7 Stages Of Creative Process

IDENTITY

IdentityExplore, discover and understand how the system produces the conditions. Even if you think you know how it's done, think again. Use techniques of collaborative, creative design to see the system from different vantage points. Break out of common assumptions and past practices (you can always go back to them if you need to). Build a working model of the current system that replicates the conditions you see. It probably won't be right but it will lend some needed insight. Creativity is the elimination of options. So generate some optional ways of seeing the system and its components. Work until you can see the truth in everyone's viewpoint. This means building models of these viewpoints. Then, maybe you can assemble components of the viewpoints together to get a more robust map of the system and conditions than you could by clinging only to your own opinions.

VISION

How do you see the system working in the future? Be careful not to merely derive a list of anti-conditions. Instead, build working simulations of how the new system will operate. Add new system components and delete others. Ask yourself to describe the difference between the existing system and the new system in terms of operational properties, components, cybernetics and self-organization. What is it about the new system that will allow it to produce different conditions? Describe parameters of autocatalytic closure for the new system to emerge. Whatever you do, don't write some nonsense vision statement. Get in the mud and do the work of building the vision, don't just talk about it in flowery terms.
Visions need to address the new system at all of the vantage points, from philosophy to task.
Frequently we have to shatter cherished beliefs during the visioning stage. Otherwise we're wasting time that would be better spent (although in vain) tweaking the system according to our current beliefs. We forget that our belief structures are mapped into the system as well as our perception of the system. They are integral to creating the conditions we're trying to change. Fortunately, we emerge stronger from these encounters with our personal philosophy, weeding out dogma and adding vibrance and wisdom to our intercourse with the world.

INTENT

Are you excited yet? Do you have the juice to live in the vision and do the work to bring as much of it it back to the present each day as you can? How long can you live with the ambiguity and paradox of working in two different worlds? Can you assume the mantle and the risks of the prophet and advocate? Intent is the well of energy that you'll return to over and over while you're working to bring your vision to the present. The greater the distance on the fitness landscape between the old and new system, the greater the challenge and the more energy you'll need to succeed.

INSIGHT

At this stage, there's only one stumbling block: your vision is full of holes. You will have figured this out by now. Sometimes when working on simple problems, the vision really will contain a clear definition of the problem, and the answer, but usually there are lots of unknowns and gaps in understanding. The problem--the PROBLEM--is how to conceive of, invent, allow for the emergence of, or create the subsystems and ecosystems that will fill the gaps in the vision--that will rework the vision to make it more powerful. The problem is not how to fix the conditions. The problem is how to imagine, design and allow for the evolution of new components of the system (or new systems) that will help the system create different (and hopefully more healthy) conditions. There's no other problem you can solve. You can't fix the conditions.
Imagine a group of people in a room. There's a thermostat on the wall connected to a heating system which is operating, but the heating vents in the room have been closed. It's getting cold in the room and the thermometer indicates that the temperature has fallen to 45°F (apologies to our European friends). The temperature in the room is the condition. One member of the group comes up with a response. He breaks the thermometer, pours in more mercury, and then reseals it. Now the gauge shows 72°F. Has he addressed the problem? No, he's messed with the gauge, and it's still cold in the room. Another member of the group begins hunting through the heating system, checking its various components and how they work together--troubleshooting the system--and discovers the blocked vents, which she opens, allowing the warm air to circulate through the room. The condition now has truly changed but only through an applied understanding of how the system works, and in this instance, changing the state of one component of the system. Of course now the faulty thermometer reads 99°F!
Problems with human enterprises are much trickier, being organic and not mechanical

