UNIT-1

Creativity and innovation management:-

Definition:- (Innovation).
Innovation:- Innovation is the implementation of new idea at the individual, group or
organization level. Creativity:- Creativity is the development of ideas aout the produ!ts,
pra!ti!es , servi!es or pro!edures that are novel and potentially useful to the organization.
Objectives :-
o "es!rie the !reative pro!ess.
o #$plain the personality traits of !reative people.
o #$plain the how the four !ognitive !reativity s%ills are promoted y !reativity te!hni&ues.
o 'ist the five !ategories of !hara!teristi!s that distinguish !reative people form non
!reative people.
o "es!rie the !reative pro!ess.
Individual creativity.
1. The !reative persons:-
(ersonality traits.
Cognitive !reativity s%ills.
"omain spe!ifi! %nowledge.
Intrinsi! motivation.
). Cognitive !reativity s%ills:-
Thin% !reativity.
*enerate alternatives.
#ngage in divergent thin%ing.
+. Creative enhan!e:-
,or%for!e diversity e$ternal and internal intra!tion.
"iverse teams s%illed at wor%ing together.
-upportive !limate.
.rganizational !ulture the promotes innovation.
/le$ile flat stru!ture.
Close intra!tion and relationship with !ustomers.
0. 1anagement style of !reativity:-
#n!ourage ris% ta%ing.
(rovide autonomy.
#n!ourage produ!tivity.
-upportive supervision, !limate and wor% group.
(arti!ipative leadership.
Process of creativity (or) stages:-
(reparation.,2eparation,3erifi!ation,In!uvation.,llumination.
Grou creativity:-
rain storming.!(rodu!tion lan%ing.!Nominal te!hni! 4group5.!"elphio
te!hni!.!#ntrepreneurs.!Intrepreneurs.
". #rain storming:-
1anager meet fa!e to fa!e to generate and det many alternatives. *roup memers are not
allowed to evaluate alternatives, until all alternatives are listed. ,hen are listed then the ores
!onsumers of ea!h are dis!uss of a short listed !reated.
$. Production blan%ing:-
6!!urse e!ause group memers !annot ma%e sense of all the alternatives eing generated thin%
up additional alternatives of rememer what they are thin%ing.
&. 'ominal grou tec(nic:-
(rovides a more stru!ture way to generate alternatives and gives ea!h manager time of
opportunities to !ome up with &uetinal solution. Useful when issue is !ontrol of when different
managers might e e$pe!ted to !hampion different !ourse of a!ton.
). Del(ic tec(nic:-
,ritten approa!h to !reativity prolem solving.
*roup leader wrights a statement of the prolem to whi!h manager response.
7uestionnaire is send to manager to generate solution.
Team of manager summarize the response of resulted send were to the
parti!ipation.
*. +ntrereneurs:-
Individual to noti!e opportunities of ta%e the responsiility for moilizing the resour!e ne!essary
to produ!e new of improve goods and servi!es.
8. Intrareneurs:-Individuals, 4managers , s!ientist or resear!her5 who wor% inside of
e$!iting organization of noti!e on opportunities for produ!t improvements and are
responsile for managing the produ!t development pro!ess.
Convergent t(in%ing:-
Definition:- (rolem solving te!hni&ue in whi!h idea from different field or parti!ipation are
rought together to find a single optimal solution to a !learly defined prolem.
,eaning:- 6n e$!isting te!hnology or solution to a prolem in one field is used to provide a
new idea for a solution in another. Convergent thin%ing is used when a person attempt to give the
one !orre!t answer to a prolem.
Divergent t(in%ing--Definition: Idea generation te!hni&ue 4su!h as rain storming5 in whi!h an
idea is followed in several dire!tions to lead to one or more new ideas, whi!h internal lead to
steal more ideas. In !ontrast to !onvergent thin%ing 4whi!h aim at solving a spe!ifi! prolem5
divergent thin%ing is !reativity, open ended thin%ing aim at generating fresh view of novel
solution.
#rain storming:-Using !reativity aility to produ!e a wild arrange of possile solution to a
prolem.
./o tyes:-
Understanding of right
'eft rain fun!tion.
1. 2ight:-
The right side of rain !ontrols your !reativity visual, of !on!ept the left.
). 'eft:-
The left side of rain !ontrol you9re logi!al of mathemati!al, :udgment, analyti!al
a!tivities.
0ules for brain storming:-
(ut :udgment of evaluation a site temporary.
Turn imagination loose of start offer in result.
Thin% of as many ideas as you !an.
-ee% !ompensation as improvement.
2e!ord all ideas in full view.
#valuate of at a letter session.
1lternatives brain storming tec(ni2ues:-
-!amper system:-
-- -ustitute.
C- Comine.
6- 6dopt.
1- 1odify.
(- (ut to another use.
#- #liminate.
2- reverse.
Creativity t(in%ing tec(ni2ues:-
o #$press, Non- evaluation.,7uantity.,;uilding.
.ec(ni2ue of brain storming:-
1. -ituation.
). (rolem
+. Needs
0. .:e!tives
<. -trategies.
Ideas
Ideas
Ideas
Ideas
Ideas
Convergent t(in%ing tyes: 6nswer:-
/a!ts
/a!ts
/a!ts
/a!ts
/a!ts
#.g., do!tors, lawyer, mathemati!s, s!ientist, engineers, athletes.
.ec(ni2ue brain storming:-
Ideas:-The ideas you want to develop should flow from the strategies. =ou identify to a!hieve
the o:e!tives. Ideas !an e all over the pla!e to develop ideas effi!iently you need the strategies
that address the identify prolem. Objectives:- .:e!tives is what you want to a!hieve.
3trategies:--trategies is out you purpose to a!hieve the o:e!tives.
Divergent t(in%ing rocess:-
#looms include (ig(er level 2uestion s%ill:-
#valuation, -ynthesis, 6nalysis, 6ppli!ation, Understanding, >nowledge.
.o/ard gardeners multile intelligences of eac( erson:-
,ord smart ,'ogi! smart, (i!ture smart, Nature smart, ;ody smart, 1usi!
smart, (eople smart, -elf smart.
