Brainstorming Techniques January 30, 2018
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PRUEBA DE ACCESO Y ADMISIÓN a LA UNIVERSIDAD LENGUA EXTRANJERA ANDALUCÍA, CEUTA, MELILLA Y CENTROS En MARRUECOS (INGLÉS) CURSO 2019-2020
PRUEBA DE ACCESO Y ADMISIÓN A LA UNIVERSIDAD LENGUA EXTRANJERA ANDALUCÍA, CEUTA, MELILLA y CENTROS en MARRUECOS (INGLÉS) CURSO 2019-2020 Instrucciones: a) Duración: 1 hora y 30 minutos. b) Este examen consta de varios bloques. Debe responder a las preguntas que se indican en cada uno. c) La puntuación está indicada en cada uno de los apartados. d) No se permite el uso de diccionario. El examen consta de 3 Bloques (A, B y C) En cada bloque (Comprehension, Use of English y Writing) se plantean varias preguntas, de las que se deberá responder al número que se indica en cada uno. En caso de responder más cuestiones de las requeridas, serán tenidas en cuenta las respondidas en primer lugar hasta alcanzar dicho número. Las preguntas han de ser respondidas en su totalidad: si la pregunta tiene dos secciones, hay que responder ambas. BLOQUE A (Comprensión lectora) Puntuación máxima: 4 puntos Debe responderse a las 8 preguntas de uno de los 2 textos propuestos. I * COMPREHENSION (4 points). CHOOSE TEXT 1 OR TEXT 2 AND ANSWER ALL THE QUESTIONS FROM THAT TEXT ONLY. TEXT 1: FASHION AND WASTE 1 In 2018, beauty vlogger Samantha Ravndahl announced to her legion of subscribers that she would no longer accept 2 promotional samples because she was concerned about the waste in the packaging of beauty and fashion items. She was trying 3 to combat not just her own waste, but that of all her followers. 4 It’s really a game of chicken or the egg to decide who is to blame for the culture of waste: social media or fashion itself? The 5 answer is a toxic combination of both. -
The Issues and Benefits of an Intelligent Design Observatory
INTERNATIONAL DESIGN CONFERENCE - DESIGN 2008 Dubrovnik - Croatia, May 19 - 22, 2008. THE ISSUES AND BENEFITS OF AN INTELLIGENT DESIGN OBSERVATORY B.J. Hicks, H.C. McAlpine, P. Törlind, M. Štorga, A. Dong and E. Blanco Keywords: design process, design teams, design performance, observational studies, experimental data, experimental methodology 1. Introduction Central to improving and sustaining high levels of innovative design is the fundamental requirement to maximise and effectively manage design performance. Within the context of 21st century design - where the process is largely digital, knowledge-driven and highly distributed - this involves the creation of tailored design processes, the use of best-performing tool sets, technology mixes and complementary team structures. In order to investigate these aspects, there is a need to evaluate the practices and needs of industry; advance understanding and design science; create new tools, methods and processes; and assess the state-of-the-art technology and research output. However, effective investigation of these four areas can only be achieved through a fundamental understanding of today’s complex, dynamic design environments. Such detailed understanding is presently unavailable or at least very difficult to obtain. This is largely because of a lack of capability for holistic investigation of the design process and an inability to perform controlled experiments, using reliable and meaningful metrics that generate complete high quality data. The consequences of this are that many tools, methods or technologies that could benefit industry are not adopted, some are adopted without rigorous assessment and do not perform as anticipated, and many are developed on the basis of incomplete or limited data. -
Innovation Through Design Thinking (2 Units)
University Of California, Berkeley Department of Mechanical Engineering ME 290K A: Innovation through Design Thinking (2 units) Graduate Course Syllabus CATALOG DESCRIPTION Designed for professionally-oriented graduate students, this course explores key concepts in design inovation based on the human-centered design approach called “design thinking”. Topics cover include human-centered design research, analysis of research to develop design principles, creativity techniques, user needs framing and strategic business modeling. COURSE PREREQUISITES Graduate level standing; Prior design course TEXTBOOK(S) AND/OR OTHER REQUIRED MATERIAL No formal textbook. Sample readings are: Designing for Growth: A Design Thinking Tool Kit for Managers, by Jeanne Liedtka and Tim Ogilvie, Columbia Business School, 2011. Peter Guber Interview – The MAGIC is Story at http://tinyurl.com/3phk6bl and the executive summary of the book Made to Stick at Design Thinkng .tagonline.org/files/Made_to_Stick.pdf. “Design Thinking: Notes on its Nature and Use,” Design Research Quarterly Vol. 2, N0. 