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Design thinking is a well-established practical and educational approach to fostering high-level creativity and innovation, which has been refined since the 1950s with the participation of experts like Joy Paul Guilford and Abraham Maslow. Through real-world projects, trainees learn to optimize their creative outcomes by developing and practicing creative cognition and metacognition. This paper provides a holistic perspective on creativity, enabling the formulation of a comprehensive theoretical framework of creative metacognition. It focuses on the design thinking approach to creativity and explores the role of metacognition in four areas of creativity expertise: Products, Processes, People, and Places. The analysis includes task-outcome relationships (product metacognition), the monitoring of strategy effectiveness (process metacognition), an understanding of individual or group strengths and weaknesses (people metacognition), and an examination of the mutual impact between environments and creativity (place metacognition). It also reviews measures taken in design thinking education, including a distribution of cognition and metacognition, to support students in their development of creative mastery. On these grounds, we propose extended methods for measuring creative metacognition with the goal of enhancing comprehensive assessments of the phenomenon. Proposed methodological advancements include accuracy sub-scales, experimental tasks where examinees explore problem and solution spaces, combinations of naturalistic observations with capability testing, as well as physiological assessments as indirect measures of creative metacognition.
Creative intensive processes
(2023)
Creativity – developing something new and useful – is a constant challenge in the working world. Work processes, services, or products must be sensibly adapted to changing times. To be able to analyze and, if necessary, adapt creativity in work processes, a precise understanding of these creative activities is necessary. Process modeling techniques are often used to capture business processes, represent them graphically and analyze them for adaptation possibilities. This has been very limited for creative work. An accurate understanding of creative work is subject to the challenge that, on the one hand, it is usually very complex and iterative. On the other hand, it is at least partially unpredictable as new things emerge. How can the complexity of creative business processes be adequately addressed and simultaneously manageable? This dissertation attempts to answer this question by first developing a precise process understanding of creative work. In an interdisciplinary approach, the literature on the process description of creativity-intensive work is analyzed from the perspective of psychology, organizational studies, and business informatics. In addition, a digital ethnographic study in the context of software development is used to analyze creative work. A model is developed based on which four elementary process components can be analyzed: Intention of the creative activity, Creation to develop the new, Evaluation to assess its meaningfulness, and Planning of the activities arising in the process – in short, the ICEP model. These four process elements are then translated into the Knockledge Modeling Description Language (KMDL), which was developed to capture and represent knowledge-intensive business processes. The modeling extension based on the ICEP model enables creative business processes to be identified and specified without the need for extensive modeling of all process details. The modeling extension proposed here was developed using ethnographic data and then applied to other organizational process contexts. The modeling method was applied to other business contexts and evaluated by external parties as part of two expert studies. The developed ICEP model provides an analytical framework for complex creative work processes. It can be comprehensively integrated into process models by transforming it into a modeling method, thus expanding the understanding of existing creative work in as-is process analyses.
Invention
(2023)
This entry addresses invention from five different perspectives: (i) definition of the term, (ii) mechanisms underlying invention processes, (iii) (pre-)history of human inventions, (iv) intellectual property protection vs open innovation, and (v) case studies of great inventors. Regarding the definition, an invention is the outcome of a creative process taking place within a technological milieu, which is recognized as successful in terms of its effectiveness as an original technology. In the process of invention, a technological possibility becomes realized. Inventions are distinct from either discovery or innovation. In human creative processes, seven mechanisms of invention can be observed, yielding characteristic outcomes: (1) basic inventions, (2) invention branches, (3) invention combinations, (4) invention toolkits, (5) invention exaptations, (6) invention values, and (7) game-changing inventions. The development of humanity has been strongly shaped by inventions ever since early stone tools and the conception of agriculture. An “explosion of creativity” has been associated with Homo sapiens, and inventions in all fields of human endeavor have followed suit, engendering an exponential growth of cumulative culture. This culture development emerges essentially through a reuse of previous inventions, their revision, amendment and rededication. In sociocultural terms, humans have increasingly regulated processes of invention and invention-reuse through concepts such as intellectual property, patents, open innovation and licensing methods. Finally, three case studies of great inventors are considered: Edison, Marconi, and Montessori, next to a discussion of human invention processes as collaborative endeavors.