ENGINEERING

Think of Engineering as a laboratory where various components of the vision, and perhaps different visions themselves are fully designed and tested. It's a breeding ground for new variations as they vie to see which is more fit (not necessarily "better" but more resilient in the current environment). The term Engineering can be misleading if you imagine one or several individuals running carefully controlled experiments. Instead it's more like a confusing market place filled with vendors, hawkers and customers buying and selling their stuff to each other. At least that's the metaphor to use when the problem to be solved is organizational in nature.
Simpler problems may actually be solved in controlled environments, particularly those that involve the design of physical materials, goods or services.
Engineering challenges involve cycles of rapid design, testing, and failure in order to ferret out the more resilient designs. Due to this type of cycling, a pendulum effect is set up between the Intent and Building stages. At each engineering failure, the designers must retreat to the Intent well to gather more resolve, push through for the next Insight, and test it in Engineering until an idea survives well enough to proliferate on its own. If this pendulum effect is full of friction, it can generate enough heat to damage the process, or cause enough energy to bleed away to grind the process to a standstill.

BUILDING

Nothing can be engineered without being built. This stage works hand in glove with the previous one. This applies in particular to organizations and enterprise-wide environments. While companies can run pilot tests to limit risk, remember that the people participating in the pilot--investors, producers and customers--are all real and committed and at risk. [For more about investors, producers and customers, see the Business of Enterprise model.]
If the problem is an organizational one, this stage really refers to assembling complexity. Very few human endeavors are actually built like a machine. Instead, ecosystems of ideas manifest themselves and self-organize into an autocatalytic whole, meaning that each idea creates niches to be filled by other ideas, and occupies niches created by them in turn. We can play a part in this assembly as designers and builders, but a major portion of the process is beyond the individual or collective control of anyone.

USING

At this stage, the idea has been manifested, and the system is now producing new conditions. All of the people in the enterprise, whether they are investors, producers or customers, are users and participate in the system. They can now truly evaluate whether the new conditions are better than the old conditions. Of course, in the process of using, they all develop attachments and dependencies on the system as it is. The cycle begins over again with Identity.
A sense of control that we were looking for in the Building stage can be found instead in this stage, as the new system will work to maintain its own homeostasis--its unique identity and viability--across a broad range of environmental conditions. So, for example, our current government and educational systems are extremely resilient in their ability to resist fundamental change that may threaten what they are. This is good (and bad)! It's good because without this ability, systems would never be stable for long enough to be of value. It's bad, clearly because it's what makes them so hard to change.

7 Stages Of Creative Process

The Tool Kit

The Tool Kit:
The How-To of DirectedCreativity
DirectedCreativity is creativity for serious, action-oriented people. The DirectedCreativity ToolKit is a wide-ranging catalogue of practical methods from the field of creative thinking and innovation in business. The map below is your guide. Just point, click and explore.

Preparation, Imagination, and Development are three phases of the DirectedCreativity Cycle. If you are unfamiliar with the Cycle, start your exploration on that link.
To deepen your understanding and begin development of your own tools for creative thinking, be sure to explore the three basic principles behind all creativitity tools.

Directed Creativity Cycle

The graphic presents our synthesis model -- The DirectedCreativity Cycle -- based on the concepts behind the various models proposed in the literature over the last 80 years.

Let's walk through it, beginning at the 9:00 position on the circle. We live everyday in the same world as everyone else, but creative thinking begins with careful observation of that world coupled with thoughtful analysis of how things work and fail. These mental processes create a store of concepts in our memories. Using this store, we generate novel ideas to meet specific needs by actively searching for associations among concepts. Seeking the balance between satisficing and premature judgment, we then harvest and further enhance our ideas before we subject them to a final, practical evaluation. But, it is not enough just to have creative thoughts; ideas have no value until we put in the work to implement them. Every new idea that is put into practice (that is, every innovation) changes the world we live in, which re-starts the cycle of observation and analysis.

