xii, 54 p. : ill. / Advertising agencies trade on their creativity, which is supplied by teams of creative and account workers to create customer-centered advertising that is both novel and interesting. This research explores the magic of the advertising creative team - the team of creative, strategy and management staff that is responsible for creative execution - to find out more about how creative teams function at the goal level (team effectiveness) and at the individual level (individual cognitive styles). To study creativity and decision making, individuals involved in the creation of ads were tested for their innovator traits. Also, connections were explored between an industry effectiveness award and innovator scores. Innovativeness was judged by individual performance on a scale to measure cognitive style. Effie Awards were not associated with innovation in agency personnel. However, account planners and creatives scored higher on an aggregated innovator scale than did administrative and account executive staff. / Committee in charge: Prof. Kim Sheehan, Chair; Prof. Harsha Gangadharbatla, Member; Prof. Deborah Morrison, Member; Prof. David Koranda, Member

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A criatividade no design envolve um processo, que inclui tanto o processo cognitivo do indivíduo, quanto os processos de criação, de projeto e de comunicação. O pensamento criativo do indivíduo, com suas operações cognitivas e conhecimentos armazenados, permite a criação de novas conexões entre ideias. Entretanto, considerando uma perspectiva contextual e sistêmica, os pensamentos individuais serão também estimulados e influenciados por contextos sociais e trabalhos em grupos, nos quais as ideias são desenvolvidas também a partir da expressão e comunicação do pensamento do outro. Neste processo, o pensamento por analogias mostrou-se como um procedimento cognitivo fundamental para a formação de combinações e novas relações que são percebidas e então reorganizadas em uma ideia nova. Contudo, há lacunas a respeito do assunto, sobre como auxiliar esse tipo de pensamento nos indivíduos e que estratégias, métodos e estímulos podem ser utilizados em processo criativos em grupo. Nesse sentido, o objetivo desta tese é desenvolver um framework para auxiliar o processo criativo em design, centrando-se no pensamento por analogias, que identifique estratégias e mecanismos que apoiem esse processo em indivíduos e grupos de projeto. Para tanto, foi realizada uma revisão de literatura sobre criatividade, processo e pensamento criativo, bem como a respeito do pensamento por analogias e a sua ocorrência enquanto no pensamento criativo em design. A seguir, a fim de compreender o entendimento dos designers sobre o processo criativo e os facilitadores do pensamento por analogias na prática e no ensino do design, realizou-se a coleta de dados da investigação. A coleta foi realizada através de questionários virtuais para estudantes e docentes de design e de entrevistas semiestruturadas em escritórios de design. O grupo de sujeitos da pesquisa compreendeu designers brasileiros e portugueses, com diferentes níveis de experiência. Os dados obtidos foram analisados e triangulados com a análise da literatura, o que possibilitou o desenho de um modelo contendo os fatores críticos que influenciam a criatividade em grupos e indivíduos, um modelo do processo e pensamento criativo, a identificação de estratégias e mecanismos que podem auxiliar esse tipo de pensamento e, por fim, diretrizes para o desenho do framework conceitual. Com isso, foi desenvolvida uma primeira versão do framework, que foi avaliada com a realização de workshops com três grupos distintos de participantes, incluindo docentes, estudantes e profissionais de design. A partir das avaliações, aprimorou-se o framework conceitual, organizado em cinco etapas e contendo estratégias, ações, mecanismos, recomendações e sugestões de métodos, técnicas e ferramentas para auxiliar o processo criativo e o pensamento por analogias para a criação de conceitos em grupos de design. Dentre as ferramentas sugeridas, foi também desenvolvido um mapa visual, denominado canvas, a exemplo de ferramentas similares, contendo recomendações e questões-chave geradas a partir das estratégias do framework, a fim de auxiliar a sua aplicação na prática projetual. / Creativity in design involves a process that includes both the individual cognitive process as the creative, design and communication processes. The individual creative thinking, with their cognitive operations and knowledge stored, allows the creation of new connections between ideas. However, considering a contextual and systemic perspective, individual thoughts will also be stimulated and influenced by social context and work in groups in which ideas are also developed from the expression and communication of thought the other. In this process, the analogical thinking proved to be a key cognitive procedure for the formation of combinations and new relationships that are perceived and then reorganized into a new idea. However, there are gaps on the subject, how about helping this kind of thinking in individuals and strategies, methods and stimuli can be used in creative group process. In this sense, the objective of this thesis is to develop a framework to assist the creative process in design, focusing on thinking by analogies, identifying strategies and mechanisms to support this process in individuals and project groups. Therefore, there was a review of literature on creativity, process and creative thinking as well as about the thinking by analogies and their occurrence as cognitive process of design creative thinking. Next, in order to identify the understanding of the designers on the creative process and the facilitators of thinking by analogies in practice and design education, held the collection of research data. Data collection was conducted through virtual questionnaires for students and teachers design and semi-structured interviews in design offices. The sample consisted of Brazilian and Portuguese designers with different levels of experience. The data were analyzed and triangulated with the analysis of the literature, which enabled the design of a model containing the critical factors that influence creativity in individuals and groups, a model of the process and creative thinking, the identification of strategies and mechanisms that can assist this kind of thinking, and finally, guidelines for the design of the conceptual framework. Thus, a first version of the framework was developed, which was evaluated by conducting workshops with three different participating groups, including teachers, students and design professionals. From the assessments, improved the conceptual framework, organized into five steps and containing strategies, actions, mechanisms, recommendations and suggestions of methods, techniques and tools to assist the creative process and the thinking analogies to create concepts in groups of design. Among the suggested tools was also developed a visual map, called the canvas, like similar tools, containing recommendations and key issues generated from the framework of the strategies in order to assist their application in design practice.

