Tag Archives: creativity

Cases

What I discovered at Stanford’s d.school’s unusual workshop

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Stanford’s d.school workshop, Unleash Creativity, offers a unique hands-on approach to learning. During my visit, I could feel the creative energy, from the open second-floor view to the iconic d.school truck inside the building to the this year’s course schedule packed with hands-on activities.

Plate says: The Hasso Plattner Institute of Design at Stanford was established in 2005 to recognize an extraordinary gift from the Hasso Plattner Foundation to inspire teaching and research in design thinking and the creation of a home for the Institute. The Institute is dedicated to the spread of design thinking and the application of its principles to real-world problems. The design and renovations of this facility along with Hasso Plattner’s continued role in championing design thinking around the world were celebrated on May 7, 2010.

In Unleash Creativity, participants jumped straight into exercises without explanation. For instance, instead of talking about ideas, they started by drawing, connecting, and coloring dots. The interesting part is that they only learned why they did each activity afterward, as the instructor, Dustin Liu, explained the purpose and effect. This approach—learning by doing—really made them feel the power of creative expression.

One memorable activity had them listen to others share about someone they admire and then draw that person without talking. This helped them see deeper into one another’s perspectives. Through the carefully designed powerful exercises of listening, sharing, and drawing, they experienced the true power of empathy.

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Reference

Auernhammer, J., & Roth, B. (2021). The origin and evolution of Stanford University’s design thinking: From product design to design thinking in innovation management. Journal of Product Innovation, 38(July), 623–644.

This article outlines the origin and evolution of one of the most influential design thinking perspectives in the Innovation Management discourse. This study addresses two significant criticisms of design thinking, namely, theoretical grounding and construct clarity. It also illustrates how this humanistic and creative design practice transcended into a comprehensive Innovation Management approach, facilitating entrepreneurship and innovation. Our research analyzes the evolution of the design philosophy and practices developed at Stanford University from 1957 to 2005 through document analysis. We identified design qualities that have been consistent over the decades, providing further construct clarity and insights on managing Design- driven Innovation. These design qualities elucidate design thinking as a cognitive process, creative practice, organizational routine, and design culture. They emphasize finding profound needs and problems and translate them into tangible designs, creating value for people. This design philosophy is deeply rooted in humanistic psychology theories, particularly on creativity and human values. Collaborations between psychologists, industrial researchers, and designers created this creative and human- centered design approach, known today as design thinking. This value- driven innovation offers a humanistic perspective on innovation theory and practice. It also offers an Innovation Management schema of design qualities essential for developing Design- driven Innovation capabilities in organizations and educational institutions. We emphasize that developing a creative design culture in which people have the human values, abilities, and confidence to collaboratively identify continuous emerging problems and needs and contribute through tangible designs generates an era of innovation and is essentially innovation management.

Practitioner Points
  • Design thinking as a step-by-step process with tools prevents fluency in thinking and flexibility in approach, which are essential in Design-driven Innovation.
  • An essential innovation management task is to develop a design culture and capabilities by freeing teams from emerging blocks imposed by the environment.
  • In organizations, Design-driven Innovation requires the development of micro-foundation, such as abilities and attitudes & values, and capabilities, such as creative routines and environments of support and psychological safety and freedom.
  • Innovation managers and educators need to consider essential design qualities when enabling people to design tangible solution for open and complex problems.
Publications

How to unlock human potential by merging behavioral science and AI?

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Daeun Yoo and Jaewoo Joo. 2024. BI-CST: Behavioral Science-based Creativity Support Tool for Overcoming Design Fixation.. In Designing Interactive Systems Conference (DIS Companion ’24), July 01–05, 2024, IT University of Copenhagen, Denmark. ACM, New York, NY, USA, 5 pages.

Abstract

Design Fixation refers to the tendency to adhere to pre-existing ideas, which hinders innovative design solutions. This research explores the potential of LLM-powered Creativity Support Tools, the ’Behaviorally Informed Creativity Support Tool (BI-CST),’ to facilitate ideation and combat Design Fixation using ’Behavioral Science Theory.’ BI-CST assists in redefning problems and generating new ideas by presenting experimental fndings from Behavioral Sciences that challenge users’ initial concepts, thus providing a deeper understanding of real human behaviors. We will assign three groups to diferent conditions: one designing without generative AI support, one with open-ended generative AI (e.g., ChatGPT), and one using a model trained in behavioral science. We aim to compare the originality, practicality, and general quality of the designs to assess design fxation. This study addresses design fxation through an interdisciplinary approach combining design and behavioral science, aiming to expand users’ perspectives.