1, January, 2007 “The Principles of Collective Invention,” White Paper by Erika Gregory & Clark Kellogg “Learning from Studio,” by Clark Kellogg, Design Intelligence Knowledge Reports, January, 2006 The Future of Innovation, by Andrew Razeghi, selected chapters (Slimbooks), 2012 “PFPS Toolkit,” by Clark Kellogg, Sara Beckman and Helene Cahen “Culture of the Charrette,” White Paper by Arnold Wasserman “Ethnography Primer,” IDSA, 2010 Business Model Generation: A Handbook -
Effective New Product Ideation: IDEATRIZ Methodology
Effective New Product Ideation: IDEATRIZ Methodology Marco A. de Carvalho Universidade Tecnológica Federal do Paraná, Mechanical Engineering Department, Av. Sete de Setembro 3165, 80230-901 Curitiba PR, Brazil [email protected] Abstract. It is widely recognized that innovation is an activity of strategic im- portance. However, organizations seeking to be innovative face many dilem- mas. Perhaps the main one is that, though it is necessary to innovate, innovation is a highly risky activity. In this paper, we explore the origin of product innova- tion, which is new product ideation. We discuss new product ideation ap- proaches and their effectiveness and provide a description of an effective new product ideation methodology. Keywords: Product Development Management, New Product Ideation, TRIZ. 1 Introduction Introducing new products is one of the most important activities of companies. There is a significant correlation between innovative firms and leadership status [1]. On the other hand, evidence shows that most of the new products introduced fail [2]. There are many reasons for market failures of new products. This paper deals with one of the main potential sources for success or failure in new products: the quality of new product ideation. Ideation is at the start of product innovation, as recognized by eminent authors in the field such as Cooper [1], Otto & Wood [3], Crawford & Di Benedetto [4], and Pahl, Beitz et al. [5]. According to the 2005 Arthur D. Little innovation study [6], idea management has a strong impact on the increase in sales associated to new products. This impact is measured as an extra 7.2 percent of sales from new products and makes the case for giving more attention to new product ideation. -
The Effects of Creative Problem Solving Training on Cognitive Processes in Managerial Problem Solving”
“The Effects of Creative Problem Solving Training on Cognitive Processes in Managerial Problem Solving” Ching-Wen Wang AUTHORS Ruey-Yun Horng Shih-Chang Hung Yung-Chang Huang Ching-Wen Wang, Ruey-Yun Horng, Shih-Chang Hung and Yung-Chang Huang ARTICLE INFO (2004). The Effects of Creative Problem Solving Training on Cognitive Processes in Managerial Problem Solving. Problems and Perspectives in Management, 2(1) RELEASED ON Wednesday, 17 March 2004 JOURNAL "Problems and Perspectives in Management" FOUNDER LLC “Consulting Publishing Company “Business Perspectives” NUMBER OF REFERENCES NUMBER OF FIGURES NUMBER OF TABLES 0 0 0 © The author(s) 2021. This publication is an open access article. businessperspectives.org Problems and Perspectives in Management, 1/2004 101 The Effects of Creative Problem Solving Training on Cognitive Processes in Managerial Problem Solving Ching-Wen Wang1, Ruey-Yun Horng2, Shih-Chang Hung3, Yung-Chang Huang2 Abstract: The purpose of this study is to investigate the effect of Creative Problem Solv- ing (CPS) training on managerial problem solving behaviors. The ill-defined nature of managerial problem solving process is modeled by a two-space four-stage search model. Twenty-two mangers solved a managerial case before they received 12 hours of CPS training (control group). Another 22 managers solved the case problem after the CPS training (experimental group). All managers were administered the Torrance Test of Creative Thinking, Circle Test before the CPS training. The results showed that after the CPS, managers in the experimental group improved in the num- ber of inferences made in the problem space and the number ofroblem p definitions linking the cognitive activities between problem space and solution space,compared to managers in the con- trol group. -
