Creative Phase Research Articles

The evaluation of a lean healthcare concept to improve the implementation of Digital Health innovations in secondary health care: a qualitative study within a Dutch hospital setting

BackgroundDigital health innovations are considered a promising avenue in transforming the resourcing, organization and delivery of healthcare services and are often nurtured in organization-based innovation labs. One of their biggest challenges is developing effective processes for sifting through ideas. To improve the existing work process, innovation management is often rooted in lean thinking principles. To illustrate the optimization of the efficiency of innovation processes, an example of a lean innovation process concept will be evaluated in this study.MethodsThe setting of this study was the Health Innovation Lab (HIL) of the Maastricht University Medical Center + (MUMC +) in the Netherlands. The aim was to evaluate its lean “speed dating” concept to improve the implementation of Digital Health innovations in secondary health care. A qualitative study was performed based on a focus group and semi-structured interviews. 36 stakeholders were selected by purposive sampling. Data was collected from 11 respondents. The transcripts of the focus group and interviews were coded according to the open and axial coding phases of the methods of Grounded Theory.ResultsFive major themes emerged during the thematic analysis of the transcriptions: (1) Preparation before the Sign in, (2) Mapping out the process between Sign in and Sign out, (3) Defining the roles and deliverables of experts, (4) Guiding the idea owner, and (5) Supporting capacity of resources.ConclusionsThrough multidisciplinary interaction, by encouraging creative thinking and by fostering innovative behavior, innovation labs cultivate the development of innovative solutions. While the creative phase of innovation commonly exhibits non-linearity, most innovation pilots and implementations follow a linear path. This linearity seems to contradict the importance of flexible approaches to prevent waste in the context of innovation. However, our results suggest that improving cooperation between stakeholders may be a strategy to mitigate this effect. This paper broadens the knowledge on how multidisciplinary interaction during a lean innovation process can be improved, thereby enhancing the implementation of DH innovations.

Multisensory objects’ role on creativity

In this research, we investigated the role of multisensorial manipulation on creativity, and the influence of inspirational objects on creative outcomes. Object manipulation may support embodied cognition during a generative creative phase (emergence of motor, spatial, emotional ideas, etc.) then exploratory phase (creative fixation, development of a functional creation, etc.). Our protocol involved 136 engineering students divided into 34 groups which were provided with inspirational cubes illustrating manufacturing inventive principles or basic volumes from the Creative Mental Synthesis Task. They could manipulate these objects either in a visuo-haptic condition, or in a visuo-imaginative condition. Our results highlighted a main effect of manipulation, showing that visual-haptic condition led to higher creativity than visual-imaginative condition. We also observed several effects in favor of inspirational cubes with regard to basic volumes: significantly higher creativity, more subjective and inter-subjective facilitation behaviors, more cognitive and emotional operations. Participants also showed at an individual level a better mobilization of the multisensorial senses. Creative thinking may be stimulated when an active manipulation phase is set up before the creative production. This could contribute to improving practice for engineers, particularly for using additive manufacturing and/or during their training at school.

CREATIVITY AND BIOINSPIRATION AS A BASIS FOR INNOVATION IN SURFACE DESIGN

Currently, the use of varied methods for Teaching Design and for projecting has gained breadth, and as a result, there are more and more methods and variations in methods for teaching design and for designing products and services on the market. The union of methods is also widely used as a basis for ideating design concepts, thus adding more access to innovation and emotion to objects. The objective of this review is to survey and at the same time make a connection about Creativity, Innovation, Bioinspiration and Surface Design. This review work is the first phase of a broad post-doctoral research on Bioinspiration and the creative phase of Product development.

