CREATIVITY AND

INNOVATION

09/21/21 1
 PART 1
• LOGICAL THINKING
ARGUMENT
• LOGIC VS
CREATIVITY
– ALTERNATIVE ?
– COMPLEMENT ?
– SUPPLEMENT ?

09/21/21 2
INTRODUCTION

09/21/21 3
 TEACHING
THINKING

09/21/21 4
 LOGICAL THINKING

• THE BASIS
OF
LOGICAL
THINKING

09/21/21 5
 WE DON’T NEED TO LEARN TO
THINK
OUR BEST PUPILS PASS THE
EXAMS
OUR MOST BRILLIANT COME OUT
OF OUR OUR BEST UNIVERSITIES
AS BRILLIANT GRADUATES

09/21/21 6
 “ARCHWAY EFFECT” - IF A STREAM
OF BRILLIANT PEOPLE GO
TOWARDS AN ARCHWAY, THEN
FROM THAT ARCHWAY WILL
EMERGE A STREAM OF BRILLIANT
PEOPLE, EVEN IF THE ARCHWAY
HAS DONE NO MORE THAN
STRADDLE THEIR PASSAGE

09/21/21 7
THINKING IS USED ONLY TO
SUPPLEMENT INADEQUATE
KNOWLEDGE
KNOWLEDGE IS GROWING AT SUCH A
RAPID RATE THAT THERE IS LITTLE
TIME TO TEACH ANYTHING ELSE.
EDUCATION TEACHES KNOWLEDGE
BECAUSE THERE IS NOTHING ELSE
TO TEACH.

09/21/21 8
 KNOWLEDGE IS NO MORE A
SUBSTITUTE FOR THINKING THAN
THINKING IS A SUBSTITUTE FOR
KNOWLEDGE

LIFE KNOWLEDGE IS NEVER GOING

TO BE COMPLETE

BY PRODUCT APPROACH.

09/21/21 9
FLUENCY AND THE POWER OF
COHERENT EXPRESSION ARE
TOOLS OF THINKING, NOT
THINKING ITSELF.

I CAN PROVE YOU WRONG.

THEREFORE I AM RIGHT -
CRITICAL INTELLIGENCE

09/21/21 10
ADORATION OF THE CRITICAL
INTELLIGENCE :
CRITICISM IS EASY, POSSIBLY THE
EASIEST FORM OF INTELLECTUAL
ACHIEVEMENT.

CRITICAL THINKING ALLOWS US TO

WORK IN THE COMFORTABLE
SELF-CONTAINED ENVIRONMENT.

09/21/21 11
CRITICAL THINKING IS THE ONLY
WEAPON AGAINST HERESY AND
DEVIATION AND SINCE THAT
WORLD CONSISTS OF CONCEPT
EDIFICES WHICH MUST HAVE
INTERNAL VALIDITY IF THEY ARE
NOT TO COLLAPSE.

09/21/21 12
CRITICAL THINKING IS AN
ESSENTIAL PART OF THINKING
BUT IT CAN NEVER BE THE
WHOLE OF THINKING.

09/21/21 13
PASSIVE, DESCRIPTIVE,
CONTEMPLATIVE THINKING - IS
NOT THE SAME AS GENERATIVE
THINKING.

GENERATIVE THINKING IS
CONCERNED WITH BRINGING
THINGS ABOUT AND SOLVING
PROBLEMS.

09/21/21 14
GENERATIVE THINKING IS
PRACTICAL, CREATIVE AND
CONSTRUCTIVE.

ACTIVE THINKING GENERATIVE)

AND THINKING (SCHOLARLY) ARE
NOT MUTUALLY EXCLUSIVE.
- WE NEED BOTH.

09/21/21 15
 ONE MAY ALSO DISPUTE ANY
DISTINCTION BETWEEN
INTELLIGENCE AND THINKING
SKILL AND SUPPOSE THAT
THINKING IS NOTHING MORE
THAN THE VISIBLE OPERATION
OF INNATE INTELLIGENCE.

09/21/21 16
UNFAIR TO TEACH PEOPLE
HOW TO THINK.

MOST PUPILS WERE GOING TO

SPEND THEIR LIVES AT
FACTORY BENCHES AND THAT
THINKING WOULD ONLY MAKE
THEM DISSATISFIED.

09/21/21 17
SCHOOLS HAVE AN OBLIGATION
TO TRAIN THEIR PUPILS TO
SUCCEED IN THESE EXAMS

IF YOU GIVE US SOMETHING

SIMPLE WE SHALL NOT BE
IMPRESSED BY IT BECAUSE WE
SHALL CLAIM WE DO IT ANYWAY

09/21/21 18
IF YOU GIVE US SOMETHING
COMPLICATED WE SHALL BE
IMPRESSED BY ITS SERIOUSNESS
BUT UNABLE TO USE IT BECAUSE
IT IS COMPLICATED.

TEACHING THINKING “ALMOST

ESSENTIAL AS READING”

09/21/21 19
 WHAT IS
THINKING

09/21/21 20
 • DEFINITION OF THINKING

• PURPOSE OF THINKING

• MENTAL ACTIVITY

09/21/21 21
 THINKING ARRANGES AND
REARRANGES PERCEPTION AND
EXPERIENCE SO THAT WE MAY
HAVE A CLEARER VIEW OF
THINGS.
THE JOB OF THINKING IS TO
CLARIFY PERCEPTION.

09/21/21 22
FIRST STEP IN TEACHING
THINKING MUST BE TO PROVIDE
A BY-PASS TO THIS INSTANT
JUDGEMENT BY REQUIRING THE
THINKER TO DIRECT ATTENTION
TO ALL THE RELEVANT AND
INTERESTING POINTS IN THE
SITUATION.

09/21/21 23
 THINKING AND EGO, OUR
THOUGHTS ARE MORE
CENTRAL TO OUR EGO THAN
ALL OF THESE.
THE EGO AND THINKING ARE
ALMOST INEXTRICABLY INTER-
TWINED.

09/21/21 24
UP TO THE AGE OF TEN OR
ELEVEN A CHILD’S EGO IS
SEPARABLE FROM HIS THINKING.

HE ENJOYS THINKING.

HE ENJOYS PLAYING WITH IDEAS.

09/21/21 25
AFTER THE AGE OF ELEVEN
THINKING BECOMES VERY MUCH
PART OF THE EGO AND SELF-IMAGE.

A PERSON IS AS GOOD AS HIS

THINKING.
HIS STATUS AT SCHOOL AND HIS
SOSIAL STANDING DEPEND ON HIS
THINKING.

09/21/21 26
ONE OF THE MAIN PURPOSES OF
TEACHING THINKING IS TO TRY TO
BREAK THIS DEADLOCK AND GET
PUPILS TO LOOK OBJECTIVELY AT
THEIR THINKING.
THE NEED TO SHINE AND TO
PRESERVE STATUS IS IMPORTANT.

09/21/21 27
 THE NEED TO BE RIGHT ALL
THE TIME AND THE FEAR OF
BEING WRONG ALSO
DISTORTS THINKING IN
FAVOUR OF THE EGO.

09/21/21 28
 THINKING AS
A SKILL

09/21/21 29
THINKING IS THE OPERATING SKILL
THROUGH WHICH INNATE
INTELLIGENCE IS PUT INTO ACTION.

TWO-FINGER SKILL
•DISTINGUISH BETWEEN A “FULL”
SKILL AND A TWO-FINGER SKILL.

09/21/21 30
UNNATURAL SKILLS

• THINKING OUGHT TO BE
NATURAL
• RELUCTANT TO GO THROUGH
AN UNNATURAL AND
ARTIFICIAL STAGE

09/21/21 31
 UNNATURAL SKILLS

• THIS STAGE MAY BE

NECESSARY IN ORDER TO
CREATE NEW HABITS AND
NEW WAYS OF DIRECTING
ATTENTION.

09/21/21 32
SKILL AND TOOLS

• IN TEACHING THINKING AS A
SKILL WE MAY MAKE USE OF
SOME ARTIFICIAL DEVICES.

09/21/21 33
 THE NATURE OF SKILL IN
THINKING

• SKILL IN THINKING HAS

MUCH TO DO WITH
PERCEPTION AND WITH
ATTENTION-DIRECTING.

09/21/21 34
THE NATURE OF SKILL IN
THINKING

• IT IS A MATTER OF EXPLORING
AND APPLYING KNOWLEDGE.
• THE AIM IS TO PRODUCE A
“DETACHED” THINKING SKILL.

09/21/21 35
 ERRORS IN
THINKING

09/21/21 36
COMPUTER WILL ONLY GIVE
ANSWERS THAT ARE
CONSISTENT WITH THE DATA. IT
HAS BEEN GIVEN AND THE
PROGRAMME IT IS USING.

IN PRACTICAL LIFE VERY FEW

ERRORS IN THINKING ARE
LOGICAL ERRORS.
09/21/21 37
 1. PARTIALISM
• THE MAJOR ERROR IN
THINKING
• IT IS PURE ERROR OF
PERCEPTION
• LOOKING AT ONLY PART OF
THE SITUATION AND BASING
HIS ARGUMENT ON THAT PART.
09/21/21 38
 2. TIME-SCALE
• A PERSON LOOKS AT A
NARROW SLICE OF TIME
(USUALLY THE IMMEDIATE
FUTURE).

09/21/21 39
2. TIME-SCALE
• INSIST THAT THE THINKER
SHOULD BE ABLE TO EXTEND
HIS PERCEPTION OVER THE
WHOLE TIME-SCALE AND THEN
HAVING DONE THIS CHOOSE
WHICH TIME-SCALE HE WISHES
TO APPLY TO THIS SITUATION.

09/21/21 40
3. EGOCENTRICITY

• NARROW-BAND THINKING OR
TUNNEL VISION IS USUALLY
BASED ON EGOCENTRICITY.

• THEY SEE A SITUATION ONLY IN

TERMS OF HOW IT AFFECTS
THEM PERSONALLY
09/21/21 41
 3. EGOCENTRICITY

• EGOCENTRIC PARTIAL
PERCEPTION IS WRONG IN
TERMS OF THINKING SKILL.

• TO BE UNABLE TO SEE
FURTHER IS JUST POOR
THINKING.
09/21/21 42
4. ARROGANCE AND CONCEIT

• CONCEPT ERROR ARISES WHEN

THERE IS AN APPARENTLY
LOGICAL EXPLANATION FOR
SOMETHING AND THIS IS THEN
TAKEN TO BE THE RIGHT
EXPLANATION.

09/21/21 43
4. ARROGANCE AND CONCEIT

• CALLED THIS ERROR THE

“VILLAGE VENUS EFFECT”, ON
THE BASIC THAT IN A REMOTE
VILLAGE THE PRETTIEST GIRL
WOULD BE CONSIDERED TO BE
THE MOST BEAUTIFUL GIRL IN
THE WORLD.
09/21/21 44
- IMPORTANT

• IT DOES NOT SEEM TO BE AN

ERROR AT ALL.

• THERE IS USUALLY AN
APPARENTLY LOFICAL WAY
OF COPING.

09/21/21 45
5. INITIAL JUDGEMENT

• SECOND MAJOR SOURCE OF

ERROR IN THINKING.
• MAKES AN INITIAL JUDGEMENT,
USES HIS THINKING SKILLS AND
LOGICAL POWERS TO BACK HIS
INITIAL JUDGEMENT.

09/21/21 46
 5. INITIAL JUDGEMENT

• THINKING IS NOT USED TO

EXPLORE THE SITUATION.

09/21/21 47
• EXPLORATION OPENS UP
PERCEPTION WHEREAS LOGICAL
SUPPORT CLOSES IT DOWN BY
ESCHEWING THOSE AREAS WHICH
DO NOT OFFER THE REQUIRED
SUPPORT.
• THINKING LESSONS IS
CONCERNED WITH PROVIDING A
BYPASS TO JUDGEMENT.

09/21/21 48
6. ADVERSARY THINKING
• POLITICIAN WILL STRIVE
TOWARD WHAT IS DIFFERENT IN
HIS POSITION FROM HIS
OPPONENTS’, RATHER THAN
MOVE TOWARDS WHAT IS
MUTUALLY AGREED.
• THIS MAKES FOR
POLARIZATION.
09/21/21 49
6. ADVERSARY THINKING

• IT IS SUPREME ARROGANCE TO
ASSUME THAT THERE ARE ONLY
TWO SHARPLY POLARIZED,
POSITIONS ON AN ISSUE AND
THT IF ONE IS WRONG THE
OTHER MUST BE RIGHT.

09/21/21 50
7. EGO-INVOLVEMENT

• WE NORMALLY REGARD
LOGIC AS A WAY OF
PROCESSING OUR
PERCEPTIONS AND
EXTRACTING THE FULL
IMPLICATIONS FROM THEM.

09/21/21 51
 7. EGO-INVOLVEMENT

• WE FAIL TO NOTICE THAT IN

MANY SITUATIONS, SUCH AS
EGO-SUPPORT, THE LOGICAL,
STRUCTURE COMES FIRST AND
PERCEPTIONS ARE TAILORED
TO FIT THE STRUCTURE.

09/21/21 52
8. MAGNITUDE ERROR

• TRADITIONAL LOGICAL
SYSTEMS HAVE GREAT
DIFFICULTY IN DEALING WITH
MAGNITUDE, BECAUSE
LANGUAGE DEALS WITH THE
NATURE OF SOMETHING
RATHER THAN ITS SIZE.

09/21/21 53
 9. EXTREMES

• THE EXTREMES HABITS

ARISES FROM OUR CUSTOM
OF DEALING WITH
ABSOLUTE CONCEPTS AND
DEFINITIONS.

09/21/21 54
 THE BASIC
THINKING
AND THE
CREATIVE
THINKING
PROCESSES
09/21/21 55
 CREATIVE
VISUALIZATION

09/21/21 56
 PEOPLE HAVE LEARNED NOT TO
USE THEIR IMAGINATIONS AND
CONSEQUENTLY THIS FACILITY
HAS DIMINISHED.

IMAGERY IS A NATURAL FEATURE

OF THE NERVOUS SYSTEM AND
IT CAN SOON BE RE-LEARNED.

09/21/21 57
 RIGHT AND LEFT HEMISPHERES
OF THE BRAIN.

• CREATIVE VISUALIZATION IS
VISUAL IN THE BRAIN.

09/21/21 58
 RIGHT AND LEFT
HEMISPHERES OF THE BRAIN.

• LEONARDO DA VINCI AND

EINSTEIN ALMOST CERTAINLY
HAD BOTH BRAINS
FUNCTIONING IN BALANCE AND
UTILIZED THEM IN
COOPERATION.

09/21/21 59
 YOUR
BRAIN
09/21/21 60
 YOUR LEFT AND RIGHT BRAIN
PROF. ORNSTEIN AND [Link]
SPARRY INVESTIGATED IF
EACH OF OUR SEPARATE
BRAINS HANDLES DIFFERENT
INTELLECTUAL ACTIVITIES.

09/21/21 61
YOUR LEFT AND RIGHT BRAIN

• THEY MEASURED THE BRAIN

WAVES COMING FROM THE
TWO HALVES OF EACH
PERSON’S BRAIN.

09/21/21 62
 • LEFT BRAIN HANDLES
1. MATHEMATICS
2. LANGUAGE
3. LOGIC
4. ANALYSIS
5. WRITING
6. AND OTHER SIMILAR
ACTIVITIES
09/21/21 63
 • RIGHT BRAIN HANDLES
1. IMAGINATION
2. COLOUR
3. MUSIC
4. RHYTHM
5. DAYDREAMING
6. AND OTHER SIMILAR
ACTIVITIES
09/21/21 64
THE ARTIST AND THE SCIENTIST

• EINSTEIN DISCOVERED HIS

TEORY OF RELATIVELY,
WHILE LYING ON A HILL ONE
SUMMER DAY.

09/21/21 65
THE ARTIST AND THE SCIENTIST
• LEONARDO DA VINCI EXCELLED
IN HIS MATHEMATICAL,
LINGUISTIC, LOGICAL AND
ANALYTICAL FACULTIES, WHILE
EXCELLING IN HIS ABILITY TO
USE IMAGINATION, COLOUR,
RHYTHM AND FORM.

09/21/21 66
THE STRUCTURE OF YOUR BRAIN
• CONNECTIONS AND PATHWAYS
IN YOUR BRAIN.
• IT WAS NOT THE NUMBER OF
BRAIN CELLS THAT DETERMINED
INTELLIGENCE BUT SOMETHING
TO DO WITH THE LITTLE
PROTUBERANCES ON THE BRAIN
CELL’S TENTACLES
09/21/21 67
 UNLIMITED POTENTIAL ?

IMPROVING WITH AGE

YOUR BRAIN - SOME

COMPARISONS.

09/21/21 68
 CARRY-ON
• “CARRY-ON” SIMPLY MEANS
KEEP GOING.
• CARRY-ON MEANS THAT
HAVING STARTED ON
SOMETHING YOU GO ON TO THE
END.
• THIS “SOMETHING” IS A
MEMORY PATTERN.
09/21/21 69
 CONNECT-UP
• “CARRY-ON” INVOLVES MOVING
FROM ONE IDEA TO WHATEVER
IDEA FOLLOWS NEXT.
• “CONNECT-UP” MEANS YOU
START WITH TWO SEPARATE IDEA
AND TRY AND FIND A WAY OF
CONNECTING THEM UP.

09/21/21 70
 CONNECT-UP

• CONNECTING UP IS SO
SMOOTH THAT ONE IS NOT
EVEN AWARE OF THERE
HAVING BEEN ANY GAP TO
BEGIN WITH.

09/21/21 71
 MOVEMENT

• THINKING IS SIMPLY A MATTER

OF MOVING FROM ONE IDEA TO
ANOTHER.
• MOVEMENT HAPPENS BECAUSE
THE IDEAS HAVE ALREADY BEEN
SET UP IN A SORT OF CHAIN BY
PAST EXPERIENCE.
09/21/21 72
PROBLEMS AND QUESTIONS

• THE TROUBLE WITH THE

CARRY-ON PROCESS IS THAT
THE MOVEMENT DOES NOT
GET WHERE YOU WANT TO GO.

09/21/21 73
 JUMP AHEAD

• PUSHING AHEAD WITH A

QUESTION AND THEN
CONNECTING UP, GIVES
DIRECTION

09/21/21 74
MAN IS STUPIDER THAN ANIMALS

• MAN MAY BE ABLE TO GO MUCH

FURTHER IN HIS THINKING
THAN ANIMALS ONLY BECAUSE
HIS BASIC THINKING PROCESS IS
LESS PRECISE

09/21/21 75
 CREATIVITY

09/21/21 76
PURPOSE OF CREATIVITY IS TO
CHANGE IDEAS OR PRODUCE
ADDITIONAL NEW ONES.

TWO PROCESSES
1. ESCAPE FROM OLD IDEAS
2. GENERATION OF NEW IDEAS.

09/21/21 77
 CHANGE
• REASONS FOR CHANGING AN IDEA
1. FAULT IN THE CURRENT IDEA.
2. EXPERIENCE OR KNOWLEDGE
SHOWS YOU AN IDEA WHICH IS
BETTER THAN CURRENT ONE.
3. DISSATISFIED WITH THE
CURRENT IDEA.
09/21/21 78
KNOWLEDGE AND CREATIVITY

• KNOWLEDGE IS NOT
CREATIVITY BUT IT IS
DIFFICULT TO COME UP WITH
NEW IDEAS UNLESS YOU HAVE
SOME IDEAS TO PLAY AROUND
WITH IN THE FIRST PLACE.

09/21/21 79
 • TOO MUCH EXPERIENCE
WITHIN A FIELD MAY
RESTRICT CREATIVITY
BECAUSE YOU KNOW SO
WELL HOW THINGS SHOULD
BE DONE THAT YOU ARE
UNABLE TO ESCAPE TO COME
UP WITH NEW IDEAS.

09/21/21 80
• CREATIVITY RISES STEEPLY
WITH INCREASING
KNOWLEDGE TO A PEAK BUT
THEN STARTS TO FALL OFF AS
A FURTHER INCREASE IN
KNOWLEDGE FORCES IDEAS
INTO ESTABLISHED CHANNELS

09/21/21 81
 BEING WRONG AND CREATIVITY

- BEING WRONG IS OFTEN AN

ESSENTIAL PART OF
CREATIVITY.
1. NEW IDEA DOES NOT FIT IN
WITH PREVIOUS IDEAS AND IS
JUDGED AS “WRONG”, IDEA IS
ACTUALLY RIGHT.
09/21/21 82
 2. WRONG IDEA ACT AS A
STEPPING-STONE TO AN
IDEA WHICH IS PERFECTLY
VALID.
3. A MISTAKE ALLOWS ONE TO
ESCAPE OR GET SOME
“DISTANCE” AWAY FROM
THE ESTABLISHED IDEA.

09/21/21 83
4. A MISTAKE MAY ASK A
QUESTION THAT COULD NOT
OTHERWISE HAVE BEEN
ASKED.
- MOST CREATIVE USE OF A
MISTAKE IS AS AN
INTERMEDIATE IMPOSSIBLE
OR STEPPING-STONE TO A
NEW IDEA.
09/21/21 84
POSSIBLE REASONS NOT ABLE TO
COME UP WITH ALTERNATIVES.

1. NO TIME
2. SATISFIED
3. THROWN OUT
4. TOO DETAILED

09/21/21 85
 5. TOO GENERAL
6. NO KNOWLEDGE
7. NO IDEAS.

THE ABOVE REASONS

CONTRIBUTE TO THE PROCESS
KNOWN AS CREATIVITY

09/21/21 86
 CREATIVE
THINKING

09/21/21 87
 CREATIVE THINKING
- AS A SPECIAL TYPE OF
INFORMATION HANDLING.
- TAKE ITS PLACE ALONGSIDE OUR
OTHER METHODS OF HANDLING
INFORMATION :
MATHEMATICS, LOGICAL
ANALSYIS, COMPUTER
SIMULATION.
09/21/21 88
 A. THERE IS NOTHING MORE
MARVELOUS THAN THINKING OF A
NEW IDEA.
B. THERE IS NOTHING MORE
MAFNIFICENT THAN SEEING A
NEW IDEA WORKING.
C. THERE IS NOTHING MORE USEFUL
THAN A NEW THAT SERVES YOUR
PURPOSE.

09/21/21 89
 THE
THEORETICAL
NEED FOR
CREATIVITY
09/21/21 90
 TIME
SEQUENCE
TRAP

09/21/21 91
 INCOMING INFORMATION SETS
UP A SEQUENCE OF ACTIVITY.
IN TIME THIS SEQUENCE OF
ACTIVITY BECOMES A SORT OF
PREFERRED PATH OR PATTERN.

09/21/21 92
 ONCE ESTABLISHED, THESE
PATTERNS ARE MOST USEFUL
BECAUSE THEY ALLOW US TO
“RECOGNIZE” THINGS. ONCE
THE PATTERN HAS BEEN
TRIGGERED THEN WE FOLLOW
ALONG IT AND SEE THINGS IN
TERMS OF PREVIOUS
EXPERIENCE.

09/21/21 93
 WHEN WE ANALYZE DATA WE
CAN ONLY PICK OUT THE IDEA
WE ALREADY HAVE.

09/21/21 94
 THE TIME SEQUENCE TRAP

A SYSTEM - THAT COLLECTS

INFORMATION OVER TIME. THE
INOFRMATION DOES NOT ALL
ARRIVE AT ONCE BUT IN DRIBS
AND DRABS.

09/21/21 95
 - THIS SORT OF SYSTEM
RESEMBLES INDIVIDUALS,
INSTITUTIONS,
CORPORATION, CULTURES.

- BASIC PERCEPTIONS RESIST

DISRUPTION.

09/21/21 96
- WE NEEDS CREATIVITY IN ORDER
TO BREAK FREE FROM THE
TEMPORARY STRUCTURES THAT
HAVE BEEN SET UP BY A
PARTICULAR SEQUENCE EFFECT
OF EXPERIENCE.

