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PAPS

Paps The method involves three major phases:
- first: perception and creative analysis;
- durante :produzione d’idee;
- dopo: selezione e applicazione

Questi tre momenti si scompongono in 5 tappe:

P1 percezione : cogliere il problema interamente con ingenuità;

A1 analisi : scoprire la sua struttura profonda;

P2 production : imagine a large number of solutions;

S selection : prioritize and decide on the basis of the future;

A2 application : making all true supporters innovation.

(To see a practical example of the method Paps, see Appendix: "Creativity practice for the Food Service division of the company X").

The two analysis time creative

creative analysis takes place in two stages, lasting approximately equal. For a problem limited to half a day is enough, more often need to spend a whole day by combining the two phases of a range of relaxation and ease.

This range is all the more important since the end of the disintegration is often the case that the group feels completely upset to the point that a French psychologist has baptized as paralyzing stage this time when we lose sight of the shore leave before they see what we aspire to achieve. It is a time when you may feel anxious, demoralized, discouraged, which may result in a state of depression or even aggression against the group, the problem or animator. The latter should therefore take care to limit the adverse effects of this step of the pass.

you manage the group reporting the existence of crippling stage, its effects and its usefulness, and secondly must therefore be reassuring, calm, support, encourage and play down during this phase and the recovery, that is the date of the restructuring of the elements of the problem in a graph for analysis.

On completion of the creative, as we have seen, it is possible that the final solution has already been discovered, at which point you will have more time and energy to do better the next steps of action: decision and applications.

deconstruction

The deconstruction, is a multi-dimensional territory. The first stage of the analysis will consist in exploring creative as possible within this space, even going over on routes already explored: the very fact of reaching the same discovery by independent pathways may indicate that it has identified a critical point.

Because this exploration is almost exhaustive, it is desirable to increase the angles of attack and follow within the time available, the more largest possible number of logical paths.

Initially it is to see, feel and express their perception both directly and still changing point of view and describe the various landscapes that can be seen from the renewed their points of view.

A second action will be to "purge" as completely as possible. The group is invited to express uncensored all the ideas, representations, assumptions, prejudices, associations, related to the field of the problem or its immediate environment. If this action seems inadequate to animation, the latter may use techniques of "cleaning". The information available will still be listed. Then the group will ask, will list the various questions that arises in relation to the problem, censirà information seems to be missing. So far, the group was around the problem, now enters, and in various ways, we may collect information taken inside.

involvement is even greater in the next step. Researchers are no longer in issue, have the same problem, give you body and soul. The lend their voices, and thus becomes possible to directly question the problem.

The course ends with an analog implementation. The problem is transferred in Wonderland in which everything is possible. In this way you can make a complete list of all the partial conditions that make possible the discovery of the overall solution of the problem.

items collected in each trip are noted on a large sheet of paper and hung on the wall. Of course, throughout this phase of exploration, the group operates freely, without censorship or, with total acceptance of all ideas, and in full cooperation.

Preparation of the excursion. This preparation is particularly important when it comes to group improvisation. But it is not to be neglected even when the entertainer will ask a group of people already trained in techniques of creativity.

The preparation for the trip, therefore, involve three aspects: de-conditioning, heating and communications.

1. Deconditioning . Exercises in the form of games aiuteranno i membri del gruppo a sentirsi a loro agio con se stessi e con il loro partner. Questi esercizi potranno essere puramente mentali o comportare una parte fisica (relax , concentrazione), da valutare da parte dell’animatore secondo la natura e la personalità dei suoi componenti.

2. Riscaldamento . Esercizi che mirano a sviluppare la fluidità verbale saranno praticati individualmente e in gruppo .Altri esercizi innescheranno la mobilizzazione dell’energia necessaria al compimento del lavoro.

3. Communication. exercises to practice in pairs, on the whole group into subgroups and allow partners to look at different points of view, approach, be prepared to work in synergy.

See the problem from all points of view causes the expression of the perception of the problem can be realized by means of various techniques , whose leaders are listed below. This list is certainly not exhaustive, moreover, is neither necessary nor should use all the techniques proposed.

- For me the problem is ....

Each group member is asked to note on your block to its definition of the spontaneous problem, the animator is then completed a round table and takes note of all the proposed definitions, without comment or action. It is hoped that the project leader is expressed last. Everyone must speak. Once this is done, you can add additional definitions. Non è obbligatorio che l’animatore esprima la sua percezione del problema, ma non è neppure vietato.

-For me, the problemi is…

La formulazione iniziale del problema è tradotta nella varie lingue conosciute dai membri del gruppo, quindi viene fatta una ritraduzione nella propria lingua, cosa che generalmente fa apparire aspetti nuovi del problema, poiché non ci sono equivalenze semantiche totali tra le varie lingue.

