Progettazione e teorie della creatività

Presentazione sul tema: "Progettazione e teorie della creatività"— Transcript della presentazione:

1 Progettazione e teorie della creatività
Lezione 1 Progettazione e teorie della creatività Laboratorio di Interazione Uomo-Macchina – a.a. 2009/2010 Fabiana Vernero

2 Al lavoro! Elencare tutte le cose che si potrebbero fare con l’oggetto assegnato: Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

3 Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010
Guilford Test Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

4 Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

5 Discussione Cosa c’e’ di diverso tra le possibili risposte?
Perché in alcuni casi ci sono molte alternative e in altri meno? Di cosa stiamo parlando? Perché questo esercizio? Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

6 Creatività nel design - 1
Quando progettiamo, stiamo creando qualcosa… Possiamo sentire di essere più o meno creativi… Le cose che progettiamo possono essere più o meno creative… … La creatività è quindi uno degli strumenti del progettista. Studiamo la creatività per imparare a riconoscerla e “utilizzarla”. Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

7 Al lavoro! Verso una definizione di creatività: Come definireste la creatività? Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

8 Definizioni di creatività
The creative process is the emergence in action of a novel relational product growing out of the uniqueness of the individual The creative process can be defined as the ability to think in uncharted waters without influence by conventions set up by past practices Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

9 Definizioni di creatività
Signs of degeneration in men of genius. The intersection of two ideas for the first time. Creativity occurs when someone creates an original and useful product. To bring into being, cause to exist; esp. to produce where nothing was before, ‘to form out of nothing’. Regression in the service of the ego. Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

10 Definizioni di creatività
I have tried to describe creative thinking as taking place in the process of [1] sensing difficulties, problems, gaps in information, or missing elements; [2] making guesses or formulating hypotheses about these deficiencies; [3] testing these guesses and possibly revising and retesting them; and finally [4] communicating the results. Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

11 Definizioni di creatività: chiave
Keep (1957): “The intersection of two ideas for the first time” Rogers (1962): “The creative process is the emergence in action of a novel relational product growing out of the uniqueness of the individual” Lee (1957): “the creative process can be defined as the ability to think in uncharted waters without influence by conventions set up by past practices” Lombroso (1895) : “Signs of degeneration in men of genius” Torrance (1988): I have tried to describe creative thinking as taking place in the process of [1] sensing difficulties, problems, gaps in information, or missing elements; [2] making guesses or formulating hypotheses about these deficiencies; [3] testing these guesses and possibly revising and retesting them; and finally [4] communicating the results.” Mayer (1995): “Creativity occurs when someone creates an original and useful product.” Oxford English Dictionary: “To bring into being, cause to exist; esp. to produce where nothing was before, ‘to form out of nothing’” Kris (1952): “Regression in the service of the ego” Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

12 Al lavoro! Quale/i delle definizioni vi sembra più appropriata/utile?
Quali elementi delle varie definizioni sono più interessanti e quali vi sembrano inappropriati? Quale parte ha la creatività nel vostro lavoro? Come riconoscete la creatività? Quali aspetti possono essere creativi nel vostro lavoro? Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

13 Cos’è la creatività Emerge una definizione convenzionale. Scrive Mayer (1995, p. 451): “In summary, there is some consensus in the creativity research community concerning what to study: Creativity occurs when someone creates an original and useful product.” Originale è sinonimo di: nuovo, innovativo, peculiare… Utile è sinonimo di: appropriato, di valore, Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

14 Dove si trova la creatività
Nel processo (il modo in cui qualcosa viene creato: improvvise “illuminazioni” o lavoro intenso e focalizzato). Nel prodotto (il risultato del processo di creazione). Nella persona (motivazioni, modo di pensare, tratti personali). Nel contesto (“forze” esterne che alimentano la creatività –una società, un’organizzazione o un “clima” creativo). Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

