CraC! Creativity and Communication Course Guide - Unitec COMM5533

CraC!
CREATIVITY AND
COMMUNICATION
COMM 5533 Course Guide
Department of Communication Studies
Te Tari Whitiwhiti Koorero
Unitec Institute of Technology
Peter J MELLALIEU
Spring 2009 Version 0.75
!
UNITEC DEPARTMENT OF COMMUNICATION STUDIES
Te Tari Whitiwhiti Koorero
CraC! Creativity and Communication: COMM 5533 Course Guide

Peter J MELLALIEU, Spring 2009
For further information about the Unitec Department of Communication

Studies contact: Dr. Sara Donaghey, Programme Director, Undergraduate
Programmes, Department of Communication Studies, Unitec New Zealand
Private Bag 92025, Mt Albert, AUCKLAND, Ph: +64-9-815 4321 ext 8281
sdonaghey@unitec.ac.nz
www.communication.unitec.ac.nz
Version 0.75 (Prototype) 1 September 2009
This edition of the course outline was developed by Peter Mellalieu, building
on earlier editions produced by Mary Kingsbury and Glenda Jacobs.
Design: Apple iWork by MyndSurfers. Layout informed by Stibic (1980) and

McAlpine (1997)
Cover page: One of Edison’s balls. Photo: Peter Mellalieu, 2005.

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Contents
0. Course descriptor!.................................................................. 1
01 - Introduction ............................................................... 1
02 - Apposite questions ......................................................1
1. Aims and learning outcomes ...............................................

! 2
11 -Course aims ................................................................ 2
12 - Learning outcomes......................................................2
13 - Programme aims........................................................ 2
2. Course facilitator!................................................................... 3
3. Course topics!.........................................................................5
31 - Introducing creativity.................................................. 5
32 - Developing creativity in individuals ................................5
33 - Leading creativity in groups, teams, and organisations .... 5
34 - Creativity in communication practice............................. 5
4. Course architecture and overview of assignments!........... 6

41 - Creative communication campaign ................................ 6
42 - Individual investigation................................................8
44 - My teaching philosophy..............................................10
45 - A creative touch ....................................................... 10
5. A creative pause: the mountaineers!.................................. 12
6. Defining creative thinking: an introduction!...................... 13

61 - Lateral thinking.........................................................13
62 - Create..................................................................... 13
63 - Creative...................................................................13
64 - Creativity................................................................. 13
65 - Exercises ................................................................. 14
66 - Illustrating creative process ....................................... 14
7. Text and literature!................................................................18

71 - Core text: serious creativity....................................... 18
72 - Reference readings ................................................... 19
73 - Exercise...................................................................20
74 - Academic skills ......................................................... 20
8. Learning schedule!............................................................... 21
9. A logical pause: the fire station!......................................... 22
10. Conducting assignments .................................................

! 23
101 - Your personal journal and blog.................................. 23
102 - House style: Document presentation.......................... 23
103 - Submitting assignments ........................................... 24
104 - Exercise: Global English ........................................... 25
105 - Backup! Backup!! Backup!!! ............................................. 25
11. Assessment policy and practice!...................................... 26

111 - Non-completion ...................................................... 26
112 - Extensions and late deliveries ................................... 26
12. Literature!............................................................................ 27
ANNEX A: Assignment 1 - Personal creativity journal!......... 30

A11 - Length ...................................................................30
A12 - Why keep a professional reflective journal?................ 31
A13 - Investigation process .............................................. 33
A14 - Reflective learning................................................... 34
A15 - Summary of key insights and theory.......................... 35
A16 - The ‘learning log’: capturing data for your reflective
journal........................................................................... 35
A17 - Writing style: a note................................................ 35
A18 - Audience................................................................ 35
A19 - Literature............................................................... 36
ANNEX B: Assignment 2 - Creative communication

campaign!.................................................................................. 39
B11 - Two elements ......................................................... 39
B12 - Assignment Dimensions ........................................... 39
B13 - Timing schedule...................................................... 40
B14 - A suggested ‘plan of attack’...................................... 40
B15 - A note on harvesting, treatment, and reflection .......... 41
B16 - On presentation and writing quality........................... 41
B17 - Literature............................................................... 41
ANNEX C: Assignment 3 - Individual investigation!.............. 44

2
C11 - Length...................................................................45
C12 - Language............................................................... 45
C13 - Assessment and grading.......................................... 45
C14 - Haswell’s ‘Minimal marking’...................................... 45
C15 - Interactive peer review............................................ 46
C16 - Project management and research assistance............. 46
C17 - Literature............................................................... 49
3
0. Course descriptor
Course: COMM5533 Creativity and Communication
Level: 5
Credits: 15
Table 0.1 Learning time (hours per week)
Studio Self- Total Weeks Total hours

Directed weekly
3 7 10 15 150
01 - Introduction
Creative and divergent thought has always been both a prerequisite for and a
consequence of progress and change. Yet only in the latter half of the last
century has the worth of such thinking been recognised, its processes
explored, and its uses incorporated into both academic and business contexts.
Senior executives worldwide are identifying the contribution to competitive

advantage of harnessing the creative intelligence of employees at all
organisational levels. Accordingly, this course both introduces you to the
theory of creative thinking, and gives you practice in a range of different
thinking techniques and approaches culminating in your delivery of a creative
communication campaign.
02 - Apposite questions
In essence, this course is designed to help you address these questions:
How do we identify and create novel and appropriate solutions to

pressing personal, organisational, and community issues?
How do we overcome barriers to creativity within the teams and
organisations with whom we collaborate?
How do we communicate the results of our creativity so that appropriate
behaviour change is implemented succesfully?
However, before proceeding further, let’s commence with a root definition for
creativity that I found today in my Apple online dictionary: “the use of the
imagination or original ideas, esp. in the production of an artistic work.”
We will expand, clarify, and enrich our conception of creativity and related
terms as our learning adventure proceeds.
1
1 Contents COMM 5533/Guide
1. Aims and learning outcomes
11 -Course aims
To enable students to understand the contributions of creativity to professional
communication roles. It equips students with a range of techniques for
collaborative teamwork, problem solving and communicating novel ideas, while
exploring how to prepare creative messages for various media.
(For my preferred approach to communicating these aims, see Section 107)
12 - Learning outcomes
On successful completion of this course, you are expected to demonstrate your
competency to:
Define creativity against a background of theory, and examine its

importance to both personal and professional growth
Analyse and compare theories of creative and lateral thinking
Examine the communication processes required to implement
creative and lateral thinking theory
Explore the role of collaboration in generating creative solutions
Assess the role of organisational culture in fostering creativity
Compare, analyse, and develop creativity in different types of
communication campaigns
13 - Programme aims
Within the context of the Bachelor of Communication, you are expected to
demonstrate your competency to conduct processes that:
Require a wide range of specialised technical or scholastic skills

Involve a wide choice of standard and non-standard procedures
Are employed in a variety of routine and non-routine contexts …
... employing
A broad knowledge base with substantial depth in some areas

Analytical interpretation of a wide range of data
The determination of appropriate methods and procedures in response
to a range of concrete problems with some theoretical elements …
... and applied in self-directed and sometimes directed activity
Within broad general guidelines or functions

With full responsibility for the nature, quantity, and quality of
outcomes
With possible responsibility for the achievement of group outcomes.
2
2. Course facilitator
Peter J. MELLALIEU, DipIwiEnvMgt, PhD, MPubPol, BTech(hons)
Dr Mellalieu is Associate Professor with current interests in eco-sustainable

enterprise development at Unitec Institute of technology, Auckland, New
Zealand.
He was recruited to Unitec in July 2000 as the foundation programme

director for a pioneering executive enterprise development programme, the
Master of Business Innovation and Entrepreneurship, (MBIE).
Since 2003, he began supervising the first crop of MBIE research partners
(students), and re-developing courses including: Lateral and Creative
Thinking; Leading Creative Teams; Strategic and Critical Thinking for
Managers; Foundations of Innovation and Entrepreneurship; and co-
facilitating several other courses in the MBIE programme and undergraduate
programmes.
Since joining Unitec, he has visited several entrepreneurship development

programmes including Babson College (Massachusetts), London Business
School, Cambridge University, and the Rennes International School of
Business (France). In 2005, as international visiting professor, he undertook
capacity building programmes for academics and trainers in entrepreneurship
development whilst based at the University of Botswana, southern Africa, and
teaching at Florida Gulf Coast University.
Peter has presented at international conferences in the areas of

entrepreneurial learning, enterprise development, action-adventure learning,
3
strategic thinking, strategic audit, and decision support systems. In 2000, he
hosted the internationally renowned researcher on posi+ive psychology and
‘flow’, Mihaly Csikszentmihalyi, at the Breakthroughs International
Conference on Thinking. Peter was Chef de Mission for the New Zealand
representative team competing in the Students in Free Enterprise (SIFE)
World Championships, Amsterdam, September 2002 following Unitec’s’s
team winning the first New Zealand SIFE competition in August 2002.
Figure 2.2 Man on the moon, Florida (2005)
He has worked with or consulted for organisations such as Enza Technical

