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Effective Ideation Method for Collective Creativity
Abstract
Creativity, an ability for any creative agent such as artists, musicians, and designers, is often inaccurately understood as a gift of an elite few talented people. Since everyone is creative, however, this perception is not always true. By applying several theoretical notions of human creativity including bisociation, lateral thinking, and co-design, this paper insists that creativity may be accelerated when an individual creativity work with group creativity through recombining, transforming or merging individual’s feeling, experience, knowledge into a new combination. Since a collective creativity is understood as a collaborative endeavor among a group of people including designers and ordinary people, combining individual’s thoughts, different experience, and unique expertise would be a critical process to generate innovative and creative ideas. Based on this notion in mind, this paper introduces a method to conduct an effective collectively creative process in a co-designing situation. Particularly, the method will allow people to share, learn, exploit their ideas so that they could have own individual creativity as well as collective creativity in a co-design situation.
... In addition, people are encouraged to build on each other's ideas, with shared ownership leading to a higher commitment to the ideas. Most important to the present research, however, is that a group's socio-emotional dynamics can greatly impact each member's motivation to make a creative contribution [6]. To give an example: brainstorming is one of the most widely used group ideation methods [21]. ...
... (4) The robot moves to previous entries on the whiteboard and calls attention to them by looking at them; (5) The robot dashes frantically from left to right on the whiteboard twice to get group members to focus on the task at hand; (6) The robot addresses the least active group member with its gaze when other members take their turns speaking for an extended period to indicate that participation should be more balanced. ...
... To stimulate creativity, but also safeguard the final outcome being produced (Stelzle, Jannack, and Noennig 2017), each exercise was composed of divergent and convergent elements. Individual elementssuch as steps 1, 3 and 5 shown in Figure 3 -were helpful for generating initial ideas, while group exercises -such as steps 2, 4, and 6 -were particularly valuable for creating more and better ideas, through building on individuals' ideas through recombination, transformation and merging (Chung 2018). While exercises were outcome oriented, we also asked participants to explain why they selected certain ideas or made certain choices, which allowed for a deeper understanding of stakeholders' tacit needs and values (e.g., steps 2 and 4 in Figure 3). ...
Existing research integrity (RI) guideline development methods are limited in including various perspectives. While co-creation methods could help to address this, there is little information available to researchers and practitioners on how, why and when to use co-creation for developing RI guidelines, nor what the outcomes of co-creation methods are. In this paper, we aim to address this gap. First, we discuss how co-creation methods can be used for RI guideline development, based on our experience of developing RI guidelines. We elaborate on steps including preparation of the aims and design; participant sensitization; organizing and facilitating workshops; and analyzing data and translating them into guidelines. Secondly, we present the resulting RI guidelines, to show what the outcome of co-creation methods are.
Thirdly, we reflect on why and when researchers might want to use co-creation methods for developing RI guidelines. We discuss that stakeholder engagement and inclusion of diverse perspectives are key strengths of co-creation methods. We also reflect that co-creation methods have the potential to make guidelines implementable if followed by additional steps such as revision working groups. We conclude that co-creation methods are a valuable approach to creating new RI guidelines when used together with additional methods.
Creativity is widely recognized as a valuable trait. The aim of this research is to explore the usefulness of incorporating elements of both game and play into creativity methods, so called design games or gameful ideation methods. This paper presents findings from a study in which a Gameful Idea Generation (GIG) was conducted. GIG is a collaborative creativity method that draws on concepts from design games and hackathons. We focus on intra-group dynamics in order to gain insights on how gamefulness influences collaborative creative processes. We analyse performance in relation to the level and nature of collaboration displayed during group-based ideation. Our insights provide relevant pointers for the design of future collaborative creativity enhancing technologies.
KeywordsCreativity methodsGamefulnessCollaborationIdeationDesign gamesGroup dynamicsDivergent thinking
In intercultural collaboration, the lack of a common ground, typically evidenced by language differences, can result in misunderstandings. Many times, team members do not realize that a misunderstanding exists during the collaboration. One solution is to identifying the words that have a high probability of causing misunderstanding. However, it is difficult for people to identify those words, especially for monolingual and monocultural people, as they have never experienced the language and culture of the other party. Many researchers have been trying to identify cultural differences using survey studies but the resulting coverage is limited, requires excessive effort, and can yield bias. In this paper, we propose a novel method that applies an image comparison technique to an image database to automatically detect words that might cause misunderstanding. We test our method on 2,500 words in a Japanese-English concept dictionary called Japanese WordNet. This paper provides explains the results gained. We also discuss the use of the proposal and visualization as a support tool to enhance intercultural workshops.