- Né si, Né no ( lipogramma )

this technique is to rewrite the problem formulation using words that do not include a certain letter chosen by the animator. The elimination of the r, of s, or t is generally productive. The animator is the sole judge of choosing another letter, depending on the words contained in the original wording.

- am a Martian

Group members are invited to step into the shoes of an alien and to express their naive view of the problem

- The problem from a plane

The facilitator asks the group to move away to try to find a general formula the problem and the broad lines of its structure, or may seek to focus attention on a very particular point that will be detailed to the hilt.

- Collage projective

is made available to the group a bunch of magazines with scissors and glue. Each individual is encouraged to build a collage that expresses its representation of the problem. Later, the group formulates a detailed commentary of the collage, the facilitator notes the main points. This technique is sometimes more than enough to fill half of the first phase of creative (See Appendix: "Reinventing a new humanism").

Purge. The group is invited to make a list of the information held on the issue. Sometimes one of the members of the group, or an assistant animator, is charged with collecting outside or inside the missing information. The group sets out solutions to the problem that already know the solutions found by other firms and various enterprises.

The facilitator asks each participant to express the ideas of solution which has already in mind, even if it is judged by its partial solutions or author trivial or ridiculous. Do not forget that everything here works to freewheel. But the soul must take care to cut le catene di associazione ed evitare che il gruppo si lanci prematuramente in una vera e propria ricerca di idee. Lo scopo di tutta questa fase è trovare il problema, non produrre a priori un grande numero di soluzioni.

Se l’animatore ha la sensazione che tale operazione è insufficiente, può utilizzare le tecniche di “ pulitura”. Per esempio stimolerà la creatività del gruppo con la lettura di un elenco di parole induttive: ogni membro del gruppo è invitato a reagire individualmente annotando per iscritto il maggior numero possibile di queste parole e incrociandole con i problemi posti. O ancora ,l’animatore può chiedere al group to incorporate the problem in a field that already represents the basic structure of the problem.

ask about the problem . three questions are suggested to facilitate the conduct of this phase:

1. the first series includes such classic questions: who, what, when, where, how, why since, so why not ..

2. the second set involves the use of Catalan (a neologism made up by the words "check list") to wonder what would happen: adding or removing elements of the problem, multiply or divide, kill him turning it over, combining it with other elements .

3. the third series to the positioning of the problem: If our task is a problem? Who is really interested in the real discovery of the solution? Who is likely to hinder its implementation?

Entrare nel problema . Il gruppo è invitato ad addentrarsi nel problema. L’animatore individua alcuni punti chiave sui quali focalizzare l’attenzione del gruppo. Per esempio, può chiedere a uno dei membri del gruppo di identificarsi con uno degli oggetti o con una delle persone implicate nel problema .

( Vedere appendice: “ Il gioco delle tre parole: lavorare con i propri sogni”).

Essere il problema . Questa azione è la più impegnativa e l’animatore la farà applicare soltanto se ha individuato nel gruppo delle persone in buona forma e adatte all’uso del pensiero metaforico.

Qui il problema sarà vissuto dall’interno da parte di una persona. Per esempio: vendere più yogurt ai bambini , creare un nuovo modello di automobile familiare .

L’animatore attraverso il suo atteggiamento e le sue indicazioni, aiuta l’attore a entrare nei panni del personaggio del problema . Secondo i casi, gli chiederà di esprimersi verbalmente o non verbalmente.

The non-verbal expression can be implemented with mime, mime or dance. Verbal expression, the facilitator will ask the question (so the actor who identifies the problem) initially asked to express his feelings and his feelings, then ask him to describe as accurately as possible from its inception until now . Finally, I will ask about his desires, and ask if you really desire to be resolved, and if he prefers to live his life as a problem. He will ask its relations with the other problems the company.

the interrogation was conducted by the animator, il gruppo è invitato a porre delle domande integrative. Lungo tutta la durata dell’identificazione , i membri del gruppo prendono nota delle loro osservazioni, analisi , idee.

(Vedere appendice: “ Il gioco delle tre parole: lavorare con i propri sogni”).

Importante : un’attenzione raccolta, un ambiente caloroso che escluda qualsiasi manifestazione di umorismo intempestivo sono le condizioni necessarie per la riuscita dell’identificazione.

Variante : a volte il problema può essere interpretato più facilmente in simultanea da due o tre persone che fanno un monologo a più voci.

Trasporre il problema . Nel metodo sinettico , questa tecnica è chiamata l’analogia fantastica. In effetti , le regole del gioco è che il problema venga trasposto in un paese delle meraviglie e quindi risolto. Successivamente il gruppo è invitato to describe how it is resolved. At this point you do an inventory of all the minor problems that have received partial solutions realistic or not realistic, reasonable or completely crazy. Likewise, you identify who helped solve the problem and who has been an obstacle.