15 Modello delle “4P” (Rhodes, 1961; Mooney, 1963)
Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

16 Persona Focus: Creatività come abilità personale, tratto, stile di pensiero. Cosa si studia: In che modo i “geni” della creatività differiscono, per natura e cultura, dagli altri individui? Quali differenze ci sono tra le persone per tratti personali e stili cognitivi relativi alla creatività? Come si studia: Psicometria e Storiometria. Teorie e teorici: Psicanalisi, Teorie dei tratti; Galton, Kirton, Torrance. Galton: eugenetica, uno dei pionieri dell’historiometrics, opera: Hereditary Genius (1869) Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

17 Psicometria Misurazione dei tratti psicologici e culturali, ad es.:
Conoscenze, Abilità, Attitudini Tratti di personalità; Sviluppo e validazione di strumenti di misura, ad es: Questionari, Test… Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

18 Storiometria Studio e misurazione dello stato di “progresso” dell’umanità o di caratteristiche individuali Usa strumenti statistici per misurare i riferimenti a personaggi famosi e alle loro opere in testi “neutrali”: Es: Numero di riferimenti nei dizionari Usa tecniche psicometriche. Studio i caratteri delle epoche storiche (fattori esterni) e cerca correlazioni con la presenza e le capacità dei “geni”. Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

19 Studio storiometrico dei “geni”
Spesso hanno perso i genitori. Tendono a porsi ai limiti di ciò che è accettato dalla società. I primogeniti sono più spesso “personaggi illustri”, gli altri “rivoluzionari” Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

20 Teorie dei tratti I tratti di personalità sono relativamente stabili, differiscono da un individuo all’altro e influenzano il comportamento. Misurazione dei tratti di personalità. Analisi fattoriale: pochi tratti (tre o cinque) possono spiegare il comportamento umano, tra questi: Introversione/estroversione Stabilità emotiva (anche: nevrosi) Persone timide ed estroverse… The statistical technique of factor analysis, however, has demonstrated that particular clusters of traits reliably correlate together Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

21 Teorie dei tratti Un esempio: Big Five test Extraversion Agreeableness Openness to experience Conscientiousness Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

22 Al lavoro! Il risultati del test descrivono efficacemente la vostra personalità? Quali potrebbero essere i limiti/difetti di un test di questo tipo? Le cinque dimensioni del modello Big Five vi sembrano esaustive? In che modo vi aspettate che siano correlate alla creatività? Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

23 Studi sui tratti Le persone creative tendono ad essere… (Feist 1999, vari test di personalità): Aperte alle nuove esperienze; Meno convenzionali e meno puntigliose (conscientiousness), Più fiduciose in se stesse e capaci di accettarsi; Più motivate, ambiziose, dominanti, ostili ed impulsive Esempi di collegamenti indiretti tra dimensioni del Big Five e creatività: I figli non primogeniti, di solito più creativi, tendono ad essere più puntigliosi, amichevoli (agreeableness) e aperti alle nuove esperienze. (Sulloway, 1999) L’introversione e l’apertura alle nuove esperienze potrebbero essere associate agli stati di “flusso”, che sono una precondizione per l’esercizio della creatività (Csikszentmihalyi 1996). Secondo (Csikszentmihalyi 1996)., le persone creative sono anche meno amichevoli, se le loro opere non sono accettate, e mancano dell’auto-disciplina (conscientiousness) che porta la maggior parte delle persone a conformarsi. introversion, because flow tends to happen in solitude, and openness to experience, because flow requires a profound receptivity in the present moment. Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

24 Kirton Adaptors and Innovators (1976, 1994): diversi “stili cognitivi” nell’affrontare i problemi. Adaptors: Tendono ad accettare le teorie correnti; Producono idee che si pongono in continuità con le pratiche correnti, migliorandole. Permettono una gestione efficiente e tranquilla di un sistema esistente. Garantiscono il successo di un’organizzazione nel lungo periodo. Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

25 Kirton Innovators: Tendono a ridefinire i problemi, distaccandosi dalle teorie correnti; Superano i vincoli e i prerequisiti generalmente accettati come “dati”; Producono idee per fare le cose in modo diverso dal solito; Garantiscono il successo di un’organizzazione quando è necessario affrontare situazioni impreviste. Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

