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#1
August 23, 2008, 08:27 PM
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creativity management
As I studied the creative process I realized, in retrospect, that I probably opted for five components because of my work in teaching and with health education. These processes are often described as consisting of five parts. The Sure-Fire Five Step Learning Process consists of:
These examples led me to the conclusion that there is a close parallel between the learning and creative processes. This relationship is shown in the following table: LEARNINGPROCESSHEALTH EDUCATION COVEY'S "7 HABITS" FRANK'S CREATIVE PROCESSLOOKPERCEPTIONKNOWLEDGE(what to & why to)FORAGE SEEINFORMATION UNDERSTANDCOMPREHENSIONSKILLS(how to)REFLECT LEARNCONVICTION & SOLUTIONSADOPTACTAPPLICATIONDESIRE (want to)NURTURE KNUCKLE DOWNContinue to Creativity and the Management Process Creativity and the Management Process Management is the process of mobilizing a variety of essential resources in support of an objective or goal. This process is usually subdivided into functions, components or steps. The book Basic Health Planning Methods identifies six steps as a basis for planning and managing health activities:
This is the planning/management model that most people are familar with. I have found that one of the chief disadvantages of this approach is that when groups try to apply it systematically, they often get caught up in the details of defining the problems and inventorying resources, and rarely get around to devoting much time to implementation and evaluation.
PRICOR OPERATIONS RESEARCHLEARNING PROCESSMSH PLANNING & MGT SPIRALHEALTH PLANNING & MANAGEMENTFRANK'S CREATIVE PROCESSPROBLEM ANALYSISLOOKPLANIDENTIFY THE PROBLEMFORAGESEEINVENTORY RESOURCES SOLUTION DEVELOPMENTUNDERSTANDCONSIDER ALTERNATIVES REFLECTLEARNPRIORITIZEADOPTSOLUTION VALIDATIONAPPLICATIONIMPLEMENTIMPLEMENT NURTUREEVALUATEEVALUATEKNUCKLE DOWN Continue to Creative Management Creative Management Filed in Articles Creativity in Strategic Planning An example of ineffective strategy is a dry, one-inch-thick report that people only refer to when they need some market numbers, or a PowerPoint slide deck full of esoteric whiz-bang charts put together by a team of consultants. The 7 C’s of Powerful VisionPowerful strategy is the living, breathing force behind the actions of an organization. It is the bridge that connects people from where they are to where they want to be. It’s bold — definitely not business as usual — because it continually changes how the organization sees itself and transforms it into what you want it to become. How can we bring this kind of life and boldness into our strategic planning efforts? I propose that creativity is the key to this, and that there are a variety of tools and techniques that are well suited to engaging people and tapping into their creative juices. [IMG]https://blog.bluesummit.net/wp-*******/uploads/2007/12/creativity-in-strategic-planning.jpg[/IMG] Mind Map Brainstorming. The word brainstorming has become an ubiquitous term for creative thinking. The core principle of brainstorming is to suspend judgment during the generation phase of thinking. Analysis, prioritization, and judgment take place after ideas are generated. This frees the mind to make connections and abstractions, shift perspectives, and explore alternatives without the constraints and structure that judgment brings. Unfortunately, typical group brainstorming sessions fail to be productive for a variety of reasons — judgment creeps in, ideas are not tracked, connections are not supported, etc. How can brainstorming be made more effective? I find that facilitated sessions with mind mapping software provide tremendous advantages over typical brainstorming sessions. Ideas can be captured and tracked with total freedom of association. Through powerful yet simple visualization, new ideas and connections are encouraged. At the end of a session, the group has a map of all the ideas generated in the session, which encourages further connections and ideas to develop after the meeting. Improvisation. If you’ve ever seen an episode of “Whose Line Is It Anyway?”, you know what I mean by improvisation. It’s the practice of acting and reacting, to create in the moment and in response to one’s environment. Techniques of improv are widely trained in the entertainment arts (music, theater, and dance), but it is not well known that it can be a powerful tool in business planning. Its secret lies in suspending judgment and accessing the creativity of the present moment. There is no time to censor or evaluate, only to respond and build. It’s interesting to note that the mental and emotional states needed to practice the art of improvisation are very similar to those of Zen, and many of the same concepts are used in both practices. When people who have a thorough understanding of their disciplines practice improvisation, the result can be the invention of new thought patterns, new structures, or new ways to act. I use improv to help groups develop a more creative vision by asking them to improvise what their organization could be like at some point in the future, and capture their thinking in a tool called a Cover Story Vision. The result can often include nuggets of creative possibility that are fresh and bold. Read the rest of this entry » Posted by Konrad on December 18th, 2007 filed in Creativity, Articles1 Comment » | Share This | Permalink How many times have you seen one of those vague, slightly inspiring, but wishy-washy vision statements? They’re often found buried in a thick report or framed on a wall, overlaying a sublime photo. Nobody knows quite what they mean, who wrote them, what