A framework to promote creative ideation using ICTs

2022 ◽  
Vol 31 (1) ◽  
pp. 23
Author(s):  
Apiwat Meoupphakarn ◽  
Jariya Neanchaleay ◽  
Saranya Chuathong
Keyword(s):  
2012 ◽  
Author(s):  
Tammy C. Pannells ◽  
Amy F. Claxton

2021 ◽  
Vol 8 (1) ◽  
pp. 1885575
Author(s):  
Puthyrom Tep ◽  
Sorakrich Maneewan ◽  
Saranya Chuathong ◽  
Matthew A. Easter

Author(s):  
Juan Pedro Fuentes-García ◽  
Santos Villafaina ◽  
Daniel Collado-Mateo ◽  
Ricardo Cano-Plasencia ◽  
Narcis Gusi

The present study aimed to analyze differences in the electroencephalogram (EEG) power spectrum (theta, alpha, and beta) between participants who won (winning group) and those who lost (losing group) in three different chess games: against their same Elo (100% chess games), 25% over their Elo (125% chess games), and 25% under their Elo (75% chess games). EEG was assessed at baseline and during the chess games. Method: 14 male chess players (age: 35.36 ± 13.77 and Elo: 1921 ± 170) played three games of 3 min, plus two additional seconds per move, while EEG was assessed. There were three difficulty levels (75%, 100%, and 125%), with two games (one with white pieces and another with black pieces) per level. The winning group showed higher theta power in the frontal, central, and posterior brain regions when difficulty increased (p-value < 0.05). Besides this, alpha power showed higher values (p-value < 0.05) in 125% games than in 75% chess games in C3, T3, T4, T5, and T6. The losing group showed a significant decrease (p-value < 0.05) in the beta and alpha power spectrum in frontal, central, parietotemporal, and occipital areas, when the opponent’s difficulty increased. Moreover, between groups, analyses showed higher theta power in the losing group than in the winning group, in C3, T5, T6, P4, and Pz (p-value < 0.05). Therefore, the winning group was able to adapt to each difficulty level, increasing theta power in the frontal, central, and posterior brain areas, as the efficiency hypothesis postulated. These changes were not observed in the losing group. Moreover, increases in alpha power during the most difficult games, in comparison with the easier, could have been caused by creative ideation and divergent thinking, as participants looked for alternative solutions against a higher-skilled opponent.


2014 ◽  
Vol 44 ◽  
pp. 111-123 ◽  
Author(s):  
Andreas Fink ◽  
Mathias Benedek

2010 ◽  
Vol 21 (1) ◽  
pp. 34-77 ◽  
Author(s):  
Bernard A. Nijstad ◽  
Carsten K. W. De Dreu ◽  
Eric F. Rietzschel ◽  
Matthijs Baas

2019 ◽  
Author(s):  
Sarah Asquith ◽  
Xu Wang ◽  
Daniel S Quintana ◽  
Anna Abraham

The development of creativity in young children has been studied extensively, but relatively few studies have examined the period of adolescence and emerging adulthood in relation to creative potential. The present study employs a combination of frequentist and Bayesian analyses to evaluate the impact of individual factors (e.g., IQ) and contextual factors (e.g., pursuit of creative hobbies) on creative ideation in three cohorts of young people aged 14-20 years. Measures of divergent thinking, specifically the Alternate Uses Task (AUT) and the Overcoming Knowledge Constraints Task, were used to this end. Openness to aesthetic and imaginative experience was the strongest predictor of creative potential for the three AUT measures. Moreover, Bayesian hypothesis testing revealed that the best predictive model for AUT ideational fluency and AUT overall originality was one that included only Openness, whereas the best predictive model for AUT peak originality, or the propensity to generate highly original responses, included Openness, as well as IQ and Engagement in Creative Hobbies. No group differences in creative potential were found between the three age cohorts (aged 14-15, 16-17, and 18-20). The study not only confirms the importance of openness to aesthetic and imaginative experience as a predictor of creative potential in adolescents and young adults, but also indicates the necessity to consider the combined and differentiated impact of individual and contextual factors in different facets of creative ideation.


Author(s):  
Senni Kirjavainen ◽  
Katja Hölttä-Otto

Abstract Creative ideas are a central part of solving engineering problems, generating interesting art, as well as developing successful products and innovations. Idea generation methods are a well-researched topic. Specifically, there is significant research that focuses on specific idea generation methods and how they perform. Further, some method classifications have been suggested to help understand the cognitive mechanisms involved in creative ideation as well as the differences between methods. Yet, the discourse is usually on which ideation method outperforms another or how to improve an ideation method rather than the elements, rules, constraints, and activities that comprise ideation methods. In this study 76 well-documented idea generation methods are reviewed and analyzed. We find all analyzed methods consist of 25 mechanisms. The mechanisms are discussed and classified into idea promoting and implementation mechanisms. We suggest that rather than focusing research only on methods, there should be a parallel track of research creating understanding on these mechanisms and their interactions to help increase our understanding of creativity methods, add practitioners understanding on how to get the best advantages out of creativity methods and lastly improve the way practical creativity is approached in education.


2020 ◽  
Vol 143 (3) ◽  
Author(s):  
Senni Kirjavainen ◽  
Katja Hölttä-Otto

Abstract Creative ideas are a central part of design thinking, whether solving engineering problems, generating interesting art, as well as developing successful products and innovations. Idea generation methods are a well-researched topic, and there is significant research that focuses on specific idea generation methods and how they perform. Furthermore, several method classifications have been suggested to help understand the cognitive mechanisms involved in creative ideation as well as differences between methods. Yet, the discourse is usually on which ideation method outperforms another or how to improve an ideation method rather than the elements, rules, constraints, and activities that comprise ideation methods. In this study, 88 well-documented idea generation methods are reviewed and analyzed. We find all analyzed methods consist of 25 basic mechanisms. The mechanisms are discussed and classified into idea promoting and implementation mechanisms. We suggest that rather than focusing research only on methods, there should be a parallel track of research on these mechanisms and their interactions to help increase our understanding of creativity methods, add understanding for practitioners on how to get the best advantages out of creativity methods, and finally improve the way that practical creativity is approached in education.


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