Each night, we cross a bridge that connects the waking and sleeping worlds. We know very little about this bridge (symbolizing the sleep-onset period), as our passage is brief and leaves only a few fragmented memories behind. Moreover, sleep researchers have largely overlooked this twilight period, certainly owing to its ‘in-between’ and fleeting nature. However, upon closer examination, the sleep-onset period appears as a rich and dynamic time during which our body and mind undergo significant changes. Brain activity slows, muscles relax, and reality gradually distorts: dreamlike images begin to dance before the eyelids. In contrast to the research community, many scientists and artists, such as Thomas Edison and Salvador Dali, were fascinated by this rich period, seeing in it great potential, particularly for increasing their creativity. They even devised methods for capturing creative inspirations from this ‘genius gap’ before they vanished into the limbo of sleep. They would take naps while holding an object that dropped noisily as they dozed off, awakening them just in time to record some of their discoveries/ideas. Is there any truth in this seductive story? In other words, is the sleep-onset period conducive to creativity? This question will serve as the central theme of this thesis. Our main hypothesis was that hybrid states, at the borderland between wakefulness and sleep, would promote creativity. We tested this hypothesis by examining both a physiological state in which sleep and wakefulness coexist (the sleep-onset period, specifically the first sleep stage, named N1) and a sleep disorder, narcolepsy, in which the line between the two vigilance states is even finer than usual. We first demonstrated an increased creative potential in patients with narcolepsy, suggesting an (indirect) link between a privileged access to the sleep-onset period (caused by excessive daytime sleepiness) and the gradual development of creativity over time. Second, we found a direct link between the N1 stage and creativity, given that a single minute of N1 was sufficient to triple the probability of discovering a hidden shortcut to solve a task compared to a period of wakefulness. Additionally, this beneficial effect of the N1 stage disappeared when the subjects reached a deeper sleep (N2). We substantiated these results using spectral analyses and discovered an optimal cocktail for creativity (above and beyond sleep stages), consisting of an intermediate level of alpha (a marker of the wake-to-sleep transition) and a low level of delta (which signs sleep depth). We thus unraveled the existence of a ‘creative sweet spot’ within the sleep-onset period. Hitting this zone requires striking a balance between falling asleep easily and sleeping too deeply. Finally, we investigated the relationship between memory and creativity during sleep onset, using a newly-designed task that allowed us to evaluate these two cognitive functions within a single experimental design. Regrettably, the creative task was too difficult (not enough solvers) to assess the link between memory and creative problem-solving. However, we found that subjects who slept exclusively in N1 exhibited a 10% forgetting of previously encoded individual memory traces, whereas subjects who transitioned to the N2 stage showed less forgetting. Intriguingly, these last two studies both show distinct behavioral effects between two seemingly close sleep stages (N1 and N2). These parallel findings may suggest a link between memory processing (and possibly the pruning of irrelevant information) and the N1-induced boost in creativity. But more importantly, they emphasize the importance of distinguishing the N1 and N2 stages in future research, as they appear to have distinct effects on cognition. Overall, our findings indicate that critical cognitive processes occur during sleep onset. Notably, we found that this period constitutes a doorway into creativity, which neuroscientists [...]