4nit-&:
5(at is a creativity e6ercise7
/or our purposes, anything that !hanges your way of thin%ing aout a prolem 4or
opportunity5.
#spe!ially te!hni&ues to !ultivate new ideas.
6ppli!ale at any stage of the pro!ess.
5(at is t(at good for7
6nalysis is not a very good means of generating ideas.
Intuition is, y definition, not responsive to systemization.
,hat !annot e !ommanded might still e !oa$ed.
.(ings you may already do 7
1any a!tivities !hange what parts of your rain are wor%ing, and en!ourage other
parts to rela$.
Identifying these triggers and e$ploiting them on purpose !an e powerful.
Not usually a great thing for groups, though.
.(ings you may already do
#$amples:
1. #$er!ise ). Change of s!enery +. "riving 0. -howering <. Toys 8. -leep ?. 1usi!
#ffe!tive ;rainstorming
The est way to get a good idea is to get a lot of ideas.
2andomization #$er!ises
-ele!t a theme, element, or pie!e of advi!e from some random sour!e.
*et you past a lan% slate.
#n!ourage very une$pe!ted thought patterns.
3i6 t(in%ing 8ats:
1. Knowledge possessed or needed.
2. Type of thinking being used.
3. Risks, drawbacks, criticism.
0. Opportunities, possibilities alternaties.
!. "dantages, benefits.
#. $eelings, intuition.
1IN" *=1
The mind messes up more shots than the ody.
1ind !an fo!us on thing at a time.
2ather than suppress what you don9t want to happen, you must fo!us on what you
do want or on some neutral thought.
learn to use your mind:
.r your mind will use you.
6!tions follow our thoughts and images.
"on9t loo% where you don9t want to go.
(ower of visualization and mental rehearsal.
Create your own 1ind *ym
o 1ental pra!ti!e
o Confiden!e !omes from %nowing you are mentally and physi!ally prepared.
-tudies show that within a group of athletes of e&ual aility, those who re!eive
mental training outperform those who don9t.
Competitive:
6 !ompetitor finds a way to win.
Ta%e ad rea%s and use them to drive themselves harder.
o 7uitters ta%e ad rea%s and use them as reasons to give up.
Confident:
#very time I play, in my own mind I9m the favorite-Tiger ,oods.
Can do attitude.
;elief they !an handle whatever !omes their way.
6lmost never fall vi!tim to self-defeating thoughts.
Control:
-u!!essful athletes are ale to !ontrol their emotions and ehavior.
They fo!us on what they !an !ontrol and don9t allow things that are out of their
!ontrol to affe!t them.
1aintain poise, !on!entration, and emotional !ontrol under the greatest pressure
and the most !hallenging situations.
Committed:
/o!us time and energy on their goals and dreams.
-elf dire!ted and highly motivated.
1.C...
6:-
o 6!!ept your present state.
o Understand your strength and wea%nesses.
C:-
o Create your desired state.
o ,hat9s your dream@
o -ee yourself e$a!tly the way you want to e.
o ,rite down what this desired state would loo% li%e.
T :-
o Ta%e a!tion steps to get you there.
o -u!!ess is a :ourney of one step at a time, and the :ourney egins with the
first step.
3.,.1.0..
-pe!ifi!
1easurale
6!hievale
2ealisti!
Time-ound
6!!omplishment date.
8o/ t(e brain /or%s :
what ma%es us thin% differently@
,hat ma%es a person a AwolfB@
0evelation e6erience in god:
Now standing inside Athe !loudB.
;ile is no longer a sour!e of !onfusion.
,ritings of apostles ma%e sense.
,ritings of AChur!h fathersB ma%e little to no sense.
Problem9:
;rain is Adirty with do!trineB
A6nd do not e !onformed to this world, ut e transformed y the renewing of
your mind. -o that you may prove what the will of *od is, that whi!h is good and
a!!eptale and perfe!tB.
.(e /ay .(e ,ind 5or%s:
1. The mind as a pattern-ma%ing system.
). -elf organizing system.
+. 'imited attention span.
0. -e&uen!e of arrival of information 4self-ma$imizing systems5
-even though one had een !orre!t at ea!h stage one would
still have to restru!ture the situation efore eing ale to
pro!eed.
<. The arrangement of information is always less than the est possile
arrangement.
The purpose of lateral thin%ing is to over!ome the limitations y providing a means for
restru!turing, for es!aping from !li!hC patterns, for putting information together in new
ways to give new ideas.
:ateral t(in%ing:
Challenge the laels.
Try and do without them.
#stalish new lael.
Challenging the laels.
Difference between lateral and vertical thinking:
1. 3erti!al thin%ing is sele!tive, lateral thin%ing is generative.
). 2ightness is what matters in verti!al thin%ing. 2i!hness is what matters in lateral
thin%ing.
+. 3erti!al thin%ing is analyti!al, lateral thin%ing is provo!ative.
0. 3erti!al thin%ing is se&uential, lateral thin%ing !an ma%e :umps. .ne may :ump
ahead to a new point and then fill in the gap afterwards.
<. It may e ne!essary to e on top of the mountain in order to find the est way up.
8. ,ith verti!al thin%ing one has to e !orre!t at every step, with lateral thin%ing one
does not have to e.
?. ,ith verti!al thin%ing one uses the negative in order to lo!% off !ertain pathways.
,ith lateral thin%ing there is no negative.
D. ,ith verti!al thin%ing one !on!entrates and e$!ludes what is irrelevant, with
lateral thin%ing one wel!omes !han!e intrusions.
E. ,ith verti!al thin%ing !ategories, !lassifi!ations and laels are fi$ed, with lateral
thin%ing they are not.
1F. 3erti!al thin%ing follows the most li%ely paths , lateral thin%ing e$plores the least
li%ely.
11. 3erti!al thin%ing is a finite pro!essG lateral thin%ing is a proailisti! one.
1). ,ith lateral thin%ing there may not e any answer at all. ,ith verti!al thin%ing
one uses information for its own sa%e in order to move forward to a solution. ,ith
lateral thin%ing one uses information not for its own sa%e ut provo!atively in
order to ring aout re patterning.
