Creative Process Journal by Jing Lin

CREATIVE PROCESS JOURNAL

CREATIVE PROCESS JOURNAL

Due to the quality of the images in this publication, the format of this journal is: 135mm X 184mm

CREATIVE PROCESS JOURNAL

Since the previous quote for my Term 1 CPJ was supplied by Stanley, this term's quote shall be from Walt Whitman's 1885 poem, Song of Myself from his poetry collection, Leaves of Grass. This quote was also published in one of the chapters of my compendium, The Creative Paradox.

"Do I contradict myself? Very well then I contradict myself, (I am large, I contain multitudes.)"

The cover design is a painting by John William which depicts a woman who is idling while playing with a kitten. The oil on painting canvas is titled 'Idleness.'

"One of his most poignant verses reminds us that we are never just one thing, and all the quirks, imperfections, and contradictions are par for the course. Next time you find yourself doing something unusual or contradictory that surprises other people or yourself, remember that you contain multitudes. Sometimes that contradiction is a sign of progress." - Melanie Pinola

W H E N WA S

THE LAST TIME

YOU STARED OUT

OF THE WINDOW?

Week Eight

Studio Project

Project Week FORMATIVE FEEDBACK During project week, our Mandatory 1 studio project was assessed and we were notified of the indicative results on 16th September. After outcomes on opportunity content and

we had submitted our studio and dissertation Week 7, it was project week and this was a crucial for me to revisit my research in order to produce ideas for Mandatory 2.

During the week, we received our audio formative feedback for our studio work. Adding on to that new feature are the grades that were revealed based on the 4 learning outcomes. This is a very helpful improvement from the teaching team as it enabled me to understand where I was weak and allowed me to know which area I can work on to perform better. This is especially handy during our formative feedback because the results are merely indicative and subjected to change during moderation. It allowed us to work on our Mandatory 1 outcomes based on our weakness and eventually, be graded for our summative/final assessment. As I received my results, I listened to the audio a couple of times and proceeded to transcribe it. Also, based on the results, I realised that I needed to make improvements towards my â&#x20AC;&#x2DC;Knowledge and Understandingâ&#x20AC;&#x2122; component. Although the outcomes were rather creative, it lacks the depth of knowledge on the content which is a crucial element in convincing the audience to partake in periods of idea incubation. One of the main comments that was brought up in the recorded feedback pertains to my Term 1 CPJ. Although the book contained a rigorous record of research and documentation, the handwriting slowed down the process of reading. Hence, I have decided to transfer my written documents onto screen and eventually, printing my CPJ for this term. Adding to that, Stanley mentioned that our class' CPJ for this term was great in the sense that it contained a good amount of documentation. However, he also

mentioned that we lack writing down ideas that we did not use for our final outcome. To document those rejected ideas may help us in our future work â&#x20AC;&#x201C; we may use it, improve it and find it helpful. This reminds me of my FYP where it is about The Creative Process whereby you prepare yourself through studying the problem/brief consciously and proceed to "sleep on it" (aka idea incubation phase. Upon looking at it again in the future, it will remove function fixedness as you were distracted and can better make associations now, hence, enhancing your creativity. Therefore, I took extra effort to document these rejected ideas that are not fully developed and are shallow as they may be useful for me in the future.

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Comments Feed Forward Comments: ➡ ➡ ➡ ➡

Knowledge and Understanding Banding: 60-69 Cognitive and Thinking Banding: 70-79 Practice and Professional Banding: 70-79 Transferable Skills: 70-79