This paper presents an empirical comparison of idea generation within the context of reducing the number of single occupancy car journeys to and from a UK university campus. Separate co-design and consultative groups were matched with respect to (1) creativity when problem solving, (2) normal commuting mode and (3) intention to adopt sustainable behaviours. The co-design group generated a significantly greater number of innovative ideas than the consultative group (using an email-based methodology); however, this was due to the greater number of total ideas (rather than the higher proportion of innovative ideas) generated by this group. The co-design group was able to think more systemically about potential solutions and generate proposals that were not either linked to their own commute mode, or aligned with any one specific mode of transport. The findings suggest that co-design offers benefits as a process for idea generation within the sustainable travel context as it promotes idea generation and a more holistic perspective on the problem and potential solutions.
T his paper introduces a model of collective creativity that explains how the locus of creative problem solving shifts, at times, from the individual to the interactions of a collective. The model is grounded in observations, interviews, informal conversations, and archival data gathered in intensive field studies of work in professional service firms. The evidence suggests that although some creative solutions can be seen as the products of individual insight, others should be regarded as the products of a momentary collective process. Such collective creativity reflects a qualitative shift in the nature of the creative process, as the comprehension of a problematic situation and the generation of creative solutions draw from—and reframe—the past experiences of participants in ways that lead to new and valuable insights. This research investigates the origins of such moments, and builds a model of collective creativity that identifies the precipitating roles played by four types of social interaction: help seeking, help giving, reflective reframing, and reinforcing. Implications of this research include shifting the emphasis in research and management of creativity from identifying and managing creative individuals to understanding the social context and developing interactive approaches to creativity, and from a focus on relatively constant contextual variables to the alignment of fluctuating variables and their precipitation of momentary phenomena.
Notions of ‘community’ are still taken-for-granted in Participatory Design discourse, omitting critical examination of how people participate in projects to achieve and evaluate community-based participation and outcomes. This paper critically reflects on challenges and obstacles faced when using participatory design methods in engaging a ‘community’ on bushfire risk awareness. Bushfires are a critical and continuous threat to residents living in regional areas of Australia. Through this project, we identified a critical communication problem in bushfire awareness and preparation caused by ‘fragmented’ networks among a ‘community of place’. This fragmentation contributes to significant communication obstacles in community-level preparation for bushfires. This research explored participatory design ‘scaffolds’ to capture, share and visualise locally relevant knowledge vital in mitigating bushfire risks. These methods facilitated awareness and revealed tacit knowledge on who and what community is. Critical reflection of the project examines how such methods have the potential to facilitate the creation of sub-groups gathered around a common cause. And has also built understanding to avoid ‘imagined’ notions of a community that can hide social heterogeneity.
In recent years both companies and research communities call for collaborative work practices and user-centered approaches in various design fields. There are several challenges and issues to take into consideration. For instance there is a need to find ways of collaborating across various competences, interests, responsibilities and perhaps professional languages both within one organization, between several organizations and between the organizations and a group of (potential) users. It is necessary to find ways to learn about users and the contexts of use, and to create a common understanding of the development task. This paper presents a set of four design games, which offers solutions to the challenges mentioned. The design games have been developed in the Space Studio during several projects and years. Here experiences are discussed on the basis of two research projects carried out in collaboration with industrial partners and potential users, and use of the games in three educational settings.The overall aim of the design games is to help facilitate a user-centered design process for cross-disciplinary design groups early in the design process. Framing collaborative design activities in a game format, arguably improves idea generation and communication between stakeholders. By shifting focus to the game, power relations and other factors that might hamper idea generation, are downplayed.
This 7,500-word refereed conference paper is a conceptual piece arguing that ambiguity, traditionally considered anathema in work on Human Computer Interaction, can be a positive resource for Interaction Design. The paper reflects collaboration across Design, Literature and Computer Science. It differentiates three kinds of ambiguity – of information, context and relationship – with illustrations from the arts (e.g. Duchamp's Fountain; Atelier Van Lieshout's Bais-ô-Drôme), and these forms of ambiguity are used to analyse recent interaction design examples. Finally, the paper offers a series of tactics (e.g. “implicate incompatible contexts to disrupt preconceptions”) for creating useful ambiguity in design. This paper represents a step towards recasting interaction design as providing resources for user interpretation and exploration rather than solutions to articulated problems.
Randomness is being harnessed in the design of some interactive systems. This is observed in random blogs, random web searching, and in particular Apple's iPod Shuffle. Yet the role of randomness in design of interactive systems in not well understood. This paper reports on an empirical study examining the influence of randomness on the user experience of music listening. 113 instances of self-reporting were collected and analysed according to four themes: listening mode, content organisation, activities during listening, and affective outcomes. The analysis provides insights into how randomness is used to engender certain affective responses (such as feeling refreshed) by using various constraining techniques (such as playlists) whilst engaging in everyday activities (such as driving a car). The paper argues that randomness can be used as an innovative design resource for supporting rich and novel user experiences. Author Keywords
How task cues affect cognition, attitudes, and behavior was explored in this laboratory study with 82 master of business administration students. Linguistic analysis of responses to the same puzzle task, cued as either work or play, revealed that task cues influenced how information was perceived and was used to form judgments and to shape behavioral responses. Ss performing work tasks attended more to information about the quantity of their performance and made more streamlined, goal-directed responses. Ss performing play tasks attended more to information about the quality of their performance; made more elaborated, image-laden responses; and were more intrinsically motivated. Links among task cues, cognitive processes, and performance were explicated through path analysis. Task cues affected performance outcomes indirectly by instantiating associated cognitive orientations: a means orientation in play and an ends orientation in work.