1ttitudes to/ards lateral t(in%ing:
Insight is rought aout y alteration in pattern se&uen!e rought aout y
provo!ative stimulation and lateral thin%ing provides su!h stimulation.
'ateral thin%ing is li%e the reverse gear in a !ar. .ne would never try to drive
along in reverse gear the whole time. .n the other hand on!e needs to have it and
%now how to use it for maneuveraility and to get out of a lind alley.
#asic nature of lateral t(in%ing:
'ateral thin%ing is !on!erned with !hanging patterns.
In a self-ma$imizing system with a memory the arrangement of information must
always e less than the est possile arrangement.
The rearrangement of information into another pattern is insight restru!turing. The
purpose of the rearrangement is to find a etter and more effe!tive pattern. 6
parti!ular way of loo%ing at things may have developed gradually. 6n idea that was
very useful at one time may no longer e so useful today and yet the !urrent idea
has developed from that old and outmoded idea.
'ateral thin%ing is also a parti!ular way of using information in order to ring
aout pattern restri!ting.
.(e uses of lateral t(in%ing-
'e/ Ideas: There are :os that demand a !ontinual flow of new ides 4resear!h,
design, advertising, ar!hite!ture, et!5.
Problem 3olving: 6 prolem is simply the differen!e etween what one has and what
one wants.
.(ree tyes of roblems:-
1. The first type of prolem re&uires for its solution more information or etter
te!hni&ues for handling information.
). The se!ond type of prolem re&uires no new information ut a rearrangement of
information already availale- and insight restru!turing.
+. The third type of prolem is the prolem of no prolem. The present arrangement
is !ausing a lo!%.
0. (ro!essing per!eptual !hoi!e.
.(e generation of alternatives:
The most asi! prin!iple of 'T is that any parti!ular way of loo%ing at things is
only one from among many other possile ways.
6nti arrogan!e. 2ela$ation. 2ee$amination of a !on!ept. 2ethin%ing.
2estru!turing. Indi!ating an awareness of the possiility of !li!hCs or a rigid point of
view.
;uota: 1 minimum numer of desired alternatives.
C81::+'GI'G 1334,P.IO'3
Cli!hCs are stereotyped phrases. ;asi! ideas are themselves patterns that !an e
restru!tured and ro%en down.
In prolem solving, one always assumes !ertain oundaries. These limits are often self
imposed, so step outside the limits.
In !hallenging assumptions one !hallenges the ne!essity of oundaries and limits and one
!hallenges the validity of individual !on!epts.
The Hwhy9 te!hni&ue . 'i%e a !hild, !onstantly as% Hwhy9.
I''O<1.IO'
Up to now we have !overed two fundamental aspe!tsG-
The delierate generation of alternative ways of loo%ing at things.
The !hallenging of assumptions.
UNIT-3
4'D+03.1'DI'G 8O5 .8+ #01I' 5O0=3:
It9s important to understand the !omple$ity of the human rain. The human rain
weighs only three pounds ut is estimated to have aout 1FF illion !ells. It is hard to
get a handle on a numer that large 4or !onne!tions that small5. 'et9s try to get an
understanding of this !omple$ity y !omparing it with something humans have
!reated the entire phone system for the planet. If we too% all the phones in the world
and all the wires 4there are over four illion people on the planet5, the numer of
!onne!tions and the trillions of messages per day would N.T e&ual the !omple$ity
or a!tivity of a single human rain. Now let9s ta%e a Asmall prolemBIrea% every
phone in 1i!higan and !ut every wire in the state. Jow long would it ta%e for the
entire state 4aout 1< million people5 to get phone servi!e a!%@ 6 wee%, a month, or
several years@. If you guessed several years, you are now eginning to see the
!omple$ity of re!overing from a head in:ury. In the e$ample I used, 1i!higan
residents would e without phone servi!e while the rest of the world had phone
servi!e that wor%ed fine. This is also true with people who have a head in:ury. -ome
parts of the rain will wor% fine while others are in need of repair or are slowly eing
re!onne!ted.
1n electrical and c(emical mac(ine:
'et9s start loo%ing at the uilding lo!%s of the rain. 6s previously stated, the rain
!onsists of aout 1FF illion !ells. 1ost of these !ells are !alled neurons. 6 neuron is
asi!ally an onKoff swit!h :ust li%e the one you use to !ontrol the lights in your home.
It is either in a resting state 4off5 or it is shooting an ele!tri!al impulse down a wire
4on5. It has a !ell ody, a long little wire 4the AwireB is !alled an a$on5, and at the
very end it has a little part that shoots out a !hemi!al. This !hemi!al goes a!ross a
gap 4synapse5 where it triggers another neuron to send a message. There are a lot of
these neurons sending messages down a wire 4a$on5. ;y the way, ea!h of these
illions of a$ons is generating a small amount of ele!tri!al !hargeG this total power
has een estimated to e&ual a 8F watt ul. "o!tors have learned that measuring this
ele!tri!al a!tivity in the rain is !alled an ##* 4ele!troen!ephalograph5.
#a!h of the illions of neurons Asplit outB !hemi!als that trigger other neurons.
"ifferent neurons use different types of !hemi!als. These !hemi!als are !alled
AtransmittersB and are given names li%e epinephrine, nor epinephrine, or dopamine.
(retty simple, right@ ,ell, no. #ven in the simplified model that I9m presenting, it
gets more !omple$.
Is t(e brain one big comuter7
Is the rain li%e a ig phone system 4e!ause it has a lot of !onne!tions5 or is it one
ig !omputer with .N or .// states 4li%es the zeros and ones in a !omputer5@
Neither of the aove is !orre!t.
'et9s loo% at the rain using a different model. 'et9s loo% at the rain as an
or!hestra. In an or!hestra, you have different musi!al se!tions. There is a per!ussion
se!tion, a string se!tion, a woodwind se!tion, and so on. #a!h has its own :o to do
and must wor% !losely with the other se!tions. ,hen playing musi!, ea!h se!tion
waits for the !ondu!tor. The !ondu!tor raises a aton and all the memers of the
or!hestra egin playing at the same time playing on the same note. If the drum
se!tion hasn9t een pra!ti!ing, they don9t play as well as the rest of the or!hestra.
