3=10.4 Creativity Journal V1,N.2 4Q2008 - Creativity, CTools, Creatology

8/6/2019 3=10.4 Creativity Journal V1,N.2 4Q2008 - Creativity, CTools, Creatology

1/12

Volume 1 Number 2 email Edition QUEZON CITY, PHILIPPINES http://www.likhaan.com 4th Quarter 2008


2/12

Page 2 | 4thQuarter 2008 CREATIVITYJournal

special few. Hence, thecreative person is regarded as genius. Somepeople believe that exceptional intelligenceacts as spring-board tocreativity or formaeducation is an abso

lute prerequisite to creativity.

All these are mythsWe are all born creative. But, still the questions: Why is the creative person so differenfrom other people? Is

he really born different from others? Who, and what, is acreative person?

INTRODUCTIONCreativity is a complicated and confusing subject matter. Itranges from devising a new toothbrush to the writing of theFifth Symphony by Beethoven. Much of the difficulty arisesdirectly from the words creativity and creative.

At the simplest level, according to several dictionaries,creativity means bringing into being something that was notthere before. Creativity is the ability to use the imagination todevelop new and original ideas or things, especially in an artisticcontext. At this point, we can begin to have artistic creativitybecause what the artist produces is new and has value.

There is a notion that the creative ideas and its applicationand/or output should not be obvious or easy. There has to besomething unique or rare about it. Exceptional craftsmanshipwould fit here. However, in patent parlance, creative inventioninvolves an inventive step, which means it must be new noveland usefulor operative.

Nevertheless, if we introduce the concepts of unexpected-

ness and change, we begin to get a different view ofcreativity.The word creativity now covers a wide range of different

skills. Creative skills needed to change concepts and perceptionsare one of them, Dr. Edward de Bono calls it a key element oflateral thinking.

We can look at creativity as a mystery. Brilliant new ideas areproduced and we do not know how they came about. We canstudy and analyze the behavior of creative people, but this willnot tell us very much, because often such people are themselvesunaware of what triggered the brilliant idea. They are alsounaware of the environment and conditions in which creationcomes about.

Ironically, this way of looking at creativity although presently

inadequate is generally used by psychologists, sociologist andanthropologists or the students of creativity. Thus, we will try tounderstand creativity in terms of its four (4) principal aspects: 1)creative person, 2) creative environment, 3) creative process and4) creative product.

Each aspect should always be considered in its interrelationand interconnection with all the other aspects a systems view,a holistic perspective!

The Four Aspects of Human Creativity1.CREATIVE PERSON:The Personality of the Creator

Many people think that creativity is a gift of genius given to a

Answers to these questions have long been the subject oresearch by psychologists in order to define the creativepersonality. To the psychologists, the important question isnot why do some people appear to be creative, but why is itthat some people are able to use their creative ability thanothers. Perhaps the question we should answer is: Whamakes a person creative?

Whitfield provides an imaginary tension field whichviewed the components of creative personality as tensionavectors (see Figure 1). This will give us an insight on whatmakes a creative person as described by some psychologists.

The personality detrimental to creativity, according toWhitefield, are: Intolerant of uncertainty, dependent, un-imaginative, inhibited, non-challenging, conforming, poofinishing and passive.

On the other hand, characteristics conducive to creativityincludes: Adequate IQ, perceptive, dedicated, forceful, con-

fident, energetic, emotionally expressive, broad knowledgeand interest, sensitive, open to new experience, flexible andintuitive.

Intellectual abilities: use of all senses, openness to newexperience, imaginative, flexible, inner maturity and fluency.

Temperament/attitudes: tolerant of uncertainty, energeticdedicated, self-confident, forceful, emotionally expressivedriven to complete task, non-conformity, challenging, independent, resourceful, skeptical, enthusiastic, high excitabilityanxious.

De Bono emphasized, Too much experience within a fieldmay restrict creativity because you know so well how thingsshould be done that you are unable to escape to come upwith new ideas.2. CREATIVE ENVIRONMENT:The Conditions in which Creation Comes About

The environment may inhibit or enhance human creativityPerhaps, this is the most difficult aspect to take into accountin the study of creativity. Some have been asking: Can we telwhether it is really the situation or environmental conditionsthat matters or the person involve in the creative act? To thismay be added: What kinds of situation encourage what kindsof creativeness in what types of creative person?

