tag:blogger.com,1999:blog-52025466759420460262024-03-08T00:04:10.160-08:00Teaching CreativityThis blog collects ideas about creativityUnknownnoreply@blogger.comBlogger12125tag:blogger.com,1999:blog-5202546675942046026.post-37543300851393443132015-10-08T11:33:00.000-07:002015-10-08T11:33:28.987-07:00Creative Emoji Quiz: Guessing Famous Physics EquationsIn problem solving, our brain tries to link relevant knowledge to the problem. For example, in below two emoji quizzes, if one had never studied physics before, not likely he/she can answer the question. However, even if you studied physics, is it really easy to guess the answers?<br />
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As years passed by, we accumulated more and more knowledge in different aspect. It may not be easy to quick find the most relevant aspect of knowledge in solving a problem.<br />
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By the way, how did you do in the quizzes?<br />
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<iframe allowfullscreen="" frameborder="0" height="180" src="https://www.youtube.com/embed/O1Mg42GjP3Q" width="320"></iframe>
<iframe allowfullscreen="" frameborder="0" height="180" src="https://www.youtube.com/embed/YuYT4MudH_U" width="320"></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5202546675942046026.post-65962978110535610672015-10-06T20:47:00.000-07:002015-10-06T20:49:11.241-07:00Conceptual Blending Mixing & Creativity ExcercisesMixing two ideas can sometimes create a new idea. We can practice on this kinds of idea generation strategy and produce creative ideas. Follow video give examples on such concept. <br />
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<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/qCsL88zIWp0" width="520"></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5202546675942046026.post-88577032038684622252009-05-27T12:59:00.001-07:002009-05-27T12:59:34.208-07:00Creative problem solving modelsCreative problem solving models<br /><p>There are different creative problem solving models from previous research. I will try to understand some models shown below:</p><ul><li>Osborn-Parnes Creative problem solving </li><li>Lateral thinking </li><li>TRIZ (the Theory of Inventive Problem-Solving)</li></ul><p></p><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5202546675942046026.post-29394647533536368202009-05-21T13:45:00.000-07:002009-05-21T13:46:36.423-07:00Brief look up on creativity in psychology and cognitive science<strong>Art of Thought (Graham Wallas & Richard Smith, 1926)<br /></strong>A 5 stages creative process model was proposed:<br />1. Preparation (focuses on the problem and explores the problem's dimensions),<br />2. Incubation (the problem is internalized into the unconscious mind),<br />3. Intimation (one feels that a solution is on its way),<br />4. Illumination or insight (the idea turns from its preconscious processing into conscious awareness); and<br />5. Verification (where the idea is consciously verified, elaborated, and then applied).<br /><br />Guilford (1950) He introduced the concept of convergent and divergent thinking. Convergent thinking involves aiming for a single, correct solution to a problem, whereas divergent thinking involves creative generation of multiple answers to a set problem.<br /><br />Koestler (1964) "Creativity arises as a result of the intersection of two quite different frames of reference."<br /><br />Something I don’t like about Graham & Richard’s 5 stages model is that the incubation/intimation stages rely so much on one’s unconscious mind, which is difficult to understand. The “novel and appropriate” model from Defying the Crowd, by Sternberg & Lubart is a simpler but better one. This model seems a generalization of all other models.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5202546675942046026.post-66883750341292562992009-05-20T14:30:00.000-07:002009-05-20T14:31:31.679-07:00What is creativity?First of all, what is creativity? I like the definition from Linda Naiman,<br />"I define creativity as the act of turning new and imaginative ideas into reality. Creativity involves two processes: thinking, then producing. Innovation is the production or implementation of an idea. If you have ideas, but don't act on them, you are imaginative but not creative."<br /><br />Above definition is consistent with the idea of a creative product in <a href="http://www.amazon.com/gp/product/0743236475?ie=UTF8&tag=defyingthecrowd-20&link_code=as3&camp=211189&creative=373489&creativeASIN=0743236475">Defying the Crowd, by Sternberg & Lubart</a><br /><br />“A product is creative when it is (a) novel and (b) appropriate. A novel product is original not predictable. The bigger the concept, and the more the product stimulates further work and ideas, the more the product is creative.”Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5202546675942046026.post-68653105283537608652009-05-13T10:10:00.001-07:002009-05-13T10:20:42.359-07:00Summary of 24 tips for teaching creativity (part 2)<p></p><br />(Go back to <a href="http://teaching-creativity.blogspot.com/2009/05/summary-of-24-tips-for-teaching.html">24 Tips for teaching creativity</a> (part 1))<br /><br /><strong>13. Identify Obstacles<br /></strong>To help your students deal with obstacles, remind them of the many creative people whose ideas were initially shunned and help them develop an inner sense of awe of the creative act. You can suggest that they reduce their concern over what others think, but it is tough for students to lessen their dependence on their peers.<br /><br /><br /><strong>14. Teach Self-Responsibility<br /></strong>Teaching students how to take responsibility means teaching students to (1) understand their creative process, (2) criticize themselves, and (3) take pride in their best creative work. Unfortunately, many teachers and parents look for an outside enemy responsible for failures.<br /><br /><br /><strong>15. Promote Self-Regulation<br /></strong>After forming initial creative products and awakening the joy of creating in your students, teach them strategies for self-regulation.<br /><br /><br />1. List multiple ideas for an assignment, 2. Assess ideas for creativity and pursue one, 3. Defend your choice, 4. Develop plans for completing the assignment, including how and where to find information, and how and when you will finish the project, 5. Keep a daily log of progress, roadblocks, and how you surmounted problems, 6. Participate in daily class discussions regarding progress on the report and physical distractions (e.g., being hungry or tired), 7. Discuss teacher feedback on finished projects, and 8. Assess a classmate's project and review and discuss peer evaluations.<br /><br /><br /><strong>16. Delay Gratification<br /></strong>Students must learn rewards are not always immediate and that there are benefits to delaying gratification. Give your students examples of delayed gratification in your life and in the lives of creative individuals and help them apply these examples to their lives. By working on a task for many weeks or months, a student learns the value of making incremental efforts for long-term gains.