Reverse Metadesign: Pedagogy and Learning Tools for Teaching the Fashion Collection Design Process Online
7th International Conference on Higher Education Advances (HEAd’21) Universitat Politecnica` de Valencia,` Valencia,` 2021 DOI: http://dx.doi.org/10.4995/HEAd21.2021.13181 Reverse Metadesign: Pedagogy and Learning Tools for Teaching The Fashion Collection Design Process Online Daria Casciani, Chiara Colombi, Federica Vacca Design Department, Politecnico di Milano, Italy. Abstract The present article discusses the experience of redesigning the pedagogy and learning tools of a pillar course at the School of Design of Politecnico di Milano, the Metadesign studio course. Metadesign is a design methodology that leads to the concept definition of a new product or service through a research process that synthesizes design goals, technological and productive constraints, market context, and consumption trends for a consumers’ group of reference. It represents a unique methodological approach characterizing a design education as it provides a consolidated research practice able to support the design process. The course structure foresees the reconstruction in phases and the development of all the contextual elements—product, space, service, communication artifact, etc.—that come into relation with the to-be- designed object and influence its characteristics. This process enables creating the "abacus" of components to use in a design activity. Considering the ever- increasing need to reshape the whole education system because of the paradigmatic change pushed by digital transformation and the urgency for on- distance courses posed by the COVID-19 emergency, the article presents a renewed "reversed" course structure. It highlights strengths and opportunities for further improvements representing a solid base for innovating a fashion design education. Keywords: Metadesign; fashion design; learning-by-doing; reflection-in- action; deductive reflection; virtual learning environments. -
Teaching Creativity in a Technological Design Context*
Int. J. Engng Ed. Vol. 19, No. 2, pp. 260±271, 2002 0949-149X/91 $3.00+0.00 Printed in Great Britain. # 2002 TEMPUS Publications. Teaching Creativity in a Technological Design Context* KEES VAN OVERVELD, RENEÂ AHN, ISABELLE REYMEN and MAXIM IVASHKOV Stan Ackermans Institute, Centre for Technological Design, Eindhoven University of Technology, PO Box 513, 5600 MB Eindhoven, The Netherlands. E-mail: [email protected] We want to teach creativity techniques to prospective technological designers in a domain- independent way. To facilitate this, we adopt a format and nomenclature that is close to the terminology used by engineers. Central notions are concepts, attributes and values. A crucial role is played by, what we call, productive attributes: attributes that come with a set of values that can easily be enumerated. In this paper we show how this format supports several creativity techniques and how it allows engineers to explore option spaces in a structured manner. We briefly discuss some practical experiences with our approach. INTRODUCTION: PROBLEM STATEMENT ANALYSIS THE STAN ACKERMANS INSTITUTE (SAI) We focus on the following problem: `How to is a subsidiary of Eindhoven University of Tech- teach creativity techniques in interdisciplinary nology [1]. It has been established in order to design for post graduate technological design organise various postgraduate programs in programs'. advanced technological design. In order to enrol Even when dealing with design problems that in these programs, candidates possess a completed offer ample opportunity for an innovative masters degree in some technical discipline; after approach, novice designers and students in tech- successful completion of an SAI program, they nological design very often fall back to conven- receive the title MTD (Master of Technological tional, and frequently sub-optimal textbook-type Design): a degree that is certified by the Dutch solutions. -
Designing Your Life How to Build a Well- Lived, Joyful Life Bill Burnett and Dave Evans