Services, the Square Edge Creative Centre, Massey University, DSIR Physics &
Engineering and Applied Biochemistry Laboratories (Now IRL Limited), the
NZ Ministries of Agriculture, Health, Justice, Trade and Industry, Tasman
Vaccines, New Zealand Cooperative Dairy Company (now Fonterra), ICI
Plastics (UK), a CAD/CAM systems designer, (Belgium), and the Employers
and Manufacturers Association.
The current focus of his new teaching roles include re-creating the
Communication and Creativity course, and developing new courses in
Managing Risk and Crisis, and Enterprise and Strategic Thinking. He is also
engaged in a project to develop an ‘interactive marketing strategy’ for Unitec’s
business and organisations studies academic departments.
His earlier research interests lay in drawing lessons from case studies of high
ambition/high technology entrepreneurial ventures, and exploiting the
concept of the ‘heroic journey’ narrative as a basis for preparing creative
teams for successful new venture leadership.
4
3. Course topics
31 - Introducing creativity
Defining creativity
Role of creativity in organisations, enterprise, innovation, and society
Comparing creative, lateral, persuasive, and logical thinking
Problem solving and problem identification
Creative communication
Why creative thinking has been undervalued and feared
Communication within the creative process
32 - Developing creativity in individuals

Models of creativity
How theorists have defined and studied creativity
How creativity develops in individuals;
The nature of the creative process
How creativity can be induced
Techniques for stimulating creativity
33 - Leading creativity in groups, teams, and

organisations
Collaborative team creativity and productivity
Team leadership
Team followership
Managing creatives ... ‘herding cats’
Barriers and drivers of creativity in groups, teams, and organisations
34 - Creativity in communication practice

Applicability of creativity techniques to effective communication
especially: writing, speaking, problem identification, problem solving,
and mediation;
Types of professional communication: media, genre
Role of creativity in creating and delivering communication
Creative solutions to difficult and novel problems in organisations.
Creative communication campaign
5
4. Course architecture and
overview of assignments
The Course Architecture (Figure 4.1) illustrates how you will work
concurrently on three assessment projects during the course. Figures 4.2 and
4.3 show the schedule of assignments and grade weightings.
Figure 4.1: Course architecture showing key work components
Source: Author
41 - Creative communication campaign

The Creative Communication Campaign is both the core, and the final,
capstone assignment for the course. Accordingly, your team must demonstrate
its achievement of the learning outcomes of the course through:
Using creativity-enhancing processes …. to …

Identify an important public or organisational issue susceptible to the
benefits of applying systematic creative thinking …. through ...
Generating some ‘magic’, ‘potent’ or ‘fertile’ creative solutions to the
issue (using systematic creativity processes) ... finally ...
Devising a creative communication approach to persuading key
stakeholders to adjust their behaviour to commit to adopting the more
radical and valuable aspects of the most potent creative solutions.
6
Figure 4.2 Assignment deadlines, grade weightings, and workload
allocation
Assignment Week Due % Out of Workload
(hours)
1 Personal
creativity journal
1a Blogs - Week 1-5 Week 5 5 100 7.5
17 Aug
1b Blogs - Week 6-11 Week 12 5 100 7.5
19 Oct
1c Reflective essay Week 14 15 100 10
2 Nov
2 Creative
communication
campaign
2a Exhibition Week 11 30 100 20
12 Oct
2b Final artifact Week 13 20 100 15
26 Oct
3 Individual
investigation
3a Interactive Peer Week 10 7.5 100 10

review
21 Sept
3b Artifact Week 11 17.5 100 10
12 Oct
Studio attendance 40
Personal study 30
Team maintenance
Risk contingencies
Total: 100 150

Note: The Exhibition and Interactive Peer Review are due for presentation
during studio meeting times in the week due. All other items are due for
submission on the Friday in the week due, at 1700 h.
7
In other words, your team must demonstrate both a creative output and a
creative process.
The Creative Communication Campaign includes two components:
An Interactive exhibition - such as a training session, dramatic

performance or formal presentation. The exhibition includes a
presentation of the draft Final Artifact.
Final artifact. The artifact may be a simple print report through to a
multi-media, hyper-media, web-site, computer game, or conference
poster .... The team’s final artifact will be enhanced and informed by
feedback from the audience and judges at the team’s exhibition.
For further details, see ANNEX B.
42 - Individual investigation
Use the individual investigation to explore deeply a topic that develops your
personal interest and engagement with the domain of creativity in
communication.
Typically, your individual investigation will be framed in the genre of a

scholarly debate or persuasive argument around a succinct topic. For instance:
“Substantial personal creativity depends on natural talent. It cannot be
developed in the inherently uncreative personality”, or “Argument, truth, and
logic will remain at the core of our thinking in culture, education, and in the
operations of our society ... to humanity’s detriment.” (based on de Bono,
2009, p. 5)
The typical genre for presenting the artifact resulting from your individual
investigation is an investigative persuasive essay. However, you are, or
course, invited to explore alternative genre.
An alternative option for this assignment is to use your individual

investigation to provide supplementary research in support of the Creative
Communication Campaigns conducted by a class team. In other words, you
act as a research consultant to another team.
As with the Creative Communication Campaign, you have a choice of media

from which to select the means through which you realise your artifact.
You will have a brief opportunity to orchestrate an interactive peer review

- with a selection of course learning partners to gain constructive peer critique
of your investigation prior to submission of your final individual artifact.
You will publish your artifact to the course Knowledge Base so that current
and future course learning partners will be able to enjoy the fruits of your
investigation.
For further details, see ANNEX C.
8
43 - Personal creativity journal
In view of the experimental - and pioneering - aspects of our work during this
course mistakes will happen. Mistakes are opportunities to learn for both your
benefit - and the benefit of others. As the theoretical physicist Albert Einstein
remarked: “Anyone can learn from his own mistakes. It takes genius to learn
from the mistakes of others.”
Accordingly, you will record a personal creativity journal of your learning

adventure over the 15 weeks of the course.
In this emerging world of Web 2.0, I expect you to record your journal as a
blog. You choose the extent to which you publish your blog as private, public
to the class, or public to the world.
Your personal journal (blog) documents your creative process. The blog will
record a ‘blow by blow’ diary of the your creative attempts, misadventures,
and ultimate success, recorded….
At least weekly, if not daily, and/or by key event …

In the format of a diary, blog (public or private), or Facebook …
The final entry in the blog is a more substantial reflective essay that re-
examines the entirety of your journey.
Your reflective essay will…
Summarise the key activities, and insights gained from your journey
Inform your future career progression
Advise future CraC! learning partners of the trials, tribulations, joys, and
secrets of success of the course
Inform the course facilitator of suggestions for enhancing the
effectiveness of the learning environment for future participants.
Include specific sections regarding your final individual and team
artifacts - these will be published with your artifacts.
For further details, see ANNEX A.
9
Figure 4.3: Course architecture showing assignment weights
44 - My teaching philosophy
My teaching philosophy embraces the notion that “I reward excellence, I
reward outrageous failure ... but I do not reward mediocrity”. In other words,
if you make a mistake in your quest for excellence you have the
OPPORTUNITY to earn some marks through reflecting on the experience in
your blog. For instance, what went wrong? What did I intend? Why did things
go wrong? How could I (or others) avoid a repeat in future situations such as I
experienced? If I had more resources, or more time, what would I have liked
to achieved? What grade do I expect to get for this assignment? ... why?
45 - A creative touch
Although the individual investigation is a solo assignment project, I po-pose
that each learning partner will have a fixed ‘budget’ that they spend within the
class purchasing expertise and advice from other members of the class. The
‘budget’ will be a currency that converts directly to extra grades for those that
receive payment for their advice. This ‘creative process’ is intended to promote
collaboration within the class, whilst laying the responsibility for the artifact’s
creation and project management on each individual student.
10
Figure 4.4 Failure is not an option!
Source: Peter Mellalieu, Kennedy Space Centre, FL (2005)
Je recompense l’excellence;
Je recompense l’echec attroce
Mais je ne recompense pas le
mediocricite.
Mellalieu, 1997
11
5. A creative pause: the
mountaineers
Let’s break from the intensity of the course introduction, overview, and the
alarming complexity and novelty of the assignments. Sharpen up your lateral
thinking with this exercise that we will discuss in our first class. As practice for
starting your blog, notice and record your ideas, activities, and feelings as you
attempt this puzzle.
Source: The Mensa book of thinking (T.B.C.)
12
6. Defining creative thinking: an
introduction
I promised further elaboration on the term ‘creativity’ and related terms. Let’s
start here.
61 - Lateral thinking
Way of solving problems by employing unorthodox means.
Collins concise dictionary and thesaurus, (1991)
62 - Create
To bring into being (2) To give rise to (3) to make.
Synonyms
1. beget, bring into existence, coin, compose, concoct, design, develop,
dream up, form, formulate, generate, give birth to, give life to, hatch,
initiate, invent, make, originate, produce, spawn,
2. appoint, constitute, establish, found, install, invest, make, set up
3. bring about, cause, lead to, occasion.
Collins concise dictionary and thesaurus, (1991)
63 - Creative
“Creative is a term of praise much affected … it is presumably intended to
mean original, or something like that, but is preferred because it is more
vague and less usual. It has been aptly called a ‘luscious, round, meaningless
word’, and said to be ‘so much in honour that it is the clinching term of
approval from the schoolroom to the advertiser’s studio.”
H. W. Fowler, A dictionary of modern English usage, quoted in Thorne (1992,

