Relevant bibliographies by topics / Creative process and product

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Creative process and product'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Creative process and product"

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Yang, Monica, and Cong Cheng. "Creative process engagement and new product performance." Academy of Management Proceedings 2018, no. 1 (August 2018): 10854. http://dx.doi.org/10.5465/ambpp.2018.10854abstract.

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Garcês, Soraia, Margarida Pocinho, Saul Neves Jesus, and João Viseu. "The impact of the creative environment on the creative person, process, and product." Revista Avaliação Psicológica 15, no. 2 (July 10, 2016): 169–76. http://dx.doi.org/10.15689/ap.2016.1502.05.

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Burch, Gerald F., Jana J. Burch, and John H. Batchelor. "Group Creative Problem Solving: The Role of Creative Personality, Process and Creative Ability." Quality Innovation Prosperity 23, no. 3 (November 30, 2019): 38. http://dx.doi.org/10.12776/qip.v23i3.1286.

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<p><strong>Purpose:</strong> Team creativity is an important factor in developing new ideas for organisations. In spite of years of creativity research, little is known about various team aspects and their affect on team creativity. This study looks at the incremental explanatory value that team creative personality and divergent thinking skill processes have on team creativity.</p><p><strong>Methodology/Approach:</strong> Individual personality, creative personality, and divergent thinking skills were collected from 349 students at a large public university in the southeast US. These students were then randomly assigned to 105 teams where they developed a novel product. Individual attributes were averaged to create team attributes that were used to determine correlations with the product creativity. Hierarchical regression was used to evaluate incremental explanatory values for each of the independent variables.</p><p><strong>Findings:</strong> Group creative personality adds approximately 36 percent more explanatory power than cognitive ability and traditional personality measures in predicting team creativity. Creative processes, like team divergent thinking ability, further increased the R<sup>2</sup> of our model from 0.54 to 0.65 demonstrating that team processes affect team creativity.</p><p><strong>Research Limitation/implication:</strong> The task used in this study was not as complex as problems being considered by organizations. However, the results are expected to be indicative of the process used for more complex problems. It is also difficult to assign causality since correlations were used to verify some of our hypothesis.</p><strong>Originality/Value of paper:</strong> This research expands the findings of team creativity by identifying factors that increase team creativity.
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Valgeirsdottir, Dagny, Balder Onarheim, and Gorm Gabrielsen. "Product creativity assessment of innovations: considering the creative process." International Journal of Design Creativity and Innovation 3, no. 2 (September 8, 2014): 95–106. http://dx.doi.org/10.1080/21650349.2014.954626.

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KRISTENSSON, PER, and TORSTEN NORLANDER. "The Creative Product and Process in Computer-Mediated Groups." Journal of Creative Behavior 37, no. 4 (December 2003): 223–43. http://dx.doi.org/10.1002/j.2162-6057.2003.tb00992.x.

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Katmo, Els Tieneke Rieke, Agus Sumule, Ardha Puspitasari, Diana Irbayanti, Indra Irianti, and Maria I. Arim. "Situasi, Kendala Dan Strategi Pengembangan Ekonomi Kreatif Kuliner Di Kabupaten Fakfak Provinsi Papua Barat." JFRES: Journal of Fiscal and Regional Economy Studies 3, no. 1 (March 30, 2020): 34–49. http://dx.doi.org/10.36883/jfres.v3i1.36.

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Culinary is a potential creative economic sector in Fakfak in enhancing slow economic growth. In comparison to other creative economic sector, creative economic mapping in Fakfak indicated that culinary has highest scores. SWOT analysis that was applied to assess criterias of indicators from three dimentions which are sectors, process and actors indicated that human resources is the main strength but also weaknesses in culinary as well as raw material as resources that naturally provided. National Government policy regarding creative economic is strength in develops creatice economic in Fakfak. Yet, sustainability of culinary as potential creative economic sector depends on sustainability of natural resources and agriculture product. Threfore, increasing production process while improving the use of technology and infrastructure in creation is needed. This followed by market expansion.
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Zhang, Xizhi, and Kuo-Hsun Wen. "A Model Process of Integrating Context of Local Culture for Pre-Development Stage in the Design of Cultural and Creative Products—Using Macao’s Historical Buildings as an Example." Sustainability 12, no. 15 (August 4, 2020): 6263. http://dx.doi.org/10.3390/su12156263.

