1. Creative Thinking Corporate slide master
PISA INSET Training
Corporate slide master
With guidelines for corporate presentations
Module 5
Creative Thinking 1
Module 3 - An Introduction to Thinking Skills 1

2. A Necessary Condition to the Development of Critical and Creative Thinking is:
A Questioning Mind

3. “If I find 10,000 ways something won’t work, I haven’t failed
“If I find 10,000 ways something won’t work, I haven’t failed. I am not discouraged, because every wrong attempt discarded is just one more step forward.”
Thomas Edison
This slide gets into the notion of making mistakes. Not allowing ourselves to make mistakes is one barrier to creative thinking. Can you think of others?
Barriers to creative thinking:
Thinking – “Creativity comes from creative types” (I’m not creative!) MOST COMMON
Competition
Time Pressure – also not allowing enough time for relaxation and incubation of ideas
Adult Learning – one main barrier is defensiveness
Too busy or too involved in a problem that we do not think creatively about its solution
Habits & Routines - - Let’s take a look at how habits and routines are sometimes so ingrained that we don’t even know they exist.

4. Theoretical Assumptions
The creative process involves a set of mental operations;
These mental operations can be described;
The creative process is a natural process;
People possess preferences for different mental operations (i.e., cognitive styles); and
Therefore, people possess different preferences for the mental operations associated with creative problem solving.

5. Previous Approaches to Creativity Definition
Earliest definitions of creativity focus on the creative process.
John Watson’s definition is perhaps remarkable：
“How the new comes into being: One natural question often raised is : How do we ever get new verbal creations such as a poem or a brilliant essay? The answer is that we get them by manipulating words, shifting them about until a new pattern is hit upon.”

6. THEORIES OF CREATIVITY - GRACE
Creativity is something of a mystery, drawing forth images of wonderful insights, imaginative efforts, illumination and intuitions that come from nowhere.
It seems the work of magic.
The idea of genius may add force to this notion since creative artists, musicians, etc. seemed to be endowed with superhuman potential.
Creativity in this sense is seen as a divine gift.

7. THEORIES OF CREATIVITY - ACCIDENT
This is the opposite of it being a divine gift.
It rises by chance.
Holders of this view offer various types of accidental discoveries such as those of immunisation arising from an interruption in work, radioactivity from the wrong hypothesis, and the smallpox vaccination from observation.

8. THEORIES OF CREATIVITY - ASSOCIATION
The most popular theory
Suggests applying procedures from one area to another
Underlies the justification for many divergent thinking techniques such as lateral thinking and brainstorming

9. THEORIES OF CREATIVITY - COGNITIVE
Creativity is a normal human activity
It uses cognitive processes like recognition, reasoning and understanding

10. Three general questions should be answered
What are we talking about?
How can we study it?
How does it work?

11. Creative Techniques Generating lots of ideas
Combining existing ideas in different ways for new purposes
Seeing the same thing but thinking of something different
Selecting unique and useful ideas and solutions to everyday challenges
Pieces of the CPS model can be used as techniques…practice to improve creativity.
The model itself takes deliberate practice over time.

12. Improving Creativity
Creativity can be divided into two phases of thinking.
Divergent thinking
Convergent thinking
Convergent Thinking—a form of thinking in which ideas come together to form a solution.
Divergent Thinking—a form of thinking in which many different aspects of an idea are explored.

13. DIVERGENT AND CONVERGENT THINKING

14. Divergent Thinking
The goal of divergent thinking is to generate many different solutions to a problem in a short period of time.
Divergent thinking typically occurs in a spontaneous, free-flowing manner, such that the ideas are generated in a random, unorganized fashion.
Following divergent thinking, the ideas and information will be organized using convergent thinking, putting the various ideas back together in some organized, structured way.

15. Divergent Tools Brainstorming Mind mapping
Pluses, Potentials, & Concerns
Forced Connections
Words
Pictures
Analogies
Brainstorming is the most common divergent tool – there are many other ways to generate lots of ideas…
Here are a few other examples – you have a sample Mind Map and PPC in your handouts
Discuss what a Forced Connection is and the practice and example MOVE TO NEXT SLIDE:
If I asked you to generate ideas for “What ways might creative problem solving tools improve my trainings”?

16. Divergent Thinking Guidelines
Rule Out Judgment (Suspend Evaluation)
Seek Quantity (Quantity Breeds Quality)
Build on Options (Mental Hitch-hiking)
Seek Novel Associations (Freewheel)

17. Improving Creativity—Practical Tips
The following are some mental flexibility exercises that should help you improve your creativity. These are adapted from Lawrence Katz and Manning Rubin (1999).
1. Use your nondominant hand for brushing teeth, writing, using the remote.
2. Vary your usual routine.
3. Take a different way to work or class.
4. Seek out social stimulation, especially with people you don’t already know.

18. Improving Creativity—Practical Tips
The following (continued)
5. Put your watch on the other wrist.
6. Turn pictures on your desk upside down.
7. Randomly move your wastebaskets, stapler, penholder, etc.
8. Shop at different stores.
9. Vary your usual route through the grocery store.
10. Look at magazines written for the opposite sex.

19. Convergent Thinking
The goal of convergent thinking is to eliminate all but one solution to a problem.
Convergent thinking is what you have been primarily taught through most of your educational process.
The problem with convergent thinking is the same as eliminating neural pathways (see “creative thinking” power point).
What if there is a flaw in that one solution, or if you find a circumstance where that one solution is rendered unworkable?