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How to make a lot of ideas

One of the three moments described in the method PAPS ( click to read at that point were we>> ) is the production of ideas, which is the second time, after that of perezione and creative analysis, as described in the post linked above. So let's see how he describes Hubert Jaoui this key moment of his meted:

You have just deconstructed the problem and then restored the problem in a graph analysis. The description of this chart highlights the subproblems and their articulation. It may be that at the same time to reveal the solution.

Among the identified minor problems, some may find a satisfactory answer in the range of solutions already known. Others will be resolved by consulting an expert efficacentemente internal or external. Others deserve to be subjected to a production team, as appropriate, this group will be the same analysis group or a second group, internal or external.

In all cases there is the problem of the choice of techniques. If the problem is well defined and the group trained for innovation, a direct attack on free wheel will suffice.

If the problem is more complex and break it down into several elements, or even if it is a problem of communication in which issuers and are multiple recipients, it is necessary to build an array. Not all the boxes of the matrix are of the same interest. The group will be divided in tandem, each of which will be responsible for developing one or more boxes of the matrix. The analogue techniques are often effective, especially if the problem does not refer simply to create a product, but concerns the equilibrium of a system. The implementation in another field at the same time allows more freedom in relation to mental coercion, and enrichment through the transfer of the solutions already found in the original analog chosen field.

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The Multiple logic



Creativity is the logic of discovery. It is not the absence of logic, is a Multiple logic. While the normal way of functioning of intelligence, what they tried to teach us, is deductive, really straight and in any case phonological operation of the mind in the act of creation, invention, Troubleshooting is divergent, borrows several logical paths without limitations.

Create means deconstructed and then restored. Deconstructed the existing reality composing in fragments, molecules, atoms, recast the elements in the original models.
The process is divided into three phases:

• a proper mental preparations
• a group of well-established and well-conducted research
• a time when you connect many techniques that cover the whole creative chain , the perception application

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The creaflex

Our programming created in us a reflection of systematic criticism and rejection of new ideas automatically. This reflection must be rooted destructive. The best way to do this is to replace it with reprogramming based on three behaviors to be integrated until they become automatic and constitute precisely the creaflex.

Prime behavior: diverge before converging

Faced with a problem, the solution is perhaps the first idea that good. To be sure, it must be able to compare to 'other or, rather, to many others. "For any problem there are at least two solutions.

According behavior: listen before judging

The conditioning of our education leads us to consider the ideas that there are proposals before it is even truly understood, or simply listen.

The technique Advocate angel , imagined by Sidney Shore, it is within our reach. It consists of four stages, to be carried out quietly and rigorously.

1. hear each other completely . This means of course, to remain silent, to avoid the main interruption impropriety, but also to visibly demonstrate your interest in our party for his views, to show our facial expressions and our body posture that we receive "5 5 ". This consensus does not mean that we agree with what is said, but simply that we record uncensored the entire message. And this is certainly the least we can do.

2. Riformulare precisamente . Restituire all’altro il suo messaggio con le nostre parole, cosa che gli permetterà di verificare se è stato compreso ed eventualmente di completare , correggere, sfumare , la nostra nuova formulazione .

3. Complimenti con sincerità . Qui si mette all’opera la creatività dei partecipanti. In un ‘idea che li soddisfa a metà, o per nulla , devono riuscire a identificare almeno un punto positivo. La formula magica è , alla letter: "What I like about your idea is ..."

4. Asking open . For this task participants have at their disposal the checklist Cccdpq: who, what, how, where, why, when? For example: What is the benefit of the idea that you propose?; Who may object? ..

Third behavior: not all evil comes to harm

This is technique Sidney Shore : "What's Good About It ?" , inviting the participants to the following considerations:

· you happen to an event, positive or negative. Start by expressing your emotions;

· make a list of all the negative consequences arising or that may arise. Count out;

· now, use your creativity to list at least as many potentially positive. This will be difficult, perhaps the first time but you will see that there will always be easier;

· compare the two lists and found some positive consequences as allow you to cancel or compensate 'effect of negative ones.

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creative reflection or group creativity


Creativity is without doubt a phenomenon individual. It happens quite often that the working groups is not well structured and poorly coordinated brake is even a creative expression. This can happen for three reasons, which are described below.

First, if the phase of the production of ideas is not separated from the evaluation phase, so any attempt to express a new idea is immediately struck down by a barrage of criticism, even well-reasoned and substantiated, but prevent any depth.

This kind of attitude of the group leads to an increase of inhibition, so that all end up keeping his thoughts within the entrenched patterns of experience defensible shows without too much difficulty obviously does not mean that you do not get improvements to existing schemes, but they will, in general, incremental, and without significant jumps.