Designing Your Life How to Build a Well- Lived, Joyful Life Bill Burnett and Dave Evans ALFREDSUPPLEMENTAL A. KNOPF GRAPHICSNEW YORK 2016 COPYRIGHT © 2016 BY WILLIAM BURNETT AND DAVID J. EVAN Burn_9781101875322_3p_all_r1.j.indd 3 6/14/16 2:20 PM Contents 1. Try Stuff: Health/Work/Play/Love Dashboard 1 2. Try Stuff: Workview and Lifeview 6 3. Try Stuff: Good Time Journal 9 4. Try Stuff: Mind Mapping 13 5. Try Stuff: Odyssey Plan 20 6. Try Stuff: Prototyping 29 7. Try Stuff: Reframing Failure 37 8. Try Stuff: Building a Team 41 Try Stuff Health/Work/Play/Love Dashboard 1. Write a few sentences about how it’s going in each of the four areas. 2. Mark where you Tryare (0Stuff to Full) on each gauge. 3. Ask yourself if there’s a design problem you’d Health/Work/Play/LoveTry Stuff Dashboard like to tackle in any of these areas. Health/Work/Play/Love Dashboard 4. Now ask yourself if your “problem” is a gravity 1. Write a few sentences about how it’s going in problem. 1. Weachrite ofa fewthe foursentences areas. about how it’s going in 2. eachMark ofwher thee four you areas.are (0 to Full) on each gauge. 2.3. MarkAsk yourself where youif ther aree’s (0 a to design Full) on problem each gauge. you’d 3. Asklike toyourself tackle ifin ther anye’s of athese design areas. problem you’d 4. likeNow to ask tackle yourself in any if yourof these “problem” areas. is a gravity 4. Nowproblem. -
Brainstorming and Brainwriting As Creativity Techniques: a Diagnosis in Companies of the Metallurgic Sector
Brainstorming and Brainwriting as creativity techniques: a diagnosis in companies of the metallurgic sector Jaqueline Fonseca Rodrigues (UTFPR) [email protected] Ivanilde Scussiatto Eyng (UNAM-Argentina) [email protected] Thompson von Agner (CESCAGE) [email protected] Isaura Alberton de Lima (UTFPR) [email protected] Dálcio Roberto dos Reis (UTFPR) dá[email protected] Abstract The objective of this article is to diagnosis the level of knowledge and the level of experience allied to the importance of the creativity, through the use of the techniques of Brainstorming and Brainwriting, as stimulation to the generation of ideas. The present study was developed in companies of the metallurgic sector in the City of Ponta Grossa. Here presented through a field research in eleven companies. Creativity for some authors is the process to become sensible the problems, deficiencies; gaps in knowledge, disharmony; to identify the difficulty, to search solutions, formulating hypotheses regarding the deficiencies; to test and to re-test these hypotheses; and finally, to communicate the results. Brainstorming, more than a technique of group dynamics, is a developed activity to explore the potentiality creativity of individual, placing them it service of their objectives, whereas Brainwriting is the quiet version of the Brainstorming. The results demonstrate that in relation to the knowledge level: Brainstorming: there are managers who do not know, others that know and still a third group that knows well; Brainwriting: many managers are unaware of, some know and few know well. With regard to the experience level: Brainstorming: a great number of managers does not use, few use occasionally and some use it regularly; Brainwriting: a totality of the researched managers practically do not use, a minority uses occasionally and none of the managers makes regular use of the technique. -
Brainstagram: Presenting Diverse Visually Inspiring Stimuli for Creative Design
Brainstagram: Presenting Diverse Visually Inspiring Stimuli For Creative Design Grace Yu-Chun Yen Wei-Tze Tsai Abstract Computer Science Computer Science This paper presents Brainstagram, a web-based tool University of Illinois University of Illinois leveraging the structure of social networks to assist 201 N. Goodwin Avenue 201 N. Goodwin Avenue designers in finding inspiration. One challenge Urbana, IL 61801 Urbana, IL 61801 designers face when brainstorming is knowing how to [email protected] [email protected] search for unlikely sources of inspiration. In our study we present designers with Brainstagram, which Jessica L. Mullins Ranjitha Kumar organizes visual stimuli through tag co-occurrence to Computer Science Computer Science display related concepts. This allows users to easily University of Illinois University of Illinois navigate from relevant to unexpected images. In this 201 