Refer to the audio recording for your feed forward comments. Based on the feedback, continue to improve on Mandatory 1 and bring along your ideas/mock-ups for Week 9’s studio class. Overall Comments: The body of work presented would have benefited from improvements in the following areas: ➡ Experimentation (with materials and techniques). ➡ Experimentation (in order to produce a range of potential solutions). ➡ Craftsmanship (greater attention to detail and sensitivity in production and presentation). ➡ Critical thinking (greater degree of analysis and reflection with regards to appropriateness in design decisions). Transcribed Audio Recorded Feedback + My comments [as seen in the brackets] for Mandatory 1: *highlights in this style = things I should take note of Hi Jing Lin, First thing’s first, I think obviously a lot of effort went into this and also I know this is supposed to be an antithesis to what I’m supposed to say but I kinda like giving feedback in this small space. Feels a bit cosy but I know it doesn’t help ideas. But anyway, just want to say that you have set up a

really little nice space. But, alright, I think a lot of work went into it and I really want to comment you on that. I think what you have created here is a situation for us to understand what your topic is about. The thing I was struggling with which was kind of nice which you seemed to be able to address it a little bit was when the idea was first proposed on setting up an area. I was just wondering what part of the design is yours [what about the publication on 'The Anatomy of Doing' + the video and the 'Idling Toolkit'?] - you know? Because if you used handwritten stuff and things like that - they are part of your design but I’m thinking how else can you better accentuate that and I think you seemed to have been able to reconcile that with the use of your orange papers. Not sure why orange. Maybe there’s a reason behind it - I will be interested to know but that kind of gave you the consistent language that helps carry your voice forward. I remember last class, one of the things we talked about is having a lot of something is how we can build a consistency in art direction and I think you have tried to do that here - which is great. Of course, when you sit down you consider what’s around you, you look at the video - it kind of makes a little more sense at what you’re trying to arrive at. I think previously, one of the issues that I have with your project was that if you tell me what the current situation is like - people are being overly focused and it becomes hard for us to be creative that way. Then what else can we do about it? And you tried to do that also, you know, the video, after you showed the bits where this person is stressed about work - and then you reversed it then you talk about how can I overcome creative block. And then you have that thing that says “taking a shower”. That to me sounds a bit sudden because the video itself seems to be talking about the problem - by using the same treatment, same art direction, does not, there is no change. I think what you want is a dramatic change. If you look at film, you look at videos, how do they usually suggest a change in direction besides the change in art direction obviously, that changed - is maybe through the sound also, you have gone for a soundless video. [I used sound for my video. In the setup, a earpiece was attached to the laptop because I wanted the user to 'concentrate' on the video.] Or a different shot, you had that with the scene that says “I am taking a shower.” However,

CREATIVE PROCESS JOURNAL immediately after the question of “how do I overcome creative blocks?”, what happened after that is you use back the same scene - so it seems to suggest it is still about the same thing. I am not sure whether there is an error in the design [It was intentionally done that way because you still need the 'preparation' stage, prior to 'incubation'.] there? Like then it suddenly switched to this person writing “I am taking a break.” So, I am just thinking that the jump is too sudden. It does not suggest a change in scene, a change in thinking. That is something that you can think about. I am also wondering while looking at the video where these things are at and I noticed they are in the box on the left, I mean on the right, which is great. I’m now just thinking, perhaps a better way to do this instead of putting them together, because you have set up this space as somebody who is chronically inundated with work - so when you suddenly talk about having the ideas and everything - there is a change in the thinking. What would have been cool was that if you had a two-side setup. One is of somebody who is very stressed - going through all these things and telling themselves to change and the other one is one that has nothing but talks about I am going on a break, or something like that. So that might be a stronger contrast as compared to now - it feels a little bit too much to take in, alright? If you have that comparison and contrast - that might have helped a little bit. Another thing that I was hoping for you to talk about in your kit - a lot of these kits are things that you can do but you show us what we can do but you never talk about why I should do this - you know, which is the thing will convince me. If let’s say now I am one of these people who are super focused - only do things, refused to give up - you know that kind of thing. And if you suddenly come to me and give me the time clock chart and then you tell me to do something else: idea incubation and things like that. I might not immediately want to pick them up – reason being – I do not know what they are for. I don’t know what the purpose of it is for. I don’t know what values, essentially, I don’t know how is this going to help me, alright? So, what I am trying to drive at is what could have circumvented that problem is you have a little manual that talks about why

