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Managing for Creativity
Design briefs + Multi-agent simulations to reason about innovation teams
Ricardo Sosa
Associate Professor, Design and Creative Technologies AUT, New Zealand
and Monash Art, Design & Architecture, Monash University, Australia
ricardo.sosa@monash.edu
JWC Organizing Committee
Conference Chair Scientific Advisors
Tetsuo Asano Tetsuo Asano
Yoji Koda
Program Chair Teruo Matsuzawa
Minoru Terano Hiroshi Mizuta
Yukari Nagai Tatsuya Shimoda
Yasuo Tan
Program Committee Yuzuru Takamura
Razvan Beuran Toshiaki Taniike
Tatsuo Kaneko Minoru Terano
Eunyoung Kim Satoshi Tojo
Kazunori Miyata Toshifumi Tsukahara
Kazushi Nishimoto
Yasuo Sasaki Poster Chair
Atsuo Yoshitaka Kei Sakamura
Takaya Yuizono Kentaro Takashima
Jader Zelaya
Publicity and Web Chair
Masahiro Ura
Jader Zelaya
Plannning Committee
Yasuo Sasaki
Kei Sakamura
Kentaro Takashima
(and S. Taniguchi) Masahiro Ura
Twitter: @designcomputing
Zacoalpan, 1995
http://huaracheblog.wordpress.com
http://www.flickr.com/photos/mexicantextile
Participatory Design Conference, 2014
‘ROBOT GRACIOUS GAIT’ RoboMods
Advances in Mechanical Engineering, 7(3)
Design Studies, 42(1). doi:10.1016/j.destud.2015.10.002
Singapore University of Technology and Design, 2012
Monash Art, Design & Architecture, 2017
Manurewa “Robot for Mayor 2030” project, 2017
- How do we ask for creative ideas?
- How do we organise for change?
‘Reverse engineering” a winning design: EcoHelmet
A foldable, low-cost, made in a honeycomb cardboard structure
to encourage the safe casual use of bike sharing services
Possible design briefs:
1. “Design something that solves a problem”
2. “Encourage casual use of bike sharing services”
3.“Design a bicycle helmet”
4.“Encourage the safe casual use of bike sharing services”
“Design briefs”
- What information to present?
- How to frame a problem?
- How much information to present?
- What outcomes do we ask for?
Design Briefs in Creativity Studies
To help identify terms that are more suitable for the brief
based on the decisions made across the canvas model:
“To design a helmet [83,100] that…”
“To design a head protection [7,080] device that…”
“To design a head gear [11,800] that…”
“To design a gear [8,850,000] that…”
Abstract terms such as “gear” may be more suitable for divergence
(than more concrete and specific terms)
Polysemy index
Experimental Design canvas
Time Method Participants Metrics
Research Question
(or Learning Objectives, NPD Goals)
Outputs Baseline
concepts
Ideation mode and technique(s)
Experience and skillsDesign brief
• Polysemy of terms used
• Innovation activity
• Communication indices
Our goal: To provide an explicit and demonstrable way
to synthesise design briefs to help compare outcomes
between studies
Yet, expert judgement and iterative testing are essential
Experimental Design canvas
1955
1995
2012
a) Support new initiatives across the entire organisation
b) Form specialized innovation teams
Strategies for organisational creativity
- These strategies may lead to different types of
outcomes
- Compelling arguments for both scenarios
- However, their effects are not sufficiently understood
and there is no clear guidance
Strategies for organisational creativity
Our work:
- Social simulations for the systematic inquiry of
change agency principles in business organisations
- Agent-based models used here as a lens to examine
key ideas about organisational creativity
Rob Axelrod’s (1997) agent-based models:
“a new way of looking at the dynamic process of social influence”
features (f)
traits (t)
f1: {t1, t2... tn}