p. 123)
64 - Creativity
“The mysterious process by which men and women come up with new ideas
and new things… resulting from the interaction of a system composed of three
elements: a culture that contains symbolic rules, a person who brings novelty
into the symbolic domain, and a field of experts who recognize and validate
the innovation.”
Mihalyi Csikszentmihalyi, posi+ive psychologist, discoverer of ‘flow’ in human

pursuits, and author of: Creativity: flow and the psychology of discovery and
invention (1996)
13
65 - Exercises
Wikipedia gives an excellent overview, comparing and contrasting terms such
as innovation and invention. Read Wikipedia’s definition, overview. Follow up
ONE of the reference links at the end of the wiki article. Bring your summary
of one article to class.
Learn to spell and pronounce Mike Chicks-send-me-high!
66 - Illustrating creative process

As far back as 1926, Wallas identified four stages of the creative process.
According to Thorne, many people have looked at the stages again without a
great deal of improvement. Figure 6.1 is my ‘improvement’, based on Thorne’s
notes (pp. 132 – 140). You might question the use of the modifier ‘optimal’ – I
could not possibly comment!
Figure 6.2 charts de Bono's overall approach to orchestrating creative

processes in an organisation. techniques of lateral thinking. The techniques
are arranged in a sequential structured manner, as you might use them in
organizing a 'creative problem solving' task. The overall sequence reads from
top to bottom, then left to right.
The overview chart, Figure 7.2 introduces the structure as a sequence of

stages. A more detailed chart is also available.
Use Figure 7.2 process guide as a checklist to organise your Creative

Communication Campaign assignment.
14
It is almost a miracle that
modern teaching methods
have not yet entirely
strangled the holy curiosity
of inquiry;
for what this delicate little
plant needs more than
anything, besides
stimulation, is freedom.
Albert Einstein
15
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17
7. Text and literature
Figure 7.1 Edward de Bono wants you!
Source: http://www.debonosociety.com/ accessed 16 July 2009 8:45 PM:
71 - Core text: serious creativity

De Bono, Edward (1994) Serious Creativity. London: HarperCollins.
The works of De Bono will be used extensively on this course and it is

imperative that you have your own personal copy. An overview of the
structure of de Bono’s text is presented in Section 6.
You can purchase the de Bono book from the Unitec Bookstore.
Your investigations will compare and contrast the approach of de Bono to

developing creativity with those of other scholars and practitioners.
Consequently, your reading WILL extend beyond this dated (but still valuable)
de Bono text.
Accordingly, you will be expected to use the internet and library facilities to
research the topic and update the text as widely as possible.
A place to start is the website in support of de Bono’s many writings and

thoughts: http://www.debonosociety.com/
18
Additional readings will emerge via the course porthole - Blackboard (and
eventually Moodle)... your own Personal Investigation assignment ... and the
assignments of your learning partners.
72 - Reference readings
The following is a list of classic, well-cited texts in the field of creativity studies
Further suggested texts for this course will be contributed to the Zotero
bibliographic database (“group”) established for this course.
Visit:
http://www.zotero.org/groups/creativity_in_communication_crac_unitec_nz
Classic texts
Adams, J (2001) Conceptual blockbusting (4th ed.) US Perseus
Amabile, T (1996) The motivation to be creative (article)
Clutterbuck, D (1999) Doing it different: lessons for the imaginative manager

London: Orion
Csikszentmihalyi, M (1996) Creativity: flow and the psychology of discovery

and invention USA: HarperCollins
Csikszentmihalyi, M (1997) The evolving self USA: HarperPerennial
Ealy, CD (1995) The woman's book of creativity Hillsboro
Finke, T Ward, T & Smith S (1992) Creative cognition MIT: Bradford
Finke, T, T Ward &S Smith (1995) Creativity and the mind: discovering the
genius within. NY Plenum Press
Fritz, R (1994) Creating, Oxford: Butterworth Heinemann
Hermann, N (1994) The creative brain USA. Hermann
Hewitt-Gleeson, M (1997) Software for the brain (2nd ed.) North Brighton:
Wrightbooks
Kao, J. (1996) Jamming: the art and discipline of business creativity. USA.
Harper Collins
Michalko, M (1998) Cracking creativity: the secrets of creative genius

Berkley: Ten Speed Press
Perkins, D. (2001) The eureka effect. NY. London. WW Norton.
Rickards, T (1999) Creativity and the management of change, Malden, USA:

Blackwell
Senge, P (1999) The dance of change: The challenges of sustaining

momentum in organizations London: Nicholas Brealey
19
Thorne, P (1992) Organizing genius: the pursuit of corporate creativity and
innovation, Oxford: Blackwell
Von Oech, R (1998) A whack on the side of the head London: Thorsons
73 - Exercise
A productive place to start your search for more recent and contemporary
references is to conduct a citation search on the following authors. Who has
cited these books? What have subsequent writers reported? What more recent
publications have these authors produced? A librarian can assist you learn the
skills to commence a citation search, and evaluate the results you find.
Complete the bibliographic citation for Amabile 1996. What area of interests
does Teresa Amabile now pursue?
74 - Academic skills
You will find the following text very helpful in conducting your assignments:
Turner, K., Ireland, L., Krenus, B., & Pointon, L. (2008). Essential Academic
Skills. Oxford, UK: Oxford University Press. Retrieved July 16, 2009,
from http://openlibrary.org/b/OL10135765M/Essential-Academic-
Skills.
Note the following chapters in particular:
Reflective writing - for your personal blog and journal

Collaborative learning and working in groups - your creative
communication campaign
Presentations - your team exhibition presentation
Small-scale exploratory research projects - your personal investigation
Writing up research
If you do not expect

the unexpected, you
will not find it.
Heraclitus, 535? – 475 BC, Greek philosopher
20
8. Learning schedule
See Section 3 for detail of topics to be covered in each phase
Date
Week Topics Notes
Week
start
1 20-Jul Introducing creativity Section 31
2 27-Jul
3 3-Aug Developing creativity in individuals Section 32
4 10-Aug Field trip/class visit
5 17-Aug ASSIGNMENT 1a due
6 24-Aug Leading creativity in groups,

Section 33
teams, and organisations
7 31-Aug
8 7-Sep Field trip/class visit
9 14-Sep Creativity in communication

Section 34
practice
10 21-Sep Assignment 3a due
28-Sep BREAK FOR STUDY
5-Oct BREAK FOR STUDY
11 12-Oct ASSIGNMENT 3b due
Exhibitions-Part I ASSIGNMENT 2a
12 19-Oct ASSIGNMENT 1b due
Exhibitions-Part II ASSIGNMENT 2a
13 26-Oct LABOUR DAY (Mon 26)
ASSIGNMENT 2b DUE
14 2-Nov STUDY WEEK
ASSIGNMENT 1c DUE
15 9-Nov Exam week 1
16 16-Nov Exam week 2
21
9. A logical pause: the fire station
Attempt the puzzle below - you do not need a computer!
Contrast your approach to solving this problem with the Mountaineers’

problem presented earlier. Are you more confident about your answer? Why?
Source: The Mensa book of thinking (T.B.C.)
22
10. Conducting assignments
There is much to cover in this course. However, if you work steadily and keep
up with the reading schedule the course will be challenging, ideally ‘flowful’,
but not permanently stressful and straining. Note: If you do suffer the latter ...
tell us in your personal journal, and let your team and me know EARLY in the
course of events!
Much of the work involves practical application of and experimentation with

thinking tools and techniques. Accordingly, active participation and
involvement will pay you dividends in the long run!
Assignments are spread throughout the course to give you plenty of time to
research, read, reflect, write ... and gain peer feedback . You should develop
assignment preparation schedules early. Please feel free to discuss them with
your team and me to ensure they are practical and realistic.
Above all, start planning your work schedule early ... and log the key dates into
your iPhone, PDA, fridge ... or whatever! :)
101 - Your personal journal and blog