Este trabalho partiu da preocupação com a inapetência para a vida nos dias atuais. Diante de sujeitos que se sentem desapossados do próprio viver, e de uma sociedade que imprime rótulos de vida nos sujeitos, trazemos possibilidades de entendimento dessa área tão fragilizada atualmente: a criatividade a esfera da vida em que o sujeito se move no mundo com realizações inovadoras.Tomando como referência a psicanálise, analisamos as metáforas linguísticas da criatividade nas obras de Freud e Winnicott, e percebemos dois grandes campos semânticos: a criatividade como desvio dos interesses primários do sujeito, e como abertura, autocriação e cumplicidade com o mundo. Na metáfora freudiana do desvio sublimatório encontramos ainda duas tonalidades de significação: um emblema simbólico do interesse frustrado, ou um consolo diante da incompletude humana. Seguindo esses enredos metafóricos, discutimos as concepções teóricas fundamentais em que cada autor estava engajado: as concepções de mente e as corporeidades envolvidas nos processos criativos. Com a multiplicação das ferramentas linguísticas do conceito de criatividade, proporcionamos um leque metafórico mais amplo para aqueles que acolhem pessoas cujo sofrimento é resultado da indiferença com o mundo. / This research started on the worry about the indifference to life nowadays. In the face of subjects who feel theirselves deprived of their lives, and of a society that fixes the ways of life, we indicated possibilities of comprehending this so fragilized area: the creativity this field of life which the subject moves himself in the world with innovating realizations. In the psychoanalytical perspective, we analyzed the linguistic metaphors of creativity in Freuds and Winnicotts thoughts, and attempted to two semantical fields: the creativity as a subterfuge of subjects primary interests, and as an approaching, an auto-creation and complicity with the world. The freudian metaphor of a sublimate detour has two tones of meaning: a symbolic emblem of a failed interest, or a consolation in face of the human uncompleteness. Going ahead with these metaphors, we disserted about the fundamental theorical concepts each author was engaged in: the mind conceptions and the corporealities involved in the creative proceeding. Multiplying the linguistical tools of the creativity, we offered a larger metaphorical horizon to that who listen people that suffer from inaptitude to life.

Made available in DSpace on 2014-06-11T19:25:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-10-23Bitstream added on 2014-06-13T20:53:23Z : No. of bitstreams: 1 cocchieri_t_me_mar.pdf: 416905 bytes, checksum: 14bb78803d1bdc1da924acbe9d5ce33b (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O objetivo desta Dissertação é realizar uma pesquisa sobre a natureza da criatividade como processo, com possibilidade de ser explicado de modo sistematizado. Buscamos refutar uma hipótese contrária que compartimenta o processo de criação em uma aura subjetivada e inefável. Com intuito de fundamentar nossa argumentação, procuramos reconstruir os argumentos desenvolvidos por C. S. Peirce referentes a um tipo específico de raciocínio lógico que está associado ao conceito de criatividade, por ser de natureza gerativa de idéias novas chamado pelo filósofo de raciocínio abdutivo. Investigamos aspectos da filosofia de Peirce que estruturam e permeiam a análise desta inferência lógica. Ao longo do desenvolvimento de nossas argumentações, apresentamos o pensamento de filósofos contemporâneos que se debruçaram à análise deste tema. / This dissertation aims at realizing a research on the nature of creativity understood as a process, with the possibility of explaining it in a systematic manner. We refute the hypothesis which ascribes to creative process a subjective and ineffable aura. In order to settle our argumentation we reconstruct that hypotheses of C. S. Peirce referring to a specific sort of logical reasoning associated with the concept of creativity, called abductive reasoning. As we also consider aspects of Peirce's philosophy which organize and integrate the analysis of such logical inference. As our argumentation is developed, we present the theses of contemporary philosophers that have worked on the analysis of this subject.

