The Best Aphrodisiac?

by:

Joe Patti

Well I am glad I mentioned yesterday how fulfilling I found all the creative projects I have been involved with over the course of my career. Today in The Atlantic, they had a story about three studies that found average looking men are judged more attractive if they are perceived as creative.

Now that I know this, I have some posts planned for upcoming weeks that should make me as appealing as the ever dapper Drew McManus.

Well, maybe I am over selling that point. According to the study,

Though the subjects always thought the physically more handsome men were more attractive, the more creative men seemed more attractive than the uncreative ones.

[…]

To Christopher Watkins, a professor of psychology at Scotland’s Abertay University and the author of the study, the results show that creativity can help boost the romantic and social prospects of average-looking men. Creativity, Watkins says, is a proxy for intelligence, and it signals the ability of your potential future mate or friend to solve tricky problems.

Unfortunately, there was a WTF moment in regard to creativity and women. In two of the three studies, being viewed as creative did not enhance attractiveness for females.

For women, two of the three experiments demonstrated that facial attractiveness enhanced their overall attractiveness to a greater extent than creativity (written expression and creative thinking) enhanced their overall attractiveness. Indeed, across these experiments, creativity weakened the appeal of women with less attractive faces and did not benefit their attractiveness when displayed by women with attractive faces.

However, the third trial using the same methodology contradicted the first two.

To Watkins, the fact that the third trial contradicted the first two helped him come to the “general conclusion” that creativity enhances all peoples’ attractiveness, “especially if they do not have an especially attractive face.” Though, as he writes in the study, further research is needed to firm up the gender effects.

Something I think important to note about these trials is that the creativity or lack thereof was presented in a very static way. People were shown pictures of men and women and then pictures or lists of things these people supposedly thought up. Those participating in the study made their judgements based on these elements.

There were no pictures of people actively doing something creative: acting, dancing, painting, writing, singing, reading etc. I have to think that at least half the appeal of creativity is observing or participating in the action. That probably doesn’t translate over well to making abstract connections between an image of a person and an image of results.

I am not discounting the article’s suggestion that there is an unfortunate bias against women you see as smarter, funnier or more successful than yourself. The act of imagining someone as creative probably does reveal personal biases. (Primarily, a lack of imagination) But I don’t think it is a good indication of how appealing you will be perceived when you are actually in the act of doing something creative.

Wherein I Muse About The Value of Self Investment

by:

Joe Patti

Recently I have been thinking back about different projects I have participated in over the last 10-15 years that I really found fulfilling. I invested a lot of time in those projects and didn’t really begrudge all the extra hours I put into those activities.

Since there certainly have been times that I resented the work I had to do on a project and all the extra hours they required, I thought maybe it was that I have matured in my outlook over time.

While it may be true that I am more mature now, I also realized that the common element in the projects I found fulfilling were ones that I had a hand in organizing.

The more I thought about my own experience, the more I recognized that the projects I most hated being involved in were those where someone else made the decisions, wrote the grants, decided on the execution, set the deadlines, determined who would be invited to participate, made me responsible for overseeing and running it all and then walked away until the opening ceremonies.

When you are low on the chain of command, you aren’t always in a position to have ownership on every aspect of decision making and much scope of control over the process. That is just the reality of entry level positions. Some of my bad experiences were a result of having a task re-delegated downward by someone else who was feeling just as dis-invested in the process as me. Sometimes the annoying program is caused by uncomfortable political pressure or board fiat.

Recalling these episodes in my career has just reinforced the importance of involving the people who will be handling the practical execution in the initial planning and decision making stages. Which is not to say that no action should be taken in the absence of full concurrence. People with the most accountability do need to make difficult policy and strategic decisions that may not meet with unified approval of the organization.

When it comes to the conversations about how it is going to be done and who is going to be involved, the people who are going to get their hands dirty need to be at the table. All the better if the people at the top who made the initial decision about direction are prepared to put their hands on the project, too.