actions they imply, or why they should care. What Exactly is a Vision?Vision is a critically important part of any process of goal attainment or achievement. Without vision, there is little clarity, alignment, or motivation to move toward the desired outcomes. Yet most people and groups do not have a strong sense of what they want to achieve. Forming a good vision doesn’t happen overnight…it evolves with the investment of time and energy needed to make a vision powerful. A vision is a clear, compelling image or sense of a desired future state. It is created with the intention of being transformed into a future reality. It represents a goal or achievement that motivates people to take action to get them to that future state. If it’s a good vision, it will grab people in the gut, touch them deeply, and move them to action toward the goal represented by the vision. It becomes the living, breathing force behind the actions of an organization. If it’s not a good vision, it will fall flat, fail to motivate and align people, and may even result in cynicism and lower morale in an organization. What Makes a Vision Powerful? With all this at stake, an important question for leaders to explore is: “How do we know whether we have a good vision?” Is it like art, where we just know it when we see it? Or is there some way we can look at our situation objectively and understand what’s working well and what’s not? I find it interesting to look at how diamonds are evaluated. Ultimately what is important is their overall brilliance and beauty, yet it is extremely useful to identify the most important aspects that result in this brilliance and beauty. Diamonds are generally evaluated on four aspects, known as the 4 C’s: Cut, Color, Clarity, and Carat Weight. Each quality has its own scale, and all diamonds are evaluated on these scales to objectively evaluate their brilliance and beauty, and therefore their value. Mission vs. VisionI propose that we can look at the power or quality of visions in a similar way. Ultimately, what is important is the motivation, alignment, and results they create for people, yet we can identify a set of aspects that create these outcomes. I have found in my work that the most useful distinctions can be distilled into 7 C’s: Clear, Concrete, Compelling, Creative, Consensus, Communicated, and Committed. Each of these aspects can be evaluated on a scale of 0 to 100% quality. 100% is defined at the point at which additional improvement efforts would not be worth their cost. [IMG]https://blog.bluesummit.net/wp-*******/uploads/2007/06/7-cs-of-powerful-vision.gif[/IMG] Read the rest of this entry » Posted by Konrad on June 6th, 2007 filed in Vision, Articles2 Comments » | Share This | Permalink I have often found myself in conversations with clients about the meaning and purpose of some of the most fundamental business terms — words like Mission, Vision, Strategy, and Values. It surprises me how often people on the same team have differing ideas about what these words mean, and how often I hear fuzzy thinking about these terms. The result can be significant mis-communication and mis-understandings about the direction of the organization. It is very hard to focus on what you cannot define.
I find that many leaders use mission and vision interchangeably, or think that the difference between them doesn’t matter much. Another related problem is mission and vision statements that are vague, lofty, or have little connection with the real work of the organization. Let me suggest some definitions that have worked well and solve these problems. They are based on decades of strategy work with clients, as well as authors such as Collins & Porras (Built to Last  ), Steven Covey (Principle Centered Leadership ), Peter Senge (The Fifth Discipline ), and Kaplan & Norton (Strategy Maps ). Even a dictionary can be amazingly helpful.[IMG]https://blog.bluesummit.net/wp-*******/uploads/2007/03/sm-pyramid.gif[/IMG]Mission: Enduring purpose. The fundamental reason for the organization’s existence beyond just making money. It is a direction, a general heading, a perpetual guiding star on the horizon. It does not change over time. It is generally abstract and can never be achieved, only pursued. For example, for NASA: “advancing man’s capability to explore the heavens”. Read the rest of this entry » التعديل الأخير تم بواسطة abdeslam844 ; August 23, 2008 الساعة 09:51 PM 
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#2
August 23, 2008, 08:30 PM
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رد: creativity management
The Components of Creativity
(An Introduction to Creative Quotations) In 1986, while living in Zaire (now Congo), I made my first quotation calendar as a gift for my wife. Browsing through a copy of The Shorter Bartlett's Familiar Quotations, I became hooked on quotes, especially quotes about creativity. I now have 20,000 quotations in my collection, and have prepared sets Creative Quotations for 1,400 famous people. Each quotation is carefully selected and linked to one of five components of creativity (see table below). Creative Quotations to Inspire Creative Thinking are designed to learn from the insights of famous creative people:
Foraging is gathering information Reflecting is generating lots of ideas Adopting is selecting an idea Nurturing is improving your idea Knuckling Down is never giving up      Man must go back to nature for information. -Thomas PaineI dream for a living. -Steven SpielburgI invent nothing. I rediscover. -Auguste Rodin There is a right physical size for every idea. -Henry MooreA thick skin is a gift from God. -Adenauer Konrad
Foraging is . . .
Reflecting is . . .
Adopting means . . .
Nurturing requires . . .
Knuckling Down means . . .