09/21/21 97
 - PERCEPTIVE READERS WILL
SEE THAT THE PATTERNING
EFFECT. IT IS THE TIME
SEQUENCE OF EXPERIENCE
THAT SETS UP THE ROUTINE
PATTERNS OF EXPERIENCE;
WE NEED TO ESCAPE FROM
THESE TO PUT TOGETHER
NEW SEQUENCES.

09/21/21 98
- IF THE HUMAN MIND WERE TO
WORK LIKE A LIBRARY, NEW
INFORMATION COULD SIMPLY
BE STACKED ON EMPTY
SHELVES WITH NO ATTEMPT TO
INTEGRATE IT INTO THE
EXISTING SYSTEM.

09/21/21 99
 - CREATIVITY IS NOT SIMPLY A WAY
TO MAKE THINGS BETTER.
WITHOUT CREATIVITY WE ARE
UNABLE TO MAKE FULL USE OF
THE INFORMATION AND
EXPERIENCE THAT IS ALREADY
AVAILABLE TO US AND IS LOCKED
UP IN OLD STRUCTURES, OLD
PATTERNS, OLD CONCEPTS AND
OLD PERCEPTIONS.

09/21/21 100
THE PRACTICAL
NEED FOR
CREATIVITY

09/21/21 101
 A CHANGE IN THE WAY
SOMETHING IS DONE MAY BE
MUCH MORE EFFECTIVE THAN
JUST DOING LESS OF IT.
DOING THE OLD THING WITH
MORE QUALITY MAY NOT BE
THE RIGHT ANSWER. THERE
MAY NEED TO BE A CHANGE
IN WHAT IS BEING DONE.
09/21/21 102
 MOST MANAGERS HAVE A
“MAINTENCE” ATTITUDE.
THEY FEEL THAT THEIR JOB
IS TO KEEP THINGS GOING
AND TO SOLVE PROBLEMS
AS THEY ARISE.

09/21/21 103
 MAINTENANCE MANAGEMENT
IS STRONGLY ORIENTED
TOWARD PROBLEM SOLVING.
WHEN PROBLEMS ARISE THEY
HAVE TO BE SOLVED. IF THERE
ARE NO PROBLEMS THEN
EVERYTHING IS SATISFACTORY.

09/21/21 104
- IN A HIGHLY COMPETITIVE
WORLD, MAINTENANCE
MANAGEMENT IS NO LONGER
THE SUFFICIENT CONCEPT
THAT IT MIGHT ONCE HAVE
BEEN.

09/21/21 105
 INFORMATION
AND CREATIVE
ABILITY

09/21/21 106
 INFORMATION AND CREATIVE
-IF WE HAD PERFECT
INFORMATION IN A
PARTICULAR SITUATION THEN
THINKING WOULD BE
UNNECESSARY. BUT OUR
CHANCES OF GETTING PERFECT
INFORMATION ARE LOW.

09/21/21 107
 INFORMATION AND CREATIVE
ABILITY
- THE NEED FOR THINKING
BECOMES GREATER BECAUSE
WE HAVE TO MAKE SENSE OF
THE INFORMATION.

09/21/21 108
 INFORMATION AND CREATIVE
ABILITY
- BELIEVE THAT IF YOU ANALYZE
DATA, THIS WILL GIVE YOU NEW
IDEAS. UNFORTUNATELY, THIS
BELIEF IS TOTALLY WRONG. THE
MIND CAN ONLY SEE WHAT IT IS
OFF WHAT IT IS PREPARED TO SEE.

09/21/21 109
 - IF YOU WANT A REALLY
NEW IDEA YOU HAVE TO BE
ABLE TO START IT OFF IN
YOUR HEAD WITH
CREATIVITY, AND THEN
CHECK IT OUT IN YOUR
HEAD, WITH CREATIVITY,
AGAINST THE DATA.

09/21/21 110
 - WHEN EVERYTHING HAD
BEEN LABELED AND
DESCRIBED BY THE
“SCHOLARS” THERE WAS NO
METHOD OF PROVOCATION
OR SPECULATION.

09/21/21 111
- A HYPOTHESIS IS A GUESS OR
SPECULATION. THE HYPOTHESIS
GIVES US A FRAMEWORK THROUGH
WHICH TO LOOK AT THE
INFORMATION SO THAT WE CAN
BEGIN TO NOTICE THINGS WE HAVE
NOT NOTICED. THE HYPOTESIS
ALSO GIVES US SOMETHING TO
WORK TOWARDS IN PROVING IT OR
DISPROVING IT.
09/21/21 112
- CREATIVITY IS VERY MUCH
INVOLVED IN CONSTRUCTING A
HYPOTHESIS.
- THERE IS A SERIOUS DILEMMA
ASSOCIATED WITH HYPOTHESIS
WITHOUT A HYPOTHESIS WE
FLOUNDER AROUND. BUT WHEN
WE HAVE GOT A HYPOTHESIS
THEN THIS CAN CLOSE OUR MINDS
TO OTHER POSSIBILITIES.

09/21/21 113
- A HYPOTHESIS SHOULD OPEN UP
POSSIBILITIES, BUT ONLY TOO OFTEN IT
CLOSES DOWN POSSIBILITIES.
- HYPOTHESIS ARE SUPPOSED TO BE
REASONABLE BUT WHEN THERE IS THIS
“REASONABLE” THEN WE CAN ONLY
LOOK AT THE DATA THROUGH THIS
WINDOW. THAT IS WHY PARADIGM
CHANGES CAN TAKE SO LONG TO
HAPPEN

09/21/21 114
- THERE IS A NEED TO HOLD
SEVERAL HYPOTHESIS IN ORDER TO
SEE THE DATA IN DIFFERENT WAYS.
- CREATIVITY IS NEEDED FOR
GENERATING THESE ALTERNATIVE
AND PARALLEL HYPOTHESIS.
THERE IS A NEED FOR GENEROUS
SPECULATION,GUESSING, AND THE
CREATION OF HYPOTHESIS.

09/21/21 115
MARKET ANALYSIS
- THE DANGER OF MARKET
ANALYSIS IS THAT IT IS STATIC
AND REFLECTS NEITHER
INTERACTIVE LOOPS NOR
POSSIBILITIES.
- SO THERE IS A HIGH NEED FOR
CREATIVITY IN INTERPRETING
DATA AND LOOKING AT
POSSIBILITIES.
09/21/21 116
MARKET ANALYSIS
- WHAT OTHER WAYS CAN WE
LOOK AT THIS? WHAT OTHER
EXPLANATIONS MIGHT THERE
BE? WHAT ELSE MIGHT BE
GOING ON HERE? WHAT SORT
OF THINGS MIGHT HAPPEN?

09/21/21 117
 INTELLIGENT
AND
CREATIVITY

09/21/21 118
 INTELLIGENT AND CREATIVITY

- UP TO AN IQ 120, CREATIVITY
AND IQ WENT TOGETHER, BUT
AFTER THAT THEY DIVERGED.

09/21/21 119
 THE SIX THINKING HATS

WHITE HAT
- THE WHITE HAT HAS TO DO WITH
DATA AND INFORMATION
WHAT INFORMATION DO WE HAVE
HERE?
WHAT INFORMATION IS MISSING?

09/21/21 120
WHITE HAT
WHAT INFORMATION DO WE HAVE
HERE?
WHAT INFORMATION IS MISSING?
WHAT INFORMATION WOULD WE
LIKE TO HAVE?
HOW ARE WE GOING TO GET THE
INFORMATION?
09/21/21 121
- FOR WHITE HAT THINKING, YOU
ARE ASKING THOSE PRESENT TO
PUT ASIDE THE PROPOSALS AND
ARGUMENTS AND TO FOCUS
DIRECTLY ON THE INFORMATION.
- LOOKS TO SEE WHAT
INFORMATION IS AVAILABLE,
WHAT IS NEEDED, AND HOW IT
MIGHT BE OBTAINED.
09/21/21 122
RED HAT
- THE RED HAT HAS TO DO WITH
FEELINGS, INTUITION,HUNCHES,
AND EMOTIONS.
- IN A SERIOUS MEETING, PEOPLE
DO THIS BY DISGUISING THEIR
EMOTIONS AS LOGIC.

09/21/21 123
RED HAT
- RED HAT GIVES PEOPLE
PERMISSION TO PUT FORWARD
THEIR FEELINGS AND
INTUITIONS WITHOUT APOLOGY,
WITHOUT EXPLANATION, AND
WITHOUT ANY NEED TO JUSTIFY
THEM.
09/21/21 124
RED HAT
- THIS IS WHAT I FEEL ABOUT THE
PROJECT.
- MY GUT - FEELING
I DON’T LIKE THE..
MY INTUITION TELLS.
- IT SOMETIMES VALUABLE TO GET
FEELINGS OUT INTO THE OPEN.
09/21/21 125
BLACK HAT
- THE BLACK HAT IS THE
“CAUTIN” HAT.
- BLACK HAT PREVENTS US FROM
MAKING MISTAKES, DOING
SILLY THINGS,AND DOING
THINGS WHICH MIGHT BE
ILLEGAL.
09/21/21 126
BLACK HAT
- THE BALCK HAT IS FOR
CRITICAL JUDGEMENT.
- THE BLACK HAT POINTS OUT
WHY SOMETHING CANNOT BE
DONE.
- THE BLACK HAT POINTS OUT
WHY SOMETHING WILL NOT BE
PROFITABLE.
09/21/21 127
BLACK HAT
- THE BLACK HAT IS VERY
VALUABLE. IT IS THE MOST
USED HAT AND POSSIBLY THE
MOST USED HAT.
- AT THE SAME TIME IT IS VERY
EASY TO OVERUSE THE BLACK
HAT.
09/21/21 128
 BLACK HAT
- THE HAT IS VERY VALUABLE
BUT OVERUSE OF IT CAN BE A
PROBLEM.

09/21/21 129
YELLOW HAT
- THE YELLOW HAT IS FOR
OPTIMISM AND THE LOGICAL
POSITIVE VIEW OF THINGS.
- THE YELLOW HAT LOOKS FOR
FEASIBILITY AND HOW
SOMETHING CAN BE DONE.

09/21/21 130
YELLOW HAT
- THE YELLOW HAT LOOKS FOR
HEALTH-BUT THEY MUST BE
LOGICALLY BASED.
- YELLOW HAT THINKING OFTEN
REQUIRES A DELIBERATE EFFORT.
BENEFITS ARE NOT ALWAYS
IMMEDIATELY OBVIOUS AND
09/21/21 131
 YELLOW HAT
- WE MIGHT HAVE TO SEARCH
FOR THEM. EVERY CREATIVE
IDEA DESERVES SOME
YELLOW HAT ATTENTION.

09/21/21 132
 GREEN HAT
- THE GREEN HAT IS FOR
CREATIVE THINKING.
- THE GREEN HAT IS FOR NEW
IDEAS.
- THE GREEN HAT IS FOR
ADDITIONAL ALTERNATIVES.

09/21/21 133
GREEN HAT
- THE GREEN HAT IS FOR PUTTING
FORWARD POSSIBILITIES AND
HYPOTHESES.
- THE YELLOW HAT COVERS
“PROVOCATION” AND
“MOVEMENT” (TO BE DESCRIBED
LATER).
09/21/21 134
 GREEN HAT
- THE GREEN HAT REQUESTS
CREATIVE EFFORT.
- THE GREEN HAT MAKES
TIMES AND SPACE
AVAILABLE FOR CREATIVE
THINKING.

09/21/21 135
BLUE HAT
- THE BLUE HAT IS FOR
PROCESS-CONTROL.
- THE BLUE HAT THINGKS
ABOUT THE THINKING BEING
USED.
- THE BLUE HAT SETS THE
AGENDA FOR THINKING.
09/21/21 136
 BLUE HAT
- THE BLUE HAT SUGGESTS THE
NEXT STEP IN THE THINKING.
- THE BLUE HAT CAN ASK FOR
OTHER HATS.
- THE BLUE HAT ASKS FOR
SUMMARIES, CONCLUSIONS,
AND DECISIONS.
09/21/21 137
 BLUE HAT
- THE BLUE HAT CAN
COMMENT ON THE
THINKING BEING USED.

09/21/21 138
COULD WE HAVE A SUMMARY OF
YOUR VIEWS ?
I THINK WE SHOULD TAKE A LOOK
AT THE PRIORITIES.
- BLUE HAT IS USUALLY USED BY
THE CHAIRPERSON OR THE
ORGANIZER OF THE MEETING, BUT
OTHER PARTICIPANTS CAN PUT
FORWARD SUGGESTIONS.
09/21/21 139
- BLUE HAT IS FOR
ORGANIZING AND
CONTROLING THE THINKING
PROCESS SO THAT IT
BECOMES MORE PRODUCTIVE
.
- THE BLUE HAT IS FOR
THINKING ABOUT THINKING.
09/21/21 140
 - SIX HATS METHOD ALLOWS US
TO GET RIGHT AWAY FROM
ARGUMENT IN ORDER TO GET
MORE PRODUCTIVE
DISCUSSIONS.
- INSTEAD IF ADVERSARIAL
THINKING THERE IS
COOPERATIVE EXPLORATION.
09/21/21 141
- IS A WAY OF BREAKING FREE
FROM THE TRADITIONAL
ARGUMENT SYSTEM.

09/21/21 142
 UNDERSTANDING
CREATIVITY

09/21/21 143
IDEALLY THE MIND SHOULD BE
ALLOWED TO ACCEPT
INFORMATION HAPHAZARDLY
FROM ANY SOURCE.

09/21/21 144
PEOPLE WHO TEND TO USE
LATERAL THINKING MOST
NATURALLY IN THEIR WORK
ARE JOURNALISTS AND
ADVERTISING PEOPLE.

LATERAL THINKING IS
CONCERNED WITH LOW-
PROBABILITY ANSWERS.
09/21/21 145
INTERMEDIATE IMPOSSIBLE.

- AN “INTERMEDIATE
IMPOSSIBLE” IS AN IDEA
WHICH IS NOT RIGHT IN
ITSELF BUT WHICH ONE USES
AS A STEPPING-STONE TO GET
TO AN IDEA WHICH IS RIGHT.

09/21/21 146
INSIGHT

- YOU LAUGH AT A JOKE

BECAUSE YOU ARE
SUDDENLY ABLE TO
SWITCH OVER AND LOOK
AT THINGS IN A DIFFERENT
WAY.

09/21/21 147
De BONO’S 1st LAW
“AN IDEA CAN NEVER MAKE THE
BEST USE OF AVAILABLE
INFORMATION “
- SINCE AN IDEA DEVELOPS SLOWLY
OVER TIME AS MORE INFORMATION
BECOMES AVAILABLE THE IDEA
CANNOT MAKE AS GOOD USE OF
THAT INFORMATION AS WOULD BE
POSSIBLE IF ALL THE INFORMATION
HAD BECOME AVAILABLE AT ONCE.
09/21/21 148
 DISCONTINUITY

- IT INVOLVES BREAKING
LOOSE FROM AN
ESTABLISHED WAY OF
LOOKING AT THINGS IN
ORDER TO FIND A NEW ONE.

09/21/21 149
“ PO “ THE NEW WORD
- “PO” ALLOWS ONE TO STEP
OUTSIDE THE HARSH RIGIDITY
OF THE ‘YES / NO” SYSTEM.
- “PO” IS A CRYSTALLIZATION OF
THE ESCAPE FUNCTION OF
HUMOUR.

09/21/21 150
TWO USES OF “PO”
1. LIBERATION

- “PO” MEANS : THAT IS ONE

POINT OF VIEW, THAT IS
YOUR POINT OF VIEW
STARTING AS YOU DO FROM
CERTAIN BASIC IDEAS.

09/21/21 151
 TWO USES OF “PO”
2. PROVOCATION

- “PO” CAN BE USED TO SET

UP SUCH INTERMEDIATE
IMPOSSIBLE.

09/21/21 152
 CHANGE AND NEW IDEAS.

- “PO” IS A CREATIVE TOOL

WHICH HELPS ONE TO
CHANGE TO NEW IDEAS.

09/21/21 153
5. PROVIDE FOR MORE EFFICIENT
USE OF INDIVIDUAL SKILLS
AND ABILITIES, THUS
IMPROVING MORALE AND THE
ORGANIZATIONAL CLIMATE.

09/21/21 154
 VERTICAL THINKING DEVELOPS
AND USES EXISTING IDEAS.

LATERAL THINKING DISCOVERS

NEW IDEAS.

09/21/21 155
DE BONO SUGGEST :

VERTICAL THINKING IS
CONCERNED WITH DIGGING
THE SAME HOLE DEEPER.

LATERAL THINKING IS
CONCERNED WITH DIGGING
THE HOLE SOMEWHERE ELSE.

09/21/21 156
VERTICAL THINKING :
- IS A SEQUENTIAL PROCESS
WITH LOGICAL PROGRESSION
STEPWISE TO A SOLUTION.
- SELECTS A SINGLE BEST
APPROACH.
- AVOIDS EXTERNAL
INFLUENCES.
- CONFORMS TO ESTABLISHED
PATTERNS.
09/21/21 157
LATERAL THINKING :
- IS HAPHAZARD IN NATURE AND
JUMPS AROUND, DEVELOPING
ITS APPROACH FROM THE
EVENTUAL - SOLUTION.
- GENERATES MANY
ALTERNATIVE APPROACHES
AND SOLUTIONS.
- ACTIVELY SEEKS DISRUPTION.
- BREAKS DOWN ESTABLISHED
PATTERNS.
09/21/21 158
WE DEFINED CREATIVITY AS

THE ABILITY TO DISCOVER

NEW RELATIONSHIPS, TO
LOOK AT SUBJECTS FROM
NEW PERSPECTIVES, AND TO
FORM NEW COMBINATIONS
FROM TWO OR MORE
CONCEPTS ALREADY IN THE
MIND.
09/21/21 159
CREATIVITY HAS BEEN DEFINED AS:

1. THE PRODUCT OF CREATIVE

BEHAVIOR, SUCH AS INVENTIONS,
THEORIES, LITERATURE, MUSIC,
ART, ALGORITHMS, AND MODELS.
2. THE PROCESS OF CREATIVE
BEHAVIOR, WHICH INVOLVES
PERCEPTION, THINKING,

09/21/21 160
CREATIVITY HAS BEEN DEFINED
AS:
LEARNING, AND MOTIVATION.

3. CHARACTERISTICS OF THE
INDIVIDUAL WHO CREATES,
SUCH AS TEMPERAMENT,
PERSONAL ATTITUDES AND
HABITS.

09/21/21 161
CREATIVITY HAS BEEN DEFINED
AS :

4. ENVIRONMENTAL AND
CULTURAL INFLUENCES THAT
AFFECT CREATIVE BEHAVIOR.

5. THE ROLE OF CREATIVE

THINKING IN PROBLEM
SOLVING.
09/21/21 162
CREATIVITY IS A BLENDING OF
KNOWLEDGE, IMAGINATION
AND EVALUATION.

THIS PROCESS OCCURS THROUGH

THE REARRANGEMENT AND
ASSOCIATION OF KNOWLEDGE
AND EXPERIENCE IN NEW
WAYS.

09/21/21 163
CREATIVITY USES WHAT IS
EXISTING AND AVAILABLE AND
CHANGES IT IN UNPREDICTABLE
WAYS, PRODUCING UNEXPECTED
RESULTS.

CREATIVITY IN TERMS OF
SENSITIVITY, SYNERGY AND
SERENDIPITY.

09/21/21 164
SENSITIVITY INVOLVES
AWARENESS AND PERCEPTION
TO DISCOVER PROBLEM AND
INVENT SOLUTIONS.

SYNERGY IS THE BEHAVIOR OF A

TOTAL SYSTEM THAT IS
UNPREDICTED BY THE
BEHAVIOR OF ANY OF THE
COMPONENTS.
09/21/21 165
 SERENDIPITY REFERS TO THE
AWARENESS OF THE
RELEVANCE OF ACCIDENTAL
HAPPENINGS.

09/21/21 166
CREATIVITY HAS BEEN VIEWED AS :
- DIVINE INSPIRATION.
- A FORM OF MADNESS
- A HIGHLY DEVELOPED FORM OF
INTUITION.
- A MANIFESTATION OF THE
CREATIVE FORCE INHERENT IN
LIFE ITSELF.
- A COSMIC FORCE CENTRAL TO
THE UNIVERSE.
09/21/21 167
ASSOCIATIONISM :
CREATIVE ASSOCIATIONS
OCCUR THROUGH
ASSOCIATION BY
RESEMBLANCE.

CREATIVITY IS BASED ON
ASSOCIATION OF IDEAS,
IDEAS ARE RECOMBINED.

09/21/21 168
GESTALT THEORY :
CREATIVE THINKING IS A
RECONSTRUCTION OF
GESTALTS, OR PATTERNS,
THAT ARE STRUCTURALLY
DEFICIENT.

09/21/21 169
PSYCHOANALYSIS :
CREATIVITY ORIGINATES IN A
CONFLICT WITH THE
UNCONSCIOUS MIND.
NEOPSYCHOALYSIS :
CREATIVITY IS VIEWED AS THE
PRODUCT OF THE PRECONSCIOUS
RATHER THAN THE
UNCONSCIOUS MIND.
09/21/21 170
 PRECONSCIOUS MIND IS OPEN
TO RECALL WHEN THE EGO IS
RELAXED.

09/21/21 171
MOTIVATION FOR CREATIVITY

- CREATIVITY IS OFTERN
MOTIVATED BY AN
INDIVIDUAL’S OR GROUP’S
NEED TO INVENT SOLUTIONS
FROM LIMITED RESOURCES.

09/21/21 172
BARRIERS TO CREATIVITY

- LEFT BRAIN CONTROLS JUDICIAL

THOUGHT, WHICH ANALYZES,
COMPARES AND CHOOSES.

- RIGHT BRAIN IS ASSOCIATED

WITH CREATIVE BEHAVIOR,
NAMELY, VISUALIZING AND
GENERATING IDEAS.
09/21/21 173
 - OVER 90% OF FORMAL
EDUCATION TRAINS OUR
JUDICIAL THINKING.

- WE ARE TAUGHT THE “ONE

CORRECT WAYS” TO SOLVE
PROBLEMS, TO JUDGE, TO
CRITIQUE.

09/21/21 174
 - JUDGEMENT GROWS WITH
AGE, AND CREATIVITY
DWINDLES.

- WE MUST DECOUPLE
JUDGEMENT FROM
IMAGINATION.

09/21/21 175
HABITS
- HABITS SUCH AS DRESS CODED
AND FORMAL COMMUNICATION
CHANNELS REFLECTS
CONFORMITY AND SECURITY.
- WITH HABITS, OUR THINKIGN
BECOMES RIGID; WE CALL THIS
FUNCTIONAL FIXATION OR
PROBLEM SOLVING RIGIDITY.

09/21/21 176
CREATIVITY BLOCKS

PERCEPTUAL BLOCK
- STEREOTYPING AND
LABELING.

- DIFFICULTY IN ISOLATING
THE TRUE PROBLEM.

09/21/21 177
CREATIVITY BLOCKS
PERCEPTUAL BLOCK
- ADDING ARITIFICIAL
CONSTRAINTS AND
ASSUMPTIONS TO A PROBLEM.
- THE INABILITY TO SEE A
PROBLEM FROM VARIOUS
VIEWPOINTS.
09/21/21 178
EMOTIONAL BLOCKS

- FEAR OF MAKING MISTAKES OR

TAKING RISKS, THE INABILITY TO
TOLERATE AMBIGUITY, THE
DESIRE FOR SECURITY AND
ORDER, A PREFERENCE FOR
JUDGING IDEAS RATHER THAN
GENERATING THEM, INABILITY
TO RELAX AND PUT

09/21/21 179
EMOTIONAL BLOCKS

- THE PROBLEM ASIDE FOR A

WHILE, LACK OF CHALLENGE,
OVERMOTIVATION TO SUCCEED
QUICKLY, LACK OF
IMAGINATIVE CONTROL, AND
THE INABILITY TO DISTINGUISH
REALITY FROM FANTASY.

09/21/21 180
CULTURAL AND
ENVIRONMENTAL BLOCK

- ACQUIRED FROM CULTURAL

PATTERNS AND OUR
IMMEDIATE SOCIAL AND
PHYSICAL ENVIRONMENT.