One thing is sure, the internal condition is in the humanbeing himself, his brain and how he makes use of it. Man is


3/12

CREATIVITYJournal 4thQuarter 2008 | Page 3

endowed with the characteristics to grow, developand mature creatively. This is tempered by culture aswell as the natural and physical setting. The creativeperson maximizes his human potentials so that hemay be able to adapt to his environment.

The internal condition in the individual is the key toones creativityyou are the only one who can do

this for you and nobody else. The attitude of theindividual is the most significant element of theinternal as well as the external environment. Alsocrucial in the development of ones creativity is thepersonal support, encouragement and challengefrom his immediate members of the family, friendsand colleagues, as well as managers, supervisors andeven subordinates.

The environment is full of creative productsintroduced at different times and places. It is arguedthat creative products are fully developed at timesand places where there occur a coincidence ofconditions and circumstances favorable to itsdiscovery, development and application. Thereafter,

the elements of the creative products are not lostagain, but go on being used and eventually serve asthe starting point for the development of moreadvanced creative products until such time and placethat a new and better product supersedes theproducts.

The totality of the individuals creative and non-creative environment is shown in Figure 2 as generalforces or environmental pressures in a vectordiagram.

3.CREATIVE PROCESS:The Process of CreatingThe creative act proceeds through the interplay of

mental functioning in the individual, his knowledge,

skills and experiences in certain conditions, circumstances or environment. The creative process, therefore, is the emergence ofcreative ideas by way or means of the interaction between the unique qualities of the individual or groups of persons and thematerials and circumstances attendant to the interaction and communication of ideas until a new idea or product is developed.

The question which has been bothering the researchers in their studies of the creative process is this: Which is more importantThe creative person who come up with the ideas or the environmental conditions which affect the persons efficacy andeffectiveness? Both subject matters, the creative person and the creative conditions, were discussed earlierand we can see thatthe question permit no answer as yet, both are regarded as equally important. The person and condition, the materials and skills

are the interesting tools that keep the creative processon the go.

Carl Rogers defined the creative process as theemergence in action of a novel relational productgrowing out of the uniqueness of the individual on onehand, and the materials, events, people, ocircumstances of his life on the other.

It has to be pointed out that an accurate description othe creative process is still unknown.

The very nature of the creative process makes iindescribable. Nevertheless, from the results oresearches in the creative phenomenon and thepronouncements of the creative persons and inventorsthemselves, the creative process has beenfundamentally described.

The creative process passes through several stagesThe periods of preparation, concentrated attentionwithdrawal and incubation; a moment of insight; then

the


4/12


5/12

CREATIVITYJournal 4th Quarter 2008 | Page 5

THE FOURASPECTS OF HUMAN CREATIVITY

4.CREATIVE PRODUCT:The Product Created

When the creative process is com-pleted, the result is a new product ornew ways of doing things which couldbe a useful concrete idea, a stage orscreen performance, a work of art, amusical composition, a scientific theory,a building, a machine or device, oringenerala technical invention or socialinnovation.

All these are products of creativity.But what qualities make up a creativeproduct? A product, to be regarded ascreative, must have some creative char-acteristics. A creative product must benovel or original. But mere novelty ororiginality are not enough, a creativeproduct must also be useful. Still,novelty and usefulness are only the

basic requirements, a third primaryrequirement is that the product mustbe elegant, aesthetically designed. Afourth criterion is that the product mustintroduce a change oftranscending qua-lity. The fifth requirement, not neces-sarily the least important, is that thecreative product must be realized into atangible thing or expression. This char-acteristic, for want of a better term, maybe called producibility.

In short, a creative product must be:Novelor originalUseful, adaptable, practical, func-

tional, workable or operableElegantor aesthetically designedTranscendingqualities, long lasting

or much better than existing ones Producible, manifested into

tangible product or expression;realizable, serviceable or usable;and verifiable or may be proven inactual implementation/execution.

These qualities are however accom-plished in varying degrees.