Aliran-aliran Seni

1. Seni Rupa Barat Klasikdari zaman yunani kuno, dewa2 dipatungkan dengan wujud manusia, tetapi lebih besar dan sempurna, misalnya seperti patung Perikles, Plato, dan Aritoteles...Lukisan Yunani banyak ditemukan pada jambangan keramik yang beremail. Hellenisme adalah kebudayaan Yunani yang menyebar ke Timur dan mempengaruhi seni arca buddha di India (Seni Gandhara). Dan banyak juga tokoh2 yang dibuat patung seperti Caesar Agustus, Hanibal, dan Konstantin.2. Seni Rupa Klasik Baru ( Neo-Clasisme)seperti karya Leonardo da Vinci (1452-1519) Monalisakarya Michaelangelo(1475-1564 ) >> lukisan tempera di kubah gereja St. Pieters dan membuat patung Nabi Daud dan Nabi Musa dari marmerkarya Rapahel (1463-1520) >>>Madona3.Zaman Barokdisebut juga klasik akademis. Teman lukisan berkisar pada keagamaan, raja2 dan kel. Salah satu cirinya ialah mengandung kesan mewah.4. Aliran Seni lukisa. Romantisme muncul kisah2 heroik dan dramatis dlm bentuk roman.. pengangaruh dlam seni lukis melahirkan romantismepengikutnya Delacroix(Prancis), William Blake ( Inggris), Raden Saleh(Indonesia). Patung La Marseilaisse adalah patung aliran romantismeb. Realismeadalah lukisan yang bertolak belakang dari kenyataanGustava (1819-1877), Hendra, Abdullah, Basuki, Sudjojono.c. NaturalismeKenyataan yang ditangkap oleh panca Indrakelompok yang terkenal dengan BARBIZON.Julis Dupre, Charles Prancois, Jean B. Theodora.d. Impresionismekecepatan dalam menangkap bentuk yang dipantulkan cahaya, walaupun hasinya tidak mendetail>>>Realisme CahayaMonet, Pisaro, Manet, Renior dan Degas.e. Pointilismedipengaruhi oleh teori warnaf. Ekspresionismeluapan perasaan, dalam mengolah pengalaman hidup, penderitaan batin, perasaan /emosi bukan hanya dari indra tetapi dari kejiwaan. Affandi, Popo Iskandar, Vincent , Paul, Die Bruke.g. FauvismeHendri Matisse, Derain, Vlamick, Rousult, Marquet, Van Dongen, Dufy.h. Kubismepengaruh dari bapak pelukis modern, Cezane lahirlah >> George Brague dan Pablo PicassoKubisme Analtik >> memecah objek -> bentuk2 geometrisKubisme Sintetik >> membentuk objek dari bentuk geometrisJuan Gris, Firnand Leger.i. Surealismehal2 yang tidak nyata atau berada di mimpiSurealisme Fotografi >> realistik meskipun tidak wajarSalvador Dali, Max Ernst, Odilon RedonSurealisme Amorphic >> lukisan abstrak tanpa didikte dari pikiran >>.>>>> Joan Miro, Andre Massonj.. Futurismemenonjolkan gerak dlam lukisan, pengaturan warna yang baik sehingga terkesan gerakan maju>> G. Bella, Duchanp, Boccioni.k. AbstraksionismeEkspresionisme Abstrak >> Wassily KandinskyAbstraksionisme Geometrik >> Piet Mondrianl. Dadaismekejutan baru>>monalisa dibubuhi kumis, susunan karcis dibuat usang...Marcel Duchamp, Thristan Tzara, hans Arpm. Aliran Popberpandangan utk masa kini dan masa yang akan datangTom Wasselman >> lukisan kamar mandi dan kakusGeorge Segall >> Patung Rock & Roll dari gipsYoseph Beny S>> bekas cat yang dipagar>>>>> Popular Images>> memanfaatkan barang2 rongsokann. Aliran Optikpengulangan bentuk geometris atau garis2 yang teratur dan tapi dan terperinci, kadang lukisan tampak menonjol keluar atau mejolok jauh ke dalam >>>sepintas gambaran optik

Aliran-aliran Dalam Seni Visual

Aliran seni Visual terbahagi kepada:
1. Aliran Romantisme.
2. Aliran Realisme.
3. Aliran Naturalisme.
4. Aliran Impresionisme.
5. Aliran Pointilisme.
6. Aliran Ekspresionisme.
7. Aliran Kubisme.
8. Aliran Futurisme.
9. Aliran Dadaisme.
10. Aliran Surealisme.
11. Aliran Abstraksionisme.
12. Aliran Pop Art

Lukisan Kreatif

Contoh-contoh Lukisan kreatif

Apa itu Kretiviti?