Finally, the group atmosphere can produce a radicalization of positions: each feels compelled to defend their ideas a priori to a mistaken interpretation of its role within the group, then that can happen at the end of ideas end up being selected not for their intrinsic merits but based on the dialectical capacity of the proposer or aggression.

The negative aspects can be mitigated or the limanti all with the proper management of meetings and the use of appropriate techniques. In this case the contribution to creativity can be very significant, because the group itself is a source of stimuli that have positive effect on the generation of ideas, the group also constitutes a powerful tool not only for the production, including selection, modification and adaptation of ideas.

order to express the positive elements of creativity, the group must be based on interpersonal equilibrium conditions (techniques have been developed for the resolution of conflicts within the group, see Appendix: "The method of systemic constellations") allowing the use of the following: * The

freezing and subsequent postponement of criticism against the production of ideas

* the separation of the moment decision as ideational

* the mutual stimulation of associative chains mental

* the transformation of so-called unconscious materials

In essence, under certain environmental conditions and interpersonal, the group can not only add to the inventive potential of individuals, but also multiply with each other, thanks to a rebound effect in stimulating collegial. Any contribution made by a member of the group renews prospects ideative di tutti gli atri . Ciò consente con molta fluidità la realizzazione del cambiamento di orizzonte dal quale far emergere più adeguate soluzioni ai problemi trattati. Per questa ragione si è cercato di codificare alcune regole , necessariamente non troppo rigide, da seguire per sfruttare nel modo migliore la potenzialità creative dei gruppi. Sono nate così diverse tecniche , tra cui sono gradualmente emerse per efficacia pratica quelle del “ brainstorming “e dei “ sei cappelli”.

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The benefits of training for creativity: word of Hubert Jaoui!


Oltre allo sviluppo dei fattori di base( fluidità, flessibilità, originalità), il percorso pedagogico compiuto attraverso la formazione alla creatività, induces many advantages allowing strengthening:
- self-confidence
- Energy, in its two sources, pleasure and desire
- independence of thought and action
-
acuity of perception - intuition
- tolerance of ambiguity
- the host of mental images, the richness of the dream
- the size of areas of interest
- cooperation, team spirit
- the propensity to think and act creatively.
This list, certainly incomplete, but realistic and explicit, it helps to clarify the objectives of the direction to take, to start training for creativity.

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Blogsletter del network di blog
Innovazione=C alla terza


I vantaggi indotti da una formazione alla creatività secondo Hubert Jaoui
Oltre allo sviluppo dei fattori di base( fluidità, flessibilità, originalità), il percorso pedagogico compiuto attraverso la formazione alla creatività, induce numerosi vantaggi permettendo di rafforzare…
continua>>
http://innovazione3c.blogspot.com





L'esplorazione e la ricerca: la prima fase del Coaching Creativo
Cristoforo Colombo, chi meglio di lui può simboleggiare la ricerca, l'eslorazione delle possibilità, di nuovi territori fisici e mentali, quella ricerca che apre le porte all'immaginazione, all'intuizione, senza dimenticare l'organizzazione di un'impresa?
continua >>
http://ilcoachingcreativo.blogspot.com/

Game, ancora una variante del Brainwriting
Questa metodologia di Brainwriting è particolarmente interessante perché si basa su un criterio che nella maggior parte dei casi è assolutamente “vietato” nelle sessioni con tecniche di creatività e cioè la competizione…
continua>>
http://simonepiperno.blogspot.com/

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Six Thinking Hats

of the six hats technique has been proposed by De Bono (1985) in his book Six Thinking Hats. This is a role-playing game applied to the creativity of the group with the aim of prioritizing the positive elements of the interaction between the participants. Compared with the brainstorming process is a more "driven", which is very important in the presence of an experienced coordinator.


De Bono notes that the different attitudes with respect to any possible argument can be grouped into six classes, which he associated with many hats di diverso colore.


Ogni individuo , per vocazione , esperienze, educazione, ecc , si caratterizza per un atteggiamento prevalente che può essere molto difficile fargli effettivamente abbandonare. Con la tecnica dei sei cappelli si chiede solo di rappresentare una parte, provando per il tempo richiesto a svolgere il ruolo indicato dal cappello.
Così se durante la riunione si dice “indossiamo il cappello bianco”, collegato a neutralità ed obiettività, ciò significa che entriamo in una fase di ascolto di dati ed informazioni che devono essere considerati con la massima oggettività.
Il cappello verde darà inizio alla fase di generazione creativa.
Il cappello giallo potrà be worn to identify the strengths of an idea, while the black hat will help us to assess the weaknesses and deficiencies.
with the red hat for everyone to give free rein to the emotions and feelings without feeling obliged to rationally justify their claims.
be noted that the sixth hat represents the control of the process: when you wear the blue hat rules are established, and subsequent stages of the session, it is invoked at the beginning, or to overcome moments of impasse, or when necessary to move from job content to the development of the creative process that is being followed.

looks like a game, but it is one of the most common techniques for creativity Group: the awareness of participants to play a role has proved effective in making it easier to abandon inhibitions and attitudes inherited.