<br /><br /><br />Hard work often does not bring immediate rewards. Children do not immediately become expert baseball players, dancers, musicians, or sculptors. And the reward of becoming an expert seems far away. Children often succumb to the temptations of the moment-watching television or playing video games.<br /><br /><br /><strong>17. Encourage Creative Collaboration<br /></strong>Encourage your students to collaborate with creative people because we all learn by example. Students benefit from seeing the techniques, strategies, and approaches that others use in the creative process.<br /><br /><br />Finding practical ways to encourage creative performance in groups of students is essential because you cannot work with students one-on-one all of the time. Because life often involves working with others, it is worthwhile to give students the chance to work collaboratively and to make the process of collaboration more creative.<br /><br /><br /><strong>18. Imagine Other Viewpoints<br /></strong>An essential aspect of working with other people and getting the most out of collaborative creative activity is to imagine ourselves in other people's shoes. We broaden our perspective by learning to see the world from a different point of view, and that experience enhances our creative thinking and contributions. Encourage your students to see the importance of understanding, respecting, and responding to other people's points of view. Many bright and potentially creative children never achieve success because they do not develop practical intelligence. They may do well in school and on tests, but they never learn how to get along with others or to see things and themselves as others see them.<br /><br /><br /><strong>19. Recognize Person-Environmental Fit<br /></strong>What is judged as creative is an interaction between a person and the environment. The very same product that is rewarded as creative in one time or place may be scorned in another.<br />In The Dead Poets' Society, a teacher whom the audience might well judge to be creative is viewed as incompetent by the school's administration. Similar experiences occur many times a day in many settings. There is no absolute standard for what constitutes creative work. The same product or idea may be valued or devalued in different environments. The lesson is that we need to find a setting in which our creative talents and unique contributions are rewarded or we need to modify our environment.<br /><br /><br />By building a constant appreciation of the importance of person-environment fit, you prepare your students for choosing environments that are conducive to their creative success. Encourage your students to examine environments to help them learn to select and match environments with their skills.<br /><br /><br /><strong>20. Find Excitement<br /></strong>To unleash your students' best creative performances, you must help them find what excites them. Remember that it may not be what really excites you. Helping students find what they really love to do is often hard and frustrating work. Yet, sharing the frustration with them now is better than leaving them later to face it alone. To help students uncover their true interests, ask them to demonstrate a special talent or ability for the class. Explain that it does not matter what they do (within reason), only that they love the activity.<br /><br /><br /><strong>21. Seek Stimulating Environments<br /></strong>To encourage students to develop skills in selecting environments that enhance creativity, choose some environments for the class to explore and help your students connect the environments with the experiences, creative growth, and accomplishment. Show students that creativity is easier with environmental stimulation.<br /><br /><br />Plan a field trip to a nearby museum, historical building, town hall, or other location with interesting displays and ask your students to generate and examine creative ideas for reports. Get students involved in role-playing.<br /><br /><br />You cannot reach into every nook of students' lives, nor can you directly control their creative development in the years to come. But give them a lifelong gift by teaching them how to choose creative environments that help ideas flow. Knowing how to choose a creative environment is one of the best long-term strategies for developing creativity.<br /><br /><br /><strong>22. Play to Strengths<br /></strong>Any teacher can help students play to their strengths. All you need is flexibility in assignments and a willingness to help reluctant students determine the nature of their interests and strengths.<br /><br /><br /><br /><strong>23. Grow Creatively<br /></strong>Once we have a major creative idea, it is easy to spend the rest of our career following up on it. It is frightening to contemplate that the next idea may not be as good as the last one, or that success may disappear with the next idea. The result is that we can become complacent and stop being creative. Being creative means stepping outside the boxes that we-and others-have created for ourselves.<br /><br /><br /><strong>24. Proselytize for Creativity<br /></strong>Once you have mastered a few of these techniques to develop creativity and made them part of your daily teaching routine, spread the word. The virtues of teaching your students in order to develop their creativity and your own multiply from reinforcement. Make the difference by telling your colleagues, associates, administrators, principal, school board members, and everyone else how important it is to develop creativity in students.<br /><br /><br />Use examples of creative student work, particularly from students who are not gifted in traditional academic abilities, to demonstrate the difference it makes to teach for creativity. Describe how every student can be reached with patience and a few techniques for developing creativity. Tell your colleagues that student projects are more interesting once students have experienced explicit creativity training. Richer, funnier, wilder, and generally far more interesting assignments, book reports, and projects make our lives less boring. It is, in fact, a good example of enlightened self-interest for teachers to give students creativity training, because creative students are more motivated and more involved with their schoolwork, and their work becomes more interesting.<br /><br /><br /><strong>References<br /></strong>Amabile, T. M. (1983). The social psychology of creativity. New York: Springer-Verlag.<br />Amabile, T .M. (1996). Creativity in context. Boulder, CO: Westview.<br />Csikszentmihalyi, M. (1988). Society, culture, and person: A systems view of creativity. In R. J. Sternberg (Ed.), The Nature of Creativity. New York: Cambridge University Press.<br />Dewey, J. (1933). How we think: A restatement of the relation of reflective thinking to the educative process. Boston: Heath.<br />Frensch, P.A., & Sternberg, R. J. (1989). Expertise and intelligent thinking: When is it worse to know better? In R. J. Sternberg (Ed.), Advances in the psychology of human intelligence. Vol. 5. Hillsdale, NJ: Lawrence Erlbaum.