Pemikiran kreatif sudah lama dibincangkan dan dibahaskan secara ilmiah. Sering kali terdapat perbezaan tanggapan pada pengertian ‘kreatif’ itu. Namun begitu, hal ini adalah perkara biasa dalam dunia akademik kerana masing-masing merupakan tokoh akademik, penyelidik, sarjana dan dapat mengemukakan konsep yang asli berdasarkan pemerhatian, pengalaman, kajian dan latar disiplin ilmu yang mereka miliki. Menurut kamus Webster’s (1976) pemikiran kreatif ialah, “The ability to bring something new existence”. Definisi ini memperlihatkan kreativiti itu adalah kebolehan mewujudkan sesuatu yang baru sama sekali. Apabila direnung dan difikirkan secara mendalam, dapatkah manusia yang mempunyai sifat yang lemah mewujudkan sesuatu yang baru sama sekali, iaitu daripada ‘tiada’ kepada‘ada’. Definisi ini seolah-olah melambangkan suatu tingkah laku danpemikiran manusia yang hebat, dapat melakukan apa saja yang diinginkan. Malah, dalam keadaan kritikal sekalipun, manusia masih dapat membuktikan kemampuannya menyelesaikan sesuatu masalah. Maka, dapatlah disimpulkan definisi ini terlalu ekstrem bagi menggambarkan kemampuan dan kebolehan manusia berkreativiti.
Ramai sarjana yang berpendapat, tidak mungkin seseorang itu dapatmenghasilkan sesuatu yang tidak pernah wujud sebelumnya, kerana iamemperlihatkan kemampuan manusia mencipta ‘sesuatu daripada tiada kepada ada.’ Sekali imbas, definisi kreatif seperti ini seolah-olah menyanggah kekuasaan dan hak Tuhan. Tidak mungkin seorang manusia yang lemah dan serba kekurangan dapat menghasilkan sesuatu yang baru dan asli. Menurut John (2002); “Only God could create, and whatever he created was original. Man could only rearrange what God had created.”
Namun yang pasti menurut de Bono (1970), kreativiti itu memang berlaku tanpa disedari oleh manusia itu sendiri. Lantaran itu, sehingga kini terdapat ribuan maksud berkenaan pemikiran kreatif dan kesemuanya dapat disimpulkan sebagai berikut (Hassan, 1989) dan (Nik Azis, 1994); “Terminologi kreatif berasal daripada perkataan Latin ‘creare’ yang bermaksud ‘membuat’ (to make). Manakala dalam bahasa Greek pula, ‘Krainein’ yang membawa makna ‘memenuhi’. Dalam bahasa Inggeris ‘create’ atau ‘cipta’ dalam bahasa Melayu.”
“To cause to exist, bring into being, originate, to give rise, bring about, produce, to be first to portray and give character to a role or part creation: An original product of human invention or imagination.”
