1 GENERATION … · Web viewAnalytical techniques are ... you can make a list of ideas or words...

1. ANALYTICAL TECHNIQUES (TECNICHE ANALITICHE)

ReferencesCocco G.C., Creatività ricerca e innovazione. Individui e imprese di fronte alle sfide della società post-industriale, Milano, Franco Angeli, 1987.

Osborn A.F., L’arte della creativity, Milano, Franco Angeli, 1992, ed. orig. del 1953.

Class: C

Phase: Idea Generation

Description Analytical techniques are used to boost and increase group creativity but can be also used by single individuals to the same purpose. They help to identify any parallels and combinations among different classes of items or properties. In particular, Gian Carlo Cocco (1987) defines them as follows:

“These techniques try to combine the qualities of imagination with those of scientific analysis. In particular, analytical techniques (also called inventory techniques or index of attributes, item index or leading idea, index of lists or checking lists, catalogue index) lead a single researcher or a workgroup to examine far-reaching but predetermined questions and help to develop innovative answers for a better synthesis...

A particular approach of these techniques is to look for any possible pattern or attribute of an item or a product. Afterwards, make a list of all these attributes to examine any possible interconnection. For example, given a screw-driver as a leading item, you will notice the following attributes: round-shaped, wooden stick, manual functioning, etc. You can improve its functions by examining each attribute (e.g. its round shank could be hexagon-shaped, thus allowing to use a spanner for a better torsion and so on)”. (Cocco, 1987)

Also Osborn (1992) took the screw-driver as an example to explain this technique when he wrote his book “L’arte della creativity”:

“For example, we could list the attributes of a common wooden stick screw-driver as follows:(1) round-shaped; (2) steel shank; (3) wooden stick secured by a small nail; (4) wedge-shaped end to fit the screw top; (5) manual functioning; (6) torsion function.

To improve the screw-driver functions, we examine each attribute on its own. For instance, the round shank could become hexagon-shaped to fit a spanner for a better torsion; the wooden stick could be made of plastic, etc. We could work out a great deal of adjustements to each attribute.” (Osborn, 1992)

Related Techniques: MORPHOLOGICAL ANALYSISCREATIVITY TEMPLATE

Topic: Group creativity techniques (Chapter 5, Paragraph 4.2.2)

7. BRAINWRITING

ReferencesBertone V., Creatività aziendale. Metodi, tecniche e casi per valorizzare il potenziale creativo di manager e imprenditori, Milano, Franco Angeli, 1993.

Jaoui H., Créatifs au quotidien. Outils et méthodes, Paris, Editions «Hommes et Perspectives», 1991 (it. transl. Maria Elisabetta Tonin Dogana, Creatività per tutti. Strumenti e metodi da impiegare nel quotidiano, Milano, Franco Angeli, 1993).

McFadzean E., “Developing and Supporting Creative Problem-Solving Teams: Part 1 – a Conceptual Model”, Management Decision, Vol. 40, n. 5, 2002, pp. 463-475.

Class: B

Phase: Idea Generation, External Mapping

DescriptionBrainwriting is a creative technique which follows the BRAINSTORMING principles. However, in brainwriting each group member silently writes down ideas on a sheet of paper or a form.

“After writing down a reasonable number of solutions, each person places his/her sheet of paper in the centre of the table, thus giving rise to a “pool” of ideas. Afterwards, every participant goes on writing autonomously and when s/he needs the stimulation of another’s ideas, s/he puts an idea back in the centre of the table and takes one from the pool, which can suggest other associations. The leader plays a crucial role in a brainstorming or brainwriting session and has the following main tasks:

• breaking the ice, also through some warm-up exercices; • encouraging and supporting the participants unconditionally; • keeping out of the game and intervening only to kindly call for the observance of the

rules (in particular, the leader needs to remind to avoid any criticism); • dealing with time, holding a course and – from time to time - reannouncing the question

and the ideas that have been generated.” (Bertone, 1993)

There are many brainwriting varieties, but the most common are:

- BRAIN SKETCHING;- BRAINWRITING 6-3-5;- BRAINWRITING GAME;- CONSTRAINED BRAINWRITING;

Related Techniques: BRAIN SKETCHING BRAINSTORMING BRAINWRITING 6-3-5 BRAINWRITING GAME CONSTRAINED BRAINWRITING

Topic: Idea generation (Chapter 7, Paragraph 4.1)Perception techniques (Chapter 8, Paragraph 1.3.1)Association approach (Chapter 8, Paragraph 4.3.2)

16. CHECKLIST

ReferencesOsborn A.F., L’arte della creativity, Milano, Franco Angeli, 1992, ed. orig. del 1953.

Bertone V., Creatività aziendale. Metodi, tecniche e casi per valorizzare il potenziale creativo di manager e imprenditori, Milano, Franco Angeli, 1993.

Michalko M., Thinkertoys: A Handbook of Business Creativity, Berkeley, California, Ten Speed Press, 1991.

Class: B

Phase: Idea Generation, Internal Mapping, Evaluation

DescriptionChecklists (e.g. the telephone book categories) are a useful tool to encourage ideation.There are different types of checklists, but Alex Osborn’s checklist is the most

common one. It is a series of about seventy questions designed to stimulate new ideas. Hereunder you can find some of these questions:

Put to other uses? Look for other possible uses for a product, production waste, etc. For example:

“Neoprene used by DuPont has come to such a level thanks to its thousand new uses; some of these uses could be found out only going blindly on. For example, a doll producer covered some of his products with a magical skin made of neoprene, whose colour looked so natural that every little girl felt like holding a real baby. A toy producer made dog bones made of chocolate flavoured neoprene. The list is quite long indeed...” (Osborn, 1992)

What else is like this?…What other idea does this suggest? Try to improve the existing material.

“[...] Through the adaptation system, new styles and new products have been created. Rudolf Diesel wanted the fuel to burn directly in the engine cylinders but did not know how to set the fuel on fire. Among the various analogies which came to his mind there was also a cigarette-lighter. He chose to examine a cigarette-lighter with the following patterns: (1) the cylinder contained air and fuel; (2) a piston pressed the air contained in the cylinder; (3) as a result, fuel was set on fire. Starting from this parallel, he devised the first Diesel engine in 1892.” (Osborn,1992)

Who else could do this sort of job?…Could we cut costs through mass-production?Such questions triggered ideas that improved the people living standard.

What about a new twist?…How can we improve it?...What about a different approach?...How can we modify it? You can slightly change the production process and obtain noticeable improvements or you can simply modify the product shape...

How can we make it more appealing? Colours, mouvements, sounds...use them to make a particular product more attractive.

“An ever increasing number of industrial machines producers wonder “what colour suits them best”. Once almost all machines were black, while more recent machines are bright and do not absorb the same light. In many factories this change led to an increased production, less waste and a better environment...” (Osborn, 1992)

What can be replaced?…What else instead? Look for new components to generate ideas.

What to add?...What about making it larger? Add or multiply to magnify and subtract or divide to minify. These operations offer a number of “possibilities”.

What to subtract?…Why not reducing some parts? Subtract some parts or even some product unities.

Can we rearrange components?…How can two pieces be combined? Look for new solutions by rearranging the components.

Another order?...What follows what?...What about changing their position? Look for new solutions by rearranging the components.

Which ideas or materials can we combine?…What about making a set or a selection?

Bertone (1993) regards checklists as very useful tools to improve the company internal organization. He states that the search for improvement opportunities within a company is a fundamental activity; neverthless, unlike Japanese companies, western companies often overlook this fact.

According to a research conducted by the Soken Research Institute of Tokyo in 1984 (see table 3-2), Bertone suggests to use some techniques (e.g.checklists) which help to improve a company internal structure.