Start your blog now. What is your reaction to what you have read so far:
Excitement? Anxiety? Alarm?
I use iWeb, Facebook, Blogger, and tumblr to journal my life. For this course, I
am experimenting with tumblr, a very easy-to-learn blog facility with a
minimalist visual interface.
Visit: http://petermellalieu.tumblr.com
102 - House style: Document presentation

Assignments require a high standard of content and creatively professional
presentation.
In written assignments, there is a specific mark allocation for accuracy of

English, presentation, organisation of ideas. If your ambitions are for an A
grade or better, employ or improve upon the course House Style illustrated in
this document, based on Global English (McAlpine).
Citations and references

You are expected to demonstrate your use of a bibliographic citation tool such
as Zotero or Endnote.
You will be provided facilities in Zotero to share useful citations with your
learning community. Try searching for the Zotero group “Unitec crac”.
Or visit:
http://www.zotero.org/groups/creativity_in_communication_crac_unitec_nz
23
103 - Submitting assignments
Due date and time
The due date for the submission of artifacts is 1700 h on the Friday in the
week the assignment is due, as specified in Figure 4.2 - Assignment Deadlines.
Digital submission
You must submit your assignment via the Blackboard Digital DropBox.
Ideally, submit your document as ONE .pdf artifact.
Alternatively, you can submit your document as a web page, Google doc, etc.
However, you must submit the cover page and the link to your document site
onto the Blackboard Digital Drop Box. Assume you are sending your prized
document to a busy executive who will spend no more than 15 seconds looking
for your document amongst the sixty other he must deal with!!
To check for accidental incidents of plagiarism (by you or others), you must
also submit your assignments to Turnitin.com.
You will be provided with the opportunity to submit ONE draft assignment to
Turnitin.com, and ONE opportunity to submit your final document. The draft
submission will enable you to check your article for accidental un-referenced
quotes, for example.
Hard copy
Submit your hard copy completed assignment in class, or in the designated
assignment box for the Department of Communication Studies. You may be
required to submit a CD of your assignment.
Cover sheet
Ensure that each assignment (hard and soft copies) has a simple cover sheet
that identifies:
The assignment number, and type

Your assignment title (your choice, to reflect the issues or authors
chosen)
Your name (in the format: Personal name, FAMILY NAME)
Your student ID.
Your Course Facilitator’s name – Dr Peter MELLALIEU
The course number and title, and
The Department of Communication Studies.
Due date
Date of submission
Bind professionally your hard copy assignment or place it in a plastic
cover.
Help me, please: UNDERLINE and CAPITALISE your FAMILY NAME as in
the example of the Course Facilitator’s name.
24
104 - Exercise: Global English
Here is an alternative approach to expressing the Course Aims.
Which do you prefer?
Why?
If you prefer the latter, please direct your preference and reasons to the
Programme Director.
Original
1. To enable students to understand the contributions of creativity to
professional communication roles. It equips students with a range of
techniques for collaborative teamwork, problem solving and
communicating novel ideas, while exploring how to prepare creative
messages for various media.
My attempt at a Global English version

The aims of the course Creativity and Communication are to:
Enable you to understand the contributions of creativity to professional

communication roles.
Equip you with several techniques for collaborative teamwork, problem
solving, communicating novel ideas, and preparing creative messages for
various media campaigns.
105 - Backup! Backup!! Backup!!!

It is essential that you make and keep a copy of each assignment, so
that you have ‘backups’ should anything happen to the ones you submit.
25
11. Assessment policy and
practice
111 - Non-completion
PLEASE NOTE: non-completion of any ONE of the assessment items will
result in a failing grade for the course
112 - Extensions and late deliveries

The “show must go on”: There will be no extensions or postponements
for the team exhibition assignment once delivery dates have been negotiated
with the course facilitator.
The assignment due time is the START of the studio session. You will receive a
15% lateness penalty if you deliver Assignment 2 after the official
commencement of our class studios.
Extensions on the written assignments will only be granted under

extenuating circumstances and provided a Special Assessment
Circumstances (SAC Application) has been made.
Work handed in up to 3 days after the deadline, will be given a maximum of a

C- grade with minimal feedback. Work handed in after three days with no SAC
Application will not be marked. A heavy workload is no excuse for an
extension.
If for any reason your assignment is late, (or likely to be late) please:
Notify me
Fill in a Special Assessment Circumstances (SAC) form (available from
the BISC office)
Apply to the Programme Director for a negotiated extension
Give a copy of the SAC to me and to the Programme Administrator.
Attach to the form any appropriate supporting documentation about the
delay together with a copy of the work to date and blog, as evidence of
what progress has been made and what remains to be done.
Arrange to submit your completed assignment by the agreed extension
date.
Completing these processes are your responsibility.
IMPORTANT: ALWAYS submit whatever work you have completed on/

before the due date/time. Include handwritten notes, sketches, blog entries,,
rough drafts, ...
26
12. Literature
Barbour, R. (n.d.). Robert Fritz Inc - About Us. Retrieved July 9, 2009, from
http://www.robertfritz.com/index.php?content=about.
de Bono, E. (2009). Think!: Before It's Too Late. London: Random House -
Vermilion. Retrieved July 9, 2009, from http://
www.randomhouse.co.uk/catalog/book.htm?
command=Search&db=main.txt&eqisbndata=009192409X.
De Bono, E (1994) Serious Creativity. London: HarperCollins.
Business Alliances - BSI Learning is committed to staying abreast of the latest

learnings and product developments from around the world. (n.d.). .
Retrieved July 9, 2009, from http://www.bsilearning.com.au/page/
business_alliances.html.
Edward de Bono - (image). (n.d.). . Retrieved July 10, 2009, from http://
tbn1.google.com/images?q=tbn:ACqlKN1pg-b6jM:http://
api.ning.com/files/
qXrC4Dpo034oV5viCBOnJl1YgssmcF*7JO4mfaKmkG0z0EhGr0ttO
w3N-yO-4Y4L9LCQKwKe8eSSuyurhUArtFfW8vk9nt7c/
Edwardwantsyou.jpg.
Fritz, R. (1993). Creating: A practical guide to the creative process and how to
use it to create anything - a work of art, a relationship, a career or a
better life. (1st ed.). Ballantine Books.
Haswell, R. H. (1983). Minimal marking. College English, 45, pp. 600-604.
McAlpine, R. (1997). Global English for Global Business, Auckland: Longman,

ISBN 0 582 73998 5.
McAlpine EFLAW Readability Score, Retrieved 30 July 2007 12:33 PM,

http://www.webpagecontent.com/arc_archive/139/5/#score
Mellalieu, P. J. (2007, October 21). Creating the A+ assignment: A project

management approach. Retrieved July 27, 2009, from http://
web.mac.com/petermellalieu/Teacher/Blog/Entries/
2007/10/21_Creating_the_A%2B_assignment
%3A_A_project_management_approach.html.
Mellalieu, P. (2007, July 3). Let’s all learn and teach Global English in our
business schools! Retrieved July 27, 2009, from http://
web.mac.com/petermellalieu/Teacher/Blog/Entries/2007/7/3_Let
%E2%80%99s_all_Learn_and_Teach_Global_English_in_our_Bu
siness_School!.html.
Mellalieu, P. J. (2007, October 18). Model answer: A “Five Paragraph” essay in

management. Retrieved July 27, 2009, from http://web.mac.com/
petermellalieu/Teacher/Blog/Entries/2007/10/18_Model_answer
%3A_A_%E2%80%9CFive_Paragraph
%E2%80%9D_essay_in_management.html.
27
Mellalieu, P. J. (n.d.). Course guide and syllabus: Lateral and creative
thinking. Retrieved July 7, 2009, from http://web.me.com/
petermellalieu/Teacher/Examples/Entries/
2009/7/8_Course_guide_and_syllabus:_Lateral_and_creative_thi
nking_at_Unitec_Institute_of_Technology.html.
Mellalieu, P. J. (n.d.). Creativity in Communication - a conversation. Retrieved

July 7, 2009, from http://petermellalieu.tumblr.com.
Mellalieu, P. J. (n.d.). Creativity in Communication - What is a 'Creative

Communication Campaign'? Retrieved July 9, 2009, from http://
petermellalieu.tumblr.com/post/138215490/c3campaign-intro.
Mellalieu, P. J. (n.d.). Help me re-create a 12-week course 'Creativity in