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Total Creativity Management

In classic brainstorming, the first phase strictly obeys the four rules of divergent thinking, the Csqm: C
as critical abrogated
quantity Q as privileged as extravagant welcome
S;
M as multiplication routine.

The second phase, convergent, it was left to the common sense of people, their natural right to use a filter or a series of filters to eliminate the obvious ideas and impossible ideas, and consider, in the end, only the successful elections were: effective, original and feasible. In this way, chances are that they are systematically eliminated the ideas are interesting but trivial, and those that are original and seemingly impossible. Proceeding thus, deprives it of an extraordinary innovation potential. Contradicts itself, stupidly, the definition that "creativity is to dream the impossible, to find a way to make it feasible."
is through empirical observation completed by groups of mixed research consultants - enterprise, which has discovered that in fact the mechanism is based on the dialectic of creativity, divergence convergence: dreaming l’impossibile, quindi trovare come renderlo possibile.

L’ideatore del metodo Papsa , Hubert Jaoui, ha elaborato un modello a spirale, battezzato Tcm, Total Creatività Management.


Modello del Total Creativity Management

La prima tappa consiste nell’impiantare il “creaflex” , o riflesso creativo (di cui parleremo nel prossimo post).

Nel corso della seconda tappa viene insegnato il metodo Papsa, che i partecipanti potranno in seguito applicare mediatamente, da soli , in coppia o in trio , quindi senza animatore.

La terza tappa vede svolgersi un cantiere di ricerca creativa, su un problema cruciale interno or outside: create or launch a new product or service, replace an existing product, invent a new market approach, define a new mode of operation.

The fourth stage goes up to an additional layer: the training of youth affairs. These belong to various functions, which continue to have for most of their time: their mission is, in fact, organize, animate, make groups of creative research on topics proposed by the management.

These leaders are chosen on a voluntary basis according to four criteria: motivation

mental flexibility

general knowledge ability to lead a group on the principle of semidirettività (Directivity absolute compliance with the rules of the game and methodology; directivity than full content, with positive reception of any ideas expressed).

The training of youth is two intensive training. The first forward the principles and tools, the second teaches the rules and tricks of the animation of creative groups. It explains how to build them and deal with these groups. And above them is getting ready to have a productive dialogue with their partners within:
- the steering committee, where it belongs, among others, the project leader, who will also participate in the creative group, without being the facilitator;
- Experts to be consulted occasionally and / or included in some research meetings.

The fifth stage is the installation of creativity as a value and practice in corporate culture. This is in general a communication campaign that uses many media, in particular a formal meeting with managers. On this occasion there is a presentation of youth affairs, who report on their experience, and is made an announcement to the public: "creativity belongs to everyone. You are all invited to use, individually or in groups, whenever it is worthwhile" .

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Lateral thinking, Hubert Jaoui

The approach of lateral thinking has been proposed by De Bono for the phase of idea generation.
The principle on which is the challenge that is very effective in determining conflicts and new combinations of old ideas and solutions. To make this challenge can be virtual escape from the rigid control exercised by the logical and deductive abilities of the mind, that our whole education has emphasized to make room for different ideas and somewhat unpredictable.
De Bono calls "lateral thinking" the mental paths characterized by logical leaps are impossible under the "sequential thinking" characteristic of the normal reasoning.
Lateral thinking can be activated with some things, that De Bono calls "provocative and moving." The challenge is to introduce elements into the problems of discontinuity, provandopad adapt solutions to the problem to be addressed, tricks and ideas drawn from completely different contexts, when the combination is more unusual and absurd, the stronger, according to de Bono the incentive to creativity.
To understand how the challenge can help to get out of the box mentality consider the first part of Figure 3, which shows a process "rational", in which deduction proceeds step by step until you come to a conclusion. In the following formalization of the discovery is progressing with a theorem, which is generally a backward path : viene anticipata la conclusione e si dimostra che essa è vera date le premesse.
A volte la forza del percorso “razionale” è talmente grande che si impedisce di vedere altre conclusioni possibili. Scopo della provocazione è quindi quello di portarci fuori dal percorso razionale, verso conclusioni impossibili anche da concepire; il movimento consiste in un processo razionale attraverso il quale si cerca ex post di analizzare le nuove conclusioni per valutare se esse siano in grado di gettare nuova luce sulle caratteristiche del problema e /o eventuali soluzioni innovative.
È evidente che alcune si manifesteranno chiaramente assurde , ma è anche probabile che la sfida costituita dalla provocazione iniziale abbia posto la mente in a state of instability, which can stimulate the creative process elements suggesting that, just as in the formulation of the theorem, can acquire new post-rational foundations. It is essential in this analysis not ignore the provocation absurd or paradoxical, working instead on the extraction, from this, not immediately obvious to the general principles and their possible applications.