Table 3-2: Research by the Soken Research Institute of Tokyo (1984)

Technique/Method companies using this technique (%)

Brainstorming 57Checklist 21PERT 19Synectics 9

Other 9

(Source: Bertone, 1993)

Related Techniques: BRAINSTORMING EXAGGERATION IMPLEMENTATION CHECKLIST SCAMPER

Topic: Improvement opportunities (Chapter 8, Paragraph 2.1) Other ideation methods (Chapter 9, Paragraph 3.3)

30. DEEP IDENTIFICATION (IDENTIFICAZIONE PROFONDA)

References

Cocco G.C., Creatività ricerca e innovazione. Individui e imprese di fronte alle sfide della società post-industriale, Milano, Franco Angeli, 1987.

Jaoui H., Créatifs au quotidien. Outils et méthodes, Paris, Editions «Hommes et Perspectives», 1991 (it. transl. Maria Elisabetta Tonin Dogana, Creatività per tutti. Strumenti e metodi da impiegare nel quotidiano, Milano, Franco Angeli, 1993).

Class: C


Description The Deep Identification technique is about making an identification effort to comprehend a given problem (or an aspect of it); this technique is also used in some drama schools to make acting more “genuine”. This method can generate innovative ideas more spontaneously and is thought to be used by groups to noticeably increase their creativity . Gian Carlo Cocco (1987) describes deep identification as a “psychosocial” technique necessarily associated to workgroups; it synergically uses both the group “interpersonal dynamics” and their conscious and unconscious thinking paths. In his book “Creatività per tutti. Strumenti e metodi da impiegare nel quotidiano”, Hubert Jaoui mentions this technique and suggests to apply it to solve problems.

Related Techniques: /

Topic: Group creativity techniques (Chapter 5, Paragraph 4.2.2.)Analysis (Chapter 8, Paragraph 1.4)

31. DELIBERATE COMBINATION (COMBINAZIONE INTENZIONALE)

ReferencesVicari S., La creatività dell’impresa. Tra caso e necessità, Milano, Etas Libri, 1998.

Class: B


Description

The creative technique of Deliberate Combination is based upon a company evolutionist approach. Vicari (1998) states that evolution is a process that generates creativity in any organization.

Furthermore, the author states that innovation is a genetic mutation between two generations, which develops a wide range of possibilities; without such mutation our learning capacity would fade away.

“What provokes the continous reduction of our learning capacity is the fact that mutations generate new opportunities which were not envisaged in our preexisting genetic tissue. Innovation is simply about modifying past elements.” (Vicari, 1998)

The deliberate combination of preexisting elements is a technique aimed to generate change.

“The generation of different elements…may arise from the deliberate combination of preexisting elements, briefly, a construction. A combination of action unities and changes that result in a new unity.

The basic elements for innovation are prior to innovation which derives from their original rearrangement. For example, Henry Ford combined the order clearing process used by a mail-order sale company with the mechanic car assembly process. As a matter of fact, both processes existed on their own. The innovation which changed the course of history is represented by the combination of something already in existence. Another example taken from the car industry is that of kanban which was developed by Toyota.

The two major pillars of the Toyota system are just in time and self-motivation. Kanban is used to make them operational. The kanban idea derived from the observation of an American supermarket organization.

In 1956, during one of my business travels to the United States, I visited the production plants at the General Motors, at Ford and in other factories. However, I was most impressed by the huge number of supermarkets in that country.

To compare cars and supermarkets can appear quite odd. However, for a long time, after examining the organization of an American supermarket, we analyzed parallels between the supermarket production system and car production through the so called just in time. A supermarket is a place where customers can take what they need in the desired time and quantity.

From the supermarket concept we borrowed a crucial idea: there is a process “at the source” of the production line, which is a kind of shop and a ” following” process (customer) which moves on to the initial process (supermarket) to purchase what needed (goods) in the desired time and quantity. Then the initial process suddenly produces the quantity that was just removed (shelf stocking)1.

[…] As well as the basic elements of biologic evolution are virtually not finite in nature, the basic elements of company evolution are available in large quantity.

Therefore an essential aspect of creativity is to modify things already in existence, id. basic elements, new elementary components, useful to innovation building. For example, it is necessary to develop new ideas, new projects, new products and new initiatives.

To this purpose, the company can either use the material which was produced autonomously, by chance or by mistake, or provoke intentional variations. The problem does not concern the availability of elementary variations: their use is small if compared to their availability.

Briefly, the problem is to realize when a combination of existing elements forms a new independent unity.

Henry Ford worked out his assembly line idea examining the order clearing system of a mail-order sale company. However, we could ask ourselves whether the activity of a salesman working for a mail-order sale company had ever been detected in the past by other entrepreneurs or managers from a production company. Or whether a clerk’s activity had ever been compared to a worker’s activity. It had probably occured in the past: mail-order companies were visited from time to time by theit suppliers...It had probably occurred far more than once but – given the same situation - nobody else had ever seen what Ford realized. Henry Ford’s idea differed from any previous remark or association because it was acknowledged as a brand new concept or process.

The available material for innovation was exactly the same; however, he realized its importance for innovation. His perception of change from the existing material made the difference.

You could wonder: when is a new combination acknowledged as such? It is when you face a new problem. In any case, it is when any association helps to solve a given problem that was already in existence or that was developed together with that association.

“There is an endless number of possible alternatives but they are not usually taken into great consideration. In fact, they are not seen as something new. The reason is that they cannot provoke any relevant disturbances within the organization, because the system is not problematic enough and therefore it does not need any new variation. However, solutions can only derive from problems and only existing variations - evident to the many – are considered as something new.Looking for variations helps to realize that a change in the system could be a potential solution to any given problem. If considered in a different time, the same change would not be perceived as a real change or as something new.How often do managers or common people come across solutions borrowed from others’ mind? And how often do you overlook new ideas? What we sometimes call luck is nothing else than a synchronism between a problem and its solution ” (Vicari, 1998)


Topic: Variation production (Chapter 4, Paragraph 4.2)

33. DISCOVERY MATRIX (MATRICE DI SCOPERTA)

ReferencesJoly M., Des idées qui repportent... ca se trouve! Démystifier la créativité industrielle, Paris, Les Éditions d’Organisation, 1992 (it. transl. Adriano Caiani, Idee che rendono... come trovarle, Milano, Franco Angeli, 1993).

Jaoui H., La creativité mode d’emploi, Paris, ESF éditeur-Enterprise Moderne d’Edition et Libraires Techniques, 1990 (it. transl. Maria Rita Pessot, La creatività : istruzioni per l’uso, Milano, Franco Angeli, 1991).

Class: B


DescriptionDiscovery Matrix is a method developed by Michel Joly (1993); it is based upon a list

of needs and a list of means (which are a company “strong points”). You cross the two lists by means of a matrix and generate new ideas from every casual intersection of means and needs. (Figure 3-3)

List of needs, anomalies, tendencies…

Needs

Means

Figure 3-3 Discovery matrix (Source: Joly, 1993)

List

of m

eans

, st

rong

poi

nts…

of

your

com

pany

Three different matrix versions can be used:

▪ Rectangular Matrix: it is used to match lists of needs and lists of means (most common lists);▪ Square matrix: it is made up of two identical lists and it is used to understand the “what for” of a particular product or process. This approach offers more chances to find interesting and innovative solutions, as it combines two patterns instead of working on one at a time. ▪ Three-dimensional Matrix: it expands square matrix, as it considers three patterns instead of two.

Hereunder you find an example of discovery matrix (rectangular matrix) taken from the book “Idee che rendono…come trovarle” (Joly, 1993):

“ Approximately in the year 1968 Danone – which was not in partnership with Gervais yet – was

looking for a new food product.So a creativity group with an external leader started to cooperate to develop a new matrix. They could easily find the necessary means and outline a strategy for Danone. They only needed to

identify their strong points and compare them to those of the competition. It resulted that Danone had laboratories well equipped with bacteriological experts, a number of lorries for +4°C deliveries, an excellent image, many distributors, etc.

