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Welcome to Emerging Futures -- Volume 202! Mapping the Newsletter Ecosystem...
Good morning wide ecologies of ongoing creativities,
Over the last couple of months, we have been re-reading all of our newsletters. I know – it can sound at least slightly absurd – why would we be re-reading everything we wrote? Don’t we know what we wrote?
The answers get to why we write. We write to experimentally invent new concepts via the transformation of existing ones. We do not write to communicate what is already known. We are generally skeptical of the validity of such a practice, and to the degree it might have merit, you don’t need us to tell you the known.
Writing is, for us, an experimental creative practice that is not separate from our other creative endeavors – whether as consultants, teachers, researchers, or in our more personal practices.
Coming back to why we read and reread our own work. For us, a critical creative practice is recursivity – looping – doing similar things over and over again. We return to the similar terrain differently. New experience, new knowledge, new collaborators, new questions. Because of this, it was very rewarding to go back and re-read.
Considering creativity and repetitions – I’m not sure who said it, but one of the most wonderful of responses to the famous claim by the Greco-Turko-Persian philosopher Hericlitus that “you can’t step in the same river twice” – is:
“You can’t step in the same river once!”
…such is the creative life of difference and repetition…
After writing 200 newsletters, we were very curious – what did we write about? What were the recurring themes? What were the patterns? Here are some insights:
As a fitting end to our focus on the first two hundred newsletters, we thought that there needs to be a better way to organize and access the newsletters. And an annotated guide seems like the ideal thing to do just that. We have carefully organized all the newsletters alphabetically by key topic and introduced each topic. And then organized the relevant newsletters by series.
Obviously, this is not the only way to access the newsletter: all the newsletters are on the website and are tagged by about a dozen key terms. Additionally, you can use the website’s search feature and look up any topic.
This Table of Contents organizes all of the newsletters alphabetically by topic and series. For the sake of descriptive clarity and simplicity, we have re-titled all of the newsletters. At the end of this document, we have organized the newsletters dedicated to reference books, key glossary terms, holiday topics, and the beginning issues of the newsletter.
We have written cautiously on AI as a distinct topic. There are a few reasons for this, one of which is practical, another political, and yet another is conceptual: (1) we are in the early days of the emergence and evolution of AI and busily exploring and experimenting – it is certainly not a time for grand pronouncements. (2) But it is an important time for all of us to be active in how this new mode of being emerges. Technologies don’t magically appear; they, like everything, are created. What will our AI-inflected world be like? We need to be active participants in this. (3) All creativity that involves human practices is artificial. Which is also to say that all human intelligence is artificial. We are makers and tool users. Our practices of sensing, thinking, intelligence, and creativity are not pregiven, “natural,” and hidden somewhere deep within the brain. We do things with others using tools in specially shaped environments. It all is artifice – in the sense that it must be constructed. Human creative practices that engage with creative processes could be termed CA (Creative Artifice), and AI should best be seen in relation to this: See Volume 140 for a further discussion.
Newsletters to see also: Games, Matter & Making
Volume 71: AI & Analog Algorithms
Volume 72: AI & Inventing Problems
Volume 138: AI: Some Starting Considerations
Volume 139: AI, Life and Intelligence
Volume 140: AI and the Artifice of Creative Processes
Volume 141: Co-Operative Action, being More-than-Human, and AI
Affordances are a pivotal concept – from the perspective of human experience in relation to creative processes, nothing makes sense outside of an understanding of affordances. And because of this, it makes up our longest series (10 Newsletters – and if you count the series that precedes this on “Problems,” it makes up a 14-newsletter series (Volumes 83-97)).
What makes this series (88-97) special is that we consider Affordances in relation to other key concepts: Configurations, Assemblages, Exaptation, and Worldmaking. And in each case, we are evolving each of these concepts beyond the standard understandings in the literature.
Newsletters to see also: Enaction, Sensing, Sense-Making
Volume 10: Introduction to Affordances
Volume 11: Self-Organization, Constraints & Excessive Affordances
Volume 88: After Problems – Affordances
Volume 89: From Individualism to Affordances 1
Volume 90: From Individualism to Affordances 2
Volume 91: Affordances: Enabling & Constraining
Volume 92: Affordances, Environments & Assemblages
Volume 93: Affordances & Exaptations 1
Volume 94: Affordances, Exaptation 3.0, Niche Construction
Volume 95: Concluding Dialog on Affordances
Volume 96: Affordances, Sense-Making & Worlds
Volume 97: Affordance Resources
Blocking is a key practice in creative processes. Given this, it is in some ways surprising that there are only two newsletters on this topic. The simple explanation is that blocking shows up in one form or another in more than half of the newsletters (if you use our website’s search function you can find all of these mentions). That said, it feels like a good area to explore in upcoming newsletters.