<br />Garcia, J., & Koelling, R. A. (1966). The relation of cue to consequence in avoidance learning. Psychonomic Science, 4, 123-124.<br />Gardner, H. (1993). Creating minds. New York: Basic Books.<br />Gruber, H. E. (1986). The self-construction of the extraordinary. In R. J. Sternberg & J. E. Davidson (Eds.), Conceptions of giftedness. New York: Cambridge University Press.<br />Schank, R. C. (1988). The Creative Attitude: Learning to Ask and Answer the Right Questions. New York: Macmillan.<br />Sternberg, R. J. (1985). Beyond IQ: A Triarchic theory of human intelligence. New York: Cambridge University Press.<br />Sternberg, R. J. (1997). Successful intelligence. New York: Plume.<br />Sternberg, R. J. (in press). A propulsion model of types of creative contributions. Review of General Psychology.<br />Sternberg, R. J., & Lubart, T. I. (1995). Defying the crowd: Cultivating creativity in a culture of conformity. New York: Free Press.<br />Sternberg, R. J., & Williams, W. M. (1996). How to develop student creativity. Alexandria, VA: Association for Supervision and Curriculum Development.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5202546675942046026.post-47079547783289359172009-05-12T13:44:00.000-07:002009-05-13T10:18:37.042-07:00Summary of 24 tips for teaching creativity (part 1)(The original article can be found in <a href="http://www.cdl.org/resource">www.cdl.org/resource</a>- library/articles/teaching_creativity.php.)<br /><br />Here, I extract some main points from R. Sternberg and W.M. Williams’ 24 tips for teaching creativity.<br /><br /><strong>The Investment Theory of Creativity - Buying Low and Selling High</strong><br />Creative thinkers buy low and sell high. Creative ideas are both novel and valuable. However, when creative ideas are proposed, they often are viewed as useless and even foolish. Because the creative innovator stands up to vested interests and defies the crowd.<br /><br />From the investment view, the creative person buys low by presenting a unique idea and attempting to convince other people of its value. After convincing others that the idea is valuable, which increases the perceived value of the investment, the creative person sells high by leaving the idea to others and then moving on to another idea.<br /><br />We routinely witness creativity in young children, but it is hard to find in older children and adults because their creative potential has been suppressed by a society that encourages intellectual conformity. We begin to suppress children's natural creativity when we expect them to color within the lines in their coloring books.<br /><br /><strong>Balancing Analytic, Synthetic, and Practical Abilities<br /></strong>Creative work requires applying and balancing three abilities that can all be developed.<br />Synthetic ability is the ability to generate novel and interesting ideas by making connections between things that others do not think of.<br /><br />Analytic ability is the critical thinking ability. Without well-developed analytic ability, the creative thinker is as likely to pursue bad ideas as to pursue good ones. The creative individual uses analytic ability to work out the implications of a creative idea and to test it.<br /><br />Practical ability is the ability to translate theory into practice and abstract ideas into practical accomplishments. The creative person uses practical ability to convince other people that an idea is worthy.<br /><br />24 Tips<br /><strong>1. Be a good role model for students</strong><br />Children develop creativity not when you tell them to, but when you show them.<br /><br /><strong>2. Build Self-Efficacy</strong><br />Help students believe in their own ability to be creative.<br /><br /><strong>3. Question Assumptions</strong><br />Some creative people question so many things so often that others stop taking them seriously. Everyone has to learn which assumptions are worth questioning and which battles are worth fighting.<br /><br />Help your students evaluate their questions by discouraging the idea that you ask questions and they simply answer them. Your role is not simply to teach students the facts. Help your students learn how to formulate good questions and how to answer questions.<br /><br />We all tend to make a mistake by emphasizing the answering and not the asking of questions. The good student is perceived as the one who rapidly furnishes the right answers. We need to teach students how to ask the right questions (good, thought-provoking, and interesting ones) and lessen the emphasis on rote learning.<br /><br /><strong>4. How to Define and Redefine Problems</strong><br />Promote creative performance by encouraging your students to define and redefine problems and projects. Encourage creative thinking by having students choose their own topics for papers or presentations, choose their own ways of solving problems, and sometimes choose again if they discover that their selection was a mistake. Allow your students to pick their own topics, subject to your approval, on at least one paper each term. Approval ensures that the topic is relevant to the lesson and has a chance of leading to a successful project.<br /><br />A successful project (1) is appropriate to the course's goals, (2) illustrates a student's mastery of at least some of what has been taught, and (3) can earn a good grade.<br /><br /><strong>5. Encourage Idea Generation</strong><br />Once the problem is defined or redefined, it is time for students to generate ideas and solutions. The environment for generating ideas must be relatively free of criticism. The students may acknowledge that some ideas are better or worse, but you must not be harsh or critical. Aim to identify and encourage any creative aspects of the ideas presented and suggest new approaches to any ideas that are simply uncreative. Praise your students for generating many ideas, regardless of whether some are silly or unrelated, while encouraging them to identify and develop their best ideas into high-quality projects.<br /><br /><strong>6. Cross-Fertilize Ideas</strong><br />Teaching students to cross-fertilize draws on their skills, interests, and abilities, regardless of the subject. For example, if your students are having trouble understanding math, you might ask them to draft test questions related to their special interests-ask the baseball fan to devise geometry problems based on the game. The context may spur creative ideas because the student finds the topic (baseball) enjoyable and it may counteract some of the anxiety caused by geometry. Cross-fertilization motivates students who aren't interested in subjects taught in the abstract.<br /><br /><strong>7. Allow Time for Creative Thinking</strong><br />Most creative insights, however, do not happen in a rush (Gruber, 1986). We need time to understand a problem and to toss it around. If you stuff questions into your tests or give your students more homework than they can complete, then you are not allowing them time to think creatively.