“A process of becoming sensitive to problems, deficiencies, gaps in knowledge, missing elements, disharmonies and so on; identifying thedifficult; searching for solutions, making guesses or formulating hypotheses about the deficiencies; testing and retesting these hypotheses and possibly modifying and retesting them and finally communicating theresults.” (Torrance, 1974)
Bagaimanapun, konsep kreatif dan kreativiti amat luas dan tidak rigidberdasarkan ruang, tempat dan masa. Malah, konsep kreativiti bolehdilihat dalam pelbagai sudut berdasarkan latar belakang seseorang seperti ahli agama, peguam, jurutera, doktor, pemandu bas, ahli akademik, ahli politik dan sebagainya. Malah menurut Leong (2000), sesetengah sarjana yang liberal mentafsirkan; “People who copy concepts and ideas,” sebagai memenuhi ciri-ciri kreatif. Ringkasnya, istilah kreatif dan kreativiti digunakan bagi menggambarkan produk sosial yang dihasilkan. Berdasarkan konsep kreativiti secara umum, dapat disimpulkan konsep pemikiran kreatif berkisar kepada entiti berikut:
1. Melakukan sesuatu dengan cara yang unik.2. Seseorang itu dapat keluar daripada pola yang sama atau the patternof sameness.3. Berfikir di luar kotak atau thinking outside of the box.4. Melihat sesuatu daripada perspektif baru.5. Menggabungkan idea yang sedia ada kepada pembentukan idea baru.6. Membuka minda dengan idea-idea baru.7. Mencabar andaian.8. Mencipta sesuatu yang baru.9. Menghubungkan idea yang tidak berkaitan.10. Menerbitkan idea besar kepada idea-idea kecil.11. Berfikir secara fleksibel.12. Penghasilan idea, penyelesaian, konsep dan produk yang asli (novel).13. Membuat sintesis, imaginasi dan visualisasi.
Pemikiran kreatif adalah pemikiran yang menerbitkan idea iaituberlawanan dengan pemikiran kritis yang membuat penilaian ke atas sesuatu idea. Idea yang diterbitkan bersifat baru dan kadang-kadang berlawanan dengan logik. Namun, pemikiran kreatif mestilah berasaskan manipulasi segala pengalaman dan pengetahuan yang sedia ada. Menerusi pengalaman dan pengetahuan yang dimilikinya, seseorang itu akan berusaha mencari pelbagai input idea dalam pelbagai perspektif dan dimensi bagi mewujudkan idea atau hasil yang baru yang lebih baik daripada sebelumnya dalam membuat keputusan dan menyelesaikan masalah. Keadaan ini dijelaskan oleh Rikards (1990) sebagai, “Creativity involves escaping from stuckness and opening up possibilities.”