However, they found it harder to identify the company needs...Yet, an irreversible global phenomen was taking place worldwide in the food sector: food habits of people living in opposite parts of the world were more and more similar, because they could communicate and exchange information more easily, etc.

The market-oriented Danone group was therefore to identify the anomalies of French consumers, id. food products that were less consumed in France at that time in comparison with other countries...

They estimated that the French consumed less cold pork meat than the German, less crème glacée (0,8 litres p.person, p.year) than the Swedes (4-6 litres) or than the Americans (32 litres) and finally less milk than the British, etc.According to this data, they generated the matrix [Figure 3-4].

When I happen to suggest this matrix to one of my creativity groups, I warn them to start from the cause that establishes a connection between our future increased consumption of crème glacée and the +4°C lorries.

[…] Ideas become more focused: I am not able to deliver ice-cream; so, if people begin to eat more ice-cream they would better keep it in their refrigerator. The idea came out naturally: consumers had to be provided with a particular crème glacée for cool storage. This idea - called Danino – turned out to be brilliant (its success was later confirmed by the turnover).” (Joly, 1993)

French consumption:

Anomalies of French consumers

Danone’s strong points

Less milk Less cheese

More wine

Less crème glacée

Li

+4°C fresh products distribution network DANINO

Know-how in the bacteriological field

At that time: 1 litre/p.year/p.person, 4-5 litres in Europe, 30 litres in the United States

Figure 3-4: Danone Discovery matrix (Source: Joly, 1993)

Related Techniques: MEANS EVOCATION LISTS NEEDS EVOCATION LISTS

Topic: Exploration methods (Chapter 6, Paragraph 4.1)Combination approach (Chapter 8, Paragraph 4.3.1)

37. HEURIDRAMA (EURIDRAMMA)



Class: C


DescriptionHeuridrama is a creative technique that helps workshop members to generate really innovative ideas. It drives them beyond a problem limits and “pushes” their imagination capacity to the extreme.This technique is a problem solving acting performance in which players live again a particularly “emotional” moment that can trigger innovative answers.This method helps to get rid of any past knowledge scheme.Therefore Gian Carlo Cocco (1987) includes heuridrama among “psychosocial” techniques, id. techniques that synergically combine interpersonal dynamics with conscious and unconscious thinking paths. However, it is not easy to implement this technique which can be solely applied by people with a vivid imagination.Elspeth McFadzean (2002) defines heuridrama as a paradigm breaking technique, id. a technique that requires a powerful imagination and could upset some creative group members.


Topic: Group creativity techniques (Chapter 5, Paragraph 4.2.2.)

41. FIVE W’S AND H

References: /

Class: C

Phase: Creative process

DescriptionThe five Ws and H are the only questions that human beings can ask each other:

Who? What? Where? When? Why? How?

These questions make up a creative list (imaginative checklist) often used by journalists to write their articles. It is particularly useful to:

- generate data-gathering questions. During the early stages of problem solving, when you are gathering data, this checklist can be useful to make lists of questions that you can try to find answers for;

- generate idea-provoking questions. This checklist can be used to generate provoking questions to help build on existing ideas;

- generate criteria for evaluating options;- check plans. This checklist is a useful tool for planning implementation strategies.

The answers to the questions included in the checklist are usually “facts”, rather than actions or problems. For example:

Question: “Who does X?”

The answer could be : “Tom”.

To use this answer in a problem-solving context you may have to take to another level. For example:

“If Tom does X, in what way might we make it easier for him?”

This “in what way might” stage is crucial if the facts are to come alive and contribute to the creative process.

In some cases you may need to use these questions (also called six universal questions) to outline the problem under discussion, as shown in Figure 3-5:

What Where \ / \ / \ / When -------------- Problem -------------- How / \ / \ / \ Why Who

Figure 3-5: Five W’s and H (Source: http://members.optusnet.com.au/~charles57/Creative)

Related techniques: CATWOE CREATIVE PROBLEM SOLVING DIMENSIONAL ANALYSIS

43. FOCUSING (FOCALIZZAZIONE)

ReferencesDe Bono E., Serious Creativity Using the Power Lateral Thinking to Create New Ideas, The McQuaig Group, 1992 (it. transl. Severo Mosca, Essere Creativi. Come far nascere nuove idee con le tecniche del pensiero laterale, Milano, Edizioni Il Sole 24 ORE, 1998).

Andriopoulos C., Lowe A., “Enhancing Organizational Creativity: the Process of Perpetual Challenging”, Management Decision, Vol. 38, n. 10, 2000, pp. 734-742.


Class: B


DescriptionFocusing is a technique that intentionally draws the attention on something which is usually overlooked. De Bono (1998) identifies two types of focusing:

1. Simple Focusing. It is about realizing what you are doing to find a new aspect to focus on, id. a new problematic situation. Afterwards, you can follow different procedures:

- Take note of the problem and examine it later;- Make a preliminary attempt to generate some alternatives and ideas;- Seriously commit to generate ideas, focusing on a particular area and

applying the formal techniques of lateral thinking;

2. Specific Focusing. It is a finalised method: you focus on a well defined creative task keeping your goal in mind. Choosing and outlining the focusing theme is an essential part of creative thinking.

De Bono divides focusing into:

▪ General focusing area; ▪ Finalised focusing.

The first type refers to the general area where to develop new ideas without any specific goal; for example, you think about innovative hints in the catering service.In this type of focusing you can deal with any theme.

“It simply means to think creative about a specific area. As a consequence, the action field of creative thinking is doubled and is finally free from the constraints of problem solving and therefore free to involve different approaches.[…] The definition of a purpose or an goal may influence your creative thinking. Compare the statements below:

We need ideas to cut costs for in-flight service. We need ideas about in-flight service.

In the first case, we only think about how we can cut in-flight service charges, since we predetermined the value of such reduction. This task suits perfectly creative thinking. In the second case, we may develop interesting ideas to cut in-flight service charges but we may also improve the service quality and therefore justify its cost. We may even generate ideas to turn the on-board service from a source of charges into a source of profits. It is important not to mix up “problems” and “general focusing areas”.

We need ideas in the general area of absenteeism We need ideas in the general area for speeding up check-in.

In fact, both statements refer to finalized focusing. The term "absenteeism” outlines a problem. Speeding up a check-in involves a focusing finalized to improvement. “Absenteeism” may be certainly regarded as a general focusing area, provided that the purpose is other than reducing absenteeism or solving its related matters” (De Bono, 1998)

Finalized Focusing involves such questions: “What is the final goal of our thinking?”, “What do we aim to?”. It can be described as an attempt to make an improvement in the desired direction; for instance, you try to develop ideas to limit food waste in restaurants. If you do not identify the reason for improvement, you are dealing again with the case of the general focusing area, id.improvements for customer service. Focusing turns out to be useful not only to make improvements but also to carry out specific tasks and select opportunities.


Topic: Lateral thinking (Chapter 3)

44. FORCED ASSOCIATION (ASSOCIAZIONE FORZATA)


Jaoui H., La creativité mode d’emploi, Paris, ESF éditeur-Enterprise Moderne d’Edition et Libraires Techniques, 1990 (it. transl. Maria Rita Pessot, La creatività : istruzioni per l’uso, Milano, Franco Angeli, 1991).

Osborn A.F., L’arte della creativity, Milano, Franco Angeli, 1992, ed. orig. del 1953.

