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Showing posts with label Class Note. Show all posts
Showing posts with label Class Note. Show all posts

Tuesday, November 1, 2011

Tharp Discussion

Guest Speaker
Today we have a guest speaker Kate in class and she gave us a really interesting lesson, which we made movements and tried to follow others movements. From this activity, I learned the importance to share your inner thoughts and express them with your movements. Kate said communication and connection with your partners play critical roles in one's creative life.

What's important?
1. Indentify your creativity ritual.
Tharp starts her day by taking a cab to the gym. She says that having a ritual makes it a habit and for her, getting in the cab is the first very important step. She needs to be literally warmed up to get creative and her time at the gym does just that.
The ritual can be as simple as lighting a candle or putting on music. It is a symbol that it is time to do your creative work.

2. Combining Ideas.

3. Education and hard work.

4. Scratch ideas.
We often think that to be creative you have to come up with something brand new, out of thin air; something never done before. Yet, really those brand new things are often just new ways of combining or connecting what has been done before. Scratching for ideas can seem like you are appropriating someone else’s work (which of course you should not do), but there is a subtle difference. Others’ ideas can serve as inspiration for your own.Tharp cites Harvard psychologist Stephen Kosslyn, in presenting four ways to act on an idea – generate it (from memory or experience), retain it, inspect it, and finally transform it.

What's new?
1. Find a spine.
The spine we’re talking about here is the original thought or basis for your creative project. When you start to get off track, go back to the spine to help you stay on course. For Tharp, the spine is a tool. It is not the message, but it keeps her on message. She suggests finding the spine of your creative work with the help of a friend or co-worker, through music, or by remembering your original intentions and clarifying your goals.

2. Be aware of what distracts you and give it up for a while.
If you get your important creative work done first, there is usually plenty of time to do the rest of it. This requires deciding what the important work is, and setting realistic deadlines for it. Tharp suggests eliminating your persistent distractions from your life – temporarily at least, and see how your work is affected. For example, give up TV or movies or background music, whatever is your biggest distraction, for a week. How does it affect the quantity and quality of your work?

3.Know when you’re in a rut and know how to get out of it.
To Tharp, a rut is different from a creative block. It’s more like a false start. You know something’s not working, whether you want to admit it or not. This could be the result of a bad original idea, or bad luck, or sticking to past methods when new ones are required. To deal with a rut, the first step is to admit you’re in one. Often, spinning your wheels, or letting pessimism creep in, are signals that you’re in a rut. She suggests brainstorming as a way to come up with a new idea, and get past old habits. Also, challenging your initial assumptions and then acting on those challenges is another way. She warns against over working and over tinkering. Know when to stop for the day, always leaving something on the table for the next day.

What's to do?
Scratching and Approach.

Thursday, October 6, 2011

Sawyer's Group Genius Big Points



The Collaborative Team
Seven key characteristics of effective creative teams:
l       Innovation emerges over time. Successful innovations happen when organizations combine just the right ideas in just the right structure.
l        Successful collaborative teams practice deep listening. Most people spend too much time planning their own actions and not enough time listening and observing others.
l        Team members build on their collaborators’ ideas. When teams practice deep listening, each new idea is an extension of the ideas that have come before.
l        Only afterwards does the meaning of each idea become clear. Ideas don’t take on their full importance until they’re taken up, reinterpreted, and applied by others. 
l        Surprising questions emerge. Most transformative creativity results when a group either thinks of a new way to frame a problem or finds a new problem that no one had noticed before.
l        Innovation is inefficient. Improvised innovation makes more mistakes, and has as many misses as hits.
l        Innovation emerges from the bottom up. The improvisational collaboration of the entire group translates moments of individual creativity into group innovation.