09/21/21 181
INTELLECTUAL AND
EXPRESSIVE BLOCK

- INCLUDE THE INEFFICIENT

CHOICE OF MENTAL TACTICS
OR A SHORTAGE OF
INTELLECTUAL AMMUNITION.

09/21/21 182
2. SOME CREATIVE IDEAS AND
SUGGESTIONS ARE POLITICALLY
UNWISE, THUS ARE RESISTED.

3. CREATIVE INDIVIDUALS ARE

GENERALLY HIGH TURNOVER
RISKS AND BE LURED AWAY BY
OTHER COMPANIES THAT DESIRE
THEIR TALENTS AND SKILL.
THEREFORE MANAGERS WILL NOT
COMMIT TO THEM.

09/21/21 183
4. HIGHLY CREATIVE
ORGANIZATIONS TEND TO BE
LESS PREDICTABLE AND MORE
CHANGEABLE THAN THOSE
EMPHASIZING EFFICIENCY AND
PRODUCTIVITY. SOME
MANAGERS FIND THESE
CONDITIONS DISTRESSING.

09/21/21 184
 5. HIGHLY CREATIVE PEOPLE
CAN BE AN ECONOMIC
BURDEN ON THE COMPANY.
MANAGERS GENERALLY ARE
EVALUATED ON ECONOMIC
PERFORMANCE.

09/21/21 185
- EXTERNAL FACTORS THAT ARE
CONDUCIVE TO CREATIVE
THINKING INCLUDE :

1. PROVIDING FREEDOM TO DO
THINGS DIFFERENTLY,
ENCOURAGING RISK TAKING,
ENCOURAGING SELF-INITIATED
PROJECTS, PROVIDING
ASSISTANCE IN

09/21/21 186
 DEVELOPING IDEAS, AND
PROVIDING TIME FOR
INDIVIDUAL EFFORTS.

2. MAINTAINING AN OPTIMAL
AMOUNT OF WORK PRESSURE,
PROVIDING A NONPUNITIVE
ENVIRONMENT, USING A LOW
LEVEL OF SUPERVISION,
PROVIDING REALISTIC WORK
GOALS.
09/21/21 187
3. DELEGATING RESPONSIBILITIES,
PROVIDING IMMEDAITE AND
TIMELY FEEDBACK,
DEMONSTRATING CONFIDENCE
IN THE WORKFORCE IN A
CLIMATE OF MUTUAL RESPECT,
ALLOWING INDIVIDUALS TO BE
PART OF THE DECISION-MAKING
PROCESS.

09/21/21 188
4. ENCOURAGING PARTICIPATION
AND INTERACTION WITH
OTHERS OUTSIDE THE WORK
GROUP.

5. ENCOURAGING OPEN
EXPRESSION OF IDEAS,
ACCEPTING “OFF THE WALL”
IDEAS.

09/21/21 189
WE ARE VERY MUCH
CONCERNED WITH USING THE
IMAGINATION TO VISUALIZE
THINGS.

THE NEGLECT OF IMAGERY AND

THE IMAGINATION.

09/21/21 190
 IMAGERY AND
IMAGINATION

09/21/21 191
TYPES OF IMAGES
- THE TYPES OF IMAGES AND THEIR
PERCENTAGE IN RANKING :
(MCKELLAR, 1968)
VISUAL IMAGERY (97)
AUDITORY (93)
MOTOR (74)
TACTILE (70)
GUSTATORY (67)
OLFACTORY (66)
PAIN (54)
TEMPERATURE (43)

09/21/21 192
WHAT IS IMAGINATION ?
- IMAGINATION IS THE MENTAL
FACULTY OF THE FORMING
IMAGES OR CONCEPTS OF
EXTERNAL OBJECT NOT PRESENT
TO THE SENSES.

- CLOSELY LINKED WITH

DAYCREAMING AND FANTASY.

09/21/21 193
 WHAT IS IMAGINATION ?
- INDULGING IN FANCY OR
REVERIE WHILE AWAKE.

- THE FACULTY OF INVENTING

IMAGES.

09/21/21 194
 IMAGINATION

09/21/21 195
DEVELOPING THE IMAGINATION

- CAN BE DONE FROM TWO

DIRECTIONS.

1. PRACTISING FORMING
MENTAL IMAGES.

2. DEVELOPING IMAGINATIVE
SKILLS.

09/21/21 196
DEVELOPING MENTAL IMAGES :

1. VISUAL
- NUMBERS WRITTEN ON A
BROAD
- LETTERS OR WORDS WRITTEN
ON A BOARD.
- A COLOURES CIRCLE
- A COLOURED TRIANGLE
- A COLOURED SQUARE
- A CRESCENT MOON
- A STAR
09/21/21 197
DEVELOPING MENTAL IMAGES :
2. AUDITORY (SOUND)
- A GONG
- A VOICE CALLING YOUR
NAME
- CHILDREN PLAYING
- TRAFFIC
- A TRAIN
- A SHIP’S HORN
- A CHURCH BELL
09/21/21 198
DEVELOPING MENTAL IMAGES :
3. KINESTHETIC (I.E.
MOVEMENT)
- WALKING
- RUNNING
- SWIMMING
- DRIVING
- SAWING WOOD
- DANCING
09/21/21 199
DEVELOPING MENTAL IMAGES :
4. TACTILE
- SHAKING HANDS
- STROKING A CAT
- PLACING YOUR HAND IN
SNOW
- PLACING YOUR HAND UNDER
RUNNING WATER
- RUNNING YOUR FINGERS
THROUGH SOFT WOOL.
09/21/21 200
DEVELOPING MENTAL IMAGES :
5. GUSTATORY
- YOUR FAVOURITE DISH.
- AN ORANGE
- WHIPPED CREAM
- ICE-CREAM
- A HOT DRINK
- A DATE
09/21/21 201
FOUR ASPECTS OF IMAGINATION:
1. PICTURE VIVIDNESS
- VIVIDNESS IMPLIES RICHNESS
OF DETAIL.
2. NUMBER OF ALTERNATIVE
- COOKING AN EGG, BOILED,
FRIED,SCRAMBLED.
- THE RICHNESS OF
ALTERNATIVES
09/21/21 202
FOUR ASPECTS OF IMAGINATION:
3. DIFFERENT WAYS OF LOOKING
AT SOMETHING
- A BOTTLE IS HALF FULL OF
MILK, IT IS HALF EMPTY.
4. CREATIVE IMAGINATION
- INVOLVES FANTASY AND THE
ABILITY TO PICTURE.
09/21/21 203
IMAGINATION IN THE BLACK
CYLINDER EXPERIMENT.

IMAGINATION AND UNIQUE

RIGHTNESS.
- WITHOUT IMAGINATION
ONE IS RELY TOO MUCH ON
UNIQUE RIGHTNESS.

09/21/21 204
IMAGINATION AND BASIC
THINKING PROCESSES.

- “CONNECT-UP” PROCESS
IMAGINATION GIVES A GOOD
SPREAD TO THE STARTING
POINT.

09/21/21 205
IMAGINATION AND CREATIVITY

- IMAGINATION BY ITSELF IS NOT

CREATIVITY ANYMORE THAN
NUMBERS ARE MATHEMATICS.

- IT IS ONE OF THE INGREDIENTS

OF CREATIVITY.

09/21/21 206
 CREATIVE
THINKING
TECHNIQUES

09/21/21 207
NEW IDEAS TEND TO OCCUR
MUCH MORE OFTEN TO THOSE
WHO ARE ABLE TO ESCAPE
FROM THIS RIGIDITY OF WORDS
AND CLASSIFICATIONS.

ONE TECHNIQUE FOR AVOIDING

THE RIGIDITY OF WORDS IS TO
THINK IN TERMS OF VISUAL
IMAGES AND NOT USE WORDS
AT ALL.
09/21/21 208
VISUAL LANGUAGE OF THOUGHT
MAKES USE OF LINES, DIAGRAMS,
COLOUR, GRAPHS AND MANY
OTHER DEVICES TO ILLUSTRATE.

A VERY USEFUL TECHNIQUE FOR

ESCAPING FROM THE FIXED PARTS
OF A PROBLEM IS TO BREAK THE
PARTS DOWN INTO STILL SMALLER
PARTS AND THEN RECOMBINE
THESE SMALLER UNITS TO FORM
LARGER NOVEL UNITS.
09/21/21 209
IT IS NECESSARY TO BE
DELIBERATE AND EVEN
ARTIFICIAL.

ANOTHER USEFUL TECHNIQUE IS

TO TURN UPSIDE DOWN
DELIBERATELY BY
CONSCIOUSLY REVERSING
SOME RELATIONSHIP.

09/21/21 210
THE PURPOSE OF LOGIC SHOULD
BE NOT SO MUCH TO FIND THE
FINAL CONCLUSION BUT TO
MAKE SURE THAT IT IS SOUND
ONCE IT HAS BEEN FOUND

09/21/21 211
 A MIND WHICH HAS TOO FEW
IDEAS CAN BE EXCUSED AN
EAGERNESS TO RUSH AT
THEM.

THE FINEST WAY TO TREAT AN

IDEA IS TO TRY IT OUT.

09/21/21 212
THE USE OF CHANCE IN THE
GENERATION OF NEW IDEAS.

A USEFUL TECHNIQUE FOR

EXCITING NEW IDEAS IS TO
EXPOSE ONE-SELF
DELIBERATELY TO A MULTITUDE
OF STIMULANTS BY WONDERING
AROUND A PLACE THAT IS FULL
OF THINGS WHICH WOULD NOT
BE DELIBERATELY SOUGHT OUT.
09/21/21 213
 - THE HAT METHOD SEPARATES
EGO FROM PERFORMANCE. THE
THINKER IS CHALLENGED TO
USE THE DIFFERENT HATS AND
ACTUALLY EXPERIENCES A
SENSE OF FREEDOM BECAUSE
THE THINKER IS NO LONGER
LIMITED TO ONE POSITION.

09/21/21 214
CONTINUITY ANALYSIS
WHY DO WE THINGS AS WE DO?
- BECAUSE IT WAS THE BEST
WAY OF DOING THINGS AND
IT STILL IS THE BEST WAY OF
DOING THINGS.

09/21/21 215
 - BECAUSE WE HAVE
CONSIDERED CHANGING TO
A BETTER WAY BUT THE
COST OF CHANGE AND THE
DISRUPTION OF CHANGE
ARE SUCH THAT ON
BALANCE WE HAVE CHOSEN
TO STAY WITH THIS WAY.

09/21/21 216
THE CONTINUITY OF NEGLECT
- WE CONTINUE TO DO THINGS IN A
CERTAIN WAY SIMPLY BECAUSE
WE HAVE NEGLECTED TO THINK
ABOUT THEM. WE HAVE NEVER
- WE HAVE NEVER LOOKED TO SEE
IF THERE MIGHT BE A BETTER
WAY.
09/21/21 217
THE CONTINUITY OF NEGLECT
- WHY HAVE WE NEGLECTED TO
THINK ABOUT THE MATTER ?
- BECAUSE THE MATTER WAS
NEVER A PROBLEM AND NEVER
PRESENTED ANY DIFFICULTY,
SO THERE WAS

09/21/21 218
THE CONTINUITY OF NEGLECT
- NO REASON TO GIVE IT THINKING
TIME OR THINKING ATTENTION.
- OUR THINKING IS SO PROBLEM-
DRIVEN THAT IF SOMETHING IS
NOT A PROBLEM WE DO NOT
THINK ABOUT IT.

09/21/21 219
 ALTERNATIVES
THE SEARCH FOR ALTERNATIVE IS
THE MOST BASIC OF ALL CREATIVE
OPERATION.
- IS THERE ANOTHER WAY ?
- WHAT ARE THE ALTERNATIVES ?
- WHAT ELSE CAN BE DONE ?

09/21/21 220
#SIMPLE FOCUS: THE
WILLINGNESS TO FOCUS ON
SOMETHING THAT IS NOT A
PROBLEM IN ORDER TO FIND
ALTERNATIVE IDEAS.
# CREATIVE PAUSE: THE PAUSE
TO LOOK FOR ALTERNATIVES
EVEN WHEN THERE IS NO NEED.
09/21/21 221
 #CHALLENGE: THE
WILLINGNESS TO
CHALLENGE UNIQUENESS
AND TO SEE IF THERE
MIGHT BE ALTERNATIVE
WAYS OF DOING
SOMETHING.

09/21/21 222
 #CONTINUITY OF NEGLECT:
THINGS CONTINUE TO BE
DONE IN THE SAME WAY
BECAUSE THERE WAS NEVER
ANY REASON TO LOOK FOR
ALTERNATIVES.

09/21/21 223
 CONCEPT FAN

- THE CONCEPT FAN IS AN

ACHIEVEMENT TECHNIQUE.
- HOW DO WE SOLVE THE PROBLEM?
- HOW DO WE ACHIEVE THE TASK ?
- HOW DO WE GET SOME WHERE WE
WANT TO GO ?

09/21/21 224
 - MOVING BACKWARDS
FROM THE PURPOSE OF
THE THINKING WE THEN
HAVE THE “BROAD
CONCEPTS,” APPROACHES,
OR “DIRECTIONS” THAT
WOULD LEAD US TO THE
OBJECTIVE.

09/21/21 225
- IN MAKING A CONCEPT FAN,
YOU ARE SUPPOSED TO START
AT THE “PURPOSE” AND THEN
WORK BACKWARDS. AT EACH
POINT YOU ASK: “NOW HOW DO I
GET TO THIS POINT ?” SO YOU
WORK BACKWARDS FROM
DIRECTIONS TO CONCEPTS TO
END UP WITH
09/21/21 226
- A WHOLE LOT OF ALTERNATIVE
IDEAS - WHICH IS THE POINT OF
THE EXERCISE.
- SUPPOSE WE WERE MAKING A
CONCEPT FAN ON TRAFFIC
CONGESTION IN CITIES.

09/21/21 227
- YOUR BRAIN MIGHT
IMMEDIATELY SUGGEST
“WORKING AT HOME”. YOU
THEN SAY TO YOURSELF: “HOW
WOULD THIS HELP IN THIS
MATTER ?”
- THE ANSWER IS THAT WORKING
AT HOME WOULD “REDUCE THE
NEED TO TRAVEL.”
09/21/21 228
- NOW HOW WOULD THAT HELP ?
BY REDUCING THE TRAFFIC
LOAD.
- SO “REDUCING THE TRAFFIC
LOAD” IS A DIRECTIONS.
REDUCING THE NEED TO
TRAVEL IS A CONCEPT. AND
WORKING AT HOME IS AN
“IDEA”.
09/21/21 229
- YOU MIGHT THINK OF “CAR
POOLING”.
- INCREASING THE “DENSITY OF
PEOPLE PER VEHICLE.”
- YOU MIGHT THINK OF
“STAGGERING WORKING
HOURS.”
- BY REDUCING THE PEAK LOAD.
09/21/21 230
- CONCEPT FAN IS AN
“ACHIEVEMENT FAN”. IT IS
CONCERNED WITH “HOW DO
GET THERE ?”
- THE PURPOSE OF THE
CONCEPT FAN IS TO PROVIDE
A FRAMEWORK FOR
GENERATING ALTERNATIVE
IDEAS.
09/21/21 231
 THE BASIC PRINCIPLE IN
CREATIVE THINKING
• THE STEP BY
STEP APPROACH
TO CREATIVE
THINKING
TECHNIQUE

09/21/21 232
 BASIC RULES IN
CREATIVE THINKING
• 1. BE IMAGINATIVE - PROMOTE
IMAGINATION
• 2. HAVE INITIATIVE TO PROVOKE YOUR
MIND BY ‘THINKING WRONG’
• 3. DEFER JUDGEMENT - BETTER STILL BY-
PASS JUDGEMENT
• 4. USE MOVEMENT IN THINKING - ALL
THE TIME

09/21/21 233
 BASIC CREATIVE METHOD
MOMENT
TO
MOMENT

POSITIVE
ASPECT

REVERSE PROVOCATION MOVEMENT

ENGINEERING THE
DIFFERENCES

PO: ESCAPE BASIC

PO:STEPPING STONE - PRINCIPLE
1. REVERSAL METHOD
2. EXAGGERATION
3. DISTORTION INTERESTING
4. WISHFUL THINKING ASPECT
5. RANDOM JUXTAPOSITION CIRCUMSTANCES
09/21/21 234
 PROVOCATION
- EINSTEIN USED TO CARRY OUT
WHAT HE CALLED “THOUGHT
EXPERIMENTS.”
- WHAT WOULD I SEE IF I WERE
TRAVELLING AT THE SPEED OF
LIGHT ?”
- PROVOCATION HAS EVERYTHING
TO DO WITH EXPERIMENTS IN THE
MIND.
09/21/21 235
 PROVOCATION
- MANY IMPORTANT NEW IDEAS
CAME ABOUT THROUGH
CHANCE, ACCIDENT, MISTAKE,
OR “MADNESS.” ALL THESE
PROVIDED A SORT OF
DISCONTINUITY, WHICH
FORCED US OUTSIDE THE USUAL
BOUNDARIES OF LOGIC.
09/21/21 236
 PROVOCATION
- “REASONABLENESS” THAT HAD
BEEN ESTABLISHED BY OUR
EXPERIENCE. WITH
DELIBERATE PROVOCATION
WE HAVE A SYSTEMATIC
METHOD THAT CAN PRODUCE
THE SAME EFFECTS.
09/21/21 237
- WE USE THE SYMBOLIC
WORD “PO” TO INDICATE
THAT THIS IS INTENDED AS
A PROVOCATION AND NOT
AS A SERIOUS SUGGESTION.
- THE DEFINITION OF A
PROVOCATION IS SIMPLE.

09/21/21 238
- “WITH A PROVOCATION THERE
MAY NOT BE A REASON FOR
SAYING SOMETHING UNTIL
AFTER IT HAS BEEN SAID.
- IN PROVOCATION WE MOVE
FROM THE STARTING POINT TO
AN ARBITRARY PROVOCATION.

09/21/21 239
- THEN WE “MOVE” ON FROM
THE PROVOCATION TO AN
IDEA OR CONCEPT.
- THE PURPOSE OF THE
PROVOCATION IS
PRECISELY TO GET US OUT
OF THE USUAL MAINTRACK.
FROM THE PROVOCATION
09/21/21 240
- WE MOVE ON TO FIND A NEW
POINT WHICH IN HINDSIGHT
SEEMS TO OFFER VALUE.
- IT IS THE ESCAPE FROM THE
ESTABLISHED MAIN TRACK
THAT IS SO IMPORTANT.

09/21/21 241
- WE NEED WAYS OF
GETTING OUT OF THOSE
MAIN TRACKS IN ORDER TO
BE CREATIVE.
- THAT IS WHY
PROVOCATION PLAYS SO
CENTRAL . A ROLE IN
LATERAL THINKING.
09/21/21 242
 - A PROVOCATION ALSO
PROVIDED US WITH A
NOVEL FRAMEWORK FOR
LOOKING AT THINGS. BUT A
PROVOCATION GOES MUCH
BEYOND A HYPOTHESIS.
- A HYPOTHESIS TRIES TO BE
REASONABLE.
09/21/21 243
- A PROVOCATION USUALLY
TRIES TO BE “UNREASONABLE”
IN ORDER TO JERK OUR
THINKING OUT OF ITS USUAL
CHANNELS.
- BOTH HYPOTHESIS AND
PROVOCATION SEEK TO
CHANGE OUR PERCEPTIONS.
09/21/21 244
- BOTH HYPOTHESIS AND
PROVOCATION SEEK TO
CHANGE OUR PERCEPTIONS.
- A HYPOTHESIS SEEKS TO GUIDE
OUR PERCEPTIONS IN A
CERTAIN DIRECTION.
- A PROVOCATION SEEKS TO
TAKE OUR PERCEPTIONS AWAY
FROM THEIR USUAL DIRECTION.
09/21/21 245
- FORMAL AND DELIBERATE
TECHNIQUE OF PROVOCATION
IS A TWO STAGE PROCESS.
- THE FIRST STAGE INVOLVES
THE SETTING UP OF THE
PROVOCATION.

09/21/21 246
 - THE SECOND STAGE
INVOLVES THE USE OF THE
PROVOCATION TO MOVE
FORWARD TO A USEFUL
NEW IDEA.

09/21/21 247
 MOVEMENT
- MOVEMENT IS AN
EXTREMELY IMPORTANT
MENTAL OPERATION.
- IT IS CENTRAL TO THE
WHOLE OF CREATIVITY. IN
JUDGEMENT, WHEN WE
COME TO AN IDEA WE
09/21/21 248
 - COMPARE THE IDEA WITH
OUR EXISTING PATTERNS
OF EXPERIENCE.
- IF THE IDEA DOES NOT FIT,
WE REJECT THE IDEA.
- THAT IS GOOD BLACK HAT
THINKING

09/21/21 249
- IN MOVEMENT, WE COME TO AN
IDEA AND WE ARE TOTALLY
UNINTERESTED IN WHETHER
THE IDEA IS RIGHT OR WRONG
OR WHETHER IT FITS OUR
EXPERIENCE.
- WE SOLELY INTERESTED IN
WHERE WE CAN “MOVE” TO
FROM THE IDEA.
09/21/21 250
- WE SEEK TO MOVE
FORWARD.
- JUDGEMENT IS STATIC AND
IS CONCERNED WITH “IS”
AND “IS NOT”.
- JUDGEMENT IS PART OF
TRADITIONAL ROCK LOGIC.

09/21/21 251
 - MOVEMENT IS FLUID AND IS
CONCERNED WITH “TO” :
WHERE DOES THIS LEAD TO ?
- MOVEMENT IS PART OF
WATER LOGIC WITH ITS
FLOW AND FLUIDITY.

09/21/21 252
 THE USE OF “MOVEMENT”
- THE USE OF MOVEMENT WITH
PROVOCATION IS THE MOST
EXTREME FORM OF MOVEMENT.
- HOW DO WE MOVE FORWARD
FROM AN “IMPORTANT”
PROVOCATION TO SOMETHING
USEFUL ?
09/21/21 253
 THE USE OF “MOVEMENT”
- THE GENERAL SENSE OF
“IMPORTANT” MEANS THE
WILLINGNESS TO MOVE
FORWARD IN A POSITIVE
EXPLORING WAY RATHER THAN
STOPPING TO JUDGE WHETHER
SOMETHING IS RIGHT OR
WRONG.
09/21/21 254
 THE USE OF “MOVEMENT”
- INTERESTED IN WHAT THE
STATEMENT LEADS TO.
- TWO BROAD WAYS OF USING
MOVEMENT : GENERAL
ATTITUDE AND SYSTEMATIC
TECHNIQUES.

09/21/21 255
 GENERAL ATTITUDE
- GENERAL WILLINGNESS TO MOVE
FORWARD FROM A STATEMENT OR
PROVOCATION.
- FIVE SYSTEMATIC TECHNIQUES FOR
GETTING MOVEMENT.
- THE DIFFERENT TECHNIQUES CAN
OVERLAP.

09/21/21 256
 GENERAL ATTITUDE
- THE SOLE PURPOSE OF
MOVEMENT IS TO MOVE
FORWARD TO A NEW IDEA OR
CONCEPT.
1. EXTRACT A PRINCIPLE
2. FOCUS ON THE DIFFERENCE
3. MOMENT TO MOMENT
4. POSITIVE ASPECTS
5. CIRCUMSTANCES
09/21/21 257
1. EXTRACT A PRINCIPLE
- LOOK AT THE PROVOCATION
- SEEK TO EXTRACT A PRINCIPLE
FROM THE PROVOCATION.
- PRINCIPLE
- CONCEPT
- FEATURE
- ASPECT
09/21/21 258
1. EXTRACT A PRINCIPLE
- IGNORE THE REST AND NOW
PROCEED TO WORK ONLY
WITH WHAT YOU HAVE
“EXTRACT”.
- YOU SEEK TO BUILD A USABLE
IDEA AROUND THIS PRINCIPLE.