A Creativity Monitoring Device (CMD) for New Insight into the Brain Mechanisms of Artistic, Scientific and Engineering Creative Acts

This paper introduces the basic design of a novel neuroscientific device named Creativity Monitoring Device, CMD, able to provide new insights into the brain mechanisms of artistic, scientific and engineering creative acts. The novelty of the device is threefold. First, it allows the artifact-free recording of association cortical EEG waves during such creative acts as painting artistic visions, composing music, running novel experiments in a laboratory or working on an engineering invention. Second, it allows the synchronous monitoring of the sounds and visual events in the environment of such actions along with the artist’s, scientist’s or engineer’s verbal and non-verbal interactions with this environment and his or her own notes on the engaged creative phase. Third, it allows the offline analysis of the synchronously collected EEG and audio-visual data with the new method of dynamic neurocombinatorics, which can reveal at 2 msec accuracy the relationships between the recorded objects of 5 sets: (1) the spatial occurrence codes of the recorded association cortical EEG waves; (2) the complexity codes of each of the recorded 0.2 - 200 Hz EEG waves; (3) the codes of the synchronously recorded environmental events including those of the subject’s verbal and non-verbal interactions with this environment; (4) the subject’s own dictated notes identifying the phase of the engaged creative act, and (5) the time-course of these continuously recorded objects within each of the indicated sets over the entire, at least 10-hour, creativity monitoring period. Thus, CMD studies should reveal the key electrical brain changes underlying the initiation, maintenance and termination of creative acts and should show the similarities and differences between artistic, scientific and engineering creativities.

Analysis of the SWOT matrix as a strategy for implementing the Ap-Th1000 Reactor in Brazil

This article analyzes the SWOT Matrix for the implementation of the AP-Th1000 reactor with thorium fuel, aiming at a future replacement of the current nuclear reactors that use uranium as fuel by thorium. There was a need for an in-depth study of the national and international literature linked to the Brazilian reality. After that, specific meetings were held to detect all possible situations of the 4 main points of the SWOT matrix. During the sessions, which averaged 1 hour, the authors' industrial and academic expertise was demonstrated in competencies such as creativity, collaboration, effective communication, openness and tolerance, quick thinking, synthesis ability, problem focus, and flexibility during the discussions of over 50 items found in the analysis of the 4 points of the SWOT matrix. Each meeting was divided into three parts. The first part, which would be the Creative phase; and a second part, which would be the Critical phase; and, finally, the third phase, where ideas are filtered for the permanence of those that were better founded and of better acceptance. Then, the aspects listed were classified into 4 categories: Strengths (S), Weaknesses (W), Opportunities (O), and Threats (T). After the classification, a ranking of priorities was made, in descending order of importance, according to the authors, of the weaknesses and threats, neutralization suggestions were made. Finally, the data obtained were analyzed. We concluded through the SWOT analysis, we can observe an expressive amount of benefits of using the AP1000 reactor with MOX of Thorium and Uranium in the development of nuclear energy generation technologies in Brazil.

Are generative design tools creative? A characterisation of tools throughout the design process

AbstractGenerative design is now a core capability of today's CAD systems enabling broader exploration of the design space. This paper presents a desktop review of 15 tools with the aim of characterising where the tools are used in the design process and to what extent they can be considered creative.The results showed that, despite their increasing capabilities, GD tools are unable to exhibit all phases of creativity and cannot be applied in all stages of the design process. This highlights the criticality of the human in design providing opportunities for GD to augment designer creativity.

Sensors capabilities as a creativity tool for engineering product design

Smart and connected physical products enable numerous novel value creations based on embedded sensor data. However, during the product design process, it appears that these value-creation opportunities are not sufficiently explored. To address this gap, a general and accessible ideation tool is proposed to structure a systematic exploration. The tool has been developed from the data sheets of a large number of various embedded sensors. A non-exhaustive list of 14 main sensor capabilities was thus structured to form the core of the tool. During the creative phases of product design, these capabilities are combined with a convenient set of inputs to support the generation of value-creation concepts. A focus group to evaluate the tool was carried out with a medium-sized manufacturer of connected shared city bikes. Expert product designers generated concepts with and without the tool. The results of the experiment suggest that the tool enables the generation of concepts that are more novel and of better quality in comparison to traditional ideation approaches. In addition, participants reported a high level of appreciation for the tool. They also noted a high level of creative exploration and collaboration facilitated by the tool.

