Creativity in Motion

Get Creative: Ponder, Practice, Put into Action

Week One:

Dr. Blair Miller was the professor of our last CLIC class. I don't believe he was intentionally implementing Torrence's Model. However, Dr. Miller's format for our class included aspects of Torrence's Model.  

Step 1: Heighten Anticipation – Dr. Miller captured our attention by allowing us to do serious personal reflection
Step 2: Deepen Expectations – We were tasked with coming up with our own definitions, vision and philosophies
Step 3: Extend the Learning – We had to picture our desired outcomes and how we wanted to continue the creativity

Week Two

I found myself extending my learning by adding timelines to the outcomes I identified in my philosophy paper. For example, I questioned how I could get more done in less time. I found myself zoning in on my strategic plan, adding dates, identifying challenges, limitations and opportunities for creative problem solving.

Week Three

Thinking Feeling (Williams)


This theory brings my Foresight personality of an Implementer to life. Instead of sitting and wasting time while we ponder ideas and outcomes, my personality drives me to get moving and solve problems that arise as I progress. I may get bruised knees in the process but I am further along than I began and am accomplishing goals quicker than most. I can chew gum and dance, even though I may bite my tongue a few times. (LOL) In the end, I am not stagnant. I am productive and learned while doing.

This theory hold that one way to create results is to combine thinking and doing.  Rather than the adage “first we plan and then we act” try acting while you plan to test critical assumptions and build energy by getting underway.  Less considered is the relationship of emotion and action. 

Week Four

I explored the Simplex Process (Basadur) and aligned it to my role as a Senator who has to determine what socio-economic issue I want to solve. I will put this into practice when I meet with my team to discuss legislation proposals.  I have to:

1. Determine the problem

2. Identify existing data associated with the problem

3. What part of the problem will I actually solve 

4. What options are available for an island environment

5. Which option is the best one for my demographic

6. Determine the stakeholders and all parties who can be impacted by my legislation

7. Solve the problem through oversight or purposeful legislation

Week Five

The transformation theory (Land)

Connecting this theory to my businesses (farm and project management)  promoted my creative thinking  as an entrepreneur.  It allowed me to use the creative problem solving process to improve specific issues I have been struggling with. I have limited resources on my farm so I have to invent ways to stop deer from eating my crops. I became more innovative and merged ideas from other farmers to create my own solution. This theory encourages survival by forcing participants to continuously improve on current systems. 


Week Six


Creative References

An, D., Song, Y., & Carr, M. (2016). A comparison of two models of creativity: Divergent thinking and creative expert performance. Personality and Individual Differences, 90, 78-84.

Bate, D., Johnston Jr., R., (2005) "Strategic frontiers: the starting‐point for innovative growth", Strategy & Leadership, Vol. 33 Issue: 1, pp.12-18, https://doi.org/10.1108/10878570510572608

Dell’Isola, F. (2015). Models to detect scientific creativity: Why something simpler than Fréchet Metric Manifolds?. Mathematics and Mechanics of Solids, 20(9), 1146-1149.

Dubina, I. N., & Ramos, S. J. (2016). Creativity Through a Cultural Lens: The Dichotomy of “The West” and “The East”. In Creativity, Innovation, and Entrepreneurship across Cultures (pp. 29-34). Springer, New York, NY.

Elgammal, A., & Saleh, B. (2015). Quantifying creativity in art networks. arXiv preprint arXiv:1506.00711.

Gaut, B. (2018). 8 The value of creativity. Creativity and Philosophy.

Gaut, B., & Kieran, M. (2018). Philosophizing About Creativity.

Gralewski, J., & Karwowski, M. (2018). Are teachers' implicit theories of creativity related to the recognition of their students' creativity?. The Journal of Creative Behavior, 52(2), 156-167.

Hass, R. W., Katz-Buonincontro, J., & Reiter-Palmon, R. (2016). Disentangling creative mindsets from creative self-efficacy and creative identity: Do people hold fixed and growth theories of creativity?. Psychology of Aesthetics, Creativity, and the Arts, 10(4), 436.

Hatchuel, A., & Chen, M. K. (2017). Creativity under strong constraints: the hidden influence of design models. European Review, 25(2), 194-207.

Hennessey, B. A., & Watson, M. W. (2016). The defragmentation of creativity: Future directions with an emphasis on educational applications. In Multidisciplinary contributions to the science of creative thinking (pp. 21-31). Springer, Singapore.