Class: B


DescriptionForced Association techniques are essentially based upon the association approach. In his book “Creatività ricerca e innovazione. Individui e imprese di fronte alle sfide della società post-industriale”, Gian Carlo Cocco briefly outlines their guidelines:

“They are essentially based upon an individual process of mental links (this approach can be also used by workgroups). Unlike non binding medical use (the so called free association largely used in psychotherapy), these associations are managed by someone. These techniques, also called forced or cross relations, make a forced connection between two or more ideas or products, which are not usually associated. They help to find out innovative combinations to improve ideas, processes, products, etc. With tthe forced association technique you identify what is directly related to the item or activity to be modified or replaced. Secondly, you look for another item or activity apparently not related to the item or activity under discussion. Finally, you compare them to generate a meaning that can initially appear remote.” (Cocco, 1987)

Hereunder follows a representative exemple of this technique by Alex Osborn (1992):

“[...] An example of this technique is represented by the analysis of each idea and their associations. In showing a system for creating new ideas to an office fittings producer, you can list the items produced by his company, like desks, chairs, desk lamps, filing cabinets, bookcases. Firstly, you examine the desk-chair relation. Starting from this relation, you try to develop a free association chain which could generate new products, like for instance combined unities of chairs and desks and so on. As regards the desk-desk lamp relation, most ideas would probably suggest to build up the lamp in the desk design, to withdraw the lamp or to adjust it by pushing a button. Afterwards, some ideas would be selected to be carefully examined.” (Osborn, 1992)


Topic: Creativity group techniques (Chapter 5, Paragraph 4.2.2) Association approach (Chapter 8, Paragraph 4.3.2)

49. GORDON’S METHOD (METODO GORDON)

ReferencesOsborn A.F., L’arte della creativity, Milano, Franco Angeli, 1992, ed. orig. del 1953.

Class: C


Description The Gordon’s method is one of the creative techniques developed by Osborn in his famous book “L’arte della creativity”.

“In “Operational Creativity” by William J.J.Gordon, collective discussion firstly addresses every conceivable aspect of a broad problem solving approach. For example, to devise a new tin opener, the Gordon group discusses the “opening” theme and examines any possible meaning of this word and any possible example of opening (items, nature, etc.). This process helps to discover unusual approaches to the planning of a new tin opener. Afterwards, the group studies and develops these approaches.” (Osborn, 1992)


Topic: Other methods for planning (Chapter 9, Paragraph 3.3)

52. HEURISTIC IDEATION TECHNIQUE (IDEAZIONE EURISTICA)

ReferencesMcFadzean E., “Developing and Supporting Creative Problem-Solving Teams: Part 1 – a Conceptual Model”, Management Decision, Vol. 40, n. 5, 2002, pp. 463-475.

Class: B


DescriptionHeuristic Ideation is a very efficient group technique that helps to generate new and

innovative ideas. The participants compare two items or concepts that are not apparently related, in order to stimulate idea generation.

Hereunder you find the technique procedure:

1. Choose two items of interest that are already in existence but are not apparently connected.

Example A businessman selects a Chinese mug and a greetings card among his products;

2. Make a list of “components” for each selected item.

Example The mug “components” may correspond to: square-shaped, floral design, coffee

sized..;The greeting card “components” may correspond to: poetic message, to be sent by

post, glitter decoration...;

3. Set up a matrix where the rows list the components of the one product and the columns list the components of the other, and each cell corresponds to a combination of two “components” from different products (see Figure 3-7)

Example

Card Glitter decoration Poetic message Sent by post

Mug Mug, card Mug, glitter decoration

Mug, poetic message Mug, sent by post

Floral designFloral design, card

Floral design, glitter decoration

Floral design, poetic message

Floral design, sent by post

Coloured design

Coloured design, card

Coloured design, glitter decoration

Coloured design, poetic message

Coloured design, sent by post

Coffee sized Coffee sized, card

Coffee sized, glitter decoration

Coffee sized, poetic message

Coffee sized, sent by post

Square-shaped

Square-shaped, card

Square-shaped, glitter decoration

Square-shaped, poetic message

Square-shaped, sent by post

Figure 3-7 “Components” crossing matrix (Source: http://www.mycoted.com)

4. Cross out any matrix cells that correspond to existing products.

Example“Floral design, card”;

5. Identify any cells with a natural market potential.

Example“Mug, sent by post”;

6. Looking at the matrix from another angle, try to identify any cells that look creative thought provoking;

7. Develop cells 5 and 6 into workable ideas.

Elspeth McFadzean (2002) includes heuristic ideation among paradigm stretching techniques; they promote idea generation through forced associations and inputs that are not apparently connected.

Related Techniques: ATTRIBUTES LISTING LISTING MORPHOLOGICAL ANALYSIS

Topic: /

http://www.mycoted.com/

58. INSPIRING MUSE (MUSA ISPIRATRICE)

ReferencesFoster R.N., Kaplan S., Creative Destruction: Why Companies That Are Built to Last Underperform the Market – and How to Sucessfully Transform Them, Currency Doubleday, 2001 (it. transl. Roberto Merlini, La distruzione creatrice. Strategie di discontinuità e trasformazione per le imprese che vogliono conservare l’eccellenza, Milano, Etas Libri, 2001).

Class: C


Description This technique can be used during the creative process. Creative people often need a muse, id.someone to refer to, someone to speak to and to quarrel with. The famous French poet and essayst Paul Valéry stated that you need two people to devise something new: indeed, while one generates a bunch of new combinations, the other one selects the relevant inputs from the hints provided by the first person. This technique can be also used during dialectical meetings, where participants can discuss their approaches in pairs. For example, you combine a researcher with a marketing expert, a senior executive with a junior director, a hardware manager with a software manager. If they get on well and turn out to be as close as an artist to his inspiring muse, they can give an extraordinary contribution to idea generation.


Topic: /

64. LOTUS BLOSSOM TECHNIQUE (FIORE DI LOTO)

ReferencesMichalko M., Thinkpak, Berkeley, California, Ten Speed Press, 1994.

Michitti M., “Left-brained Marketers Can Achieve Creativity”, Marketing News, Vol. 31, n. 7, 1997, pp. 14-19.

Class: B


Description

The Lotus Blossom technique was originally developed by Yasuo Matsumura, Director of the Clover Management Research (Japan).

This technique is based upon the use of analytical capacities and helps to generate a great number of ideas that will possibly provide the best solution to the problem to be addressed by the management group.

It can be broken down into six major steps:

Figure 3-10: Lotus blossom

1. Draw up a lotus blossom diagram (Figure 3-10) made up of a square in the center of the diagram (the pistil) and eight circles (petals) surrounding the square;

2. Write the central idea or problem in the center of the diagram (yellow square);

3. Look for ideas or solutions for the central theme. Then write them in the flower petals (pink circles).

ExampleThe main idea of a company was to “build a creative atmosphere within the

company”. The company managers wrote this statement in the center of a lotus blossom.

Afterwards, during a debate, they devised eight ideas about the main theme:

- “Offer contexts for ideas”;- “Create a challenging atmosphere”;- “Organize meetings of creative thinking”;- “Generate paths to get out of the box”;- “Generate a positive attitude”;- “Make up a creativity board”;- “Make the job funny”;- “Expand the meaning of job”.

These ideas were written in the circles all round the main square;

4. Each idea written in the circles becomes the central theme of a new lotus blossom (Figure 3-11):

Figure 3-11 Lotus blossoms

5. Follow step 3 with all central ideas;6. Continue the process until all ideas have been used.

Example This technique helped the above-mentioned company to create many interesting ideas. Among the others, they set up a special room for creative thinking which was furnished with creativity books, videos, educational toys and so on. Moreover, it was decorated with drawings made by the personnel’s children, to remind that everyone was born innocent and creative.


Topic: /

65. MEANS EVOCATION LISTS (LISTE EVOCATRICI DI MEZZI)

ReferencesJoly M., Des idées qui repportent... ca se trouve! Démystifier la créativité industrielle, Paris, Les Éditiond d’Organisation, 1992 (it. transl. Adriano Caiani, Idee che rendono... come trovarle, Milano, Franco Angeli, 1993).

Class: B


DescriptionAccording to Michel Joly (1993), these lists represent “normative” methods. They

help to solve problems, such as to satisfy a given need in a new or different way.

“[…] So to try and satisfy a need, I will try to make a means evocation list for my needs. The first normative method is therefore about making a means evocation list. But which means?