The creative intermediate phase of architect Mihailo Mika Čanak (1970)

The creative intermediate phase of architect Mihailo Mika Čanak (1970)

DIY practices in 1990s fashion: Notes from Alexander McQueen's early years (1992–1996)

Alexander McQueen (1969–2010) was certainly one of the greatest fashion designers of the late 20th and early 21st century. Creator of an authorial work McQueen has become the subject of study of numerous researchers. In this article, using a sociological approach, we’ll analyze the designer's early creative phase, specifically his production between the years 1992 and 1996. Reflecting on some of his esthetic results, this article seeks to characterize how DIY appears in his work as a type of epistemological solution conditioned to social, political, and economic issues. Thinking about the gains that come from using DIY as well as the concessions that are made when his work is absorbed into the fashion mainstream, McQueen will be taken as a heuristic example that helps us describe and qualify even more complex phenomena of contemporaneity as the change in the fashion system and the new phases of capitalism.

INTEGRATING THE HUMAN FACTOR AND ENVIROMENTAL NEEDS IN THE DESIGN OF A NEW PRODUCT

Nowadays, to ensure the durability of their activities, companies have to innovate continuously. However, designing and development of multi-physical mechanical systems or products, namely integrating different fields of science and technology, has the purpose to make them “intelligent”, “reliable” and “ecological”. Moreover, to be able to obtain a winning product, the company managers should be innovative. The technology, but also the needs and the desires of the users, can achieve innovation. Changing people’s beliefs is a critical part of the business when a new product appears. In this perspective, our article intends to determinate how to better involve the users in the design process. Communication is a dynamic process, in a permanent transformation. The aim of our work is to show the challenge of managing innovation led by users. The design of a product, a manufacturing process, a production line continuously drives a team to improve. Putting people first, keeping energy and environment issues in mind: innovation takes up multiple challenges. To achieve this, many skills must be activated: innovative processes, quality, mechanical design, management, logistics. To take into account the environmental aspects is a difficult task, but it’s the key to design the best product and to release it on the market at the right time. In order for our work to be placed in a general context of eco-design, it is required that this field of research must be defined. So, before presenting the design, first we must develop the eco-design detail as a response to a necessary integration of the environmental factor. Because of the innovative nature of the project, a first study to indicate the subject of the project has been done. Before starting the design project, it is essential to propose a planning for every stage of the project from the defining of needs to the creation of CAD models. The first stage consists of defining the users’s needs of the product. This could be done by collecting all the necessary information to get a clear vision about the project. The next stage is the functional analysis; its purpose is to define the functions of the future product by analysing its different lifecycle situations. After that, in the creativity phase the design team starts to find solutions and pick the best one. Finally, the solution is described and evaluated using a set of predefined specifications. Based on this evaluation, several modifications are imported to the design. The research in industrial, technological and scientific engeneering represents the purpose of our work.

„Schnee. Und mehr noch des Weißen“. Paul Celans ortlose Orte

As many commentators have already pointed out “snow” is one of the main recurrent motifs in Celan’s poetry, hence the need to place it in the proper exegetical context. This implies at least for the first creative phase—i.e., prior to the publication of the volume Atemwende (1966)—, that “snow” remains closely related to the biographic experience and a sign of topographic uncertainty or even a judicial “non-lieu” —a non-place, in terms of a dismissed case—for horrific unpunished crimes of the past for which Celan’s poetry is struggling to testify. Thus, in Celan’s symbolical language, “snow” gradually becomes—just like the motifs of “ash” or “stone”—a silent witness of the Holocaust.