The CEO Magazine

re-launching in 2009The CEO Magazine, a 4-year old pro-active quarterlybusiness periodical and management journal fortodays generation, will be re-launched in the firstquarter of 2009 by the Likhaan Publishing House(LPH).The Magazine covers national/political issues,business/economic trends, creative managementapproaches, travel and tourism, entertainment, andcommercial-industrial news roundup. It also containsinformation on executive health and housing, as wellas management tools and operating techniques.


6/12

Page 6 | 4th Quarter 2008 CREATIVITYJournal

1.3.13 Fresh Eye Approach

Common place object:

a. examination/

concentration;

b. new/overlooked

character; and

c. new uses/variety of uses.

1.3.14 Hotpoint Methods

a. Garbage Can Method

(waste products)b. Tear-Down Method

Person A - Finds

everything wrong

Person B - Wont

agree, and must suggest

another

c.And-Also Method One adds to suggestions

of other persons

d. 17-Solution Methods

Problem is sent to

participants; at ameeting each

participant must come

with a list of 17solutions.

1.3.15 Random Technique

1.3.16 Excursion Procedures(speculation and analogy)

1.3.17 Random Juxtaposition

1.4Associational/Combinatorial

Techniques The situation,

problem or task need a

relational approach

1.4.1 Free association1.4.2 Direct Association

1.4.3 Forced Relationships or

Force Relating

a. Catalog technique

b.Listing technique

c.Focused object technique

1.4.4 Input-Output Technique

(General Electric)

1.5Procedural Techniques The

situation, problem or task need

1. Techniques for Individual CT

1.1Restructuring Techniques

The situation, problem or task

need an initial restructuring

1.1.1 Matrix Analysis

1.1.2 Morphological Analysis (Fritz

Zwicky)

1.1.3 Idea Laboratory (Charles H.

Clark, 1958)

1.1.4 Relevance Systems 1.1.5Attribute Listing

1.1.6 Research Planning Diagrams

1.1.7 Mind-Mapping Technique

1.1.8 Force Field Analysis

1.2Analytical Aids The

situation, problem or task need

analytical approach1.2.1 Weighting Systems

1.2.2 Checklist Methods: Osborn, E.

De Bono, others

1.2.3 Decision Tree

1.2.4 Alternative Scenarios1.2.5 Elimination Approach

(Proctor & Gamble)1.3 Redefinitional Procedures

The situation, problem or task

need wider/larger viewpoints

1.3.1 Reframing Questions [cf.Checklist Methods]

1.3.2 Goal Focusing (Maxwell

Waltz) [cf. Goal Orientation,

AGO]1.3.3 Goal Orientation

1.3.3 Goal Orientation

1.3.4 Successive Abstractions1.3.5 Analogy and Metaphor

Procedures

1.3.6 Wishful Thinking

1.3.7 Non-Logical Stimuli

1.3.8 Boundary Examination

1.3.9 Reversals

1.3.10 Wildest Idea

1.3.11 Use of the Ridiculous

(Von Fange)

1.3.12 Modification Technique

The Creative Thinking (CT) tools listed below are categorized asindividual and group techniques for application purposes. It should benoted however that the individual CT techniques are not necessarilylimited to individual thinking applications, they can also be used ingroup thinking. Similarly, the group CT techniques are also applicablefor individual thinking application. Hence, the categorization and somesub-classifications are undeniably arbitrary. In practice, however, theindividual techniques are quite productive for personal thinkingsession, while those listed as group techniques are more productive ifused in group thinking sessions.

Compiled by LIKHAAN RESOURCEand INFORMATION CENTRE

a particular way, simple order or series

of steps which may be static or

dynamic in character.

1.5.1 Itemization a systematic attempt at

dealing adequately but not

exhaustively with one item at a time.

