The Cause & Effect (CE) diagram, also sometimes called the ‘fishbone’ diagram, is a tool for discovering all the possible causes for a particular effect. The effect being examined is normally some troublesome aspect of product or service quality, such as 'a machined part not to specification', 'delivery times varying too widely', 'excessive number of bugs in software under development', and so on, but the effect may also relate to internal processes such as 'high rate of team failures'.
This article investigates how neuroscience in general, and neuroscience of creativity in particular, can be used in teaching 'applied creativity' and the usefulness of this approach to creativity training. The article is based on empirical data and our experiences from the Applied NeuroCreativity (ANC) program, taught at business schools in Denmark and Canada. In line with previous studies of successful creativity training programs the ANC participants are first introduced to cognitive concepts of creativity, before applying these concepts to a relevant real world creative problem. The novelty in the ANC program is that the conceptualization of creativity is built on neuroscience, and a crucial aspect of the course is giving the students a thorough understanding of the neuroscience of creativity. Previous studies have reported that the conceptualization of creativity used in such training is of major importance for the success of the training, and we believe that the neuroscience of creativity offers a novel conceptualization for creativity training. Here we present two sets of empirical data, suggesting that principles from neuroscience can contribute effectively to creativity training and produce measurable results on creativity tests: 1) an experiment demonstrating how an ANC lecture on the neurobiology of creativity significantly decreased the number of fixations in a creative task, 2) pre/post-training tests showing that ANC students gained more fluency in divergent thinking (a traditional measure of trait creativity) than those in highly similar courses without the neuroscience component. The evidence presented indicates that the inclusion of neuroscience principles in a creativity course can in 8 weeks increase divergent thinking skills with an individual relative average of 28.5%.
"Wicked problem" is a phrase originally used in social planning to describe a problem that is difficult or impossible to solve because of incomplete, contradictory, and changing requirements that are often difficult to recognize. The term 'wicked' is used, not in the sense of evil but rather its resistance to resolution.
As part of Creative Time Reports’ Summit Series, musician, artist and bicycle diarist David Byrne considers New York City's present and future ahead of the 2013 Creative Time Summit: Art, Place & Dislocation in the 21st Century City.
Bernard Ryefield's insight:
What David Byrne says from New York could be applied to many metropolis in the world; environment is crucial for creativity to bloom
Having a group brainstorming session isn’t wrong but it shouldn’t be thought of as a single event. Instead, group brainstorming should be considered part of a process that includes sufficient time for individual thought.
Bernard Ryefield's insight:
having a -real- brainstorming session is often difficult to attain though; group thinking must be balanced with individual thinking
Which brainstorming techniques should you use to attack your next innovation challenge? Here are the “super seven” that innovation consultant Bryan Mattimore says have the advantages of being easy to learn, flexible to adapt to different types of creative challenges and are diverse enough to deliver different types of ideas.
The key work on Systems Theory in Creativity was done by Mihaly_Csikszentmihalyi (1988, 1999) in providing a model with which to explain how creative artifacts emerge from the system, which is a confluence model. Csikszentmihalyi's model incorporates three entities, the Individual, The Field and the Domain.
Creativity is a multidisciplinary, multifaceted concept that has held the interest of both theorists and practitioners over many years. It is perhaps more important today than ever before (Runco, 2004) because of the fast and complex changes that characterize the environment in which we live and operate. Some of the more fundamental changes are: a) globalization which, among other things, has introduced diversity in cultures and markets and exposed organizations to increased competitive pressure; b) technology advancements, particularly in communication, that have changed the means and the pace of information flow; c) organizational structures that are leaner and flatter, sometimes with part of the operations physically located on other continents; d) shift from manufacturing dominated to service dominated economies; e) markets that are more informed about products, available choices and civil rights.
All these changes make obsolete the traditional ways of going about business and pose new challenges for decision makers. Individuals, firms and governments alike are must seek novel solutions to the challenges posed by the increasing dynamism and complexity of their environment. Creativity is the first step in the formulation of the novel solutions needed to counter these equally new situations. Indeed since the times of Graham Wallas and his work – Art of Thought - published in 1926, creativity has been recognized as a useful and effective response to evolutionary changes.
It may be no coincidence that so many creative types have long lives. New findings show how doing what you love can add years
Bernard Ryefield's insight:
Maybe being able to solve more life problems creatively can add years too ? Or is it correlation and not causation: part of the genetic make-up wich control longevity can control one or more creative process ? Or both ?
The Candle Problem is a classic test of creative problem solving developed by psychologist Karl Duncker in 1945. Subjects are given a candle, a box of thumbtacks, and a book of matches, and asked to affix the lit candle to the wall so that it will not drip wax onto the table below.The test challenges functional fixedness, a cognitive bias that makes it difficult to use familiar objects in abnormal ways. It was recently used to prove that living abroad makes you more creative. - See more at: http://risenetworks.org/2013/10/07/test-your-creativity-5-classic-creative-challenges/#sthash.vNMYNAJZ.dpuf
Much of the focus on mindfulness and meditation has been on stress management. Few things help one deal better with the stressors of everyday life. Meditation each day may reduce blood pressure, improve sleep, and mitigate the severity of episodes and symptoms of mental illnesses.
But there is more. Meditation quiets the mind, and a quieter mind is more likely to have room for new and better ideas about the challenges one faces in life, business, and art.
Researchers at the Institute for Psychological Research and Leiden Institute for Brain and Cognition of Leiden University in the Netherlands found a tremendous impact of focused-attention (mindfulness) and open-monitoring meditation (observing without judging) on creativity.
Bernard Ryefield's insight:
meditation as a mean to activate the Default Mode Network of the brain
By Scott Barry Kaufman | “There is only one difference between a madman and me. I am not mad.” —Salvador Dali / "The romantic notion that mental illness and creativity are linked is so prominent in the public consciousness that it is rarely challenged. So before I continue, let me nip this in the bud: Mental illness is neither necessary nor sufficient for creativity."
Divergent thinking – more than a mere tool – is a technique very commonly used on creative activities because it allows us to expand our brains a little bit, by looking for new opportunities and ways of getting things done.
Like E. Paul Torrance, my colleagues and I have tried to understand the nature of creativity, to assess it, and to improve instruction by teaching for creativity as well as teaching students to think creatively. This article reviews our investment theory of creativity, propulsion theory of creative contributions, and some of the data we have collected with regard to creativity. It also describes the propulsion theory of creative contributions. Finally, it draws some conclusions. by Robert J. Sternberg