Made available in DSpace on 2014-06-11T19:31:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-01-10Bitstream added on 2014-06-13T20:22:15Z : No. of bitstreams: 1 garcia_caa_dr_arafcl.pdf: 1071772 bytes, checksum: 8e5b5d2f179fc4166562ebdf93d66c8c (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho é uma pesquisa-ação que estudou o potencial formativo do método aqui denominado de P.E.R.A. (percepção, expressão, reflexão, ação). Essa pesquisa tem por objetivos: verificar o impacto desta prática formativa na prática docente através da percepção da tarefa do educador, da relação professor-aluno, das estratégias de trabalho e apontar algumas pistas para um trabalho formativo preocupado com a constituição da inteireza dos educadores. Trata-se de um estudo pautado em práticas holísticas que, aos poucos, vem tentando ganhar espaço nas discussões acadêmicas. Esse método foi utilizado em formato de curso durante um semestre letivo na capacitação de professores na cidade de Lençóis Paulista, interior de São Paulo. O método é composto de quatro momentos diferentes, sendo o primeiro voltado à percepção, o seguinte para a expressão, outro para a reflexão e o último para a ação. O curso teve a duração de 30 horas e aconteceu uma vez por semana. Os dados da pesquisa foram levantados por meio de observações durante o curso e por questionários e entrevistas. Eles revelaram que as capacitações usuais oferecidas aos professores não haviam contemplado as necessidades de formação pessoal do professor, pelo fato de que elas estiveram sempre voltadas para metodologias e conteúdos, seguindo o paradigma vigente da racionalidade. Por outro lado, os dados também revelaram que a capacitação oferecida aos professores através do método P.E.R.A. trouxe uma nova possibilidade para a formação docente. Conforme o relato dos participantes da pesquisa após o curso, nota-se que sentiam-se melhor como pessoas e como profissionais, mais aptos as novas aprendizagens. Observamos, ainda, uma melhoria em seus relacionamentos bem como no processo de aprendizagem dos seus alunos. Nossa convicção é de que esta pesquisa pode colaborar... / This study it is an action-research that studied the training potential of the method here denominated as PERA (perception, expression, reflexion, action). The goals of this research are: to verify the impact of this training practice in the faculty practice through the perception of the educator‘s task, the relationship between professor and student, the strategies of work and to point some hints to a training job worried with the constitution of the entirety of the educators. This is a study guided in holistic practices that, little by little, are trying to get space in the academic discussions. This method was used as a lecture during one semester to qualify the professors of Lençóis Paulista city, countryside of São Paulo. The method is made of four different parts, the first one is focused to the perception, the second to the expression, the third to the reflexion and the last one to the action. The classes lasted 30 hours and were given once a week. The research‘s data were collected through observations during the classes and through questionnaires and interviews. They have showed that the usual qualifications, offered to the professors, have not contemplated their needs of personal training because they were always focused to the methodologies and content following the paradigm of rationality. On the other hand, the data also show that the offered qualification to the professors through the PERA method, brought a new possibility to the faculty training. According to the research‘s participants report after the classes, it is clear that they felt better as people and professional, more prepared to learn new things. It is also clear, a better relationship with the learning process between the professors and students. It is fact that this study can cooperate with the learning process, bringing a new option to the professor training. The increase of this practice will indicate... (Complete abstract click electronic access below)

