2.2 La creatividad y la publicidad

Equipo: Braga Ortiz Mara Jos Chay Becerra Miguel ngel Tepal Gimnez Cruz Elena Villa Enriques Montserrat

CRP-2-Creatividad

*qu es la creatividad?CreatividadFacultad de crearCapacidad de creacin.CrearProducir algo de la nadaUn programa para jugar con el ordenadorEstablecer, fundar, introducir por primera vez una cosa, hacerla nacer o darle vida en sentido figurado.Crear una industria, un genero literario, un sistema filosfico, un orden poltico, necesidades, derechos, abusos.Instituir un nuevo empleo o dignidad. Se creo un puesto de informticoDiccionario RAE

*Caractersticas de la gente creativaLas personas creativas suelen ser rebeldes, revoltosos.Con frecuencia son los supervivientes de un trauma llamado educacin

*Creatividad: hacia una definicinLa habilidad de tomar objetos existentes y combinarlos de formas distintas con nuevos propsitos.La habilidad de generar nuevas ideas y soluciones, tiles en los problemas y retos cotidianos.

*Necesidades de la CreatividadMotivacinConocimientosOportunidadEstilo de creatividadCoraje para ser creativoAceptacin de la propia personalidadCoraje para ser diferente(Freeman 1998).

*Creatividad innata

Caractersticas individualesAmbiente

CreativoProducto

El individuo creativo se acopla a un proceso creativo en un ambiente creativo generando productos creativos.Barron (1988)

*Caractersticas de las personas muy creativasMuy curiosos, inhibidos, radicalesGeneran muchas ideasMontones de cuestionesToman muchos riesgosCampo muy amplio de intersColeccionistas de cosas inusualesPensamiento lateralDeterminacin a tener xito, tenacidad perseverancia, compromiso con la tarea

*Caractersticas de las personas muy creativasJuguetn Intelectual, le gustan los marcos conceptuales, atrado por la novedad y la complejidadGran sentido del humor (Frecuentemente estrafalario, irreverente, inapropiado)Muy auto-consciente y abierto a lo irracional consigo mismo.Intuitivo / mucha sensibilidad emocionalInconformista, tolera la ambigedad, acepta el caos, no esta interesado en los detalles.Descrito como individualista no le preocupa que se le clasifique como diferente, preocupado internamente, necesita tiempo para pensar.No desea aceptar lo que dice la autoridad sin auto-examinar con mucha critica.

*Rasgos negativos de la creatividadTiende a cuestionar leyes, reglas y autoridadIndiferente a las convenciones y cortesa usualesTestarudo, no coopera, se resiste a ser dominado.Argumenta que el resto estn fuera de ondaDiscute, es cnico, sarcstico, rebelde.Reclama, es asertivo, autocrticoTiene poco inters en los detallesDescuidado, desorganizado con asuntos poco importantes.

*Rasgos negativos de la creatividadCentrados en ellos mismos, sin tacto e intolerantesCaprichososTemperamentales, cambios de humor.Emocionales, abandonan, reservados, poco comunicativos.Olvidadizos, mentes ausentes, divagan, miran las ventanas.Hiperactivos fsica o mentalmenteNo les gusta pertenecer a organizaciones, clubs, no son jugadores de equipo.

VideoCRP-2-Creatividad*

CRP-2-Creatividad

*REPLICAORIGINALFORMULACININNOVACINBased on Fennell, E., (1993) Categorising Creativity in Competence & Assessment No. 23, Oct. 1993, Employment Dept.Continuo de la creatividad

*ReplicasEl proceso y los materiales estn predefinidos con poca variacin.

Lneas de produccin en masa, personal de un bar.

*FormulacinLos procesos y los materiales estan claramente definidos, se permiten variaciones dentro de unos limites acordados, incluso se agradecen.Albail, pintor, decorador, jefe, camarero en un restauranteOrquestas, actores.

*InnovacinLos materiales y sus procesos son discrecionales pero el trabajo se delimita por ciertas convenciones.Arquitectos, puestos directivosDiseadores de paginas Web, analistas de aplicaciones.