<br /><br /><strong>8. Instruct and Assess Creatively</strong><br />If you want to encourage creativity, you need to include at least some opportunities for creative thought in assignments and tests. Ask questions that require factual recall, analytic thinking, and creative thinking. For example, students might be asked to learn about a law, analyze the law, and then think about how the law might be improved.<br /><br /><strong>9. Reward Creative Ideas and Products</strong><br />Reward creative efforts. For example, assign a project and remind students that you are looking for them to demonstrate their knowledge, analytical and writing skills, and creativity. Let them know that creativity does not depend on your agreement with what they write, only that they express ideas that represent a synthesis between existing ideas and their own thoughts. You need to care only that the ideas are creative from the students' perspectives, not necessarily creative with regard to the state of the art. Students may generate an idea that someone else has already had.<br /><br /><strong>10. Encourage Sensible Risks<br /></strong>Defying the crowd means risking the crowd's wrath. Creative people take sensible risks and produce ideas that others ultimately admire and respect as trend setting. In taking these risks, creative people sometimes make mistakes, fail, and fall flat on their faces. Helping students to develop a sense of how to assess risks.<br /><br />Given the learning opportunities that derive from taking risks and the achievement that learning makes possible, why are so few children willing to take risks in school? The reason is that perfect test scores and papers receive praise; failure may mean extra work. Failure to attain a certain academic standard is perceived as a lack of ability and motivation rather than as reflecting a desire to grow. Teachers advocate playing it safe when they give assignments without choices and allow only particular answers to questions.<br /><br /><strong>11. Allow Mistakes</strong><br />Mistakes allowed others to profit from the ideas and go beyond the earlier ideas. However, schools are often unforgiving of mistakes.<br />When your students make mistakes, ask them to analyze and discuss these mistakes. Often, mistakes or weak ideas contain the germ of correct answers or good ideas. In Japan, teachers spend entire class periods asking children to analyze the mistakes in their mathematical thinking. For the teacher who wants to make a difference, exploring mistakes can be a learning and growing opportunity.<br /><br /><strong>12. Tolerate Ambiguity</strong><br />Tolerating ambiguity is uncomfortable. When a student has almost the right topic for a paper or almost the right science project, it's tempting to accept the near miss. To help students become creative, encourage them to accept and extend the period in which their ideas do not quite converge. Ultimately, they may come up with better ideas.<br /><br />(continue on <a href="http://teaching-creativity.blogspot.com/2009/05/summary-of-24-tips-for-teaching_13.html">24 Tips for teaching creativity</a> (part 2))Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5202546675942046026.post-59973477797619704152009-05-07T12:45:00.000-07:002009-05-11T21:15:26.038-07:00A more general “whole-part model” which generalize some TRIZ principles.Can some principles in TRIZ be generalized or combined so that we can have a more simplified model to learn and to use? The first few priciples reminds me about the whole-part relationships I learned from artifical intelligence, so I try to use this kind of whole-part idea to generalize the TRIZ priciples.<br /><br />In below whole-part model, “whole” can refer to the whole object, whole time period, or whole sequence of actions.<br /><br />Here is the model:<br />1. Divide the original “whole” into parts, where each part has its own characteristics.<br />2. Identify important characteristics of each part.<br />3. Identify important interactions between parts (system view).<br />4. Add new / replace parts to enhance the original “whole”.<br />5. Add new / modify the characteristics of a part.<br /><br />This whole-part model may have some relationships with different fields including granular computing in artificial intelligence, system biology where proteins interact with other proteins, and possibly related to intelligent design. (This inspires me to create another blog to discuss about the <a href="http://creativity-and-intelligent-design.blogspot.com/2009/05/brief-history-about-this-blog.html">relationship between intelligent design and creativity</a>.)<br /><br />Here is the details of the model which includes some examples:<br />1. Divide the original “whole” into parts, where each part has its own characteristics.<br />TRIZ principles that are generalized: 1, 4, 10, 15, 19, 24, 34<br />E.g.:<br />· Sectional furniture, modular computer components, folding wooden ruler<br />· Garden hoses can be joined together to form any length needed<br />· Make one side of a tire stronger than the other to withstand impact with the curb<br />· Utility knife blade made with a groove allowing the dull part of the blade to be broken off, restoring sharpness<br />· A flashlight with a flexible gooseneck between the body and the lamp head.<br />· A warning lamp flashes so that it is even more noticeable than when continuously lit<br />· Rocket boosters separate after serving their function<br /><br />2. Identify important characteristics of each part<br />TRIZ principles that are generalized: 2<br />E.g.:<br />· To frighten birds away from the airport, use a tape recorder to reproduce the sound known to excite birds. (The sound is thus separated from the birds.)<br /><br />3. Identify important interactions between parts (system view)<br /><br />4. Add new / replace parts to enhance the original “whole”<br />TRIZ principles that are generalized: 3, 5, 6, 8, 11, 17, 38, 39, 40.<br />E.g.:<br />· A pencil and eraser in one unit.<br />· The working element of a rotary excavator has special steam nozzles to defrost and soften the frozen ground<br />· Sofa which converts into a bed<br />· A rear wing in racing cars which increases pressure from the car to the ground<br />· Merchandise is magnetized to deter shoplifting.<br />· A greenhouse which has a concave reflector on the northern part of the house to improve illumination of that part of the house by reflecting sunlight during the day.<br />· To obtain more heat from a torch, oxygen is fed to the torch instead of atmospheric air<br />· To prevent cotton from catching fire in a warehouse, it is treated with inert gas while being transported to the storage area.