Herrmann-Pillath, C. (2017). The economics of identity and creativity: A cultural science approach. Routledge.

Hills, A., & Bird, A. (2018). Against Creativity. Philosophy and Phenomenological Research.

Karlusch, A., Sachsenhofer, W., & Reinsberger, K. (2018). Educating for the development of sustainable business models: Designing and delivering a course to foster creativity. Journal of Cleaner Production, 179, 169-179.

Le Masson, P., Hatchuel, A., & Weil, B. (2017). 18. Design theories, creativity, and innovation. The Elgar Companion to Innovation and Knowledge Creation, 275.

Loewenstein, J., & Mueller, J. (2016). Implicit theories of creative ideas: How culture guides creativity assessments. Academy of Management Discoveries, 2(4), 320-348.

Mårtensson, K., & Westerberg, K. (2016). Corporate environmental strategies towards sustainable development. Business Strategy and the Environment, 25(1), 1-9.

Oxman, R. (2017). Thinking difference: Theories and models of parametric design thinking. Design Studies, 52, 4-39.

Paulus, P. B., & Kenworthy, J. B. (2017). Group and intergroup creativity. In The Oxford Handbook of Group and Organizational Learning.

Puccio, G.J., Mance, M. Barbero Switalski, Reali, P. (2012). Creativity Rising. Creative Thinking and Creative Problem Solving in the 21st Century. ICSC Press.

Przychodzen, W., Przychodzen, J., & Lerner, D. A. (2016). Critical factors for transforming creativity into sustainability. Journal of cleaner production, 135, 1514-1523.

Puccio, G. J., Mance, M., & Murdock, M. (2011). Creative leadership: Skills that drive change.

Rose, G. L. I. (2017). Look InsideTM: Corporate Visions of the Smart City. In Geomedia Studies (pp. 107-123). Routledge.

Ryan, L. (2012) "The Deliberate Integration of Creativity into Strategic Planning". Creative Studies Graduate Student Master's Projects. Paper 173.

Thomson, P. and Jaque, SV. (2018) Childhood Adversity and the Creative Experience in Adult Professional Performing Artists. Front. Psychol.9:111. doi: 10.3389/fpsyg.2018.00111

Vossoughi, S., Hooper, P. K., & Escudé, M. (2016). Making through the lens of culture and power: Toward transformative visions for educational equity. Harvard Educational Review, 86(2), 206-232.

Wang, H. (2017, May). Development and Future of Creativity Teaching. Knowledge Economy, Science, And Technology, Neurosciences and Creativity. In 3rd International Conference on Arts, Design, and Contemporary Education (ICADCE 2017). Atlantis Press.

Wang, T. J., & Huang, K. H. (2018). Pedagogy, philosophy, and the question of creativity. Teaching in Higher Education, 23(2), 261-273.

Widger, T. (2016). Visions of philanthronationalism: the (in) equities of corporate good governance in Sri Lanka. Contemporary South Asia, 24(4), 400-415.

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A Creative Scholar's Timeline: Sidney Parnes

Sidney Parnes: An American academic who was professor at Buffalo State College and the co-founder of the International Center for Studies in Creativity. 

"Of all the gifts we have as humans, the one that stands out, giant-like above all the rest, is our ability to be creative. It is responsible for all the progress we enjoy today." ~Sidney Parnes

1950’s (Focused on creating a learning foundation in creativity)

  • 1953: An Army veteran of World War II, he earned his master’s degree from the University of Pittsburgh
  • 1954: Completed his Doctorate degree from the University of Pittsburgh
  • 1954: Founder of the Creative Education Foundation
  • 1955: He joined the CEF in 1955 in order to help develop a comprehensive educational program for the CEF's Creative Problem Solving Institute (CPSI), which is the world's longest-running international creativity conference.
  • 1956: He launched his lengthy career in 1956 as Director of the Creative Problem-Solving Institute (CPSI), Buffalo State College.
  • 1956: Dr. Parnes partnered with advertising executive Alex Osborn in the mid-1950s to develop the Osborn-Parnes Creative Problem-Solving Process, based on Osborn’s brainstorming techniques, and to organize a method for teaching it.