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In the context of the research on local architectural culture of Macao, this paper explores how architecture’s cultural elements can be integrated into cultural and creative product design at the pre-development stage. Therefore, local culture can be effectively disseminated through the medium of cultural and creative products. However, in the process of product design, seemingly, designers often rely on their experience as the main way to develop ideas and designs. This approach can fall short in generating sufficient cognition and interpretation between culture and product design, and the product may fail to truly reflect cultural and creative values. This paper focuses on the cultural elements and the designer’s cognition in design development of cultural and creative products. It applies theoretical concepts of Kansei engineering theory as the basis, and, combined with the Semantic Differential Method, tries to extract the most powerful product image elements that influence designers for better understanding of the cultural elements in design development. This paper aims to employ scientific methods to enable designers to better develop designs with cultural and creative connotations, thereby improving the success rate of cultural and creative products. It further proposes a model process of image perception to be employed by designers in early design research and the development stage. By enhancing the resonance of cultural elements for cultural and creative products, the model may shorten the perceptual distance between the designer and the local culture, improve the designer’s product development efficiency, and increase consumer satisfaction with the design outcome through added cultural and creative value. As such, the model can optimize the design development for cultural and creative products to achieve the public’s aesthetic and cultural expectations, as well as for a sustainable design approach.
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Itani, Alice, and Fernando Rei. "Workers, producers and the creative experience." Brazilian Journal of Operations & Production Management 15, no. 3 (September 3, 2018): 386–95. http://dx.doi.org/10.14488/bjopm.2018.v15.n1.a5.

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Creative activities assume a measure of importance within what is known as the creative economy. Little is known, however, about the challenges and prospects that present themselves to those who work in those activities that are considered to be creative. The objective of this paper is to analyze workers' experiences, especially in individual projects. Statements were taken from workers who have already worked in companies. The experiences of these workers were analyzed on the basis of what they express in relation to the items: their relationship with the activity, the product, or the result of the work; their relationship with the time and value of the work; their understanding of creation; their possibility for creating; their mastery of the work process; and their understanding of the work process. It was found that the women in the cases chosen are highly trained for developing their particular activity and have a relationship with it that is highly positive. They recognize that their activity is of value to society. The value of the work, however, is related to the time spent on the activity, which has not been remunerated for a long time. There are challenges for those who depend on the time taken to sell the product, a process that is carried out with little support. Everyone masters and understands the work process undertaken in the activity, and they identify the product, or the result of their work. They realize that there are many possibilities for creation. Even when an idea has been developed before, there is the possibility of innovating.
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Meng, Xianzhe. "Optimization of Cultural and Creative Product Design Based on Simulated Annealing Algorithm." Complexity 2021 (April 5, 2021): 1–10. http://dx.doi.org/10.1155/2021/5538251.

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This paper introduces the basic principle and application process of simulated annealing algorithm and improves the simulated annealing algorithm so that it can converge faster to get the new parameters of cultural and creative product design and make it more in line with the reality of engineering optimization. In the cultural creative industry, it is necessary to use the creatorʼs creativity and technology to derive and develop the original cultural resources with the help of various materialization means, to refine the abstract and profound contents of cultural resources to make them more visualized, and to produce products with both spiritual and economic values through the multiple development and utilization of their intellectual property contents. By studying the feasibility analysis of the cultural and creative design, the design positioning of the cultural and creative products is determined. In this article, we use the simulated annealing method to simulate and analyse the condition values in the design process of cultural creative products. As the Internet era progresses, people have more diversified requirements for cultural and creative products, and they need to have innovative ideas to follow the trend, so the design of cultural and creative products can spread culture through different design expressions and media. As one of the important pillar industries for future development, cultural and creative products are characterized by a wide range of styles and practicality, which meet the aesthetic needs and fashion trends of modern people.
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Hanip, Sepma Pulthinka Nur. "Implementasi Pendekatan 4P Dalam Pembelajaran Pendidikan Islam Kreatif." eL-HIKMAH: Jurnal Kajian dan Penelitian Pendidikan Islam 14, no. 2 (December 29, 2020): 123–40. http://dx.doi.org/10.20414/elhikmah.v14i2.2328.

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This study aims to provide an insight into how the implementation of the 4P approach relies on psychological theory as an effort to develop talent and creativity in Islamic education in order to produce creative students. The focus of the 4P approach is applied in learning in the form of personal, motivational, process, and product as a basic foothold aimed at training and developing talent and creative power. In the perspective of Islamic education, humans are the most perfect creation of Allah. So the teacher is a guide, motivator, and controller in learning and the ultimate goal of Islamic education is our human beings. For this reason, creating a perfect human being must begin by developing his talents and creativity to become creative people using one of the 4P approaches.
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Dissertations / Theses on the topic "Creative process and product"

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MARJOT, Cédric, and JOU-YEN (VERNA) LU. "Creative Process and Product Life Cycle of High-Tech Firms." Thesis, University of Kalmar, Baltic Business School, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-351.

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Given the context of globalization and growing competition, we assist at a reduction of the product life cycle and at a rapid diffusion of creations and innovations. To respond to the fast changing customers’ demand and to reinforce their market position, firms shall design an effective creative process offering superior customer value and insuring their future in the long term.