26 Torrance Sviluppa vari test divenuti “standard” per la misurazione della creatività: Torrance Tests of Creative Thinking: Thinking Creatively with Pictures Thinking Creatively with Words Quattro dimensioni: fluidità, flessibilità, originalità, e approfondimento Avanza dubbi sulla possibilità di una misurazione puramente oggettiva. Raccomanda di declinare i test in base alla cultura d’origine dei soggetti e di considerare anche altri aspetti nella valutazione di un individuo. Thinking Creatively with Pictures (disegno di linee per elaborare una forma singola o completare un’immagine, disegnare immagini diverse usando la stessa forma) Thinking Creatively with Words (produrre domande, ipotizzare usi alternativi –versione rivista del test di Guilford-, fare ipotesi..) Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

27 Torrance Intelligenza e creatività sono la stessa cosa?
Molti studi mostrano una bassa correlazione tra questi due concetti. Per alcuni sono l’effetto degli stessi processi cognitivi ("nothing special”) Torrance: “threshold hypothesis” Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

28 Processo Focus: Creatività come modo di fare le cose. Cosa si studia:
Quali sono i passaggi del processo creativo, per poterli facilitare. Processi cognitivi o comportamentali su cui si basa la creatività (analogia, simulazione…) Come si studia: Esperimenti, studi etnografici di creativi. Teorie e teorici: Psicologia Cognitiva, Wallas, Ghiselin, Osborn, CPS. Wallas 1926 Ghiselin 1952 Osborn 1953 CPS – Creative Problem Solving Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

29 Modello di Wallas (1926) Passi del processo creativo: preparation
(esplorazione del problema e delle sue dimensioni) incubation (il problema è interiorizzato nell’inconscio) (intimation) (si ha la sensazione di essere vicini alla soluzione) illumination (si diventa pienamente consapevoli e coscienti dell’idea) verification (l’idea viene verificata, eleaborata e raffinata coscientemente) Graham Wallas Graham Wallas, in his work Art of Thought, published in 1926, presented one of the first models of the creative process. In the Wallas stage model, creative insights and illuminations may be explained by a process consisting of 5 stages: (i) preparation (preparatory work on a problem that focuses the individual's mind on the problem and explores the problem's dimensions), (ii) incubation (where the problem is internalized into the unconscious mind and nothing appears externally to be happening), (iii) intimation (the creative person gets a 'feeling' that a solution is on its way), (iv) illumination or insight (where the creative idea bursts forth from its preconscious processing into conscious awareness); and (v) verification (where the idea is consciously verified, elaborated, and then applied). In numerous publications, Wallas' model is just treated as four stages, with "intimation" seen as a sub-stage. There has been some empirical research looking at whether, as the concept of "incubation" in Wallas' model implies, a period of interruption or rest from a problem may aid creative problem-solving. Ward[8] lists various hypotheses that have been advanced to explain why incubation may aid creative problem-solving, and notes how some empirical evidence is consistent with the hypothesis that incubation aids creative problem-solving in that it enables "forgetting" of misleading clues. Absence of incubation may lead the problem solver to become fixated on inappropriate strategies of solving the problem.[9] This work disputes the earlier hypothesis that creative solutions to problems arise mysteriously from the unconscious mind while the conscious mind is occupied on other tasks.[10] Wallas considered creativity to be a legacy of the evolutionary process, which allowed humans to quickly adapt to rapidly changing environments. Simonton[11] provides an updated perspective on this view in his book, Origins of genius: Darwinian perspectives on creativity. Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

30 Osborn Inventa il metodo del “Brainstorming”
Scrive “Applied Imagination” (1953) Fonda la Creative Education Foundation (1954) : “CEF is the Centre for Applied Imagination – helping individuals, organizations and communities transform themselves as they confront real-world challenges.” Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