N. Goodwin Avenue 201 N. Goodwin Avenue pilot study, 6 participants generated 29 different Urbana, IL 61801 Urbana, IL 61801 designs which were evaluated on creativity and [email protected] [email protected] diversity. Our study demonstrates Brainstagram as a potentially effective tool in the brainstorming process. Author Keywords Copyright is held by the author/owner(s). Creativity; Inspiration; Brainstorming; Design; Social CHI 2015, April 18 – 23, 2015, Seoul, Korea. Media ACM ACM Classification Keywords H.3.3 [Information Storage and Retrieval]: Information Search and Retrieval --- Search process, Selection process; H.5.2 [User Interfaces]: Information and Presentation --- User-centered design. Introduction related to the user’s specific design task. These stimuli Ideation is one of the crucial stages in design process. are intended to help the designer discover new sources Previous work has shown that the originality of a design of inspiration. -
Effective Brainstorming for Designers Overview
EFFECTIVE BRAINSTORMING FOR DESIGNERS OVERVIEW FOCUS THE METHOD + TIMEBOXES x PEOPLE = SYNTHESIZE PROBLEM VOLUME OF IDEAS IDEAS PREPARE BRAINSTORM DISTILL 1. Agree on the business 1. Determine how many people will be in your brainstorm, 1. Post all of your ideas problem you’re trying to solve and the space you’ll be able to hold your meeting. for the team to see— (ideally in a design brief). even those that weren’t 2. Select the design methods that you feel will yield in the meeting. 2. Work with your team to the most appropriate ideas, based on the required final focus your approach to output for the project and the different personalities 2. With your team or in a the problem by creating that will be involved. future meeting, cluster your ideation questions from your design ideas into concept agreed-upon area of focus. 3. Plan out a clear agenda that sets out how the time will maps as a timeboxed be used—down to the minute, with stated idea generation exercise. Move from an goals for everyone involved (a.k.a. timeboxing). overwhelming number of ideas to systematic 4. Reserve the final minutes of your meeting to establish solutions. criteria for evaluating your ideas and outline next steps. ©2012 DAVID SHERWIN | [email protected] | CHANGEORDERBLOG.COM | @CHANGEORDER | ALL RIGHTS RESERVED PREPARING FOR A BRAINSTORM: IDEATION QUESTIONS Let’s start coming up with all sorts of amazing ideas! Wait—where do we even start? First, jot down some ideation questions. They are restatements of issues that form the basis of a design problem. -
Fostering Creativity and Innovation 203 This Work May Not Be Reproduced Or Distributed in Any Form Or by Any Means Without Express Written Permission of the Publisher
Fostering Creativity and DO Innovation 7NOT Creativity at J.Crew On the inside cover of a spring 2013 mail catalog, Jenna LEARNING Lyons, Creative Director of J.Crew wrote “You may remember OUTCOMESCOPY, us from years ago—J.Crew, all about the classics. You’ll still find them here, but we’ve changed a lot since then. These After reading this chapter, you should be days, you might be surprised by what you find.” able to: In that short statement, Lyons summarizes a much more com- 1. Interpret the steps in the creative process plex series of developments that have occurred at J.Crew POST,over the last 10 years. Not only has the company tripled its 2. Distinguish between creativity and annual revenue, but it has become an almost cult-like brand. innovation and understand how they Much of the credit for the change goes to Mickey Drexler work together who became chairman and CEO at J.Crew in 2003. Under 3. Recognize and resolve impediments Drexler and Lyons (as Creative Director), the J.Crew product to creativity and innovation in design would be no longer dictated by corporate strategy. In organizations fact, this approach ORwould be turned on its head: the focus 4. Employ various tools and approaches would be on the creative process and building a unified aes- to enhancing creativity thetic for the brand. Early in his tenure, Drexler appointed Lyons not only Creative Director, but also president of the 5. Explain the role of leadership in company. “What it says,” LyonsDISTRIBUTE argues, “is that no financial enhancing organizational creativity and innovation decision weighs heavier than a creative decision.