abstract: Design problem formulation is believed to influence creativity, yet it has received only modest attention in the research community. Past studies of problem formulation are scarce and often have small sample sizes. The main objective of this research is to understand how problem formulation affects creative outcome. Three research areas are investigated: development of a model which facilitates capturing the differences among designers' problem formulation; representation and implication of those differences; the relation between problem formulation and creativity. This dissertation proposes the Problem Map (P-maps) ontological framework. P-maps represent designers' problem formulation in terms of six groups of entities (requirement, use scenario, function, artifact, behavior, and issue). Entities have hierarchies within each group and links among groups. Variables extracted from P-maps characterize problem formulation. Three experiments were conducted. The first experiment was to study the similarities and differences between novice and expert designers. Results show that experts use more abstraction than novices do and novices are more likely to add entities in a specific order. Experts also discover more issues. The second experiment was to see how problem formulation relates to creativity. Ideation metrics were used to characterize creative outcome. Results include but are not limited to a positive correlation between adding more issues in an unorganized way with quantity and variety, more use scenarios and functions with novelty, more behaviors and conflicts identified with quality, and depth-first exploration with all ideation metrics. Fewer hierarchies in use scenarios lower novelty and fewer links to requirements and issues lower quality of ideas. The third experiment was to see if problem formulation can predict creative outcome. Models based on one problem were used to predict the creativity of another. Predicted scores were compared to assessments of independent judges. Quality and novelty are predicted more accurately than variety, and quantity. Backward elimination improves model fit, though reduces prediction accuracy. P-maps provide a theoretical framework for formalizing, tracing, and quantifying conceptual design strategies. Other potential applications are developing a test of problem formulation skill, tracking students' learning of formulation skills in a course, and reproducing other researchers’ observations about designer thinking. / Dissertation/Thesis / Doctoral Dissertation Mechanical Engineering 2015

abstract: In this study, the oppositional processes theory was proposed to suggest that reliance on semantic and episodic memory systems hinder originality during idea generation for divergent thinking tasks that are generally used to assess creative potential. In order to investigate the proposed oppositional processes theory, three experiments that manipulated the memory accessibility in participants during the alternative uses tasks were conducted. Experiment 1 directly instructed participants to either generate usages based on memory or not from memory; Experiment 2 provided participants with object cues that were either very common or very rare in daily life (i.e., bottle vs. canteen); Experiment 3 replicated the same manipulation from Experiment 2 with much longer generation time (10 minutes in Experiment 2 vs. 30 minutes in Experiment 3). The oppositional processes theory predicted that participants who had less access to direct and unaltered usages (i.e., told to not use memory, were given rare cues, or were outputting items later in the generation period) during the task would be more creative. Results generally supported the predictions in Experiments 1 and 2 where participants from conditions which limited their access to memory generated more novel usages that were considered more creative by independent coders. Such effects were less prominent in Experiment 3 with extended generation time but the trends remained the same. / Dissertation/Thesis / Doctoral Dissertation Psychology 2017

abstract: The Imagination + Imagery model for design pedagogy is presented. Two studies were conducted to develop the model: (a) the visual imagery assessment of design students; and (b) a historical research on the concept of imagination. Results suggest the following implications as the components of strong imagination for design thinkers: (a) the ability to shape vivid images of objects in mind; (b) the ability to mentally transform the spatial representations of images; (c) to consider the ethical consequences of imagined situation; (d) to use imagination for resolving design wicked problems; and (e) to actively imagine for mental and emotional health. / Dissertation/Thesis / Masters Thesis Design 2018

Made available in DSpace on 2014-06-11T19:24:10Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-09-15Bitstream added on 2014-06-13T20:31:10Z : No. of bitstreams: 1 breslau_f_me_bauru.pdf: 1285699 bytes, checksum: ba1e5a70b71534c62d62a01460d11c5c (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Dados os recentes indícios quanto a configuração da chamada realidade, explicitadas pelas ciências duras (físicas, e a matemática), pelas biológicas e pela filosofia, o presente texto busca traçar um panorama do momento histórico contemporâneo, sob a ótica do design e sua ressignificação simbólica e cognitiva. Recriam-se assim as relações do homem com suas linguagens, seu corpo e seu espaço, através de novas leituras subjetivas do compo do real. Este trabalho é parte de um estudo mais amplo, desenvolvido coletivamente, e que busca lançar luz sobre o modo de produção de objetos sensíveis, tentando com isso, gerar novas propostas sobre a construção projetual / Given evidence for the configuration of the so-called reality, explained bu the hard sciences (physics, mathematics) by the biological ones and by philosophy, this dissertation seeks to give an overview of the contemporary historical moment, from the perspective of design and its symbolic and cognitive signification. So that the relationship between man and his language, his body and his space are recreated through new readings of the field of subjective reality. This work is part of a larger study that seeks to shed light on the mode of production of sensible objects, and it tries to generate new proposals for the construction of the architectural design