There is a wide range of possibilities:

▪ lists that are easy to make and recall a lot of means; energies, phenomena, irregular verbs of motion, customs tariffs (lists of cars), etc.;

▪ lists made by means of techniques like the “invention tree”;▪ lists developed by experts, which are universal and idea generating. Hereunder follow some examples:

The list of energiesThe following energy list is very much used in technical normative researches:

Electric energyPiezoelectric energyHydraulic energyWind energyChemical energyNuclear energyVoltaic (battery) energySolar energySea-power energyHeat energy

The lighter tale story

Once upon a time there was a gas lighter manufacturer who was known worldwide. A day the competition put on the market a lighter whose lighting system was so competitive that it threatened the manufacturer’s sales. He needed to react promptly and launch a new product on the market. What was the matter, indeed? Why was that item so innovative? It was a common butane gas lighter. However, its flame was different, and so the way gas was set on fire. How to set butane on fire? This was the real problem.Suddenly, a small creativity group started to work on that problem and made a list of energies. Then the group began to think about the different lighting systems for each type of means evocation energy. They generated the following ideas:

▪ (electric): like the “Delco” system;▪ (chemical): a highly exothermic fluid that is immediately set on fire, thus setting gas (hypergolic fuel) on fire; ▪ (nuclear): it follows the atomic battery principle, with a tritium condenser;▪ (pneumatic): the Diesel engine principle: high temperature through isotermic pressure;▪ (mechanical): a gyroscopic movement helps to rub on a given point...

Arrange a list: the invention tree

For example, it is used to examine a new type of remote-control switch , to switch on and off the current alternatively...

Evocation words“Kent-Rosanov” is the most popular list. It includes some common names or descriptive

adjectives carefully selected for their evocation quality. They are common words, rich in symbols and very useful when a group does not want to look for a particular list.

You take the first word from the list and you wonder how this concept can be associated to a problem to generate an idea. For example, the first word from the “Kent-Rosanov” list is “table”. You can either use this word straight away or list all thoughts that come to your mind, such as leg, drawer, mortise, button, ironware, marble, leaf, socket, varnish, paint, termite, operation, billiard, etc.

The “Kent-Rosanov” list can be customized: instead of starting straight away from the word “table”, you can make a list of ideas or words that come to your mind starting from that word and thinking about any possible analogies that it suggests, word by word.” (Joly, 1993)

Related Techniques: DISCOVERY MATRIX

Topic: Normative methods (Chapter 6, Paragraph 4.2)

66. METAMORPHOSIS (METAMORFOSI)

ReferencesBertone V., Creatività aziendale. Metodi, tecniche e casi per valorizzare il potenziale creativo di manager e imprenditori, Milano, Franco Angeli, 1993.

Class: C


DescriptionThe ideation phase is the basis of the creative process. Hundreds of techniques were developed to carry out this phase. A “daring” mind is a prerequisite for idea generation, which means that you do not consider any idea as “absurd”, until it proves to be like that.The metamorphosis technique suggests to constantly shift your point of view when you consider a problem, id.to magnify it, reduce it, disassemble it, reverse it...It helps you to generate ideas. Hereunder follows a list of ten verbs of action, whose initials make up the word “creativity”; it provides the right hint for a creative metamorphosis session:

C = Combine two or more needs or functionsR = Reuse items and resourcesE = Expand the field of actionA = Accelerate production time T = Transfer a solution, an idea, a technologyI = Imagine an upside-down worldV = View analogies and similaritiesI = Identify the item to enlarge or reduceT = Turn to origins, to simple thingsY = You match two or more verbs

Related Techniques: BRAINSTORMING BRAINWRITING SYNECTIS

Topic: Idea generation (Chapter 7, Paragraph 4.1)

67. METAPHOR (METAFORA)

ReferencesWeiss R.P., “How to Foster Creativity at Work”, Training & Development, Vol. 55, n. 2, 2001, pp. 61-66.

Gurteen D., “Knowledge, Creativity and Inovation”, Journal of Knowledge Management, Vol. 2, n. 1, 1998, pp. 5-13.

McFadzean E., “Developing and Supporting Creative Problem-Solving Teams: part. 1 – a Conceptual Model”, Management Decision, vol. 40, n. 5, 2002, pp. 463-475.

Class: C


DescriptionMcFadzean (2002) divides creative techniques into three groups:

- Paradigm preserving;- Paradigm stretching;- Paradigm breaking.

The first group of techniques aims to investigate the problem under discussion without pushing it to the extreme. The second group instead encourages the participants to expand the field of action of the problem. The third group requires a vivid imagination.The Metaphor technique is included in the second group; it is based upon the reactions deriving from the combination of two universes of meaning. The keystone of the metaphor technique is represented by similes which are at the core of human brain activity. Even a route map is a kind of metaphor.A too rational thinking scheme may hinder creativity; on the contrary, metaphors are useful tools to develop ideas about a given problem.

Related Techniques: HEURISTIC IDEATION TECHNIQUE STIMULATION BY OBJECTS

Topic: /

69. MIMODRAMA

Riferimenti bilbliograficiJaoui H., La creativité mode d’emploi, Paris, ESF éditeur-Enterprise Moderne d’Edition et Libraires Techniques, 1990 (it. transl. Maria Rita Pessot, La creatività : istruzioni per l’uso, Milano, Franco Angeli, 1991).

Class: C


Description Hubert Jaoui (1991) states that you need to get rid of your emotions and focus on intuitions to develop your perception capacity. To this purpose, mimodrama is a useful technique, as it temporarily drives you out of your personality and into the problem under discussion. You set up a group and try to outline the problem without speaking but only acting. You can resort to mime, dance and music. Afterwards, you move on to the idea generation phase to solve the relevant problem.

Related Techniques: MIND MAPPING PSYCHODRAWING

Topic: Perception techniques (Chapter 8, Paragraph 1.3.1)

73. NEEDS EVOCATION LISTS (LISTE EVOCATRICI DI BISOGNI)

ReferencesJoly M., Des idées qui repportent... ca se trouve! Démystifier la créativité industrielle, Paris, Les Éditiond d’Organisation, 1992 (it. transl. Adriano Caiani, Idee che rendono... come trovarle, Milano, Franco Angeli, 1993).

Class: B


DescriptionNeeds Evocation Lists are “exploration” methods, id.methods that help you to solve problems that concern the use of the means at my disposal to satisfy other needs than those usually satisfied by these means.Therefore these methods help to answer to the following questions: which product? What kind of solutions? Who can master and use these particular means? In more general terms, they help you to answer to the following question: what else can be done through the available means?

“…Since the products which I am looking for use the means at my disposal, I need to get these means and apply them to specific needs. And as I am looking for ideas...I will juxtapose my problem and the need images with their lists.

Virtually, need images in the proper sense of the word are hard to be found and therefore “needs evocation” lists are very often used. What kind of lists are they?

Here you find some examples:

Job lists

Jobs evocate needs: words like “farmer” or “dentist” soon evocate the needs involved by such professions, which vary from job to job.

There are general job lists, such as the yellow pages…

Catalogues

Catalogues – with or without pictures – evocate needs. It is necessary to opt for complete catalogues. Avoid too specialized catalogues...This makes me think of the rifle and teflon example.

The rifle and teflon tale story

Everyone knows teflon. However, who can tell about its origins? Its discovery is related to its low friction and rubbing coefficient, which makes teflon perfect for car bearings. The Onera researchers were worried: the aircraft wings slipstream resistence (id.the air friction against the aircraft wings, which provokes a slowdown) was to be reduced.

The researchers decided to cover the aircraft winds with teflon. Their plan was quite hard indeed, as its properties prevent this material from sticking to the plain wing surface. After thinkng about it for a while, they agreed on a mechanical grip and prepared a chemical substance that consumed the aluminium wings, thus digging little furrows.