Communication' at Unitec Institute of Technology - The de Bono
Society. Retrieved July 7, 2009, from http://
www.debonosociety.com/profiles/blogs/help-me-recreate-a-12week.
Mensa - Home. (n.d.). . Retrieved July 16, 2009, from http://www.mensa.org/

index0.php.
Profile App Directory - The de Bono Society. (n.d.). . Retrieved July 7, 2009,
from http://www.debonosociety.com/opensocial/application/list?
category=APP_CATEGORY_PROFESSIONAL.
Publication - Teresa M. Amabile. (n.d.). . Retrieved July 16, 2009, from

http://drfd.hbs.edu/fit/public/facultyInfo.do?
facInfo=pub&facEmId=tamabile@hbs.edu.
Robert Fritz Inc -. (n.d.). . Retrieved July 9, 2009, from http://

www.robertfritz.com/index.php?content=interviews.
Quality Web Content - From Plain English to Global English:, Retrieved 3 July
2007 3:32 PM, http://www.webpagecontent.com/arc_archive/
139/5/
Sternberg, R. J. (1999). Handbook of creativity. Cambridge University Press.
The de Bono Society. (n.d.). . Retrieved July 7, 2009, from http://

www.debonosociety.com/.
The Learning Web - Home Page. (n.d.). . Retrieved July 13, 2009, from http://
www.thelearningweb.net/index.html.
Turner, K., Ireland, L., Krenus, B., & Pointon, L. (2008). Essential Academic
Skills. Oxford, UK: Oxford University Press. Retrieved July 16, 2009,
from http://openlibrary.org/b/OL10135765M/Essential-Academic-
Skills.
28
Epilogue: How has technology affected the way we can facilitate
creativity and communication?
Who the hell wants to hear

actors talk?
Harry Warner, Founder, Warner Brothers Studio, in 1927, upon considering
the possibility of talking pictures.
29
ANNEX A: Assignment 1 -
Personal creativity journal
Your Personal creativity journal assignment comprises a critical – but
constructive – personal evaluation of your planning and execution of your
assignments and participation in the class. Through this reflective process,
you will identify ways that you can improve your process of learning,
strategising, innovating, leading, communicating, and creating beyond your
current participation in the course.
The Personal creativity journal will build on your response to questions

presented in two categories:
Investigation Process - What you planned. What you achieved. Why you
did it;
Reflective Learning - What you learned from the experience of working
on the assignment in relation to the learning outcomes of your course:
leadership, strategy, communications, creativity, and so forth.
Events and issues can easily be forgotten. Accordingly, in order to document
RAW MATERIAL to use for this assignment, you are required keep a learning
log (diary, blog, professional journal) as you complete the assignment.
The assessment rubric for this assignment is shown in Figure A.1
A11 - Length
Depending on the medium you use to choose to present you final journal, the
following are maximum limits for the size of your final submitted artifact:
1250 words +/- 250, excluding bibliography, appendices, figures.

500 seconds (a little less than the limit of a YouTube upload)
2 Gigabyte (the limit of a YouTube upload
Record your thoughts to tap

their power.
Edwards et al, 1997
30
A12 - Why keep a professional reflective
journal?
This section is quoted directly from Edwards et al., (1997)
“You keep a professional journal on your activities to create a useful reference

for you about you. Make the entries explicit, so they are clear for later
reference. Such a record is a stimulus for recall. It gets you to think about
yourself in action; it encourages 'stop and think' time.
Your journal can include text, photos, drawings, clippings, doodles, quotes,
diagrams, predictions, projections, dreams, envisioning, ideas, or emotional
outbursts that cannot be shared with others. It brings things to the surface
and it is usually confidential.
Journalling is not easy for some. It can be learned, and there are great
reference sources for this. Most start with rules and procedures, and try to
teach you accuracy and self-discipline in recording. There is no one right way,
so whichever system you start with, you will probably have to modify it.
The progressive growth of your stored experiences allows you to refer back
and learn from your successes and failures. It also lets you take advantage of
some of your best thinking and some of your toughest lessons. You don't have
to keep learning things from first principles.
Journals are a great help in disagreements. A written record carries enormous

weight both in legal proceedings and in arguments. It is also a great way to
deal with rude people on the phone: 'What was your name again? Now could
you repeat that slowly so that I can get it down accurately?' is usually enough
to produce a quick change in manner.
Journalling is accepted as one of the legal forms of contract management. In

this area your work will inevitably come up against some unscrupulous
individuals. A paper trail of your thoughts, observations and agreements
completed quickly, regularly and intelligibly provides you (and in the last
resort an outside authority) with a clear link back to past events that does not
rely on memory or hearsay or total recall.”
Reading maketh a full man;

conference a ready man;
and writing an exact man."
Francis BACON.
31
If experience in itself was so
valuable, then humans, who
are enmeshed in experience,
ought to be more
knowledgeable than they are.
Sadly, the only conclusion that
can be reached is that we do
not learn from experience.
Experience has to be arrested,
examined, analysed,
considered and negated in
order to shift to knowledge.
Costas Criticos, in Boud et al (1993), quoting Aitchison and Graham (1989)
32
A13 - Investigation process
This and the next section present some questions to guide your preparation
for this assignment.
The investigation process aspect of your assignment includes details about

how you went about planning for and creating your completed assignment;
your investigation and research approach; your design plan; and its
implementation. You conclude with your recommendations to a future
student who might later undertake this kind of project.
Here are some questions to guide your thinking in this part: (Some of the
questions are based on Thorpe in Boud et al., 1993)
Vision
What was your initial vision for the assignment? What were your aims? (From
both a task output and personal/professional development perspective)
Investigation process - intended

What theories and recommended procedures informed or guided your
approach to the assignment? What modifications or adaptations to these
theories did you make in order to create the plan for achieving your aims?
Why? What was the process, or plan you intended to follow in order to create
your assignment? What reading, research, and/or other investigations did you
plan to carry out? What were your timelines and your ‘budget’ for allocating
your time to the various stages of work?
Risk management
What risks (personal, physical, psychological, environmental, financial) were
you aware of as you planned your assignment? What contingency plans did
you have in mind to deal with risk situations that might manifest themselves?
Investigation process - actual

What adaptations or improvisations did you need to make as you
implemented your plan? Why? What unanticipated risks emerged as you
carried out the project, and how did you manage them?
Resource limitations
Suppose you had more time and/or resources for the assignment. What else
would you like to have done to extend or improve the assignment?
Investigation process - recommendations

If you were to carry out this assignment again (or advise a future learning
partner (student) about how to carry out a similar project) what
improvements would you make to the process that you used? What are the
most important risks that need to be managed?
A life not studied is a life not

lived.
James BOSWELL
33
A14 - Reflective learning
The aim of this part of your assignment is to guide you to reflect critically on
the lessons you learned in consequence of your having carried out and
completed the assignment.
To reflect critically means to reflect thoughtfully, intelligently, creatively, and

insightfully on your actions, thoughts, feelings, and outcomes. By examining
what you felt, and how you executed the assignment, you will identify ways
that you can improve your process of learning, strategising, innovating,
leading, communicating, and creating.
Here are some questions to guide your critical reflection:
Interest
Which aspects of the assignment interested you? Which things would you
have liked more of? ... less of? Are you feeding your interest?
Energy
What did you feel as you started, executed, and completed the assignment?
Anxious? Bored? Challenged? Excited? Frustrated? How did you ‘get
energised’ to complete the assignment?
Challenges
What challenges did you face in carrying out the assignment? Clarity of
assignment specification and guidelines? Difficulties with reading materials?
Availability of help from course tutors or others? How did you overcome the
challenges? What help did others provide?
Learning
How has your knowledge of, and approach to creativity (and communication
studies generally) changed as a consequence of having completed the
assignment? To what extent are you achieving the objectives you had for
taking this course? Can you relate these changes to particular people, events,
or circumstances? Do you perceive the changes as improvements or not? Do
the changes represent an improvement in your confidence? Was your learning
stimulated by feelings of satisfaction or dissatisfaction? ... by success or failure
in your own performance? Are there implications for how you will approach
your learning in future parts of the course? Are your personal goals for tertiary
study and general personal/professional development evolving?
Assignment improvements
What suggestions do you have for the tutor regarding improvements that
could be made to improve the learning outcomes from this assignment and/or
the course generally?
Make sure you are DOING

what you say is IMPORTANT.
Anon.
34
A15 - Summary of key insights and theory
Consider both your Investigation Process and Reflective Learning.
Summarise: What were the key insights you discovered? What theories did
you find especially helpful? Which theories do you challenge on the basis of
your experience with this course? ... on what grounds? How might you apply
your learning in future assignments or elsewhere?
What steps will you take to advance your learning in creativity and
communications in the future? What are the implications for your overall
academic and professional development? How will you apply what you have
learned in your professional and personal life?
A16 - The ‘learning log’: capturing data for

your reflective journal
In order to ‘capture’ information for your process critique, many students
have found great value in keeping a personal ‘learning log’ of their course
learning adventures. Alternative names are: a professional journal or
reflective diary.
Your learning log captures your immediate reactions to a situation. Later, you
can record your process of reflection, and your thoughts about how you could
improve your performance in a similar, future situation.
Your learning log is concerned with ‘soft’ data: thoughts, feelings, impressions
and reactions.
Consider this:
I have seen MBA students, all experienced managers from industry and
commerce, initially revolt at the suggestion of keeping a learning log, and
then, after a few months, come to regard the log as a very personal and
cherished learning tool which they have carried with them back into their
daily working life. Scott Inglis
A17 - Writing style: a note