09/21/21 259
2. FOCUS ON THE DIFFERENCE
- THIS PROVOCATION IS
COMPARED WITH THE EXISTING
IDEA OR WAY OF DOING THINGS.
- THE POINTS OF DIFFERENCE
ARE SPELLED OUT AND PURSUED
TO SEE IF THEY MIGHT LEAD TO
AN INTERESTING NEW IDEA.
09/21/21 260
2. FOCUS ON THE DIFFERENCE
- EVEN IF THE DIFFERENCE IS
ONLY ONE PER CENT, THIS ONE
PER CENT CAN BE EXPLORED.
- OCCASIONALLY THE
PROVOCATION ITSELF TURNS
OUT TO HAVE A DIRECT VALUE
EVEN THOUGH THIS IS NOT THE
PURPOSE OF A PROVOCATION.
09/21/21 261
3. MOMENT TO MOMENT
- THE MOST POWERFUL OF THE
TECHNIQUES OF MOVEMENT.
- WE IMAGINE THE PROVOCATION
BEING PUT INTO EFFECT - EVEN
IF THIS INVOLVES FANTASY.
- WE VISUALIZE WHAT WOULD
HAPPEN MOMENT TO MOMENT.
09/21/21 262
3. MOMENT TO MOMENT
- WE ARE NOT INTERESTED IN
THE FINAL RESULT BUT ONLY
IN THE MOMENT-TO-MOMENT
HAPPENINGS.
- IT IS LIKE WATCHING A
VIDEOTYPE FRAME BY FRAME
TO WATCH WHAT IS GOING
ON.
09/21/21 263
3. MOMENT TO MOMENT
- FROM THIS OBSERVATION
WE SEEK TO DEVELOP SOME
INTERESTING CONCEPT OR
IDEA.

09/21/21 264
4. POSITIVE ASPECTS
- THE SIMPLEST OF THE
MOVEMENT TECHNIQUES.
- LOOK DIRECTLY FOR ANY
BENEFITS OR POSITIVE
ASPECTS IN THE PROVOCATION.
- WHAT VALUES ARE
IMMEDIATELY PRESENT ?
09/21/21 265
4. POSITIVE ASPECTS
- HERE WE ARE INTRESTED IN
WHAT IS DIRECTLY PRESENT
RATHER THAN WHAT THE
PROVOCATION MIGHT LEAD TO.
- WE THEN TAKE THIS VALUE
AND SEEK TO MOVE FORWARD
WITH IT TO A NEW IDEA.
09/21/21 266
4. POSITIVE ASPECTS
- WHEN A VALUE IS TURNED UP OF BY
THE PROVOCATION THEN WE TRY TO
FIND WAYS OF ACHIEVING THE SAME
VALUE IN A MORE PRACTICAL FASHION.
- WE CONCERN OURSELVES WITH THE
VALUE AND TRY TO BUILD AND IDEA
AROUND IT.

09/21/21 267
5. CIRCUMSTANCES
- UNDER WHAT CIRCUMSTANCES
WOULD THIS PROVOCATION
HAVE A DIRECT VALUE ?
- MOMENT TO MOMENT
INVOLVES BOTH FANTASY BUT
ALSO AN ANALYTICAL
ATTEMPT TO SEE WHAT MIGHT
HAPPEN.
09/21/21 268
POSSIBLE RESULT OF MOVEMENT
- AS WE PROCEED WITH
“MOVEMENT: A NUMBER OF
THINGS MAY BE HAPPEN.
NEGATIVE
- NEGATIVE POINTS SHOULD
NEVER BE PUT FORWARD
BECAUSE IT BECOMES SO EASY
TO FALL BACK INTO SIMPLE
JUDGEMENT.
09/21/21 269
 POSSIBLE RESULT OF
MOVEMENT
OLD IDEAS
- SOMETIMES MOVEMENT
TRACKS BACK INTO OLD
IDEAS.
- A CONSCIOUS EFFORT NEEDS
TO BE MADE TO DEVELOP
OTHER ROUTES.
09/21/21 270
 INTERESTING POINT
- THE POINT NEED NOT HAVE
VALUE BUT THERE IS THE
SENSE THAT IT HAS POTENTIAL.
- THERE IS A SENSE OF
POTENTIAL.
- SO YOU PAUSE AND LOOK
AROUND.
09/21/21 271
 INTERESTING POINT
- THERE IS NO HURRY IN
MOVEMENT. IT IS ONE OF THE
TIME WHEN IT IS BETTER TO
THINK VERY SLOWLY
BECAUSE THIS WAY YOU
NOTICE MORE.

09/21/21 272
INTERESTING POINT VALUE
REACHING A CONCEPT
- FRESH CONCEPTS ARE COMPARED
WITH OLD ESTABLISHED
CONCEPTS.
- THERE IS AN ATTEMPT TO
REDEFINE AND TO STRENGHTEN
THE CONCEPT

09/21/21 273
SETTING UP PROVOCATIONS
SOURCES OF PROVOCATIONS
- TWO MAIN SOURCES OF
PROVOCATION :
- PROVOCATIONS CAN HAPPEN BY
CHANCE, ACCIDENT, OR MISTAKE.
- THE DELIBERATE AND FORMAL
WAYS OF SETTING UP
PROVOCATIONS.
09/21/21 274
 SETTING UP PROVOCATIONS
THE ESCAPE METHOD
- THERE ARE MANY “NORMAL”
THINGS THAT WE TAKE FOR
GRANTED.
- SO THE FIRST STEP IS TO SPELL OUT
SOMETHING WE TAKE FOR
GRANTED.
- THIS SHOULD BE DONE FORMALLY
AND SPECIFICALLY.
09/21/21 275
SETTING UP PROVOCATIONS
- THE NEXT STEP IS TO “ESCAPE”
FROM WHAT WE HAVE TAKEN
FOR GRANTED. THIS MEANS
CANCELING, NEGATING,
DROPPING, REMOVING,
DENYING, OR ESCAPING FROM
WHAT WE HAVE TAKEN FOR
GRANTED.
09/21/21 276
SETTING UP PROVOCATIONS
- ANYTHING AT ALL THAT WE
TAKE FOR GRANTED CAN BE
“ESCAPED FROM” IN ORDER TO
CREATE A PROVOCATION.
- IT DOES NOT MATTER HOW
IMPOSSIBLE OR ABSURD THE
RESULTING PROVOCATION MAY
APPEAR.
09/21/21 277
 SETTING UP PROVOCATIONS
- WRITE DOWN A LIST OF “TAKE-
FOR-GRANTED ITEMS,”
- ESCAPE TECHNIQUE IS
PARTICULARLY USEFUL FOR
LOOKING AT ESTABLISHED
METHODS, PROCEDURES, OR
SYSTEMS WHERE EVERYTHING
SEEMS IN ORDER AND HAS
09/21/21 278
SETTING UP PROVOCATIONS
- EVOLVED OVER TIME TO
ASTABLE STATE.
- IF YOU WISH TO MAKE
IMPROVEMENTS OR CHANGES
YOU MAY NOT KNOW WHERE
TO START.

09/21/21 279
SETTING UP PROVOCATIONS
- THE ESCAPE PROCESS
SUDDENTLY UPSETS THE
EXISTING PROCEDURES, SO
YOU ARE FORCED TO THINK
AFRESH ABOUT THINGS.

09/21/21 280
 THE STEPPING -STONE METHOD
- A PROVOCATION SHOULD BE BOLD
AND MECHANICAL.
- YOU SHOULD NOT HAVE ANY IDEA
WHERE THE PROVOCATION MIGHT
LEAD YOU.
- A GOOD TEST OF WHETHER YOUR
PROVOCATIVE AND MECHANICAL
ENOUGH IS TO SEE HOW MANY
USABLE IDEAS YOU CAN CREATE
IMMEDIATELY
09/21/21 281
 THE STEPPING -STONE METHOD
- SEE HOW MANY OF YOUR
PROVOCATIONS YOU CAN USE
SUCCESSFULLY.
- THERE SHOULD BE AT LEAST 40
PER CENT THAT YOU ARE
UNABLE TO USE.
09/21/21 282
 THE STEPPING -STONE METHOD
- IF YOU CAN USE THEM ALL
SUCCESSFULLY THEN EITHER
YOU MUST BE EXCEPTIONALLY
SKILLED AT MOVEMENT - OR
YOU ARE JUST CREATING
PROVOCATIONS TO FIT IDEAS
YOU ALREADY HAVE.
09/21/21 283
 THE STEPPING -STONE METHOD
- IF YOU CAN USE THEM ALL
SUCCESSFULLY THEN EITHER
YOU MUST BE EXCEPTIONALLY
SKILLED AT MOVEMENT - OR
YOU ARE JUST CREATING
PROVOCATIONS TO FIT IDEAS
YOU ALREADY HAVE.
09/21/21 284
 REVERSAL
- MEANS LOOKING AT THE
“NORMAL” OR USUAL
DIRECTION IN WHICH
SOMETHING IS DONE AND THEN
GOING IN THE REVERSE OR
OPPOSITE DIRECTION.
PO : THE ORANGE JUICE HAS
ME FOR BREAKFAST.
09/21/21 285
 EXAGGERATION
- THIS METHOD IS DIRECLY
RELATED TO MEASUREMENTS AND
DIMENSION: NUMBER, FREQUENCY,
VOLUME, TEMPERATURE,
DURATION, AND SO ON.
- SUGGESTING A MEASUREMENT
THAT FALLS FAR OUTSIDE THIS
NORMAL RANGE.

09/21/21 286
EXAGGERATION
- THE EXAGGERATION MAY BE
UPWARD IN TERMS OF AN
INCREASE IN THE
MEASUREMENT OR IT MAY BE
DOWNWARD IN TERMS OF A
DIMINUTION IN THE
MEASUREMENT.
09/21/21 287
EXAGGERATION
- THE EXAGGERATION CREATES
THE TYPICAL INSTABILITY OF A
PROVOCATION.
- WE CANNOT STAY WITH THE
EXAGGERATION SO WE “MOVE”
FORWARD TO SOME IDEA.

09/21/21 288
 EXAGGERATION
- EXAGGERATION - TYPE
PROVOCATIONS ARE ALWAYS
BASED ON SOME DIMENSION OR
MEASUREMENT.
- THERE IS NOT THE USUAL BROAD
MEANING OF EXAGGERATION,
WHICH ALSO INCLUDES ANYTHING
OUTRAGEOUS.
09/21/21 289
DISTORTION
- THE DISTORTION TYPE OF
PROVOCATION IS OBTAINED
BY TAKING THESE NORMAL
ARRANGEMENTS AND
CHANGING THEM.

09/21/21 290
 DISTORTION
- THE DISTORTION METHOD IS
PROBABLY THE MOST DIFFICULT
OF THE STEPPING-STONE METHODS
BUT IT CAN YIELD POWERFUL
IDEAS BECAUSE THE
PROVOCATIONS TEND TO BE VERY
PROVOCATIVE AND WE CANNOT
EASILY SLIP BACK TO EXISTING
IDEAS.
09/21/21 291
WISHFUL THINKING
- WOULDN’T IT BE NICE IF . . .
- WE PUT FORWARD A FANTASY
WISH KNOWING THAT IT IS
IMPOSSIBLE TO ACHIEVE.
- IT IS MUCH TOO WEAK JUST
TO PUT FORWARD A NORMAL
DESIRE, OBJECTIVE, OR TASK.
09/21/21 292
 HOW TO REVITALISE YOUR
WISHFUL THINKING
A. INCLUDE YOURSELF AS THE
SUBJECT OF THE WISH.
B. IF YOUR WISH DEPEND ON
SOMEBODY ELSE KINDNESS - - - -
FIND WHAT PROBLEM IT WOULD
SOLVE FOR YOUR IF YOUR WISH
HAS BEEN GRANTED.

09/21/21 293
 HOW TO REVITALISE YOUR
WISHFUL THINKING
C. VISUALISE THE DESIRED END STATE
AS AMBITIOUSLY AND
IMAGINATIVELY.
D. WRITE ‘A VISION OF THE FUTURE
- FICTION SET BASED ON AN
ASSUMPTION THAT EVERYTHING
E. PROBE DEEPER BEHIND THE WISH

09/21/21 294
THE RANDOM INPUT
- IS THE SIMPLEST OF ALL
CREATIVE TECHNIQUES.
- WIDELY USED BY NEW
PRODUCT GROUPS,
ADVERTISING AGENCIES,
ROCK GROUP, PLAYWRIGHTS,
AND MANY OTHERS.
09/21/21 295
 THE RANDOM INPUT
- WE OBTAIN A WORD WHICH
HAS NO CONNECTION
WHATSOEVER WITH THE
SITUATION AND HOLD THE TWO
TOGETHER.
- IF THE “WORD” IS TRULY
RANDOM THEN THAT WORD
WOULD SERVE TO HELP WITH
09/21/21 296
 THE RANDOM INPUT
- ANY SUBJECT MATTER
WHATSOEVER.
- IT IS ONLY WHEN WE
UNDERSTAND HOW THE BRAIN
WORKS AS A SELF-ORGANIZING
PATTERNING SYSTEM THAT
THE PROCESS MAKE SENSE.
09/21/21 297
- THE BRAIN IS SO VERY GOOD
AT MAKING CONNECTIONS
THAT EVEN IF THE RANDOM
WORD (OR INPUT) SEEMS VERY
REMOTE, THE BRAIN WILL
MAKE THE NEEDED
CONNECTIONS BACK TO THE
FOCUS AREA.
09/21/21 298
- WITH THE RANDOM INPUT
TECHNIQUE WE START AT A
NEW POINT AND THIS
IMMEDIATELY INCREASES OUR
CHANCES OF HITTING THE NEW
TRACK.
- WE NEED TO USE A CHANCE
METHOD TO GET THE
PROVOCATION.
09/21/21 299
- USE A DICTIONARY
- CLOSE YOUR EYES AND STAB
YOUR FINGER AT A PAGE OF A
NEWPAPER OR BOOK.
- THE RANDOM WORD
TECHNIQUE IS PARTICULARLY
USEFUL IN THE FOLLOWING
TYPES OF SITUATIONS.
09/21/21 300
- STAGNATION
- BLANK SHEET (GREENFIELD)
- ADDITIONAL IDEAS
- BLOCKED
BLOCKED
A NUMBER OF PITFALLS TO
AVOID:

09/21/21 301
- LINKING THE RANDOM INPUT
TO AN IDEA THAT YOU HAVE
ALREADY.
- THE PURPOSE OF THE
TECHNIUE IS TO GET NEW
IDEAS, NOT TO PROVIDE AN
EXCUSE FOR PUTTING
FORWARD OLD IDEAS.
09/21/21 302
- USE THE WORD AS GIVEN AND
DO NOT REARRANGE THE
LETTERS.
- DO NOT TAKE TOO MANY STEPS.
- DO NOT LIST ALL THE
CHARACTERISTICS OF THE
RANDOM WORD.

09/21/21 303
- TAKE THE FIRST
CHARACTERISTIC THAT COMES
TO MIND AND TRY TO MAKE IT
WORK.
- YOU CAN USE RANDOM
PICTURES INSTEAD OF WORDS.
- YOU SHUFFLE SOME PICTURES
AND PICK ONE AT RANDOM.
09/21/21 304
- THE GENERAL PRINCIPLE OF
THE RANDOM INPUT IS THE
WILLINGNESS TO LOOK FOR
UNCONNECTED INPUTS AND TO
USE THESE TO OPEN UP NEW
LINES OF THINKING.

09/21/21 305
 THE
TREATMENT
OF IDEA
09/21/21 306
 THE TREATMENT OF IDEA
QUICK REJECTION OF IDEA
- THE FIRST THING TO BE
AVOIDED IS THE QUICK
REJECTION OF IDEAS.
- IF THE IDEA CANNOT MEET
THESE CONSTRAINTS IT TENDS
TO BE REJECTED.
09/21/21 307
 THE TREATMENT OF IDEA
QUICK REJECTION OF IDEA
- ONE OF THE MOST COMMON
AND THE MOST POWERFUL
WAYS OF REJECTING AN IDEA IS
SIMPLE PHRASE “ THE SAME
AS”.

09/21/21 308
 SHAPING IDEAS
- IN THE NORMAL DESIGN
PROCESS WE LAY OUT THE
REQUIREMENTS AND THE
CONSTRAINTS AND THEN
SEEK AN IDEA TO FIT THE
“MOLD”.

09/21/21 309
SHAPING IDEAS
- IN THE CREATIVE PROCESS,
HOWEVER, WE USE THE
CONSTRAINTS TO “SHAPE” THE
IDEA INTO A MORE SUITABLE FOR,.
- THE IMAGE IS THAT OF A POTTER
USING HIS HANDS TO SHAPE THE
CLAY ON THE POTTER’S WHEEL.

09/21/21 310
SHAPING IDEAS
- THERE IS A CONSCIOUS AND
ACTIVE SHAPING EFFORT TO TRY
AND GET THE NEW IDEA TO FIT
THE REAL - WORLD CONSTRAINTS.
- IT IS ALSO PERMISSIBLE TO
CHALLENGE THE CONSTRAINTS
THEMSELVES FROM TIME TO TIME.

09/21/21 311
TAILORING IDEAS
- THE OPERATION OF
TAILORING IS NOT SO MUCH
CONCERNED WITH REAL-
WORLD CONSTRAINTS AS
WITH THE RESOURCES
AVAILABLE.

09/21/21 312
TAILORING IDEAS
- DURING THE GENERATION OF
IDEAS AT ONE POINT SHOULD
THERE BE A CONSCIOUSNESS OF
THE ACTUAL RESOURCES
AVAILABLE ?
- INSTEAD THIS CONSCIOUSNESS
IS USED TO GUIDE THINKING IN
A CERTAIN DIRECTION.

09/21/21 313
STRENGTHENING IDEA
- THE PROCESS OF
STRENGTHENING THE IDEA
DEAL ONLY WITH THE POWER
OR STRONG POINTS OF THE
IDEA, WHICH ARE MADE EVEN
STRONGER.

09/21/21 314
EVERYDAY CREATIVITY
- USE CREATIVITY IN THIS
“EVERYDAY” FASHION.
- CREATIVITY BECOMES PART
OF ORDINARY THINKING.

09/21/21 315
 IMPLEMENTING
CREATIVE
THINKING
PROGRAMS -
STRUCTURES
AND
PROGRAMS
09/21/21 316
CREATIVE PAUSE
- THE WILLINGNESS TO PAUSE
AND WONDER FROM TIME
TO TIME.
- THE WILLINGNESS TO
INTERUPT THE SMOOTH
FLOW OF AN OPERATION OR
A LINE OF THINKING TO ASK
09/21/21 317
CREATIVE PAUSE
- QUESTIONS: “IS THERE AN
ALTERNATIVE ?”
“ DO WE HAVE TO DO IT THIS
WAY ?”
“ WHAT CAN WE DO WITH
THIS ?”

09/21/21 318
CHALLENGE
- DO WE HAVE TO DO THINGS
THIS WAY ?
- IS THERE A BETTER WAY OF
DOING THIS ?
- LET’S TAKE A LOOK AT THIS.

09/21/21 319
STRUCTURES AND PROGRAMS
QUALITY CIRCLES
- INTRODUCE CREATIVITY
RIGHT AT THE BEGINNING
BECAUSE THE MEMBERS OF
A QUALITY CIRCLE MIGHT
HAVE A LIST OF USEFUL
SUGGESTIONS TO MAKE
USING THEIR EXPERIENCES
AND LOGICAL ANALYSIS.
09/21/21 320
STRUCTURES AND PROGRAMS
QUALITY CIRCLES
- THE USE OF CREATIVE
TECHNIQUES WITHIN QUALITY
CIRCLES.
QUALITY, CONTINUOUS
IMPROVEMENT, AND COST-
CUTTING
- IT IS NECESSARY TO FIND A
“BETTER” WAY OF DOING
SOMETHING.
09/21/21 321
CREATIVITY CENTER
- CREATICITY CENTER IS A
TYPE OF STRUCTURE.
- CREATIVITY CENTER COULD
BE RESPONSIBLE FOR THE
CREATIVE HIT LIST AND THE
COULD “9” FILE.
- CREATIVITY CENTER
PROVIDES AND ENERGIZING
AND A FOCUSING STRUCTURE.
09/21/21 322
CONCEPT R & D
- CONCEPT SHOULD BE
TREATED AS FORMALLY AS
TECHNICAL R & D.

09/21/21 323
CLOUD “9” FILE
- CLOUD “9” SIGNIFIES
“DREAM.”
- THE FILE IS A PHYSICAL
FILE WHICH IS CIRCULATED
AROUND A CIRCULATION
PATTERN OF EXECUTIVES.

09/21/21 324
CLOUD “9” FILE
- THERE MAY BE SEVERAL
SUCH FILES CIRCULATING
AND ALSO LOCAL FILES FOR
SPECIAL AREAS.
- THE FILES SHOULD REACH A
PERSON ONCE EVERY
MONTH OR EVERY TWO
MONTHS.
09/21/21 325
CLOUD “9” FILE
- INTO THIS FILE GO THE
FOLLOWING POSSIBILITIES :
- NOVEL IDEAS
- CONSTRUCTIVE
COMMENTS
- ORIGINAL IDEAS
- NEW CREATIVE FOCUSES

09/21/21 326
SEVERAL VALUE TO THE CLOUD
“9” FILE
- A PERIODIC REMINDER TO
THINK CREATIVELY.
- THE PROVISION OF CREATIVE
FOCUSES ABOUT WHICH TO
THINK CREATIVELY.
- IDEA AND CONCEPT TO REACT
TO.
09/21/21 327
SEVERAL VALUE TO THE
CLOUD “9” FILE
- A SIMPLE CHANNEL INTO
WHICH IDEAS CAN BE
PLACED.
- THE ACTUAL VALUE OF THE
IDEAS AND SUGGESTIONS.

09/21/21 328
CREATIVE TASK SHEET
- THE CREATIVE TASK SHEET
IS, HOWEVER, A SPECIFIC
CREATIVE REQUEST.
- THE RECIPIENT IS DIRECTLY
ASKED FOR HIS OR HER
CREATIVE IDEAS ON A
DEFINED FOCUS.

09/21/21 329
CREATIVE TASK SHEET
- THE CREATIVE TASK SHEET
IS INTENDED TO OVERCOME
SUCH RELUCTANCE AND
ALSO TO ELICIT NEW IDEAS.
- AT THE TOP THE TASK
SHEET SETS OUT THE
CREATIVE TASK OR FOCUS.

09/21/21 330
- THE CREATIVE TASK SHEET IS
SENT OUT INDIVIDUALLY TO
NAMED PEOPLE WHO ARE
BEING ASKED FOR THEIR
CREATIVE INPUT.
- A DEADLIND IS GIVEN AND THE
COMPLETED TASK SHEET MUST
BE RETURNED TO THE SENDER
BY THAT DATE.

09/21/21 331
- THE CREATIVE TASK CAN BE
ORGANIZED BY THE
CREATIVITY CENTER OR
THE PROCESS CHAMPION.

09/21/21 332
OPPORTUNITY AUDIT
- OPPORTUNITY AUDIT IS A
STRUCTURE THAT “DEMANDS”
ENTREPRENEURSHIP THINKING.
- AUDIT SHOULD SPELL OUT THE
CONSIDERED OPPORTUNITIES,
WHAT WAS DONE ABOUT THEM,
AND WHY THEY WERE NOT
TAKEN UP.

09/21/21 333
REGULAR CREATIVE SESSIONS
- SCHEDULE OF REGULAR CREATIVE
SESSIONS MIGHT BE SET UP WITHIN
A DEPARTMENT OR A LOCAL AREA.
- SESSIONS ARE SCHEDULED ON A
REGULAR BASIS: PERHAPS THE
FIRST WEDNESDAY IN EVERY
MONTH.

09/21/21 334
 CREATIVITY AND
THE DECISION AND
MANAGEMENT
SCIENCES

09/21/21 335
 TECHNIQUES AND TIME
IN CREATIVITY

- NATURAL FLOW OF CREATIVITY

MAY HAVE BEEN OUT OFF BY
LACK OF TIME.