f2: {…}
fn
Original Axelrod model
Axelrod model with mobility behaviour (teams)
Axelrod model with dissenting behaviour (innovation teams)
Axelrod model with mobility and dissenting behaviours
Axelrod model with mobility and dissenting behaviours
Axelrod model with mobility and dissenting behaviours
Axelrod model with mobility and dissenting behaviours
Axelrod model with mobility and dissenting behaviours
DS = 1/N
DD = 1/f
DS = N
DD = 1/f
DS = N
DD = f
Scope of dissent DS
Degree of dissent DD
“Creative efficiency”: average Δg divided
by number of dissenting agents
When new ideas are more incremental,
it pays to have more agents introduce
ideas
When new ideas are more radical, it
pays to have fewer agents introduce
ideas
Whilst increasing the number of
dissenting agents above ~10% produces
a greater number of group changes, this
is achieved at a cost of decreasing
creative efficiency
Prichard and Stanton (1999) empirical
study found that a team of just creative
people performed less effectively than a
more balanced team
Extreme value theory: a complementary perspective on the
behaviour of these models (Girotra et al., 2013 p. 3)
With high levels of degree of dissent (DD = 6), innovation
cases rapidly increase then slow down. With low dissent
(DD = 1), innovation cases remain extremely infrequent
Reining and Briggs (2008) identified “a curve with a positive but decreasing
slope in ideation functions [showing that] idea-quantity may not be a useful
surrogate for idea-quality in certain circumstances” (p. 419)
Discussion:
- Diminishing returns in creative participation (defies
ideation principles)
- The assumed benefits of open creative participation are
partial and could backfire when implemented in
unsophisticated ways
- Groups with fewer change agents can outperform groups
with more change agents
Our work:
- Not predictive, but meant “to show the consequences of a
few simple assumptions” about organisational creativity
- This is useful when “intuition is not a very good guide for
predicting what even a simple dynamic model will produce”
Future work:
- Extensions to the simulation model
- Replication and validation of results
(Axelrod, 1997)
Twitter: @designcomputing

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Sosa: Managing for creativity JAIST 2018

  • 1. Managing for Creativity Design briefs + Multi-agent simulations to reason about innovation teams Ricardo Sosa Associate Professor, Design and Creative Technologies AUT, New Zealand and Monash Art, Design & Architecture, Monash University, Australia ricardo.sosa@monash.edu
  • 2. JWC Organizing Committee Conference Chair Scientific Advisors Tetsuo Asano Tetsuo Asano Yoji Koda Program Chair Teruo Matsuzawa Minoru Terano Hiroshi Mizuta Yukari Nagai Tatsuya Shimoda Yasuo Tan Program Committee Yuzuru Takamura Razvan Beuran Toshiaki Taniike Tatsuo Kaneko Minoru Terano Eunyoung Kim Satoshi Tojo Kazunori Miyata Toshifumi Tsukahara Kazushi Nishimoto Yasuo Sasaki Poster Chair Atsuo Yoshitaka Kei Sakamura Takaya Yuizono Kentaro Takashima Jader Zelaya Publicity and Web Chair Masahiro Ura Jader Zelaya Plannning Committee Yasuo Sasaki Kei Sakamura Kentaro Takashima (and S. Taniguchi) Masahiro Ura
  • 3.
  • 5.
  • 8. ‘ROBOT GRACIOUS GAIT’ RoboMods Advances in Mechanical Engineering, 7(3)
  • 9. Design Studies, 42(1). doi:10.1016/j.destud.2015.10.002
  • 10. Singapore University of Technology and Design, 2012
  • 11. Monash Art, Design & Architecture, 2017
  • 12. Manurewa “Robot for Mayor 2030” project, 2017
  • 13. - How do we ask for creative ideas? - How do we organise for change?