For the blog and journal, you are free to use a more personal, conversational
and informal writing style than that required for a formal report. For example,
you may write in this style:
‘I was initially very frustrated when my boss heaped extra work on me

during the period I had scheduled for revising and polishing the
assignment....’.
A18 - Audience
You may write the process critique in the style of a personal letter to a
personal business mentor/coach, to a ‘favorite teacher’, to the Course Co-
ordinator or course facilitator, or a close friend. Use some innovation and
creativity in your presentation format!
35
Final note
As you read through the questions presented earlier, re-consider the comment
cited by Costas Criticos earlier in this document. Part of your task with this
component of your assignment is to ‘arrest, examine, analyse, and consider’
YOUR experience of carrying out the course activities.
A19 - Literature
Inglis, S (1994) Making the Most of Action Learning, UK: Gower
Edwards, J, Butler, J, Hill, B, Russell, S (1997), People Rules for Rocket

Scientists, p. 18-19, 1997, Samford: Samford Research Associates,
sra@qldnet.com.au, isbn 0 646 33800 5
Thorpe, M (1993) Experiential Learning at a Distance, in David Boud, Ruth

Cohen and David Walker Using Experience for Learning, Open
University Press: Buckingham
"It's not what happens to us

that counts, it's how we have
learnt to react to [what
happens] that counts."
Anon.
36
Figure A.1 Assessment Rubric - Assignment 1a, 1b Weekly blog
COMM 5533 Creativity and Communications
Item – relative emphasis weightings shown in Blog Grade

percentages Weight
Introduction. Introduces yourself to the journal reader.
Outlines purpose of your blog 10
Evidence of regular writing of learning log (blog) - at

least weekly. Writing from a personal perspective (the
“I”), the extent to which a key learning experience is
20
clearly identified, described and related to learning
gained and further learning required.
Contribution to the blogosphere: Use of on-line blog;

Evidence of reading of course material; Contributions of
material illustrating use of creative thinking techniques,
20
development of attitudes in support of personal and team
creativity.
Reflective learning.
The account should represent a holistic perspective and
also include evidence of reflection in action and upon
action. The account should also consider the experience
of reflection, what the reflective experience means to you
(reflecting upon the reflective experience).
20
Presents examples of key activities, and insights gained
from your journey; Informs the course facilitator of
suggestions for enhancing the effectiveness of the
learning environment for current and future participants.
Creative use of media: Layout and presentation,

innovation, and design. 15
Professional language and Academic conventions: Word

choice, grammatical and spelling conventions, sentence
fluency, organisation and logic, voice, and overall
coherence. See Figure C.2. 15
Referencing, Zotero or Endnote, Acknowledgements
Total 100
37
Figure A.2 Assessment Rubric - Assignment 1c - Reflective Journal
Item – relative emphasis weightings shown in Final Grade

percentages Journal
Weight
Introduction. Introduces yourself to the journal reader.
Outlines purpose of your reflective essay 10
Investigation processes and reflective learning.

The account should represent a holistic perspective and
also include evidence of reflection in action and upon
action. The account should also consider the experience
of reflection, what the reflective experience means to
you (reflecting upon the reflective experience).
Summarises the key activities, and insights gained from

your journey; Informs your future personal and career
50
progression; Advises future CraC! learning partners of
the trials, tribulations, joys, and secrets of success of
the course;Inform the course facilitator of suggestions
for enhancing the effectiveness of the learning
environment for future participants.
Illustrations with respect to specific instances from you

weekly blog.
Creative use of media: Layout and presentation,

innovation, and design. Use of on-line blog 20
Professional language and Academic conventions: Word

choice, grammatical and spelling conventions, sentence
fluency, organisation and logic, voice, and overall
coherence (See Figure C2).
20
Referencing, Zotero or Endnote, Acknowledgements.
Weekly blog included as Appendix.
Total 100
38
ANNEX B: Assignment 2 - Creative
communication campaign
The Creative Communication Campaign is the final, capstone assignment for
your course participation. The assignment also forms the core around which
you learn and apply systematic processes for creative and lateral thinking.
Accordingly, your team must demonstrate its achievement of the course

learning outcomes through using creativity-enhancing processes …. to …
Identify an important public or organisational issue susceptible

to the benefits of applying systematic creative thinking …. through …
Generating some ‘magic’ (DB) creative solutions to the issue
(using systematic creativity processes) … finally …
Devising a creative communication approach to persuading key
stakeholders to adjust their behaviour to commit to adopting the more
radical and valuable aspects of the most potent creative solutions.
In other words, your team must demonstrate both a creative output and your
application of systematic creative processes.
B11 - Two elements

The Creative Communication Campaign includes two components:
An interactive exhibition - such as a training session, dramatic

performance or formal technical presentation. The exhibition includes a
presentation to the audience of your draft or prototype version of the
Final Artifact.
Final artifact. The artifact may be a simple print report through to a
multi-media, hyper-media, web-site, computer game, or conference
poster …. The team’s final artifact will be enhanced and informed by
feedback from the audience and judges at the team’s exhibition.
B12 - Assignment Dimensions

Artifact: Depending on the medium you use to choose to present you teams
campaign, the following are absolute maximum limits for the size of your final
submitted artifact:
3000 words , excluding bibliography, appendices, figures.

1000 seconds (a little less than the maximum limit of two ten-minute
YouTube uploads)
3.0 Gigabyte (a little less than the limit of a YouTube upload, or the size
of a DVD)
The person who assesses your artifact should be able to read or view your
artifact within fifteen minutes. (They need not read every word or
Appendix to assess your artifact’s quality)
39
Interactive Exhibition: 2o minutes maximum. You must plan your time to
including engaging the audience, soliciting feedback from the audience, peers,
and judges. You should allow about five to seven minutes for the feedback
process. The feedback process is intended to help you improve the quality of
the Final Artifact that you submit.
B13 - Timing schedule

The Exhibition is scheduled immediately following the semester break. You
may negotiate an EARLIER time with me. Other dates and details such as
weightings and workload allowance are presented in the Course Guide,
Figure 4.2 Assignment deadlines, grade weightings and workload

allocation
Section 8. Learning schedule
B14 - A suggested ‘plan of attack’

In reading the following ‘plan of attack’, please note that the terms harvest,
treat, magic, seedling, lateral thinking, and formal output are specific
technical terms for leading successful creative thinking.The terms are defined
by Edward de Bono in Serious Creativity and his other books. Ensure you
understand their meaning and demonstrate your competency in their
application in your assignment presentation.
1. Identify the issue. Explain why the issue is a candidate for creative
thinking. Attach evidence (eg. a newspaper article; letter of commission)
of the issue as an appendix to your assignment.
2. Identify the type(s) of thinking necessary or most useful to tackle

the issue. Refer de Bono, Serious Creativity: Application of the Lateral
Thinking Techniques (pp. 190-209).
3. Apply at least three lateral thinking techniques to explore and

generate an abundance of possible solutions to the issue. You may
optionally, and additionally, apply the strategies of other creative
thinkers covered in the course.
4. Harvest your ideas for each technique
5. Select and Treat your magic ideas and the more innovative seedling
ideas
6. Comment and reflect in your journal after using a technique,

harvesting, and treating the ideas generated. Discuss the technique’s
success or otherwise.
7. Evaluate a selection of the most promising magic and innovative ideas
8. Construct a Formal Output Statement for each of the most valuable

ideas
40
9. Compile your project documents into a Final Artifact for your Creative
Communications Campaign. For instance, submit either a:
Traditional Technical Report Format including these

elements: Title Page, Executive Summary, Table of Contents, List
of Figures, Introduction, Project Purpose and Overview (Items 1
& 2), Results and Discussion (Items 3 through 8, for each lateral
thinking technique used), Summary, Conclusions,
Recommendations, Further work, Literature, Appendices.
Creatively designed artifact (multimedia, website, sculpture,
invention, movie)
B15 - A note on harvesting, treatment, and

reflection
The steps 4 through 6 are better done immediately after the application of
each lateral thinking technique. Repeat the ideation, harvesting, and
treatment steps several times, before moving on to step 7.
B16 - On presentation and writing quality

You are invited to explore alternative and innovative approaches to presenting
the main elements of your assignment extending on the Traditional Technical
Report structure. In all events, you should ensure that your Appendices
include de Bono’s Formal Output Statements for the principal ideas that you
present. Refer De Bono, Serious Creativity, Formats (pp.284-289) for other
examples of Report Structure.
Your Final Artifact could include video footage taken from your Exhibition
performance.
To encourage you to seek excellence, and avoid mediocrity, your artifact will
be marked using the principles of “Minimal Marking” (Haswell, 1983).No
marks will be credited to your course grade record until the Professional
Language component of the Assignment achieves an acceptable Grade (12/15
or above), as detailed in Section C14 and Figure C2.
B17 - Literature
Bono, E. D. (1993). Serious Creativity: Using the Power of Lateral Thinking to
Create New Ideas. HarperBusiness. Retrieved from http://www.amazon.com/
Serious-Creativity-Lateral-Thinking-Create/dp/0887306357.
41
Figure B.1 Assessment Rubric - Assignment 2a - Exhibition
Criteria Levels Speaker 1 Speaker 2 Speaker 3 Speaker 4
PRESENTATION out of 30
Delivery 5: Professional throughout

