300320 - CREATIVITY AND INNOVATION

Subject type: Mandatory

Coordinator: Judith Turrión Prats

Trimester: Second term

Credits: 6

• Catalan
• Spanish
• English

Check the schedules of the different groups to know the language of teaching classes. Although the material can be in any of the three languages.

The general objective of the subject is to acquire the basic knowledge, skills and competencies to develop innovative projects through collaborative work and creative tools.

The basic concepts related to the management of innovation, its terminology and the typologies of innovations will be analyzed. The student will then take a journey through the creative process from identifying opportunities in the market, generating new ideas, prototyping and testing with potential users and customers.

The classroom (physical or virtual) is a safe space, free of sexist, racist, homophobic, transphobic and discriminatory attitudes, either towards students or teachers. We trust that together we can create a safe space where we can make mistakes and learn without having to suffer the prejudices of others.

• Raise awareness among students about the importance of innovation for the company.
• Knowledge of some guides to create a climate of innovation in the company.
• Knowledge of tools to discover new customer insights.
• Knowledge of tools to discover new market opportunities.
• Knowledge of techniques to explore different solutions to problems.
• Knowledge of tools to turn ideas into viable projects.

Theoretical classes:

• MD1.Master class: Lectures based on the teacher's explanation attended by all students enrolled in the subject
• MD3. Presentations: Multimedia formats that support face-to-face classes
• MD4. Video capsules: Resource in video format, which includes contents or demonstrations of the thematic axes of the subjects. These capsules are integrated into the structure of the subject and serve students to review as many times as necessary the ideas or proposals that the teacher needs to highlight in their classes.

Guided learning:

• MD5. Seminars: Face-to-face format in small work groups (between 14 and 40). These are sessions linked to the face-to-face sessions of the subject that allow to offer a practical perspective of the subject and in which the participation of the student is key.
• MD6. Debates and forums: Face-to-face or online conversations, according to the objectives that the teacher responsible for the subject pursues. The debates have a start and end date and are energized by the teacher.
• MD7. Case study: Dynamics that part of the study of a case, which serves to contextualize the student in a specific situation, the teacher can propose different activities, both individually and in groups, among their students.
• MD8. Role-playing games: Simulation dynamics in which each student plays a role specified by the teacher. As a "role", you will have access to specific information and must "play" its bases, according to the rules of the game, to resolve or experience the reference situation of the dynamics.

Autonomous learning:

• MD9. Solving exercises and problems: Non-contact activity dedicated to the resolution of practical exercises based on the data provided by the teacher.
• MD10. Research and critical reading of articles. Students start from a working hypothesis that they will develop, following the phases of the research methodology, including the critical reading of articles.
• MD11. Non-contact tutorials: why the student will have telematic resources such as e-mail and ESCSET intranet resources.

1 Introduction to Innovation

1. Concept of innovation
2. Key aspects in innovation
3. The innovation process
4. Innovation as a culture
5. Types of Innovation
6. Difference between continuous improvement and innovation
7. Creativity, invention and innovation

2. The philosophy of Innovation from the market

1. The importance for the company to understand customers
2. The consequences of lack of market orientation
3. The concept of customer 'insight'
4. The usual methods for discovering new customer 'insights'
5. Ethnographic tools
6. Observation as a new approach to discovering 'insights' and detecting new customer needs
7. Specific observation methodologies

3. Introduction to Creativity

1. Individual creativity
2. Myths about creativity
3. Divergent and convergent thinking
4. The components of individual creativity
5. Creativity and creative groups
6. Creativity and innovation in organizations

4. Techniques to encourage creativity

1. The workings of creative thinking
2. Mental blockages of creativity
3. Perception
4. Sample of most significant techniques

5. Evaluation and selection of ideas

1. Definition of criteria for evaluating ideas
2. Filtering
3. Weighting of ideas

6. Prototyping

1. Introduction to prototype tests
2. Phases of the process for planning and executing a prototyping evaluation
3. Determine the objectives of prototyping evaluation

7. Keys to presenting an innovative proposal

1. Basic elements of the presentation
2. How to present effectively
3. Errors to avoid in the presentation

The work methodology will experientially combine theories and methodologies in relation to creativity and innovation, their application in different personal, social and especially organizational areas. This experiential methodology will be combined with dynamics and practical exercises in order to learn the details of implementing this type of approach to innovation and creativity. Students will progress through the different activities proposed:

• Experiential dynamics.
• Practical classes with case methodology.
• Practical classes with role play methodologies, business case ...
• Solving individual or group cases, group presentations in class, creating participatory discussions and question and answer sessions.
• Work in groups of analysis and synthesis of topics related to the subject.