1.5.2 Fundamental Design Method

(Edward Matchett, 1967)

a. Thinking with outline strategies

b. Thinking in parallel planes

c. Thinking from several viewpoints

d. Thinking with concepts

e. Thinking with basic elements

1.5.3 PackCorp Scientific Approach

[PakSA] (J.W. Taylor) Nine step

process:

a.Pick a knowledge

b. Get knowledge

c. Organize knowledge

d.Refine knowledge

e.Digest knowledge

f. Produce ideas

g.Rework ideash.Put ideas to work

i. Repeat the process

1.5.4 Coca-Colas 4-Step Process

a. Opportunity search

b.Form evaluation

c. Concept expansion (generation of

alternatives/brainstorming)d. Concept development(Synectics is

used)

1.5.5 Problem-Solving Approaches


7/12


Creative Thinking Tools, Techniques & Methods and their Subroutines

a. Creative Problem Solving

Process

1) Osborns simple CPS

process:

Fact-finding

Idea Finding Solution Finding

2) Sydney Parnes CPS process:

Fact-Finding

Problem-Finding

Idea-Finding

Solution-Finding

Acceptance-Finding

b. Patterns of Solving Problems

(Brilhart & Jochem)

Ideas-Criteria

Criteria-Ideas

Problem-Solution

c. The IIISI Approach [pronouncedeasy] (R.N.M.Aboganda,

1972)

Investigation

Identification

Ideation

Selection

Implementation

d. KT Approach (Kepner &

Tregoe)

e. DO IT Approach (Robert

Olson)

Define the real problem: MindFocus, Mind Grip, Mind

Stretch

Open yourself to manypossible solutions: Mind

Prompt, Mind Surprise, Mind

Free, Mind Synthesize Identify and intensify the best

solution: Mind Integrate, Mind

Strengthen, Mind Energize

Transform the solution into

action: Persistence, Resistance

from self/others, Modification,

Optimum

1.5.6 Yoshiro NakaMats three-stage

process and the three elements ofcreation

First Rule: You have to be calm

a. Three-stage creative process:

The static room is a place of

peace and quite with only

natural things. This is the

room to free-associate.

The dynamic room is dark,

with black-and-white-striped

walls, leather furniture, and

special audio and video

equipment music: start from

jazz to easy listening (classi-cal music/symphony).

Last stage swimming pool

thats when I come up with

my best ideas (using

plexiglas writing pad to

record these ideas).

b. Three elements of creation:

Suji, the theory of knowledge.

Pika, inspiration.

Iki, practicality, feasibility,

and marketability.

Edison claims that ideas are one(1) percent inspiration and 99

percent perspiration. Now,

NakaMats says its one (1) percentperspiration and 99 percent

ikispiration.

2. Techniques for Group CT2.1Brainstorming(Osborn, 1953)

2.1.1 Osborns method

2.1.2 Trigger session

2.1.3 Recorded round robin

2.1.4 Wildest ideas

2.1.5 Reverse brainstorming

2.1.6 Individual brainstorming*

2.2Synectics(Gordon & Prince)

2.2.1 Active listing/constructive groupbehavior

2.2.2 Goal orientation

2.2.3 Itemization

2.2.4 Changed meeting roles

2.3Lateral Thinking(Dr. Edward de

Bono)

2.3.1 Six Thinking Hats

2.3.2 The Creative Pause

2.3.3 Simple Focus

2.3.4 Creative Challenge

2.3.5 Search for Alternatives

2.3.6 The Concept Fan

2.3.7 Working at Concepts2.3.8 Provocation and Movement (PO-

Provocative Operation)

2.3.9 Arising Provocations

2.3.10 Escape Provocations

2.3.11 Stepping Stone Provocations:

Reversal, Exaggeration,

Distortion and Wishful Thinking

2.3.12 The Random Input

2.3.13 Movement (Active Mental

Operation): Extract a principle,

focus on the difference, moment

to moment, positive aspects, andunder what circumstances

2.3.14 The Stratal Sensitizing

Technique (Strata or Layers)2.3.15 The Filament Technique

NOTE: The individual CT techniques may also beused in group ideation; while group CT toolsmay also be applicable for individual ideation.In the same way, Lateral Thinking techniquesare applicable for both individual and groupthinking.

C r e a t i v i t y and I n v e n t i o n sTwo interlinked concepts that assume different meanings to different people of different countries.

To the industrialized countries, it is the key to their continuous progress.To the developing nations, it is something to be developed and nurtured.

To the less developed countries, it is something to find and explore.

Human creativityis the principal tool of science and technology and the basic instrument for growth of nations and the developmentof civilizations. Inventions are the results of purposeful efforts and deliberate creative process.

Creativityand inventions invigorate, humanize and improve social productivity in industry and trade, community developmentand social transformation.