3: Good
1: An effort
Team work 5:Excellent
3: Evident most of time
1:Some evident
Clear speaking 5:Very clear and audible
3: All clear and audible
1: Most members mostly clear
Non-verbal 5: Exceptionally high
communication 3: Good standard
1: Mostly adequate
Visual aids 5: Very effective
3: Good standard
1: Used
Logical sequence 5: Logical
3: Logical
1: Attempted
Transitions 5: Very smooth
3: Evident
1: Attempted
Rapport & 5: Excellent
involvement 3: Gained
1: Attempted
Timing 5: Appropriate and consistent with
topic
3: Mostly appropriate and consistent
1: Difficulties apparent
Innovation 5: Clearly evident
3: Effort made
1: Absent
Sub-Total: Mark = Median Level x 6, Out of 30
Presentation
CONTENT out of 30
Purpose of 5: Clearly identified

presentation 3: Identified
1: Attempted
Topic Focus 5: Direct
3: Mainly
1: An effort made
Creative thinking 5: Clearly identified
3: Identified
1: Attempted
Relevant 5: Highly relevant
information 3: Mostly relevant
1: Little
Sub-Total: Content Mark = Median Level x 6, Out of 30
QUESTION out of 20
HANDLING
Answers the 5: Completely
question 3: Present
1: Attempted
Succinct 5: To the point
3: Waffle
1: Evasive
Sub-total: Questions Mark = Median Level x 4, Out of 20
HANDOUT out of 20
Lucid 5: Easy to follow; Own words; logical
Comprehensive 5: Overview of presentation;

Supplementary detail
Layout and 5: Professional; Numbered and/or
presentation mindmap;
Headings; White space
Sub-Total: Handout Mark = Median Level x 4, Out of 20
TOTAL Sum of Marks

Out of 100
42
Figure B.2 Assessment Rubric - Assignment 2b - Final Artifact
Item – relative emphasis weightings shown in Weight Grade

percentages
Executive summary. Six to ten paragraphs summarising 15
‘Introduction, Overview, Results, and Recommendation
sections. Paragraphs and key sentences cross-link to
main body of report,
Introduction and overview. Including Project Purpose 20
and Overview. Introduces the key issue; Provides
evidence supporting importance of the issue. Provides
excellent reasons and credible evidence for the topic
being a candidate for creative thinking. Audience
defined; Important terms defined. Preview of document
structure and contents, key topic themes, and
organisation of your report).
Results and Discussion:Application of creative thinking 25
techniques. Explains very clearly why particular types of
thinking are appropriate. Gives comprehensive
justification for choice of techniques. Applies at least six
techniques thoroughly to generate several new ideas.
Harvests all ideas comprehensively. Treats the most
innovative ideas so the final expressions of these ideas
are a clear improvement on the original ideas. Evaluates
four or more ideas comprehensively. At least four clear
Formal Outputs. Further work required for testing or
implementation. Recommendations. Incorporates
feedback from Exhibition
Report conventions: Unitec Cover sheet, Title page, 10
Table of Contents, Table of Figures, Citations, References
(including use of Zotero or Endnote) Acknowledgements.
Supporting appendixes. Images and figures discussed.
Size within assignment dimensions
Creative use of media: Layout and presentation, 15
relevant figures and images, innovation, and design.
Professional language: Word choice, grammatical 15
conventions, sentence fluency, organisation and logic,
voice, and overall coherence. See NOTE below.
100
Contingent Grade
Final Grade
NOTE: The above items are indicative of relative

weighting from each part of the assignment. NO MARKS
will be credited to your course grade record until the
Professional Language component of the Assignment
achieves an acceptable Grade (12/15 or above). See Fig
C.2 and Section C14.
43
ANNEX C: Assignment 3 -
Individual investigation
Use the individual investigation to explore deeply a topic that develops your
personal interest and engagement with the domain of creativity in
communication.
For instance, your individual investigation could be framed in the genre of a

scholarly debate or persuasive argument around a succinct topic. For instance:
“Substantial personal creativity depends on natural talent. It cannot be

developed in the inherently uncreative personality”, or
“Argument, truth, and logic will remain at the core of our thinking in
culture, education, and in the operations of our society ... to humanity’s
detriment.” (based on de Bono, 2009, p. 5)
The typical genre for presenting the artifact resulting from your individual
investigation is an investigative persuasive essay. However, you are, of
course, invited to explore alternative genre. If you select an alternative genre,
then you are required to redesign and gain my approval for an appropriate
assessment rubric (informed by Figures C.1 and C.2).
Here’s another appropriate style of assignment - the ‘compare, contrast, and

assess’ genre:
People can be taught to think independently and creatively: A

comparison of the contribution of Paul Thorne and Mihaly
Csikzszentmihalyi
A further option for this assignment is to use your individual investigation to
provide supplementary research in support of the Creative Communication
Campaigns conducted by a class team. In other words, you act as a research
consultant to another team.
As with the Creative Communication Campaign, you have a choice of media

from which to select the means through which you realise your artifact.
Part way through your investigation project, you are required to orchestrate
an interactive peer review with a selection of course learning partners to
gain constructive peer critique prior to submission of your final individual
artifact.
You will publish your final artifact to the course Knowledge Base so that
current and future course learning partners will be able to enjoy the fruits of
your investigation.
44
C11 - Length
Depending on the medium you use to choose to present you scholarship, the
following are maximum limits for the size of your final submitted artifact:
1250 words +/- 250, excluding bibliography, appendices, figures.

500 seconds (a little less than the limit of a YouTube upload)
1.5 Gigabyte (a little less than the limit of a YouTube upload)
The person who assess your artifact should be able to read or view your
artifact within eight minutes.
C12 - Language
The text (language) of your artifact must be appropriate for a multi-national,
culturally diverse audience of business readers. Imagine that the audience for
your artifact is an international manager who uses English for conducting
business. However, assume that English is NOT their first language. For an
example of the appropriate language style, see Mellalieu, 2007a,b, Quality
Web Content, and McAlpine, 1997.
C13 - Assessment and grading

Figure C.3 shows that the grade for your artifact depends upon:
the persuasiveness of your arguments

the quality of your supporting research and evidence
use of formal, appropriate English language
judgment
citation and referencing of relevant literature
professional presentation
creative design, media and layout
C14 - Haswell’s ‘Minimal marking’

To encourage you to seek excellence, and avoid mediocrity, your artifact will
be marked using the principles of “Minimal Marking” (Haswell, 1983).
You will receive a Contingent Mark for the assignment that you submit on the
due date. If there are errors in the grammar, style, word choice, organisation,
fluency, or layout, a selection of these errors will be indicated to you by a “X”.
The errors will NOT be corrected by the marker.
If you fail to gain a grade of 12/15 for the Professional Language component of
your assignment on your first submission, your essay will be returned to you
for correction. You are required to rewrite the essay so that it achieves a grade
of 12/15 for the Professional Language component.
You will receive zero marks for this assignment UNTIL you have
corrected the errors to the satisfaction of the course marker. You will have a
maximum of one week to re-submit your assignment. You will receive a grade
45
NO HIGHER than the initial Contingent Mark allocated by the tutor. If you
fail to resubmit your assignment, then you will receive zero marks.
C15 - Interactive peer review

Your interactive peer review (Assignment 3a) will be assessed against the
same criteria as shown in Figure C.1 and C.2. Your mark will be scaled by the
tutor to a maximum of 100 per cent if you have progressed towards achieving
completely the tasks detailed in the Start-up, Planning, First-draft, and
Literature Research milestones as defined in the document “Creating the A+
Assignment: A Project Management Approach” (Mellalieu, 2001).
C16 - Project management and research

assistance
This assignment requires 25 +/- 5 hours of your time.
‘Right-size’ your topic to the time you have available for investigating and
writing this assignment.
As a monsieur of heritage Francaise, I prefer to assess something petite,

succinct, elegant, rather than gross, ugly, and poorly presented! ‘Less is more’
Use Mellalieu (2001) “Creating the A+ Assignment: A Project Management