The overall sound of the musi! seems AoffB or plays poorly at !ertain times. This is
a etter model of how the rain wor%s. ,e used to thin% of the rain as a ig
!omputer, ut it9s really li%e millions of little !omputers all wor%ing together.
Getting information in and out of t(e brain:
Jow does information !ome into the rain@ 6 lot of information !omes in through
the spinal !ord at the ase of the rain. Thin% of a spinal !ord as a thi!% phone
!ale with thousands of phone lines. If you !ut that spinal !ord, you won9t e ale
to move or feel anything in your ody. Information goes .UT from the rain to
ma%e ody parts 4arms and legs5 do their :o. There is also a great deal of
INC.1IN* information 4hot, !old, pain, :oint sensation, et!.5. 3ision and hearing
do not go through the spinal !ord ut go dire!tly into the rain. That9s why people
!an e !ompletely paralyzed 4unale to move their arms and legs5 ut still see and
hears with no prolems.
Information enters from the spinal !ord and !omes up the middle of the rain. It
ran!hes out li%e a tree and goes to the surfa!e of the rain. The surfa!e of the
rain. The surfa!e of the rain is gray due to the !olor of the !ell odies 4that9s why
it9s !alled the gray matter5. The wires or a$ons have a !oating on them that9s
!olored white 4!alled white matter5.
./o brains>left and rig(t (emis(ere:
,e have two eyes, two hands, and two legs, so why not two rains@. The rain is
divided in half, a right and left hemisphere. The right hemisphere does a different
:o than the left. The right hemisphere deals more with visual a!tivities and plays a
role in putting things together. /or e$ample, it ta%es visual information, puts it
together, and says AI re!ognize thatIthat9s a !hair, orB that9s !ar AorB that9s a
houseB. It organizes or groups information together. The left hemisphere tends to e
the more analyti!al partG it analyzes information !olle!ted y the right. It ta%es
information from the right hemisphere and applies language to it. The right
hemisphere AseesB a house, ut the left hemisphere says, Aoh yeah, I %now whose
house that is Lit9s Un!le ;o9s houseB.
-o what happens if one side of the rain is in:ured@. (eople who have an in:ury to
the right side of the rain Adon9t put things togetherB and fail to pro!ess important
information. 6s a result, they often develop a Adenial syndromeB and say Athere9s
nothing wrong with meB. /or e$ample, I treated a person with an in:ury to the right
side of the rainIspe!ifi!ally, the a!% part of the right rain that deals with visual
informationIand he lost half of his vision. ;e!ause the right side of the rain was
in:ured, it failed to A!olle!tB information, so the rain did not realize that something
was missing. #ssentially, this person was lind on one side ut did not %now it.
,hat was s!ary was that this person had driven his !ar to my offi!e. 6fter seeing the
results of the tests that I gave him, I as%ed, A"o you have a lot of dents on the left
side of your !ar@B Je was amazed that I magi!ally %new this without seeing his !ar.
Unfortunately, I had to as% him not to drive until his prolems got etter. ;ut you
!an see how the right side puts things together.
The left side of the rain deals more with language and helps to analyze information
given to the rain. If you in:ure the left side of the rain, you9re aware that things
aren9t wor%ing 4the right hemisphere is doing its :o5 ut are unale to solve
!omple$ prolems or do a !omple$ a!tivity. (eople with left hemisphere in:uries
tend to e more depressed, have more organizational prolems, and have prolems
using language.
<I3IO'>8O5 5+ 3++ .8I'G3:
Information from our eyes goes to areas at the very a!% of the rain. ,e9ve all
seen !artoons where the rait gets hit on the head and the rait sees stars. This !an
a!tually happen in human eings 4trust me, not a good thing to do at homeM5. If you ta%e a
hard enough low to the a!% of the head, this rain area angs against a!% of your
s%ull. This stimulates it and you !an see stars and flashing lights. 2ememer those two
hemispheres@ #a!h hemisphere pro!esses half the visual information. 3isual information
that we see on the left gets pro!essed y the right hemisphere. Information on the right
gets pro!essed y the left hemisphere. 2ememer, wires that ring in information to the
rain are A!rossedBIvisual information from the left goes to the right rain.
,O<+,+'.:
The area of the rain that !ontrols movement is in a very narrow strip that goes
from near the top of the head right down along where your ear is lo!ated. It9s !alled the
motor strip. If I in:ure that area, I9ll have prolems !ontrolling half of my ody. If I have
a stro%e in the left hemisphere of my rain, the right side of the ody will stop wor%ing. If
I have an in:ury to my right hemisphere in this area, the left side of my ody stops
wor%ing 4rememer, we have two rains5. This is why one half of the fa!e may droop
when a person has had a stro%e.
8+10I'G 1'D :1'G41G+:
In the general population, E< per!ent of people are right-handed, whi!h means that the
left hemisphere is the dominant hemisphere. 4/or you left-handers, the right
hemisphere is dominant5. ,ith right-handed people, the aility to understand and
e$press language is in this left temporal loe. If I were to ta%e a metal proe, and
!harge it with :ust a it of ele!tri!ity, and put it on the AprimaryB area of my left
temporal loe, I might say Ahey, I hear a toneB. If I move this proe to a more
!omple$ area of the temporal loe, I might hear a word eing said. If I move the
ele!tri!al proe to an even more !omple$ area, I might hear the voi!e of someody I
re!ognizeG AI hear Un!le ;o9s voi!eB. ,e have simple areas of the temporal loe
that deal with asi! sounds and other areas of the temporal loe that loo% at more
!omple$ hearing information.
The right temporal loe also deals with hearing. Jowever, its :o is to pro!ess musi!al
information or help in the identifi!ation of noises. If this area is damaged, we might
not e ale to appre!iate musi! or e ale to sing. ;e!ause we tend to thin% and
e$press in terms of language, the left temporal loe is more !riti!al for day-to-day
fun!tioning.