Figure 3 Provocation and lateral thinking in movement

In the creative process, or at least the first phase of idea generation, then it should "stay the proceedings, which can then more appropriately be exercised is the next phase of rationalization of ideas produced, both at the time of a possible choice between different options.
Furthermore, it is appropriate that the provocation is put or interpreted as an attack or a criticism. In this case, it would ultimately generate reactions that can hinder not only change but also the creative thinking. The provocation may be directed to objects or specific problems relating to situations, products, processes that we want to change, innovate, or change altogether, or may be given to a way of thinking prevalent. The following list identifies some points of attachment for a provocation effective:
- dominant ideas
- constraints and limitations
- recruitment
-
key factors - factors to avoid
- polarizations

First we try to challenge the dominant ideas, which may be in fact, sometimes stifling to creativity.
Often the constraints and limitations are hired to custom, without actually stopping to think about the possibility of release.
Whatever the problem to be solved, it is difficult in practical cases have empirical evidence on the whole, so that we resort to several assumptions based on experience or shared knowledge, some assumptions are so natural that we are not even remotely tempted to challenge them . Maybe they are reasonable but, as with constraints, we try to abandon them for a moment: they could become a new idea.
Some factors are considered essential in specific situations or problems: we ask if this is really a need or a habit.
Other factors are deemed inappropriate or to be avoided, even in this case, we can challenge them.
Finally, we groped to identify and eliminate any biases in their approach to problems. The polarization is a specific point of view we become prisoners to abandon him, even as a provocation could lead to new ideas.

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Blogsletter

Hello, the new blogsletter Innovation = C in the third, (the group on Linkedin to which I invite you to join if I had not done clicking here>> ), are:

Lateral thinking, Hubert Jaoui
The approach of lateral thinking has been proposed by De Bono for the phase of idea generation.
The principle on which is the challenge that is very effective in determining conflicts and new combinations of old ideas and solutions ... more>>
Source: Innovation = C in the third

Creative Coaching, a approach to developing new solutions
Coaching Creative began as a method of integration and remodeling of methodologies that aim to help the person creatively enrich your own map of reality, following a path that can be learned and then re-used independently in order to use solutions transformative approach to business and personal life ... more>>
source: ilcoachingcreativo

Negative Brainstorming
The Negative Brainstorming is a special version of the brainstorming that takes into account the possible negative effects and implications of an idea, a project and was developed in 1985 by Isaksen and Treffinger ... more>>
source: the blog Simone Piperno

In the 70

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Concept maps, Hubert Jaoui

Professor Jospeph Novak, a biologist, specialized in research on learning processes, studies on education and the creation and representation of knowledge.

Concept maps are a tool to represent in a concise and synoptic, structures of thought too complex to facilitate creative thinking.
The building, with certain rules, a mind map on a problem, such a situation, an idea, a need, etc ...., Allows us to produce new ideas and associations. In a mind map instead, there is a dynamic structure, which certainly provides a starting point (the center), but in which each new concept is potenzialmente anch’esso un centro da cui possano partire altre associazioni; inoltre, non esiste una fine della mappa concettuale, né dal punto di vista logico né da quello topologico.
Una mappa concettuale si presenta allora come uno schema in cui riportare tutti gli elementi di conoscenza relativi alla questione affrontata secondo un processo di libera associazione. Al centro si pone, con pochissime parole chiave, l’idea o il problema principale, e da questo si diramano in tutte le direzioni in forma di ramificazione gerarchica, informazioni, idee e concetti che vengono collegati l’un l’altro.
La rappresentazione può essere esclusivamente verbale, oppure essere arricchita a seconda delle inclinazioni personali, drawings, colors and symbols (examples of mind maps are listed in Appendix "Creativity practice for the Food Service division of the company X" and "constructive criticism").

The rules of construction are as follows:
- from the center
- any idea or association is written on a branch by using few keywords;
- stay the proceedings;
- if you can think of a concept is not associated with any branch already mapped out, attach it to the center;
- to proceed quickly;
- if it stops the flow of ideas, draw empty lines: the mind in general will try to automatically fill;
- free to use colors, symbols and figures.

Speed \u200b\u200bis very important because it prevents to start operating the inhibitions and proceedings. It is essential not to discard anything that flows into the mind map will always be calmly sorted, cleaned and reorganized.


