Natalie Nixon

In our work environments, one of the things I suggest that we start is we just talk about it more.

That have managers just share moments when they have married the data that's on the Excel sheet with that nudge and what was the result.

And just having more open conversations about how those occurrences are a lot more frequent than maybe we want to admit.

What it looks like is ensuring that the AI tool or app is not the endpoint.

I'm ensuring that it's just the beginning, that it could be a launch pad.

And from there, turn it off, have the eyeball-to-eyeball conversations, collaborations.

So for example, I study ballroom dance.

And my teacher and I were talking about how some of the AI-generated music

is sneakily really good.

You can't even tell if it was composed by, sung by, sung by, in air quotes, a human or a machine.

And in my book, The Creativity Leap, there's a second edition coming out in 2026.

And what's making it new is I have a new chapter that explores, what does creativity look like at a time of AI?

And I look at, in the arts especially, there's a jazz musician like Herbie Hancock who was always super experimental.

Back in the 70s and the 80s, he was exploring and experimenting with electronic music.

He has dove quickly into AI.

He loves the experimentation he can do.

There's another musician composer who I reference in the new chapter

who was on a podcast talking about she has a love-hate relationship between it.

But my dance teacher and I were talking about this and we were listening to an AI-generated rap, which was really good.

And I can't rap.