Newsletters to see also: Exaptation, Negative and Negativity, Probing
Volume 13: Blocking & Exaptation
Volume 14: Blocking Parts 1-3
Causality is perhaps the one topic we have approached most radically. While many are critical of and articulate the limits of linear causality, fewer are openly skeptical of the general Western model of causality in general. While our practice is deeply engaged with the nuances of non-linear forms of causality, e.g. systems causality, emergence, etc. – see Volumes 57-60. In our second series on Causality (See below: Volumes 129-131 + 142-146), we begin an experimental and speculative challenge to causality: What if causality is not the right way to approach how things come about? In this series, we look to Chinese and Japanese philosophical traditions that utilize the framework of Configurations and Propensities as an alternative to Causality.
Newsletters to see also: Emergence, Negative & Negativity
Volume 57: Beyond Linear Causality
Volume 58: System Causality
Volume 59: System Creation
Volume 60: Future Backwards Causality
Volume 129: Critiquing Causality & Introducing Propensity
Volume 130: Rethinking the individual in Creativity (Wright Brothers)
Volume 131: Causality, Agency, Configuration & Circumstance (who is the leader?)
Volume 142: Creativity after Causality
Volume 143: After Causality: Configurations & Propensities
Volume 144: After Causality: Enabling Configurations
Volume 145: Para-Causality, Beyond Constraints, & Ubiquitous Creativity
Volume 146: Creativity After the Western Creativity Matrix
Our general approach to creativity is an ecological approach. Which is to say novelty emerges from a distributed more-than-human assemblage of tools, processes, and environments. Perhaps because it is so critical, it is another topic we do not focus on directly.
Newsletters to see also: Collaboration, Processes, Systems, Organizations
Volume 12: Taskscapes, Assemblages and Fields
A major aspect of our work is to offer an alternative approach to creativity. And this is an alternative to the human-centric, individualistic, and ideational approaches to creativity. We collect these problematic approaches under the umbrella heading of “essentialist creativity”. Off and on over the last 200 issues of the newsletter, we have dug deeper into critiquing these practices.
Newsletters to see also: History of Creativity
Volume 61: Human Exceptionalism
Volume 63: 5 Myths of Creativity
Volume 80: Critiquing Essentialist Styles
Volume 81: Individualism, Individuation & Emergence
Volume 87: Zombie Systems
Volume 89: From Individualism to Affordances
Volume 103: Resources for Critiquing
Volume 134: Critiquing Disruptive Innovation Models (Clayton Christensen
Volume 181: The Assassins of Creativity
Collaboration is critical to all forms of engaging with creative processes. But collaboration, like much in creativity, this can be reduced to the human realm. But as this newsletter explores, collaboration is always far more than human.
Newsletters to see also: Creativity Context, Matter, and Making
Volume 33: Events, Relations & Collaboration
Most of the time, when we consider difference, it is in the negative: “this is different from that” – i.e., “this is NOT that”. This is difference-in-degree. A pure difference – a qualitative and non-comparable dynamic and emergent difference is the ground of creativity (a difference-in-kind).
Newsletters to see also: Problems, Visualizing Creativity
Volume 78: Difference: Degree & Kind
Newsletters to see also: Games, Matter, and Making
Volume 32: Education for Emergent Creativity
Volume 74: Innovation Research & Support
Emergence is a critical concept. And while the basic principle of emergence, being “more than, and different from the sum of its parts,” is well understood. What is equally important, and arguably less well understood, is how emergence makes its parts (what is termed “systems causality”). We delve deeply into these “strange” forms of causality and much more.
Newsletters to see also: Enaction, Visualizing Creative Practices, Causality
Volume 20: Introduction to Emergence
Volume 21: Working with Emergence (part 1)
Volume 22: Working with Emergence (part 2)
Volume 23: Working with Emergence (part 3)
Volume 106: Emergence & Heuristics
Enaction is the approach to embodied and extended cognition – really sense-making / world-making that our approach to engaging with creative processes most closely aligns with. While we have written extensively about embodied cognition, 4EA cognition, and enaction – volumes 198 and 199 are by far the most clearly focused.