"Figure 1 Example of concept map built from the word" computer "

The term concept map can also be used to identify other methods to generate alternatives to solve a problem or seize an opportunity second tree diagrams.
A very effective method was proposed by De Bono, to illustrate, we start from a formal definition of "alternative" means two alternative solutions are called if they share a connection point ("fixed point"). One can easily see that the fixed point is the key to the generation of alternatives according to a scheme tree.
Some examples will immediately grasping the significance of the fixed point and its importance for the generation of alternatives.

Example 1 (in this case, the connection point concerns the purpose):
Buses and cars are alternatives for commuting

Example 2 (in this case, the connection point concerns' membership to a group):
apple and banana are alternatives if we think of fruits as a whole

Example 3 (in this case, the connection point concerns the membership of a group):
Pen and pencil are alternatives such as writing instruments

Example 4 (in this case, the connection point for the concept):
pen and tie are no alternatives for a gift.
The search for alternatives can then work like this:
1.definire the purpose of research
2.dalla first idea to extract the concept
3.porre the concept as a fixed point
4.generare alternatives with respect to any fixed point
5.da Or check out a new concept
6.porre many new concepts such as fixed points from step 4
7.ripetere


Figure 2 Generation of an alternative method with the fixed point

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multiple stimuli, for the creative process

You can influence the creative process going into a room full of stimuli. The main source of stimuli is given by learning: that is why the knowledge is never wasted. The greater the amount of theoretical and practical knowledge, the greater the likelihood of being able to develop new solutions and greater is usually the time taken.
techniques have also been proposed based on the association forced to relate through some method also random, two or more ideas or products that are not normally considered together, to make the original spring approaches used to improve ideas, processes, products.


Operationally, the technique of forced association consists of a preliminary evocation of what is connected directly to the object or activity to be modified or replaced in a subsequent search of another object or activity that has not apparent link with the object or activity in question and, finally, in making the comparison or cross to make it result in a sense, a meaning which at first view may seem remote. A
metodo di questo tipo è quello delle “parole caso”( random words). In pratica, in un primo momento si stabilisce una serie di associazioni direttamente correlate al tema d’indagine o all’area sulla quale si vuole intervenire. I riferimenti possono essere rumore, numero di persone, arredamento, riservatezza , clima interpersonale, ecc. In seguito si prende una parola a caso e si stabilisce un’altra serie di associazioni direttamente correlate. Infine si effettuano incroci forzati tra la prima e la seconda serie di termini associati, dai quali possono scaturire idee e soluzioni interessanti .Per generare la random words si può ricorrere al vecchio sistema di aprire a caso un libro qualunque o un dizionario, anche se esistono software that perform "ad hoc" this simple task.

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aphorism, an ebook gift for you


How many times do happen to read an aphorism and remain magnetized by those words, that create vibrations in our thoughts, sensations of our body, words that make sense only hinted at the truth instantly and make you whisper "It's true!" "That 's right!", "This belongs to me," and much more.

Aphorisms have a special power to condense into a few words, many meanings, deeper meanings that remind us of past experiences, they do echo images, emotions illuminate, at the moment we stop to reflect on the meaning of what happens to us.

How many times the reading of an aphorism is a pleasant, fleeting fraction of our lives, something that soon gave way to a myriad of other thoughts, daily concerns, real problems to be addressed, the stimuli of the outside world that inevitably attracts the our senses and our attention. Soon we can go from an intense present moment, from what the Greeks called Kairos time, swirling the succession of time that passes and runs away and behind which we ran out of breath.

With this brief please take a moment for you to read one of the aphorisms that we propose, to let you settle in you and transform a few minutes of your life in Kairos, that particular time it is possible to implement a new state of things, which comes through a moment of awareness.

With exercise you're getting ready to test, in fact, you can create yourself an opportunity, a time when there is even a possibility, in which events require action or are conducive to action. In the moments that follow, the action you decide to take, and then decide to take the time, have the power to change your destiny for a few minutes and open a small gap on the evolution of the possibilities. If you really stop living exclusively in the present, taste the flavor of the moment, which is the largest security of your life, precious moment when you feel to be there, because life is full at the moment that is lived, not before, some minutes ago, now has disappeared, not after a future that is yet to be born, but only just in the here and now.

send me an email at
s. piperno @ coachingcreativo.
com (I wrote it with the space between the letters to avoid spam software that take email addresses from web sites and lists that you subscribe to send messages automatically, you simply copy the address and eliminate spazi)

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The four levels of creativity Hubert Jaoui