Flaming enthusiasm, backed by horse sense and persistence, is the quality that most frequently makes for success. -Dale Carnegie I don't know the key to success, but the key to failure is trying to please everybody. -Bill Cosby God will not look you over for medals, degrees, or diplomas, but for scars. -Elbert Hubbard Eighty percent of success is showing up. -Woody AllenDesign A Creativity Acronym I think that everyone should personalize their creative style. This chart helps you create your own creativity acronym. For example, the creativity acronym for my wife RETHA would be:Research, Examine, Tackle, Hone, and Advocate. Foraging Gathering information Reflecting Generating lots of ideas Adopting Selecting an idea Nurturing Improving your idea Knuckling DownNever giving up A Adventure Analyze Adopt Amending Advocate B Browse Brainstorm Buy In Better Best C Collect Contemplate Concoct Cultivate Conquer D Diagnose Debate Devise Develop Doubt Not E Explore Examine Embrace Edit Endeavor F Forage Freethink Formulate Fortify Finagle G Gather Generate Germinate Grow Go for Gold H Hunt Hypothesize Hatch Hone Hold Firm I Investigate Imagineer Invent Improve Insist J Journey Juxtapose Join Judge Justify K Keep Looking Kindle Knit K.I.S.S. - Keep It Simple & SmileKeep At It L Look & Listen Lasso Launch Legitimize Lobby M Mine Meditate Map Out Modify Make a Miracle N Notice Network Nucleate Nurture Never Give Up O Observe Originate Organize Optimize Overcome P Prospect Picture Plan Perfect Persevere Q Quest Question Quantify Qualify Quit Not R Research Reflect Regroup Refine Remain Resolute S Search Speculate Strategize Simplify Stay Steadfast T Trek Test Tackle Tune Toil Tenaciously U Unearth Unravel Unite Utilize Urge V Venture Visualize Verbalize Verify Vanquish W Wander Wonder Welcome Water & Weed Wait X X-plore X-amine X-tract X-pand X-pound Y Yearn Yawn Yoke Yeast Yield Not Z Zip Zap Zero In On Zest Zigzag Foraging Gathering information Reflecting Generating lots of ideas Adopting Selecting an idea Nurturing Improving your idea Knuckling DownNever giving up Techniques for Creative Thinking Collectively, there are several hundred techniques published in books by Michael Michalko, Andy Van Gundy, James Higgins, Dilip Mukerjea and others. Techniques are like tools in a workshop, with different tools for different parts of the creative process. For example, there are techniques for defining a problem, exploring attributes of a problem, generating alternatives, visual explorations, ****phors, analogies, and evaluating and implementing ideas. Here is a small selection of techniques:
Catalogues or Encyclopaedias of Techniques? You may be wondering if there are books or an encyclopaedia of these techniques to use as a reference. I am compiling a catalogue of techniques from several books into a master list, or **** index. I call it the Creativity Technique MegaList (or Creativity ****book) and is still a work in progress. Andy Beckett in the United Kingdom is compiling a collection of techniques on his web site Main Page - Mycoted
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#3
August 23, 2008, 08:44 PM
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رد: creativity management
Creativity
Creativity (or "creativeness") is a mental process involving the generation of new ideas or concepts, or new associations of the creative mind between existing ideas or concepts. From a scientific point of view, the products of creative thought (sometimes referred to as divergent thought) are usually considered to have both originality and appropriateness. An alternative, more everyday conception of creativity is that it is simply the act of making something new. Although intuitively a simple phenomenon, it is in fact quite complex. It has been studied from the perspectives of behavioural psychology, social psychology, psychometrics, cognitive science, artificial intelligence, philosophy, history, economics, design research, business, and management, among others. The studies have covered everyday creativity, exceptional creativity and even artificial creativity. Unlike many phenomena in science, there is no single, authoritative perspective or definition of creativity. And unlike many phenomena in psychology, there is no standardized measurement technique. Creativity has been attributed variously to divine intervention, cognitive processes, the social environment, personality traits, and chance ("accident", "serendipity"). It has been associated with genius, mental illness and humour. Some say it is a trait we are born with; others say it can be taught with the application of simple techniques. Although popularly associated with art and literature, it is also an essential part of innovation and invention and is important in professions such as business, economics, architecture, industrial design, science and engineering. Despite, or perhaps because of, the ambiguity and multi-dimensional nature of creativity, entire industries have been spawned from the pursuit of creative ideas and the development of creativity techniques.  Leonardo Da Vinci is well known for his creative works.*******s [hide]
[edit] Definitions of creativity More than 60 different definitions of creativity can be found in the psychological literature,[1] and it is beyond the scope of this article to list them all. The etymological root of the word in English and most other European languages comes from the Latin creatus, literally "to have grown." Perhaps the most widespread conception of creativity in the scholarly literature is that creativity is manifested in the production of a creative work (for example, a new work of art or a scientific hypothesis) that is both original and useful. Colloquial definitions of creativity are typically de******ive of activity that results:
A useful distinction has been made by Rhodes[2] between :
Each of these factors is usually present in creative activity. This has been elaborated by Johnson,[3] who suggested that creative activity may exhibit several dimensions including sensitivity to problems on the part of the creative agent, originality, ingenuity, unusualness, usefulness, and appropriateness in relation to the creative product, and intellectual leadership on the part of the creative agent. Boden[4] noted that it is important to distinguish between ideas which are psychologically creative (which are novel to the individual mind which had the idea), and those which are historically creative (which are novel with respect to the whole of human history). Drawing on ideas from artificial intelligence, she defines psychologically creative ideas as those which cannot be produced by the same set of generative rules as other, familiar ideas. Often implied in the notion of creativity is a concomitant presence of inspiration, cognitive leaps, or intuitive insight as a part of creative thought and action.