Then they moved on to the following step: they put the teflon sheets into the aircraft wings, which would finally buckle, fit the holes and hold the grip. It was the patent for

teflon coated metals which by the way was never applied...So this company tried to put this patent to another use, id. to coat pan bottoms with

teflon, to prevent food from sticking.It is an exploration problem, such as “what else to do?” Let’s make this problem clash

with some needs evocation images. But where to find out images? Mail-order sale catalogues full of pictures are an inspiring source...

If we asked to the participants of a creativity session: “What can you see in this catalogue?”, they would answer like this: weapons, rifles (in particular hunting rifles), bicycles, sewing machines, etc. The teflon group mentioned the same sort of things.

Viewing again the images one by one, the group asked the following question: “How can we apply metal teflon coating - which reduces friction - to a hunting rifle?”

They suddenly thought to coat the rifle barrel with teflon. According to the Osborn’s principles, they could not be censored and nobody argued that teflon melts at a quite low temperature and that therefore it was nonsensical to use teflon to coat a hot material because it would soon melt it. So they generated their idea.

However, to dispel all doubts, they were to make sure that teflon would stick to the rifle barrel when shooting. The teflon coated rifle was “confronted” with a common one on the firing ground.

After shooting, teflon was totally undamaged. However, this was only their first impression. Afterwards, they examined the target reached by the teflon coated rifle but they could only find a few shots (and no hint of the other shots); on the contrary, the target hit by the common rifle still had all shots on. What did happen?

After a short while, the group concluded that the heat generating friction was not strong enough to melt teflon. Since energy was not absorbed by high temperature any longer, it was entirely channeled outwards with shots. How fast was the energy push? The average speed for a common rifle is 300 m/s. What about a teflon coated rifle? It was estimated that speed was so supersonic (380-460 m/s) that shots departed from their target. However, this hypothesis had to be tested...but how? The group had to make an estimate of how much gun powder was required to push out the shots at 300 m/s, with no heat degradation. During a second test conducted on the firing ground, all shots hit the centre of the target.

The group participants wondered how the teflon coated rifle could turn out to be handy, as it was more expensive apart from its cartridge, which was less filled and therefore cheaper. However, another company produced this cartridge, so they did not have any advantages. Yet, the teflon coated rifle needed a cartridge with less gun powder charge. As a result, there was less energy waste and possibly a softer recoil. The weapon bearing capacity was lower and there was no need to make it so resistant.

Therefore teflon coated rifles would be lighter and less materials would be needed to make it. This was a great advantage to hunters who had to carry their rifle all day long and would be therefore ready to pay for a lighter and more comfortable model.

Now, all readers will certainly think that the teflon barrel rifle was a brilliant invention. Why then was it unsuccessful? The production company made a mistake in its marketing strategy and defined it a “woman rifle” because of its lightness.

More precisely, they made three mistakes: first of all, they did not consider that hunting women are not part of such a big market; secondly, they usually show off their strentgh and aim to carry a man rifle. Finally, they overlooked that no man would ever purchase a woman rifle and this was a very gross mistake. So, the company put down a brilliant product.

When this unfavourable moment was finally left behind, teflon coated rifles became successful, thanks to a famous brand. Nowadays, it is well known and in Japan it is produced by Miroku.

Business relationshipsChambers of Commerce and business observers can provide an overview of the existing

or upcoming needs. Trade Unions reports and market inquiries are also interesting, even if they usually aim to less far-reaching objectives, which is not however something negative.

Upcoming activitiesNeedless to say that the most interesting needs are going to increase in the next years.

Here you can find a very interesting list of those needs:

Upcoming or developing activities

• Robotics• Subcontracts

• Space • Welding and sticking techniques• Aeronautics • Agribusiness• Seabed • Biochemistry• Underwater connections • Bioindustry• Automatisms • Nuclear• Computer software • Plastic materials• Miniaturization• Rubber industry...” (Joly, 1993)

Related Techniques: DISCOVERY MATRIX

Topic: Exploration methods (Chapter 6, Paragraph 4.1)

82. PROBLEM REVERSAL (CAPOVOLGIMENTO DEL PROBLEMA)

Riferimenti bibliograficiThompson C., What a Great Idea! The Key Steps Creative People Take, New York, Harper Perennial, 1992.

Lao-tzu, Tao-te Ching.

Class: C

Phase: Creative process

Description

Lao-Tzu thinks that the world is made up of opposites and that every concept (or

idea) is empty without its opposite.

In his book “Tao-te Ching”, Lao-tzu stresses the need for the successful leader to

see opposites all around. The wise leader knows how to be creative and therefore:

- In order to lead, he learns to follow;

- In order to prosper, he learns to live simply.

All behaviours are made up of opposites and it is therefore necessary to learn how

to see things reverse: upside down, inside out.

The method can be broken down into the following steps:

1. State your problem “in reverse” and change a positive statement into a negative one and vice versa;

2. Figure out what everybody else is not doing (for example, Apple Computer did what IBM did not);

3. Now the author develops a list of opposite actions in pairs to be applied to your problem through some questions like “What if...?”. Then you apply one of these options to your problem. For example:

- Stretch it/Shrink it;- Freeze it/Melt it;- Personalise it/De-personalise it.

4. Change your perspective physically (walk around it or do something different);

5. Try and generate as many ideas as possible by reversing the problem. For instance, if you want to increase sales, think about decreasing them;

6. If something turns out bad, think about the positive aspects of the situation and vice versa.

Related techniques:/

86. QUESTIONS SUMMARY (SOMMARIO DI DOMANDE)

ReferencesOsborn A.F., Applied Imagination – Principles and Procedures of Creative Thinking, revised edition, New York, Charles Schribner's Sons, 1957.

Class: C


Description

“Make an idea-prompting poster by printing this page and placing it in a prominent position”

Put to other uses? New ways to use it as it is?Other uses if modified?

Adapt? What else is like this?What other ideas does it suggest?Does the past offer parallel?What could I copy?Whom could I emulate?

Modify? New twist?Change meaning, colour, motion, sound, odour, form, shape?Other shapes?

Magnify? What to add?More time?Greater frequency?Stronger?Higher?Longer?Thicker?Extra Value?Plus ingredient?Duplicate?Multiply?Exaggerate?

Minify? What to subtract?Smaller?Condensed?Miniature?Lower?Shorter?Lighter?Omit?Streamline?Split up?Understate?

Substitute? Who else instead?What else instead?Other ingredient?Other material?Other process?Other power?Other place?Other approach?Other tone of voice?

Rearrange? Interchange components?Other pattern?Other layout?Other sequence?Transpose cause and effect?Change pace?Change schedule?

Reverse? Transpose positive and negative?How about opposites?Turn it backward?Turn it upside down?Reverse roles?Change shoes?Turn tables?Turn other cheek?

Combine? How about a blend, an alloy, an assortment, an ensemble?Combine units?Combine purposes?Combine appeals?Combine ideas?” (Osborn, 1957)


Topic: /.

87. RANDOM INPUT (ENTRATA CASUALE)

ReferencesDe Bono E., Serious Creativity Using the Power Lateral Thinking to Create New Ideas, The McQuaig Group, 1992 (it. transl. Severo Mosca, Essere Creativi. Come far nascere nuove idee con le tecniche del pensiero laterale, Milano, Edizioni Il Sole 24 ORE, 1998).

Class: C


DescriptionThe random inputs method is a powerful lateral thinking technique which is widely

used to create new ideas and new concepts.

You apply a word to the new “out of context” situation and create an association that generates new connections and new insights in our mind.

The brain is very good at making connections, even when a word (or any random input) appears to be remote and does not stimulate the necessary inputs.

Creative thinking usually begins from a brand new starting point. However, the stimulus word cannot be random, otherwise it would be influenced by previous thinking.