In effetti, si possono distinguere quattro livelli di creatività.
Il primo livello: flessibilità. Ciò che qui si richiede al personale è, innanzitutto, di accettare che le verità e i comportamenti che costituivano per il personale stesso il proprio quadro di riferimento, devono essere oggetto di una revisione parziale o drastica.
Tale comportamento è sempre difficile, perché riguarda tutti gli aspetti della personalità.
Il secondo livello: reattività. Qui la direzione si aspetta un po’ di più. Non basta che il cambiamento sia accettato, occorre anche che sia integrato e che i dipendenti lo attuino con intelligenza and a sense of adaptation.
The third level: proactivity. The climate, the style of relational model management encourage all those who have ideas to express: observation of a malfunction, the discovery of opportunities, ideas for improvements. These ideas can affect both the individual and the work is any aspect of business life. Ideas, small or large, cross-sketchy or solutions developed with precision, are all to be considered.
The fourth level: the initiative. The initiative is universally desired. Officially. In practice, it is hampered by the inadequacy of resources on the one hand, the lack of positive sanctions, on the other. The right to make mistakes is often merely a theoretical statement and success is not necessarily to the benefit of the innovator spontaneous.
often necessary, therefore, a form of heroism od'incoscienza, dare to take risks. In addition, most projects require a minimum of means is not always easy to obtain.

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Unlocking and developing the creativity of Hubert Jaoui


Unlocking and developing creativity, attitude is easier than you might believe, Hubert Jaoui

The road ahead for developing creativity obeys a very simple and follows a logical series of stages :
1) Put the participants in a position to discover: that
a.Ciò creativity really is, beyond prejudices and caricatures.
b.Che themselves have tremendous potential untapped.
c.Che themselves if they should want to leave this potential immediately.
d.Che there is a mental exercise that enables them to "get the muscles," that train the potential.

2) Let them experience the richness of the dialectic divergence / convergence of the series "real / imaginary / real."

3) Let them practice techniques in each of the four families of heuristics logic.

4), leading them along a path full of discovery, from the perception of the problem of application solutions, through testing, production and selection of ideas.

5) Invite each participant to establish his "contract hit"

a.La or techniques to be applied.
b.Individuare the problem.
c.Il way to tackle this problem.
d.Quale kind of obstacles you may encounter.
e.Cosa intend to do to overcome them.
f.Come consolidate its acquisitions.

benefits induced by training creativity

addition to the development of the basic factors (fluency, flexibility, originality), the educational approach taken by training for creativity, allowing you to increase leads many advantages:
la fiducia in sé
l’energia , nelle sue due fonti, piacere e volontà
l’indipendenza di pensiero e di azione
l’acutezza di percezione
l’intuizione
la tolleranza dell’ambiguità
l’accoglienza delle immagini mentali, della ricchezza del sogno
l’ampiezza dei centri d’interesse
la cooperazione, lo spirito di squadra
la propensione a pensare e ad agire creativamente.

Questo elenco, certamente incompleto ma realistico ed esplicito, aiuta a chiarire gli obiettivi della direzione da intraprendere, per lanciare una formazione alla creatività.

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creativity to support innovation by Hubert Jaoui


Intelligence (Latin intelligible understand) is used to connect the information together to understand and then act with relevance.
The problem is that this mode is only really effective in a field of knowledge closed and stable. It makes it impossible to understand the innovation, nor to invent original responses. For this you need creativity.
Creativity is the ability to produce new ideas to create value. This means, first and foremost be able to generate original ideas, innovative and improve on current issues and practices, it also means being able to anticipate and resolve problems not yet addressed, or that is common and often poorly defined or different than normal, problems which have yet to find satisfactory solutions, then, means to identify unique ways to exploit opportunities. Of course, choices must be developed that would result, at least in the long run, a net increase of "social utility". Investing in creativity
acquires a strategic value for businesses and people. For companies, this is to tap into new resources, exploited so far in small part. For people means relying on more stimulating work environments and dynamic, and above all, increase the satisfaction that comes from being a protagonist in the pursuit of excellence performance.
Creativity is not a gift, but a mix of skills you can acquire through study, observation, experience and above all, with practice.

results of a survey conducted by the national president of the American psychologists John Paul Guilford, were stunning: every person, regardless of their sex, their age, social status or education, has an important creative potential. The only difference between the creators and others, is that they use a portion of this potential, the other for anything.
Guilford has called this attitude of creating intelligence "divergent", and opposed to intelligence "converging", as defined by the famous IQ test to measure IQ.
has developed with his colleague Paul Torrance, tests designed to measure the creative potential of at least four criteria:

- First, the fluidity, measured with the flow, the quantity of ideas that a person is capable of producing on a given topic, in a certain time.

- The second, called flexibility, is measured by the number of categories in which these ideas can be classified.

- The third, originality, is simply an index of rarity, not trivialities.

- Il quarto, l’elaborazione, che introduce la presa in considerazione del reale e costringe ad uno sforzo anche minimo, di valutazione.