Opening Doorways to Creative Teaching and Innovative Learning g


8/12


CREATOLOGY is the scientific study of creativity and the creativephenomena developed in the Philippines by a creativity researchgroup headed by Rafael Nelson M. Aboganda and Ricardo S. Cortez(deceased).

Creatology, in general, is the study and investigation of the totalprocess of creativity, the environment and conditions under whichthis process occurs, the resulting creative product and the ways andmeans in which it may be facilitated and developed. It also examines

the creative personality of the creatorinventor, innovator, scientist,technologist, entrepreneur, industrialist, writer, author, poet, artist,etc.

Origin and definition of term. Creatology is a hybrid of theLatin creatus (create) and the Greeklogos/logus (science,study).

The study of creativity is traditionally within the province ofthe social sciences more particularly related to psychology andsociology. However, it also correlates its inferences, deductiveor inductive, on the findings of other social, natural and physi-cal sciences such as anthropology, biology, physiology, phys-ics, mathematics, and historical researches in some instances.

Thus, the principal objective of creatology is to give adescription of the creative performance of the creator and the

resulting product, provide explanation of the processes,methods and techniques; factors, conditions and settings; andother elements attendant to the act of creation, initially in thePhilippine setting.

Research methodologyThe methodology of creatology has been primarily derived

from the tools used in psychology and other related socialsciences for the simple reason that the study of creativity inwestern sciences is traditionally under psychology. However,new methodologies are emerging in recent investigations. Ithas been observed that creatological studies should be aninter-disciplinary and intra-disciplinary investigation goingbeyond the psychological-sociological traditions in theadvanced countries. It has also been theorized that creatologycan evolve into a new branch of social science having its ownresearch methods.

Nonetheless, the new methodology presently used increatology has been named salunggalian approach [rootedfrom Filipino (Tagalog) words salungatan (contradiction) andtunggalian (conflict)] that deals with the investigation andinterpretation of observed data in the creative phenomenaunder conditions of contradiction and conflict. The method isakin in process to Hegelian thought in which two apparentlyopposed ideas, the thesis and antithesis, become combined ina unified whole, the synthesisbetter known as Hegelian

dialectics. Another emerging method is the systems approacha local adaptation from management science, cybernetics andpsychology-sociology.

The salunggalian method was adopted and used in crea-tological studies due to observations in case studies under-taken among Filipino inventors. In the creative studies, thereare observable tensions that exist between two conflicting orinteracting forces, elements, or inventive ideas, between newinventions and old inventions, new products and old productsetc. Usually a creative synthesis resolves the contradictionand/or conflict or opposing issues.

Research activities and initial findingsPreliminary research activities on creatology commenced

many years ago in early 1972. By mid-70s more than 120 casestudies of Filipino inventors were completed with particularfocus on the process of invention development: from theconception of ideas to R&D and product development, marketlaunching and commercialization, and product maturity. How-ever, by the end of 1970s, creatological research has beenintermittent due to lack of funds and support from otherresearchers on creativity as well as funding institutions.

Nevertheless, initial findings have been summarized, thus:Observations, measurements and experimentations Initial studies have been carried out by way of refractory oruncontrolled investigation. Preliminary observations and ex-perimentations are leading towards a new concept of crea-tivity, i.e. that creativity and intelligence are a whole. Theinitial data, however, is insufficient to point to the validity ofthis new interpretation. Even though many creativity research-ers, both local and foreign, are pointing to this direction asearly as 1960s and 1970s until late 1980s. New observationshowever, have been brought up in 1990s and early years ofthis decade (2000s).

Classification and analysis Due to insufficiency of dataand methods of measurement, no classification and analysishave been made in detail, though preliminary classificationhas been done. Primarily, creatological studies have beenclassified into four major areas of investigation, initiallypatterned after the psychological studies as a starting point,this are: 1) the personality of the creator (creative person),

Creatological studies have been classified

into four major areas of investigation,initially patterned after the psychological

studies as a starting point


9/12


2) the conditions in which creation comes about (creativeenvironment), 3) the process of creating (creative process), and4) the product created (creative product).

Suppositions From initial observations and data collected,some preliminary suppositions have been derived for the

furtherance of research activities:1. Creativity is not an individual totality but has natural(organic), societal, cultural, factorial, conditional andenvironmental unity working as a whole.