09/21/21 336
EVERY CREATION IS A NEW
COMBINATION OF IDEAS,
PRODUCT, COLOURS, TEXTURES,
WORD AND SO ON.
CREATIVITY RESULT IN SCIENTIFIC
DISCOVERIES, INNOVATIVE NEW
PRODUCTS, ART, AND
LITERATURE, ALL OF WHICH
SATISFY SOME NEED OF
MANKIND.
09/21/21 337
EXAMPLES :

- SOLARCARE INC. DISPOSABLE

TOWELETTE.

- ALEX CARSWELL, STRESSBAL.

FRANK PERDUE, HAIRS

- REMAINED ON CHICKENS,
BOUGHT A USED JET ENGINE.

09/21/21 338
- SOLARCARE INC. DISPOSABLE
TOWELETTE.

- ALEX CARSWELL, STRESSBAL.

FRANK PERDUE, HAIRS

- REMAINED ON CHICKENS,
BOUGHT A USED JET ENGINE.

09/21/21 339
- CREATIVE THINKING PRODUCES
NOVEL OUTCOMES, AND
PROBLEM SOLVING INVOLCES
PRODUCING A NEW RESPONSE TO
A NEW SITUATIN, WHICH IS A
NOVEL OUTCOMES

- CREATIVITY IS ALSO THE

ESSENCE OF RESEARCH
INNOVATION.
09/21/21 340
MINNESOTA MINING &
MANUFACTURING INVENTOR
FRANCIS [Link], WAYS TO BOOST
OF SANDPAPER.

WHY NOT SELL SANDPAPER TO MEN

AS A REPLACEMENT FORRAZOR
BLADES.

OKIE DEVELOPED A WATERPROOF

SANDPAPER
09/21/21 341
 UNDERSTANDING
CREATIVITY

09/21/21 342
5. PROVIDE FOR MORE EFFICIENT
USE OF INDIVIDUAL SKILLS
AND ABILITIES, THUS
IMPROVING MORALE AND THE
ORGANIZATIONAL CLIMATE.

09/21/21 343
 VERTICAL THINKING DEVELOPS
AND USES EXISTING IDEAS.

LATERAL THINKING DISCOVERS

NEW IDEAS.

09/21/21 344
DE BONO SUGGEST :

VERTICAL THINKING IS
CONCERNED WITH DIGGING
THE SAME HOLE DEEPER.

LATERAL THINKING IS
CONCERNED WITH DIGGING
THE HOLE SOMEWHERE ELSE.

09/21/21 345
VERTICAL THINKING :
- IS A SEQUENTIAL PROCESS
WITH LOGICAL PROGRESSION
STEPWISE TO A SOLUTION.
- SELECTS A SINGLE BEST
APPROACH.
- AVOIDS EXTERNAL
INFLUENCES.
- CONFORMS TO ESTABLISHED
PATTERNS.
09/21/21 346
LATERAL THINKING :
- IS HAPHAZARD IN NATURE AND
JUMPS AROUND, DEVELOPING
ITS APPROACH FROM THE
EVENTUAL - SOLUTION.
- GENERATES MANY
ALTERNATIVE APPROACHES
AND SOLUTIONS.
- ACTIVELY SEEKS DISRUPTION.
- BREAKS DOWN ESTABLISHED
PATTERNS.
09/21/21 347
WE DEFINED CREATIVITY AS

THE ABILITY TO DISCOVER

NEW RELATIONSHIPS, TO
LOOK AT SUBJECTS FROM
NEW PERSPECTIVES, AND TO
FORM NEW COMBINATIONS
FROM TWO OR MORE
CONCEPTS ALREADY IN THE
MIND.
09/21/21 348
CREATIVITY HAS BEEN DEFINED AS:

1. THE PRODUCT OF CREATIVE

BEHAVIOR, SUCH AS INVENTIONS,
THEORIES, LITERATURE, MUSIC,
ART, ALGORITHMS, AND MODELS.
2. THE PROCESS OF CREATIVE
BEHAVIOR, WHICH INVOLVES
PERCEPTION, THINKING,

09/21/21 349
CREATIVITY HAS BEEN DEFINED
AS:
LEARNING, AND MOTIVATION.

3. CHARACTERISTICS OF THE
INDIVIDUAL WHO CREATES,
SUCH AS TEMPERAMENT,
PERSONAL ATTITUDES AND
HABITS.

09/21/21 350
CREATIVITY HAS BEEN DEFINED
AS :

4. ENVIRONMENTAL AND
CULTURAL INFLUENCES THAT
AFFECT CREATIVE BEHAVIOR.

5. THE ROLE OF CREATIVE

THINKING IN PROBLEM
SOLVING.
09/21/21 351
CREATIVITY IS A BLENDING OF
KNOWLEDGE, IMAGINATION
AND EVALUATION.

THIS PROCESS OCCURS THROUGH

THE REARRANGEMENT AND
ASSOCIATION OF KNOWLEDGE
AND EXPERIENCE IN NEW
WAYS.

09/21/21 352
CREATIVITY USES WHAT IS
EXISTING AND AVAILABLE AND
CHANGES IT IN UNPREDICTABLE
WAYS, PRODUCING UNEXPECTED
RESULTS.

CREATIVITY IN TERMS OF
SENSITIVITY, SYNERGY AND
SERENDIPITY.

09/21/21 353
SENSITIVITY INVOLVES
AWARENESS AND PERCEPTION
TO DISCOVER PROBLEM AND
INVENT SOLUTIONS.

SYNERGY IS THE BEHAVIOR OF A

TOTAL SYSTEM THAT IS
UNPREDICTED BY THE
BEHAVIOR OF ANY OF THE
COMPONENTS.
09/21/21 354
 SERENDIPITY REFERS TO THE
AWARENESS OF THE
RELEVANCE OF ACCIDENTAL
HAPPENINGS.

09/21/21 355
CREATIVITY HAS BEEN VIEWED AS :
- DIVINE INSPIRATION.
- A FORM OF MADNESS
- A HIGHLY DEVELOPED FORM OF
INTUITION.
- A MANIFESTATION OF THE
CREATIVE FORCE INHERENT IN
LIFE ITSELF.
- A COSMIC FORCE CENTRAL TO
THE UNIVERSE.
09/21/21 356
ASSOCIATIONISM :
CREATIVE ASSOCIATIONS
OCCUR THROUGH
ASSOCIATION BY
RESEMBLANCE.

CREATIVITY IS BASED ON
ASSOCIATION OF IDEAS,
IDEAS ARE RECOMBINED.

09/21/21 357
GESTALT THEORY :
CREATIVE THINKING IS A
RECONSTRUCTION OF
GESTALTS, OR PATTERNS,
THAT ARE STRUCTURALLY
DEFICIENT.

09/21/21 358
PSYCHOANALYSIS :
CREATIVITY ORIGINATES IN A
CONFLICT WITH THE
UNCONSCIOUS MIND.
NEOPSYCHOALYSIS :
CREATIVITY IS VIEWED AS THE
PRODUCT OF THE PRECONSCIOUS
RATHER THAN THE
UNCONSCIOUS MIND.
09/21/21 359
 PRECONSCIOUS MIND IS OPEN
TO RECALL WHEN THE EGO IS
RELAXED.

09/21/21 360
MOTIVATION FOR CREATIVITY

- CREATIVITY IS OFTEN
MOTIVATED BY AN
INDIVIDUAL’S OR GROUP’S
NEED TO INVENT SOLUTIONS
FROM LIMITED RESOURCES.

09/21/21 361
BARRIERS TO CREATIVITY

- LEFT BRAIN CONTROLS JUDICIAL

THOUGHT, WHICH ANALYZES,
COMPARES AND CHOOSES.

- RIGHT BRAIN IS ASSOCIATED

WITH CREATIVE BEHAVIOR,
NAMELY, VISUALIZING AND
GENERATING IDEAS.
09/21/21 362
 - OVER 90% OF FORMAL
EDUCATION TRAINS OUR
JUDICIAL THINKING.

- WE ARE TAUGHT THE “ONE

CORRECT WAYS” TO SOLVE
PROBLEMS, TO JUDGE, TO
CRITIQUE.

09/21/21 363
 - JUDGEMENT GROWS WITH
AGE, AND CREATIVITY
DWINDLES.

- WE MUST DECOUPLE
JUDGEMENT FROM
IMAGINATION.

09/21/21 364
HABITS
- HABITS SUCH AS DRESS CODED
AND FORMAL COMMUNICATION
CHANNELS REFLECTS
CONFORMITY AND SECURITY.
- WITH HABITS, OUR THINKIGN
BECOMES RIGID; WE CALL THIS
FUNCTIONAL FIXATION OR
PROBLEM SOLVING RIGIDITY.

09/21/21 365
CREATIVITY BLOCKS

PERCEPTUAL BLOCK
- STEREOTYPING AND
LABELING.

- DIFFICULTY IN ISOLATING
THE TRUE PROBLEM.

09/21/21 366
CREATIVITY BLOCKS
PERCEPTUAL BLOCK
- ADDING ARITIFICIAL
CONSTRAINTS AND
ASSUMPTIONS TO A PROBLEM.
- THE INABILITY TO SEE A
PROBLEM FROM VARIOUS
VIEWPOINTS.
09/21/21 367
EMOTIONAL BLOCKS

- FEAR OF MAKING MISTAKES OR

TAKING RISKS, THE INABILITY TO
TOLERATE AMBIGUITY, THE
DESIRE FOR SECURITY AND
ORDER, A PREFERENCE FOR
JUDGING IDEAS RATHER THAN
GENERATING THEM, INABILITY
TO RELAX AND PUT

09/21/21 368
EMOTIONAL BLOCKS

- THE PROBLEM ASIDE FOR A

WHILE, LACK OF CHALLENGE,
OVERMOTIVATION TO SUCCEED
QUICKLY, LACK OF
IMAGINATIVE CONTROL, AND
THE INABILITY TO DISTINGUISH
REALITY FROM FANTASY.

09/21/21 369
CULTURAL AND
ENVIRONMENTAL BLOCK

- ACQUIRED FROM CULTURAL

PATTERNS AND OUR
IMMEDIATE SOCIAL AND
PHYSICAL ENVIRONMENT.

09/21/21 370
INTELLECTUAL AND
EXPRESSIVE BLOCK

- INCLUDE THE INEFFICIENT

CHOICE OF MENTAL TACTICS
OR A SHORTAGE OF
INTELLECTUAL AMMUNITION.

09/21/21 371
2. SOME CREATIVE IDEAS AND
SUGGESTIONS ARE POLITICALLY
UNWISE, THUS ARE RESISTED.

3. CREATIVE INDIVIDUALS ARE

GENERALLY HIGH TURNOVER
RISKS AND BE LURED AWAY BY
OTHER COMPANIES THAT DESIRE
THEIR TALENTS AND SKILL.
THEREFORE MANAGERS WILL NOT
COMMIT TO THEM.

09/21/21 372
4. HIGHLY CREATIVE
ORGANIZATIONS TEND TO BE
LESS PREDICTABLE AND MORE
CHANGEABLE THAN THOSE
EMPHASIZING EFFICIENCY AND
PRODUCTIVITY. SOME
MANAGERS FIND THESE
CONDITIONS DISTRESSING.

09/21/21 373
 5. HIGHLY CREATIVE PEOPLE
CAN BE AN ECONOMIC
BURDEN ON THE COMPANY.
MANAGERS GENERALLY ARE
EVALUATED ON ECONOMIC
PERFORMANCE.

09/21/21 374
- EXTERNAL FACTORS THAT ARE
CONDUCIVE TO CREATIVE
THINKING INCLUDE :

1. PROVIDING FREEDOM TO DO
THINGS DIFFERENTLY,
ENCOURAGING RISK TAKING,
ENCOURAGING SELF-INITIATED
PROJECTS, PROVIDING
ASSISTANCE IN

09/21/21 375
 DEVELOPING IDEAS, AND
PROVIDING TIME FOR
INDIVIDUAL EFFORTS.

2. MAINTAINING AN OPTIMAL
AMOUNT OF WORK PRESSURE,
PROVIDING A NONPUNITIVE
ENVIRONMENT, USING A LOW
LEVEL OF SUPERVISION,
PROVIDING REALISTIC WORK
GOALS.
09/21/21 376
3. DELEGATING RESPONSIBILITIES,
PROVIDING IMMEDAITE AND
TIMELY FEEDBACK,
DEMONSTRATING CONFIDENCE
IN THE WORKFORCE IN A
CLIMATE OF MUTUAL RESPECT,
ALLOWING INDIVIDUALS TO BE
PART OF THE DECISION-MAKING
PROCESS.

09/21/21 377
4. ENCOURAGING PARTICIPATION
AND INTERACTION WITH
OTHERS OUTSIDE THE WORK
GROUP.

5. ENCOURAGING OPEN
EXPRESSION OF IDEAS,
ACCEPTING “OFF THE WALL”
IDEAS.

09/21/21 378
WE ARE VERY MUCH
CONCERNED WITH USING THE
IMAGINATION TO VISUALIZE
THINGS.

THE NEGLECT OF IMAGERY AND

THE IMAGINATION.

09/21/21 379
 BASIC
PROBLEM
SOLVING -
THE CREATIVE
THINKING
APPROACH

09/21/21 380
IT IS CREATIVE THINKING THAT
TRULY ADVANCES A FIELD
OF STUDY AND LEADS TO
SIGNIFICANT PRODUCTIVITY
ADVANCES THAT PROVIDE
COMPETITIVE ADVANTAGE.

09/21/21 381
 BASIC
PROBLEM
SOLVING -
THE CREATIVE
THINKING
APPROACH

09/21/21 382
MAJOR DIFFICULTIES IN
PROBLEM SOLVING :

1. FAILURE TO RECOGNIZE THE

EXISTENCE OF A PROBLEM.
2. FAILURE TO DEFINE THE
CORRECT PROBLEM.
3. FAILURE TO USE ALL
AVAILABLE INFORMATION
09/21/21 383
MAJOR DIFFICULTIES IN PROBLEM
SOLVING :

4. FAILURE TO RECOGNIZE OR
QUESTION ASSUMPTIONS.
5. FAILURE TO CONSIDER A WIDE
RANGE OF ALTERNATIVES.
6. FAILURE TO ADDRESS
IMPLEMENTATION ISSUES.

09/21/21 384
HOW WE CAN IMPROVE OUR
PROBLEM-SOLVING ABILITIES :

1. BECOME MORE SENSITIVE TO THE

EXISTENCE OF PROBLEMS.
2. BE ABLE TO DEFINE THE
CORRECT PROBLEM FROM
POSSIBLE PROBLEMS AMONG AN
INTERTWINED :MESS”.

09/21/21 385
HOW DO WE IMPROVE OUR
PROBLEM-SOLVING ABILITIES :

3. BE ABLE TO SEEK AND USE ALL

AVAILABLE INFORMATION
ABOUT A PROBLEM.
4. BE ABLE TO RECOGNIZE, AND
QUESTION ASSUMPTIONS, EITHER
EXPLICIT OR IMPLICIT.
09/21/21 386
HOW WE CAN IMPROVE OUR
PROBLEM-SOLVING ABILITIES :

5. CONSIDER A WIDE RANGE OF

ALTERNATIVE PROBLEM
DEFINITIONS AND SOLUTION
IDEAS.
6. ADDRESS IMPLEMENTATION
ISSUE EARLY IN THE PROBLEM-
SOLVING PROCESS.
09/21/21 387
CREATIVE PROBLEM-SOLVING
TECHNIQUES :

1. REDUCE PROBLEM
UNCERTAINTY
BY INCREASING THE AMOUNT
OF RELEVANT INFORMATION
AVAILABLE TO THE PROBLEM
SOLVER.
09/21/21 388
CREATIVE PROBLEM-SOLVING
TECHNIQUES :

2. INCREASE THE NUMBER OF

POTENTIAL ALTERNATIVE
THAT ARE GENERATED AND
THUS IMPROVE THE CHANCES
OF FINDING A VERY GOOD
SOLUTION.
09/21/21 389
CREATIVE PROBLEM-SOLVING
TECHNIQUES :
3. INCREASE COMPETITIVE
ADVANTAGE BY PRODUCING
MORE UNUSUAL SOLUTION.
4. DECREASE THE NUMBER OF
REVISIONS ONCE A SOLUTION
HAS BEEN IMPLEMENTED, THUS
CONSERVING CRITICAL
RESOURCES.
09/21/21 390
PROBLEM EXAMINATION CHECKLIST
1. TASK AS SEEN
GOAL OR WISH
2. ANALYSIS
A. WHAT IS THE PRESENT SITUATION ?
B. WHY HAS TH PROBLEM ARISEN
C. WHY SHOULD/MUST IT BE SOLVED ?

09/21/21 391
PROBLEM EXAMINATION CHECKLIST
D. WHY IS IT A PROBLEM FOR ME
PERSONALLY ?
E. WHAT THOUGHTS HAVE I ALREADY
OR WHAT EFFORTS HAVE MADE TO
SOLVE THE PROBLEM.
F. WHY ARE THESE THOUGHTS /
EFFORTS INSUFFICIENT OR
UNWORKABLE ?

09/21/21 392
PROBLEM EXAMINATION CHECKLIST
G. WHAT KIND OF ACTION CAN /
TAKE INITIATE FOR THIS PROBLEM ?
H. WHAT WOULD BE THE ‘IDEAL
WORLD’ SOLUTION ?

09/21/21 393
ORIGINALITY EXERCISES
- TO IMPROVE ORIGINALITY, DON’T OVER EMPHASIZES IT.

- BY TRYING TO FOCUS ON GENERATING A LARGE

QUANTITY OF IDEAS, ORIGINALITY WILL FOLLOW.

SYNECTICS (WILLIAM [Link]).

- SYNECTICS IS DERIVED FROM A GREEK WORD MEANING THE JOINING TOGETHER OF
DIFFERENT AND APPARENTLY IRRELEVANT ELEMENTS.
1. IT TRIES TO MAKE THE FAMILIAR STRANGE BY PULLING THE PROBLEM SOLVER
AWAY FROM THE PROBLEM.

09/21/21 394
SYNECTICS (WILLIAM
[Link]).
2. IT TRIES TO MAKE THE
STRANGERS FAMILIAR BY
VIEWING THE PROBLEM IN A
NEW WAY.

09/21/21 395
 TWO DISTINGUISHING
CHARACTERISTICS :
1. THE GROUP ATTACKS THE
UNDER LYING CONCEPT OF THE
PROBLEM RATHER THAN THE
PROBLEM ITSELF.
2. THE GROUP EXAMINES THE
PROBLEM FROM MANY ANGLES

09/21/21 396
 (ECONOMIC, SOCIAL AND SO ON)
TO TRY TO DISCOVER AN
ANALOGY OR METAPHOR.

3. BASIC TYPES OF ANALOGIES

ARE USED : FANTASY, DIRECT &
PERSONAL

09/21/21 397
 IDEA GETTING STRATEGIES
1. ‘SLEEPING ON THE PROBLEM’ ?
- DELAY TACTIC

2. EXCURSION - TEMPORARY HOLIDAY

FROM THE PROBLEM

3. W.H.H. GORDON -
“MAKING THE FAMILIAR STRANGE
& MAKING THE STRANGE FAMILIAR
“
09/21/21 398
 IDEA GETTING STRATEGIES
4. FORCE FIT
LOOSE FIT
‘GET FIRED SOLUTION’
- - - - ABSURD, CRAZY, RIDICULONS
SOLUTION
5. METHOD
A. WORD ASSOCIATION
- LIST WORDS FROM A KEY
PROBLEM INITIAL.
09/21/21 399
 WORD ASSOCIATION.

SOLDIER GIRLS CHURCH

SAILOR DANCERS CHOIR
COLLAR LEGS ANGELS
GRAB LEGWARMERS WING
EXCAVATOR WOOL PLANES
MINER GATHERING WOOD
DIAMONDS

09/21/21 400
 BITTER
GUT GLASS
TANKARD PUB
HOME BREW
BEER KEG
BREWER
MAT
STAIN

09/21/21 401
 IDEA GETTING STRATEGIES
B. CAREER EXCURSION
- IAMAGINE YOU ARE IN A TOTALLY
DIFFERENT JOB
C. DIRECT ANALOGY
- WHERE ELSE HAS THIS PROBLEM
BEEN SOLVED ?
‘ BIOLOGY IS THE RICHEST OF
ANALOGOUS PROBLEMS AND
SOLUTIONS ‘
09/21/21 402
 IDEA GETTING STRATEGIES
(WILLIAM GORDONS AND RONALD
WHIFIELD - CREATIVITY IN
INDUSTRY)
D. EXAMPLE EXCURSION
- FIND EXAMPLES OF A KEY
CONCEPT FROM TOTALLY
DIFFERENT ENVIRONMENTS OR
WORLDS.’
09/21/21 403
 IDEA GETTING STRATEGIES
F. IMAGING / VISUALISING

THINKING IN PICTURE
- ‘A PICTURE IS WORTH
A THOUSAND WORDS’

09/21/21 404
 IDEA GETTING STRATEGIES
G. STREET EXCURSION
- TAKING A WALK
- LOOK AROUND TILL SOME
PARTICULAR SINGHT CATCHES
YOUR ATTENTION
- FOCUS ON THIS VIEW - EXAMINE
IN DETAIL :
- FORM - TEXTURE
- STRUCTURE - COLOURS
09/21/21 405
 IDEA GETTING STRATEGIES
- TAKE MENTAL PICTURE OF IT
- START TO MAKE
CONNECTIONS
- BETWEEN YOUR PICTURE AND
THE PROBLEM

H. ESSENTIAL PARADOX / BOOK

TITLE
09/21/21 406
 IDEA GETTING STRATEGIES
I. DRAWING / DOODLING
- DRAW ANYTHING YOU LIKE
- PIN THEM UP AND WONDER
ROUND
- LET THE PICTURE SPEAK TO
YOU
SUGGESTING CONNECTIONS
- ABSURB SOLUTIONS
- STARTING POINTS
09/21/21 407
 IDEA GETTING STRATEGIES
J. COLLAGE
- COLLECT OBJECTS AT
RANDOM
- ARRANGE IN SOME SORT OF
PATTERN
- LOOK AT THE OBJECTS AND
THEIR RELATIONSHIP
- SUGGEST IDEAS
09/21/21 408
 IDEA GETTING STRATEGIES

K. WRITING SENTENCES
- TAKE A RANDOM WORD
- WRITE A SENTENCE
CONTAINING THAT WORD IN 10
MINUTES
- USE SENTENCES TO TRIGGER
ABSURD SOLUTIONS.

09/21/21 409
DEVELOPMENT
OF SOLUTION

09/21/21 410
• CAREER EXCURSION
• DIRECT ANALOGY
• EXAMPLE EXCURSION
• IMAGING / VISUALISING
• STREET EXCURSION
• ESSENTIAL PARADOX / BOOK
TITLE
• DRAWING / DOODLING/
COLLAGE
• WRITING SENTENCES
09/21/21 411
FROM ABSURD SOLUTION TO
IDEAS GENERATION.

IDEA DEVELOPMENT
• CHECKING UNDERSTANDING
• FINDING VALUE IS IDEAS
• CONVERTING NEGATIVES TO
DIRECTIONS FOR
IMPROVEMENT.

09/21/21 412
STRUCTURE FOR CREATIVE
PROBLEM SOLVING :
1. HEADLINE THE
TASK/PROBLEM
OPPORTUNITY
2. DESCRIBE THE PRESENT
POSITION AND WHERE YOU
GET IT.

09/21/21 413
STRUCTURE FOR CREATIVE
PROBLEM SOLVING :

3. SUSPENDING JUDGEMENT,
GENERATE A LIST OF
SPRING BOARDS.

4. REVIEW THE LIST OF

ALTERNATIVES.
09/21/21 414
 STRUCTURE FOR CREATIVE
PROBLEM SOLVING :
5. ASK FOR AN IDEA AIMED AT
MAKING THE APPROACH
FEASIBLE.
6. CONTINUE IN THIS SEQUENCE
UNTIL YOU HAVE REACHED AN
IDEA THAT YOU THINK IS
WORTH IMPLEMENTING.
09/21/21 415
 STRATEGY
FOR
MANAGING
THE
CREATIVE
RESOURCE
09/21/21 416
STARTING FROM A SOLUTION.