First of all, after an explanation of the differences between creativity and innovation, the creative process of high-tech firms in terms of actors involved, resources allocation, leadership and management of creative people will be depicted. Secondly, the creative destruction process and some of the inherent obstacles and risks of the creative process will be addressed. Thirdly, the concepts of Technology Life Cycle (TLC) and Product Life Cycle (PLC) will be developed.

Within this thesis, our ideas are presented and justified through three methodologies: Literature Review, case study and interview. We mainly used the cases of Hewlett-Packard (HP) and France Telecom Orange (FTO) to backup our argumentation.

We conceptualized the creative process and we highlighted the connections between the creative process and the Product Life Cycle. With the help of two other small cases study (Nintendo and Apple), we emphasized the downward trend of high-tech products’ lifecycle in the long run. Ultimately, four practical recommendations are given to leaders from high-tech industries and directions to deeper research this topic are advised.

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Johnson, K. "A creative process for material selection and technology coupling in product design." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.605628.

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In this thesis, a subset of materials and products have been considered - those of sports equipment. First the relevant information about each is explored and structured in a database. This information is presented in a standard profile - a description of the character of a material - or as a 'map' of the space of materials - a visualisation of material behaviour. Two-dimensional maps displaying pairs of technical properties of materials are well known. In multiple dimensions, a completely new technique is required, that of multi-dimensional scaling. This is a technique for revealing 'similarities' and relationships in complex data sets; the full attribute profile of a material is precisely such a set. Both two-dimensional and multi-dimensional maps are explored as tools for product design. For visualising similarities between lightweight structural products a second technique is required, that of mapping material properties (like elastic modulus and yield strength) with specific geometries (like second moment of area and section modulus). Here, these maps are used to compare similar functional elements in specific products and their relationship to material possibilities. The intention of this thesis is to develop an understanding of the interaction of materials and design (MAD). These interactions require new methods of selection which are then demonstrated in a set of design tools: one for material selection and a second for structured inspiration. For each, a database of materials is linked to one of products. With this process, two methods of material selection, based on the visualisation techniques described earlier, are integrated with those of analysis - selection by similarity and selection by synthesis. In selection by similarity, the set of possible material solutions is expanded by comparing materials based on technical or aesthetic attributes. In selection by synthesis, innovative material solutions are created by assembling elements from those that are found in existing products. The same database is manipulated by a digital viewer for structured inspiration - for this, a series of images of materials are presented to the designer in random order. The viewer provides a visual stimulus for material selection and the designer is immediately linked to the appropriate information if requested - selection by inspiration. The MAD process of material selection requires the creative combination of each of these methods.
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Broch, José Carlos. "O conceito de affordance como estratégia generativa no design de produtos orientado para a versatilidade." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/25510.