Newsletters to see also: Collaboration, Probing, Sensing the New
Volume 7: Introduction to Enaction
Volume 8: The Creativity Paradox & Solution
Volume 9: Cooking & Enaction
Volume 198: Activity & Enaction (the blind spot #1)
Volume 199: Activity, Enaction & World-Making (blind spot # 2)
Perhaps another name for our general approach would be an Exaptive approach – it is that important to how we engage with creative processes. Our approach to exaptive processes has been an experimental and evolving one that spans over thirty years.
Newsletters to see also: Affordances, Blocking, Negative, Probing, Sensing the New
Volume 42: Adaptations & Exaptations
Volume 43: Defining Exaptations
Volume 44: An Example of Exaptation
Volume 45: Propositions for Exaptation
Volume 62: Exaptation Process not “Discovery”
Volume 93: Affordances and Exaptations
We are both fascinated and passionate about the role of games in creative processes. Games are one way to think about creative processes, and they give us ways to learn them too. Ultimately, games allow us, as Nguyen articulates, a way to explore new forms of agency:
Newsletters to see also: Practices
Volume 82: On Games
Volume 83: Games, Agency & Problems
Volume 151: A Road Trip Music Game
Volume 152: A Road Trip Cooking Game
Central to why we get so much about creativity wrong in the West, is our poor critical understanding of history in general and a lack of knowledge about the quite short and very modern history of creativity itself. Especially early on in the newsletter we really focused on this.
Newsletters to see also: Technology – especially the later volumes
Volume 5: Brief History of Creativity
Volume 6: Ideas & the Greeks
Volume 27: The Greeks & Creativity
Volume 28: Reflecting on an alternative history
We live in a world of things, and we tend as a society to take the thingness of things for granted. But everything is process; it has to be made, then kept in existence, and then become something else.
Everything is made – everything is an event of ongoing creation and creativity: individuals, collective subjectivities, social groups, worlds, clouds, mountains, weather patterns, economic systems – the question is how. This creative process is the process of individuation.
Newsletters to see also: Process, Organization, Visualization/Diagramming
Volume 150: Individuation: Creativity’s Other Name
The Innovation Design Approach is how we term our approach. It is one approach within the developing space of an alternative movement towards a more ecological and emergent approach to creativity.
Volume 25: The Context of the Tasks
Volume 26: On Approaches
Classically in the West, matter and making are secondary practices to the dematerialized processes of thinking and ideating. Any alternative approach to creativity that is ecological and emergent needs to radically reconceptualize matter and making. While a big aspect of this involves a reconsideration of embodiment and collaborative practices. A very different approach to matter and its agency, as well as making, is equally necessary – “making is thinking,” as we like to say.
Newsletters to see also: Enaction, Process, Systems
Volume 29: Material Processes & Creativity (AL)
Volume 76: Use Generated Creativity
Volume 77: Matter & Making
Volume 98: On Observation & Drawing
Mindfulness can be a tricky topic. Clearly, we all have minds. The problem is that they are not where many think they are – they are worldly achievements, not things hidden deep in the brain. Mind is “in life” as Evan Thompson puts it. Mindfulness is also quite a buzzword in creativity circles, where it is claimed that it is the key thing that must first change to make all other changes possible. We strongly disagree with this.
Newsletters to see also: Affordances, Critiquing Essentialist Creativity, Processes, Sense-Making, and World-Making
Volume 40: Mindfulness & Where is the “Source”?
That we had written so extensively about the Negative and Negativity came as a bit of a surprise to us. But, it makes sense that we would have devoted so many newsletters to this topic. If something is radically new, it will both (1) not exist and (2) be consequentially unknowable. Additionally, it is relations (a non-thing) that creatively enable and stabilize/delimit what arises in emergent systems – again, a “negative”. The negative is a radical potential – both empty and full. And not to forget, both the concepts of Blocking and Exaptation involve forms of refusal – again, the powers of the negative to be generative and creative.