20. Convergent Tools Hits & Clusters Card Sort Rank Order
Evaluation Matrix
The process is a dynamic balance between divergent and convergent thinking – between generating options and selecting options.
Convergent tools are used to select options – narrow down the ideas that were generated in each stage. Have you ever been in a “brainstorming” session that ended after ideas were generated – people leave exhausted and wondering what next? Now what?
Using convergent tools help to identify promising ideas that you have ownership/authority over and get you to a point of putting the ideas into action – so you won’t be wondering “what next”?
Discuss the use of hits (highlighting) & clusters, Card sort, rank order, and Evaluation Matrix – MOVE to next slide to show example – you also have an example in your handouts….
Practice hits and clusters from “In what ways can we improve our clinical supervision skills…”

21. 5 2 3 1 F 4 M Male vs. Female Specialize in Co-occurring
Supervisory Experience
Knowledge of CJ System
MSW
Total 5 2 3 1 F 4 M 11
Interviewee A
Interviewee B 10 12
Interviewee C
The evaluation matrix is a great tool for evaluating and prioritizing among from 2 to 20 choices
To use the evaluation matrix, decide on a ranking scale such as 1,3, and 5.  1 has the lowest desirability, 3 middle level, and 5 is the highest desirability.  Ask yourself "Will it...?" or "Does it...?" and score the option against the criterion. Work down each column to rank each option for the same criterion.   Then go to the next column/criterion.  This will reduce the possibility that you will favor one option over the others once you see how you rank it. 
Interviewee D 11
Criteria (1-5)
1 = Lowest desirability
3 = Moderate
5 = High desirability
Ask: Will it…does it…meet the criteria.
Evaluation Matrix

22. Visually and functionally?
How is this thing…
…LIKE THIS THING?
Visually and functionally?

23. What’s the connection between hands and the ocean?
ANSWER? Both wave…
What’s the connection between hands and the ocean?

24. The analogy can be intellectual…
How do the hands being torn apart relate to the fence? The fence is what separates the families (a political cartoon about the Gaza Strip).

25. …or visual.

30. Seeing things in new ways…
Human beings as a species tend to be fairly self centered and vain. We see ourselves everywhere…

31. Ever see the face of Jesus in a potato chip?

32. The ICEDIP Model Inspiration Clarification Evaluation Distillation
There is no correct order to the process.
Each stage has its own mind-set.
All Areas of Learning can contribute to aspects of the creative process.
‘Non-creative’ Areas of Learning or subjects can explicitly teach dispositions.
Not all stages will apply in every Area of Learning/subject.
Inspiration
Clarification
Evaluation
Distillation
Incubation
Perspiration
ICEDIP Model created by Geoff Petty
The ICEDIP Model helps illustrate how creativity is a process that anyone can utilise. It is not just a mainstay of the artistic disciplines. The definition of creativity is much broader than this, and all areas of learning/subjects can contribute to the development of a pupil’s creativity by focusing on particular mind-sets and dispositions.
The model was conceived by Geoff Petty, an author of many teacher training texts. He asserts that there are essentially six stages of the creative process.
According to Petty, the six stages are as follows:
Inspiration
Clarification
Evaluation
Distillation
Incubation
Perspiration.
It’s important to note the following points:
Pupils do not have to visit the six stages in this particular order. In fact, during the creative process, pupils may visit stages multiple times, sometimes spending hours on a stage and sometimes only seconds.
Each stage has its own mind-set, which we’ll review in a moment.
All of the Areas of Learning can be used to help our pupils develop their creative skills and abilities.
For example, when teaching those ‘non-creative’ subjects, we can help our pupils to develop the dispositions they need to be creative, which we will review in a moment.
Finally, not all stages of the creative process will apply in every task or Area of Learning/subject. Some may be more appropriate in certain subjects than others.
© PMB 2007
© PMB 2007

33. ICEDIP Mind-Sets INSPIRATION Deeply engrossed, fearless, free
Researching and generating a large number of ideas. Being uninhibited, spontaneous, experimental and intuitive. If most of the ideas are workable, you did not take enough risks!
CLARIFICATION
Clear-minded, unhurried, questioning
Clarifying the purpose and keeping a sense of direction. Focusing on how the finished work will look. Clarification is a process, not an event! It is done at frequent intervals.
EVALUATION
Self-critical, positive, willing to learn
Considering how the work can be improved. Building on strengths, identifying weaknesses and viewing them as opportunities for improvement. Not seeing criticism as a threat.
DISTILLATION
Strategic, reflective
Deciding what ideas to work on. Selecting best ideas or combining them into even better ones. Thinking about where the ideas can take you.
INCUBATION
Unhurried, trusting, flexible
Leaving the work alone for a while, pondering it occasionally (keeping it on the surface of your mind), giving the subconscious time to work on it
PERSPIRATION
Enthusiastic, positive, persistent
Generating a number of drafts, separated with clarification and evaluation phases. Creative people often do not accept a first draft, but go over and over a piece until it is to their liking.
Here are the mind-sets for each of the ICEDIP stages.
(Pass out Resource Sheet 1.)
The contents of this slide also appear on this sheet, which I’m passing out.
Creative people switch between one mind-set and another. This is difficult because some mind-sets require very different types of thinking. For example, the openness and inventive nature required in the Inspiration stage is very different than the focused and critical nature required in the Clarification stage.
Everyone is stronger in some mind-sets than others, due simply to our personalities. The key is to help our pupils recognise their weaker mind-sets and try to make them stronger in these.
When developing creativity in our pupils, it’s also important that we help them to make links between aspects of creativity they are developing in our subject and how those connect to different areas of the curriculum and beyond.
© PMB 2007
© PMB 2007