The vision areas and the hearing areas of the rain have a oundary area where they
intera!t. This is the area of the rain that does reading. ,e ta%e the visual images and
!onvert them into sounds. -o if you in:ure this area 4or it doesn9t develop when you
are very young5, you get something !alled dysle$ia. (eople who have dysle$ia have
prolems that may in!lude seeing letters a!%wards or have prolems understanding
what written words mean.
3=I' 3+'31.IO':
If something lands on my left hand, this information will e transmitted to the
right side of my rain. It goes to the area of the rain ne$t to the area that deals with
movement. The ta!tile area of the rain deals with physi!al sensation. 1ovement and
feeling are !losely related, so it ma%es sense that they are ne$t to ea!h other in the rain.
;e!ause movement and ta!tile areas are lo!ated !lose to ea!h other, it is not un!ommon
for people with rain in:uries to lose oth movement and feeling in parts of their ody.
2ememerIta!tile information from the left side of the ody goes to the right rain, :ust
li%e movement and vision.
?0O'.1: :O#+3> (lanning, organizing, !ontrolling.
The iggest and most advan!ed part of the rain is the frontal loe. 4It9s !alled the
frontal loe e!ause it9s in the front part of rain5. .ne :o of the frontal loe is
planning. =ou have proaly heard of Afrontal lootomiesB. 6t the turn of the !entury,
this surgery was done on people who were very violent or who were in a psy!hiatri!
hospital, e!ause they were very agitated. "o!tors used surgery to damage this area of
the rain. /ollowing this surgery, people e!ame very passive and less violent. 6t
first, s!ientists saw this as a great thing. Neurosurgery !ould stop ehavioral prolems
su!h as violen!e. The prolem was that the patients stopped doing a lot of other
things. They didn9t ta%e !are of themselves and they stopped many a!tivities of daily
living. They asi!ally sat there. In head in:ury, individuals with frontal loe
impairment seem to la!% motivation and have diffi!ulty doing any tas% that re&uires
multiple steps 4eg, fi$ing a !ar or planning a meal5. They have prolems with
planning.
The frontal loe is also involved in organizing. /or a lot of a!tivities, we need to do
step 6, then step ;, then step C. ,e have to do things in order. That9s what the frontal
loes help us do. when the frontal loe is in:ured, there is a rea%down in the aility
to se&uen!e and organize. 6 !ommon e$ample is people who !oo% and leave out a
step in the se&uen!e. They forget to add an important ingredient or they don9t turn the
stove off. I9ve met a lot of patients who9ve urned or melted a lot of pans.
6dditionally, the frontal loes also play a very important role in !ontrolling emotions.
"eep in the middle of the rain are se!tions that !ontrol emotions. They9re very
primitive emotions that deal with hunger, aggression, and se$ual drive. These areas
send messages to other parts of the rain to ". -.1#TJIN*. If you9re mad, hit
something or someone. If you9re hungry, gra something and eat it. The frontal loes
AmanageB emotions in general, the frontal loe has a N. or -T.( fun!tion. If your
emotions tell you to pun!h your oss. It9s the frontal loes that say A-T.(B or you are
going to lose your :oB. (eople have often said to me Aa little thing will set me off and
I9m really madB. The frontal loes failed to stop or turn off the emotional system.
.n the other hand, we have tal%ed aout how the frontal loes plan a!tivities. The
frontal loes may fail to plan for some types of emotion. /or e$ample, se$ual interest
involves some level of planning or preparation. ,ithout this planning, there is a la!%
of se$ual interest. 6 la!% of planning !an also affe!t the e$pression of anger. I9ve had
some family memers say Ayou %now, the head in:ury a!tually improved him, he9s
not su!h a hot-head anymoreB. If you listen very !arefully, you9re also going to hear
Ahe9s not as motivated anymoreB. 2ememer, the frontal loe plans a!tivities as well
as !ontrols emotions.
Unit-4:-
What s nnovaton?
Innovaton s the process and outcome of creatng somethng new, whch s aso of
vaue. Innovaton nvoves the whoe process from opportunty dentfcaton,
deaton or nventon to deveopment, prototypng, producton marketng and saes,
whe entrepreneurshp ony needs to nvove commercazaton (Schumpeter).
Schumpeter argues that nnovaton comes about through new combnatons made
by an entrepreneur, resutng n:-
A new product, a new process, openng of new market, new way of organzng the
busness, new sources of suppy.
New condtons for nnovaton:-
Sma start-up entrepreneurs ncreasngy depend on arge frms:
As suppers or customers, for venture fnance, for ext opportuntes, for knowedge
(producton, markets and R&D), and for openng new markets.
Dstngushng between creatvty and nnovaton:-
Creatvty s typcay used to refer to the act of producng new deas, approaches or
actons.
Innovaton s the process of both generatng and appyng such creatve deas n
some specfc context.
Innovaton "begns wth creatve deas..,
"creatvty by ndvduas and teams s a startng pont for nnovaton; the frst s a
necessary but not suffcent condton for the second."
Suspended |udgement:-
The purpose of thnkng s not to be rght but to be effectve.
The need to be rght a the tme s the bggest bar there s to new deas.
|udgement s suspended durng the generatve stage of thnkng n order to be
apped durng the seectve stage.
One does not rush to |udge or evauate an dea-one prefers exporaton.
Desgn:-
Eg., of the appe pckng machne.
Emphass on the dfferent ways of dong thngs.
Domnant deas and cruca factors:-
Exampe of pckng the domnant deas from a newspaper artce.
Get nto the habt of pckng out the domnant deas.
A domnant dea s the organzng theme n a way of ookng at a stuaton. It s often
present but undefned and one tres to defne t n order to escape from t. A cruca
factor s some eement n the stuaton whch must aways be ncuded no matter
how one ooks at the stuaton.
The purpose of soatng cruca factors s to examne them.
Fractionation .
The am of atera thnkng s to ook at dfferent ways to restructure patterns, to
generate aternatves.
If one takes any stuaton and breaks t down nto fractons one can then restructure
the stuaton by puttng the fractons together n a new way.
Tow unt dvson-an artfca technque of dvson nto unts or fractons.