PROBLEM SOLVE
PRIVATELY

ADVERSARIAL DEBATE
CLIMATE SOLUTIONS

COLLECTING GROUP OPINIONS.

09/21/21 417
1. CONSCIOUS SHIFT IN OUR
ATTITUDE TO CREATIVITY.
- TO VIEW CREATIVITY AS A
RESOURCE TO BE MANAGED.
2. DIFFERENT ATTITUDE
TOWARDS PEOPLE.
- SEE EVERYBODY AS A
POTENTIAL CREATIVITY
RESOURCE.
09/21/21 418
3. MAKE THE RESOURCE VISIBLE.
- MAKE EVERYONE IN THE
BUSINESS REALISE THEY CAN BE
CREATIVE.
4. DIRECT THE CREATIVITY AT
THE NEED OF BUSINESS,
ESPECIALLY THE MAJOR
STRATEGIC NEEDS OF BUSINESS.

09/21/21 419
5. CREATE AND MAINTAIN A
CULTURE IN THE
ORGANISATION WHICH
FOSTERS AND VALUE
CREATIVITY.
- APPLIED CREATIVITY
- NOT HOSTILE CREATIVITY.

09/21/21 420
 DEVELOPING
AND
ENHANCING
CREATIVITY
09/21/21 421
 VARIETY OF STEP TO
ENHANCE CREATIVITY.

1. HELP INDIVIDUALS TO
UNDERSTAND THE
INFLUENCE OF THEIR
BACKGROUNDS,
EXPERIENCES, AND HABITS
ON BEHAVIOR.
09/21/21 422
VARIETY OF STEP TO ENHANCE
CREATIVITY.

- INDIVIDUALS ARE ALLOWED

TO PERCEIVE THEMSELVES AS
BEING CREATIVE AND TO
REMOVE THE INTERNAL
BLOCKS TO CREATIVE
BEHAVIOR.
09/21/21 423
2. CREATE A CLIMATE TO
ENCOURAGE CREATIVE
THINKING BY REMOVING
EXTERNAL BLOCKS TO
CREATIVITY.

- METHODS TO RELEASE
IMAGINATION CAN BE
DEVELOPED.

09/21/21 424
 3. PROVIDE OPPORTUNITIES
TO PRACTICE CREATIVE
THINKING IN A NON-
JUDGMENTAL,
NONPUNITIVE CLIMATE.

09/21/21 425
 RESEARCH (SIDNEY J. PARNES)

- CREATIVE IMAGINATION
CAN BE DELIBERATELY
DEVELOPED.
- CREATIVE PROBLEM-
SOLVING COURSES CAN
MEASUREBLY IMPROVE
CREATIVITY.
09/21/21 426
RESEARCH (SIDNEY J. PARNES)

- A SYSTEMATIC COURSE OF
INSTRUCTION IN APPLIED
IMAGINATION CAN ALSO
PRODUCE SIGNIFICANT GAINS
IN PERSONALITY TRAITS SUCH
AS CONFIDENCE, INITIATIVE,
AND LEADERSHIP POTENTIAL.
09/21/21 427
IMPROVING CREATIVE
CHARACTERISTICS.
TWO MOST IMPORTANT RULES
FOR CREATIVE THINKING ARE :

[Link] DEFER JUDGEMENT.

[Link] PRODUCE LARGE

QUANTITIES OF IDEAS.
09/21/21 428
FLUENCY EXERCISES

- TO BEFLUENT, LET YOUR

MIND RUN FREE AND WRITE
DOWN WHATEVER IDEAS
ARISE.
- TO PROVE

09/21/21 429
ORIGINALITY EXERCISES
- TO IMPROVE ORIGINALITY,
DON’T OVER EMPHASIZES IT.

- BY TRYING TO FOCUS ON
GENERATING A LARGE
QUANTITY OF IDEAS,
ORIGINALITY WILL FOLLOW.

09/21/21 430
 OSBORNE CHECKLIST
OBSORN SUGGESTED A
CHECKLIST APPROACH TO HELP
GENERATE IDEAS.

MAJOR ? TO CONSIDER :
• PUT TO OTHER USES ? NEW
WAYS TO USE AS IT IS ? OTHER
USES IF MODIFIED ?
09/21/21 431
• ADAPT / WHAT ELSE IS LIKE
THIS ? WHAT OTHER IDEA
DOES THIS SUGGEST ? DOES
THE PAST OFFER A PARALLEL ?
WHAT COULD I COPY ?
• MODIFY ? NEW TWIST ?
CHANGE MEANING, COLOR,
MOTION, SOUND ODOR, FORM,
SHAPE? OTHER CHANGES ?
09/21/21 432
• MAGNIFY ? WHAT TO ADD ?
MORE THIME ? GREATER
FREQUENCY ? STRONGER ?
HIGHER ? LONGER ? THICKER ?
EXTRA VALUE ? PLUS
INGREDIENT ? DUPLICATE ?
MULTIPLY ? EXAGGERATE ?
• MINIFY ? WHAT TO SUBTRACT ?
SMALLER / CONDENSED ?
MINIATURE ? LOWER ?
09/21/21 433
• SUBSTITUTE ? WHO ELSE
INSTEAD ? WHAT ELSE
INSTEAD ? OTHER
INGREDIENT ? OTHER
MATERIAL ? OTHER
PROCESS ? OTHER POWER ?
OTHER PLACE ? OTHER
APPROACH ? OTHER TONE
OF VOICE ?

09/21/21 434
 • REARRANGE ?
INTERCHANGE
COMPONENTS ? OTHER
PATTERN ? OTHER LAYOUT ?
OTHER SEQUENCE ?
TRANSPOSE CAUSE AND
EFFECT ? CHANGE PACE ?
CHANGE SCHEDULE ?

09/21/21 435
• REVERSE ? TRANSPOSE
POSITIVE AND NEGATIVE ?
HOW ABOUT OPPOSITES /
TURN IT BACKWARD ? TURN
IT UPSIDE DOWN ? REVERSE
ROLES ? CHANGE SHOES ?
TURN TABLES ? TURN OTHER
CHEEK ?

09/21/21 436
 • COMBINE ? HOW ABOUT A
BLEND, AN ALLOY, AN
ASSORTMENT, AN
ENSEMBLE ? COMBINE
UNITS ? COMBINE
PURPOSES ? COMBINE
APPEALS ? COMBINE IDEAS ?

09/21/21 437
FORCED RELATIONSHIPS
- FORCING A RELATIONSHIP
BETWEEN SEEMINGLY UNRELATED
IDEAS.
ATTRIBUTE LISTING
- TAKING SPECIFIC ASPECTS OF A
PROBLEM, LISTING THEIR
ATTRIBUTES AND THEM FOCUSING
ON THESE ATTRIBUTES TO
GENERATE NEW IDEAS.
09/21/21 438
DEVELOPING A CREATIVE
CLIMATE
- RECOMMENDATIONS FOR
FOSTERING CREATIVITY.
• REMOVE OR REDUCE OBSTACLES
TO CREATIVITY WITHIN AN
ORGANIZATION
• MATCH JOB TO INDIVIDUALS’
CREATIVE ABILITIES

09/21/21 439
 DEVELOPING A CREATIVE
CLIMATE
• TOLERATE FAILURES AND
ESTABLISH DIRECTION.
• IMPROVE MOTIVATION TO
INCREASE PRODUCTIVITY AND
SOLVE PROBLEMS CREATIVELY.
• ENHANCE THE SELF-ESTEEM
AND BUILD THE CONFIDENCE OF
ORGANIZATION MEMBERS.

09/21/21 440
DEVELOPING A CREATIVE
CLIMATE
• IMPROVE COMMUNICATION SO
THAT IDEAS CAN BE BETTER
SHARED.
• PLACE HIGHLY CREATIVE PEOPLE
IN SPECIAL JOBS AND PROVIDE
TRAINING TO TAKE ADVANTAGE OF
THEIR CREATIVITY.

09/21/21 441
ASSESING THE
TEAMWORK

09/21/21 442
• NEW COMMUNICATION AND
INFORMATION
TECHNOLOGIES NOT ONLY
GIVE US NEW THINGS TO
THINK ABOUT BUT NEW
TOOLS TO THINK WITH.

09/21/21 443
• TASK PERFORMANCE

• ASK THE TEAM

• ASK AN OUTSIDE

09/21/21 444
 CREATING
NEW IDEAS

09/21/21 445
 HEWLETT-PACKARD’S
QUEENSFERRY MICROWARE
OPERATION (QMO)
• INNOVATION TEAMS. - ‘I’ TEAMS
• FIVE TEAMS WERE CREATED, EACH
WITH EIGHT MEMBERS, AND EACH
HAD A TEAM LEADER AND
FACILITATOR.
• A COMPARISON BETWEEN
INNOVATION TEAMS AND QUALITY
CIRCLES FOLLOWS.
09/21/21 446
 “ I “ TEAMS :
- THERE IS A CLEARLY DEFINED
TIME-FRAME TO “SOLVE” THE
PROBLEM.
- “ I “ TEAMS WILL BE ABLE TO
SEE THEIR PROJECTS THROUGH
AT LEAST TO THE BEGINNING
OF IMPLEMENTATION.

09/21/21 447
 “ I “ TEAMS :
- THE TEAMS ARE
ENCOURAGED TO SPEND 10
PER CENT OF THEIR TIME
PER WEEK ON “I” TEAM
ACTIVITIES.

09/21/21 448
QUALITY CIRCLES :
- TEAMS ARE NOT CROSS-
FUNCTIONAL.
- THE TEAM IS COMPOSED OF A
SUPERVISOR AND HIS/HER
TEAM.
- THE TEAM IS TO IDENTIFY
PROBLEMS AND POSSIBLE
SOLUTIONS AND THEN
09/21/21 449
 QUALITY CIRCLES :
- REPORT THESE TO HIGHER
LEVELS IN THE COMPANY.
- TEAMS ARE ASSEMBLED FOR AN
UNDEFINED PERIOD OF TIME.
WITH NO END TERM IN SIGHT.
- THE TIME FOR QUALITY CIRCLE
MEETINGS IS IMPLICIT RATHER
THAN EXPLICIT.
09/21/21 450
 QUALITY CIRCLES :
TO ENCOURAGE INNOVATION; (1)
IDENTIFY THE TRUE INNOVATORS,
ENTERPRENEURS AND
INTRAPRENEURS AND THE
DIFFERENCES AND SIMILARITIES
AMONG THEM. (2) CREATE A
CLIMATE IN WHICH CREATIVITY
COULD FLOURISH RATHER THAN
BE STIFLIED.
09/21/21 451
 GETTING THE CLIMATE
RIGHT
- DEPEND ON 5 FACTORS :
STRUCTURES, REWARDS,
REMOVING FEARS,
DEFINING OBJECTIVE AND
APPROPRIATE TRAINING.

09/21/21 452
GETTING THE CLIMATE RIGHT
• STRUCTURES
- TEAM LEADERS AND
FACILITATORS SEEN AS
MENTORS, GUIDES AND
“ORGANISATIONAL DOOR-
OPENERS” ACTED AS A “BUFFER
ZONE”.
09/21/21 453
GETTING THE CLIMATE RIGHT
• REWARDS
- “ I “ TEAM MEMBERS ARE
ABLE TO SEE THEIR PROJECTS
THROUGH AT LEAST TO THE
BEGINNING OF
IMPLEMENTATION.

09/21/21 454
GETTING THE CLIMATE RIGHT
• REMOVING FEARS
- THERE WILL BE MISTAKES
MADE IN SOME, IF NOT ALL, OF
THE “ I “ TEAMS.

- ENCOURAGE THEM EARLY ON

WHEN COSTS ARE LOW.
09/21/21 455
GETTING THE CLIMATE RIGHT
• OBJECTIVES
- CLEAR OBJECTIVE.
- THE CLIENT, CUSTOMER, OR
USER OF A PRODUCT SHOULD
ALSO BE INVOLVED IN THE
EARLY STAGES OF
DEVELOPMENT.
09/21/21 456
GETTING THE CLIMATE RIGHT
• TRAINING FOR INNOVATION
- PROPER TRAINING FOCUSING
THE INNOVATIVE SPIRIT, AND
IN IMPROVING THE
EFFECTIVENESS OF TEAM
WORKING.

09/21/21 457
• STIMULATING CREATIVITY

- MAINTAIN A FREE
ENTREPRENEURIAL
ATMOSPHERE.

PERMITTING EMPLOYEES TO
WORK WITH THE MINIMUM OF
SUPERVISION.
09/21/21 458
- GIVEN A TASK AND CLEAR
OBJECTIVES.

- THEY TEND TO TACKLE A JOB IN

A TRIED-AND-TESTED FASHION.

- PRODUCE A MORE INNOVATIVE

SOLUTION

09/21/21 459
- KEEP WORK GROUPS SMALL
AND TO ENCOURAGE
DECENTRALISATION.

- GETS A “BUZZ” OUT OF

TAKING A PERSONEL PROJECT
THROUGH ITS VARIOUS
DEVELOPMENT STAGES.

09/21/21 460
- THE NEED TO REWARDS
SUCCESSES, AS A SIGN THAT HE
OR SHE HAS REALLY “MADE IT”.
- “MANAGEMENT BY WONDERING
AROUND” RECOGNITION THAT
BUDDING IDEAS OFTERN
CRYSTALISE THROUGH
INFORMAL DISCUSSIONS.

09/21/21 461
- PEOPLE ARE ENCOURAGED
TO WANDER INTO ONE
ANOTHER’S WORK AREAS.
- WORKS IN OPEN-PLAN
UNITS.
- NO SEPARATE CANATEENS
FOR MANAGER AND
WORKERS, EVERYONE IS ON
A FIRST-NAME BASIS.
09/21/21 462
 - STIMULATING BUT
INFORMAL ATMOSPHERE.

09/21/21 463
 HOW JAPAN
PICKS
AMERICA’S
BRAINS
09/21/21 464
IBM vs FUJITSU OVER
COMPUTER SOFTWARE,
HONEY WELL vs MINOLTA
OVER AUTOMATIC FOSING,
CORNING GLASS vs
SUMITOMO ELECTRIC OVER
FIBER OPTICS - THESE ARE
ONLY THE LATEST.

09/21/21 465
U.S. BASIC RESEARCH IS DONE AT
UNIVERSITIES OR
GOVERNMENT CENTERS, AND
SO IS GENERALLY IN THE
PUBLIC DOMAIN; BECAUSE
JAPANESE UNIVERSITIES HAVE
NEGLETED BASIC RESEARCH,
MUCH OF IT IS DONE BY
CORPORATIONS, AND SO IS
PROPRIETARY.
09/21/21 466
AMONG THE U.S., BRITAIN,
WEST GERMANY, FRANCE,
AND JAPAN, THE U.S. DID 69%
OF THE R & D IN 1965,
DURING THE POST-SPUTNIK
BOOM; BY 1985, THE U.S.
SHARE WAS JUST 55%.

09/21/21 467
800 U.S. CITIZENS ARE STUDYING
AT JAPANESE UNIVERSITIES.
13,000 JAPANESE STUDYING IN
U.S. UNIVERSITIES. IN 1985, 95
OF THESE NATIONALS WON
Ph.D. s IN ENGINEERING AND
SCIENCE FROM AMERICAN
INSTITUTIONS.

09/21/21 468
THE U.S. PATENT OFFICE IN
1986 GRANTED 14,000
PATENTS TO JAPANESE
NATINALS vs. 38,000
AMERICANS.

09/21/21 469
 THE CONCEPT OF “BRAIN-
SAILING” TO SUGGEST A
DELIBERATE CONTROLLED
PROCESS IN WHICH WE
CHANGE TACK AS WE
INSTEAD OF BEING TOSSED
ABOUT IN A “STORM”.

09/21/21 470
 CREATIVE THINKING DOES
NOT SEEM TO REQUIRE
EITHER LOGIC OR
EXPERIENCE, ANYONE CAN
ENTER THE FIELD.

09/21/21 471
 THE
MANAGEMENT
OF INNOVATION

09/21/21 472
FOUR DIFFERENT CATEGORIES
OF RISKY SITUATIONS :
1. ROUTINE
LOW SUBJECTIVE / LOW
OBJECTIVE
2. EXPERIEMENTAL
HIGH SUBJECTIVE / LOW
OBJECTIVE

09/21/21 473
FOUR DIFFERENT CATEGORIES
OF RISKY SITUATIONS :

3. OSTRICH
LOW SUBJECTIVE / HIGH
OBJECTIVE
4. GAMBLE
HIGH SUBJECTIVE / HIGH
OBJECTIVE

09/21/21 474
 EXPERIMENTS ARE VITAL FOR
SEVERAL REASONS :
• THEY IDENTIFY NEW
POSSIBILITIES.
• A MULTIPLICITY OF SMALL
RISKS
• THE EXPERIMENTS ARE STEPS
ON A LEARNING CURVE
• THEY KEEP THE INNOVATIVE
MUSCLES IN TRIM.
09/21/21 475
STRONG LINKS BETWEEN THE
TOPICS, AND SKILLS IN THE
THREE AREAS ARE MUTUALLY
REINFORCING
• THE EXPERIENCE OF
SUCCESSFULLY SOLVING
PROBLEMS TOGETHER CREATES
BONDS WITH STRENGTHEN
TEAMWORK.
09/21/21 476
STRONG LINKS BETWEEN THE
TOPICS, AND SKILLS IN THE
THREE AREAS ARE MUTUALLY
REINFORCING.
• THE EXPERIENCE OF
SUCCESSFULLY SOLVING
PROBLEMS TOGETHER CREATES
BONDS WITH STRENGTHEN
TEAMWORK.
09/21/21 477
• SKILL IN DEVELOPING A WIDE
VARIETY OF ALTERNATIVE
SOLUTIONS ALLOWS TEAMS TO
WORK ON A WIN/WIN BASIS
• - NO ONE NEEDS TO
SUBORDINATE THEIR
INTERESTS TO THOSE OF THE
TEAM.

09/21/21 478
• PROBLEM SOLVING DEVELOP
OPEN-MINDEDNESS, AND OPEN
MINDS COMMUNICATE BETTER
THAN CLOSE MINDS !
• GOOD-QUALITY
COMMUNICATIONS PREVENT
MISUNDERSTANDINGS AND
BUILD TRUST WITHIN THE
TEAM.
09/21/21 479
• PROBLEM-SOLVING EXPERIENCE
DEMONSTRATES THAT WE ALL SEE
THE WORLD DIFFERENTLY.
• A GOOD TEAM ENVIRONMENT
ENCOURAGES OPEN AND HONEST
EXCHANGE OF INFORMATION AND
IDEAS, AND THE EMOTIONALLY
SAFE CLIMATE IN WITH PROBLEM-
SOLVING AND INNOVATION
PROSPER.
09/21/21 480
 ECONOMIC
PRODUCT
DESIGN

09/21/21 481
 Value analysis
• A technique for improving a
product. The criterion by which the
improvement is judged is cost, but
the value must not be reduced. The
object of value analysis is to reduce
cost without reducing value.

09/21/21 482
 VALUE ANALYSIS
• Immediate objective of value analysis is to satisfy the
customer more economically. The designed, the
methods of manufacture, and distribution must be
examined so as to eliminate all expenditure which
does not contribute to value. Everything that costs
money between the obtaining of an order and the
receipt of the goods by the customer must be
considered in relation to its effect on customer
satisfaction.

09/21/21 483
 Value analysis is a creative activity

• Immediate objective of an exercise in value

analysis is to reduce the cost of a product
without reducing its value. The revised
product will be just as saleable and just as
goods as - maybe even better than -
predecessor, but it will be cheaper to produce.

09/21/21 484
 VALUE
• - Assumption in value analysis that the value of
the product may not be reduced when the cost is
reduced.
• - Fundementally, value is the measure of the
worth of the product to the customer.

09/21/21 485
 • DETERMINT VALUE
• - one method is to analysis the product,
breaking it down into a number of separate
factors, each of which represents some
aspect of value to the customer and to put a
numerical value upon each factor.

09/21/21 486
• - First stage - prepare a list of all the
features that
• might contribute to value in the type of
product under examination - each
judge examines the full range of
samples, including the new model.

• - ranks each model, taking one value

feature at a time, in order of merit.

09/21/21 487
• VALUE ASSESSMENT OF CLOTHES
DRYERS

• Value factor -appearance

• -capacity
• ease of loading
• ease of maintenance
• power consumption
• power size

09/21/21 488
 - - the order of merit ratings can be
converted into scores in various ways.
-- the difficulty in this operations is that
estimates of value are largely
subjective
- it is necessary to add the scores to get a
total value for each model.

09/21/21 489
 – VALUE FACTORS
• factors which contribute value vary
between products we may classify all
the factors which affect the value of
any product under four heads.

–- aesthetic
–- ergonomic
–- technical
–- economic

09/21/21 490
- - Aesthetic factors
• -relate to emotional relationship between the
person and the product.
• -pattern, shape, colour, texture, taste or smell may
add such attraction to the product.
• -These factors are largely subjective and they are
often inconstant; some are affected by fashion,
some by place.
• - however irrational, ephemeral, or local they may
be they add values for which the customers
willingly pay.

09/21/21 491
 Ergonomic factors
- relate to the non-emotinal relations
between the person and product.
- dimensions, form and texture of the
product in relation to those parts
operate.
- seats and working surfaces, the
placing of levers, switchs, buttons,
pedals windows, earpieces and so
on.

09/21/21 492
- they include the matching of moveable
parts such as control levers or piano
keys with the muscles which will be
used to operate them.
- include communicating devices such as
semaphores, instruments, notices, alarm
bells, windows.
- include safety feature
- ergonomic features depends not only on
the excellence of the design, also on the
extent to which the market is aware of
such features
09/21/21 493
 • Technical factors
- aspects of performance which the
customer values, such as speed and
payload of a vehicle, accuracy of a
machine tool or a measuring
instrument, or efficiency of any
energy conversion device.

09/21/21 494
• Economic factors
• total cost to the customer of the use of the
product.
consumable, like food, fuel, soap, the cost of use is
the price to be paid.
fuels may be compared by calculating the cost of
fuel required to give unit heat output. It is
necessary to take into account the capital cost the
product, and its life, which might be measured in
time or in operations; the cost of power, fuel and
lubricants consumed by the product, the cost of
maintenance, and possibly other costs such as
insurance, air conditioning.

09/21/21 495
 Consumable Consumer Industrial
Product product Product
toothpaste dress Machine tool

Packaging Style, fashion Form

Taste Cut, colour Colour
Texture Texture drape texture
Ergonomic
Score

Factors Safety and Fit ease of Disposition of

hygiene movement workpiece,
controls and
indicators

09/21/21 496
 Consumable Consumer Industrial
Product product Product
toothpaste dress Machine tool
Technical
Score
Factors Choice of Strength of Accuracy
materials. Eg. materials, speed range
Hardness of seams and of operation
abrasive attachments
content
Ergonomic
Score
Factors Cost per unit Cost Capital cost
of use speed power
consumption
lubricant
economic life

09/21/21 497
• Cost and Value
cost is determined by what the part is. Value is
represented by what the part does.
• A method of Value Analysis
First task of the team is to find out, as precisely
as possible, the cost of the product, and its
value. This part of the work is often called
the information stage.
• The next part of the information stage is to
assess the value to the customer of each
element of cost.

09/21/21 498
• Development of the Team
- understand the product as thoroughly
as possible
- every explanation of value must be
critically examined by the team.
- they must be sure that the value
described relates to function.

09/21/21 499
sometimes the product includes
elements of cost which are
eventually seen to contribute no
value to the customer.
-the third stage of the development -
occurs when the team, now fully
informed about cost and value ,
proceeds to create ideas for cost
reduction without loss of value.

09/21/21 500
Interaction Problems

- Any change that may be made in one part

must be examined in the light of its
effects on the cooperating parts.

09/21/21 501
The Creative Act

- the successful product - it must

function adequately, it must satisfy
people both aesthetically and
ergonomically, it must be economical
to produce, it must be saleable, it must
be transportable, possibly packaged,
and if it is a durable product, it must
have an economic life, with modest
demands maintenance.

09/21/21 502
Value, is a broad term.
- it is often divided into four kinds.