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Para a estruturação e qualificação do pensamento criativo alguns educadores sugerem a utilização de modelos de aprendizagem baseados na ampliação das capacidades associativas dos alunos. Neste cenário emerge a Teoria das Affordances como ferramenta, tanto para compreender como o indivíduo interage com os objetos, quanto para ampliar essa interatividade. Focando um design orientado para a ampliação da utilidade dos produtos, o presente estudo explora a aplicação da Teoria das Affordances como estratégia para identificar novas possibilidades de uso dos objetos e analisa como esta aplicação interfere no processo criativo de alunos de Design. O delineamento experimental baseou-se no Plano de Quatro Grupos, de Richard Solomon, e os participantes do estudo exploratório foram alunos de cursos de graduação em Design de quatro instituições privadas de ensino brasileiras. A análise qualitativa e quantitativa dos dados sugere que a exploração de affordances em sala de aula, ao induzir a abstração, potencializa a emergência de alternativas de uso que, incorporadas ao processo de design, podem conferir versatilidade e aumentar as possibilidades de inovação na concepção de produtos. Os resultados da pesquisa deverão ser ainda ulteriormente confrontados com resultados de novos testes para que seja possível confirmar as hipóteses sobre a importância do uso de associações estruturadas (affordances) no ensino e no processo de design de produtos.
To qualify creative thinking, some educators suggest the use of learning models based on expansion of associative capacities of the students. In this scenario, the Theory of Affordances emerges as a tool to understand how the individual interacts with objects and to increase this interactivity. Focusing utility-oriented design, this study explores the application of the Theory of Affordances as a strategy to identify new possibilities for use of objects and analyzes how this application interferes within the creative process of Design students. The experiment was based on Solomon’s Four-Group Design and the participants of the exploratory study were students of undergraduate courses in Design of four Brazilian private colleges. The qualitative and quantitative data analysis suggests that the exploitation of affordances in the classroom, to induce abstraction, enhances the emergence of use alternatives, and incorporated into the design process may provide versatility and increase opportunities for innovation in product design. The research results must still be faced with further results of new experiments to confirm the hypothesis about the importance of structured associations use (affordances) in education and product design process.
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SABRÁ, FLÁVIO GLÓRIA CAMINADA. "THE SOCIAL AGENTS INVOLVED IN THE CREATIVE PROCESS IN PRODUCT DEVELOPMENT OF TEXTILE CHAIN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25433@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
As reflexões desenvolvidas neste trabalho têm por finalidade discutir o papel dos agentes que atuam na cadeia têxtil e, consequentemente, o papel do designer como um dos que proporcionam os meios para o entendimento da dialética entre o que chamamos de processo criativo e as demandas do mercado. Um artefato produzido pela cadeia têxtil está diretamente ligado a todos nós no dia a dia, seja como usuários diretos, seja como indiretos. Ocorre que seu processo de desenvolvimento é complexo, e muitas vezes desconhecido por aqueles que nele estão envolvidos − tanto os que atuam como legitimadores quanto os seus usuários. A atuação do designer normalmente é vinculada apenas ao processo criativo, mesmo quando levado em consideração o fato de que seu trabalho depende de informações provenientes de uma estrutura mais ampla e complexa, que envolve a necessidade de conhecimento sobre materiais, processos de fabricação e distribuição, e processos de uso e de consumo. Entretanto, o entendimento de que a estrutura dessa cadeia produtiva é mais complexa, composta por diferentes agentes sociais, leva a pensar que o designer é somente mais um profissional, cuja prática influencia, mas também é influenciada por tantos outros agentes sociais pertencentes ao campo; desta forma, o processo criativo se revela uma atividade coletiva que envolve vários agentes. Criar um produto de moda, aqui descrito como um objeto inserido na cadeia têxtil é muito mais complexo do que o simples desenvolvimento daquele artefato que nos é apresentado como temporal no desfile de uma específica coleção de moda. Propõe-se, então, aqui apresentar o modo pelo qual se estabelece a relação, direta ou indireta, com todos aqueles envolvidos na cadeia têxtil, para identificar como essas relações interferem no processo criativo, tradicionalmente associado apenas à intencionalidade e aos méritos do designer.
Reflections developed in this work are intended to discuss the necessity of the role of agents working in the textile chain and hence the designer as one of providing ways for understanding that what we call creative process, as well as market demands and its dialectic with the whole process. An artifact produced by the textile chain is directly linked to all of us in everyday life, either as direct or indirect users. It turns out that its development process is complex and, often, unknown by those involved as well as those who act as legitimators, plus those who are its members. The acting of the designer is usually linked only to the creative process, even when we take into consideration that your job depends on information from a broader and more complex structure that involves the need for knowledge of materials, manufacturing processes and distribution and use processes and consumption. However understand that the structure of this supply chain is more complex and consists of different actors, makes us think that he is just another professional whose practice influences, but is also influenced by many other social agents belonging to the field, and with it often we do not realize that the creative process is a collective activity involving these various agents. Create a fashion product, described here as an object that is inserted in the textile chain is much more complex than the simple development of that artifact that is presented to us as temporal at a fashion show in a specific fashion collection. We propose as assessed within the relationship, direct or indirect, with all those involved in the textile chain to identify how these relationships interfere with the creative process, traditionally associated only intentionality and merits of the designer.
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Silveira, Reis Rosana <1961&gt. "Creative process in globally distributed teams: a study of new product development in Volvo." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/2967/.

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With the business environments no longer confined to geographical borders, the new wave of digital technologies has given organizations an enormous opportunity to bring together their distributed workforce and develop the ability to work together despite being apart (Prasad & Akhilesh, 2002). resupposing creativity to be a social process, the way that this phenomenon occurs when the configuration of the team is substantially modified will be questioned. Very little is known about the impact of interpersonal relationships in the creativity (Kurtzberg & Amabile, 2001). In order to analyse the ways in which the creative process may be developed, we ought to be taken into consideration the fact that participants are dealing with a quite an atypical situation. Firstly, in these cases socialization takes place amongst individuals belonging to a geographically dispersed workplace, where interpersonal relationships are mediated by the computer, and where trust must be developed among persons who have never met one another. Participants not only have multiple addresses and locations, but above all different nationalities, and different cultures, attitudes, thoughts, and working patterns, and languages. Therefore, the central research question of this thesis is as follows: “How does the creative process unfold in globally distributed teams?” With a qualitative approach, we used the case study of the Business Unit of Volvo 3P, an arm of Volvo Group. Throughout this research, we interviewed seven teams engaged in the development of a new product in the chassis and cab areas, for the brands Volvo and Renault Trucks, teams that were geographically distributed in Brazil, Sweden, France and India. Our research suggests that corporate values, alongside with intrinsic motivation and task which lay down the necessary foundations for the development of the creative process in GDT.
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Friggieri, Albert. "Creative process, unfinished product : Friedrich Schiller's dramatic fragment 'Die Maltheser' : history, sources, reception and themes." Thesis, University of Exeter, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535887.

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Chase, James P. (James Patrick) 1975. "Value creation in the product development process." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/82217.