Framework” to plan and guide your progress with this assignment.
Maintain a personal diary, learning log, or on-line blog record of your

project achievements on a daily basis. There are grades associated with this
blogging task - Assignment 1. You will discover that you receive personal
benefits through achieving better project outcomes and personal learning.
You are expected to schedule assistance from the Te Puna Ako (Unitec
Student Learning Centre) and the Unitec Library in advance of the final
submission dates. Seek assistance in essay writing, grammar improvement,
style, proof-reading, and referencing.
46
Figure C.1 Assessment Rubric - Assignment 3
Item – relative emphasis weightings shown in Weight Grade

percentages
Introduction. (10) Introduces the topic. Succinct 25
exposition and interpretation of the essay’s proposition
as you understand (or define) it to be. Important terms
defined. Preview of structure, key topic themes, and
organisation of your essay.
Supporting Arguments: (15) Addresses the arguments

that support your interpretation of the essay’s
proposition. Present a link to the issues of organisational
performance. At least 3 credible, scholarly references –
beyond undergraduates texts). Transition to next
section.
Counter-arguments: Arguments that oppose the essay’s 15
proposition. At least 3 credible, scholarly references.
Transition to next section.
Assessment and evaluation: (15) Discussion of your own 25
analysis of the proposition based on your assessment of
the arguments, your own ideas in relation to the
arguments that you presented in earlier parts, and
(optionally) your experience and case examples.
Discussion of implications for communications practice.
Discussion proceeds towards a persuasive conclusion in
support (or against) the proposition.
Summary and Judgment/Conclusion: (10) Succinct

summary of the principal ‘stream of arguments’. A
persuasive concluding assertion or judgment in relation
to the initial proposition. Key implication for
communications practice.
Professional language: (15) Word choice, grammatical 35
conventions, sentence fluency, organisation and logic,
voice, and overall coherence. See NOTE below.
Academic conventions: (5) Referencing, Zotero or

Endnote, Acknowledgements
Creative use of media (15): Layout and presentation,

innovation, and design
100
Contingent Grade
Final Grade
NOTE: The above items are indicative of relative

weighting from each part of the assignment. NO MARKS
will be credited to your course grade record until the
Professional Language component of the Assignment
achieves an acceptable Grade (12/15 or above). See Fig
C.2 and Section C14.
47
Figure C.2 Six-Trait Method for Evaluating Writing Quality
Trait 5 3 1 Mark
Ideas and Focussed, succinct, Some really Just beginning

content specific. The ideas good parts. to figure out
and topic keep the Some parts not what you want
reader’s attention there yet. to say
Word choice Extremely succinct, Correct but not Confusing. The

visual, and striking. The reader is often
accurate. You words get the asking “What
picked the correct message did you mean
words for the across, but by this?”
correct places. don’t capture
Choice of Global the reader’s
English word attention.
Grammatical Mostly correct. About halfway Editing not

conventions There are few there. Several under control
errors in the paper. bothersome yet. It would
Global English mistakes need take a first
applied. cleaning up. reading to
decode, and a
second reading
to get the
message.
Organisation Clear and Some really Not shaped yet.

compelling. You smooth parts. The order of the
have chosen an Other parts paper is
order that works need work. The jumbled and
well and makes the order makes confused.
reader want to find sense most of
out what comes the time.
next.
Voice Individual and Individuality Not “you” yet.

powerful. The fades in and You don’t know
paper has out. What you what you truly
personality and truly think and think or feel
sounds different feel shows up yet.
from the way only
anyone else writes. sometimes.
Sentence Varied and natural. Routine and Paper needs

fluency The sentences in functional. work because
your paper are Some sentences there isn’t
delightful to read are choppy and enough
out loud. awkward, but sentence sense
most are clear. yet.
Total
(out of 30)
15
Source: Summarised from: Student Friendly Writing Rubric from a School using the
Six Traits of Writing, Discovered by John Norton while traveling in Alabama. Thanks
to teachers at Maryvale Elementary in Mobile! www.middleweb.com
48
C17 - Literature
Haswell, R. H. (1983). Minimal marking. College English, 45, pp. 600-604.
McAlpine, R. (1997). Global English for Global Business, Auckland: Longman,

ISBN 0 582 73998 5.
McAlpine, EFLAW Readability Score, Retrieved 30 July 2007 12:33 PM,

http://www.webpagecontent.com/arc_archive/139/5/#score
Mellalieu, P. J. (2001, October 21). Creating the A+ assignment: A project

management approach. Retrieved July 27, 2009, from http://
web.mac.com/petermellalieu/Teacher/Blog/Entries/
2007/10/21_Creating_the_A%2B_assignment
%3A_A_project_management_approach.html.
Mellalieu, P. (2007, July 3). Let’s all learn and teach Global English in our
business schools! Retrieved July 27, 2009, from http://
web.mac.com/petermellalieu/Teacher/Blog/Entries/2007/7/3_Let
%E2%80%99s_all_Learn_and_Teach_Global_English_in_our_Bu
siness_School!.html.
Mellalieu, P. J. (2007, October 18). Model answer: A “Five Paragraph” essay in

management. Retrieved July 27, 2009, from http://web.mac.com/
petermellalieu/Teacher/Blog/Entries/2007/10/18_Model_answer
%3A_A_%E2%80%9CFive_Paragraph
%E2%80%9D_essay_in_management.html.
Mellalieu, P. J. (n.d.). The essay factory: A collaborative learning adventure.

Retrieved July 27, 2009, from http://web.mac.com/petermellalieu/
Teacher/Blog/Entries/2007/6/27_The_essay_factory
%3A_A_collaborative_learning_adventure_.html.
Quality Web Content - From Plain English to Global English:, Retrieved 3 July
2007 3:32 PM, http://www.webpagecontent.com/arc_archive/
139/5/
49

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CraC! Creativity and Communication: COMM 5533 Course Guide

For further information about the Unitec Department of Communication

Version 0.75 (Prototype) 1 September 2009

Design: Apple iWork by MyndSurfers. Layout informed by Stibic (1980) and

Cover page: One of Edison’s balls. Photo: Peter Mellalieu, 2005.

0.52 (Prototype) 27 July Fig 4.2 Workload added to Fig

0.52 (Prototype) 27 July (new) Fig 4.3 Added.

0.52 (Prototype) 27 July (new) Fig 4.2 and Section 103.

0.52 (Prototype) 27 July S. 10 Field trip date changed

0.52 (Prototype) 27 July S 102 tumblr address corrected

0.52 (Prototype) 27 July (new) ANNEX A - Assignment 1

0.52 (Prototype) 27 July (new) ANNEX C - Assignment

Next version - to come Elaboration of S 45 - a

Version 0.64 (Prototype) Table 4.2 Weight table adjusted to

Version 0.75 (Prototype) Table 4.2 Assignment due dates

Version 0.75 (Prototype) Annex B - incorporated

Version 0.75 (Prototype) Annex A Assignment assessment

1. Aims and learning outcomes ...............................................

4. Course architecture and overview of assignments!........... 6

5. A creative pause: the mountaineers!.................................. 12

6. Defining creative thinking: an introduction!...................... 13

7. Text and literature!................................................................18

9. A logical pause: the fire station!......................................... 22

10. Conducting assignments .................................................

11. Assessment policy and practice!...................................... 26

ANNEX A: Assignment 1 - Personal creativity journal!......... 30

ANNEX B: Assignment 2 - Creative communication

ANNEX C: Assignment 3 - Individual investigation!.............. 44

Table 0.1 Learning time (hours per week)

Studio Self- Total Weeks Total hours

Senior executives worldwide are identifying the contribution to competitive

How do we identify and create novel and appropriate solutions to

(For my preferred approach to communicating these aims, see Section 107)

Define creativity against a background of theory, and examine its

Require a wide range of specialised technical or scholastic skills

A broad knowledge base with substantial depth in some areas

Within broad general guidelines or functions

Peter J. MELLALIEU, DipIwiEnvMgt, PhD, MPubPol, BTech(hons)

Dr Mellalieu is Associate Professor with current interests in eco-sustainable

He was recruited to Unitec in July 2000 as the foundation programme

Since joining Unitec, he has visited several entrepreneurship development

Peter has presented at international conferences in the areas of

Figure 2.2 Man on the moon, Florida (2005)

He has worked with or consulted for organisations such as Enza Technical

32 - Developing creativity in individuals

33 - Leading creativity in groups, teams, and

34 - Creativity in communication practice

Figure 4.1: Course architecture showing key work components

41 - Creative communication campaign

Using creativity-enhancing processes …. to …

1a Blogs - Week 1-5 Week 5 5 100 7.5

1b Blogs - Week 6-11 Week 12 5 100 7.5

1c Reflective essay Week 14 15 100 10

2a Exhibition Week 11 30 100 20

2b Final artifact Week 13 20 100 15

3a Interactive Peer Week 10 7.5 100 10

3b Artifact Week 11 17.5 100 10

Total: 100 150

The Creative Communication Campaign includes two components:

An Interactive exhibition - such as a training session, dramatic

Typically, your individual investigation will be framed in the genre of a

An alternative option for this assignment is to use your individual

As with the Creative Communication Campaign, you have a choice of media