[5] Pop psychology sometimes associates creativity with right or forehead brain activity or even specifically with lateral thinking. Some students of creativity have emphasized an element of chance in the creative process. Linus Pauling, asked at a public lecture how one creates scientific theories, replied that one must endeavor to come up with many ideas — then discard the useless ones. Another adequate definition of creativity is that it is an "Assumptions breaking process". Many creative ideas are generated when somebody discards preconceived assumptions and decides on a new approach or method that might seem to others unthinkable. [edit] Distinguishing between creativity and innovation It is often useful to explicitly distinguish between creativity and innovation. Creativity is typically used to refer to the act of producing new ideas, approaches or actions, while innovation is the process of both generating and applying such creative ideas in some specific con****. In the con**** of an organization, therefore, the term innovation is often used to refer to the entire process by which an organization generates creative new ideas and converts them into novel, useful and viable commercial products, services, and business practices, while the term creativity is reserved to apply specifically to the generation of novel ideas by individuals or groups, as a necessary step within the innovation process. For example, Amabile et al. (1996) suggest that while innovation "begins with creative ideas," "...creativity by individuals and teams is a starting point for innovation; the first is a necessary but not sufficient condition for the second."[6] Alternatively, there is no real difference between these terms, as creativity is both novel and appropriate (which implies successful application). It seems that creativity is preferred in art con****s whereas innovation in business ones. [edit] History of the term and the concept Main article: History of creativity The way in which different societies have formulated the concept of creativity has changed throughout history, as has the term "creativity" itself. The ancient Greeks, who believed that the muses were the source of all inspiration, actually had no terms corresponding to "to create" or "creator." The expression "poiein" ("to make") sufficed. The sole exception was poetry: the poet was seen as making new things — bringing to life a new world — while the artist merely imitated. In Rome, this Greek view was modified, and Horace wrote that not only poets but painters were entitled to the privilege of daring whatever they wished. Unlike Greek, Latin had a term for "creating" ("creatio") and for "creator", and had two expressions for "to make" — "facere" and "creare".[7] Although neither the Greeks nor the Romans had any words that directly corresponded to the word creativity, their art, architecture, music, inventions, and discoveries provide numerous examples of what we would today describe as creative works. At the time, the concept of genius probably came closest to describing the creative talents bringing forth these works.[8] A fundamental change came in the Christian period: "creatio" came to designate God's act of "creation from nothing". "Creatio" thus took on a different meaning than "facere" ("to make"), and ceased to apply to human functions. The ancient view that art is not a domain of creativity persisted in this period.[7] Another shift occurred in more modern times. Renaissance men had a sense of their own independence, freedom and creativity, and sought to give voice to this sense of independence and creativity. Baltasar Gracián (1601–1658) wrote: "Art is the completion of nature, as if it were a second Creator...". By the 18th century and the Age of Enlightenment, the concept of creativity was appearing more often in art theory, and was linked with the concept of imagination.[7] The Western view of creativity can be contrasted with the Eastern view. For the Hindus, Confucius, Taoists and Buddhists, creation was at most a kind of discovery or mimicry, and the idea of creation from "nothing" had no place in these philosophies and religions.[8] In the 19th century, not only was art regarded as creativity, but it alone was so regarded. When later, at the turn of the 20th century, there began to be discussion of creativity in the sciences (e.g., Jan Łukasiewicz, 1878–1956) and in nature (e.g., Henri Bergson), this was generally taken as the transference to the sciences of concepts proper to art.[7] In the late nineteenth and early twentieth centuries, leading mathematicians and scientists such as Hermann von Helmholtz (1896) and Henri Poincaré (1908) had begun to reflect on and publicly discuss their creative processes, and these insights were built on in early accounts of the creative process by pioneering theorists such as Graham Wallas (1926) and Max Wertheimer (1945). However, the formal starting point for the scientific study of creativity, from the standpoint of orthodox psychological literature, is generally considered to have been J. P. Guilford's 1950 address to the American Psychological Association, which helped popularize the topic[9] and focus on a scientific approach to conceptualising creativity and measuring it by means such as psychometric testing. In parallel with these developments, others have taken a more pragmatic approach, teaching practical creativity techniques. Three of the best-known are :
[edit] Creativity in psychology and cognitive science The study of the mental representations and processes underlying creative thought belongs to the domains of psychology and cognitive science. A psychodynamic approach to understanding creativity was proposed by Sigmund Freud, who suggested that creativity arises as a result of frustrated desires for fame, fortune, and love, with the energy that was previously tied up in frustration and emotional tension in the neurosis being sublimated into creative activity. Freud later retracted this view.[citation needed] [edit] Graham Wallas Graham Wallas & Richard Smith, in their work Art of Thought, published in 1926, presented one of the first models of the creative process. In the Wallas stage model, creative insights and illuminations may be explained by a process consisting of 5 stages: (i) preparation (preparatory work on a problem that focuses the individual's mind on the problem and explores the problem's dimensions), (ii) incubation (where the problem is internalized into the unconscious mind and nothing appears externally to be happening), (iii) intimation (the creative person gets a 'feeling' that a solution is on its way), (iv) illumination or insight (where the creative idea bursts forth from its preconscious processing into conscious awareness); and (v) verification (where the idea is consciously verified, elaborated, and then applied). In numerous publications, Wallas' model is just treated as four stages, with "intimation" seen as a sub-stage. There has been some empirical research looking at whether, as the concept of "incubation" in Wallas' model implies, a period of interruption or rest from a problem may aid creative problem-solving. Ward[10] lists various hypotheses that have been advanced to explain why incubation may aid creative problem-solving, and notes how some empirical evidence is consistent with the hypothesis that incubation aids creative problem-solving in that it enables "forgetting" of misleading clues. Absence of incubation may lead the problem solver to become fixated on inappropriate strategies of solving the problem.