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Dong, Xiaoqin 1971. "Improving efficiency in product and process development : a case study on a consumer products creation process." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28502.

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Thesis (M. Eng. in Logistics)--Massachusetts Institute of Technology, Engineering Systems Division, 2004.
Includes bibliographical references (leaves 59-60).
This research examines how an athletic footwear company should establish its new product development and launch process to eliminate wastes in the processes and improve the time to market. Currently, it typically takes an athletic footwear company twelve months to introduce new product samples. Retailers place orders after they see samples, however they will not receive and sell the shoes in their retail stores until six months later. The total process from an idea generated to the time when the final products launch takes eighteen months. While this system is set up due to historical reasons, forward looking management teams in the industry see a lot of inefficiencies in it, especially when athletic footwear becomes more and more fashion driven. Why should retailers stick to this advance buying pattern where they take big risks predicting the market six months ahead of time? What if this advance buying pattern is eliminated for whatever reasons? How companies can improve their new products launch process to make them prepared for the possible new challenges in the future? This research studies the new product development process in a large athletic footwear company (Hereinafter US-Footwear). Recommendations include adopting a systematic new products development framework to shorten the time to market. Specifically, this systematic roadmap will force companies to redefine milestones and key activities; this approach will also form a "funnel" screening and informed decision making mechanism. Consequently, companies would be able to eliminate non-value added activities and focus their valuable resources only on the most winning products. It will thus provide companies huge potential to shorten the time to market by doing fewer activities, fewer products and by greatly
(cont.) reducing iterative design changes. Lastly, the author believes that fashion business in general could benefit by adopting the similar approach.
by Xiaoqin Dong.
M.Eng.in Logistics
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Chen, Chi Wai, and cwchen@ied edu hk. "The creative process of computer-assisted composition and multimedia composition - visual images and music." RMIT University. Education, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080107.115525.

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This research study investigates how music technology can enhance and develop the musical ideas of students, focusing on the creative processes involved in computer-assisted composition and multimedia composition. The study investigates the Creative Multimedia Music Project, a module of the Associate of Arts (Music) Degree where students are using computers as music workstations. The aims of the study are (a) to evaluate the use of music technology for composing; (b) to describe the creative process of composing and investigate how the students comprehend this; and (c) to analyze the relationship between the creative process of the musical treatment and the visual image in multimedia composition. The study is conducted in an exploratory, self-directed environment where the students make musical decisions about their compositions. From the preliminary survey, 10 out of 45 music-major students (Year Two) from the Associate Degree Music Program at the Hong Kong Institute of Education (HKIEd) were selected. Composition activities took place over 15 sessions. The first phase focused on computer-assisted composition and the second phase focused on multimedia composition. The students attended lectures on alternate weeks. This gave them enough time to compose in the laboratory or at home, allowing them to explore, make decisions, and evaluate decisions. Data were collected from four sources: (1) written reports including a musical analysis of the creative process, (2) one-to-one interviews conducted during and after the creative process (15 questions were asked in each phase), (3) self-reflective journals that students maintained during their creative process, and (4) MIDI file observations after the creative process had occurred. After data collection, commonalities between each of these data sources were analyzed. This highlighted that during the creative process, a developmental pattern emerged that extends Webster's model (2003) of creative thinking in music. The relationships between the findings and the lite rature review were articulated to reinforce the creative thinking model, trends, and perspectives from different sources. Through an analysis of these students' creative processes and the strategies they adopted while composing with music technology, research projects such as this one may provide composers, music technologists, and music educators with insights into how students approach the task of composing using music technology. The findings might prove as a useful guidance to music educators on how to structure computer-assisted composition and multimedia composition programs for different age groups from school to university.
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Tschida, Jan. "Development of a tailored product creation process for Railway Industry." Thesis, KTH, Skolan för industriell teknik och management (ITM), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-217345.

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Books on the topic "Creative process and product"

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Teaching writing: Balancing process and product. Columbus: Merrill Pub. Co., 1990.

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Teaching writing: Balancing process and product. 3rd ed. Upper Saddle River, N.J: Merrill, 2000.

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Teaching writing: Balancing process and product. 5th ed. Upper Saddle River, N.J: Pearson/Merrill Prentice Hall, 2008.

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Teaching writing: Balancing process and product. 4th ed. Upper Saddle River, N.J: Pearson/Merrill/Prentice Hall, 2004.

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Teaching writing: Balancing process and product. 2nd ed. New York: Merrill, 1994.

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Innovation generation: Creating an innovation process and an innovative culture. Milwaukee, Wis: ASQ Quality Press, 2008.

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Merrill, Peter. Innovation never stops: Innovation generation : the culture, process, and strategy. Milwaukee, Wisconsin: ASQ Quality Press, 2015.

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Winning at new products: Accelerating the process from idea to launch. 2nd ed. Reading, Mass: Addison-Wesley, 1993.

