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Enhancing innovation Methods, cultural aspects, ideation approaches, and box busters
Published in Adedeji B. Badiru, Cassie B. Barlow, Defense Innovation Handbook, 2018
Daniel D. Jensen, Cory A. Cooper
Research shows that, while innate intellectual capacity (measured by IQ scores) has a significant inherited (genetic) component to it, creative abilities do not [3,13]. Simply put, creativity can be learned. However, in any organization there are those that find the creative process enjoyable and those that do not. Even if other aspects of the organization’s culture are aligned to facilitate innovation, if an individual is not motivated to engage in creative processes, their productivity in that environment will be reduced. People can obviously change their desire to engage in innovation-oriented tasks over a period of time, but an initial evaluation of a potential team member’s desire to engage in creative processes may help formulate an “innovation team” with greater chance for success. Numerous tests, including MBTI and 6-Hats, have components which can be helpful in identifying potential team members for innovation oriented teams [12].
Creativity and Creative Thinking
Published in Graeme Dandy, David Walker, Trevor Daniell, Robert Warner, Planning and Design of Engineering Systems, 2018
Graeme Dandy, David Walker, Trevor Daniell, Robert Warner
Creativity plays a crucial role in engineering and in particular in the planning and design of engineering projects. In this chapter we find that the brain works in some quite surprising ways; that much of its success comes from the use of simple heuristics (or search rules), and from hard-wired features that allow it to make reasonable decisions quickly. However, this form of thinking is convergent in nature and does not provide a sound basis for the divergent thinking we need for the creative aspects of planning and design. It is therefore important to develop techniques to enhance a divergent and creative approach to problem solving. We review some of the available techniques in the context of engineering problem solving.
Engineering design
Published in Riadh Habash, Green Engineering, 2017
Creativity is an integral part of the engineering design process, its presence often being the major influence on the impact of a product. It is the ability to use novel approaches for generating, investigating, and representing ideas. Creativity is a quality that is highly valued, but not always well appreciated. Thus, creativity is the ability to see connections and relationships and to think in intuitive, nonverbal, and visual terms. The creative process is very similar in all fields including engineering. The creative work usually builds new relationships and new situations.
Undergraduate students’ perceptions of the development of generic competences and their relevance to the engineering profession
Published in European Journal of Engineering Education, 2022
Michele Girotto, Andrea Oliveira
In the creation-process competences, most students, when indicating the importance of creativity and innovation, linked these to problem-solving and trial-and-error situations in the process of creating value, as illustrated by this remark: […] creativity and innovation are vital for any engineer because an engineer must be resourceful and get solutions to problems by bringing about innovative and revolutionary products that could be translated into added-value for the businesses […]. And this is only achieved through trial and error […].In the general category of emotional competences, self-awareness was the most relevant, particularly in managing stress, adapting to unforeseen changes, managing time well or performing teamwork. The following comment illustrates these aspects: The awareness of oneself and, therefore, the ability to keep our emotions under control, is especially recommended, particularly in order to be able to continually face new working challenges that require an extraordinary capacity to adapt […].
Design method validation – an investigation of the current practice in design research
Published in Journal of Engineering Design, 2021
Matthias Eisenmann, Patric Grauberger, Selin Üreten, Dieter Krause, Sven Matthiesen
Solution approach A: Common goals and metrics. Ideation methods follow the common goal of fostering creativity. This results in a very similar operationalisation of goals and use of metrics in all of the 15 identified studies validating ideation methods. Eight of these studies explicitly build on the four metrics proposed by Shah, Smith, and Vargas-Hernandez (2003), which are quantity, quality, novelty, and variety. The remaining studies found their operationalisation on other work but also measure at least one of the four aspects. Additionally, other metrics such as idea quality (Wierenga and van Bruggen 1998) composed of originality and appropriateness (Massetti 1996), or unobviousness (Howard, Culley, and Dekoninck 2006) as used by Howard, Culley, and Dekoninck (2011) show a strong connection to the other concepts. This similarity in operationalisation of common method goals enables a comparison of results of different researchers and different ideation methods. Besides, the similarity in metrics enables a critical comparison like it is done by Chulvi et al. (2012), who studied different types of ideation methods to discuss the applicability of different metrics. The use of common metrics also fosters theoretical discussion as is shown in current reflections on Shah’s novelty metric (Fiorineschi, Frillici, and Rotini 2020) and enables researchers to further develop new approaches to analyse ideation outcomes on a more detailed level, as in Hay et al. (2020).
Aesthetic experiences and design creativity: an ethnographic study of a wool felting design workshop
Published in International Journal of Fashion Design, Technology and Education, 2021
Magnum Man-Lok Lam, Eric P.H. Li, Elita Yee-Nee Lam, Wing-Sun Liu
As an integral and important part of the design process, creativity plays a societal role of human agency that constantly remoulds the structure of the regime of aesthetic meanings. Creativity can be defined as the process of conceiving and producing something that is both original and useful (Sawyer, 2006). Originality is an important aspect of creativity, since something is considered creative only when it is novel or unique in its design process, attributes and appearance, or underlying concepts. Usefulness is another important aspect, since product design must also fulfil an emotional, functional, or practical need (Runco & Jaeger, 2012). Instead of conceptualising creativity as a product of intuitive methods and innate talents, most of the extant studies adopt a cognitive perspective which see creativity as a well-articulated process of design thinking imparting designers’ tacit and implicit knowledge (Lee & Danko, 2017). These studies share the view that the determinants of creativity are connecting to designers’ intelligence, knowledge, thinking styles, personality, motivation (Runco, 2004; Sternberg, 1988). Findings yielded by these investigations show that the designers’ personality, affect, cognition, and motivation can either facilitate or impair creativity in the design process (Amabile, 1996; Csikszentmihalyi, 1996). For example, Robinson, Workman, and Freeburg (2019) examined the extent to which fashion design students’ attitudes toward ambiguity affect their creativity.