Keywords

creativity support tool, human AI collaboration, behavioral science, design fixation, generative AI

… Behavioral science, a sub field of psychology, aims to understand and predict people’s behaviors through scientific methods ranging from casual observation of daily life to systematic observation to minimize the effects of biases [22, 29]. Its research includes behavioral decision theory, which shows people’s heuristics and biases in judgment [9], and builds nudges that gently alter people’s decision making processes [27]. As this field targets problem-solving by understanding people’s psychology, efforts have been made to apply theories of behavioral science in the HCI field to change users’ behavior [13, 14, 19]. However, there has been limited research on incorporating behavioral science into Creativity Support to aid design processes. We assume that the scientific causal and systematic observational results about human behavior from behavioral science can serve as a ’nudge’ to assist users in gaining more diverse perspectives. (pg. 117)

… We hypothesize that participants using a non-behaviorally informed Creativity Support Tool (CST) in Condition B are likely to reinforce their existing heuristics, which could increase their design fixation. In contrast, participants in Condition C, who will be provided with behaviorally informed guidance, are expected to adopt new heuristics that help reduce their fixation on initial ideas. Specifically, we anticipate that the outputs in Condition A and Condition B will likely exhibit medium to high originality but may have low practicality. Conversely, outputs from Condition C are expected to show medium originality but high practicality, due to the application of evidence-based creative support derived from behavioral science research. (pg. 119)

Cases

What are the constraints contemporary artists overcome?

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People assume that constraint-free activities such as doodling help them become creative. However, psychological researchers suggest a different story, that is, constraints are actually the power house of creativity. Studies showed that people used a given product creatively, enjoyed creative experience, and developed creative toys and when they were provided with a time/input/resource constraint and then overcame it.

Similar to psychological creativity, constraints may contribute to art creativity. I found evidence at the Urban Break 2021, the largest urban and street art fair in Asia.

The Urban Break 2021 proposes the broadened spectrum of the art fair, trying the new contemporary art genre, combined the urban art and the street culture. The urban art is pioneering a new flow, becoming a mainstream icon in the art market. Urban Break is aimed at cultural convergence and extension by embracing native and foreign street artists, galleries and lifestyle brands.

In this art fair, numerous paintings and sculptures made me nervous and confused because I do not understand most of them. Only when I meet the art pieces that look familiar but slightly different, I was able to understand the intentions of the artists, enjoying them. To me, artwork looks creative when its artist communicated with me through something I am familiar with. It does not look creative when its artist communicated with me something I have never seen before.

This suggests that constraint plays a key role to shape creative experience. When artists work with constraints (e.g., something visitors are familiar with such as Mona Lisa painting, David sculpture, or Statue of Liberty), visitors enjoy their paintings and sculptures better and more creatively.

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Reference

Dahl, D. W., & Moreau, C. P. (2007). Thinking Inside the Box: Why Consumers Enjoy Constrained Creative Experiences. Journal of Marketing Research, 44(3), 357–369.

From cooking kits to home improvement shows, consumers are increasingly seeking out products that are designed to help them be creative. In this research, the authors examine why consumers participate in creative activities and under what conditions these experiences are the most enjoyable. A qualitative study explores the diverse motivations for undertaking creative tasks and identifies the role of constraints in such endeavors. Then, the authors conduct two experimental studies to understand the importance of constraints (e.g., instructional guidance, target outcomes) in facilitating a balance between perceived competence and autonomy for consumers involved in a creative task. When consumers engage in creative activities with a sense of both autonomy and competence, they enjoy the experience more. The authors discuss implications for managers and provide opportunities for further research.

Cases

Look and feel mismatch: Looking heavy but feeling light

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We sometimes experience sensory disconfirmation, meaning we expect to feel A but actually feel B. For instance, iPhone looks like a product with light plastic but it is made by heavy metal. In particular, disconfirmation between visual and haptic information (or mismatch between look and feel) is critical for business.

Showroom (Curated by Sarah Robayo Sheridan, January 21 – March 5, 2016)

“How do Toronto artists perceive new social and visual orders brought about by a decade of rapid urban development?”

Commonly, a showroom is intended to present a generic ideal of living, devoid of the nuances of lives as they are lived. The artists in this exhibition, however, turn our attention to the influence of lifestyle marketing in constructing the form and texture of the cityscape. By turns, critical, comedic and formal, the works deepen given knowledge of architecture, place, and the social order.

Fitness equipment looks heavy and rough. However, some artists challenge our intuition: dumbbells are light and sandbags are soft in the exhibition. According to research, when negative sensory disconfirmation is introduced, the source of disconfirmation can sometimes be perceived positively. To go further, the more our intuitions are challenged by look-and-feel mismatch, the more we may become creative.