Newsletters to see also: Blocking, Exaptation, Processes, Emergence, Organizations, Systems
Volume 41: Mental Models & Agency
Volume 107: New Styles of Creativity (part one)
Volume 108: Creative Styles & Negativity
Volume 109: Creativity, Negativity & Disclosure
Volume 110: Creativity, The Powers of the False & Feedforward Cycles
Volume 111: Creativity, Scaffolding & Feedforward Epicycles
Volume 112: Negativity: Terms & Resources
Volume 113: Creativity & The Negative: A Manifesto for Thinking
Volume 135: Active Not Knowing & Emergence (Penicillin despite Fleming)
Volume 156: Creativity after Imagination
Volume 157: Hope & Not Knowing (creativity after imagining)
Everything is organized – and how it is organized gives rise to its form of creative agency. And from an understanding of this, we can begin to develop an approach to creativity and organizations.
Newsletters to see also: Systems, Processes, Individuation
Volume 133: On Organizing Spaces & Processes for Creativity
Volume 159: Organizations are Creative
Volume 160: Organizations and Their Logic
Volume 161: Organizations and Abstractions
Volume 162: Organizations, Configurations and Creativity
Volume 163: Organizations and Creative Ecosystems (don’t be the Wright Brothers)
Volume 164: Organizational Practices for Ecosystemic Creativity
Volume 165: Organizations without Individuals
Probing – perturbating is a critical activity to understand creative processes. And from a certain perspective, all activity involves some form of probing.
Newsletters to see also: Process, Exaptation, Matter & Making
Volume 24: Probing & Knowing
Volume 79: Key Practices for Probing
Volume 132: Probing vs Prototyping: Alternatives to Future Backwards Design
Volume 136: Speculation as an emergent worlding process
Volume 137: Making, Doing & Speculating
Our first series on “problems” was an important series for us. So much of the focus of classical creativity is “problem solving.” – but little is done to understand what a problem is or how problems are created (it is assumed that problems are natural and spontaneous). Sharing this perspective had a big positive impact on our early readers. Our second series on problems further developed this approach.
Newsletters to see also: Affordances, Visualizing Creative Processes, World-making
Volume 34: Problems & Inventing Problems
Volume 35: Problems & Worlds
Volume 36: Problems & Solution Thinking
Volume 37: Problems & Worldmaking
Volume 72: AI & Inventing Problems
Volume 83: On Games & Problems
Volume 84: Two Approaches to Problems
Volume 85: Critiquing Problem Solving
Volume 86: An Alternative to Problem Solving
Volume 88: After Problems – Affordances*
A life is active in its ongoing becoming. This is a creative act. Such acts form the basis of our approach to creativity – and the practices involved in creativity. Activity – the organized and deliberate acts of doing – practices are fundamental to creativity. But what these are is so often very counterintuitive. We developed a whole conjoined series on this that spans this series on practices and continues with a series on Visualizing creativity (volumes 124-128).
Newsletters to see also: Visualizing/Diagramming, Processes, Exaptation, Innovation Design Approach
Volume 121: Practices for Creativity
Volume 122: Critiqueing Creative Processes (The Imitation Game)
Volume 123: Critiquing Creative Processes
Reality is dynamic, organized, and creative. It is all processes from top to bottom, from beginning to end. We need a process-based approach to creativity – and one that understands human creativity as a process of effectively joining and engaging with ongoing processes. We wrote one longer series on this – and, interestingly, this series was followed by our series critically engaging with causality and alternatives to causality.
Newsletters to see also: Causality, Systems, Organization, Individuation
Volume 46: Introduction to Processes/Systems
Volume 49: Processes – Part Two: Sensing Process
Volume 50: Processes: Relations & Emergence
Volume 51: Processes & Feedback Processes
Volume 52: Processes & Feedforward Processes
Volume 53: Processes of Large-Scale Change
Volume 54: Large Change, Epicycles & Feedforward
Volume 55: Working with Processes
Volume 56: Living Processes (series conclusion)
Volume 64: Process Blindness
Process-based approaches to reality are, by nature, engaged in questions of how these processes emerge, stabilize, and transform – which is to say, the organized systematicity of reality. Our writing on systems is mainly to be found indirectly in other series (Process, Organization, and Visualization/Diagramming) because the topic is so critical and all-encompassing to our project. These newsletter series are more focused on the critique of certain approaches to systems and their shortcomings.