Conditions for group flow:
l        The group has a specific goal to achieve or problem to solve.
l        Everyone is fully engaged in deep listening in which members of the group don’t plan ahead what they’re going to say but speak in response to what they hear.
l        The group is focused on the natural progress emerging from members’ work, not on meeting a deadline set by management.
l       People are in control of their actions and their environment, when they feel autonomy, competence, and relatedness.
l        Each person is feely able to build their ideas on those just contributed by others.
l       All participants play an equal role in the collective creation.
l       All the players share an understanding of the group’s goals and share a communication style to respond mutually to each other.
l        Conversations are continuous, freewheeling, and spontaneous.
l        People listen to what’s being said, accept it fully, and then extend and build on it.
l       Tensions are in balance: convention and novelty, structure and improvisation, critical and freewheeling thinking, and listening and speaking.

Traditional brainstorming, which aims for volume, does not work. When groups are asked to suggest good, creative solutions, they have fewer ideas but those ideas are better than those generated using traditional brainstorming rules.
l        Don’t use groups for additive tasks—tasks that people could do separately and then sum up. Instead, use them for complex and improvisational tasks.
l        Keep groups to the minimum number of members required; this will reduce social loafing and production blocking.
l       Use a facilitator who knows the research about what brainstorming formats work the best, and who knows how to help the group avoid production blocking and social inhibition.
l        Because complex and unexpected innovations emerge from innovative groups as a whole, group rewards need to be in place.
l      Allow the group to alternate work with frequent breaks, and switch constantly between group and individual activity.
l        To take advantage of increased innovation of diverse groups, compose groups with complementary skills.
l       Keep in mind that group members who are low in social anxiety and who enjoy group interaction will perform better.
l       Brainstorming works best in an organization that enjoys a culture of innovation where brainstorming meetings are held so often that they’re just part of doing business.

The Collaborative Mind
The creative sparks are always embedded in a collaborative process with five basic stages:
1.      Preparation: This involves a period of working hard, studying the problem, and talking to everyone else working on it.
2.      Time off: The team member changes context and engages in other activities— often in conversation with others.
3.      The spark: During time off, a solution appears; but that solution is deeply embedded in the knowledge and social interactions of the preparation and time-off phases, and it builds on sparks that others have had.
4.      Selection: An “Aha!” feeling that doesn’t always mean the idea is good. Creative people are very good at selecting the best ideas for follow-up, or they collaborate with others in selecting them.
5.      Elaboration: Working out the idea typically requires a lot of additional ideas. Bringing them all together always requires social interaction and collaboration.

Some myths about creativity have been contradicted by experimental research:
l  “We’re blocked from creativity by our past experiences and our unwarranted assumptions.” To the contrary, eliminating the false assumption only makes the problem slightly easier.
l  “When you break out of your fixation, the solution should come quickly and easily in a spark of insight.” Instead, the “outside” hint opens up a new problem-solving domain, but that domain also requires expertise and prior experience.
l  “Insight solutions are independent of prior knowledge.” In reality, training in similar problems helps immensely.
Insight isn’t different from everyday thought; it moves forward, step by step, and even when we’re not consciously aware of what our minds are doing, we’re still using everyday brain processes.
Collaboration makes the mind more creative because working with others gives you new and unexpected concepts and makes it more likely that your mind will engage in the most creative types of conceptual creativity—combining distant concepts, elaborating concepts by modifying their core features, and creating new concepts.
Indirect speech, unlike explicit speech, is impossible to understand out of context. This context-dependence is called indexicality; the most creative speech is highly indexical—deeply embedded in the immediate social context. Indirect statements open up more possibilities for the listener, and resulting conversation becomes more a collaborative creation. Ideas that open possibilities contribute to innovation by making it easier for ideas to be reused to solve a different and unexpected problem elsewhere in the organization.
An organizational culture that fosters equivocally, improvised innovation, and constant conversation is a recipe for group genius.