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Reference

Sundar, A., & Noseworthy, T. J. (2016). Too Exciting to Fail, Too Sincere to Succeed: The Effects of Brand Personality on Sensory Disconfirmation. Journal of Consumer Research, 43(1), 44–67.

Across four studies, the authors demonstrate that consumers intuitively link disconfirmation, specifically sensory disconfirmation (when touch disconfirms expectations by sight), to a brand’s personality. Negative disconfirmation is often associated with negative posttrial evaluations. However, the authors find that when negative sensory disconfirmation is introduced by an exciting brand, the source of disconfirmation can sometimes be perceived positively. This occurs because consumers intuitively view disconfirmation as more authentic of an exciting personality. Similarly, despite the wealth of literature linking positive disconfirmation to positive posttrial evaluations, the authors find that sensory confirmation is more preferred for sincere brands because consumers intuitively view confirmation as more authentic of a sincere personality. The authors conclude by demonstrating the intuitive nature of this phenomenon by showing that the lay belief linking brand personality to disconfirmation does not activate in a context where sensory disconfirmation encourages a more deliberative assessment of the product.

Cases

Empty space sparks creativity

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Space matters when we need creativity. According to research, when a ceiling is high, people become creative because a high (vs. low) ceiling primes the concept of freedom (vs. confinement). Similarly, Jump Associates has various types of cubicles for designers; “garage” cubicles are widely open for those who want to be creative, whereas “Zen rooms” are tiny small cubicles. Interestingly, Dev Patnaik, the founder of the Jump Associates, mentioned that US people prefer garage offices whereas Japanese clients like Zen rooms.

When I visited the design department at the University of Sao Paulo, one of the best universities in Brazil, I was shocked by its building. It has a huge empty space in the middle and has tons of bright, natural lights. I learned that empty space not only increases the perceived value of a product inside. It boosts the creativity of the people inside.

Inside the building, the walls allow people to write and erase easily, which also may enhance creativity.

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Reference

Meyers-Levy, J., & Zhu, R. (Juliet). (2007). The Influence of Ceiling Height: The Effect of Priming on the Type of Processing That People Use. Journal of Consumer Research, 34(2), 174–186.

This article demonstrates that variations in ceiling height can prime concepts that, in turn, affect how consumers process information. We theorized that when reasonably salient, a high versus low ceiling can prime the concepts of freedom versus confinement, respectively. These concepts, in turn, can prompt consumers’ use of predominately relational versus item-specific processing. Three studies found support for this theorizing. On a variety of measures, ceiling height–induced relational or item-specific processing was indicated by people’s reliance on integrated and abstract versus discrete and concrete ideation. Hence, this research sheds light on when and how ceiling height can affect consumers’ responses.

Cases

Do we enjoy brunch more if we combine foods to create it?

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In cafes in Copenhagen, Denmark, customers are often asked to create their own meals by combining foods. I succeeded in this creative task in one cafe but did not in the other. Two cafes have slightly different menus.

I enjoyed the meal in the Mad & Kaffes (Food & Coffee). Foods were divided into six categories on the menu (green, dairy, bakery, meat and fish, and treat). I decided how many categories to go (3, 5, or 7) and then selected one food in each category.

I did not enjoy the meal in the Moller Kaffe and Kokken (Moller Coffee and Kitchen). Although individual foods were excellent, they were listed under one category. I could not figure out which foods to choose.

Since I knew little about Danish cuisine, categories relieved my burden and helped me create a meal. A similar logic was discovered ten years ago by marketing researchers who showed why kids need to follow instructions to assemble Lego bricks. To reach a creative outcome, we may need decision supporters such as categories, instructions, or even constraints.

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Reference

Dahl, D. W., & Moreau, C. P. (2007). Thinking Inside the Box: Why Consumers Enjoy Constrained Creative Experiences. Journal of Marketing Research, 44(3), 357–369.

From cooking kits to home improvement shows, consumers are increasingly seeking out products that are designed to help them be creative. In this research, the authors examine why consumers participate in creative activities and under what conditions these experiences are the most enjoyable. A qualitative study explores the diverse motivations for undertaking creative tasks and identifies the role of constraints in such endeavors. Then, the authors conduct two experimental studies to understand the importance of constraints (e.g., instructional guidance, target outcomes) in facilitating a balance between perceived competence and autonomy for consumers involved in a creative task. When consumers engage in creative activities with a sense of both autonomy and competence, they enjoy the experience more. The authors discuss implications for managers and provide opportunities for further research.

Publications

Does a Persona Improve Creativity?