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Winning at new products: Accelerating the process from idea to launch. 3rd ed. Cambridge, Mass: Perseus Pub., 2001.

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Aghion, Philippe. A model of growth through creative destruction. Cambridge, MA: National Bureau of Economic Research, 1990.

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Book chapters on the topic "Creative process and product"

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Bajaria, H. J. "Creating robust product and process design." In Total Quality Management in Action, 9–17. Dordrecht: Springer Netherlands, 1996. http://dx.doi.org/10.1007/978-94-009-1543-5_2.

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Jaccheri, M. Letizia, and Tor Stålhane. "Evaluation of the E3 Process Modelling Language and Tool for the Purpose of Model Creation." In Product Focused Software Process Improvement, 271–81. Berlin, Heidelberg: Springer Berlin Heidelberg, 2001. http://dx.doi.org/10.1007/3-540-44813-6_24.

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Pourkomeylian, Pouya. "Knowledge Creation in Improving a Software Organisation." In Diffusing Software Product and Process Innovations, 205–23. Boston, MA: Springer US, 2001. http://dx.doi.org/10.1007/978-0-387-35404-0_13.

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Brad, Stelian. "Domain Analysis with TRIZ to Define an Effective “Design for Excellence” Framework." In Creative Solutions for a Sustainable Development, 426–44. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-86614-3_34.

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AbstractDesign for Excellence (DfEx) is the name given to an engineering process where a product is designed to meet a set of objective functions that cover its lifecycle. There are negative correlations between different objective functions in this set and issues related to technological complexity are added, since modern products typically fall into the category of smart connected mechatronic products. This context leads to complexity in terms of tackling the design process. Simultaneous engineering and PLM platforms can only partially handle such levels of complexity. To our knowledge, the subject of DfEx was treated in current researches from a limited perspective, which does not necessarily cover the complexity of the present-day context. In order to formulate a reliable DfEx framework, this research considers a strategy based on tools that manage in a systematic way the process of identifying the comprehensive set of barriers and conflicts that obstruct DfEx. This research highlights the level of complexity in setting up a reliable methodology to DfEx of modern, sophisticated mechatronic products. A set of guidelines to be placed at the foundation of an effective DfEx methodology is formulated with the support of TRIZ.
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Pérez, Jennifer, Luigi Buglione, and Maya Daneva. "VALOIR 2012 2nd Workshop on Managing the Client Value Creation Process in Agile Projects: Message from the Chairs." In Product-Focused Software Process Improvement, 368–69. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-31063-8_31.

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Kelen, Christopher. "Chapter 5. Process and product, means and ends: Creative Writing in Macao." In Linguistic Approaches to Literature, 75–102. Amsterdam: John Benjamins Publishing Company, 2014. http://dx.doi.org/10.1075/lal.19.05kel.

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Johansen, Trond. "Using Evolutionary Project Management (Evo) to Create Faster, More Userfriendly and More Productive Software. Experience Report from FIRM AS, a Norwegian Software Company." In Product Focused Software Process Improvement, 216–23. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11497455_18.

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Möhring, Michael, Rainer Schmidt, Barbara Keller, Jennifer Hamm, Sophie Scherzinger, and Ann-Kristin Vorndran. "Enabling Co-creation in Product Design Processes Using 3D-Printing Processes." In Business Process Management Workshops, 96–106. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-11641-5_8.

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Suomala, Jyrki. "Benefits of Neuromarketing in the Product/Service Innovation Process and Creative Marketing Campaign." In Innovative Research Methodologies in Management, 159–77. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64400-4_7.

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Rueckel, Veit, Alexander Koch, Klaus Feldmann, and Harald Meerkamm. "Process Data Management for the Shortening of the Whole Product Creation Process." In Lecture Notes in Computer Science, 616–25. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11686699_62.

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Conference papers on the topic "Creative process and product"

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Wu, Zhi-jun, Liang-zhi Li, Chen Yu, and Cai Yan. "User's behavior -based creative product design process." In 2010 IEEE 11th International Conference on Computer-Aided Industrial Design & Conceptual Design 1. IEEE, 2010. http://dx.doi.org/10.1109/caidcd.2010.5681306.

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Suyidno, Mr, Dewi Dewantara, Mohamad Nur, and Leny Yuanita. "Maximizing Students' Scientific Process Skill within Creative Product Design: Creative Responsibility Based Learning." In 5th SEA-DR (South East Asia Development Research) International Conference 2017 (SEADRIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/seadric-17.2017.21.

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Joao, Isabel M., and Joao M. Silva. "Creative thinking in chemical product and process design education." In 2013 1st International Conference of the Portuguese Society for Engineering Education (CISPEE). IEEE, 2013. http://dx.doi.org/10.1109/cispee.2013.6701961.

