2. ¿Qué es la creatividad?
Creatividad
Facultad de crear
Capacidad de creación.
Crear
Producir algo de la nada
“Un programa para jugar con el ordenador”
Establecer, fundar, introducir por primera vez una cosa,
hacerla nacer o darle vida en sentido figurado.
Crear una industria, un genero literario, un sistema filosófico,
un orden político, necesidades, derechos, abusos.
Instituir un nuevo empleo o dignidad.
Se creo un puesto de informático
Diccionario RAE
2
3. Características de la gente
creativa
Las personas creativas suelen ser rebeldes, revoltosos.
Con frecuencia son los supervivientes de un trauma
llamado educación
3
4. Creatividad: hacia una
definición
La habilidad de tomar objetos existentes y
combinarlos de formas distintas con nuevos
propósitos.
La habilidad de generar nuevas ideas y soluciones,
útiles en los problemas y retos cotidianos.
4
5. Necesidades de la
Creatividad
Motivación
Conocimientos
Oportunidad
Estilo de creatividad
Coraje para ser creativo
Aceptación de la propia personalidad
Coraje para ser diferente
(Freeman 1998).
5
6. 6
P´s de la creatividad
Persona
Proceso
Lugar
Producto
7. El individuo creativo se acopla a un
proceso creativo en un ambiente
creativo generando productos
creativos.
7
Creatividad
innata
Características
individuales
Ambiente
Creativo
Proceso Creativo
Producto
8. 8
Persona
Destreza con el pensamiento creativo
Destreza en el dominio de trabajo
Motivación intrínseca
Pero,...podría Einstein crear una pagina web con juegos en red?
9. Características de las
personas muy creativas
Muy curiosos, inhibidos, radicales
Generan muchas ideas
Montones de cuestiones
Toman muchos riesgos
Campo muy amplio de interés
Coleccionistas de cosas inusuales
Pensamiento lateral
Determinación a tener éxito, tenacidad perseverancia,
compromiso con la tarea
9
10. Características de las
personas muy creativas
Juguetón Intelectual, le gustan los marcos conceptuales, atraído
por la novedad y la complejidad
Gran sentido del humor (Frecuentemente estrafalario, irreverente,
inapropiado)
Muy auto-consciente y abierto a lo irracional consigo mismo.
Intuitivo / mucha sensibilidad emocional
Inconformista, tolera la ambigüedad, acepta el caos, no esta
interesado en los detalles.
Descrito como “individualista” no le preocupa que se le clasifique
como “diferente”, preocupado internamente, necesita tiempo para
pensar.
No desea aceptar lo que dice la autoridad sin auto-examinar con
mucha critica. 10
11. Rasgos negativos de la
creatividad
Tiende a cuestionar leyes, reglas y autoridad
Indiferente a las convenciones y cortesía usuales
Testarudo, no coopera, se resiste a ser dominado.
Argumenta que el resto están fuera de onda
Discute, es cínico, sarcástico, rebelde.
Reclama, es asertivo, autocrático
Tiene poco interés en los detalles
Descuidado, desorganizado con asuntos poco importantes.
11
12. Rasgos negativos de la
creatividad
Centrados en ellos mismos, sin tacto e
intolerantes
Caprichosos
Temperamentales, cambios de humor.
Emocionales, abandonan, reservados, poco
comunicativos.
Olvidadizos, mentes ausentes, divagan, miran
las ventanas.
Hiperactivos física o mentalmente
No les gusta pertenecer a organizaciones,
clubs, no son jugadores de equipo.
12
13. 13
Proceso
Mirando a los estados, pasos, acciones y comportamientos.
Preparación,
Incubación
Iluminación
verificación
e.g. Wallas' model (1926) of the
Creative process
15. El proceso creativo
Proceso creativo =
Puesta en acción + implementación de ideas + equilibrio entre
imaginación y análisis + pensamiento divergente y
convergente.