You can get get random words without thinking through many ways:

1. Make up your own list of 60 words (fire, desk, shoes, nose, dog, aircraft, toast, tiger, etc.). When you need a random input, look at your watch and take note of the seconds. Use this number to get the word on your list;

2. Use a dictionary. Think of a page and of the word position on the page (e.g.: eighth word from the top);

3. Once a Canadian made a big plastic sphere with 13 thousand words inside. Mix words by turning a handle and your random word finally appears on a small window;

4. Close your eyes, point at one name randomly in a magazine or a book: this is your random word.

The random inputs technique is very useful in the following situations:

▪ Stagnation: when you feel to have run out of ideas;▪ Clean Sweep (or open field thinking): when you get stuck on a new project;▪ Further inputs: when you generate new inputs to find out new settings;▪ Stalemale: when you try to get out of a stalemale.

It is especially useful when you resort to open field thinking, e.g. invention, planning, opportunities development and future forecasts.

This technique can be used by individuals or in group.

Related Techniques: BRUTETHINK

Topic: Lateral thinking (Chapter 3)Open field thinking (Chapter 3, Page 83)

95.SENSITIZATION TECHNIQUES (TECNICHE DI SENSIBILIZZAZIONE)

ReferencesDe Bono E., Serious Creativity Using the Power Lateral thinking to Create New Ideas, The McQuaig Group, 1992 (it. transl. Severo Mosca, Essere Creativi Come far nascere nuove idee con le tecniche del pensiero laterale, Milano, Edizioni Il Sole 24ore, 1998).

Class: B


DescriptionThese methods aim to feed our mind with new inputs to make our thinking really

creative.There are two different sensitization techniques:

▪ layer technique;▪ thread technique;

Layer techniqueThis technique is about putting together a number of statements or remarks that are

“all in one” (the so called layer set). These elements are not necessarily connected: indeed, layer techniques only aim to sensitize our mind to generate new ideas.

De Bono (1998) split up layer technique into five statements which are enough to ensure a number of sentences but at the same time do not prevent layer method to be “all in one”.

The method suggests to break down a layer and read it over and over again to let ideas flow into our mind.

This technique is less efficient if layer sentences are selected among existing ideas. On the contrary, if layer sentences are expressed unconsciously, they can turn into conscious ideas. The choice of layer statements is therefore essential: they are to be concise and include a wide range of possibilities.

Layer example for recruiting highly qualified personnel:

“...highly qualified people are satisfied with their present job...they find it hard to evaluate their future presence...they have a good balance between personality and skills...if they are ready to accept things, maybe they are also ready to leave...fix a fair price for talented people.

These thoughts could lead to the following ideas:

1. it is easier to train talented people than to recruit promising talents;

2. consider the recruitement of well paid talented people only as a temporary solution to make some structural change;

3. turn to advisers rather than full time employees;

4. turn to advisers and give them the opportunity to stay if they are skilled;

5. find the way to borrow people for some time and then let them go back to their actual jobs (after gaining some experience).” (De Bono, 1998)

Thread technique

First of all, choose your creativity focus. Then, arrange details when you are planning solutions about the relevant focus in a given situation. Each detail will be considered on its own out of its generating context. Starting from details, develop a “thread” which corresponds to the problem solving approach. Find out parallel threads, select some of their patterns and combine them in a new idea.

Example of a thread for bank planning:

“...easy to reach: round the corner, in a department store, near bus or underground stops, in a sport center....big enough: large, barrier free, room for queues and extra room for emergencies....excellent planimetric placement: room for people moving, waiting, working; clear signboards, no bottlenecks, easy to get in and out....enough personnel: no problems at rush hours, flexible operations, reserve personnel in case of need...

In this case we would select some items and combine them on purpose to force an idea. In particular we would select: near bus or underground stops, extra room for emergencies, clear signboards and flexible operations.These items generate the idea of caravans fit out as banks which can be temporarily placed in different areas according to our needs. In case of need, other caravans can be used. Bank services are chosen each time according to particular needs. These caravans could be placed in parking areas.So the thread technique can be used in two ways:

1. You generate ideas starting from threads and letting ideas flow freely;2. You force idea generation combining some items and trying to develop new

ideas.” (De Bono, 1998)

Related Techniques: CREATIVE CHALLENGE FOCUSING PROVOCATION AND MOVEMENT RANDOM ENTRY SIX THINKING HATS Topic:Application of lateral thinking techniques(Chapter 3, Paragraph 4.1)

96. SINAPSIS (SINAPSI)

ReferencesAznar G., la Creativité dans l’enterprise, Paris, Les Editions d’organisation, 1971.

Cocco G.C., Creatività ricerca e innovazione Individui e imprese di fronte alle sfide della società post-industriale, Milano, Franco Angeli, 1987.

Class: B

Phase: Idea Generation, Evaluation

DescriptionSinapsis uses the discovery concept through a “turning point” which is a crucial point

in the creative process.The “turning point” is described as a deviation from the real context, and a following

return which helps to overcome the suspended logical process. This technique can be broken down into three fundamental steps:

1. Deviate from the real context, being aware of your involvement/motivation and choose the right creative technique to suspend judgement;

2. Choose useful inputs (remote relations) and avoid traditional solutions to solve problems;

3. Go back to the real context and connect it to your inputs (make the “connection”)

This method can help to solve some problems called “restraints” and listed as follows:

1. Inertial force (routine);2. Creative stickiness (when you turn to judgement in advance);3. Intellectual risk (when you do not evaluate something when you need to);4. The expert or “know-all” attitude;5. Cultural restraints (education, social context, business background...).

This technique does not highlight the creative session preliminary phases which include problem definition and information collection.


Topic: Group creativity techniques (Chapter 5, Paragraph 4.2.2)

98. SLOWING DOWN OF THE MEETING’S DYNAMIC (RALLENTAMENTO DELLA DINAMICA DELLA RIUNIONE)

ReferencesFoster R.N., Kaplan S., Creative Destruction: Why Companies That Are Biult to Last Underperform the Market – and How to Successfully Transform Them, Currency Doubleday, 2001 (it. transl. Roberto Merlini, La distruzione creatrice Strategie di dscontinuità e trasformazione per le imprese che vogliono conservare l’eccellenza, Milano, Etas Libri, 2001).

Class: C


Description A creativity group can often increase productivity slowing down their meeting dynamic. They need to focus on details, as if they were reading a poem (see Foster & Kaplan, 2001). This method helps to focus on details and therefore to develop a wider range of solutions. The coordinator plays a key role in implementing this method, since s/he always needs to know when to speed up or slow down the debate.


Topic: Creative techniques (Chapter 2, Paragraph 4.5)

100. STIMULATION BY OBJECTS (STIMOLAZIONE MEDIANTE OGGETTI)

ReferencesJaoui H., La creativité mode d’emploi, Paris, ESF éditeur-Enterprise Moderne d’Edition et Libraires Techniques, 1990 (it. transl. Maria Rita Pessot, La creatività : istruzioni per l’uso, Milano, Franco Angeli, 1991).

McFadzean E., “Developing and supporting creative problem-solving teams: part. 1 – a conceptual model”, Management Decision, vol. 40, n. 5, 2002, pp. 463-475.

Class: C


Description According to this technique you can generate ideas through a variety of associations. Different objects can be used, touched, lifted, assembled, disassembled, etc.to find out associations that help to develop new ideas about a given problem.

Related Techniques: BRAINSTORMING BRAINWRITING FORCED ASSOCIATION MIND MAPPING

Topic: Association approach (Chapter 8, Paragraph 4.3.2.)

102. STORY BOARDING

Riferimenti bibliograficiVance M., Creative Thinking.

Higgins J.M., Creative Problem Solving Techniques, New Management Publishing Company, 1994.

Class: B

Phase: Creative Process

DescriptionExamining how you instinctively react in a given situation could be a path to

understanding feelings and thoughts you find difficult to put into words.Thus it is useful to find or make up a functional story which has no parallels to the

problem you are facing. According to this alternative method you would draw your own picture of the relevant story (see DRAWING). There are no requirements for technical skill or for anyone else to read the story, though it is usually more interesting if you can get someone else’s understanding reactions.