The Collaborative Organization
Innovation today isn’t a sudden break with the past, a brilliant insight that one lone outsider pushes through to save the company. Just the opposite: Innovation today is a continuous process of small and constant change, and it’s built into the culture of successful companies.
The culture of collaborative organization is based on flexibility, connection, and conversation; improvised innovation is standard business practice. Companies that use smaller teams and fewer hierarchical levels are more innovative.
If innovation is linear, the idea stage can be separated out and placed in a more creative unit of the organization, and the execution can still take place in a more traditional bureaucratic structure. But although separation can be good for short-term creativity, it interferes with long-term innovation: An isolated “skunk works” usually has trouble communicating with the rest of the organization because innovation requires collaboration across the company.
The most transformative new products and systems emerge from many small sparks of insight. Successful innovative companies keep those small sparks coming fromthe organization, each spark inspiring the next one.  individuals throughout the organization, each spark coming from individuals throughout the organization, each spark inspiring the next one.

The most innovative companies do ten things that foster collaboration and innovation:
l       Keep many irons in the fire. Allow ideas to be tested quickly, less promising projects to be terminated early, and make all new sparks visible so that other teams can adopt them.
l       Create a department of surprise. One way that collaborative organizations recognize emerging ideas is with “idea marketplaces,” autonomous teams that identify radical innovations. These “departments of surprise” search for ideas throughout the company and are responsible for commercializing them.
l      Build spaces for creative conversation. Open spaces feed into the natural flow of collaborative innovation—helping ideas to move from one area to another, allowing spontaneous conversations to emerge, and strengthening informal information-sharing networks.
l       Allow time for ideas to emerge. Low-pressure situations allow for collaborative conversations to unfold, and that’s where innovations emerge.
l       Manage the risks of improvisation. When people are improvising, they must take time away from planned projects, improvisation can make it impossible to sustain a central vision and long-term strategy, and too many new ideas might bubble up.
l       Improvise on the edge of chaos. The most successful innovators use limited structures, not too rigid to prevent emergent innovation but not too lose to result in total chaos.
l        Manage knowledge for innovation. The collaborative organization excels at transferring to other groups the ideas that emerge from good improvisations.
l     Build dense networks. When information is shared through collaboration, and decision making is decentralized, there’s no need for a hierarchy to gather and channel information to a single decision maker. Instead, the manager is a catalyst and facilitator, acting as a connector between groups, a cross-pollinator and carrier of knowledge.
l       Ditch the organization chart. Create loosely coupled organizations. 
l        Measure the right things. First, count the proportion of time spent on small exploratory projects (more is better). Second, measure the average the average length of a project before being terminated (shorter is better). Third, examine how well the organization celebrates and rewards failure.

Collaborative webs are more important than creative people.
l  Each innovation builds incrementally on a long history of prior inventions. 
l  Successful innovation is a combination of many small sparks.
l  There is frequent interaction among teams.
l  Multiple discovery is common.
l  No one company can own the web.

To release the innovation potential of society:
l  Reduce copyright terms.
l  Reward small sparks.
l  Legalize modification of products for personal use.
l  Free employees from noncompete clauses.
l  Impose mandatory licensing. 
l  Pool patents across companies. 

l  Encourage industry-wide standards.

Tuesday, September 13, 2011

Weston's Creativity


In today's class, we grouped and discussed something good, bad and ugly from Anthony Weston's book of "Creativity for Critical Thinkers". Generally, it is a concise guide and introduction which instructs people with some practical methods and steps in order to be creative, which talks about the art of expanding possibility by multiplying options, brainstorming, lateral thinking, reframing problems, etc. Personally, I found it effective and inspiring on my upcoming assignments such as WIE and Bioc of this class. It triggers my blocking ideas and help me to think out of the box.

Specifically, we first talk about what is good about this book. Some of us thought that the technique of going public to exaggerate your ideas is quite useful to them. To me, I think that is why keep asking questions is so important based on Gelb's book of "Davin chi". Because by asking other people questions to gather public responses on the issue or topic you are focusing on will help you generate the public knowledge which is so powerful and influential.

 Plus, some of us suggested that the book also points out the method of  mutiplying the possible options, which indicates another helpful technique for us to figure out the most beneficial solution of specific problems among couples of options. Additionally, one of us also proposed that this book contributes to prompting proactive thinking. More important, he said that from this point he feel we should think preventably when faced with some problems, such as the city constructions and developments. Rather only casting about for the solution, we could make a detour to avoid this problem at first place.