1960’s (Focused on workbooks for teachers and students in creativity)

During this time Parnes' objective was to get teachers to connect more with students by producing lesson plans that featured creative projects and ideas to get students introduced to creative thinking. Instead of articles or scholarly work, he produced guidebooks that served as how tos for educators to make the transition into creativity seamless and easier. Parnes understood both the teacher and student were adapting to creativity at the same time. This time period can be considered the most impactful because if the concept of creativity was not considered practical or useful, it could have been the end before the beginning.  In 1962 – Parnes and Harold Harding edit the first definitive edition of Creative Thinking and was used in workshops to prepare educators to introduce their students to creativity. 

  • 1967: Served as President of the Creative Education Foundation and subsequently, Chairman of its Board of Trustees.
  • 1967: Published notably the influential “Creative Behavior Guidebook” 

1970’s (Focused on behavior, sanity and human potential)

  • In the early 1970s, he launched the Creative Studies Project with colleague Ruth Noller. It determined that creativity could be taught and learned effectively. 
  • His efforts led to the establishment of the world’s first master’s degree program in creativity at Buffalo State. 

1980’s to 1990’s

  • Introduced Visionizing to promote innovative excellence
  • Introduced Visionizing to promote education excellence in creativity
  • Introduced facilitation in creativity and leadership

2000’s (Received most of his accolades for his contributions during this era)

  • 2003: Received lifetime achievement award from Innovation Network
  • 2003: Inducted into the Innovation Network Hall of Fame
  • 2004: Inducted into the American Creativity Association Hall of Fame

Attention Grabbers about Sidney Barnes' Career

  • During this time Parnes' objective was to get teachers to connect more with students by producing lesson plans that featured creative projects and ideas to get students introduced to creative thinking. Instead of articles or scholarly work, he produced guidebooks that served as how tos for educators to make the transition into creativity seamless and easier. Parnes understood both the teacher and student were adapting to creativity at the same time. This time period can be considered the most impactful because if the concept of creativity was not considered practical or useful, it could have been the end before the beginning.  In 1962 – Parnes and Harold Harding edit the first definitive edition of Creative Thinking and was used in workshops to prepare educators to introduce their students to creativity.

    Parnes also wanted to ensure executives taught the creative thinking process to their employees in a manner that was easy to adopt to increase productivity and innovation.  Parnes developed and organized creativity into a methodology that could be taught by anyone to achieve his ultimate goal of unlocking the world’s creative potential. This realm of creative thinking taught this new methodology in five continents. This opened the door to sepaking engagements  numerous articles and books. Eventually Parnes teamed up with Ruth Noller, a professor of mathematics to design, deliver and test the ground breaking college curriculum to bring this creative thinking methodology into higher education at Buffalo State College.

    Osborne partnered with Parnes to come up with six steps to creative problem solving:

    1. Objective Finding,
      2. Data Finding,
      3. Problem Finding,
      4. Idea Finding,
      5. Solution Finding
      6. Acceptance Finding.

    They introduced brainstorming and convergent thinking, focusing in on the "greatest" answer given the context of the situation. Many publications are available that include “Thinking Tools” to organize divergent and convergent thinking and that leader the process to a deduction. They envisioned that CPS would be a tool used to find the "improved" answer to a problem, given the background of the condition. The Osborn-Parnes Model of Creative Problem Solving usually contains three general components, they are understanding the problem, generating ideas and planning for action. Each step starts with Divergent thinking which means generating a wide range of ideas, and then includes Convergent period where only the most appropriate ideas can be picked out. Parnes realized in his travels that at various places of employment, on average problems that could have answers don’t get solved because no one took the time out to use divergent and convergent thinking tool styles into account for sheer lack of knowledge and loss of creativity.

    Parnes noticed that executives who want thorough cases that prove the competence of CPS may be surrounded in the Newtonian mechanistic idea that pressures cause and effects. Creativity, is outside this model. In reach for such proof the decision-making, will be missing opportunities. He encouraged short sessions on a small problem led by a trained facilitator to demonstrate that the process can move a society toward a state of continuous growth and innovation. He wanted to create a system that would teach companies to find solutions to work related problems. Osborn and Parnes paved the way for outside the box thinking based on what Torrance created.

    REFERENCES

    Osborn, A.F. (1993). Applied imagination: Principles and procedures of creative problem-solving (3rd rev. ed.). Buffalo, NY: Creative Education Foundation Press.  

    Parnes, S.J. (Ed.). (1992). Source book for creative problem-solving: A fifty year digest of proven innovation processes. Buffalo, NY: Creative Education Foundation Press.

    Parnes, S.J. (1988). Visionizing: State-of-the-art processes for encouraging innovative excellence. East Aurora, NY: D.O.K. Publishing.

 
 
 

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