As the story is clearly not an objective description of your actual situation, feel free to be entirely subjective. You can make things happen as you wish them to, you can present things in particular ways just because they “feel right” that way.

You are definitely not saying that “this is what will happen” but you are holding it up as a mirror to yourself, and noting your wishes, expectations, feelings, judgements, anxieties, reactions, etc.

Putting it into written words makes it easier to describe your concern to others and may increase the range of metaphors and images you can use in talking to others.

Should some parts of the story summon strong feelings, this may suggest a need for finding ways to handle similar feelings in the real situation. If for instance you find yourself being judgemental about someone in your story, you may need to reconsider your behaviour to that person in real life.

If you are working with someone else (who preferably has done the same as you) show thm your story or picture, let them ask questions about them and say what they find striking. It is fundamental to work jointly to unpack common wishes, expectations, feelings, judgements, anxieties, reactions, etc. and to see what needs to be done.

This method can be used by individuals or groups of people. To use it on your own, pin up on a wall the written story where you can always see it and leave it there some time. To use it collectively to devise solutions to a given situation, pin it up on the wall and leave it there until the project has come to an end.

This method helps to liberate creative thoughts. As a matter of fact, writing (or drawing) helps to highlight connections between different thoughts. When ideas freely flow on the paper, stakeholders “plunge” into the problem.

You can begin by hanging a sheet on a blackboard, which refers to a given subject, and add other sheets to it which deal with general categories, remarks, etc. Next to it, you can pin up other cards suggesting ideas on the same subject and belonging to the same categories.

According to Mike Vance, four major elements underline Story Boarding:

- Planning Boards;

- Ideas;- Communication;- Organisation

During a story boarding session it is necessary to consider all relevant ideas, no matter how impractical they appear. Moreover, it is crucial to think positive and hold all criticism until the final assessment phase.Sergeinstein, Leonardo Da Vinci and Walt Disney used this method. In particular, in 1928 Walt Disney and his staff developed a story boarding system to improve animations. Disney needed to produce an enourmous number of drawings which were not easy to be managed. They decided to pin up their drawings on the studio walls, so they could add and discard scenes with ease.

Related techniques: CARD STORY BOARDS DRAWING

Subject: /

104. SUSPENSION OF JUDGEMENT (SOSPENSIONE DEL GIUDIZIO)

ReferencesCocco G.C., Creatività ricerca e innovazione Individui e imprese di fronte alle sfide della società post-industriale, Milano, Franco Angeli, 1987.

Foster R.N., Kaplan S., Creative Destruction: Why Companies That Are Biult to Last Underperform the Market – and How to Successfully Transform Them, Currency Doubleday, 2001 (it. transl. Roberto Merlini, La distruzione creatrice Strategie di dscontinuità e trasformazione per le imprese che vogliono conservare l’eccellenza, Milano, Etas Libri, 2001).

Michitti M., “Left-brained Marketers Can Achieve Creativity”, Marketing News, Vol. 31, n. 7, pp. 14-19.

Weiss W.H., “Demonstrating Creativity and Innovation”, Supervision, Vol.63, n. 3, 2002, pp. 6-10.

Class: B


Description Judgement suspension is about temporarily accepting ideas or remarks that appear nonsensical. This technique helps to be open to different points of view. Innovations are often potential solutions but they need time to grow and develop, so do not judge them straight away. The facilitator supervises the creativity process and postpones all judgement to the evaluation phase (the so called “extended judgement principle”). The free expression of the group creativity leads to:

▪ overcome boundaries to the flow of images between people (thanks to “judgement suspension”);▪ develop continouous and inspiring collective associations; ▪ develop ideas, concepts, solutions and general applications.


Topic: Give time to encourage ideation (Chapter 2, Paragraph 3.1.2) Group creativity (Chapter 5, Paragraph 4.2)

112. VISUALIZATION (VISUALIZZAZIONE)

ReferencesFoster R.N., Kaplan S., Creative Destruction: Why Companies That Are Biult to Last Underperform the Market – and How to Successfully Transform Them , Currency Doubleday, 2001 (it. transl. Roberto Merlini, La distruzione creatrice Strategie di dscontinuità e trasformazione per le imprese che vogliono conservare l’eccellenza, Milano, Etas Libri, 2001).

McFadzean E., “Developing and supporting creative problem-solving teams: part. 1 – a conceptual model”, Management Decision, vol. 40, n. 5, 2002, pp. 463-475.

Class: B


DescriptionThis technique helps your mind to visualize an image which can develop new

connections. You can visualize a goal and later focus on it. It can be divided into the following steps:

1. Set your goal by settling on the aim, target, reason, etc. This can be related to job, relationships, family, home etc.;2. Generate a concise idea or picture of the situation exactly as you would like it to be, thinking of it as already in existence. Incorporate as much detail as your imagination allows;3. Concentrate on your goal regularly, making it part of your daily routine and a natural thought (rather than putting too much effort in it).4. Make it a positive and encouraging thought. Think of very positive definitions of achieving the goal;5. Pursue the goal until it is achieved or you no longer wish to continue its pursuit;6. Once your goal has been attained, make clear admission and move on to the next goal.


Topic: Creative techniques (Chapter 2, Paragraph 4.3)

113. WAKING DREAM (SOGNO GUIDATO)

ReferencesJaoui H., La creativité mode d’emploi, Paris, ESF éditeur-Enterprise Moderne d’Edition et Libraires Techniques, 1990 (it. transl. Maria Rita Pessot, La creatività : istruzioni per l’uso, Milano, Franco Angeli, 1991).

Cocco G.C., Creatività ricerca e innovazione. Individui e imprese di fronte alle sfide della società post-industriale, Milano, Franco Angeli, 1987.

Gurteen D., “Knowledge, Creativity and Inovation”, Journal of Knowledge Management, Vol. 2, n. 1, 1998, pp. 5-13.


Class: B


Description

Waking Dream is a group creative technique that can help to develop interesting and really innovative insights.Hubert Jaoui (1991) defines this technique as an example of dream approach and gives the following definition:

“It is about developing unconscious mechanisms and voluntarily using them in the creative process. For a long time artists, poets, philosophers and scientists understood the major role played by unconscious mechanisms in the creative process. Unlike the previous three approaches which are now becoming more precise and logical, the dream approach belongs to the infra-logic or ultra-logic area. To better examine this area, boundaries between conscious and unconscious need to become thinner. To this purpose, a set of group techniques was created. Only skilled leaders can use them, as they could entail psychological implications and emotional reactions.” (Jaoui, 1991)

Referring to Waking Dream, Jaoui states:

“…it is a theurapeutic technique devised by the Swiss Robert Desoille. A Waking Dream session takes place in a semi-dark place and with six or seven participants at the most . The participants find a comfortable position, they preferably lay down. The session time can range from half an hour to two hours. The leader plays the major role. He does not dream and puts forward different images to the participants. Images are quite neutral at the beginning and aim to gather participants in a common creative context. The leader cleverly suggests images related to a given problem and the group builds them into their dreams. An external observer takes notes without being noticed. At the end of the session, the leader brings the group back to reality. Given some time, this technique is useful to devise important solutions.For instance, a collective waking dream helped to outline the architecture and the furnishing of a new bank agency. The creative group members were in dynamic relaxation; they were able to view and describe their dream agency.The most impressive themes were later transcribed and sent to the bank project office.” (Jaoui, 1991)

So this technique is essentially based upon an imaginary collective “journey” that helps to explore the man unconscious and generate innovative insights. Needless to say that the group participants need to be very imaginative to achieve good results.

Related Techniques: DREAM DIARY

Topic: Group creativity techniques (Chapter 5, Paragraph 4.2,2)Dream approach (Chapter 8, Paragraph 4.2.2)

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