<br />· Military aircraft wings are made of composites of plastics and carbon fibers for high strength and low weight<br /><br /><br />5. Add new / modify the characteristics of a part<br />Some special characteristics:<br />· Nesting (Contain the object inside another)<br /><br />TRIZ principles that are generalized: 7, 12, 13, 14, 18, 25, 27, 29, 32, 35<br />E.g.:<br />· Telescoping antenna<br />· Chairs which stack on top of each other for storage<br />· Automobile engine oil is changed by workers in a pit to avoid using expensive lifting equipment<br />· Replace linear parts or flat surfaces with curved ones; replace cubical shapes with spherical shapes<br />· Set an object into oscillation such as a vibrating toothbrush<br />· Replace an expensive object by a collection of inexpensive ones, forgoing properties such as disposable diapers<br />· For shipping fragile products, air bubble envelopes or foam-like materials are used.<br />· Change the color or its surroundings<br /><br /><br />Note:<br />Principles in TRIZ that are not classified in our model include 9, 16, 20, 21, 22, 23, 25, 26, 28, 30, 31, 33, 36, and 37. Some of these principle may be too domain specific to engineering problems.<br /><br /><br />In summary, this is my rough idea in using whole-part model in generalize TRIZ priciples. Without go back to fine tune this idea, I think the next important question is how to use this whole-part model in creative problem solving. I am going to work on this issue.<br /><br />A related book:<br /><iframe style="WIDTH: 120px; HEIGHT: 240px" marginwidth="0" marginheight="0" src="http://rcm.amazon.com/e/cm?t=teachingcreative-20&o=1&p=8&l=as1&asins=019927844X&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=FFFFFF&bg1=FFFFFF&f=ifr" frameborder="0" scrolling="no"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5202546675942046026.post-78549790176047024902009-05-04T11:03:00.000-07:002009-06-15T20:59:15.869-07:00TRIZ: 40 priciplesAltshuller extracted from the world wide patents 40 inventive principles. These are hints that will help an engineer find a highly inventive (and patentable) solution to the problem. Examples from patents are also suggested with these TRIZ 40 principles.<br /><br /><hr /><br />1. Segmentation<br />a. Divide an object into independent parts<br />b. Make an object sectional<br />c. Increase the degree of an object's segmentation<br />Examples:<br />Sectional furniture, modular computer components, folding wooden ruler<br />Garden hoses can be joined together to form any length needed<br /><br />2. Extraction<br />a. Extract (remove or separate) a "disturbing" part or property from an object, or<br />b. Extract only the necessary part or property<br />Example:<br />To frighten birds away from the airport, use a tape recorder to reproduce the sound known to excite birds. (The sound is thus separated from the birds.)<br /><br />3. Local Quality<br />a. Transition from a homogeneous structure of an object or outside environment/action to a heterogeneous structure<br />b. Have different parts of the object carry out different functions<br />c. Place each part of the object under conditions most favorable for its operation<br /><br />Examples:<br />To combat dust in coal mines, a fine mist of water in a conical form is applied to working parts of the drilling and loading machinery. The smaller the droplets, the greater the effect in combating dust, but fine mist hinders the work. The solution is to develop a layer of coarse mist around the cone of fine mist.<br />A pencil and eraser in one unit.<br /><br />4. Asymmetry<br />a. Replace a symmetrical form with an asymmetrical form.<br />b. If an object is already asymmetrical, increase the degree of asymmetry<br /><br />Examples:<br />Make one side of a tire stronger than the other to withstand impact with the curb<br />While discharging wet sand through a symmetrical funnel, the sand forms an arch above the opening, causing irregular flow. A funnel of asymmetrical shape eliminates the arching effect. [add picture here]<br /><br />5. Combining<br />a. Combine in space homogeneous objects or objects destined for contiguous operations<br />b. Combine in time homogeneous or contiguous operations<br />Example:<br />The working element of a rotary excavator has special steam nozzles to defrost and soften the frozen ground<br /><br />6. Universality<br />Have the object perform multiple functions, thereby eliminating the need for some other object(s)<br />Examples:<br />Sofa which converts into a bed<br />Minivan seat which adjusts to accommodate seating, sleeping or carrying cargo<br /><br />7. Nesting<br />a. Contain the object inside another which, in turn, is placed inside a third object<br />b. Pass an object through a cavity of another object<br />Examples:<br />Telescoping antenna<br />Chairs which stack on top of each other for storage<br />Mechanical pencil with lead stored inside<br /><br />8. Counterweight<br />a. Compensate for the object's weight by joining with another object that has a lifting force<br />b. Compensate for the weight of an object by interaction with an environment providing aerodynamic or hydrodynamic forces<br />Examples:<br />Boat with hydrofoils<br />A rear wing in racing cars which increases pressure from the car to the ground<br /><br />9. Prior counter-action<br />a. Perform a counter-action in advance<br />b. If the object is (or will be) under tension, provide anti-tension in advance<br />Examples:<br />Reinforced concrete column or floor<br />Reinforced shaft made from several pipes which have been previously twisted to some specified angle<br /><br />10. Prior action<br />a. Carry out all or part of the required action in advance<br />b. Arrange objects so they can go into action in a timely matter and from a convenient position<br />Examples:<br />Utility knife blade made with a groove allowing the dull part of the blade to be broken off, restoring sharpness<br />Rubber cement in a bottle is difficult to apply neatly and uniformly. Instead, it is formed into a tape so that the proper amount can be more easily applied.<br /><br />11. Cushion in advance<br />Compensate for the relatively low reliability of an object by countermeasures taken in advance<br />Example:<br />Merchandise is magnetized to deter shoplifting.<br /><br />12. Equipotentiality<br />Change the working conditions so that an object need not be raised or lowered.<br />Example:<br />Automobile engine oil is changed by workers in a pit to avoid using expensive lifting equipment<br /><br />13. Inversion<br />a. Instead of an action dictated by the specifications of the problem, implement an opposite action<br />b. Make a moving part of the object or the outside environment immovable and the non-moving part movable<br />c. Turn the object upside-down<br />Example:<br />Abrasively cleaning parts by vibrating the parts instead of the abrasive<br /><br />14. Spheroidality<br />a. Replace linear parts or flat surfaces with curved ones; replace cubical shapes with spherical shapes<br />b. Use rollers, balls spirals<br />c. Replace a linear motion with rotating movement; utilize a centrifugal force<br />Example:<br />Computer mouse utilized ball construction to transfer linear two-axis motion into vector motion<br /><br />15. Dynamicity<br />a. Make an object or its environment automatically adjust for optimal performance at each stage of operation<br />b. Divide an object into elements which can change position relative to each other<br />c. If an object is immovable, make it movable or interchangeable<br />Examples:<br />A flashlight with a flexible gooseneck between the body and the lamp head<br />A transport vessel with a cylindrical-shaped body. To reduce the draft or a vessel under full load, the body is comprised of two hinged, half-cylindrical parts which can be opened.