*ORIGINATIONOriginadoresLos procesos y materiales son discrecionales y el trabajo no tiene precedentes o va mas all de lo establecido convencionalmente.Creadores/ diseadores de soluciones sin precedentes, productores que usan mtodos nuevos o producen nuevos productos.Compositores

*Hacer preguntasLos nios preguntan, porque?Los mayores no por qu?Necesitamos aumentar nuestra capacidad de preguntar.Mejora:Suposiciones que bloquean caminos.Considerar otros puntos de vistaInformacin para combinar

*Cambiar las perspectivasReconfigurar lo que vemosTrabajar desde el finalPonerse como el competidorMirar a travs de los ojos del clienteImagen global frente a imagen reducidaPerspectivas personales

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*Hacer asociacionesEs el corazn de la creatividadNike y los gofresTextiles Cortacsped - dentistasFabricas al ultimo pisoMilitar para cocinarComo hacer las asociacionesTienen algo en comnEvitar barrerasPregunta: esto no recuerda?, qu podramos aprender o utilizar de ? cmo solucionara esto un mecnico?

*Some Informing Statements

This lecture is informed by a number of thoughts and ideas:

Thats one of them (SLIDE)here are some others.

1. We like the idea of creativity but we don't really understand it.

2. A lot of what we like to think is 'creative'. isn't.

3. Creativity isn't a form of white (or black) magic, but is something real and tangible that we can understand and, through understanding itwe can enahnce our own creativity.*Defining Creativity

There are many aspects to creativity, and it has been explored by a number of theoretical approaches including philosophy, psychology and sociology. From an examination of some recent research reviews of creativity - both generally and in relation specifically to educational and organisational development (Dust 1999, King and Anderson 1995) - it is clear that there is no one definition of creativity that can be agreed upon. Also, not surprisingly, given the problems defining it, the measurement or assessment of creativity also poses many problems.

That creativity exists and is a necessary and important part of human activity is generally recognised. It is neither the exclusive preserve of the genius, nor is it limited to specific fields and levels of work. Also creativity is not just a 'quality': it manifests itself at a number of points, and it informs and is part of a process which leads to an outcome. The time dimension of creativity is very important, as it emerges often after a period of mundane, hard, even repetitious work. Sapp 1992 is one of many researchers who point out that time is essential for creativity to flourish and for creative products to be produced.

Creativity researchers, mostly from the field of psychology, usually claim that being creative means being novel and appropriate. Subsumed under the appropriateness criterion are qualities of fitness, utility, and value. Without the criterion of appropriateness (i.e. a recognition by others of its fitness/utility/value), novelty can be merely bizarre. Therefore, one way of defining creativity is as playing with the way things are interrelated and demonstrating the ability to generate novel and useful ideas and solutions to everyday problems and challenges. For example George de Mestral noticed how thistle burrs stuck to his trousers on a walk in the woods, and went on to invent Velcro. James Dyson noticed the centrifugal effects of cyclonic air and invented the highly successful bagless vacuum cleaner.

Another definition of creativity is the action of combining previously uncombined elements. Gutenberg, for example, created the printing press by combining a winepress with a die-punch. This combining of items which previously were separate is part of the nature of being creative and can be discerned at all levels of activity:- from the eminent to the everyday.*Whatever the disagreements about definitions, most researchers are in agreement that the essentials for high-level creativity are:

motivation knowledge opportunity creative teaching style encouragement to be creative acceptance of one's own personality the courage to be different (Freeman 1998).

*However the organisational climate and culture and environment plays such a vital role - particularly in education - that it deserves recognition. Therefore Barron's statement could be re-formulated as follows: 'a creative person engaged in a creative process within a creative environment producing a creative product'.

*The Creative Person

There has been much research into the characteristics of creative people. A list of the most commonly described characteristics (see Table 1 below) reveals that they are a mixture of attributes and personality traits, 'givens' and things that are acquired. However, whilst they provide a good baseline against which to consider the creative individual, they are not easily measurable. Also the consequences of some of them e.g. unconventionality, challenging authority, originality etc. clearly have the potential to pose challenges to any organisational system that is based on those Classical standbys of order, structure, rules, harmony etc.etc. *However, whilst they provide a good baseline against which to consider the creative individual, they are not easily measurable. Also the consequences of some of them e.g. unconventionality, challenging authority, originality etc. clearly have the potential to pose challenges to any organisational system that is based on those Classical standbys of order, structure, rules, harmony etc.etc.

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