  • 14. ‘Reverse engineering” a winning design: EcoHelmet A foldable, low-cost, made in a honeycomb cardboard structure to encourage the safe casual use of bike sharing services Possible design briefs: 1. “Design something that solves a problem” 2. “Encourage casual use of bike sharing services” 3.“Design a bicycle helmet” 4.“Encourage the safe casual use of bike sharing services” “Design briefs”
  • 15. - What information to present? - How to frame a problem? - How much information to present? - What outcomes do we ask for? Design Briefs in Creativity Studies
  • 16. To help identify terms that are more suitable for the brief based on the decisions made across the canvas model: “To design a helmet [83,100] that…” “To design a head protection [7,080] device that…” “To design a head gear [11,800] that…” “To design a gear [8,850,000] that…” Abstract terms such as “gear” may be more suitable for divergence (than more concrete and specific terms) Polysemy index
  • 17. Experimental Design canvas Time Method Participants Metrics Research Question (or Learning Objectives, NPD Goals) Outputs Baseline concepts Ideation mode and technique(s) Experience and skillsDesign brief • Polysemy of terms used • Innovation activity • Communication indices
  • 18. Our goal: To provide an explicit and demonstrable way to synthesise design briefs to help compare outcomes between studies Yet, expert judgement and iterative testing are essential Experimental Design canvas
  • 19. 1955
  • 20. 1995
  • 21. 2012
  • 22. a) Support new initiatives across the entire organisation b) Form specialized innovation teams Strategies for organisational creativity
  • 23. - These strategies may lead to different types of outcomes - Compelling arguments for both scenarios - However, their effects are not sufficiently understood and there is no clear guidance Strategies for organisational creativity
  • 24. Our work: - Social simulations for the systematic inquiry of change agency principles in business organisations - Agent-based models used here as a lens to examine key ideas about organisational creativity
  • 25. Rob Axelrod’s (1997) agent-based models: “a new way of looking at the dynamic process of social influence”
  • 26. features (f) traits (t) f1: {t1, t2... tn} f2: {…} fn
  • 27.
  • 29. Axelrod model with mobility behaviour (teams)
  • 30. Axelrod model with dissenting behaviour (innovation teams)
  • 31. Axelrod model with mobility and dissenting behaviours
  • 32. Axelrod model with mobility and dissenting behaviours
  • 33. Axelrod model with mobility and dissenting behaviours
  • 34. Axelrod model with mobility and dissenting behaviours
  • 35. Axelrod model with mobility and dissenting behaviours
  • 36. DS = 1/N DD = 1/f DS = N DD = 1/f DS = N DD = f Scope of dissent DS Degree of dissent DD
  • 37. “Creative efficiency”: average Δg divided by number of dissenting agents
  • 38. When new ideas are more incremental, it pays to have more agents introduce ideas When new ideas are more radical, it pays to have fewer agents introduce ideas
  • 39. Whilst increasing the number of dissenting agents above ~10% produces a greater number of group changes, this is achieved at a cost of decreasing creative efficiency
  • 40. Prichard and Stanton (1999) empirical study found that a team of just creative people performed less effectively than a more balanced team
  • 41. Extreme value theory: a complementary perspective on the behaviour of these models (Girotra et al., 2013 p. 3)
  • 42. With high levels of degree of dissent (DD = 6), innovation cases rapidly increase then slow down. With low dissent (DD = 1), innovation cases remain extremely infrequent
  • 43. Reining and Briggs (2008) identified “a curve with a positive but decreasing slope in ideation functions [showing that] idea-quantity may not be a useful surrogate for idea-quality in certain circumstances” (p. 419)
  • 44. Discussion: - Diminishing returns in creative participation (defies ideation principles) - The assumed benefits of open creative participation are partial and could backfire when implemented in unsophisticated ways - Groups with fewer change agents can outperform groups with more change agents
  • 45. Our work: - Not predictive, but meant “to show the consequences of a few simple assumptions” about organisational creativity - This is useful when “intuition is not a very good guide for predicting what even a simple dynamic model will produce” Future work: - Extensions to the simulation model - Replication and validation of results (Axelrod, 1997)

Editor's Notes

  1. Research questions driving the process to define….