Pemikiran kreatif sudah lama dibincangkan dan dibahaskan secara ilmiah. Sering kali terdapat perbezaan tanggapan pada pengertian ‘kreatif’ itu. Namun begitu, hal ini adalah perkara biasa dalam dunia akademik kerana masing-masing merupakan tokoh akademik, penyelidik, sarjana dan dapat mengemukakan konsep yang asli berdasarkan pemerhatian, pengalaman, kajian dan latar disiplin ilmu yang mereka miliki. Menurut kamus Webster’s (1976) pemikiran kreatif ialah, “The ability to bring something new existence”. Definisi ini memperlihatkan kreativiti itu adalah kebolehan mewujudkan sesuatu yang baru sama sekali. Apabila direnung dan difikirkan secara mendalam, dapatkah manusia yang mempunyai sifat yang lemah mewujudkan sesuatu yang baru sama sekali, iaitu daripada ‘tiada’ kepada‘ada’. Definisi ini seolah-olah melambangkan suatu tingkah laku danpemikiran manusia yang hebat, dapat melakukan apa saja yang diinginkan. Malah, dalam keadaan kritikal sekalipun, manusia masih dapat membuktikan kemampuannya menyelesaikan sesuatu masalah. Maka, dapatlah disimpulkan definisi ini terlalu ekstrem bagi menggambarkan kemampuan dan kebolehan manusia berkreativiti.
Ramai sarjana yang berpendapat, tidak mungkin seseorang itu dapatmenghasilkan sesuatu yang tidak pernah wujud sebelumnya, kerana iamemperlihatkan kemampuan manusia mencipta ‘sesuatu daripada tiada kepada ada.’ Sekali imbas, definisi kreatif seperti ini seolah-olah menyanggah kekuasaan dan hak Tuhan. Tidak mungkin seorang manusia yang lemah dan serba kekurangan dapat menghasilkan sesuatu yang baru dan asli. Menurut John (2002); “Only God could create, and whatever he created was original. Man could only rearrange what God had created.”
Namun yang pasti menurut de Bono (1970), kreativiti itu memang berlaku tanpa disedari oleh manusia itu sendiri. Lantaran itu, sehingga kini terdapat ribuan maksud berkenaan pemikiran kreatif dan kesemuanya dapat disimpulkan sebagai berikut (Hassan, 1989) dan (Nik Azis, 1994); “Terminologi kreatif berasal daripada perkataan Latin ‘creare’ yang bermaksud ‘membuat’ (to make). Manakala dalam bahasa Greek pula, ‘Krainein’ yang membawa makna ‘memenuhi’. Dalam bahasa Inggeris ‘create’ atau ‘cipta’ dalam bahasa Melayu.”
“To cause to exist, bring into being, originate, to give rise, bring about, produce, to be first to portray and give character to a role or part creation: An original product of human invention or imagination.”
“A process of becoming sensitive to problems, deficiencies, gaps in knowledge, missing elements, disharmonies and so on; identifying thedifficult; searching for solutions, making guesses or formulating hypotheses about the deficiencies; testing and retesting these hypotheses and possibly modifying and retesting them and finally communicating theresults.” (Torrance, 1974)
Bagaimanapun, konsep kreatif dan kreativiti amat luas dan tidak rigidberdasarkan ruang, tempat dan masa. Malah, konsep kreativiti bolehdilihat dalam pelbagai sudut berdasarkan latar belakang seseorang seperti ahli agama, peguam, jurutera, doktor, pemandu bas, ahli akademik, ahli politik dan sebagainya. Malah menurut Leong (2000), sesetengah sarjana yang liberal mentafsirkan; “People who copy concepts and ideas,” sebagai memenuhi ciri-ciri kreatif. Ringkasnya, istilah kreatif dan kreativiti digunakan bagi menggambarkan produk sosial yang dihasilkan. Berdasarkan konsep kreativiti secara umum, dapat disimpulkan konsep pemikiran kreatif berkisar kepada entiti berikut:
1. Melakukan sesuatu dengan cara yang unik.2. Seseorang itu dapat keluar daripada pola yang sama atau the patternof sameness.3. Berfikir di luar kotak atau thinking outside of the box.4. Melihat sesuatu daripada perspektif baru.5. Menggabungkan idea yang sedia ada kepada pembentukan idea baru.6. Membuka minda dengan idea-idea baru.7. Mencabar andaian.8. Mencipta sesuatu yang baru.9. Menghubungkan idea yang tidak berkaitan.10. Menerbitkan idea besar kepada idea-idea kecil.11. Berfikir secara fleksibel.12. Penghasilan idea, penyelesaian, konsep dan produk yang asli (novel).13. Membuat sintesis, imaginasi dan visualisasi.
Pemikiran kreatif adalah pemikiran yang menerbitkan idea iaituberlawanan dengan pemikiran kritis yang membuat penilaian ke atas sesuatu idea. Idea yang diterbitkan bersifat baru dan kadang-kadang berlawanan dengan logik. Namun, pemikiran kreatif mestilah berasaskan manipulasi segala pengalaman dan pengetahuan yang sedia ada. Menerusi pengalaman dan pengetahuan yang dimilikinya, seseorang itu akan berusaha mencari pelbagai input idea dalam pelbagai perspektif dan dimensi bagi mewujudkan idea atau hasil yang baru yang lebih baik daripada sebelumnya dalam membuat keputusan dan menyelesaikan masalah. Keadaan ini dijelaskan oleh Rikards (1990) sebagai, “Creativity involves escaping from stuckness and opening up possibilities.”