Integrating PhET Simulations into Elementary Science Education: A Qualitative Analysis

This research delved into the integration of PhET simulations in elementary science education, specifically aimed at Grade 3 students. The primary objective was to evaluate how the use of these digital simulations influenced students’ conceiving of scientific concepts, focusing on “States of M1atter and Phase Changes” and “Solubility and Saturation”. Employing a qualitative research approach, the study observed 19 students who worked in pairs and trios as they engaged with PhET simulations to explore assigned science topics and address related questions. The observations centered on tracking students’ interactions with simulations and their progression through different knowledge phases. We used deductive and inductive content analysis to analyze the transcripts of the observation. The findings reveal that in the “Remembering” phase, students demonstrated a tendency to relate personal experiences to simulations, underscoring real-life context’s role in learning. The “Understanding” phase highlighted how PhET simulations facilitated deeper comprehension, with students making insightful observations. Additionally, the “Application” phase showcased the effective translation of simulation-derived knowledge into practical scenarios, bridging theoretical and real-world understanding. Students’ use of high-order thinking skills, at the analysis, evaluation, and creative phases, showed that simulations supported Grade 3 students in their learning processes of scientific concepts. The research underscores the efficacy of integrating PhET simulations into elementary science education, enhancing students’ knowledge by promoting active engagement and problem-solving skills. Integrating simulations into teaching methodologies emerges as a promising avenue to nurture scientific expertise and holistic understanding among elementary school students.

Reaping Research Skills from the Rigorous Application of Design Thinking

This paper investigates the relationship between design thinking and the research process, and argues that design thinking can foster the development of research skills. The paper reports on a case where first year Information Systems students apply Design Thinking (DT) in an Internet of Things (IoT) practical assignment. The Hasso Plattner Institute (HPI)’s design thinking process is applied, which entails five phases: empathise, define, ideate, prototype and test. In the Empathise phase, students must collect and analyse data in order to understand user needs. This enables them to arrive at an evidence-based problem definition in the define phase. Later, during the test phase, data is again collected and documented on the user’s experience of the prototype. User feedback is then compared with the documented user needs and adjustments are made to address the possible gap. While design thinking is not a conventional research methodology, its use in this manner adds rigour and a scientific base for devising creative solutions. In the group assignment, students were required to document their implementation of the five DT phases by means of a group blog, which was used to assess their projects. While assessing the blogs, the lecturers noted that the students who were more thorough and meticulous in documenting and analysing the user need data, were able to arrive at designs that more appropriately responded to the user’s needs. Furthermore, students who provided quotes and/or transcripts of their user interviews, followed by similarly documented feedback during the demonstration and testing of their prototypes, not only convinced that they addressed the real user problem, but the rigour they applied facilitated more innovative designs. This was an interesting finding, because the innovation itself is usually associated with the creative phases (ideate and prototype) rather than the empathise and test phases. This paper argues that when applying DT in a rigorous manner, students are enabled not only to produce better designs, but they also gain valuable research skills for their future benefit.

Cannibalizing Bach: Villa-Lobos in Europe, 1936

Abstract During the 1930s, Heitor Villa-Lobos concentrated his efforts on coordinating Brazilian musical education. As such, he changed his compositional style and did not travel to Europe again until 1936. This article examines Villa-Lobos's trip to Europe in 1936, drawing on Florencia Garramuño's call to ‘incorporate avant-garde voyages as founding moments’ for an autochthonous national character in music. During his journey, Villa-Lobos represented Brazil in different settings: as a deputy at the International Congress of Music Education in Prague and as a composer in under-the-radar political negotiations with Nazi Germany in Berlin. Considering the authoritarian Vargas Regime, Brazilian modernism, and the dialectical relation between nationalism and internationalism, I argue that this trip served as a catalyst for a new creative phase, culminating in the series of Bachianas brasileiras, a resignification of J. S. Bach's music and legacy in the context of his interpretation of Brazilian Antropofagia (cultural cannibalism).