2. Creativity is a combinatorial act of the creativeness andintelligence of the individual.

Many books by many authors have presented studies andobservations similar to these suppositions. Most of the studieswere undertaken under the umbrella of psychology, sociologyand anthropology. Creatology would like to look at thephenomenon in terms of creativity per se.

Significance of the current creatological studies Thisstudy of creativity under creatology is expected to result in,among others, the following:

1. It will establish the formulation of a new scientific study ofcreativity that is not totally dependent on psychological-sociological studies but founded on all the disciplines of thesocial sciences, of which psychology is a branch, and correlatedwith other disciplines beyond social sciences and extending torelated/co-related natural-physical sciences.

2. It will establish a new way or approach in understandingand appreciation of the arts, design, literature, architecture; thecreation of technical inventions and social innovations; andothers.

3. It may result in the development of a new scienceoriginated in the Philippines.

Creative Thinkingand Ideation

THE generation of creative ideascreative thinkinghas recently been recognized as a legitimate,

even necessary, technique in dealing with problems,particularly in research and development as well asin management circles (Oates, 1972).

Creative thinking as defined by Samm S. Baker (1964)is the kind of thinking which aims to producesomething new and useful, something better thanbefore, which may be carried through to a valuable,beneficial, and productive result.

Prof. Sidney Parnes describes creative thinking as"finding a fresh valuable new association, making theirrelevant relevant.

Ideas are the intangible products of creativethinking. Ideation is the process of producing creative

ideas to solve problems, to acquire a fresh knowledgeabout the problem, to come up with new ideas aboutold ideas, to generate novel ideas that could bepotential inventions or new products, to find new waysof searching for solutions, to create new approaches,and many other purposes and uses.

Ideation calls for a full play of imagination withoutthe unwarranted entry of critical or logical thinking.Ideation is the phase for intellectual playfulness.

Maier (1963) pointed out that idea-getting requires awillingness to breakaway from experiences. Ideation isa process that requires an escape from the bonds oflearning and demands that we search for unusualapproaches and entertain new and untried ideas.

There are many techniques and principles that canhelp or lead us into successful processes of ideation,such as morphological analysis, relevance system,attribute listing, forced relationship, brainstorming,synectics, and lateral thinking (see pages 6-7).

Creatology was introduced by Rafael Nelson M. Abogandaand Ricardo S. Cortez in early 1972. Its first working paper was published by the Philippine Inventors Commission (PIC ) inOctober 1972. Researches on creativity under this new scienceis currently undertaken by the Likhaan Institute Foundation,Inc. (LIFI), an institutional member of The Likhaan Group, Inc.For more information, log on to www.likhaan.com or email to:[email protected] [email protected]

Creativity is not an individual totality
http://www.likhaan.com/mailto:[email protected]:[email protected]://www.likhaan.com/


10/12

Page 10 | 4th Quarter 2008Page 10 | 4 CREATIVITYJournalCREATIVITYJournalth Quarter 2008

Backdrop. There are many approachesto development planning and manage-ment. In late 1970s, the wedge con-cept was proposed by Dr. Carlos A.Fernandez and developed by severalofficers and staff of the DevelopmentAcademy of the Philippines (DAP). Thewedge concept contends that develop-ment planning should take into consid-eration the interaction and interrela-tionship of the five agro-ecological re-source zones: small islands, coastal,lowland, upland and highland areas.

In 1980, Likhaan conducted in-depthstudy of the wedge concept and in-troduced an Agro-Industrial RuralCommunity Development Systems andFormations Using the Wedge Con-cept, which was submitted as a work-ing paper for the Mindoro Agro-Indus-trial Rural Community Development

Project (MAIRCOD) of DAP. From thisworking paper, the development man-agement systems (DMS) frameworkfor development planning, social inves-tigations and community research wasdeveloped.

Calamba City, and Los Banos in Laguna; Santo Tomas, Tanauan and Lipa City inBatangas; and Rosario, Tagaytay and Trece Martires in Cavite. This has a radius of 50-60 km, half of metropolitan Tokyo.