The am s restructurng not expanaton. The purpose of the technque s to escape
from the nhbtng unty of a fxed pattern to the more generatve stuaton of
severa fractons.
The reversal method:-
Uness one s gong to st around watng for nspraton the most practca way to
get movng s to work on what one has. In the reversa method, one takes thngs as
they are and then turn them around, nsde out, upsde down and back to front. In
LT one s not ookng for the rght answer but for a dfferent arrangement of
nformaton whch w provoke a dfferent way of ookng at the stuaton.
One uses the reversa method n order to escape from the absouter necessty to
ook at the stuaton n the standard way.
Brainstorming:-
Cross stmuaton suspended |udgment formaty of the sesson tme mt
Format:-
Sze-6 to 12
Charman
Note taker
Tme mt-30 mnutes.
Warm up.
Foow up.
at the end of the evauaton sesson there shoud be three sts.
Ideas of mmedate usefuness
Areas for further exporaton
New approaches to the probem.
Analogies
The two probems of atera thnkng are:
1. To get gong, to get some movement, to start a tran of thought.
2. To escape the natura, obvous, cch tran of thought.
Choosng an anaogy- the anaogy does not have to ft. Sometmes
t s better f t does not ft! Be aware of becomng trapped by the
obvous.
Choice of entry point and attention area:-
Rotaton of attenton.
Random stimulation:-
Choose a word at random from the dctonary.
The effect of random stmuaton.
Normay f there are two unconnected nputs one of them woud be gnored and the
other woud be attended to. But f both are deberatey hed n attenton then a
connecton may be made.
A random nput can brng about a new entry pont to the probem under
consderaton.
Concepts divisions polari!ation:-
Words, names and abes.
Poarzaton.
New categores- the dangers of the poarzng tendency are:
1. Once estabshed the categores become permanent.
2. New nformaton s atered so that t fts an estabshed category. Once t has
done so there s no ndcaton that t s any dfferent form anythng ese under
that category.
3. At no pont s t ever essenta to create new categores. One can get by wth
very few categores.
4. The fewer the categores the greater the degree of shft.
"ateral thin#ing:-
Chaenge the abes.
Try and do wthout them.
Estabsh new abe.
Chaengng the abes.
The ne$ $ord %&
No and Po
Creatng new arrangements of nformaton - yes, no and po.
The functon of po s to brng about a provocatve arrangement of nformaton
wthout sayng anythng at a about t.
Second functon of po s chaengng od arrangements of nformaton.
For convenence the many uses of po may be dvded nto three broad casses:
Tools for defining th epo'lem:-
Defnng the probem s the frst step of sovng a creatve probem. Ths s a very
mportant stage, as changng the probem defnton w change the souton. These
toos hep you to ook at the probem n dfferent ways and hence consder
aternatves for the probem defnton.
(efine the pro'lem:-
Identfy the ob|ectve of the creatve sesson, defnng the probem n a short and
cear statement.
)dentify attri'utes and values:-
Lst the thngs about the stuaton that can be vared or changed n some way.
Seect a subset of two to sx varabes to nvestgate further. These w normay be
sgnfcant parts of the stuaton.
For each of the varabes form step 3, st possbe vaues they may have, ncudng
those away from the conventona vaues (you can be creatve at ths step too).
Com'ing items:-
Fnd a way of combnng tems from the sts you have created. f there are ony two
sts, then a matrx may be used as n the exampe beow. Another way s to have
sx varabe n each st and throw one de per st to seect tems to combne. You
coud aso wrte them on cards and pck them from sx "hats" (the methods are as
many as you can magne.)
Repeated combne seectons of deas generated, forcng a tems together to bud
a creatve souton. Do not worry too much at ths tme f the deas are not
partcuary feasbe as they may be deveoped at a ater stage or used to trgger
other creatve possbtes.
Seect deas to use or deveop nto practca soutons to your probem.
*o$ it $or#s:-Despte ts wonderfu name (gven to t by ts orgnator, Frtz
Zwcky), Morphoogca anayss works through very smpe processes, usng tow
common prncpes of creatvty: decomposton and forced assocaton. The probem
s broken down nto component varabes and possbe vaues dentfed for each.
The assocaton prncpe s then brought nto pay by "bangng together" mutpe
combnatons of these vaues.
+anagement of innovation:-
Factatng nnovatons n arge organzatons.
Creatvty=nove deas
Innovaton=makng money from these deas
Innovaton=concepton +nventon +expotaton.
Creative pro'lem solving:-
The power of creatve probem sovng n decson makng.
Analogies test your a'ility to:
Recognze the reatonshp between the words n a word par.
Recognze when two word pars dspay parae reatonshps.
,ord analogies:-
Anaoges deveop ogc.
Anayze two words and dentfy the reatonshp between them.
Fnd another par of words that has the same reatonshp.
Types of analogies:-
Whats the reatonshp?
DRY: ARID :: ost : msad.
Both words have smar meanngs so ths reatonshp s a synonym.
Whats the reatonshp?
-).(: CRU/":: happy : sad.
Both words have opposte meanngs, so ther reatonshp s an antonym.
What s the reatonshp?
C*A%T/R : B&&- ::fender : automo'ile.
A chapter s a part of a book |ust as a fender s a part of an automobe.
%art and $hole.
What happens f you swtch book and chapter n ths anaogy?
B&&- : C*A%T/R:: fender: automo'ile.
Invad anaogy.
Unit-0
Techni1ues for creative thin#ing:-
Creatvty technques are deberate thnkng processes desgned to hep fnd deas
and sove probems. They are not menta trcks dreamed up by vory-tower
professors but rather strateges used by many-f not a- productve, creatve peope.
Athough the technques are not compcated, most peope are uncomfortabe usng
someone eses thnkng or probem-sovng methods.
Nonetheess, you mght be peasanty surprsed after tryng some of the foowng
strateges. They have worked for many others.