Debemos hacer mas que simplemente imaginar cosas
nuevas, debemos trabajar para hacerlas realidades
concretas
15
16. “
El que tiene imaginación
pero no sabe aprender
es como el que tiene
alas pero no pies
”
16
17. Lugar: ampliadores de la
creatividad en la
organización.
Libertad (autonomía para operar especialmente)
Buena gestión de proyectos
Recursos suficientes
Un clima que premie la innovación y permita los
fracasos
Tiempo suficiente para ser creativos
Presión pero dentro de unos limites
17
18. 18
Lugar: Asesinos de la
creatividad
Evaluaciones
Restricciones
Indiferencia
Competición
Presiones con el tiempo (cuando son muy altas)
20. Continuo de la creatividad
20
REPLICA
ORIGINAL
FORMULACIÓN
INNOVACIÓN
Based on Fennell, E., (1993) Categorising Creativity in Competence & Assessment No. 23, Oct. 1993, Employment Dept.
21. Replicas
El proceso y los materiales están
predefinidos con poca variación.
Líneas de producción en masa,
personal de un bar.
CRP-2-Creatividad 21
22. Formulación
Los procesos y los materiales estan
claramente definidos, se permiten
variaciones dentro de unos limites
acordados, incluso se agradecen.
Albañil, pintor, decorador, jefe,
camarero en un restaurante
Orquestas, actores.
CRP-2-Creatividad 22
23. CRP-2-Creatividad 23
Innovación
Los materiales y sus procesos son
discrecionales pero el trabajo se
delimita por ciertas convenciones.
Arquitectos, puestos directivos
Diseñadores de paginas Web,
analistas de aplicaciones.
24. CRP-2-Creatividad 24
Originadores
Los procesos y
materiales son
discrecionales y el
trabajo no tiene
precedentes o va mas
allá de lo establecido
convencionalmente.
Creadores/ diseñadores
de soluciones sin
precedentes,
productores que usan
métodos nuevos o
producen nuevos
productos.
Compositores
25. Seis habilidades del
pensamiento creativo
Juicio controlado
Hacer preguntas
Cambiar las perspectivas
Ampliar los límites
Hacer asociaciones
Imaginar consecuencias
25
26. Juicio controlado
Suelen formarnos en el juicio critico.
¿qué piensas cuando te dice que se va de viaje hoy?
¿vamos a la playa?
Solemos controlar todos nuestros pensamientos antes de
que aparezcan.
Autocensura
Pero la creatividad requiere poca censura.
Primero alternativas, después ya veremos.
Apartar el Juicio, no disminuirlo
26
28. Beneficios de controlar el
juicio
Producir mayores cantidades
Mejorar la eficacia (más rápido)
Retener la semilla creativa
Proporcionar oportunidades para las combinaciones
creativas
Incrementar el potencial para mejores decisiones.
Reducir el conflicto personal
Incrementar la propiedad del grupo
28
29. Hacer preguntas
Los niños preguntan,… ¿porque?
Los mayores no… ¿por qué?
Necesitamos aumentar nuestra capacidad de preguntar.
Mejora:
Suposiciones que bloquean caminos.
Considerar otros puntos de vista
Información para combinar
29
31. Cambiar las perspectivas
Reconfigurar lo que vemos
Trabajar desde el final
Ponerse como el competidor
Mirar a través de los ojos del cliente
Imagen global frente a imagen reducida
Perspectivas personales
Sherlock Holmes, Disney,…
31
35. Ampliar los límites
Tengo que medir medio litro de agua, y necesito una
jarra graduada.
Salir de la Caja
3M un ejemplo de ampliar los límites
35
36. Hacer asociaciones
Es el corazón de la creatividad
Nike y los gofres
Textiles – Cortacésped - dentistas
Fabricas al ultimo piso
Militar – para cocinar
Como hacer las asociaciones
Tienen algo en común
Evitar barreras
Pregunta: “¿esto no recuerda…?, ¿qué podríamos aprender
o utilizar de …? ¿cómo solucionaría esto un mecánico?