Use value : the properties and qualities

which
accomplish a use, work. or service.

Esteem value . the properties, features, or

attractiveness which cause us to
want to own it.

09/21/21 503
Cost value : the sum of labour,
material, and various other
costs required to produce it.

Exchange value . its propperties or

qualities which enable us
to exchange it for something
else we want.

09/21/21 504
Value : is stated as the minimun dollars
which must be expended in purchasing or
manufacturing a product to create the
appropriate use and esteem factors.

Value Analysis Approach

–- What is the item ?
–- What does it cost ?
–- What does it do ?
–- What else would do the job ?
–- What would that alternative cost ?

09/21/21 505
 Phases of the Job Plan
Phase 1: Orientation
- what is to be accomplished
- what is it that the customer really needs or
wants ?
- what are the desirable characteristics with
respect to size, weight, appearance, durability,
etc. ?
Phase 2 . Information
- secure all pertinent information: costs, quantities,
vendors, drawings, specifications, planning
cards, and manufacturing methods data,
09/21/21 506
 Phase 3 : Seculation.

generate every possible solution to the over-

al1 problems, involved, to the parts of
problems, d to the individual problems.
free use of the imagination
systemically explore a variety of materials,
machine processes, arrangements of parts, etc

09/21/21 507
 Phase 4: Analysis
- estimate the dollar value of each exposed
idea.
•
Phase 5: Program Planning
- break the job down into a progression of
functional areas.

Phase 6: Program Execution

Phase 7: Status Summary and

Conclusion.
09/21/21 508
 •The value analysis techniques are
1. Avoid generalities.
2. Get all available costs.
3. Use information from only the best source.
4. Blast, create, refine.
5. Use real creativity.
6. Identify and overcome roadblocks.
7. Use industry specialists to extend specialized
knowledge.

09/21/21 509
 8. Get a dollar sign on key
tolerances.
• 9. Utilize vendors' available
functional products.
10. Utilize and pay for vendors'
skill and knowledge.
11. Utilize specialty processes
12. Use the criterion, "Would
1spend my money this way ?"

09/21/21 510
 The Use of the Techniques

Example of Procedure
• Basic Step 1: Identify the Function

• Basic Step 2: Evaluate the Function by

Comparison

• Basic Step 3: Cause Value Alternative to Be

Developed.

09/21/21 511
 Value Analysis
AIM
- to increase the rate at which designing and
manufacturing organizations learn to reduce t
of a product
- OUTLINE

1. Appoint an adviser or group to teach value analysis

to interdepartmental teams and to monitor their
progress.

09/21/21 512
 2. Establish defined standards for
product performance and quality.

3. Make detailed records of the

cost of all manufacturing
operations and purchases.
•

09/21/21 513
4. Required each interdepartmental team to carry
out the four stages of value
analysis for each physical component of a
product.
These stages are:
a. identification of elements, functions, costs,
and values
b. search for alternatives at lower costs
c. selections of functionally acceptable lower
cost element
d. presentation of the selected redesign

09/21/21 514
 5. Submit the results of value
analysis to:
a. the value analysis advisers
b. the engineering design group
c. the management

- for approval prior to production

of the lower cost design

09/21/21 515
 Man-machine System Designing
AIM
- to achieve internal compatibility between the
machine components of a system, al
compatibility between the system and the
environment in which it operates.

OUTLINE

1. Specify the inputs and outputs to the system.

2. Specify a set of functions capable of
transforming the inputs into the outputs.
09/21/21 516
[Link] which functions are to be
allocated to people and which to
machine.
[Link] the necessary training
procedures, job aids, man-machine
designs.
[Link] any changes needed to ensure
compatibility between human
components, machine components and
the environment.

09/21/21 517
 Functional Innovation
AIM

- to find a radically new design capable of

creating new patterns of behaviour and
demand.

OUTLINE

1. Identify the functions of each phsicai component of an

existing solution.
2. Identify the essential functions of which these are sub-
functions.
09/21/21 518
 3. Identify any changes to the essential function
that are likely to be beneficial in the present
design situation.
4. Combine 2 and 3 to give a revised
essential function.
5. Seek alternative ways of sub-dividing the
revised essential 'function and of allocating
each sub-function to a new feasible physical
component.

09/21/21 519
Methods of Functions of Each Physical
Component of an Existing Solution

Existing physical Existing

Components Functions

Blade Cutting
Handle Control
Strop Sharping

09/21/21 520
 2. Identify the Essential Functions of
Which These are sub-functions

Cutting, control and sharpening

together provide ?a means of shaving
facial hair (that has previously
been lathered)'.

3. Identify Any Changes to the Essential Function

that are likely to be Beneficial in the Present
Design Situation

09/21/21 521
 4. Combine 2 and 3 to Give a Revised
Essential Function
- a means of shaving facial hair
(previously lathered) 'with little chance
of cutting the face and without the need
for an additional sharpening operation'.

5. Seek Alternative Ways of Sub-dividing the

Revised Essential Function and of
Allocating Each Sub-function to a New but Feasible
Physical Component

09/21/21 522
- As a result of searching, possibly using
some of the techniques listed on
other pages, the following set of sub-
functions and physical components
could be selected.

09/21/21 523
New sub-functions New physical
components
Cutting Blade edge
Stabilizing cutting Blade clamp
element
Transmitting force to
cutting element Blade clamp
Control of cutting angle Blade clamp
Control of stroke Handle
Transmitting force from Handle
hand
Maintaining sharpeness Replacement of blade
New sub-functions New physical
components
Cutting Blade edge
Stabilizing cutting Blade clamp
element
Transmitting force to
cutting element Blade clamp
Control of cutting angle Blade clamp
Control of stroke Handle
Transmitting force from Handle
hand
Maintaining sharpeness Replacement of blade
 From shop to supermarket;
1. Identify the Functions of Each Physical
Component of an Existing Solution

Existing physical Existing sub-functions

components

Counter
Providing temporary
storage for goods and
money during
purchasing

Storing goods available

Shelves
to shop assistant

09/21/21 526
 2. identify the Essential Functions of
Which These are Sub-functions
- to falitate the exchange of domestic
goods for
the cash of people who have gone out to
make purchase.

3. Identify Any Changes to the Essential

Functions that are Likely to be Beneficial
in the Existing Design Situation.

09/21/21 527
 - Avoiding delays to be shoppers and
increasing
the amount sold per employee.

4. Combine 2 and 3 and to Give a

Revised Essential Function
- To facilitate the rapid exchange at low
selling
costs of domestic goods for the cash
of people who have gone out to make
purchases.

09/21/21 528
 5. Seek Alternative Ways of Sub-dividing the
Revised Essential Functions and of Allocating Each
Sub-function to a New But Feasible Physical
Component.

- After a search the following selection is made :

New Sub-Functions New physical

components
Selection and acquisition Well-lit accessible
of goods directly by shelving
customer
Combined entry and
Staff supervision of entry checkout gates
/ Exit and payment
- this new set of sub-functions is made
possible by the introduction of pre-
packaged goods that do not required
additional packaging by a shop assistant.

09/21/21 530
 VALUE ANALYSIS
- A TECHNIQUE FOR IMPROVING
A PRODUCT. THE CRITERION BY
WHICH THE IMPROVEMENT IS
JUDGED IS COST, BUT THE
VALUE MUST NOT BE REDUCED.
THE OBJECT OF VALUE
ANALYSIS IS TO REDUCE COST
WITHOUT REDUCING VALUE.

09/21/21 531
 VALUE ANALYSIS
- IMMEDIATE OBJECTIVE OF
VALUE ANALYSIS IS TO SATISFY
THE CUSTOMER MORE
ECONOMICALLY. THE
DESIGNED, THE METHODS OF
MANUFACTURE, AND
DISTRIBUTION MUST BE
EXAMINED SO AS TO
ELIMINATE ALL EXPENDITURE
09/21/21 532
 VALUE ANALYSIS
- WHICH DOES NOT CONTRIBUTE TO
VALUE. EVERYTHING THAT COSTS
MONEY BETWEEN THE OBTAINING
OF AN ORDER AND THE RECEIPT OF
THE GOODS BY THE CUSTOMER
MUST BE CONSIDERED IN RELATION
TO ITS EFFECT ON CUSTOMER
SATISFACTION.

09/21/21 533
 VALUE ANALYSIS IS A
CREATIVE ACTIVITY
- IMMEDIATE OBJECTIVE OF AN
EXERCISE IN VALUE ANALYSIS
IS TO REDUCE THE COST OF A
PRODUCT WITHOUT REDUCING
ITS VALUE. THE REVISED
PRODUCT WILL BE JUST AS
SALEABLE AND JUST

09/21/21 534
 VALUE ANALYSIS IS A
CREATIVE ACTIVITY
- AS GOOD AS - MAYBE EVEN
BETTER THAN -PREDECESSOR,
BUT IT WILL BE CHEAPER TO
PRODUCE.

09/21/21 535
 VALUE
- SISTENCE IN VALUE ANALYSIS THAT
THE VALUE OF THE PRODUCT MAY
NOT BE REDUCED WHEN THE COST
IS REDUCED.
- FUNDEMENTALLY, VALUE IS THE
MEASURE OF THE WORTH OF THE
PRODUCT TO THE CUSTOMER.

09/21/21 536
 DETERMINT VALUE
- ONE METHOD IS TO ANALYSIS
THE PRODUCT, BREAKING IT
DOWN INTO A NUMBER OF
SEPARATE FACTORS, EACH OF
WHICH REPRESENTS SOME
ASPECTS OF VALUE TO THE
CUSTOMER AND TO PUT A
NUMERICAL VALUE UPON EACH
FACTOR.
09/21/21 537
FIRST STAGE - PREPARE A LIST OF ALL
THE FEATURES THAT
MIGHT CONTRIBUTE TO
VALUE IN THE TYPE OF
PRODUCT UNDER
EXAMINATION - EACH
JUDGE EXAMINES THE
FULL RANGE OF
SAMPLES, INCLUDING
THE NEW MODEL.

09/21/21 538
 FIRST STAGE - RANKS EACH MODEL,
TAKING ONE VALUE
FEATURE AT A TIME, IN
ORDER OF MERIT.

VALUE ASSESSMENT OF CLOTHES

DRYERS

VALUE FACTOR - APPEARANCE

- CAPACITY
- EASE OF LOADING

09/21/21 539
 VALUE FACTOR -EASE OF
MAINTENANCE
- POWER CONSUMPTION
- POWER SIZE

09/21/21 540
- THE ORDER OF MERIT RATINGS
CAN BE CONVERTED INTO
SCORES IN VARIOUS WAYS.
- THE DIFFICULTY IN THIS
OPERATIONS IS THAT
ESTIMATES OF VALUE ARE
LARGELY SUBJECTIVE.

09/21/21 541
 - IT IS NECESSARY TO ADD THE
SCORES TO GET A TOTAL
VALUE OF EACH MODEL

09/21/21 542
 COST AND VALUE
- COST IS DETERMINED BY WHAT THE
PART IS. VALUE IS REPRESENTED BY
WHAT THE PART DOES.

A METHOD OF VALUE ANALYSIS

-FIRST TASK OF THE TEAM IS TO FIND
OUT, AS PRECISELY AS POSSIBLE,
THE COST OF THE

09/21/21 543
 - PRODUCT, AND ITS VALUE. THIS
PART OF THE WORK IS OFTEN
CALLED THE INFORMATION
STAGE.

THE NEXT PART OF THE

INFORMATION STAGE IS TO ASSESS
THE VALUE TO THE CUSTOMER OF
EACH ELEMENT OF COST.

09/21/21 544
 DEVELOPMENT OF THE TEAM

- UNDERSTAND THE PRODUCT AS

THROUGHLY AS POSSIBLE
- EVERY EXPLANATION OF VALUE
MUST BE CRITICALLY EXAMINED
BY THE TEAM.
- MUST BE SURE THAT THE VALUE
DESCRIBED RELATES TO
FUNCTION.
09/21/21 545
DEVELOPMENT OF THE TEAM

- SOMETIMES THE PRODUCT

INCLUDES ELEMENTS OF COST
WHICH ARE EVENTUALLY SEEN TO
CONTRIBUTE NO VALUE TO THE
CUSTOMER.
- THE THIRD STAGE OF THE
DEVELOPMENT - OCCURS WHEN THE
TEAM, NOW FULLY INFORMED
ABOUT COST AND
09/21/21 546
 DEVELOPMENT OF THE TEAM

- VALUE, PROCEEDS TO CREATE

IDEAS FOR COST REDUCTION
WITHOUT LOSS OF VALUE.

09/21/21 547
 THE SPECULATIVE OR CREATIVE
STAGE

- THREE STAGE IN THE

DEVELOPMENT OF THE TEAM
SPIRIT
- INFORMATION
- SPECULATION STAGE
- COST-REDUCING IDEAS

09/21/21 548
 THE SPECULATIVE OR CREATIVE
STAGE

- WE USE SHORT LIST OF

PROVOCATIVE QUESTIONS, AND
THE METHOD IS TO ASK EVERY
QUESTION ABOUT EVERY
ELEMENT OF COST.

09/21/21 549
 THE SPECULATIVE OR CREATIVE
STAGE

1. CAN YOU ELIMINATE IT ?

- ELIMINATION OF THE
UNNECESSARY PART - IMPROVE
THE APPEARANCE - IMPROVE
REALIBILITY

09/21/21 550
 THE SPECULATIVE OR CREATIVE
STAGE

2. CAN IT BE COMBINED WITH

ANOTHER ELEMENT TO GIVE
EQUAL VALUE AT LESS COST ?

3. CAN YOU SEPARATE IT ?

- MULTI-PURPOSE PART.

09/21/21 551
 4. CAN YOU A STANDARD PART ?
- WHICH CAN BE IN MORE THAN
ONE APPLICATION IN A SINGLE
PRODUCT.
- DESIGNER MUST WORK WITHIN
ECONOMIC CONSTRAINTS AS
WELL AS WITHIN TECHNICAL AND
AESTHETIC AND ERGONOMIC
CONSTRAINTS.

09/21/21 552
5. CAN YOU USE STANDARD
MATERIAL ?
- SIMPLIFY HIS STOREKEEPING,
TO KEEP COSTS DOWN AND TO
AVOID MISTAKE.
- THE SMALLER THE RANGE OF
MATERIALS CARRIED IN STORE,
THE EASIER IT BECOMES TO
MANAGE.

09/21/21 553
6. CAN YOU USE CHEAPER MATERIAL ?

7. CAN YOU USE LESS MATERIAL ?

- REDUCTION IN WEIGHT IS AN
ADVANTAGE IN ITSELF.

8. CAN YOU WASTE LESS MATERIAL ?

- CUTTING AND MOULDING
- MOULDING OPERATIONS PRODUCE
LITTLE SCRAP

09/21/21 554
8. CAN YOU WASTE LESS MATERIAL ?
- CUTTING OPERATIONS ALMOST
INVARIABLY PRODUCE WASTE
MATERIAL.

9. CAN YOU BUY MORE CHEAPLY ?

- SPECIALIST SUPPLIER MAY
NOW BE ABLE TO OFFER THE PART
CHEAPER THAN THE MADE IN COST.
- BULK DISCOUNTS

09/21/21 555
10. CAN YOU REDUCE REJECTS?
11. CAN YOU EASE LIMITS ?
- DEFINE DIMENSIONS WITH
LIMITS OR TOLERANCES.
12. CAN YOU SAVE ON FINISH ?
13. CAN YOU USE A SIMPLE METHOD?

09/21/21 556
14. CAN YOU REDUCE THE RISK OF
ERROR ?
- DEFECTIVE PRODUCTS MUST
NOT BE ALLOWED TO REACH THE
CUSTOMER.
15. CAN YOU DO ANYTHING ELSE TO
REDUCE COST WITHOUT
SACRIFICING VALUE ?

09/21/21 557
INTERACTION PROBLEMS
- ANY CHANGE THAT MAY BE MADE IN
ONE PART MUST BE EXAMINED IN
THE LIGHT OF ITS EFFECTS ON THE
COOPERATING PARTS.
THE CREATIVE ACT
- THE SUCCESSFUL PRODUCT - IT MUST
FUNCTION ADEQUATELY, IT MUST
SATISFY PEOPLE BOTH

09/21/21 558
AESTHETICALLY AND
ERGONOMICALLY, IT MUST BE
ECONOMICAL TO PRODUCE, IT MUST
BE SALEABLE, IT MUST BE
TRANSPORTABLE, POSSIBLY
PACKAGED, AND IF IT IS A DURABLE
PRODUCT, IT MUST HAVE AN
ECONOMIC LIFE, WITH MODEST
DEMANDS MAINTENANCE.

09/21/21 559
 VALUE

- IT IS OFTEN DIVIDED INTO FOUR

KINDS.

USE VALUE : THE PROPERTIES AND

QUALITIES WHICH ACCOMPLISH A
USE
WORK OR SERVICE.

09/21/21 560
 VALUE

ESTEEM VALUE : THE PROPERTIES

FEATURES, OR
ATTRACTIVENESS
WHICH CAUSE US
TO WANT TO OWN
IT.

09/21/21 561
 VALUE

COST VALUE : THE SUM OF LABOR,

MATERIAL, AND
VARIOUS OTHER
COSTS REQUIRED TO
PRODUCE IT.

09/21/21 562
 VALUE

EXCHANGE VALUE : ITS PROPERTIES

OR QUALITIES
WHICH ENABLE
US TO EX-
CHANGE IT FOR
SOMETHING
ELSE WE WANT.

09/21/21 563
VALUE : IS STATED AS THE MINIMUM
DOLLARS WHICH MUST BE EXPENDED
IN PURCHASING OR MANUFACTURING
A PRODUCT TO CREATE THE
APPROPRIATE USE AND ESTEEM
FACTORS.
VALUE ANALYSIS APPROACH
- WHAT IS THE ITEM ?
- WHAT DOES IT COST ?
- WHAT DOES IT DO ?
- WHAT ELSE WOULD DO THE JOB ?

09/21/21 564
 PHASES OF THE JOB PLAN
PHASE 1 : ORIENTATION
- WHAT IS TO BE ACCOMPLISHED ?
- WHAT IS IT THAT THE
CUSTOMER REALLY NEEDS OR
WANTS ?
- WHAT ARE THE DESIREABLE
CHARACTERISTICS WITH
RESPECT TO SIZE, WEIGHT,
APPEARANCE, DURABILITY,
ETC ?

09/21/21 565
 PHASES OF THE JOB PLAN
PHASE 2 : INFORMATION
- SECURE ALL PERTINENT
INFORMATION : COSTS,
QUANTITIES, VENDORS,
DRAWINGS,
SPECIFICATIONS,
PLANNING CARDS, AND
MANUFACTURING METHODS
DATA.

09/21/21 566
 PHASES OF THE JOB PLAN
PHASE 3 : SPECULATION
- GENERATE EVERY POSSIBLE
SOLUTION TO THE OVERALL
PROBLEMS, INVOLVED, TO
THE PARTS OF PROBLEMS,
AND TO THE INDIVIDUAL
PROBLEMS.
- FREE USE OF THE IMAGINATION
- SYSTEMATICALLY EXPLORE A
VARIETY OF MATERIALS

09/21/21 567
 PHASES OF THE JOB PLAN
PHASE 4 : ANALYSIS
- ESTIMATE THE DOLLAR VALUE OF
EACH EXPOSED IDEA.

PHASE 5 : PROGRAM PLANNING

- BREAK THE JOB DOWN INTO
A PROGRESSION OF
FUNCTIONAL AREAS

09/21/21 568
 PHASES OF THE JOB PLAN
PHASE 6 : PROGRAM EXECUTION

PHASE 7 : STATUS SUMMARY AND

CONCLUSION.

09/21/21 569
THE VALUE ANALYSIS TECHNIQUES ARE :
1. AVOID GENERALITIES
2. GET ALL AVAILABLE COSTS.
3. USE INFORMATION FROM ONLY THE BEST
SOURCE.
4. BLAST, CREATE, REFINE.
5. USE REAL CREATIVITY.
6. IDENTIFY AND OVERCOME ROADBLOCKS.
7. USE INDUSTRY SPECIALIST TO EXTEND
SPECIALIZED KNOWLEDGE.

09/21/21 570
THE VALUE ANALYSIS TECHNIQUES
ARE :
8. GET A DOLLAR SIGN ON KEY TOLERANCES.
9. UTILIZE AND PAY FOR VENDORS’ SKILL
AND KNOWLEDGE.
11. UTILIZE SPECIALTY PROCESSES.
12. USE THE CRITERION, “WOULD I SPEND MY
MONEY THIS WAY ?”

09/21/21 571
 THE USE OF THE TECHNIQUES
EXAMPLE OF PROCEDURE

BASIC STEP 1: IDENTIFY THE FUNCTION

BASIC STEP 2 : EVALUATE THE FUNCTION

BY COMPARISON

BASIC STEP 3: CAUSE VALUE ALTERNATIVE

TO BE DEVELOPED.

09/21/21 572
 VALUE ANALYSIS
AIM
- TO INCREASE THE RATE AT WHICH DESINGING
AND MANUFACTURING
ORGANIZATIONS LEARN TO REDUCE THE COST
OF A PRODUCT.

09/21/21 573
 VALUE ANALYSIS
OUTLINE
1. APPOINT AN ADVISER OR GROUP TO
TEACH VALUE ANALYSIS TO
INTERDEPARTMENTAL TEAMS AND TO
MONITOR THEIR PROGRESS.
2. ESTABLISH DEFINED STANDARDS FOR
PRODUCT PERFORMANCE AND QUALITY.

09/21/21 574
 VALUE ANALYSIS
3. MAKE DETAILED RECORDS OF THE COST OF ALL
MANUFACTURING OERATIONS AND PURCHASES.
4. REQUIRED EACH INTER-DEPARTMENTAL TEAM TO
CARRY OUT THE FOUR STAGES OF VALUE
ANALYSIS FOR EACH PHYSICAL COMPONENT OF A
PRODUCT.

09/21/21 575
 VALUE ANALYSIS
THE STAGES ARE:
A. IDENTIFICATION OF ELEMENTS, FUNCTIONS, COSTS, AND
VALUES.
B. SEARCH FOR ALTERNATIVES AT LOWER COSTS.
C. SELECTIONS OF FUNCTIONALLY ACCEPTABLE LOWER
COST ELEMENT.
D. PRESENTATION OF THE SELECTED REDESIGN.

09/21/21 576
 VALUE ANALYSIS
5. SUBMIT THE RESULTS OF VALUE ANALYSIS TO:
A. THE VALUE ANALYSIS ADVISERS
B. THE ENGINEERING DESIGN GROUP
C. THE MANAGEMENT
- FOR APPROVAL PRIOR TO PRODUCTION OF THE
LOWER COST DESIGN.

09/21/21 577
 MAN-MACHINE SYSTEM DESIGNING
AIMS
- TO ACHIEVE INTERNAL COMPATIBILITY
BETWEEN THE HUMAN AND MACHINE
COMPONENTS OF A SYSTEM, AND EXTERNAL
COMPATIBILITY BETWEEN THE SYSTEM AND
THE ENVIRONMENT IN WHICH IT OPERATES.

09/21/21 578
 MAN-MACHINE SYSTEM DESIGNING
OUTLINE
1. SPECIFY THE INPUTS AND OUTPUTS TO THE SYSTEM.
2. SPECIFY A SET OF FUNCTIONS CAPABLE OF
TRANSFORMING THE INPUTS INTO THE OUTPUTS.
3. SPECIFY WHICH FUNCTIONS ARE TO BE ALLOCATED
TO PEOPLE AND WHICH TO MACHINE.

09/21/21 579
 MAN-MACHINE SYSTEM DESIGNING
OUTLINE
4. SPECIFY THE NECESSARY TRAINING PROCEDURES,
JOB AIDS, MAN-MACHINE DESIGNS.
5. SPECIFY ANY CHANGES NEEDED TO ENSURE
COMPATIBILITY BETWEEN HUMAN COMPONENTS,
MACHINE COMPONENTS AND THE ENVIRONMENT.