<br /><br />16. Partial or overdone action<br />If it is difficult to obtain 100% of a desired effect, achieve somewhat more or less to greatly simplify the problem<br />Examples:<br />A cylinder is painted by dipping into paint, but contains more paint than desired. Excess paint is then removed by rapidly rotating the cylinder.<br />To obtain uniform discharge of a metallic powder from a bin, the hopper has a special internal funnel which is continually overfilled to provide nearly constant pressure.<br /><br />17. Moving to a new dimension<br />a. Remove problems with moving an object in a line by two-dimensional movement (i.e. along a plane)<br />b. Use a multi-layered assembly of objects instead of a single layer<br />c. Incline the object or turn it on its side<br />Example:<br />A greenhouse which has a concave reflector on the northern part of the house to improve illumination of that part of the house by reflecting sunlight during the day.<br /><br />18. Mechanical vibration<br />a. Set an object into oscillation<br />b. If oscillation exists, increase its frequency, even as far as ultrasonic<br />c. Use the resonant frequency<br />d. Instead of mechanical vibrations, use piezovibrators<br />e. Use ultrasonic vibrations in conjunction with an electromagnetic field<br /><br />Examples:<br />To remove a cast from the body without injuring the skin, a conventional hand saw was replaced with a vibrating knife<br />Vibrate a casting mold while it is being filled to improve flow and structural properties<br /><br />19. Periodic action<br />a. Replace a continuous action with a periodic (pulsed) one<br />b. If an action is already periodic, change its frequency<br />c. Use pulsed between impulses to provide additional action<br />Examples:<br />An impact wrench loosens corroded nuts using impulses rather than continuous force<br />A warning lamp flashes so that it is even more noticeable than when continuously lit<br /><br />20. Continuity of a useful action<br />a. Carry out an action continuously (i.e. without pauses), where all parts of an object operate at full capacity<br />b. Remove idle and intermediate motions<br />Example:<br />A drill with cutting edges which permit cutting in forward and reverse directions<br /><br />21. Rushing through<br />Perform harmful or hazardous operations at very high speed<br />Example:<br />A cutter for thin-walled plastic tubes prevents tube deformation during cutting by running at a very high speed (i.e. cuts before the tube has a chance to deform)<br /><br />22. Convert harm into benefit<br />a. Utilize harmful factors or environmental effects to obtain a positive effect<br />b. Remove a harmful factor by combining it with another harmful factor<br />c. Increase the amount of harmful action until it ceases to be harmful<br />Examples:<br />Sand or gravel freezes solid when transported through cold climates. Over-freezing (using liquid nitrogen) makes the ice brittle, permitting pouring.<br />When using high frequency current to heat metal, only the outer layer became hot. This negative effect was later used for surface heat-treating.<br /><br />23. Feedback<br />a. Introduce feedback<br />b. If feedback already exists, reverse it<br />Examples:<br />Water pressure from a well is maintained by sensing output pressure and turning on a pump if pressure is too low<br />Ice and water are measured separately but must combine to total a specific weight. Because ice is difficult to dispense precisely, it is measured first. The weight is then fed to the water control device, which precisely dispenses the needed amount.<br /><br />24. Mediator<br />a. Use an intermediary object to transfer or carry out an action<br />b. Temporarily connect an object to another one that is easy to remove<br />Example:<br />To reduce energy loss when applying current to a liquid metal, cooled electrodes and intermediate liquid metal with a lower melting temperature are used.<br /><br />25. Self-service<br />a. Make the object service itself and carry out supplementary and repair operations<br />b. Make use of wasted material and energy<br />Examples:<br />To prevent wear in a feeder which distributes an abrasive material, its surface is made from the abrasive material<br />In an electric welding gun, the rod is advanced by a special device. To simplify the system, the rod is advanced by a solenoid controlled by the welding current.<br /><br />26. Copying<br />a. Use a simple and inexpensive copy instead of an object which is complex, expensive, fragile or inconvenient to operate.<br />b. Replace an object by its optical copy or image. A scale can be used to reduce or enlarge the image.<br />c. If visible optical copies are used, replace them with infrared or ultraviolet copies<br />Example:<br />The height of tall objects can be determined by measuring their shadows.<br /><br />27. Inexpensive, short-lived object for expensive, durable one<br />Replace an expensive object by a collection of inexpensive ones, forgoing properties (e.g. longevity)<br />Examples:<br />Disposable diapers<br /><br />28. Replacement of a mechanical system<br />a. Replace a mechanical system by an optical, acoustical or olfactory (odor) system<br />b. Use an electrical, magnetic or electromagnetic field for interaction with the object<br />c. Replace fields<br />1. Stationary fields with moving fields<br />2. Fixed fields with those which change in time<br />3. Random fields with structured fields<br />d. Use a field in conjunction with ferromagnetic particles<br />Example:<br />To increase the bond between metal coating and a thermoplastic material, the process is carried out inside an electromagnetic field which applies force to the metal<br /><br />29. Pneumatic or hydraulic construction<br />Replace solid parts of an object by gas or liquid. These parts can use air or water for inflation, or use air or hydrostatic cushions<br />Examples:<br />To increase the draft of an industrial chimney, a spiral pipe with nozzles was installed. When air flows through the nozzles, it creates an air-like wall, reducing drag.<br />For shipping fragile products, air bubble envelopes or foam-like materials are used.<br /><br />30. Flexible membranes or thin film<br />a. Replace traditional constructions with those made from flexible membranes or thin film<br />b. Isolate an object from its environment using flexible membranes or thin film<br />Example:<br />To prevent water evaporation from plant leaves, polyethylene spray was applied. After a while, the polyethylene hardened and plant growth improved, because polyethylene film passes oxygen better than water vapor.<br /><br />31. Use of porous material<br />a. Make an object porous or add porous elements (inserts, covers, etc.)