Probing creation process of paintings from Tarsila do Amaral (1886–1973) by MA-XRF and differential X-ray attenuation

Three artworks from Brazilian painter Tarsila do Amaral (1886–1973), “Manteau Rouge” (1923), “Vendedor de Frutas” (1925), and “Urutu” (1928), from different creative phases of the artist, were analyzed by macro X-ray fluorescence scanning (MA-XRF) technique. Based on the obtained elemental maps, it was possible to deduce the pigments employed by Tarsila during her different artistic phases. To investigate the ground applied in the paintings, XRF spectra were simulated with Zinc White and Lead White pigments in two categories: pure pigments, and another as ground. These simulated results were compared with experimental XRF data, allowing the discussion of the presence of Pb and Zn pigments in different layers of the paintings. From elemental maps, it was possible to observe repaintings in the “Manteau Rouge” and “Vendedor de Frutas”. Based on the results, it is possible to conclude that the painter utilized the same pigments consistently throughout her artistic phases, while exhibiting changes in her painting style.

Value Engineering Techniques and its Application in Construction Projects

Value Engineering (VE) is an efficient management technology that can significantly contribute to value rise and decrease in building projects. In addition to that EV is an accepted way of recognizing and removing excessive product construction, inspection, manufacture and design, operation, repairs. The technique comprises three main stages. The first step of the study on VE is designed to schedule and organize the study of significance. Value Engineering routinely employs well-known techniques that classify the functions of the innovative product or service and thus operate at the lowest average cost of performance. Value engineering relies on the lowest marginal feature efficiency. It enables waste, time, and unnecessary expenses to be eliminated or minimized that increases customer loyalty. The second step consists of several phases: knowledge phase, research purposes phase, innovative phase, assessment phase, and initial phase. The principal components of value engineering study are value analysis. Value analysis. The two steps and actions function sequentially. This series of approaches to the VE research goals will lead to a logical and organized process flow. The third step is postal analysis. It seeks to ensure that the acceptance criteria are applied to change the research of significance in the course of study operations. The second process consists of five phases: information phase, purpose analysis phase, creative phase, evaluation phase, and introduction phase. Value analysis is the main component of Value Engineering Research. Sequentially both stages and measures work. The rational and structured process flow is anticipated to help with this sequence of the approach to reach the VE research goals. The postal study is the third phase. It is intended to ensure the execution of the agreed guidelines to modify the important study during study operations. In the study, the values engineering principles are applied and value engineering practices in this project are defined by the study of the constructor project.

Enhancing Sustainable Arts Education: Comparative Analysis of Creative Process Measurement Techniques

Contemporary research indicates that student creativity is crucial to the success of arts education. Self-regulated learning has become one of educational psychology’s most critical research areas. However, there is limited research on creativity in arts education in self-regulated learning. Therefore, this study aims to define the creativity characteristics that determine the quality of students’ work. This study implemented a creative competition in painting and composition for first-year undergraduates. It was conducted at a Chinese university with the participation of 178 first-year students aged 18 to 26. It evaluated the characteristics of creativity during the three main phases of the task: planning, execution, and completion. We investigated the subject by employing semi-open questionnaires (n = 178) and using the content analysis method and quantitative analysis. According to the competition results, the students with the highest scores in flow, inspiration, and idea generation in the performance phase had the best quality work. In the forethought phase, analogical thinking and idea generation worked best for most students, while in the performance phase, flow sense, idea generation, and idea manipulation worked best. Data on creativity characteristics at different work phases and final quality might adequately guide and organize educational procedures. These findings can serve as a theoretical foundation for quantifying the creativity phase in self-regulated learning and offer arts educators a reference for creativity instruction.