Evaluation system:

Evaluation during the term of teaching of the subject:

• 20%: Participation activities in the activities planned within the classroom of continuous assessment scheduled throughout the course (including compulsory class attendance and active and constant participation). Possible activities of continuous evaluation: 
  • presentations, case resolution, preparation of readings, debates and classes, search for information, attendance at conferences, museums, active participation and constant face-to-face or virtual presence, classroom discussion forum and final project. At the beginning of the course, teachers will provide a specific distribution of assessments between the different activities. Students must pass each activity satisfactorily and independently in order to pass the whole course.

    Continuous assessment must be passed with a minimum grade of 5. Students must pass the continuous assessment in order to pass the whole course

• 20%: Individual and / or group work; punctual deliveries. Completed contents and adjusted to what has been requested. Quality in the presentation. Jobs must be passed with a minimum grade of 5. Students must pass the final project in order to pass the entire course
• 20%: Exhibitions: Equitable distribution of the topics to be presented among the team members. Exposures must be passed with a minimum grade of 5. Students must pass the presentations in order to pass the whole course
• 40%: Final exam. You must pass the exam with a minimum grade of 5 to count the part of continuous assessment and final project. Students must pass the exam in order to pass the entire course.

Evaluation in the recovery period:

• Only the final exam will be retaken.
• Continuous assessment and final project activities will NOT be recovered and will continue to mediate with the final exam as long as these are passed.

A student who has not applied for the first call CANNOT apply for recovery.

Amabile, Teresa M. (1996). Managing for creativity. Boston: Harvard Business School.

What is Design Thinking ?, October 2013. Retrieved from https://www.innovationfactoryinstitute.com/blog/que-es-el-design-thinking/

Which innovation methodology is most appropriate for my company ?, February 2017. Recuperat de https://www.innovationfactoryinstitute.com/blog/que-metodologia-de-innovacion-es-la-mas-adecuada-para-mi-empresa/

What principles of social psychology can inspire the process of Design Thinking?, May 2021.

What is the true value of Design Thinking for companies ?, September 2018. Retrieved from https://www.innovationfactoryinstitute.com/blog/cual-es-el-verdadero-valor-del-design-thinking-para-las-empresas/

Discover Design Thinking, the working methodology that sweeps the world's leading companies, January 2017.

How to encourage creativity at work ?, January 2021. Recovered from https://www.innovationfactoryinstitute.com/blog/como-fomentar-la-creatividad-en-el-trabajo/

Chandy, Rajesh, and Jaideep Prabhu (2011) “Innovation Typologies”, in Wiley International Encyclopedia of Marketing, Barry Bayus (ed.), John Wiley and Sons, forthcoming.

Kathryn Baker, "Innovation," www.au.af.mil/au/awc/awcgate/doe/benchmark/ch14.pdf

Popadiuka, S., & Wei Choo, C. (2006) “Innovation and knowledge creation: How are these concepts related?” International Journal of Information Management, Vol.26, pp. 302–312.

Various authors (2010) Handbook of Business Creativity, Crea Business Idea.

Brown, Tim (2008) Design Thinking: Thinking like a designer can transform the way you develop your products, services, processes- and even strategy. Harvard Business Review.

Amabile, Teresa (2013). Componential theory of creativity. In E. Kessler (Ed.), Encyclopedia of management theory. (pp. 135-140). Thousand Oaks, CA: SAGE Publications, Inc. doi: http://dx.doi.org/10.4135/9781452276090.n42

Lehrer, J. (2008) “The Eureka Hunt” The New Yorker.