09/21/21 580
 BRAINSTORMING
AIM
- TO STIMULATE A GROUP OF PEOPLE TO PRODUCE
MANY IDEAS QUICKLY.
OUTLINE
1. SELECT A GROUP OF PEOPLE TO PRODUCE IDEAS.

09/21/21 581
 BRAINSTORMING
OUTLINE
2. ENFORCE THE RULE THAT NO IDEA IS TO BE
CRITIZED AND MAKE IT CLEAR THAT WILD IDEAS
ARE WELCOME, QUANTITY IS WANTED AND THAT
PARTICIPANTS SHOULD TRY TO COMBINE, OR TO
IMPROVE UPON, THE IDEAS SUGGESTED BY
OTHERS.

09/21/21 582
 BRAINSTORMING
OUTLINE
3. RECORD THE IDEAS PUT FORWARD
AND EVALUATE THEM AFTERWARDS.

09/21/21 583
 SYNECTICS
AIM

- TO DIRECT THE SPONTANEOUS ACTIVITY OF THE

BRAIN AND THE NERVOUS SYSTEM TOWARDS THE
EXPLORATION AND TRANSFORMATION OF DESIGN
PROBLEMS.

09/21/21 584
 SYNECTICS
OUTLINE
1. FORM A GROUP OF HIGHLY SELECTED PEOPLE TO
OPERATE AS AN INDEPENDENT DEVELOPMENT
DEPARTMENT.
2. GIVE THE GROUP A LOT OF PRACTICE IN THE USE OF
ANALOGIES TO RELATE THE SPONTANEOS ACTIVITY OF
BRAIN AND NERVOUS SYSTEM TO THE PROBLEM.

09/21/21 585
 SYNECTICS
OUTLINE
3. SUBMIT TO THE GROUP DIFFICULT PROBLEMS THAT THE
PARENT ORGANIZATION CANNOT SOLVE AND ALLOW
PLENTY OF TIME FOR SOLVING.
4. SUBMIT THE GROUP’S OUTPUT TO THE PRESENT
ORGANIZATION FOR EVALUATION AND
IMPLEMENTATION.

09/21/21 586
 REMOVING MENTAL BLOCKS
AIM

- TO FIND NEW DIRECTIONS OF SEARCH WHEN THE

APPARENT SEARCH SPACE HAS YIELDED NO WHOLLY
ACCEPTABLE SOLUTION.

09/21/21 587
 AIM
- A LARGE NUMBER OF ROUTINES FOR ALTERING
ONE’S POINT OF VIEW WHEN STUCK ARE RECORDED
IN THE LITERATURE ON CREATIVITY, THEY DO NOT
LEAD TO A SEQUENTIAL PROCEDURE BUT APPEAR
TO FALL INTO THE FOLLOWING CATEGORIES, ANY
ONE OF

09/21/21 588
AIM
- WHICH MAY BE SUFFICIENT TO REMOVE A MENTAL
BLOCK :

1. TRANSFORMATION RULES THAT CAN BE

APPLIED TO AN EXISTING UNSATISFACTORY
SOLUTION OR TO PARTS OF IT.

09/21/21 589
AIM
- WHICH MAY BE SUFFICIENT TO REMOVE A MENTAL
BLOCK :
2. SEARCHING FOR NEW RELATIONSHIPS BETWEEN
PARTS OF AN UNSATISFACTORY SOLUTION.
3. RE-ASSESSMENT OF THE DESIGN SITUATION.

09/21/21 590
 OSBORN (1963) SUGGESTS THE FOLLOWING NINE TRANFORMINGS :
- PUT TO OTHER USES ?
- ADAPT ?
- MODIFY ?
- MAGNIFY ?
- SUBSTITUTE ?
- MINIFY ?
- RE-ARRANGE ?
- REVERSE /
- COMBINE ?

09/21/21 591
 INNOVATION BY BOUNDARY SHIFTING
AIM

- TO SHIFT THE BOUNDARY OF AN UNSOLVED DESIGN

PROBLEM SO THAT OUTSIDE RESOURCES CAN BE
USED TO SOLVE IT.

09/21/21 592
 INNOVATION BY BOUNDARY SHIFTING
OUTLINE
1. IDENTIFY THE ESSENTIAL FUNCTIONS OF ANY DEVICE THAT
WOULD ACHIEVE THE DESIRED OBJECTIVE.
2. IDENTIFY CONFLICTS BETWEEN EXISTING MEANS OF
ACHIEVING THESE FUNCTIONS WITHIN THE ASSUMED
PROBLEM BOUNDARY.

09/21/21 593
 INNOVATION BY BOUNDARY SHIFTING
OUTLINE
3. IDENTIFY RESOURCES OUTSIDE THE ASSUMED PROBLEM
BOUNDARY THAT MIGHT BE MADE AVAILABLE BY
TRANSFORMING THE PROBLEM.
4. SEEK COMPATIBLE SUB-SOLUTIONS TO THE PROBLEM THAT
WOULD PROVIDE CHANELS FOR THE USE OF SOME OR ALL OF
THESE RESOUCES.

09/21/21 594
TO FIND A MEANS OF ENABLING BLIND PERSONS TO READ BOOKS
AND NEWSPAPERS:

1. IDENTIFY THE ESSENTIAL FUNCTIONS ANY DEVICE THAT WOULD

ACHIEVE THE DESIRED OBJECTIVE.
A. Blind reading device would have to include a means of :
a. Scanning print
b. Converting the print scanned into signals recognizable without sight.

09/21/21 595
TO FIND A MEANS OF ENABLING BLIND PERSONS TO
READ BOOKS AND NEWSPAPERS:

2. IDENTIFY CONFLICT BETWEEN EXISTING MEANS OF

ACHIEVING THESE FUNCTIONS WITHIN THE ASSUMED
PROBLEM BOUNDARIES.

09/21/21 596
THE MAIN DIFFICULTIES IN USING THIS PROCEDURE ARE:

A. DEFINING THE FUNCTIONS AT A LEVEL OF GENERALITY

THAT INCLUDES THE POSSIBILITY OF RESOLVING
CONFLICKS BUT AVOIDS AN UNMANAGEABLY WIDE
SEARCH FOR NEW SOLUTIONS AND RESOURCES.

09/21/21 597
THE MAIN DIFFICULTIES IN USING THIS PROCEDURE ARE:

B. SELECTING AREAS OF KNOWLEDGE THAT ARE LIKELY TO

SUGGEST NEW RESOURCES, AND LOCATING THE BEST
LITERATURE AND EXPERTS IN THESE AREAS.
C. DECIDING WHICH DIFFICULTIES ARE CRITICAL AND
WHICH ARE SECONDARY.

09/21/21 598
 FUNCTIONAL INNOVATION

AIM
TO DIND A RADICALLY NEW DESIGN CAPABLE OF CREATING
NEW PATTERNS OF BEHAVIOR AND DEMAND.
OUTLINE
1. IDENTIFY THE FUNCTIONS OF EACH PHYSICAL COMPONENT
OF AN EXISTING SOLUTION.

09/21/21 599
 FUNCTIONAL INNOVATION

OUTLINE
2. IDENTIFY THE ESSENTIAL FUNCTIONS OF WHICH THESE ARE SUB-
FUNCTIONS.
3. IDENTIFY ANY CHANGES TO THE ESSENTIAL FUNCTION THAT ARE
LIKELY TO BE BENEFICIAL IN THE PRESENT DESIGN SITUATION.
4. COMBINE 2 AND 3 TO GIVE A REVISED ESSENTIAL FUNCTION.

09/21/21 600
 FUNCTIONAL INNOVATION

OUTLINE
5. SEEK ALTERNATIVE WAYS OF SUB-DIVIDING THE REVISED
ESSENTIAL FUNCTION AND OF ALLOCATING EACH SUB-
FUNCTION TO A NEW FEASIBLE PHYSICAL COMPONENT.

09/21/21 601
 1. METHOD OF FUNCTIONS OF EACH PHYSICAL
COMPONENTS OF AN EXISTING SOLUTION

Existing physical Existing

components functions

Blade Cutting
Handle Control
Strop Sharping

09/21/21 602
 2. IDENTIFY THE ESSENTIAL FUNCTIONS OF WHICH
THESE ARE SUB-FUNCTIONS.

CUTTING, CONTROL AND SHARPENING TOGETHER

PROVIDE ‘ A MEANS OF SHAVING FACIAL HAIR (THAT
HAS PREVIOUSLY BEEN LATHERED).

09/21/21 603
3. IDENTIFY ANY CHANGES TO THE ESSENTIAL FUNCTION THAT
ARE LIKELY TO BE BENEFICIAL IN THE PRESENT DESIGN
SITUATION.
4. COMBINE 2 AND 3 TO GIVE A REVISED ESSENTIAL FUNCTION
- A MEANS OF SHAVING FACIAL HAIR (PREVIOUSLY LATHERED)
WITH LITTLE CHANCE OF CUTTING THE FACE AND WITHOUT
THE NEED FOR AN ADDITIONAL SHARPENING OPERATION.’

09/21/21 604
 5. SEEK ALTERNATIVE WAYS OF SUB-DIVIDING THE
REVISED ESSENTIAL FUNCTION AND OF ALLOCATING
EACH SUB-FUNCTION TO A NEW BUT FEASIBLE PHYSICAL
COMPONENT
- AS A RESULT OF SEARCHING, POSSIBLY USING SOME OF
THE TECHNIQUES LISTED ON OTHER PAGES, THE
FOLLOWING SET OF SUB-FUNCTIONS AND PHYSICAL
COMPONENTS COULD BE SELECTED:

09/21/21 605
New sub-functions New physical
components

Cutting Blade edge

Stabilizing cutting Blade clamp
element
Transmitting force
to cutting element Blade clamp
Control of cutting
angle Blade clamp
Control of stroke Handle
Transmitting force
from hand Handle
Maintaining sharpe-
ness Replacement of
blade
FROM SHOP TO SUPERMARKET;
1. IDENTIFY THE FUNCTIONS OF EACH PHYSICAL
COMPONENT OF AN EXISTING SOLUTION.
Existing physical Existing sub-
components functions

Counter Providing temporary storage for goods

and money during
purchasing
Shelves Storing goods
available to shop
assistant
2. IDENTIFY THE ESSENTIAL FUNCTIONS OF WHICH
THESE ARE SUB-FUNCTIONS

- TO FACILITATE THE EXCHANGE OF DOMESTIC

GOODS FOR THE CASH OF PEOPLE WHO HAVE GONE
OUT TO MAKE PURCHASE.

09/21/21 608
 3. IDENTIFY ANY CHANGES TO THE ESSENTIAL
FUNCTIONS THAT ARE LIKELY TO BE
BENEFICIAL IN THE
EXISTING DESIGN SITUATION.

- AVOIDING DELAYS TO BE SHOPPERS AND

INCREASING THE AMOUNT SOLD PER
EMPLOYEE

09/21/21 609
4. COMBINE 2 AND 3 AND TO GIVE A REVISED
ESSENTIAL FUNCTION.

- TO FACILITATE THE RAPID EXCHANGE

AT LOW SELLING COSTS OF DOMESTIC
GOODS FOR THE CASH OF PEOPLE WHO
HAVE GONE OUT TO MAKE PURCHASES.

09/21/21 610
5. SEEK ALTERNATIVE WAYS OF SUB-DIVIDING THE
REVISED ESSENTIAL FUNCTIONS AND OF
ALLOCATING EACH SUB-FUNCTION TO A NEW BUT
FEASIBLE PHYSICAL COMPONENT.

- AFTER A SEARCH THE FOLLOWING SELECTION

IS MADE:

09/21/21 611
 New Sub-Functions New physical
components

Selection and Well-lit

acquisition of goods accessible
directly by customer shelving

Staff supervision of Combined

entry/ exit and entry and
payment checkout gates

09/21/21 612
- this new set of sub-functions is made
possible by the introduction of pre-
packaged goods that do not required
additional packaging by a shop assistant.

09/21/21 613
 THE PROCESS OF
TECHNOLOGICAL
INNOVATION

09/21/21 614
 Can the objective be achieved more
economically by licensing another
organization’s technology than by
initiating an internal R&D project?

 Will investment in R&D to develop

new products and processes yield a
greater return than investment in
manufacturing or marketing?

09/21/21 615
  Can the potential of license
agreements be recognized without
a strong in-house R&D capability?

 While investment in manufacturing

and marketing may yield
substantial short-term benefits, can
they ensure survival in the long
term?

09/21/21 616
 How accurately can past R&D
investment be correlated with
commercial success now?

09/21/21 617
 THE THESIS …..
• Technological innovation is a critical
factor for the survival and growth of
most industrial enterprises, and should
not be left to chance
if it can be planned
and controlled in a
meaningful way.

09/21/21 618
• Resources devoted to technological
innovation can only be justified in so far
as they further the attainment of
corporate objectives.

• Analysis of past technological

innovations reveals a number of factors
all of which appear to be present in many
successes, and one or more of which are
found to be frequently absent in failures.

09/21/21 619
• A conceptual approach and an
understanding of the processes at work
can be developed.

• Improved decision making and a higher

return on the investment in technology
should follow from a conscious attempt
to apply the concepts in practice.

09/21/21 620
 Technological innovation as a conversion
process-product orientation

Inputs Conversion Output

Materials
Manufacture
Manufacture Products
Knowledge R&D Design

09/21/21 621
Technological innovation as a conversion process-
technology / market orientation

Scientific Customer needs

Technological
knowledge Concept or satisfaction Input

Inputs Product Design

Materials Manufacture
Products Output

Conversion
 The most critical factors are:

 A market orientation.
 Relevance to the organization’s.
corporate objectives.
 An effective project selection and
evaluation system.
 Effective project management and
control.

09/21/21 623
  A source of creative ideas.
 An organization receptive to
innovation.
 Commitment by one or a few
individuals.

09/21/21 624
 Market orientation
INVENTION - To conceive the idea.

INNOVATION - To use -the process by

which an invention or
idea is translated into
the economy.

Thus for an ‘invention’ to become an

‘innovation’ it must succeed in the
marketplace.

09/21/21 625
 Two major problem areas can be
identified:

 Communication difficulties between

technologists and marketing managers.

 Company organizations which hinder

rather than assist effective
communication between them.

09/21/21 626
 72% of 175 research directors and
research managers consider
communication with or their
relationship with marketing and
marketing managers are the major
barriers to innovation within
companies.

09/21/21 627
• Seniors marketing managers
indicated that their prime orientation
was outside the company towards
the customer.

• Their role as the main channel for

providing regular market information
to those responsible for the
development of new products was
regarded as being of secondary
importance.

09/21/21 628
• Whatever the exact proportion, it is
clear that both R&D and marketing are
major sources of ideas the development
of which can be inhibited by poor
communications and lack of
understanding.

• The technologist regards himself

primarily as a professional rather than a
business man.

09/21/21 629
• It is clear that the work itself is the
prime factor of importance, but
having that job in their present
organization is of least importance.

• This was in sharp contrast with the

attitude of marketing managers who
identified closely with their
organization.

09/21/21 630
 World of R&D Communication Marketing Commercial
Science & Manager barrier Manager world
Technology

Strong natural orientation to outside world

Low orientation to R&D marketing communication attenuated by low acceptance by the other party

09/21/21 631
 Technological innovation as a result of complex interactions.

EXTERNAL ENVIRONMENT

INNOVATIVE INTERNAL ENVIRONMENT

Creativity
Project Project
Idea Proposal Evaluation Project management:
Project systems: *R&D Product
champion *Analysis *Design
*Strategic *Production
considerations *Marketing

Innovation
R&D Dept. Marketing Dept.
THE COMPANY
Scientific & technological Knowledge of market
knowledge needs
TECHNOLOGICAL FORECASTING AND THE INNOVATION CHAIN
BUSINESS ENVIRONMENT
Trends

Political Economic Industrial

Social Technological
A combination of several environmental trends
gives rise to pressures resulting in
TECHNOLOGICAL new needs or capabilities
FORECASTING Pressures New capabilities
Needs The strength of the
Senses the trends, need is a function
pressures; and of the size of the
emerging pressures.
capabilities
The level of
Interprets them in terms financial support is
of need; a function of the
Financial support for specific
strength of the
Indicates the likely level R&D programmes needs.
of support; and
New products or
Forecasts the form of processes result
possible innovations and
their time scale
New products from the
investment, thereby
or processes satisfying the need
and relieving the
pressures.
 THE CREATIVE ORGANIZATION - INTERACTION OF
MANY FACTORS

Organization’s
reputation for
innovation

Attraction of
creative people
Organizational
encouragement
of creativity

Use of creativity
Recruitment stimulation
techniques
Encourages
use

Useful Acceptance
Creative Creative Creative
creative of creative Innovation
people potential ideas
potential ideas
Retains creative Motivation
Reduces frustration
people
 INVESTING IN INNOVATION

MARKET LEADERS: Entrepreneurs are likely to be drawn to Hong

Kong and Singapore

[Link] S'pore Taiwan Japan M'sia Thai China Ph'pines India Indon

RANK 2001 4 7 15 17 26 29 42 47 55 60

2000 3 7 11 23 18 33 37 43 65 53

09/21/21 635
 Asian economy in mid-1998; significant business
model innovation - revolution.

The Reckoning One Year Into the Crisis

Stock Market Unem- Prime Vacant PC

Currency Index Fall ployment Rate Imports Offices Revenues
Indonesia -83.2% -35.0% -88% 16.8% 65.0% -33.4% 13.6% -81.8%
Thailand -40.2% -48.0% -66% 8.8% 15.5% -39.5% 26.7% -62.3%
Malaysia -39.4% -56.0% -76% 5.0% 12.1% -22.4% 10.6% -55.2%
Philippines -36.1% -33.8% -58% 13.3% 18.0% -7.5% 3.5% N/A
South Korea -34.1% 58.7% -71% 6.9% 11.5% -36.1% N/A -46.3%
Singapore -16.5% -43.5% -53% 2.2% 7.5% -19.5% 8.7% +19.5%
Hong Kong Nil -43.2% -42% 4.2% 10.0% -4.0% 7.5% -3.1%

09/21/21 636
 THREE PROCESSES DRIVING CHANGE
IN ASIA

Process Effect
The Asian Financial Crisis Profound economic reform and
corporate restructuring

Globalization Internationalization of profitability,

efficiency, productivity and quality
standards

Liberalization Fierce competition leading to

business model innovation

09/21/21 637
 COMPETENCY ZONES

Growth Rate of Value-Added in Industry

Country 1995 1996 1997 1998

Singapore 9.5 6.5 6.6 ….

Indonesia 10.4 10.6 5.4 -3.0

Malaysia 13.8 11.2 10.5 5.0

Philippines 7.0 6.3 5.7 3.0

Thailand 10.5 7.0 -0.1 -0.3

09/21/21 638
 DIRECTION OF EXPORTS (PERCENT SHARE)

Developing
Member European
Countries Japan USA Union

Country 1985 1996 1985 1996 1985 1996 1985 1996

Singapore 36.7 48.4 9.4 8.2 21.2 18.4 10.1 13.4

Indonesia 17.2 31.5 46.2 28.8 21.7 16.5 6.0 18.3

Malaysia 38.1 45.9 24.6 13.4 12.8 18.2 13.6 14.8

Philippines 19.5 25.1 19.0 17.1 35.9 32.6 13.8 18.6

Thailand 27.1 34.0 13.4 16.8 19.7 18.0 17.8 15.7

 FOREIGN DIRECT INVESTMENT (US$MILLION)

Country 1993 1994 1995 1996

China 27,515 33,787 35,849 42,300

Hong Kong 1,667 2,000 2,100 2,500

Singapore 4,686 5,480 6,912 9,440

Indonesia 2,004 2,109 4,348 7,960

Malaysia 5,006 4,342 4,132 5,300

Philippines 1,238 1,591 1,478 1,408

Thailand 1,730 1,322 2,003 2,426

 DIRECTION OF EXPORTS (PERCENT SHARE)

The system of shared culture and strong value is called Excel CAPs.
CAPS stands for:

 COMMITMENT in his blood

 CHALLENGES in his soul
 CREATIVITY in his mind
 CONFIDENCE in his heart
 CONSISTENCY in his actions
 AMBASSADORS of excel
 positive work ATTITUDE at all times
 ABILITY to meet new challenges
 ADVANCEMENT with the company’s goals
 ACHIEVEMENT oriented
 PROFITABILITY
 PRODUCTIVITY
 PROGRESS
 PROFESSIONALISM
 PRECISION

09/21/21 641
 ASIAN CORPORATE STRATEGY

Force Effect

Profound economic reform Shift in profit zones

and corporate restructuring

Internationalization of profitability, New business models

efficiency, productivity and quality
standards

Fierce competition leading to business Strategic plans

model innovation

09/21/21 642
 THE NEW INNOVATION
Local Companies Are More Innovative Than Multinational
Companies

Country Percent Response

Overall 19
South Korea 19
Japan 16
Taiwan 19
Philippines 26
Hong Kong 19
Thailand 15
Malaysia 16
Singapore 14
Indonesia 25
Australia 31
Asian Expatriots 20
Non-Asian Expatriots 14

09/21/21 643
 VALUE DISCIPLINES

Best Quality Best Cost Best Total Solution

Product leadership Operations efficiency Market intimacy

Constant incremental Constant incremental Constant expansion

enhancement improvement of related services

High levels of inno- High productivity High levels of

vation and creativity relationship building

09/21/21 644
 THE MIGRATION TO BEST TOTAL SOLUTION

Reasons for the Shift to Best Total Solution

Shifting Profit Traditional sources of competitiveness,

Zones such as quality, and productivity, have
been emulated

Increasing Consumers have more choices due to

Competition technology and the Internet

New Rules of New business models prioritize share of

Competition customer over market share

09/21/21 645
 THE ROLE OF INTELLECTUAL CAPITAL IN
ECONOMIC DEVELOPMENT
The Status of Research & Development Capabilities, Selected
Countries and Years

7
6
5
4
3
2
R&D expenditure as a
1 percentage of GNP

0
m
n ka
an y

in es

China
In dia

a
e
US A

an

d
Japan

da

ysi a

po re
esia

R&D scientists and

Ko re
Fr an c

an
a
Can a

Vietn
Pak is
a
Germ

Thail

technicians per 1,000

Mala

In do n
Sr i L

Sing a
Ph ilip

persons
 MANAGEMENT AND THE CORPORATE SECTOR

Percentage increase in salaries and inflation in Asia (Estimates

figures in 1997).

30.0%

25.0%

20.0%

15.0%

10.0%

5.0%
Salary
Increases
0.0%
m

ines

In di a

Chi na
an
d

Japan

on g
a

ysia

lia
po re

esi a

Inflation
Ko re
an
a

Taiw
Vi etn

a
Thai l

Au st r
p

K
Mala

In do n
Si ng a

Ph il i p

Ho ng
So ut h
 MANAGEMENT AND THE CORPORATE SECTOR
Percentage increase in salaries and inflation in Asia (Forecasts
figures in 1998).

25.0%

20.0%

15.0%

10.0%

5.0%
Salary
Increases
0.0%
Inflation
 10.0%
15.0%
20.0%
25.0%
30.0%

0.0%
5.0%
Profe
s siona
l serv
ices
E'tain
men
t& H'pit
ality
G , as
soca
ition
s & ed
u.
Healt
h car
e&P
h a rm
a .
Real
e st ate
& co
nstr.
Finan
cial s
erv ic
es
Fash
ion,
r et ai
l&d
istr ib
.
Aero
spac
e&d
efenc
e
Cons
ume
r pro
ducts
Manu
fa . &
chem
.
Tech
nolog
y
En er
gy &
utilit i
es
Agri.
& mi
n ing
Where Executives Are in Demand

Share of total hirings in Asia in the second quarter.

1998
1997
2nd Quarter
2nd Quarter
 THE ROLE OF VOLATILITY MONEY

Net Private Capital Flows: Selected Asian Economies (in billions)

$25

$20

$15

$10

$5
Indonesia
$0
Thailand
1 97 0

1 97 2

1 97 4

1 97 6

1 97 8

1 98 0

1 98 2

1 98 4

1 98 6

1 98 8

1 99 0

1 99 2

1 99 4

1 99 6
-$5 Malaysia

Philippines

Vietnam
09/21/21 650