[11] This work disputes the earlier hypothesis that creative solutions to problems arise mysteriously from the unconscious mind while the conscious mind is occupied on other tasks.[12] Wallas considered creativity to be a legacy of the evolutionary process, which allowed humans to quickly adapt to rapidly changing environments. Simonton[13] provides an updated perspective on this view in his book, Origins of genius: Darwinian perspectives on creativity. [edit] J.P. Guilford Guilford[14] performed important work in the field of creativity, drawing a distinction between convergent and divergent production (commonly renamed convergent and divergent thinking). Convergent thinking involves aiming for a single, correct solution to a problem, whereas divergent thinking involves creative generation of multiple answers to a set problem. Divergent thinking is sometimes used as a synonym for creativity in psychology literature. Other researchers have occasionally used the terms flexible thinking or fluid intelligence, which are roughly similar to (but not synonymous with) creativity. [edit] Arthur Koestler In The Act of Creation, Arthur Koestler[5] lists three types of creative individual - the Artist, the Sage and the Jester. Believers in this trinity hold all three elements necessary in business and can identify them all in "truly creative" companies as well. Koestler introduced the concept of bisociation - that creativity arises as a result of the intersection of two quite different frames of reference. [edit] Geneplore model In 1992 Finke et al. proposed the 'Geneplore' model, in which creativity takes place in two phases: a generative phase, where an individual constructs mental representations called preinventive structures, and an exploratory phase where those structures are used to come up with creative ideas. Weisberg[15] argued, by contrast, that creativity only involves ordinary cognitive processes yielding extraordinary results. [edit] Conceptual blending In the 90s, various approaches in cognitive science that dealt with ****phor, analogy and structure mapping have been converging, and a new integrative approach to the study of creativity in science, art and humor has emerged under the label conceptual blending. "Creativity is the ability to illustrate what is outside the box from within the box." -The Ride [edit] Psychological examples from science and mathematics [edit] Jacques Hadamard Jacques Hadamard, in his book Psychology of Invention in the Mathematical Field, uses introspection to describe mathematical thought processes. In contrast to authors who identify language and cognition, he describes his own mathematical thinking as largely wordless, often accompanied by mental images that represent the entire solution to a problem. He surveyed 100 of the leading physicists of his day (ca. 1900), asking them how they did their work. Many of the responses mirrored his own. Hadamard described the experiences of the mathematicians/theoretical physicists Carl Friedrich Gauss, Hermann von Helmholtz, Henri Poincaré and others as viewing entire solutions with “sudden spontaneity.”[16] The same has been reported in literature by many others, such as Denis Brian,[17] G. H. Hardy,[18], Walter Heitler,[19] B. L. van der Waerden,[20] and Harold Ruegg.[21] To elaborate on one example, Einstein, after years of fruitless calculations, suddenly had the solution to the general theory of relativity revealed in a dream “like a giant die making an indelible impress, a huge map of the universe outlined itself in one clear vision.” [22] Hadamard described the process as having steps (i) preparation, (ii) incubation, (iv) illumination, and (v) verification of the five-step Graham Wallas creative-process model, leaving out (iii) intimation, with the first three cited by Hadamard as also having been put forth by Helmholtz:[23] [edit] Marie-Louise von Franz Marie-Louise von Franz, a colleague of the eminent psychiatrist Carl Jung, noted that in these unconscious scientific discoveries the “always recurring and important factor … is the simultaneity with which the complete solution is intuitively perceived and which can be checked later by discursive reasoning.” She attributes the solution presented “as an archetypal pattern or image.”[24] As cited by von Franz,[25] according to Jung, “Archetypes … manifest themselves only through their ability to organize images and ideas, and this is always an unconscious process which cannot be detected until afterwards.”[26] [edit] Creativity and affect Some theories suggest that creativity may be particularly susceptible to affective influence. [edit] Creativity and positive affect relations According to Isen, positive affect has three primary effects on cognitive activity:
Fredrickson in her Broaden and Build Model suggests that positive emotions such as joy and love broaden a person’s available repertoire of cognitions and actions, thus enhancing creativity. According to these researchers, positive emotions increasing the number of cognitive elements available for association (attention scope) and the number of elements that are relevant to the problem (cognitive scope). [edit] Creativity and negative affect relations On the other hand, some theorists have suggested that negative affect leads to greater creativity. A cornerstone of this perspective is empirical evidence of a relationship between affective illness and creativity. In a study of 1,005 prominent 20th century individuals from over 45 different professions, the University of Kentucky’s Arnold Ludwig found a slight but significant correlation between depression and level of creative achievement. In addition, several systematic studies of highly - creative individuals and their relatives have uncovered a higher incidence of affective disorders (primarily bipolar illness and depression) than that found in the general population. [edit] Creativity and affect at work Three patterns may exist between affect and creativity at work: positive (or negative) mood, or change in mood, predictably precedes creativity; creativity predictably precedes mood; and whether affect and creativity occur simultaneously. It was found that not only might affect precede creativity, but creative outcomes might provoke affect as well. At its simplest level, the experience of creativity is itself a work event, and like other events in the organizational con****, it could evoke emotion. Qualitative research and anecdotal accounts of creative achievement in the arts and sciences suggest that creative insight is often followed by feelings of elation. For example, Albert Einstein called his 1907 general theory of