36
37. Imaginar consecuencias
¿qué pasaría si …?
CRP-2-Creatividad 37
Área afectada Efectos en el
área
Efectos
específicos
Some Informing Statements
This lecture is informed by a number of thoughts and ideas:
That’s one of them (SLIDE)…here are some others….
1. We like the idea of creativity but we don't really understand it.
2. A lot of what we like to think is 'creative'…. isn't.
3. Creativity isn't a form of white (or black) magic, but is something real and tangible that we can understand and, through understanding it…we can enahnce our own creativity.
Defining Creativity
There are many aspects to creativity, and it has been explored by a number of theoretical approaches including philosophy, psychology and sociology. From an examination of some recent research reviews of creativity - both generally and in relation specifically to educational and organisational development (Dust 1999, King and Anderson 1995) - it is clear that there is no one definition of creativity that can be agreed upon. Also, not surprisingly, given the problems defining it, the measurement or assessment of creativity also poses many problems.
That creativity exists and is a necessary and important part of human activity is generally recognised. It is neither the exclusive preserve of the genius, nor is it limited to specific fields and levels of work. Also creativity is not just a 'quality': it manifests itself at a number of points, and it informs and is part of a process which leads to an outcome. The time dimension of creativity is very important, as it emerges often after a period of mundane, hard, even repetitious work. Sapp 1992 is one of many researchers who point out that time is essential for creativity to flourish and for creative products to be produced.
Creativity researchers, mostly from the field of psychology, usually claim that being creative means being novel and appropriate. Subsumed under the appropriateness criterion are qualities of fitness, utility, and value. Without the criterion of appropriateness (i.e. a recognition by others of its fitness/utility/value), novelty can be merely bizarre. Therefore, one way of defining creativity is as playing with the way things are interrelated and demonstrating the ability to generate novel and useful ideas and solutions to everyday problems and challenges. For example George de Mestral noticed how thistle burrs stuck to his trousers on a walk in the woods, and went on to invent Velcro. James Dyson noticed the centrifugal effects of cyclonic air and invented the highly successful bagless vacuum cleaner.
Another definition of creativity is the action of combining previously uncombined elements. Gutenberg, for example, created the printing press by combining a winepress with a die-punch. This combining of items which previously were separate is part of the nature of being creative and can be discerned at all levels of activity:- from the eminent to the everyday.
Whatever the disagreements about definitions, most researchers are in agreement that the essentials for high-level creativity are:
motivation
knowledge
opportunity
creative teaching style
encouragement to be creative
acceptance of one's own personality
the courage to be different
(Freeman 1998).
THE 4P's
There are three aspects of creativity which have drawn much attention: the person, the process, and the product. Barron (1988) defined creativity as 'a creative product produced by a creative person as a result of a creative process'.
However the organisational climate and culture and environment plays such a vital role - particularly in education - that it deserves recognition. Therefore Barron's statement could be re-formulated as follows: 'a creative person engaged in a creative process within a creative environment producing a creative product'.
Whatsoever the collection of characteristics a creative person possesses, according to Amabile's (1983) influential model of creativity, the creative act itself is critically dependent on the following three components working in combination:
Skills in creative thinking
Finding the problem (essential); choosing and using divergent and convergent reasoning; understanding the nature of the problem and understanding the appropriateness (or not) of the approach, the ideas generated and the outcome. Is it appropriate? Does it work? Is it of utility? Can it be done?
Skills in the task domain
Knowledge of the area of the task; relevant technical skills; special talents etc.
Intrinsic Motivation
Amabile's 'Intrinsic Motivation Hypothesis' which states that people will perform more creatively if they are motivated by interest in the activity itself: intrinsic motivation rather than by the promise of rewards or threats of punishments extrinsic motivation.