Miller, Paddy & Brankovic, Azra (2011). "Building a creative culture for innovation." IESE Insight, No 11, Fourth Quarter 2011, pages 51-58.

Assink, M. (2006) “Inhibitors of disruptive innovation capability: A conceptual model”. European Journal of Innovation Management, 9 (2), 215-233.

of Good, Edward. (1994) Creative thinking: the power of lateral thinking for the creation of new ideas. Paidós Ibérica (12th ed). Barcelona.

Amabile, Teresa M. (1996). The Motivation for Creativity in Organizations. Harvard Business School. Background Notes, 396-240.

Kaufman, James C., & Beghetto, Ronald A. (2009). Beyond big and little: The four c model of creativity. Review of general psychology, 13(1), 1.

Amabile, Teresa M. (1998). How to Kill Creativity Harvard Business Review 76(5): 76-87

Udwadia, Firdaus E. (1990), “Creativity and innovation in organizations”, Technological Forecasting and Social Change, Vol. 38 No. 1, p. 66.

What are the main characteristics of creative people, February 2021. Retrieved from https://www.innovationfactoryinstitute.com/blog/cuales-son-las-principales-caracteristicas-de-las-personas-creativas/ 

What does 'Think outside the box' really mean?, March 2022. Retrieved from https://www.innovationfactoryinstitute.com/blog/que-significa-realmente-think-outside-the-box/

Martínez Casanovas, Matilde (2020). Creativity Kit, Creativity Manual. Barcelona: Matilde Martínez Casanovas

Rosenthal, Stephen R. and Capper, Mark (2006). Ethnographies in the Front End: Designing for Enhanced Customer Experiences. Journal of Product Innovation Management.

Amabile, TM (1988). A model of creativity and innovation in organizations. Research in organizational behavior, 10 (1), 123-167.

Martínez Casanovas, M., Miralles, F., García Escarré, R., & Gómez, M. Innovation Factory Brainstorming: improving idea generation through experiential learning training. XXII ISPIM Conference: Sustainability in Innovation.

Amabile, Teresa M. (2012) The componential theory of creativity, Harvard Business School working paper to appear in Kessler, EH (Ed.) Encyclopedia of Management Theory, in press (Sage Publications, 2013)

Amabile, TM (2000) "A Model of Creativity and Innovation in Organizations." In Research in Organizational Behavior. Flight. 22, edited by B. Staw and R. Sutton. Elsevier Science.

Christensen, Clayton (1997) The Innovator's Dilemma: When New Technologies Cause Great Firms to Fail. Harvard Business Press. Boston.

of Good, Edward. (1999) Lateral Thinking: Creativity Step by Step. New York, NY: Harper and Row.

IDEA. Human Centered Design Toolkit. http://www.ideo.com/work/human-centered-design-toolkit/

Kim, KH (2006) Can we trust creativity tests? A review of the Torrance Test of Creative Thinking (TTCT), Creativity Research Journal, 18 (1): 3 –14.

Miziolek, John. Design Thinking Starts At The Top. Fast Company, November 2, 2012. http://www.fastcompany.com/3002635/design-thinking-starts-top

Osborn, Alex F. (1957). Applied Imagination: Principles and procedures of creative problem-solving, (Revised Ed.). New York: Charles Scribner's Sons.

Csikszentmihaly, Mihaly (1996) Creativity: Flow and the Psychology of Discovery and Invention, Harper Perennial.

Fernández Romero, Andrés (2005). Creativity and Innovation in companies and organizations. Techniques for problem solving. Diaz de Santos Madrid

Johnson, Steven (2010) Where Good Ideas Come From. The Natural history of Innovation. Riverhead Books. New York.

Chesbrough, Henry William (2003) Open innovation: the new imperative for creating and profiting from technology. Harvard Business School Press. Boston.

Torrance, Ellis P. (1966) . The Torrance Tests of Creative Thinking-Norms-Technical Manual Research.

Csikszentmihalyi, Mihaly (1998) Creativity. The flow and psychology of discovery and invention. Paidós. Barcelona.

Martínez Casanovas, Matilde (2020). Innovation Kit, Innovation Manual. Barcelona: Matilde Martínez Casanovas