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Ellmers, Grant, and Chris Moore. "Process not product: negotiating innovative interdisciplinary honours outcomes." In ASCILITE 2020: ASCILITE’s First Virtual Conference. University of New England, Armidale, 2020. http://dx.doi.org/10.14742/ascilite2020.0111.

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This paper describes an interdisciplinary approach to a creative arts honours collaboration that set aside a conventional approach to facilitate an experimental methodology to support greater creative innovation and knowledge acquisition. This paper examines an honours study which explored analogue and digital hybridity in board game design. The methodology employed a practice-led research approach with the Double Diamond design process model used to structure the study. A structured and critical reflective practice model was used to identify and analyse the thinking present within the creative project. A core innovation of this approach was the shift from a focus on a finalised project consisting of a separate creative work and critical thesis, to a study where the critical and creative work were still separate, but included a greater focus on process and prototyping as a means to engage with design principles, rather than a finalised product or artefact. Lessons from the collaboration are identified to inform interdisciplinary honours in the future.
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Fukuda, Shuichi. "Best for Whom? Changing Design for Creative Customers." In ASME 2010 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/detc2010-28330.

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Our traditional design has been producer-centric. But to respond to the frequent and extensive changes and increasing diversification, we have to change our design to user-centric. But it is not a straightforward extension and just listening to the voice of the customer is not enough. Value is defined as value = performance/cost, but performance has been interpreted in the current design solely as functions of a final product and all other factors such as manufacturing are considered as cost. This framework has been effective until recently because there has been asymmetry of information between the producer and the customer. As the producer had a greater amount of information, they only had to produce a product which they think best and it really satisfied the customer who needed a product. The 20th century was the age of products. But as we approached the 21st century, we entered information society and sometimes the customer knows more than the producer. Thus, such a one way flow of development to fill the information (water level) gap doe not work any more, because the gap is quickly disappearing. The difference was evaluated as value in the traditional design and it meant profit for the producer. Therefore, a new approach to create value is called for. One solution is to raise the water level together by the producer and the customer so that the level increase serves for profit for the producer and for the true value for the customer. In order to achieve this goal, we have to identify what is the true value for the customer. We have to step outside of our traditional notion of value being functions of a final product. What is the true value for the customer? It is customers’ satisfaction. Then, how can we satisfy our customers. This paper points out if we note that our customers are very active and creative, we can provide satisfaction to them by getting them involved in the whole process of product development. Then our customers can enjoy not only product experience but also process experience, which will satisfy their needs for self actualization and challenge, i.e., their highest human needs.
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Wu, Zhi-jun, Liang-zhi Li, Chen Yu, and Cai Yan. "Notice of Retraction: Consumer's cognitive response-based creative product design process." In 2010 Sixth International Conference on Natural Computation (ICNC). IEEE, 2010. http://dx.doi.org/10.1109/icnc.2010.5582426.

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Kurniawan, Ryan, Andhi Sukma, and Evo Sampetua Hariandja. "Strategy of Product Development and Process of Creative Industries in Indonesia." In 2016 Global Conference on Business, Management and Entrepreneurship. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/gcbme-16.2016.36.

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Machado Filho, Alexandrino T., John Scholtes, Marcio R. Alfonso, and Nat Jambulingam. "Ford Product Creation Process." In SAE Brasil 2002 Congress and Exhibit. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2002. http://dx.doi.org/10.4271/2002-01-3515.

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Rueckel, V., A. Koch, K. Feldmann, and H. Meerkamm. "Process data management in the whole product creation process." In Proceedings of the Ninth International Conference on Computer Supported Cooperative Work in Design. IEEE, 2005. http://dx.doi.org/10.1109/cscwd.2005.194329.

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Purwaningsih, Ratna, Purnawan Adi Wicaksono, and Singgih Saptadi. "The bio-mimicry method in creative process of new product design inspired by nature solution." In THE 5TH INTERNATIONAL CONFERENCE ON INDUSTRIAL, MECHANICAL, ELECTRICAL, AND CHEMICAL ENGINEERING 2019 (ICIMECE 2019). AIP Publishing, 2020. http://dx.doi.org/10.1063/5.0000926.

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Reports on the topic "Creative process and product"

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Merkulova, Yuliya. Роль системы показателей в технологии оптимизации и баланса множества данных спроса и предложения. Yuliya Merkulova, April 2021. http://dx.doi.org/10.12731/er0431.26042021.

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Article is devoted to significant problems of creation of system of the indicators for stimulation of balance of supply and demand of products. It is very important for increase of competitiveness of products. The new methodology of calculation of target function of a product and indicators of its efficiency is offered in article. The special place in article is devoted to methodology of definition of an indicator of aggregate useful effect, which includes useful effect of the producer and consumer and promotes balance of their interests. All offered indicators of efficiency of a product are interconnected with each other and only in united system possess the stimulating mechanism of balance of supply and demand. They promote increase of effectiveness of process of planning and allow to find reserves for increase of competitiveness of products.
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Bogdan, Tricia. Interpreting Bartok: A Creative Process. Portland State University Library, January 2016. http://dx.doi.org/10.15760/honors.231.