Analogical thin#ing:-
The most common creatve process s anaogca thnkng-the transfer of an dea
from one context to a new one. Perhaps 80 percent of creatve deas are rooted n
anaogca thnkng, and exampes abound n every fed of human creatvty. In
musc, Aaron Copeands Appaachan Sprng was based on the Ouaker fok tune,
smpe gfts. You may know that the U.S. natona anthem star spanged banner
orgnated as a Engsh drnkng song and the Broadway musca cats was based on
T.S.Eots book of practca cats. Potca cartoonsts and creators of cartoon strps
contnuay borrow deas form moves, teevson commercas, the bbe, chdrens
stores, and the headnes. Remember the carcature of Ronad Reagan, Rambo? Dd
you notce the capton by cartoonst Gary Larson: "Moses as a kd, "under a boy who
was rasng hs arms to part the mk n hs gass? Many moves, from Gone wth the
Wnd to the Ten Commandments, derve from hstorca or Bbca themes.
We aso see anaogca thnkng n the mechanca ream. The rrepaceabe fastener
Vecro was nspred by the obnoxous cockebur. Gutenbergs prntng press was a
combnaton of the stamped used for mntng cons and a wne press. E Whtney
was nspred to nvent the cotton gn after watchng a cat puck at a chcken through
a fence. The resutng awfu of feathers apparenty remnded hm of cotton fbers.
One technque s askng how nature has soved a smar probem. Prnges potato
chps were conceved va the anaogy of wet eaves-whch stack compacty and do
not destroy themseves. Darwn reversed the stuaton, usng a human souton to
expan a natura phenomenon: Hs orgn of speces expanaton stemmed from
seectve catte breedng practces. Fnay, vrtuay every archtect and desgner
keeps stacks of books and magaznes fed wth deas watng to be adopted. But
you need not st back and wat for anaogous connectons to appear by themseves.
Anaogca thnkng can be a conscous technque f you deberatey ask questons
ke these:"what ese s ke ths?""what have others done?""where can I fnd an
dea?""what deas can I modfy to ft my probem?"
Brainstorming:-The granddaddy creatve technque, branstormng, was the
branchd of Aex Osborn, co-founder of a ma|or advertsng agency. The procedure
s smpe and famar. Frst you devse wd-even preposterous-deas, and |ot
down every one. But the key s ths: save the crtcsm and evauaton unt ths
process s competed. Osborn tes us, wth dsarmng ogc, that we cannot
smutaneousy be creatve and optca. Furthermore, he adds, wd deas can often
be "tamed" nto workabe soutons.
Athough most peope consder branstormng a group technque, you can
branstorm by yoursef as we as before a arge audence. But the recommended
sma group, wth 10 or 12 members, s usuay sutabe to a varety of stuatons.
Branstormng, Id say, has survved for haf a century because t works.
Attri'ute listing:-Whe branstormng s a genera procedure, attrbute stng s a
specfc dea-fndng technque (one that coud even be used whe branstormng).
You dentfy the key characterstcs, or attrbutes, of the product or process n
queston. Then you thnk up ways to change, modfy, or mprove each attrbute (n
desgn engneerng ths s caed the substtuton method.)
Amost anyone can "dsassembe" a product nto ts attrbutes and then thnk of
modfcatons for most of them. For exampe, a can of soda has these attrbutes;
sze, shape, coor, coor pattern, decoratve theme, matera, possbe uses after
modfcaton, other audences for the product f modfed. Can you nvent ateratons
for each of these attrbutes? Fran Stryker supped hmsef wth pots for Lone
Ranger rado and teevson epsodes for a coupe of decades by modfyng these
characterstcs: characters, goas, obstaces, and outcomes.
+orphological synthesis:-It s a smpe eaboraton of attrbute stng. After
competng the st of attrbutes, st changes n one attrbute (such as "products")
aong the horzonta axs, and st changes n a second attrbute (such as
"markets") aong the vertca axs. Idea combnatons, or syntheses, w appear n
the ntersectons, or ces, of the tabe. It w force you to ook at many surprsng
combnatons.
)dea chec#lists:-Have you ever consuted a teephone drectory or a suppers
cataog as a "checkst" of resources or deas for sovng probems? You may not
know that checksts have been wrtten expressy to sove probems creatvey. The
best known s Osborns "73 deas Spurrng Ouestons."consder how you woud
nvent a better mousetrap as you read these exampes from hs dea checkst:
%ut to other uses2 New ways to use as s? Other uses f modfed?
Modfy? New twst? Change meanng, coor, moton, sound, form? Other changes?
Magnfy? What to add? Greater frequency? Longer? Extra vaue? Dupcate?
Mutpy? Exaggerate? Mnfy? What to subtract? Condensed? Mnature? Lghter?
Spt up? Understate? Rearrange? Interchange components? Other sequence?
Change schedue? Combne? How about a bend, an assortment? Combne unts?
Combne purposes? Combne appeas? Of course, none of these technques s
guaranteed to sove your research probems. But they can hep you fnd deas
wthout forcng you to wat for an uncooperatve muse.
*o$3s your mental fitness2 Ta#e this 1ui! and find out. How ft do you
consder yoursef? You can be ft n any number of arenas-fnanca, heath,
physca, etc. you consut doctors, fnanca panners, chropractors, CPAs tax
anaysts, bankers, stock brokers, nutrtonsts, tenns pros, gof pros, physca
therapsts, ftness traners and anyone ese who mght be abe to hep you rase
your partcuar ftness quotent. But have you ever thought about the eve of your
menta ftness? Have you stopped to consder that t mght make sense to take an
nventory of your menta ftness?.
+ental fitness ad you:-Most peope know ther IO, but how many know ther
MFO? (your menta ftness quotent). Menta ftness s not about ones ntegence
eve or about ones eve of educaton. Menta ftness or menta weness s the
state of beng robusty resstant to stress, hardy enough to chaenge head-frst the
many chaenges of fe, and havng the abty to en|oy the entre process and ook
forward to more.
Top ten mental fitness factors:-In my years as a coach, researcher, traner and
consutant, I have dentfed these ten factors as beng hghy contrbutory to the
menta ftness of peak performers. These hgh-performng peope use ther mnds
ntentonay, n specfc ways and ook at the word n a strategc manner.
To fnd your MFO, smpy read each factor and gve yoursef a ratng on t from 1 (I
do not have ths sk) to 5 (I have ths sk somewhat) to 10 (I reay have ths sk),
or anywhere n between. Tota your score and see the chart at the end for your
MFO.