Considering this development, Likhaan proposed in 1996 a new developmentplanning concept and management tool: macropolis. Similarly, the microtunconcept was also introduced as a planning concept and management tool forurbanizing municipalities and enlarging cities outside Metro-Manila, Metro-Cebu andMetro-Davao.

The whole macropolis-micropolis-microtun concept embraces the original wedge

concept and development management system (DMS), which now provide asimple framework for understanding development planning, human settlementrenewal, socio-economic development, fiscal administration, and environmentalmanagement by virtue of a whole set of practical theories, methodologies, systems,tools and techniques, and project implementation activities.

Presented below are the basic concept of macropolis, micropolis, and microtun[Initial discussions on macropolis was presented in the Creativity Journal (Volume 1, No. 1, 3rd

Quarter 2008). More details will be presented in succeeding issues of the Creativity Journal.]

M

However, it was noted that develop-ment planning are mostly undertakenby local governments and considersonly their territorial jurisdictions neg-lecting the wedge concept as anoverall framework. In fact, within theterritorial areas of the cities, the wedgeconcept never come to mind amongdevelopment planners and managers.Thus, in 1995, Likhaan proposedmicropolis as a new concept fordevelopment planning and manage-ment that utilize the wedge conceptand DMS as the overarching frame-work for planning and management.

Nonetheless, it was obvious at thattime that Metro-Manila has been rapid-ly growingenlargingto the Northand South direction. Its uncontrolledgrowth in the last 40 years hasconnected it to other neighboring

urban centers in the north, east andsouthNavotas-Malabon, Valenzuela(Polo), Meycauayan, San Jose del Mon-te, Marikina, Antipolo, Cainta, Taytay,Angono, Binangonan, Pasig, Tagig,Pateros, Las Pias, Paraaque, Muntin-lupa, Bacoor, Imus, San Pedro, SantaRosa, and Bian. Sooner than we think,Metro Manila will reach as far asMalolos City, Calumpit and Baliwag inBulacan; Rodriguez (Montalban), Car-dona, Morong and Tanay in Rizal;Calamba

MaaccrrooppoolliissMacropolis is a development planning area consisting of large cities or an urban

area in which there are several cities whose suburbs meet or nearly meet. It is also adevelopment management approach for socio-economic and physical/humansettlement development in general, and community development in particular.

Macropolis, as a development management tool, is a human settlement strategytowards integrated development of vast urban areasseveral large citiestakenfrom the perspective of national and regional development starting with existing coreareas of each city. It seeks the organized redevelopment of cities or urban areas intointegrated built-areas in its totality. Considerable attention is given to the majorelements of human settlement, e.g. road networks, commercial/industrial centers,urban environment, population dynamics, etc. with special focus on theredevelopment of densely populated areas or slums/squatter colonies.

Macropolis literally means enlarge city from Gr. makros, long, enlarge + polis, city.Macropolis is a term coined in 1996 by Likhaan. Macropolis is the larger version ofmicropolis introduced earlier by RNM. Aboganda.

Macropolis is different from megalopolis (Gr. mega, great + polis, city) which is an


11/12


area containing large cities or an area in which there are severallarge cities whose suburbs meet or nearly meet. Megalopolis isalso called megapolis, an extremely large and populous city.Megalopolis is defined by J. Gottman (who introduced the term)as vast, continuously urban area, covering any number of cities.It is an urban area containing over 35 million people. GreaterTokyo Area in Japan, the largest city in the world, has apopulation of 39,188,400 (February 2008 est.) with an area of

16,410.57 km and a density of 2,388 per km. It has a radius ofaround 100 km. across the main core of the city.

MMiiccrrooppoolliissMicropolis is a development planning area consisting of a

large barangay or cluster of three to seven small- and/ormedium-sized barangays. It is a sub-unit of a macropolis. It isalso a development management approach for socio-economicand physical/human settlement development in general, andcommunity development in particular.

The barangay is the basic political unit in the Philippines. Abarangay is a contiguous territory with a population of at least2,000 except in highly urbanized cities where such territory canhave a population of at least 5,000. Some barangays in Metro

Manila have population of 40,000 to 50,000 or even more. Infact, Barangay 176 (Bagong Silang) in Caloocan Citythebiggest barangay in the countryhas a population of aroundone million people and has 250,000 voters living in only a fewhectares.