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Inclusion of Other in the Self (IOS) scale (Aron et al., 1992)

 

Abstract

The purpose of this study was to test whether the priming of a brainstorming task by a persona increases ideational fluency and originality, i.e. the quantitative and qualitative dimensions of creative performance. We conducted a preliminary (n = 18) and final (n = 32) experiment with international students of business. These experiments revealed that priming of brainstorming by a persona increases originality of ideas by a large effect size (Cohen’s d = .91, p = .02), and not significantly ideational fluency by a medium effect size (Cohen’s d = .33, p = .39). As an alternative explanation to empathy, the found creativity effect may be attributed to priming that retrieves related memory items and thereby facilitates idea generation. As practical implications, design thinking practitioners can expect more original ideas and overcome design fixation if they brainstorm on a persona which is modelled in a concise and consistent way that caters to understanding the user need.

Keywords

empathy, persona, creativity, originality, ideational fluency, brainstorming, brainwriting, design methodology, design thinking, design research

 

 

 

Cases

You will be able to think creatively in Bali

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Ubud is a small town on the Indonesian island of Bali. “Eat, Pray, Love” was filmed in 2010 in this town. IMDb explains this movie;

A married woman realizes how unhappy her marriage really is, and that her life needs to go in a different direction. After a painful divorce, she takes off on a round-the-world journey to find herself.

Although not everyone needs to find himself or herself like a person in the movie, Bali is a perfect place to enjoy a mind wandering (taking a break involving an undemanding task) and to be creative. Indeed, in this town, many European visitors read and write books at cafes enjoying rice field views (to my surprise, rice fields can be scenic!). Some even go to a co-working space called Hubud and start their own businesses. I find many do undemanding tasks. Since residents are friendly, meals are delicious (Babi Guling at Ibu Oka), and guest houses are inexpensive, Bali is one of the destinations for those who need creativity.

Reference

Baird, B., Smallwood, J., Mrazek, M. D., Kam, J. W., Franklin, M. S., & Schooler, J. W. (2012). Inspired by distraction: Mind wandering facilitates creative incubation. Psychological science, 23(10), 1117-1122.

Although anecdotes that creative thoughts often arise when one is engaged in an unrelated train of thought date back thousands of years, empirical research has not yet investigated this potentially critical source of inspiration. We used an incubation paradigm to assess whether performance on validated creativity problems (the Unusual Uses Task, or UUT) can be facilitated by engaging in either a demanding task or an undemanding task that maximizes mind wandering. Compared with engaging in a demanding task, rest, or no break, engaging in an undemanding task during an incubation period led to substantial improvements in performance on previously encountered problems. Critically, the context that improved performance after the incubation period was associated with higher levels of mind wandering but not with a greater number of explicitly directed thoughts about the UUT. These data suggest that engaging in simple external tasks that allow the mind to wander may facilitate creative problem solving.

Cases

Cafe: East vs. West

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People often go to cafe not for coffee but for work. According to Mehta, Zhu, and Cheema (2012), an appropriate ambient noise (e.g., cafe noise) enhances work performance. Their five studies showed that people performed creative tasks better when surrounded by the moderate ambient noise (70db) than the low one (50db) or the high one (85db). They argue that when people are surrounded by the moderate ambient noise, people cannot process information easily and thus they focus on their work harder and think more abstractly and creatively.

One website picked up their findings and enables its visitors to play a pre-recorded coffee shop noise at your computer (Coffitivity).

20120708 @ Cafe bene
Cafe “Bene” @ Seoul

Cafe @ Seoul
Cafe “Gurunaru” @ Seoul

Many other space attributes beyond sound are discussed on how to create the ideal workspace. According to the Psyblog run by Jeremy Dean, for instance, there are six tips to do so: (1) avoid open-plan, (2) the great tidy-messy debate, (3) curvy is beautiful, (4) room with a (picture of a) view, (5) plants, and (6) decorates. When it comes to coffee shop chains, Starbucks seem to meet many tips while other competing Canadian coffee shop chains such as Second Cup or Tim Hortons seem to meet only few.

However, more space attributes (in a coffee place) will affect work performance. Two example attributes are whether a coffee place is indoor or outdoor and whether it is brand-new or run-down. Interestingly, most local coffee shops in Seoul are indoors and brand-new while many local coffee shops in North American cities are outdoors and relatively run-down. Since I generally worked more productively when I was at the local coffee shops in North America than when I was at those in Seoul, I expect [outdoor] and [run-down] might be extra critical attributes for a coffee shop to be an ideal workplace.

Cafe @ Boston
Cafe “Au Bon Pain” @ Boston

Cafe @ Virginia
Cafe “Aromas” @ Virginia