Newsletters to see also: Process, Organizations, and Visualization/Diagramming
Volume 104: Systems & Ethics
Volume 105: Systems, Essentialism, Emergence & Relations
Volume 195: Critiquing Systems Thinking
Volume 196: Systems & the illusion of Functional Components
The term truth holds together a vast and diverse set of very complex creative processes. Our classical cultural approach to truth as something uncreated, fixed, and unchanging is itself something that has a complex history of creation. This one newsletter gets into some of this history. Our various newsletters on Worldmaking go much further.
Newsletters to see also: Worldmaking, Individuation
Volume 155: Truth, Facts and Creativity
Our work is deeply engaged in the enactive approach to cognition, which creatively reconceptualizes thinking as “sense-making” and the connected logic of affordances. We take this further by considering the larger ecology of sense-making: world-making. The series below (Volumes 65-66) emerges from Volume 63, On the Five Myths of Creativity, and Volume 64, On Process Blindness. And all of this further develops in our later series on Enaction (Volumes 198-199).
Newsletters to see also: Affordances, Enaction, Worldmaking
Volume 65: Knowing, Worlds and Not Knowing
Volume 66: Knowing, Sense-Making & Creativity
If something is radically new, it both does not exist, and we cannot ideate it. This means that we need other practices and processes that are both far more engaged and active, plus involve forms of feeling our way into actively and experimentally co-emerging with the new. These two series approach this from differing angles.
Newsletters to see also: Affordances, Blocking, Enaction, Exaptation, Matter & Making, Visualizing/Diagramming
Volume 30: Blocking as a Process
Volume 31: Sensing the New
Volume 170: Weak Signals, Sensing, & the Making of the New
Volume 174: Aesthetics, Feelings and Sensing the New
Volume 175: The Affective States of the New (On Boredom)
Volume 176: Loss, Blocking, and the New
Volume 177: Mood, Emotions, Affect and Reason in Creativity
Volume 178: Modern Creativity’s False Prison & an alternative practice
Volume 179: Care & Being Pulled by the New
Volume 180: Sensing & Probing from Know-How to Know What
Volume 182: How do we sense the New (Series Conclusion)
We are “tool-beings” – there is no human separate from community, tools, and environmental co-shaping. The creative practices involved in all of this are what we would term technology – it's not just the latest hi-tech gadget. The relevance and importance of this topic gave rise to our longest series, which emerged in relation to our series on Sensing the New – specifically on the experience of “world-loss” when tools break down (See Volume 176).
Newsletters to see also: Affordances, Enation, Matter & Making, Sensing the New, Visualization, World-Making
Volume 183: Technology, Care & Worlds (an introduction)
Volume 184: Technologies, Extensions & Assemblages
Volume 185: Technology, Assemblages & Emergent Effects
Volume 186: Technology, the Medium & looping affordances/effects
Volume 187: Technology, Tools & World-Opening
Volume 188: Technology & Practicing Joining Creative Processes
Volume 189: Control, Agency & Authorship
Volume 190: Experience, Affordances & the Heroic Model of Creativity
Volume 191: Disclosure: On the Heroic Model of Creativity
Volume 192: Experience & The Strange Loops of Creativity
Volume 193: Technology/Creativity beyond the Heroic Model
This series is one of our favorites because of how expansive, practical, and integrative of innovations in how to visualize creative processes. The series paused for the winter holidays of 2023-24 as well as detoured into a brief series on Practices (Volumes 121-123). And these newsletters could be read as part of this longer series.
While visualizing creative processes can seem like a non-topic, it is, for us, one of the most critical topics and one that not enough time and creative effort is given to. Diagrams are, for us, as important as words – and are indispensable to exploring and experimenting with creativity.
Newsletters to see also: Practices, Affordances
Volume 114: Visualizing Creativity
Volume 115: Diagramming Creative Reality
Volume 116: Visualizing Assemblages – An Example (visualizing the Mongols)
Volume 117: Resources for Visualizing/Diagramming Creativity
Volume 124: Visualizing the Self in Creative Processes
Volume 125: Visualizing the Virtual in Creative Processes
Volume 126: Visualizing an Ecological Creativity (a cooking example)
Volume 127: Visualizing working from/of the Middle
Volume 128: Visualizing the Making of Virtual Fields of Potential
World-Making is a term that extends the concept of “sense-making” to such a degree that it effectively replaces it. It is also arguably the biggest blind spot in relation to human creative practices (see volumes 198-199). Our approach to engaging with creative processes is organized by: other worlds exist, other worlds are possible, and we should make a world where both are a fundamental reality.