relativity “the happiest thought of my life.” Empirical evidence on this matter is still very tentative, In contrast to the possible incubation effects of affective state on subsequent creativity, the affective consequences of creativity are likely to be more direct and immediate. In general, affective events provoke immediate and relatively-fleeting emotional reactions. Thus, if creative performance at work is an affective event for the individual doing the creative work, such an effect would likely be evident only in same-day data. Another longitudinal research found several insights regarding the relations between creativity and emotion at work. First - a positive relationship between positive affect and creativity, and no evidence of a negative relationship. The more positive a person’s affect on a given day, the more creative thinking they evidenced that day and the next day – even controlling for that next day’s mood. There was even some evidence of an effect two days later In addition, the researchers found no evidence that people were more creative when they experienced both positive and negative affect on the same day. The weight of evidence supports a purely linear form of the affect-creativity relationship, at least over the range of affect and creativity covered in our study: the more positive a person’s affect, the higher their creativity in a work setting. Finally, they found four patterns of affect and creativity affect can operate as an antecedent to creativity; as a direct consequence of creativity; as an indirect consequence of creativity; and affect can occur simultaneously with creative activity. Thus, it appears that people’s feelings and creative cognitions are interwoven in several distinct ways within the complex fabric of their daily work lives. [edit] Creativity and intelligence Cerebral Cortex Temporal lobe Parietal lobe Occipital lobe The frontal lobe (shown in blue) is thought to play an important role in creativityThere has been debate in the psychological literature about whether intelligence and creativity are part of the same process (the conjoint hypothesis) or represent distinct mental processes (the disjoint hypothesis). Evidence from attempts to look at correlations between intelligence and creativity from the 1950s onwards, by authors such as Barron, Guilford or Wallach and Kogan, regularly suggested that correlations between these concepts were low enough to justify treating them as distinct concepts. Some researchers believe that creativity is the outcome of the same cognitive processes as intelligence, and is only judged as creativity in terms of its consequences, i.e. when the outcome of cognitive processes happens to produce something novel, a view which Perkins has termed the "nothing special" hypothesis.[27] A very popular model is what has come to be known as "the threshold hypothesis", proposed by Ellis Paul Torrance, which holds that a high degree of intelligence appears to be a necessary but not sufficient condition for high creativity.[14] This means that, in a general sample, there will be a positive correlation between creativity and intelligence, but this correlation will not be found if only a sample of the most highly intelligent people are assessed. Research into the threshold hypothesis, however, has produced mixed results ranging from enthusiastic support to refutation and rejection.[28] An alternative perspective, Renzulli's three-rings hypothesis, sees giftedness as based on both intelligence and creativity. More on both the threshold hypothesis and Renzulli's work can be found in O'Hara and Sternberg.[27] [edit] Neurobiology of creativity The neurobiology of creativity has been addressed [29] in the article "Creative Innovation: Possible Brain Mechanisms." The authors write that "creative innovation might require coactivation and communication between regions of the brain that ordinarily are not strongly connected". Highly creative people who excel at creative innovation tend to differ from others in three ways:
Thus, the frontal lobe appears to be the part of the cortex that is most important for creativity. This article also explored the links between creativity and sleep, mood and addiction disorders, and depression. In 2005, Alice Flaherty presented a three-factor model of the creative drive. Drawing from evidence in brain imaging, drug studies and lesion analysis, she described the creative drive as resulting from an interaction of the frontal lobes, the temporal lobes, and dopamine from the limbic system. The frontal lobes can be seen as responsible for idea generation, and the temporal lobes for idea editing and evaluation. Abnormalities in the frontal lobe (such as depression or anxiety) generally decrease creativity, while abnormalities in the temporal lobe often increase creativity. High activity in the temporal lobe typically inhibits activity in the frontal lobe, and vice versa. High dopamine levels increase general arousal and goal directed behaviors and reduce latent inhibition, and all three effects increase the drive to generate ideas.[30] [edit] Working memory and the cerebellum Vandervert [31] described how the brain’s frontal lobes and the cognitive functions of the cerebellum collaborate to produce creativity and innovation. Vandervert’s explanation rests on considerable evidence that all processes of working memory (responsible for processing all thought[32]) are adaptively modeled by the cerebellum [33]. The cerebellum (consisting of 100 billion neurons, which is more that the entirety of the rest of the brain [34]is also widely known to adaptively model all bodily movement. The cerebellum’s adaptive models of working memory processing are then fed back to especially frontal lobe working memory control processes [35] where creative and innovative thoughts arise[36]. (Apparently, creative insight or the ‘’aha’’ experience is then triggered in the temporal lobe[37].) According to Vandervert, the details of creative adaptation begin in ‘’forward’’ cerebellar models which are anticipatory/exploratory controls for movement and thought. These cerebellar processing and control architectures have been termed Hierarchical Modular Selection and Identification for Control (HMOSAIC)[38]. New, hierarchically arranged levels of the cerebellar control architecture (HMOSAIC) develop as mental mulling in working memory is extended over time. These new levels of the control architecture are fed forward to the frontal lobes. Since the cerebellum adaptively models all movement and all levels of thought and emotion[39], Vandervert’s approach helps explain creativity and innovation in sports, art, music, the design of video games, technology, mathematics and thought in general. [edit] Creativity and mental health Main article: Creativity and mental illness A study by psychologist J. Philippe Rushton found creativity to correlate with intelligence and psychoticism.