31 CPS (Osborn e Parnes) Mess-finding (Objective Finding) Fact-finding
(Trovare un obiettivo, desiderio, sfida…) Fact-finding (Raccogliere informazioni) Problem-Finding (Identificare/formulare il problema) Idea-finding (Generare idee) Solution finding (Idea evaluation) (valutare le idee, selezionare e migliorare la soluzione) Acceptance-finding (Idea implementation) (Pianificare le azioni necessarie) Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

32 CPS (Osborn e Parnes) Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

33 Al lavoro! Ci sono differenze e punti in comune tra I vari modelli?
Quale modello riflette meglio la vostra idea di “processo creativo” Quale modello è più utile per chi voglia “coltivare” la creatività? Come si potrebbe stimolare la creatività sulla base di questi modelli? Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

34 Prodotto Focus: Creatività come proprietà di un prodotto o un’idea.
Cosa si studia: Caratteristiche e percezione dei prodotti creativi; Come gli utenti interagiscono con i prodotti creativi. Come si studia: Questionari ed esperimenti. Teorie e teorici: Estetica, HCI, Psicologia dei consumatori, O’Quin & Besemer Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

35 Creative Product Semantic Scale
O’Quin & Besemer, 1989. Si basa sull’idea che giudici non esperti possano dare una valutazione “corretta” del livello di creatività di un prodotto, se utilizzano uno strumento validato e affidabile. Valuta nove caratteristiche (facets) afferenti a tre dimensioni (factors) di un prodotto. Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

36 Creative Product Semantic Scale
Novelty Surprise Originality Resolution (usefulness) Logicalness Useful Value Understandability Elaboration/synthesis (style) Organic desig Well-craftednes Elegance Usa 55 item formati da coppie di aggettivi opposti; ciascuno viene valutato usando una scala Likert a 7 punti. NOVELTY: the extent of newness in the product: in terms of the number and extent of new processes, new techniques, new concepts included: in terms of the newness of the product both in and out of field RESOLUTION: how well the product works, functions, does what it is supposed to do The degree to which the product fits or meets the needs of the problematic situation STYLE: The degree to which the product combines unlike elements into a refined, developed, coherent whole, statement or unit. Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

37 Creative Product Semantic Scale
NoveltyIt's clear that the scores for the rock shaped soap were significantly higher on both Novelty facets, Surprising and Original. Mean scores ranged from 4.35 to 4.71 for the flower soap to  average scores of 5.2 and nearly 6 (5.96) for the rock soap on the facet of Original.  These are extremely high average scores, since the range of the instrument is 1-7.   We can say that participants found the rock shaped soap to be substantially more original and surprising than the soap with the flower.  These scores reflect the surprise that participants experienced when they realized that the rock shaped object was actually soap, and not a mineral fragment. ResolutionBoth products scored well on the Resolution facets, and they were relatively close together.  There are no statistically significant differences on the facets of Logical, Useful or Valuable, but statistically significant differences were seen between the mean scores for Understandable.  Participants expressed, through their scores, that they found the flower soap to be more understandable than the rock soap.  The statistics confirm our own intuitions, and they are related to the Novelty judgment of Surprise seen above.  Mean scores on the Resolution facets ranged from a low (for Valuable) of 3.80 (for the flower soap) to a high of 5.30 (for Useful for the rock soap).  It is interesting to note that the rock soap was perceived to be slightly more useful than the flower soap.  StyleHere is where we see high scores across the board.  Since these are fancy designer soaps, it is not surprising that consumer-judges found their presentation values to be high.  On all three facets of Style, scores were 5 or above. Judges' mean scores suggest that participants found the rock soap (5.54) more Well-Crafted than the flower soap (5.17), but mean scores for the Organic qualities of the flower soap (5.47) were slightly higher than the mean scores for the rock soap (5.23).  This was not a statistically significant difference.  Likewise, mean scores for Elegant were just slightly higher for the flower soap (5.48) than for the rock soap (5.43). Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

