Concepto de creatividad creador y elementos
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Concepto de creatividad creador y elementos
- 1. Creatividad
- 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)
- 19. Producto Mirar la composición, diseño, innovación, terminado, meritos. 19 ?
- 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
- 27. Ideas y evaluación Acelerador y freno 27
- 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
- 30. Preguntas típicas ¿por qué? Organización (prioridades) Números ¿cuánto? Fechas ¿cuándo? Emociones ¿quiénes? ¿emociones? Resultados ¿qué se espera? 30
- 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
- 33. 33
- 34. 34
- 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
- 38. Técnicas 38
Notas del editor
- 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.