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Führ, Martin, Julian Schenten, and Silke Kleihauer. Integrating "Green Chemistry" into the Regulatory Framework of European Chemicals Policy. Sonderforschungsgruppe Institutionenanalyse, July 2019. http://dx.doi.org/10.46850/sofia.9783941627727.

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20 years ago a concept of “Green Chemistry” was formulated by Paul Anastas and John Warner, aiming at an ambitious agenda to “green” chemical products and processes. Today the concept, laid down in a set of 12 principles, has found support in various arenas. This diffusion was supported by enhancements of the legislative framework; not only in the European Union. Nevertheless industry actors – whilst generally supporting the idea – still see “cost and perception remain barriers to green chemistry uptake”. Thus, the questions arise how additional incentives as well as measures to address the barriers and impediments can be provided. An analysis addressing these questions has to take into account the institutional context for the relevant actors involved in the issue. And it has to reflect the problem perception of the different stakeholders. The supply chain into which the chemicals are distributed are of pivotal importance since they create the demand pull for chemicals designed in accordance with the “Green Chemistry Principles”. Consequently, the scope of this study includes all stages in a chemical’s life-cycle, including the process of designing and producing the final products to which chemical substances contribute. For each stage the most relevant legislative acts, together establishing the regulatory framework of the “chemicals policy” in the EU are analysed. In a nutshell the main elements of the study can be summarized as follows: Green Chemistry (GC) is the utilisation of a set of principles that reduces or eliminates the use or generation of hazardous substances in the design, manufacture and application of chemical products. Besides, reaction efficiency, including energy efficiency, and the use of renewable resources are other motives of Green Chemistry. Putting the GC concept in a broader market context, however, it can only prevail if in the perception of the relevant actors it is linked to tangible business cases. Therefore, the study analyses the product context in which chemistry is to be applied, as well as the substance’s entire life-cycle – in other words, the six stages in product innovation processes): 1. Substance design, 2. Production process, 3. Interaction in the supply chain, 4. Product design, 5. Use phase and 6. After use phase of the product (towards a “circular economy”). The report presents an overview to what extent the existing framework, i.e. legislation and the wider institutional context along the six stages, is setting incentives for actors to adequately address problematic substances and their potential impacts, including the learning processes intended to invoke creativity of various actors to solve challenges posed by these substances. In this respect, measured against the GC and Learning Process assessment criteria, the study identified shortcomings (“delta”) at each stage of product innovation. Some criteria are covered by the regulatory framework and to a relevant extent implemented by the actors. With respect to those criteria, there is thus no priority need for further action. Other criteria are only to a certain degree covered by the regulatory framework, due to various and often interlinked reasons. For those criteria, entry points for options to strengthen or further nuance coverage of the respective principle already exist. Most relevant are the deltas with regard to those instruments that influence the design phase; both for the chemical substance as such and for the end-product containing the substance. Due to the multi-tier supply chains, provisions fostering information, communication and cooperation of the various actors are crucial to underpin the learning processes towards the GCP. The policy options aim to tackle these shortcomings in the context of the respective stage in order to support those actors who are willing to change their attitude and their business decisions towards GC. The findings are in general coherence with the strategies to foster GC identified by the Green Chemistry & Commerce Council.
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Lyons, Kevin W., Michael R. Duffey, and Richard C. Anderson. Product realization process modeling:. Gaithersburg, MD: National Institute of Standards and Technology, 1995. http://dx.doi.org/10.6028/nist.ir.5745.

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Freeman, Charles, and Lisa McRoberts. What drives design? Examining the influence of motivational factors on creative product output. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-455.

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Cho, Seunghye. Creative Design Thinking Process: Fashion Is Cyclical Then, Now, and Future. Ames (Iowa): Iowa State University. Library, January 2019. http://dx.doi.org/10.31274/itaa.8310.

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Mamp, Michael, and Eulanda A. Sanders. Teaching Creative Design Process: Grey Gardens Documentary as a Source of Inspiration. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-767.

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Hillaire, R., and C. Loucks. Self-tuning process monitoring system for process-based product. Office of Scientific and Technical Information (OSTI), February 1998. http://dx.doi.org/10.2172/658293.

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Comella-Dorda, Santiago, John Dean, Grace Lewis, Edwin Morris, Patricia Oberndorf, and Erin Harper. A Process for COTS Software Product Evaluation. Fort Belvoir, VA: Defense Technical Information Center, July 2004. http://dx.doi.org/10.21236/ada443491.

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Baker, Stuart W. SIDR Relative Weighted Product (RWP) Assignment Process. Fort Belvoir, VA: Defense Technical Information Center, July 1992. http://dx.doi.org/10.21236/ada255801.

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