In 1941, Swiss engineer George de Mestral returned from a walk with burrs clinging to his dog’s fur that were surprisingly sticky. Most of us would have brushed them off but Mestral looked closer. Under a microscope, he saw tiny hooks gripping the loops in fabric and fur. That observation led to an idea that eventually became Velcro.
The story captures something essential about creativity. New ideas rarely appear from nowhere. More often, they emerge when the mind travels from something familiar to something related, but not obvious. The breakthrough is not simply “thinking harder” but finding a different path.
Our latest paper, Graph Enhanced Creative Cognition for Alternate Uses Task, explores whether large language models can be helped to make those associative journeys. The headline finding is: when AI models were guided toward moderately distant concepts before generating an idea, they produced a much broader range of responses. The number of distinct idea categories increased by 147% for Gemma-4B, 70% for Mistral-7B and 33% for OLMo-7B. When a learning system identified the most promising conceptual paths, those paths generated 16–20% more idea categories than randomly selected ones.
The study suggests that creativity may depend less on explicitly asking for originality and more on designing better routes to discover it.
Why “be more creative” usually fails
Anyone who has led a brainstorming session knows the pattern. Ask a group for unusual uses for a paperclip and the first answers arrive quickly: a hook, a lock pick, a cable holder. Then the room slows down and people begin repeating variations of the same themes.
Language models face a similar problem. They generate likely continuations from patterns in their training data. This makes them fluent, but it also creates a pull toward familiar answers. Asking a model to “be highly creative” does not necessarily change the territory it explores. Turning up randomness may produce stranger wording, but strangeness is not the same as a genuinely different idea.
Creativity researchers have long described creative thought as an associative process. Sarnoff Mednick’s classic theory proposed that original ideas arise when people connect elements that are relatively remote from one another. The challenge is to travel far enough from the obvious to find novelty, but not so far that the result becomes meaningless.
That is the “Goldilocks zone” of creativity: not too close, not too distant.
Giving AI a conceptual stepping-stone
Our study tested this idea using the Alternate Uses Task, a widely used divergent-thinking exercise in which participants propose unconventional uses for ordinary objects. We used six objects (book, table, fork, pants, bottle and coin) and tested three small, open-weight language models, collecting 3,552 valid generations.
In the baseline condition, the model received a straightforward request: suggest an unusual use for the object.
The experimental condition received one extra instruction to incorporate a concept reached by taking two steps through ConceptNet, a large commonsense knowledge graph. ConceptNet represents everyday concepts as a network of labeled relationships. A “book,” for example, might connect to a “bed” through location, and “bed” might connect to a “plant” through another relationship. The result might be a vertical planter made from stacked books, an idea that is not an obvious association with “book,” yet remains understandable.
The system provides a conceptual stepping-stone: something sufficiently removed to disrupt the default answer, but still connected through a traceable path.
Diversity is not the same as originality
In the paper, we also make a distinction between an individually creative answer and a genuinely diverse body of ideas.
Suppose an AI proposes using a book as a shield. Judged in isolation, the answer might seem original. But if the model returns to “shield” repeatedly, or other models also propose the same, its creative range is narrower than the individual score suggests. We found that standard originality scoring sometimes gave different ratings to semantically similar answers and compressed many responses toward the high end. To address this, we grouped similar responses into semantic clusters. Ideas involving protection might form one cluster; furniture another; gardening a third. The more clusters a model reached, the more widely it had explored the idea space.
Using this approach we saw that graph-guided prompting increased the number of unique clusters by 147% for Gemma-4B, 70% for Mistral-7B and 33% for OLMo-7B. The prompts helped the models explore new categories of ideas.
For Gemma and Mistral, graph guidance also produced more responses in the rarest (and therefore most original) clusters. OLMo became more diverse overall but showed a small decline in the highest-originality group showing that diversity and originality often reinforce each other, but they are not identical.
Not every detour leads somewhere useful
Simply wandering through a network does not guarantee inspiration. Some paths loop back to where they started. “Book → cover → book” creates no real distance. Other paths end at concepts already closely associated with the starting point.
We therefore asked whether a system could learn which associative paths were more creatively productive.
We trained a graph neural network to rank pathways through the “book” portion of ConceptNet. Its technical performance was modest, but it learned enough to identify better routes. Compared with 100 randomly chosen paths, its top-ranked 100 paths produced 16–20% more unique idea clusters across the three models and more ideas in the highest-originality category.
The finding shows that creative support systems may eventually do more than provide information or generate answers. They could help people navigate conceptual landscapes by suggesting which analogy, adjacent field or surprising connection is most likely to open productive territory.
Creativity as guided exploration
While the study is an early proof of concept, it provides some useful insights. One, it is computationally easier to measure novelty and diversity but usefulness requires human judgement. Generating truly creative solutions requires (at least as of now) a healthy collaboration between humans and AI. Two, designing the right process, where AI can suggest different directions to think about, can yield higher levels of creativity. Completely open prompts often leave people and machines circling the most accessible ideas in practice. AI can be a useful partner by suggesting new associations, analogies or metaphors as stimuli. Finally, traceability is a promising theme. A graph-guided idea comes with a kind of “cognitive lineage” that allows us to inspect the route that helped produce it. In scientific discovery, strategy and learning, the path may be almost as valuable as the answer because others can evaluate, adapt and extend the thinking.
George de Mestral did not invent a fastener by staring harder at fabric. He followed a path from burrs, to hooks, to loops, to textiles that led to his world changing idea. Perhaps the future of creative AI, and of innovative organizations, will not come from demanding more creativity but by being more deliberate about the conceptual journeys that make better answers possible.