38 Fattori esterni (Press)
Focus: Creatività come proprietà di: clima, ambienti, organizzazioni, società, gruppi… What is studied: Caratteristiche delle organizzazioni creative, aree in cui si esplica la creatività. How: Questionari e dati storici. Theory = Ekvall Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

39 Creare un clima creativo (Ekval)
Motivazione Sfida Divertimento Possibilità di essere creativi Libertà Tempo Supporto Creating a Creative Climate Creativity does not happen in an intellectual vacuum nor in the emotional icebergs that many companies fashion for themselves. Research around creative culture and general climate has led to the identification of key areas on which companies can focus to develop an effective climate in which people are not only creative, but where they are motivated to develop these ideas into value-adding contributions to the success of the whole organization. If a company wants to become more creative, rather than just encouraging people or teaching tools, then perhaps the best way is to develop the organizational climate. Rather than telling the plants to grow, this is about tending to the soil in which they can become what they are capable of becoming. Motivation To do anything, people must feel motivated, an internal need to act. The climate of the organization thus must provide the cues and forces that lead people into the deep motivation that is required to push through from idea to end product. Challenge People feel challenged, that there is a basic drive to extend their personal boundaries, develop latent talents and explore new possibilities. People who feel challenged emotionally engage in their work. It becomes a part of them, not just something they do. They feel the need to get out there and act, not just to sit back and dream or mope. Organizations can challenge people by linking a deep understanding of individual talents, potential and motivation with the strategic intent of the company. MBO (Management By Objectives) got itself a bad name in the 1980s, mostly because it was done badly. Done well, it means telling people what is wanted (the Objectives) and then letting them do it in any way they see fit. The trick also is in giving high-enough level of objectives that people feel excited and challenged, not constrained and directed. Fun Having fun is not always realized as being a productive state. Yet look at little children. Their 'fun' is almost all learning and discovery. We get this beaten out of at an early stage in school, where learning is supposed to be serious. A climate where a certain (child-like, but not childish) playfulness is in the air lets people try things out without knowing what will happen. Another important characteristic of a fun-loving culture is humour. You can see such climates simply through the smiles that people almost always seem to wear on their faces as they tease and joke with one another. Jokes are about unexpected things, as are creative ideas. Making jokes is, in itself, a very creative activity, and develops the 'creative muscle' needed to constantly innovate. Empowerment Once people are motivated to be creative, they need the environment in which they can be creative. Freedom People empowered to act in ways that are not tightly constrained by narrow job descriptions and management oversight. They have the personal freedom of choice and resource that gives them true authority to achieve the challenge they have been given. Empowerment has been slated and abused, for example where the power is retained by managers whilst individuals are asked to achieve things without the power to act. Done well, however, it truly delegates power and the freedom to choose what to do and how to do it within a significant part of people's jobs. Time Discovering and developing ideas takes time. They need to incubate in your subconscious for a while, like hatching an egg or a dastardly plan. When people are tightly constrained, working a full nine-to-five (or more) job, then they will not have the ability to go beyond basic ideas, which in their base state are usually not valuable, but would be with a certain amount of developmental effort. When people have a certain amount of unallocated time in their timetables, then if they feel challenged and feel freedom to act, then they will use that time productively to develop those ideas. Some companies deliberately leave a proportion of time, even up to 10% or more (and particularly in some parts of the organization) in which ideas may be developed. Support When I have spent time and freedom in working to achieve the challenges I have found, then I will at some time reach the stage when I need further help, for example to allocate additional resources for development or in presenting the idea to people who may not be that ready to change their entrenched viewpoint. In these situations, the person developing the idea needs the gravitas, the authority, the wider capability of more senior managers. In fact the more valuable the idea, the more support it is likely to need, as it may lead to entire changes in direction for the whole company. Dynamism Alongside a motivated and empowered organization, a harder edge is needed that drives forward towards towards success. Energy