A central task of management is decision making and a crucial aspect of decision making is having good alternatives from which to choose. This paper investigates whether computer-based procedures for idea generation can help individuals to develop solution alternatives more creatively. Our conceptual framework considers creative processes, environments, outputs, and individuals. In particular, generating alternatives is viewed as a process of "making connections" ---internal connections among problem elements and external connections between a problem and its environment. We have developed a computer program (GENI) which incorporates a variety of techniques to assist in making these different types of connections. The program is described and an experimental test with several managerial problems is presented. The results show that use of the program leads to the development of significantly more creative alternatives than does a control treatment. There is an amplification effect in that the performance of the more creative individuals is improved the most. Thus the findings suggest that computerized idea generation leads to more creative alternatives resulting in potentially better managerial decisions.
Artistically crafted novels, poems, films and paintings, and photography have the capacity to awaken us from our stock responses… (Eisner, 1995: 2)Is the researcher responsible for establishing a context for the "correct" interpretation of the artefact? In this paper we argue that artefacts lend themselves to multiple interpretations and that the role of the researcher can be to foster creative engagements rather than establish a context for “correct” interpretation. We believe that a more open and exploratory approach to art and design research more closely reflects the ambiguities and eccentricities of everyday people and how they think and feel. This offers an approach to research practice that provides room for the participants to actively contribute. By playing with anomalous objects and odd experiences it is possible to dramatically expand creative and interpretive engagement between people, providing platforms where diverse interpretations can be generated. We overview the notions of context-as-place, context-as-group and context-as-person, discussing how such notions represent a continuum where artefacts play multiple roles. The two experiences we discuss in this paper – the Pea Project and A Surrealist Encounter – share some common threads: that people are highly creative beings and that almost anything, removed from its original context, can stimulate creativity and collaboration. For example, in the Pea Project we used an everyday garden-variety green pea in a range of different settings to stimulate reflective awareness, curiosity, creativity and to prompt collaborative engagements. In A Surrealist Encounter we decontextualised a series of objects from a Magritte painting (1926) to elicit creative and collaborative encounters between strangers. These two experiences are drawn from notions of phenomenology (Bachelard, 1964; Dastur, 2000), art-based inquiry (Eisner, 1991; McNiff, 1998), symbolic constructivism (Barry, 1996), action research (Reason & Bradbury, 2001), heuristics and their open-ended outcomes (Moustakas, 1990), reflective and collaborative practice (Kolb, 1984; Schön, 1983; Collier, 1999;), anomalous objects and odd experiences, and the idea of everyday people as co-creators of meaning and art (Shotter, 1993). In both of these experiences elements were combined that were unexpected and unanticipated in the various contexts in which they were deployed. For example, peas on a plate are unremarkable whereas one pea offered by a stranger in the street is bizarre. What am I supposed to do with it? What does it mean? One may well ask.As France Morin (2000:7) suggests “artists have the capacity to make a lasting positive impact on peoples lives by helping them to see for themselves the dignity, beauty, and sacredness of the activities of their everyday life: the creative spirit, a powerful agent of transformation, that lies within everyone” – the two projects discussed in this paper aimed at evoking a creative spirit in each and every person with whom we worked. In this paper we use the above-mentioned examples to explore the notion of context in art and design research and to propose that there are multiple ideas of context that might inform, impact and affect the ways in which things are interpreted and how meaning can be created. Context-as-place, context-as-group, and context-as-person are the three key dimensions of context we discuss. These dimensions and the relationships between them represent a continuum between private and public domains in which artefacts can play multiple roles and be interpreted in multiple ways. In our work we use this understanding of context to trigger collaborative, creative and reflective engagements. This paper is divided into five sections covering: an introduction to the argument, an overview of theoretical and methodological influences, a discussion of the two projects, our multiple views on the notion of context and concluding remarks. We believe that context significantly contributes to the ways in which people understand and respond to artefacts. In our experience such responses can be multiple and creatively charged if the conditions are sufficiently ambiguous and the artefacts anomalous. This provides for a richer ground for research and for deeper understanding of people and their multiplicity. Does research demand new types of context, and what would they need to be like? The use of anomalous artefacts and odd experiences creates new types of contexts that elicit an understanding of people not possible via traditional research settings.
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