Newsletters to see also: Affordances, Enaction
Volume 17: What are Worlds?
Volume 18: Contrasting Worldly Creativity
Volume 19: Worlds & Styles
Volume 38: Worlds, Worldblindness & Mystery
Volume 39: Individualism, Frames & Worlds
Volume 75: User Centered Design & Worlds
Volume 198: Activity & Enaction (the blind spot #1)
Volume 199: Activity, Enaction & World-Making (blind spot # 2)
This section of the annotated guide to the newsletters covers books/references, key terms, and our various newsletters that look back on newsletters (our “best of series”).
While both the references and glossary can be found on our web page, what is great about the newsletters is that they provide more of the context for both the books and the key terms.
What is really great and useful about our “best of” series is that they contain condensed practical advice, insights, and many things one might miss in reading the newsletter – they are not to be missed.
Volume 47: Fiction & References
Volume 67: Annotated Bibliography (Link)
Volume 97: Affordance* Resources
Volume 99: Summer Reading/Listening 2023
Volume 102: Innovation Resources
Volume 147: Summer 2024 practices and readings
Volume 153: On Reading as an Experimental Art
Volume 154: Creativity and Research Fields
Volume 158: Contrasting Creative Ecologies
Volume 168: Marshall Sahlins: The New Science of the Enchanted Universe
Volume 173: Books Old and New for 2025
Volume 197: Summer Reading: Creative Practices
We have put great effort into slowly building up our glossary on the website into a really useful tool. Most of those terms first appeared in a Newsletter focused on key terms.
One thing that is interesting when seen this way is that you can see how we return repeatedly to the same terms (Blocking, Creativity, Change + Kind and Degree, Ideas, Creativity Paradox) to experimentally rethink the terms.
Volume 73: Glossary:
Affordance
Assemblage
Blocking
Creativity
Change
Change-in-Degree
Change-in-Kind
Volume 148: Nine Key Words:
Creativity
God Model
Innovation
Ideas
Difference
The Creativity Paradox
Change
Change-in-Degree
Change-in-Kind
Volume 150: The Big Four:
Agency
Enaction
Sense-Making
World-Making
Volume 166: Six Terms:
Dynamics
Creativity (Psychology)
Disclose
Change
Developmental Design
Design Thinking
Volume 167: Ten Terms:
Proposition
Creativity Paradox
Ideas
Thinking/Cognition
Know-What
Know-How
Blocking
Enabling Constraint
Constraint
Configuration
Volume 169: Six Terms:
Paradigm Change 1.0
Paradigm Change 2.0
Paradigm
Origin/Beginning
Worldview
Worlds-Worlding
Volume 194: Five Terms:
Relation
Transversal
Thickets
Epicycles
Feedforward
These holiday volumes that we usually publish both at the end of the year and during the summer are moments for us to reflect and take stock of what we have done. These are great newsletters to visit to get quick insights and catalysts for your practice:
Volume 15: Winter 2021
Volume 16: New Year 2022
Volume 48: Best of – so far
Volume 68: Winter 2022
Volume 69: New Year Manifesto 2023
Volume 70: On Beginning and Forgetting
Volume 100: Best of 100 Newsletters (1-50)
Volume 101: Best of 100 Newsletter (50-100)
Volume 118: Gifts for Creativity
Volume 119: 14 Insights to Keep Creativity Going
Volume 120: 2023: A Year of Affordances
Volume 171: A Best of Newsletter 2024 Review Edition
Volume 172: The New Year 2025 (on the Untimely)
Volume 200: Celebrating 200 Newsletters
The first four volumes are really now forgettable. We were starting things off and experimenting with “what else could we do” with this form. The beginning of the “newsletter” really begins with Volumes 5 and 6, when we started our first series looking critically at the Western pre-history of creativity.
Volume 1: Kickoff
Volume 2: Design Thinking Critique
Volume 3: Book Launch
Volume 4: Workshop Description
Well – we hope that this guide is a useful tool to further your own experimental creative journeys into the what and how of everything creativity and innovation.
Keep Your Difference Alive!
Jason, Andrew, and Iain
Emergent Futures Lab
+++
P.S.: Loving this content? Desiring more? Apply to become a member of our online community → WorldMakers.