PHOTOGRAPHY AS IDENTITY OF THE FIRST FRUITS OF RIOBAMBA. DESIGN OF INTERACTIVE DIGITAL REPOSITORY

The objective of this work is the conservation by modern digital means of the architectural firsts located in the city of Riobamba, an interactive photographic repository was designed in which 360° aerial shots were used. A mixed methodology was used, both qualitative and quantitative, employing methods such as documentary, descriptive, population and survey techniques, interview and observation sheets, investigating the first fruits for their historical relevance and social impact, subsequently, a buyer persona was developed to determine the user who occupied the repository, official data and information from government entities was sought with the use of the interview, The data obtained were analyzed in order to facilitate the photographic taking and move on to the creative phase, formulating guiding ideas that gave feasible solutions in the design of the proposal. With what was learned in the experimentation, the final design was started, the photographs went through a process of digital development, colorization and digital stitching; In addition, a third process of composition - punctual edition, all equirectangular shots were transferred to the panoraven platform, facilitating the creation of the repository with a contribution of interactivity, a hotspot tour and informative texts were used with the option of infospot, to reinforce the interactivity a map was added so that people know the location of the scoops and a gyroscope to create a better experience on the cell phone and adaptability on various platforms. These processes resulted in an interactive digital photographic repository of easy access, dissemination, functional and with the logo "Riobamba city of the first fruits" this identifying resource of the city was preserved, finally it can be concluded that the use of new technologies is essential to reach new generations, being essential that government entities invest in these cultural resources, which enhance tourism and consequently activate the economy of the city of Riobamba.

Nuevas consideraciones sobre el muro de Arantzazu. Dos dibujos de Jorge Oteiza para su revisión (1954-1968)

The aim of this article is to add a specific analysis of the great portal of Arantzazu to the different studies carried out on this work to date. Two small drawings by Jorge Oteiza serve to review the two creative phases developed by the sculptor to arrive at the final solution we know. Two phases that are juxtaposed and integrated, forming a unit in which the different variables used by the sculptor in each of them make sense. A research process that starts with his trip to America where he begins to become aware of the importance of space in the new artistic solutions and where he encounters the primitive pre-Columbian culture, with its statues as spiritual artefacts, and ends in the Basque cromlech, empty and religiously receptive. The two drawings represent two visions or cuts along this process that provide a better understanding of Oteiza’s interests and design mechanisms. in relation to his work in Arantzazu in the discovery and definition of the religious space.

Knowledge action vs. creative action: Devices of contrast between old and new in the architectural heritage recovery project

In a Casabella editorial from a few years ago, dedicated to the recovery of existing architectural heritage, Francesco Dal Co defined restorers as a corporation that considers itself the exclusive custodian of the knowledge, capable of scientifically resolving the conflicts that each restoration operation involves. Today, the perception is that restorers practice a profession different from that of architects: more than 20 years ago: Manfredo Tafuri noted that it was possible to observe a tendency toward the separation between restoration and conservation. Although the shared idea is that architecture is the result of successive modifications and never offers a stable image, the action of alteration of the built, especially the historicized one, takes place by appealing only to the scientific nature of a rigorous method that mortifies the creative act by losing the poetic root of our discipline. This type of conviction has led the discipline of architectural restoration through the tendency to make the cognitive phase coincide with the creative phase, in which the work itself suggests the design act. The project does not alter the image of the place or of the historicized asset but activates a process of crystallization of the existing, which proclaims conservation action as the only possible way: a heroic act of resistance. In the current urban scenario characterized by the “built paradigm,” the new seems to be conceived exclusively as a derivation of the existing. Augè defined the contemporary city as an immense ruin (“city worksite”) in which the unfinished and abandoned fragments of new constructions coexist with the ruins of the city of history and the ruins of the modern city. For these reasons, does it still make sense to distinguish the restoration project of a building from the project of a building? The contribution proposes a field of research that aims at the rapprochement between two disciplinary fields, architectural design and restoration, where the poetic root of the project returns to dialogue with the cognitive action on the asset and the application of scientific criteria for the consolidation and restoration of the elements.