Micropolis, as a development management tool, is a human

settlement strategy towards integrated development of urbanor urbanizing barangays (communities) starting with its dominant urban patterns. It seeks the organized redevelopment ocities-within-cities or the small urban areas like puroks(neighborhoods), barangays or cluster of barangays of themetropolis, small cities and municipal poblacion in thePhilippines, with considerable attention given to denselypopulated areas or slums/squatter colonies.

Micropolis literally means small city from Gr. mikros, small +polis, city. Micropolis is a term coined in 1995 by RNMAboganda, current chairman/president of The Likhaan Group.

MMiiccrroottuunnMicrotun is a development planning area consisting of a

cluster of three to ten barangays or a municipality as a whole. Itis a sub-unit of a micropolis. It is also a developmentmanagement approach for socio-economic andphysical/human settlement development in general, andcommunity development in particular.

Microtun is a human settlement strategy towards theintegrated development of urban and rural barangay(communities) or municipal communities starting with urban o

urbanizing areas and the integration of its rural areas into adistinct development area. Similar to the etymology ofmicropolis and macropolis, Microtun was derived from Grmikros, small + tun, town. It seeks the systematizedredevelopment ofsmall towns-within-towns or minor cities.

The term microtun was introduced by Likhaan in 1996.

Brainstorming sessions consist of:a. Pre-meeting preparation to establish or define the problem that

will be tackled in the brainstorming session. This is primarily amotivation session.

b. Warm-up session to start the meeting. Recommended minimumperiod is an hour and a half. The purpose of the session is to help theindividual members loosen their personal prejudices and vested

interests and help move in towards the brainstorming proper. Ideageneration procedures are usually explained during this session. Aperiod of problem redefinition can also be included in the session forabout 15 minutes.

c. Idea-generation proper. At this stage the group attempts toproduce ideas at speed. The speed of idea production actuallyprovides a measure of the group's postponement of judgmentbuilding on ideas to create chain reaction. Each idea that ispresented during the session should be captured. This is usuallydone on a flip chart or a Manila paper.

A trigger session wherein each member work independently for aperiod of a few minutes to produce his list of initial ideas issometimes encouraged. These ideas are read out at the start of the

session proper, thus generating stimuli for the rest of the members toproduce more ideas.

A recent variation of the trigger session has been developed. Thisis known as recorded round robin wherein the brainstorm membersare given a sub-problem and three cards. In each card they areasked to write the problem and think of one idea. The cards are thengiven to other members who add another idea. The cards usuallyexchanged five times.

Ideas produced during the brainstorming session are thenscreened and evaluated by an evaluation group until an idea is finallyselected.

BrainstormingBRAINSTORMING, introduced by Alex Osborn (Applied Imagination:Principles and Procedures of Creative Thinking, 1953), is the oldestand perhaps the simplest creative thinking method. It follows twobasic principles:

a. Suspend judgment. Ideation can be more productive if criticismor judgment is concurrently excluded.

b. Quantity breeds quality. The more ideas produced, the greaterthe opportunity that good ideas will be present. Quality is a functionof quantity.

From these brainstorming principles, four major rules wereinstituted to facilitate or speed up idea generation. These are:

a. Postpone judgment. No criticism of any idea should be allowed.Judgment must be withheld until later.

b. Freewheel. All ideas should be welcomed, however wild orridiculous.

c. Hitchhike. The production of the greatest number of ideas shouldbe urged. Linking up ideas to ideas should be encouraged.

d. Improved other's ideas. Building on ideas to create a group ofchain reaction should be initiated.

Brainstorming is basically a technique for generating a vastquantity of ideas spontaneously contributed by members of abrainstorming panel.

In practice, a brainstorming group may be composed of ten people,five of them compose the core participants. Ideally, however, six orseven members will produce ideas at a rate and quantity comfortablyequal to a group of ten members. This will of course depend on theindividual member's capacities. The composition of a brainstormingpanel should be carefully selected.


12/12


Date post:	07-Apr-2018
Category:	Documents
Upload:	helen-grace-aboganda
View:	218 times
Download:	0 times

3=10.4 Creativity Journal V1,N.2 4Q2008 - Creativity, CTools, Creatology

Documents