1. They vew fe as an adventure:- they have refected on what they want out of
fe and have decded that fe s to be an exctng adventure, and they remnd
themseves of that day..
2. They ve fe wth a heathy sense of urgency:- they reaze that fe s short
and they are gong to wrng out a the exctement, quaty and grandeur fe
has to offer.
3. They make meanng out of an often meanngess word:- they know that for
fe to hod sgnfcance, they must form a wordvew that makes sense wth
ther vaues and prortes.
4. They cutvate and mantan a strong sense of humor:- many peope have not
deveoped the abty to augh at themseves or at fe when t goes sour. Ths
s a sk that peak performers use as ma|or stress buffer.
5. They pace thngs n perspectve:- peak performers use "Percentage
Thnkng" to see thngs n context so they can choose how to react to events
n ther day. They know a tems dont cause the same stress.
6. They deveop menta toughness:- peak performers ve by ths credo: "Dont
hope for an easy fe; strve to be a strong person". Can you appy ths to your
fe?
7. They are supreme probem-sovers:- they have the fexbty and adaptabty
to sove, avod or reduce the probems we a face. They wecome these as
avenues to growth.
8. They mantan focus under pressure:- top performers ve n the present
moment, and even though they refect for pannng purposes, they ve n the
here and now.
9. They recover from stress ntentonay:- they use the prncpe of per
odzaton to renew ther reserves so they can go out agan and "do batte".
10.They contnuay renvent themseves:- peak performers endessy re-
formuate goas and ther vson of fe as they acheve each step n ther
master pan.
4coring your +F5:-
If you scored 0-25 you are n the begnnng stages of earnng how to
become stronger mentay. Absorb a you can.
If you scored 26-50 you are makng some headway, but st have much to
earn |ump n head frst.
If you scored 51-75 you are budng a sod menta ftness program. Keep
up the good work.
If you scored 76-100 you have qute a strong menta ftness profe.
Congratuatons!.
The ne6t step is yours:-W you make the decson to mprove your menta
ftness startng rght now ? If you do, the resuts w astound you. Begn by askng
yoursef these questons:-
1. What factors from the above st can I begn dong or mprove on rght
now?
2. What arger changes do I need to make n my fe to reach the upper
eves of a sod MFO?
Let me know how you are dong. Im nterested n your progress. Good uck.
Creativity $or#shop:-
%urpose: To teach you that creatvty can be earned. To encourage you to
nnovate.
"Innovaton s the centra ssue n economc prosperty"-Mchae Porter.
7oals: To teach you about the creatve process. To teach you some creatvty-
enhancng technques.
Three creativity perspectives:-
The creatve person.
The creatve product.
The creatve process. We focus on the process, whch can be earned.
+ethods for #illing creativity:-
/valuation: Fear of evauaton ks the ove of creatve actvty.
4urveillance: Lookng over creatve peopes shouder or pocng them de-
motvates them.
Re$ard:
o Extrnsc rewards ower motvaton.
o Reward creatve peope wth autonomy, the opportunty to earn.
Competition:
o Wn-ose competton ks creatvty.
o In a compettve envronment, peope thnk about how not to ose nstead of
how to wn.
Restricted choice: Makng choces for creatve peope or severey mtng ther
optons owers creatve output.
/6trinsic orientation:
o Externa rewards such as przes and money hurt creatvty.
o Creatve peope ove the ntrnsc rewards of dong the |ob.
Bloc#s to creativity:-
Mndset.
Persona bocks to creatvty.
Organzatona bocks to creatvty.
+indset e6amples:-
we have aways done t ths way, why change?
There can ony be one way to do t propery.
Its experence that counts, ts the ony way to earn.
I earned to t ths way and t never ets me down.
Teevsons are for recevng nformaton- not for two way communcaton.
+indset 'loc#s creativity:-Mndset s a condton n whch an ndvdua becomes
over-senstzed to some part of the nformaton avaabe at the expense of other
parts.It s characterzed by one-rght answer thnkng, ookng for reasons why
somethng w not work, and mspaced emphass on ogca thnkng.
%ersonal 'loc#s to creativity:-
Strategc-nfexbe thnkng.
Vaue-rgd persona vaues.
Perceptua-narrow focus
Sef-mage-fear of faure.
&rgani!ational 'loc#s to creativity:-
Emphass on managera contro.,Short range thnkng.,Anayss parayss.,Rgd
herarchca structures., Expected payoffs.,Market versus technoogy
orentaton.,Pressure to acheve more wth ess.
*elping patrons $ith disa'ilities:-
Anne Pemberton s known as the "dsabtes chck."
Contact Anne when you have questons or probems reated to dsabty servces n
the brary.
%urpose of $or#shop:-
To provde the necessary nformaton to a brary staff so that they may provde
the best possbe servce to our patrons wth dsabtes.
+a8or life activities include:-
Carng for onesef, wakng, seeng, hearng, speakng, workng, breathng, earnng.
/g.9 visual9 hearing9 or spea#ing impairments:
Learnng dsabtes, HIV and AIDS, cerebra pasy, cancer, dabetes, menta
retardaton, emotona and menta ness, epepsy, muscuar dystrophy, mutpe
sceross, narcoepsy.
,hy don3t people tal# a'out disa'ilities2
Fear of the disa'ility:
What f t were me? What f t were my chd?
Can I catch the dsabty?
W the dsabty make the person angry or voent?
W the dsabty make the person do strange thngs?
Does the dsabty mean I w have to drop a my other work and spend a ot
of tme wth ths one patron?
Fear of ourselves:-
What f I do or say the wrong thng?
What f I cannot make mysef understood?
What f I cannot understand the patron?
What f I ook stupd because I do not know what to do?
What f the person thnks Im beng mean or pre|udced because I do not
know that to do?
Fear of the technology:-
use technoogy when you have a chance ("pay" wth the equpment.)
ncude adaptve technoogy n brary tours or tranng.
Ask Anne for hep or tranng at any tme.
Read about technoogy on the web or n prnt resources.