Creative Thinking and Innovation
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CREATIVE THINKING AND INNOVATION `ASK TOMORROW'S QUESTIONS, SOLVE TOMORROW'S PROBLEMS' MARTIN CONSTABLE Saigon, Vietnam Royal Melbourne Institute of Technology Creative Thinking and Innovation Martin Constable August 23, 2017 Contents Course Description 1 Overview of Lectures 3 1 Task One: Lie to Us 5 1.1 The task . .5 2 Lecture One: Three Case Histories 7 2.1 The Palm Pilot . .7 2.2 The Blackberry . 10 2.3 The iPhone . 12 2.4 General lessons . 13 2.4.1 You are never alone . 13 2.4.2 Keep your eye on the prize . 13 2.4.3 That obscure object of desire . 13 2.4.4 Live every day as if you are going to die . 14 2.5 Lecture one: talking point . 16 2.6 Summary of lecture one . 17 2.7 Lecture one: further reading . 18 3 Task Two: Your Mobile 21 3.1 The task . 21 3.2 The assessment criteria . 22 4 Lecture Two: Problems and Solutions 23 4.1 A classification of problems . 23 4.1.1 Applied and unapplied problems . 23 4.1.2 General problems . 24 4.1.3 Fuzzy vs clearly-stated problems . 25 4.2 A classification of solutions . 27 4.2.1 Linear inheritance . 27 4.2.2 The appropriation . 28 4.2.3 The random mutation . 29 4.2.4 The cross-breed . 30 4.2.5 The re-purpose . 31 4.2.6 The tool box . 32 4.3 Lecture two: talking point . 36 4.4 Summary of lecture two . 37 4.5 Lecture two: further reading . 38 5 Task Three: Future Thinking 39 5.1 The task . 40 5.2 The assessment criteria . 41 6 Lecture Three: The Creative Process 43 6.1 The bumpy ride . 43 6.2 The importance of re-combination and play . 46 6.3 Creative methodologies . 47 6.3.1 The proxy . 48 6.3.2 The fresh view . 48 6.3.3 Breaking it down . 50 6.3.4 The patch and the troubleshoot . 50 6.3.5 Start again . 51 6.3.6 Dreams and coffee . 52 6.4 Lecture three: talking point . 56 6.5 Summary of lecture three . 57 6.6 Lecture three: further reading . 58 7 Lecture Four: The Artist and Their Environment 59 7.1 The creative individual . 59 7.1.1 Can anyone be an innovator? . 59 7.1.2 Hard work . 60 7.1.3 Intelligence, skill and taste . 60 7.1.4 The enquiring mind . 61 7.1.5 Against the establishment . 62 7.1.6 Individual and collective authorship . 63 7.2 The creative environment . 65 7.2.1 The skunkworks . 65 7.2.2 Reinvention . 66 7.2.3 Technology as an environment . 67 7.2.4 The creative routine . 68 7.3 Lecture four: talking point . 72 7.4 Summary of lecture four . 74 7.5 Lecture four: further reading . 75 8 Task Four: Choice of Projects 77 8.1 The task . 77 8.1.1 Option one: the insane king's palace . 78 8.1.2 Option two: the alien's tourist guide . 79 8.1.3 Option three: the party . 80 8.2 The assessment criteria . 81 Course Description \Don't dream it, be it!" Dr. Frank-N-Furter The Rocky Horror Picture Show If it were not for innovation, we would all be still living in caves and hunting mammoth. To be innovative requires that we ask tomorrow's questions and solve tomorrow's problems. This course introduces several key theories, ideas and strategies each of which are designed to develop your creativity and innovation. Key questions are asked: what form does innovation take? What constitutes an interesting problem? Is there anything unique about a creative individual? Practical exercises encourage you to apply what you learn: to develop next-generation thinking, today! Martin Constable 2016, RMIT, Vietnam 1 Overview of Lectures Their are four lectures in this course. Each builds upon the preceding. Lecture One: Three Case Histories. Three mobile devices are examined: the Blackberry (RIM), the Pilot (Palm Computing) and the iPhone (Apple). Each were in their time very innovative products. Each initially succeeded, and two ultimately failed, for very particular reasons. General lessons are drawn. Lecture Two: Problems and Solutions. The focus of this lecture is on the creative output. Any innovative act can be divided into two phases: finding an interesting problem and finding an effective solution. This lecture offers a classification of these phases: defining different classes of problems and solutions. Lecture Three: The Creative Process. The focus of this lecture is on the creative act. What goes on in the sanctity of the artist's studio? This lecture examines the lived process of creativity. Like any process, it has a beginning and an end. Practical creative strategies are examined. Lecture Four: The Artist and Their Environment. The focus of this lecture is on the creative person. Is their anything special about them? How do they become effective innovators? Every creative person functions within an environment. Some are more effective than others. 