Okay, so it is not news that you have to get buy-in from your team before undertaking a major initiative. It is one thing to hear or read advice on good organizational dynamics and another to recognize how they have manifested in your life.

It is just as bad to have a situation where someone is saying, well we wrote we would do it like this in the grant, so we have to do it this way. The grant should be written based on how the project team says it will all unfold.

Obviously, something similar applies for statements like “that is the way we have always done it,” and “that is industry standard.” Arts and cultural organizations need to employ a flexible approach in their processes. Call it the tail wagging the dog or the map is not the territory, you can’t let the customary procedures dictate the program.

Now on the flip side, I gotta acknowledge in the arts there is no lack of self-investment. People will pour a lot of themselves into a project for little or no reward, doing it for the love. If you hesitate, then maybe someone questions your investment. Maybe it is you. Are you really part of the team or are you just pretending?

Enough has been written on that subject that I don’t need to add more to it except to say that sort of (self)manipulation shouldn’t dictate the program either. You need to acknowledge your lack of investment and consider stepping away or saying no to begin with.

Well-Established, Innovative, Accredited, Untested Terminology Does Not Have Generation Specific Appeal

by:

Joe Patti

Back in February, Seth Godin made a post about “The two vocabularies (because there are two audiences),” discussing how the vocabulary that appeals to people who consider themselves early adopters differs from those who see themselves as part of the mass market.

So for example, early adopters of electric cars may want to consider themselves on the leading edge of technology and preserving the environment and are attracted by language that reflects that.

Whereas people in the mass market want assurances that they won’t be stranded in the middle of the desert by a depleted charge and won’t even look in the direction of an electric car in the mall parking lot if marketing doesn’t evoke dependability.

He offers a list of words for both categories. For early adopters, terms like: “New, Innovative, Breakthrough, Controversial, Brave, Untested, Slice/Dominate/Win, Dangerous.”

For mass market, terms like: “Tested, Established, Proven, Industry-leading, Widespread, Easy, Experienced, Certified, Highest-rated.

When I first saw this list in February, my initial thought was that the early adopter language would appeal to younger audiences and the mass market language to older audiences. Assuming you could describe the experience you were offering accurately using both sets of terms, these lists were good starting points for separate parallel marketing campaigns.

I couldn’t see trying to use both sets of vocabulary effectively in the same campaigns. Either you would turn one or both segments off with too edgy/boring language or the event would appear to occupy a wishy-washy middle ground of no particular appeal. (Or in the case of this post title, make you wonder, what the hell?)

I sort of skimmed over Godin’s statement that:

“It’s worth noting here that you’re only an early adopter sometimes, when you want to be. And you’re only in the mass market by choice as well. It’s an attitude,”

and made my own assumptions about people.

However….

Since February I have read/written about how younger audiences are concerned about mitigating the risk of having a bad experience.  An edgy, novel experience is great at times, but the assurance of a little mass market language probably won’t be misplaced at others. Especially in the absence of a group of peers to accompany one.

Cosette Before and After

by:

Joe Patti

I bookmarked this story years ago and I don’t know why I never wrote about it. Back in 2015, the Toronto Globe and Mail did an 8 part story on the rehearsal and performance process of a high school production of Les Miserables.

And before I continue, lets just acknowledge that a major newspaper doing an 8 part story on a high school production is news worthy enough that I could just stop writing right now and we would all be excited.

The thing I thought was kinda cool was the way they presented the before/after shots of the students in and out of costume.  I figured everyone would be using something similar to that  slider technology everywhere shortly thereafter but I have never seen it again.  (Maybe I just don’t travel the right social media sites)

It doesn’t seem like it would be that difficult to do given some of the common web design elements I have seen lately, but maybe the simplicity is deceiving.

It struck me as an interesting method of presenting performers so that they were more relatable and the production more appealing. Productions using more sophisticated and intricate make up could really showcase the metamorphosis that occurs for the actor as people advanced and reversed the image.

Has anyone seen this sort of thing done elsewhere for performances to good effect?