2013/2014 KAN-CMP_VANC Applied Neuro Creativity
English Title | |
Applied Neuro Creativity |
Course information |
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Language | English |
Exam ECTS | 7.5 ECTS |
Type | Elective |
Level | Full Degree Master |
Duration | One Quarter |
Course period | Autumn
Changes in course schedule may occur. Thursday 12.35-16.05, week 5-11 Thursday 12.35-17.00, week 12 |
Time Table | Please see course schedule at e-Campus |
Max. participants | 50 |
Study board |
Study Board for BSc/MSc in Business Administration and
Psychology, MSc
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Course coordinator | |
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Secretary Merete Skaalum Lassen - ml.marktg@cbs.dk | |
Main academic disciplines | |
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Last updated on 22-10-2013 |
Examination | |||||||||||||||||||||||||||
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Course content and structure | |||||||||||||||||||||||||||
Creativity lies at the core of all
human behavior – in teaching, research, invention, innovation,
entrepreneurship, management and leadership. By understanding what
creativity is and the basic mechanisms that enables us to be
creative, anyone can work in a targeted manner to improve his or
her creativity. Once creative thinking is understood, a key feature
is knowing when to apply creative thinking and when to balance with
critical thinking.
There is a common belief that certain people possess some mystical, creative thought process that places them above all others in their unique skills for having creative and groundbreaking thought. Naturally, this is nothing but a myth. By understanding what creativity is, and learning how to identify and manipulate various creativity constraints – both practical and mental (neurological constraints) – anyone can learn how to utilize their personal skills and competencies creatively. During the course the students will learn how creative knowledge and techniques can be applied to solve any kind of problem - in any domain, which constitutes a strong competitive advantage, both on an individual and an organizational level. To achieve this, students are introduced to the underlying mechanisms of what is commonly known as creativity, through research from neuroscience and psychology, and are guided through an exploration of various creative tools and methods. In parallel, students work in teams employing this knowledge to solve a real-world creative challenge from a case company (in 2012, Coloplast A/S). The teams of students will thus go through an informed real world creative ‘design thinking’ process, while applying key concepts from the neuroscience of creativity. The course is based on teaching the students how to utilize their existing knowledge and any domain expertise in a more creative way, building personal creative competencies as well as collaborative creative skills. The course is furthermore utilizing cross-disciplinary teams to facilitate exchange of knowledge and competencies across various disciplines, building competencies within cross-disciplinary work. |
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Teaching methods | |||||||||||||||||||||||||||
The course is based on 'studio
teaching', known from creative education. The course is
therefore taught in the Studio@CBS villa at Frederiksberg, with a
focus on short lectures followed by multidisciplinary team work
with close supervision. In this way, students also learn to utilize
existing and new knowledge in collaboration with students from
various backgrounds. Active participation is therefore a crucial
part of this course.
To enhance the multidisciplinary of the course and to support with supervision, guests from professional practice and teaching are invited to supplement the teachers throughout the course. Furthermore, a case company is brought in to supply the teams with a real world creative challenge to be solved during the course. The course is divided into two, where the first part is focusing on theory, models, creative tools and the design thinking process ‘the double diamond’. In the second part, the students will work in multidisciplinary teams on implementing this knowledge by solving the creative challenge. This structure allows the students to unite theory and practice through collaboration and supervision. |
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Expected literature | |||||||||||||||||||||||||||
Mandatory readings
- Friis-Olivarius, M. (2012). The Neurobiology of Creativity - Friis-Olivarius, M., Onarheim, B. (2013). We need a neuroscience of creativity to teach applied creativity. Frontiers in Neuroscience. - Onarheim, B. & Biskjaer, M.M. (in press). Balancing Constraints and the Sweet Spot as Coming Topics for Creativity Research. In: L. Ball, ed. Creativity in Design: understanding, capturing, supporting. - Onarheim, B. & Biskjaer, M.M. (in press). An Introduction to ‘Creativity Constraints’ as a Concept for Cross-Disciplinary Interchange in Creativity Research. Proceedings of Creativity & Cognition 2013. - Smith (2003). The constraining effects of initial ideas. http://ecologylab.net/research/publications/constrainingEffects.pdf - Dix et al. (2006). Why bad ideas are a good idea. http://www.alandix.com/academic/papers/HCIed2006-badideas/HCIED2006-badideas-CRC-v2.pdf - Design Council (2005). A study of the design process - The Double Diamond. http://www.designcouncil.org.uk/documents/documents/publications/eleven%20lessons/elevenlessons_design_council.pdf Supplementary readings - Christoff et al. (2007). The role of spontaneous thought in human cognition. - De Bono, E. (1970). Lateral thinking. - Verganti, R. (2009). Design Driven Innovation. Introduction: Design Driven Innovation. - Pink, D. (2005). A Whole New Mind: Why Right-Brainers Will Rule the World. - Dubberly, H. (2002). How do you design? A compendium of models. - Cai et al. (2009). REM, not incubation, improves creativity by priming associative networks. Further readings will available on LEARN prior to the start of the class. |
Last updated on
22-10-2013