Well, in my group, we thought this book introduces 3 vital things to be creative, which is 1) reframing the problems/lateral thinking; 2)throwing out some decent solutions and exercises that trigger creativity/prompts which are useful in real life  3) calling for breaking the sets/habits that we take for granted to be flexible and comparing or contrasting among things that are both inside and outside the safety zone. 

In terms of the bad and ugly aspects of this book, most of us were focusing on the questions which is proposed at the last pages of every chapter. For us, we felt that the questions are overwhelming and the theories it mentions have a few gaps with applications to common people. What if the problems it mentions don't happen in our whole life (so that how can we think about solutions of them)? And one of us came up with a suggestion of this "bad" thing that the book could be edited as a workbook format which has some lines to be filled with possible answers on purpose of facilitating practical exercises and prompts.

Finally, as far as what I am concerned, to the most meaningful point Weston indicates in his book is that we should think how things could be rather than how they are, which I would say will play a critical role to motivate my creative life in the future.

Tuesday, August 30, 2011

Guest Speaking / Lotus Blossom

Class Notes:
>> Definition of creativity and creative in common use
>> Creativity is principle-based, generative ways of being.
      -  principle-based: Related to the Apple logo's geometry, creativity should be generative and rule-based.
                                >Centred in guidelines for human conduct that are fundamental, proven to
                                 have enduring, permenant value.
      -  generative: Having the power or function to generate and especially, originate.


>>Why Originate to be valued?
e.g. "Water Lily" by Claude Monet
— Origination can evoke the connection between the artist and the individual, between the history of the piece of art and individual's personal experiences. Plus, by create things original, one could feel huge sense of accomplishiments from the obstacles overcomed by themselves.

>>Principles of Creativity
Curiosity
- observation and questioning, deep digging
Ideation
- intouchnal, necessary but in sufficient
Relation
- system thinking, connect the dots (Juxtaposition), ambiguity
Wisdom
- knowing how to be, positively navigating politics, sell ideas, manage crashes, understanding
Fruition
- bring ideas into being, contribute. move to action, persistence, iteration.

✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿

>>Lotus Blossom

Thoughts Exploding technique
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Thursday, August 25, 2011

Juxtaposition

Class Notes:
>> Summarize ideas of  "I&A" (Interests & Abilities)

♥♥♥♥♥♥ Something intersting and inspirational in "I&A" ♥♥♥♥♥♥
Puzzle format -  Linnea and Vanessa applied this tricky but interesting format to introduce their interets and abilities, which inspired me a lot and let me feel that we should be creative anytime anywhere. Cheer up!

>> Create product ideas with "I&A" in the groups (Juxtaposition) Brainstorming.
  • Vocabulary:
  • Juxtaposition - juxtaposition means placing things side-by-side. In art this usually is done with the intention of bringing out a specific quality or creating an effect, particularly when two contrasting or opposing elements are used. The viewer's attention is drawn to the similarities or differences between the elements.
  • My understanding: Bring 2 seems-unrelated elements together, make some correlations, and create a brand new thing or idea.

>> Free writing
Write down whatever is going on in your mind. Something I wrote which I can remember were mostly related to the difficult decision on what should I eat for lunch....

Tuesday, August 23, 2011

Knock the door of Creativity

Today is my first Creativity class, and since I came here about 1 year ago, I was so looking forward to join an engineering class because that is the field which UIUC gains tremendous accomplishments. Plus, I myself is one who always pursue a colorful life with any trivial but creative moments, so I chose advertising as my major and try to stay lively almost everyday. Professionally, I hope this class could somehow help me with my future career which may involve a lot of creative thoughts and ideas, no matter it is just working as a marketing manager or running my own business a few years later.

Notes:
>>Creativity: What? Why? How?
1.What is creativity?
Original, unique and productively valuable.
2.How to be creative?
Redefine the problem and multiple the solutions.