Getting an idea from first notion to final product can be a long and arduous process. This requires a dynamic environment in which people are energized and constantly pushing forward. You can walk into many workplaces and feel the lack of energy and enthusiasm, whilst others have a definite, almost palpable buzz about them. Buzz and energy comes from the leaders of the organization. This includes the formal management and informal social leaders. People look to these leaders for cues in how they behave. If the leader is full of energy and enthusiasm, then this emotion will 'infect' others and the motivation will spread through the organization. Conflict Ideas in action almost always bump into other ideas as well as natural conservatism that seeks to preserve the status quo. People attach themselves to idealistic positions and will act to defend them, sometimes by pre-emptively attacking what they see as threats. A climate where conflict is allowed, enables these felt challenges to be voiced and for people to argue their cases. In a creatively supporting climate, the conflict is mostly about the problems of the organization and the viability of ideas, and is most certainly not about personalities and the value of different characters. When conflict turns to personal attack, then ideas and their value go out of the window. Creating healthy conflict requires both an openness to challenge and then a focus on the problem, not the people. A respect for the individual thus is a fundamental element of creative cultures. Debate Conflict and debate are very close, and again the basic concern is to focus first on the idea. In debate, the pros and cons of ideas are discussed openly and challenges are welcomed and analyzed to see what additional benefits they may bring. Debates can also go on across boundaries of time and space, and thinking about an idea can engage an entire company. Openness Experimentation It is one thing to think up a idea, it is another to put it into practice. Ideas that are not explored and experimented with will either never see the light of day or may well fail on their first outing. An experimenting culture has a strong bias for action in trying things out. It does not expect things to work first time but it does expect to learn through careful trials and subsequent analysis. Experimental companies often extend this culture out into the marketplace. They do many trials with customers. They release many different products to see what sells and what does not. Trust Trust is the bedrock of human interaction. If I do not trust others then I will not believe them and will put a lot of my effort into protecting myself from their potential attacks or callous lack of concern. In the development of ideas, trust is needed on both sides of the house. The person with the idea must feel they can speak their minds without fear of criticism or punishment. The person on the other side also needs to trust that the person with the idea has the company's best interests at heart and will not abandon their other work in the sole pursuit of a very shaky idea. Trust thus has to develop across the organization. It is a fragile thing, that when lost through betrayal of trust is not easily restored, and thus needs very careful management. Risk Offering ideas and trying out experiments requires the ability and motivation to take risks. Individuals and the entire company need to be able to stick their necks out and 'give it a go'. Personal risk is thus reduced so people can be open and experimental. Rather than blind risks, successful cultures manage these in a way that takes a realistic view of the real exposure of the company. Big risks are mitigated carefully. Small risks are recognized as such and may more easily done as 'blinders' to see what happens. Risk and potential reward are thus balanced and managed carefully as a single unit. See also Ekvall, G. (1971), Creativity at the work place, Stockholm: Swedish Council for Personnel Administration Ekvall, G. (1987), The climate metaphor in organizational theory, in: Bass, B.M. and Drenth, P.J.D. (eds), Advances in organizational psychology, , Beverly Hills: Sage Publications Ekvall, G. (1999), Creative climate, In Encyclopedia of creativity, Vol. 1 A - H, Runco, M.A and Pritzker, S. R. (eds.), San Diego: Academic Press Place of Publication Isaksen, S.G., Dorval, K.B., & Treffinger, D.J. (2000). Creative Approaches to Problem Solving: A Framework for Change. Buffalo, New York: Creative Problem Solving - Group Buffalo Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

40 Creare un clima creativo (Ekvall)
Dinamismo Energia Conflitto Dibattito Apertura Sperimentazione Fiducia Rischio Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

41 Al lavoro! L’ambiente in cui studiate/lavorate (organizzazione o gruppo più ristretto) si può considerare “creativo”? Come valutate il vostro ambiente rispetto al modello di Ekvall? Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010

42 Acknowledgment Questa presentazione è parzialmente basata su:
Bo T. Christensen, Creativity paradigms – an introduction to psychological theories of creativity, DESIRE summer school, Gargnano, Italy, September 2009 Laboratorio di Interazione Uomo-Macchina -- a.a. 2009/2010