[40] Another study found creativity to be greater in schizotypal than in either normal or schizophrenic individuals. While divergent thinking was associated with bilateral activation of the prefrontal cortex, schizotypal individuals were found to have much greater activation of their right prefrontal cortex.[41] This study hypothesizes that such individuals are better at accessing both hemispheres, allowing them to make novel associations at a faster rate. In agreement with this hypothesis, ambidexterity is also associated with schizotypal and schizophrenic individuals. Particularly strong links have been identified between creativity and mood disorders, particularly manic-depressive disorder (a.k.a. bipolar disorder) and depressive disorder (a.k.a. unipolar disorder). In Touched with Fire: Manic-Depressive Illness and the Artistic Temperament, Kay Redfield Jamison summarizes studies of mood-disorder rates in writers, poets and artists. She also explores research that identifies mood disorders in such famous writers and artists as Ernest Hemingway (who shot himself after electroconvulsive treatment), Virginia Woolf (who drowned herself when she felt a depressive episode coming on), composer Robert Schumann (who died in a mental institution), and even the famed visual artist Michelangelo. [edit] Measuring creativity [edit] Creativity quotient Several attempts have been made to develop a creativity quotient of an individual similar to the Intelligence quotient (IQ), however these have been unsuccessful.[42] Most measures of creativity are dependent on the personal judgement of the tester, so a standardized measure is difficult, if not impossible, to develop. [edit] Psychometric approach J. P. Guilford's group,[14] which pioneered the modern psychometric study of creativity, constructed several tests to measure creativity in 1967:
Building on Guilford's work, Torrance[43] developed the Torrance Tests of Creative Thinking in 1974. They involved simple tests of divergent thinking and other problem-solving skills, which were scored on:
The Creativity Achievement Questionnaire, a self-report test that measures creative achievement across 10 domains, was described in 2005 and shown to be reliable and valid when compared to other measures of creativity and to independent evaluation of creative output.[44] [edit] Social-personality approach Some researchers have taken a social-personality approach to the measurement of creativity. In these studies, personality traits such as independence of judgement, self-confidence, attraction to complexity, aesthetic orientation and risk-taking are used as measures of the creativity of individuals.[9] Other researchers[45] have related creativity to the trait, openness to experience. [edit] Other approaches to measurement Genrich Altshuller in the 1950s introduced approaching creativity as an exact science with TRIZ and a Level-of-Invention measure. The creativity of thousands of Japanese, expressed in terms of their problem-solving and problem-recognizing capabilities, has been measured in Japanese firms.[46] Howard Gruber insisted on a case-study approach that expresses the existential and unique quality of the creator. Creativity to Gruber was the product of purposeful work and this work could be described only as a confluence of forces in the specifics of the case. [edit] Creativity in various con****s Creativity has been studied from a variety of perspectives and is important in numerous con****s. Most of these approaches are undisciplinary, and it is therefore difficult to form a coherent overall view.[9] The following sections examine some of the areas in which creativity is seen as being important. [edit] Creativity in diverse cultures Creativity is a scientific concept which is mostly rooted within a Western creationist perspective. Francois Jullien in 'Process and Creation, 1989' is inviting us to look at that concept from a Chinese cultural point of view. Todd Lubart has studied extensively the cultural aspects of creativity and innovation.  Henry Moore's Reclining Figure [edit] Creativity in art and literature Most people associate creativity with the fields of art and literature. In these fields, originality is considered to be a sufficient condition for creativity, unlike other fields where both originality and appropriateness are necessary.[47] Within the different modes of artistic expression, one can postulate a continuum extending from "interpretation" to "innovation". Established artistic movements and genres pull practitioners to the "interpretation" end of the scale, whereas original thinkers strive towards the "innovation" pole. Note that we conventionally expect some "creative" people (dancers, actors, orchestral members, etc.) to perform (interpret) while allowing others (writers, painters, composers, etc.) more freedom to express the new and the different. Contrast alternative theories, for example:
In the art, practice and theory of Davor Dzalto, human creativity is taken as a basic feature of both the personal existence of human being and art production. [edit] Creative industries and services Today, creativity forms the core activity of a growing section of the global economy — the so-called "creative industries" — capitalistically generating (generally non-tangible) wealth through the creation and exploitation of intellectual property or through the provision of creative services. The Creative Industries Mapping ******** 2001 provides an overview of the creative industries in the UK. The creative professional workforce is becoming a more integral part of industrialized nations' economies. Creative professions include writing, art, design, theater, television, radio, motion pictures, related crafts, as well as marketing, strategy, some aspects of scientific research and development, product development, some types of teaching and curriculum design, and more. Since many creative professionals (actors and writers, for example) are also employed in secondary professions, estimates of creative professionals are often inaccurate. By some estimates, approximately 10 million US workers are creative professionals; depending upon the depth and breadth of the definition, this estimate may be double. [edit] Creativity in other professions  Isaac Newton's law of gravity is popularly attributed to a creative leap he experienced when observing a falling apple. Creativity is also seen as being increasingly important in a variety of other professions. Architecture and industrial design are the fields most often associated with creativity, and more generally the fields of design and design research. These fields explicitly value creativity, and journals such as Design Studies have published many studies on creativity and creative problem solving.[48] Fields such as science and engineering have, by contrast, experienced a less explicit (but arguably no less important) relation to creativity. Simonton[13] shows how some of the major scientific advances of the 20th century can be attributed to the creativity of individuals. This ability will also be seen as increasingly important for engineers in years to come.[49] Accounting has also been associated with creativity with the popular euphemism creative accounting. Although this term often implies unethical practices, Amabile[47] has suggested that even this profession can benefit from the (ethical) application of creative thinking. [edit] Creativity in organizations Amabile[47] argued that to enhance creativity in business, three components were needed:
Nonaka, who examined several successful Japanese companies, similarly saw creativity and knowledge creation as being important to the success of organizations.[50] In particular, he emphasized the role that tacit knowledge has to play in the creative process. [edit] Economic views of creativity In the early 20th century, Joseph Schumpeter introduced the economic theory of creative destruction, to describe the way in which old ways of doing things are endogenously destroyed and replaced by the new. Creativity is also seen by economists such as Paul Romer as an important element in the recombination of elements to produce new technologies and products and, consequently, economic growth. Creativity leads to capital, and creative products are protected by intellectual property laws. Creativity is also an important aspect to understanding Entrepreneurship. The creative class is seen by some to be an important driver of modern economies. In his 2002 book, The Rise of the Creative Class, economist Richard Florida popularized the notion that regions with "3 T's of economic development: Technology, Talent and Tolerance" also have high concentrations of creative professionals and tend to have a higher level of economic development. [edit] Fostering creativity Main article: creativity techniques Daniel Pink, in his 2005 book A Whole New Mind, repeating arguments posed throughout the 20th century, argues that we are entering a new age where creativity is becoming increasingly important. In this conceptual age, we will need to foster and encourage right-directed thinking (representing creativity and emotion) over left-directed thinking (representing logical, analytical thought). Nickerson[51] provides a summary of the various creativity techniques that have been proposed. These include approaches that have been developed by both academia and industry:
Some see the conventional system of schooling as "stifling" of creativity and attempt (particularly in the pre-school/kindergarten and early school years) to provide a creativity-friendly, rich, imagination-fostering environment for young children. Compare Waldorf School. A growing number of psychologists are supporting the idea that there are methods of increasing the creativity of an individual. Several different researchers have proposed approaches to prop up this idea, ranging from psychological-cognitive, such as:
and
to the highly-structured, such as:
[edit] Enhancing the creative process with new technologies A simple but accurate review on this new Human-Computer Interactions (HCI) angle for promoting creativity has been written by Todd Lubart, an invitation full of creative ideas to develop further this new field. The Creativity and Cognition conference series, sponsored by the ACM and running since 1993 has been an important venue for publishing research on the intersection between technology and creativity. The conference now runs biannually, next taking place in 2009. [edit] Social attitudes to creativity Although the benefits of creativity to society as a whole have been noted,[52] social attitudes about this topic remain divided. The wealth of literature regarding the development of creativity[53] and the profusion of creativity techniques indicate wide acceptance, at least among academics, that creativity is desirable. There is, however, a dark side to creativity, in that it represents a "quest for a radical autonomy apart from the constraints of social responsibility".[54] In other words, by encouraging creativity we are encouraging a departure from society's existing norms and values. Expectation of conformity runs contrary to the spirit of creativity. Nevertheless, employers are increasingly valuing creative skills. A report by the Business Council of Australia, for example, has called for a higher level of creativity in graduates.[55] The ability to "think outside the box" is highly sought after. However, the above-mentioned paradox may well imply that firms pay lip service to thinking outside the box while maintaining traditional, hierarchical organization structures in which individual creativity is not rewarded. [edit] See also
[edit] Notes [edit] References
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Bottom line, two kinds of thinking take place in an organization: Convergent thinking (i.e. linear, logical, left-brained thinking) and divergent thinking (i.e. playful, associative, right-brained thinking). Both are needed. Both, indeed, are sides of the same coin. In our experience, however, divergent thinking is in woeful short-supply these days. Data rules. Logic is king. Analysis is the default condition. To help balance the scales, Idea Champions offers its clients a wide range of processes, tools, trainings, and techniques to catalyze creativity, brilliance, and innovation. 1. Banking on Innovation Our nationally acclaimed, creative thinking training that jump starts brilliance, ingenuity, and the origination of breakthrough ideas. 2. Ingenious Leadership A dynamic 1-2 day workshop for managers who realize that the effort to create a sustainable culture of innovation begins with them. 3. High Velocity Brainstorming Skillfully facilitated ideation sessions that will fill your pipeline with breakthrough ideas and highly committed project champions. 4. Know Time The perfect preamble to tedious, strategic planning sessions! Know Time opens the mind, sparks insight, and gets your team's creative juices flowing. 5. Free the Genie A creative thinking card game, oracle, and brainstorming tool for anyone wanting a quick-hitting way to think more creatively. "Idea Poker" for risk takers. 6. Conducting Genius A 2-3 day certification training for managers, trainers and facilitators wanting to learn how to lead breakthrough brainstorming sessions. 7. Breakthough Cafe The Gourmet Way to Jump Start Innovation at Your Next Conference. WHAT IF the restaurant or café your next conference served more than just great food, but also great food for thought?
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| الإدارة بالجودة الشاملة Total Quality Management TQM | admin | علم الإدارة والاتصال و إدارة التسويق و المبيعات | 21 | September 9, 2012 02:20 AM |
| creativity thinking | abdeslam844 | علم البرمجة اللغوية والعصبية NLP وإدارة الذات | 1 | August 23, 2008 07:35 PM |
| مطلوب : Database Systems: A Practical Approach to Design, Implementation, and Management | kkfoxcc | أرشيف طلبات الكتب | 4 | August 16, 2008 02:37 PM |
| هل اجد Management Information Systems, 6th edition؟؟ مجانا لو سمحتم | bkr22 | أرشيف طلبات الكتب | 1 | January 16, 2008 07:26 PM |
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