All three components of Amabile's model need to be present. For example an eminent creative thinker in one field e.g. physics, might lack the task-domain skills in a different area e.g. drawing, and therefore would fail to perform creatively notwithstanding high levels of skills in creative thinking and intrinsic motivation.
The Creative Person
There has been much research into the characteristics of creative people. A list of the most commonly described characteristics (see Table 1 below) reveals that they are a mixture of attributes and personality traits, 'givens' and things that are acquired. However, whilst they provide a good baseline against which to consider the creative individual, they are not easily measurable. Also the consequences of some of them e.g. unconventionality, challenging authority, originality etc. clearly have the potential to pose challenges to any organisational system that is based on those Classical standbys of order, structure, rules, harmony etc.etc.
However, whilst they provide a good baseline against which to consider the creative individual, they are not easily measurable. Also the consequences of some of them e.g. unconventionality, challenging authority, originality etc. clearly have the potential to pose challenges to any organisational system that is based on those Classical standbys of order, structure, rules, harmony etc.etc.
The Creative Process
The creative process receives the most attention by far of writers and researchers. Most of the work focuses on the mechanisms and phases involved as one partakes in a creative act. As with the actual definition of creativity, there is a wide and divergent range of opinion. This has led to the development of dozens, if not hundreds of models of the creative process. However, many are adaptations, variations and developments of the influential four-stage model of the creative process developed in 1926 by Graham Wallas:
1.Preparation
2.Incubation
3.Illumination
4.Verification
In the preparation stage, the problem or challenge is defined; any data or resources the solution or response needs to account for is gathered; and criteria for verifying the solution's acceptability are set up. In the incubation stage, we step back from the problem and let our minds contemplate and work it through. Like preparation, incubation can last minutes, weeks, even years. In the illumination stage, ideas arise from the mind to provide the basis of a creative response. These ideas can be pieces of the whole or the whole itself, i.e. seeing the entire concept or entity all at once. Unlike the other stages, illumination is often very brief, involving a tremendous rush of insights within a few minutes or hours. In verification, the final stage, one carries out activities to demonstrate whether or not what emerged in illumination satisfies the need and the criteria defined in the preparation stage.
Based on Plsek’s Directed Creativity Cycle
Several clear themes emerge from the various models of the creative process:-
that the total creative process involves purposeful analysis, imaginative idea generation, and critical evaluation.
that the total creative process is a balance of imagination and analysis, divergent and convergent thinking,
that the total creative process requires a drive to action and the implementation of ideas. The act of imagining new things must be combined with the ability to make them concrete realities.
The creative environment
A great deal of creativity research concentrates on the '3P's': people, process and product. However, the organisational climate and culture deserves some attention of its own. Unless one is working in, or is able to create a climate and culture that is conducive for innovation, (which includes democratic and participatory structures; openness to change and challenge; encouragement of risk taking; a playful approach to new ideas; and a tolerance of vigorous debate) then one is on a hiding to nothing.
According to Amabile (1983) the following enhance organisational creativity:
Freedom (especially operational autonomy)
Good project management
Sufficient resources
A climate that prizes innovation (and allows for failure)
Pressure (within limits)
Whilst the following act as inhibitors or blocks to organisational activity
Evaluation
Constraint
Formal rules
Respect for traditional ways of doing things
Indifference
Competition
Time Pressure (when too high)
Amabile makes the point that many of the organisational factors considered to be inhibitors of creativity operate by restricting people's freedom to work in the way that best suits them.
The creative product
The criteria or characteristics of creative products are of particular importance because it is the basis of any performance assessment of real world creativity and may provide a window on the other aspects of creativity.
Of course the creative product - whether it be an actual, physical object or an expressed idea - is the proof or evidence that creativity has occurred. And because it is a product and therefore tangible - is also the easiest element to assess.
We use product-based assessment in selection and recruitment - portfolios of work, audition tapes, recent papers, full list of publications etc.