My goal for this paper is to try and I mean try, to share a little of the three intense days that some one of us have lived through these days that these two events are: The conference "Management and animation of creativity" and the workshop of the "Creativity and Innovation Management Community", which were held respectively on June 30 and July 1 and July 1 and July 2 in Paris.
It Guy Aznar, president of Crea- University which to open this conference on Wednesday at the University Rene Descartes. This symposium brought together various stakeholders: consultants animation or innovation, professional and researchers. Thirty minutes after the opening presentations and a few of the usual cycle of conference, the tone was set with the intervention of dimis Michaelides. D. Michaelides gave us a surprising performance as the form in dense point. Master the art of illustrating his remarks with his fantasy and magic tricks, this man takes us through the principles of creativity, accelerating change.
Gerard Puccio closed the first day with a lecture (translated by Patrick Duhon ). Gerard Puccio introduced the concept of "creative leadership" in business and is based on studies such as the famous "IBM Global CEO Study" (learn a little more here and the study can be downloaded in exchange of an entry). You can get a preview of his remarks on creative leadership on youtube.
I was fortunate to enjoy a half-hour presentation from André-Yves Portnoff , Associate Study Director to Futuribles International, author of book "Path of Innovation". André-Yves Portnoff is well above the message that creativity is an essential tool for understanding the complexity. Based on the history of the dome of Florence or the carbon nano-structures, it shows how we can do better or differently with a constant resources. It builds on the successes the French who have shown their capacity to differentiate and to produce on our territory by offering more innovative products (see his slideshare below).
The conference that I've been that attending partially because of ICM worshop start, allowed me to return despite the atmosphere and the facilitator met with various Crea-Conference Sestri- Levante. This conference allowed me to move incurs in my "state of the art of creative practices in France. The only criticism one could make the conference is the lack of corporate presence in level conferences and workshops. Given the youth of Crea-university and the tendency for companies to communicate their little revenue, this criticism is surely to be qualified.
Workshops
Crea-University brought together over two days more than 25 workshops with topics as different as can be shown the following examples: "The power of the impossible" by Mark Reason (see his books), "The posture sensitive" Guy Aznar and Stephen Ely coming out a book of the same name (available in eBook ), "The Creative high potentials "Safia Richou, I. and F. Gennari Zenasni, The anayse profile creative Foursight presented by Olwen Wolfe , Sylvie Courcelle and Gerard Puccio which is found in ICD , Innovation combat Jean-Louis Swinners , Put more life in teams by Isabelle Jacob, and many others who forgive me for not copying the conference program.
This event, which mainly concerns the community of researchers on creativity and innovation processes, is an important event in terms of research on this area. The newspaper Creativity and Innovation Management regularly hosts these types of workshops to allow exchange of the different studies. The two-day workshop included ICD 5 conferences and 7 round tables and discussions around the results and directions of the newspaper "Creativity and Innovation Management.
I have attended, so Gerad . J. Puccio (again) who finds from various studies on creativity in business paradox following: 88% of companies use the word creativity in their mission when 5% have an action plan for manager creativity in business. With this in mind, he introduced the "Creative Leadership" as a development priority for companies in the 21st century.
Didier Bardin EGIDE Development Association are 4 axes of development in which firms are supposed to act to manage their collective creativity: the Mood-Creativity, Creativity-the Result, the Creativity, Creativity and Process-System. As Gerad.J.Puccio , it considers that companies put in place measures to encourage more "creative atmosphere" (Creativity, Mood), which is a prerequisites relevant but not sufficient that axes generally involving the 4 previous axes. Didier Bardin notes, too, a Confusion between the management of innovation and creativity management, about that found in the corporate strategic discourse (See Creativity vs. Innovation ).
We then attended the second day workshop at the School of Mines, a series of interventions on the creativity and design (English title design). After a fairly quick reminder of the fundamentals of the theory by CK Huatchel Armand, Pascal Le Masson presented a history of theories of design in 3 phases: Redtenbacher, Pahl and Beitz and systematic approach to design and work from the Art Institute Bauhaus .
Roundtables:
The topics discussed at roundtables Creativity in student teams, leadership creativity the teaching of creativity in Europe, the potential contributions of technology on creativity in design, design theory, the value in the design process, and a panel discussion on creativity, innovation and entrepreneurship.
Two provocations that will, perhaps, debate
I have seen this year, several schools of thought. Armand Huatchel , spearhead and co-designer of the CK theory, questions the psychological community about the viability of creativity. His speech, sometimes provocative, is the idea that the work of Jay Paul Guilford which defined 150 different faculties involved in human intellectual structure and had introduced the concept of the Faculty of divergence in the process of creation, operations introduce more metaphorical than real. Armand Huatchel also calls into question the existence of the phases of any divergence in the design phase, which does not, from his point of view, an operation modeled.
addition Roberto Verganti the Polytechnic of Milan, in turn, challenge the psychological analysis of the design process. Drawing on the experience of the company Alessi in the design of the teapot " Kettle "model (or model 9093), it defines the design phases as follows: Immersion - Research - Development. In this example, he considers this process as a rigorous work of the researcher and not as a creative design. Roberto Verganti also considers the role of obsessive visions, which are evidence of leader like Steve Jobs . In the 90s, Steve Jobs , convinced that his vision of browsing Web use that will allow the computer to get out of the professional to return to our home, hired Jonathan Ive , a designer more used to design computers that Bathtubs (see Apple Adventure). Here Steve Jobs would "only" provide the means to implement production in line with its vision. Speaking as Armand Huatchel it exceeds the attachment point that a computer has a professional use only by understanding the user can have personal use. Roberto Verganti opposes the vision David Kelley, chairman of the company IDEO ( see his video on TED ) that is to put the chaos in the design process to produce new ideas. David Kelley considers the role of designers can be and must be held by non-experts, that refutes Roberto Verganti based on the research views or expert guidelines illustrated in these examples success in terms of design.
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