3 Item 1 Task One: Lie to Us 1.1 The task The first lecture will address the history of three products. The history of a thing will tell us a lot about its nature: what makes it particular and unique. For this first individual activity, you are to write a short history of yourself (around 50 words). The catch is that everything you tell us must be a fiction. The catch within the catch is that this fiction must also in some way be derived from the truth. As an example, I can tell you something about myself: \I was born on mars, and fell to earth when I was five. My father was an electric lightbulb and my mother was a swan." This fiction is based on the following truth: \I was born in Canada, and moved to the UK when I was five. My father was a physicist and my mother was an artist." Choose a few of your favourite responses and discus them in the Message Board. You should discus the fiction, not the true facts. Hence: Acceptable response: \...what colour lightbulb was your father?" Unacceptable response: \...tell us more about your father." You will find that the way that people discus your fiction, will conform to the `rules' of the fiction. Answers that you give will be similarly consistent. In this way, your fiction will expand in a detailed and consistent manner. Of course, the larger function of this exercise is to encourage you to get to know each other. 5 Item 2 Lecture One: Three Case Histories Mobile devices now play an intimate part in our day-to-day lives. The modern smartphone is a multi-function device that doubles as a calendar, camera and entertainment centre. Importantly, through the app store, it can be customised to serve a diverse range of needs. There is a history behind the mobile device that extends back over a hundred years. However, this section details only three devices from the recent past: the Pilot (made by Palm), the Blackberry (by RIM) and Apple's iPhone. Each of these products were, in their time, revolutionary. The particular merit of each device will be described, and key figures in their development will be introduced. Any notable failings relating to the device will also be discussed. At the end of the lecture, general lessons will be drawn from these histories. 2.1 The Palm Pilot Figure 2.1: The Palm Pilot (introduced in 1997). The Palm Pilot (Fig. 2.1) was a low-powered Personal Digital Assistant (PDA) small enough to fit in a shirt pocket. Introduced by Palm Computing 7 in 1997, the novelty of the Pilot was that it was small, simple and it worked. The PDA devices that had preceded it (e.g. the Zoomer and Apple's Newton), aspired to be pocket PCs: fully-fledged, hand-held mini-computers. Compared to them, the Palm Pilot was extremely underpowered and lacking in features. But what it did, it did very well. The core feature of the Palm Pilot was not the hardware, but its elegant and flawless synchronisation software, which paired with similar software on the user's desktop. It featured a calendar, an address book, memos and a to-do list. Its own handwriting recognition system, Graffiti, was a huge advance on Apple's forays into similar technology. Uniquely, it was also small enough to fit comfortably into a shirt pocket, and was extremely cheap. It helped that Palm produced a Software Developer Kit (SDK), using which a developer could make applications that would run on the Pilot. This was enormously popular, and the Pilot became the centre of a lively app community. All these qualities combined to produce a device that people were naturally attracted to. Palm's product manager Rob Haitani famously described this quality as \...the zen of Palm" [1]. Palm Computing was founded by Jeff Hawkins, an awkward and lanky man with a passion for enquiry that extended across different fields. As well as being an accomplished engineer, he had also studied the workings of the human brain, and it was this knowledge that greatly helped in his development of Graffiti. He had a talent for seeing simple solutions to complex problems. Chris Raff, one of Palm's engineers, described this quality: \He had the sort of common sense and logic that just can't be learned. He would say, `What's important is...' and it would be clear what decision we should make" [1]. In developing the Palm Pilot he displayed a maniacal focus on simplicity, strongly resisting any attempt to add unnecessary features to the palm.