<br />b. If an object is already porous, fill the pores in advance with some substance<br />Example:<br />To avoid pumping coolant to a machine, some of its parts are filled with a porous material soaked in coolant liquid. The coolant evaporates when the machine is working, providing short-term uniform cooling.<br /><br />32. Changing the color<br />a. Change the color of an object or its surroundings<br />b. Change the degree of translucency of an object or processes which are difficult to see<br />c. Use colored additives to observe objects or processes which are difficult to see<br />d. If such additives are already used, employ luminescent traces or tracer elements<br />Examples:<br />A transparent bandage enabling a wound to be inspected without removing the dressing<br />A water curtain used to protect steel mill workers from overheating blocked infrared rays but not the bright light from the melted steel. A coloring was added to the water to create a filter effect while preserving the transparency of the water.<br /><br />33. Homogeneity<br />Make those objects which interact with a primary object out of the same material or material that is close to it in behavior.<br /><br />Example:<br />The surface of a feeder for abrasive grain is made of the same material that runs through the feeder, allowing a continuous restoration of the surface.<br /><br />34. Rejecting and regenerating parts<br />a. After it has completed its function or become useless, reject or modify (e.g. discard, dissolve, evaporate) an element of an object<br />b. Immediately restore any part of an object which is exhausted or depleted<br />Examples:<br />Bullet casings are ejected after the gun fires<br />Rocket boosters separate after serving their function<br /><br />35. Transformation of the physical and chemical states of an object<br />Change an object's aggregate state, density distribution, degree of flexibility, temperature<br />Example:<br />In a system for brittle friable materials, the surface of the spiral feedscrew was made from an elastic material with two spiral springs. To control the process, the pitch of the screw could be changed remotely.<br /><br />36. Phase transformation<br />Implement an effect developed during the phase transition of a substance. For instance, during the change of volume, liberation or absorption of heat.<br />Example:<br />To control the expansion of ribbed pipes, they are filled with water and cooled to a freezing temperature<br /><br />37. Thermal expansion<br />a. Use a material which expands or contracts with heat<br />b. Use various materials with different coefficients of heat expansion<br />Example:<br />To control the opening of roof windows in a greenhouse, bimetallic plates are connected to the windows. A change in temperature bends the plates, causing the window to open or close.<br /><br />38. Use strong oxidizers<br />a. Replace normal air with enriched air<br />b. Replace enriched air with oxygen<br />c. Treat an object in air or in oxygen with ionizing radiation<br />d. Use ionized oxygen<br />Example:<br />To obtain more heat from a torch, oxygen is fed to the torch instead of atmospheric air<br /><br />39. Inert environment<br />a. Replace the normal environment with an inert one<br />b. Carry out the process in a vacuum<br />Example:<br />To prevent cotton from catching fire in a warehouse, it is treated with inert gas while being transported to the storage area.<br /><br />40. Composite materials<br />Replace a homogeneous material with a composite one<br />Example:<br />Military aircraft wings are made of composites of plastics and carbon fibers for high strength and low weight<br /><br /><br /><iframe style="WIDTH: 120px; HEIGHT: 240px" marginwidth="0" marginheight="0" src="http://rcm.amazon.com/e/cm?t=teachingcreative-20&o=1&p=8&l=as1&asins=0964074052&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=FFFFFF&bg1=FFFFFF&f=ifr" frameborder="0" scrolling="no"></iframe><iframe style="WIDTH: 120px; HEIGHT: 240px" marginwidth="0" marginheight="0" src="http://rcm.amazon.com/e/cm?t=teachingcreative-20&o=1&p=8&l=as1&asins=1591391857&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=FFFFFF&bg1=FFFFFF&f=ifr" frameborder="0" scrolling="no"></iframe><iframe style="WIDTH: 120px; HEIGHT: 240px" marginwidth="0" marginheight="0" src="http://rcm.amazon.com/e/cm?t=teachingcreative-20&o=1&p=8&l=as1&asins=B001CCWFGM&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=FFFFFF&bg1=FFFFFF&f=ifr" frameborder="0" scrolling="no"></iframe><iframe style="WIDTH: 120px; HEIGHT: 240px" marginwidth="0" marginheight="0" src="http://rcm.amazon.com/e/cm?t=teachingcreative-20&o=1&p=8&l=as1&asins=B000SW4CPO&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=FFFFFF&bg1=FFFFFF&f=ifr" frameborder="0" scrolling="no"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5202546675942046026.post-62427018205675509782009-05-04T10:57:00.000-07:002009-06-15T13:08:35.264-07:00TRIZ (Theory of Inventive Problem Solving)TRIZ: Theory of Inventive Problem Solving was invented by Genrich S. Alsthller.<br /><br />Genrich S. Altshuller, a mechanical engineer and patent expert, served in the Soviet Navy in the 1940s. He screened over 200,000 patents looking for inventive problems and how they were solved. Of these (over 1,500,000 patents have now been screened), only 40,000 had somewhat inventive solutions; the rest were straight forward improvements.<br /><br />He clearly defined an inventive problem as one in which the solution causes another problem to appear, such as increasing the strength of a metal plate causing its weight to get heavier. Usually, inventors must resort to a trade-off and compromise between the features and thus do not achieve an ideal solution. In his study of patents, Altshuller found that many described a solution that eliminated or resolved the contradiction and required no trade-off.<br /><br />Altshuller categorized these patents in a novel way. Instead of classifying them by industry, such as automotive, aerospace, etc., he removed the subject matter to uncover the problem solving process. He found that often the same problems had been solved over and over again using one of only forty fundamental inventive principles. If only later inventors had knowledge of the work of earlier ones, solutions could have been discovered more quickly and efficiently.<br /><br />Here are the steps in his method.<br /><strong>Step 1. Identifying Problem<br />Step 2. Formulate the problem</strong><br />Restate the problem in terms of physical contradictions. Identify problems that could occur. Could improving one technical characteristic to solve a problem cause other technical characteristics to worsen, resulting in secondary problems arising? Are there technical conflicts that might force a trade-off?<br /><br /><strong>Step 3. Search for Previously Well-Solved Problem<br /></strong><br /><strong>Step 4. Look for Analogous Solutions and Adapt to My Solution</strong><br /><br />Altshuller extracted from the world wide patents 40 inventive principles. These are hints that will help an engineer find a highly inventive (and patentable) solution to the problem.<br />Examples from patents are also suggested with these 40 inventive principles.<br /><br /><hr /><br />I really like the work of Altshuller, he extract 40 inventive principles from a large example set of inventions. Only problem is that the pinciples are very "enginerring-oriented". I think it's possible to further generalize these pinciples, so that it can be used in any other field. I will work on this later.<br /><br /><iframe style="width: 120px; height: 240px;" marginwidth="0" marginheight="0" src="http://rcm.amazon.com/e/cm?t=teachingcreative-20&o=1&p=8&l=as1&asins=0964074052&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=FFFFFF&bg1=FFFFFF&f=ifr" frameborder="0" scrolling="no"></iframe><iframe style="width: 120px; height: 240px;" marginwidth="0" marginheight="0" src="http://rcm.amazon.com/e/cm?t=teachingcreative-20&o=1&p=8&l=as1&asins=1591391857&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=FFFFFF&bg1=FFFFFF&f=ifr" frameborder="0" scrolling="no"></iframe><iframe style="width: 120px; height: 240px;" marginwidth="0" marginheight="0" src="http://rcm.amazon.com/e/cm?t=teachingcreative-20&o=1&p=8&l=as1&asins=B001CCWFGM&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=FFFFFF&bg1=FFFFFF&f=ifr" frameborder="0" scrolling="no"></iframe><iframe style="width: 120px; height: 240px;" marginwidth="0" marginheight="0" src="http://rcm.amazon.com/e/cm?t=teachingcreative-20&o=1&p=8&l=as1&asins=B000SW4CPO&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=FFFFFF&bg1=FFFFFF&f=ifr" frameborder="0" scrolling="no"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5202546675942046026.post-77521334223874223282009-05-01T08:53:00.000-07:002009-05-01T09:17:09.700-07:00Lateral Thinking (Edward de Bono)<p>There are 4 types of "thinking tools" defined in Edward de Bono's Lateral Thinking: The Power of Provocation manual </p><ul><li>Idea generating tools: Break current thinking patterns. </li><li>Focus tools: Broaden where to search for new ideas. </li><li>Harvest tools: Ensure more value is received from idea generating output. </li><li>Treatment tools: Consider real-world constraints, resources, and support </li></ul><p><strong>Idea generating tools<br /></strong><em>1. Random Entry Idea Generating<br /></em>Choose an object at random, or a noun from a dictionary, and associate that with the area you are thinking about.<br /><br /><em>2. Provocation Idea Generating<br /></em>Choose to use any of the provocation techniques - wishful thinking, exaggeration, reversal, escape, or arising. Create a list of provocations and then use the most outlandish ones to move your thinking forward to new ideas.<br /><br /><em>3. Challenge Idea Generating<br /></em>A tool which is designed to ask the question "WHY?", in a non threatening way, why something exists, why it is done the way it is. The result is a very clear understanding of WHY? which naturally leads to fresh new ideas. The goal is to be able to challenge anything at all, not just items which are problems.<br /><br />For example you could challenge the handles on coffee cups. The reason for the handle seems to be that the cup is often too hot to hold directly. Perhaps coffee cups could be made with insulated finger grips, or there could be separate coffee cup holders similar to beer holders.<br /><br /><em>4. Concept Fan Idea Generating<br /></em>Ideas carry out concepts. This tool systematically expands the range and number of concepts in order to end up with a very broad range of ideas to consider.<br /><br /><strong>Focus, harvesting and treatment tools</strong></p><p>They round out the lateral thinking tool kit. It's not enough to just generate ideas. We have to do something productive with them in order to build value. These tools do that.<br /></p><p><br /><br /><hr><br />I like the idea of random entry idea and the challenge idea generating. In problem solving, we are too focus and too rush in finding ideas that make things work. This keeps us not to think about irrelevant, probably useless, and random stuff. However, the irrelevant, probably useless, random ideas may be a good source for creativity. Their relevance and usefulness can actually be evaluated in a later step. Nice idea, Edward de Bono! </p><p>Some Edward de Bono's books:</p><br /><iframe style="WIDTH: 120px; HEIGHT: 240px" marginwidth="0" marginheight="0" src="http://rcm.amazon.com/e/cm?t=teachingcreative-20&o=1&p=8&l=as1&asins=0060903252&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=FFFFFF&bg1=FFFFFF&f=ifr" frameborder="0" scrolling="no"></iframe><iframe style="WIDTH: 120px; HEIGHT: 240px" marginwidth="0" marginheight="0" src="http://rcm.amazon.com/e/cm?t=teachingcreative-20&o=1&p=8&l=as1&asins=0887306357&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=FFFFFF&bg1=FFFFFF&f=ifr" frameborder="0" scrolling="no"></iframe><iframe scrolling="no" style="width:120px;height:240px;" frameborder="0" src="http://rcm.amazon.com/e/cm?t=teachingcreative-20&o=1&p=8&l=as1&asins=0316178314&fc1=000000&IS2=1<1=_blank&m=amazon&lc1=0000FF&bc1=FFFFFF&bg1=FFFFFF&f=ifr" marginheight="0" marginwidth="0"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5202546675942046026.post-38126403003938405282009-04-30T10:54:00.000-07:002009-06-25T09:23:56.227-07:00Osborne-Parnes Creative problem solving (CPS) Model<strong>CPS and its restrictions</strong><br /><br />Osborne-Parnes Creative problem solving (CPS) Model (1963) has 6 stages:<br /><p>1. Mess-finding (Objective Finding) </p><ul><li>Identify Goal, Wish, Challenge </li></ul><p>2. Fact-finding (Gather Data)</p><ul><li>What are all the facts, questions, data, feelings that are involved </li></ul><p>3. Problem-Finding (Clarify the Problem)</p><ul><li>What is the problem that really needs to be focuses on and to be addressed? </li></ul><p>4. Idea-finding (Brainstorming Ideas)</p><ul><li>What are all the possible solutions for how to solve the problem? </li></ul><p>5. Solution finding (Idea evaluation) </p><ul><li>Select & Strengthen Solutions </li></ul><p>6. Acceptance-finding (Idea implementation) </p><ul><li>What action steps need to take place in order to implement your solution? </li></ul><p></p><p><strong>Restrictions of CPS<br /></strong></p><p>In CPS model, creative solutions are mainly generated in Stage 4. Stage 5 and stage 6 are used to evaluate the appropriateness or the relevance of a solution. However, creativity can still be used in directing what kinds of data to be collected (Stage 2). Also, creativity can be used in Stage 3 for identifying the problem from different perspectives. Also, during idea implementation (Stage 6), it can be used in making creative action plans. In short, the CPS model can be limited if ‘creativity’ is only involved mainly in Step 4.</p><p><br /></p><p>Other well known creative problem solving models:<br /></p><ul><li><a href="http://teaching-creativity.blogspot.com/2009/05/lateral-thinking-edward-de-bono.html">Lateral thinking</a></li></ul><ul><li><a href="http://teaching-creativity.blogspot.com/2009/05/triz-theory-of-inventive-problem.html">TRIZ (the Theory of Inventive Problem-Solving)</a></li></ul>Unknownnoreply@blogger.com0