WEEK 8 the way we are doing things now is not helpful – that would have been a lot clearer. So that’s where you can show all your research – which is what I am looking for in the context bit. You were quite creative with your outcomes but the background context on how being idle can actually help designers – is a little bit missing. I am not as convinced at the moment. Another thing I also want to talk about is the rest if your stuff is quite nice but the tools… I am assuming you might have arrived at this, a little bit later? The craft is not as good, like even if you open the box, you see on the inside that you have that little cut out – is not pasted as well. The cutting is not straight – I know I am nitpicking here but I want to push you to be better as well. So think about how best you can design these things. In fact, these things to me maybe not as important as convincing me why being stucked in this way of thinking is bad. That would have been a good start. I would have believed in your “solution”, open and close inverted commas, of idling more if you have done that. Another thing you know we talked about this with Fizzy’s project last week as well, that it would be great if the box seems to be designed specifically for it. Everything has its compartment – you build your own box that way and then you design it so that everything fits well – you know when I see a lot of the tissue paper thing – it seems to suggest that it was – you found something that would have fit and then you tried to fit everything in, alright? So something for you to consider. Another thing I would really like to commend you on is in your work rate and workload. Surprisingly you said that your project is about not being overly focused but I honestly think you are a very focused student. And it is has always been a joy to see you producing a lot of stuff in class. I want to encourage you to keep that up. And of course we know that the more you practice what you say about being idling, the more ideas you have. And you keep bringing ideas in and we can talk about ideas through that way. And also your CPJ, I just want to say that your CPJ is really in-depth which is really great. A lot to read, very insightful, I noticed that a lot of the things that you wrote inside the CPJ were also not things that I told you specifically – they were things that I told either your classmates or in general to everybody - but you have taken note of that. So, that’s really great – it shows that you are invested in your

CREATIVE PROCESS JOURNAL own learning that you are interested to want to know more and I want to encourage you to keep that up. The only thing that might be a bit tricky is going through the hand writing. I must say that you have a really nice handwriting, just that after reading too much – it can slow down the progress of reading. I realised at the start I was reading a lot but as I moved on, my reading speed gets slower and slower. So, something for you to consider. But, good job, a lot of effort in designing what you have designed. Now is just being convincing – I think that’s the main word that I would describe your work as lacking at the moment – to be convincing: convince me with your research, convince me with why I should believe in idling or taking breaks, or whatever you want to call it. Good job. Keep it up. Hi! Sorry for the pause – I actually went back to read your CPJ, certain parts that I thought were interesting and I wanted to quote them as references – I think in general, I really like reading your CPJ – really insightful and it shows that you are paying attention in class. One thing though – I would like to encourage you to do is to be a lot more vocal in our classes. You have good ideas, you are insightful, you are introspective. I would encourage you to speak up a little bit more on what you are thinking and what is going through your mind, because I think not only would you benefit from that, you will also benefit your classmates as well. Something I want them to learn from you also. So, I look forward in the next few weeks for you to be a lot more opened in class and then we can discuss more about your works that way. Thanks Jing Lin!

Revisiting the Brief MANDATORY 1 As I thought of more ideas on improving Mandatory 1, I revisited the brief and tried to address the requirements. Mandatory 1: Defining Scope and Context This refers to an in-depth understanding of the research subject and clarity in the purpose of undertaking this research. ➡ Thorough study and exposition of the research subject/specific context ➡ Rationalise the importance of this research ➡ What are you trying to achieve, the importance of this research to you and why should it matter to others? Mandatory 2:

Process & Extended Scope (Week 10)

Mandatory 2 is an extension to the study of context by providing exhaustive research and substantial exploration pertaining to the area that you have identified in Mandatory 1. The motivation is to turn variable theoretical concepts into more meaningful ideas. In order to recognise the connections, this process needs to be documented by precise annotations and reflective writing. GOAL (based on formative feedback): To be convincing – convince me with your research, convince me with why I should believe in idling or taking breaks. ➡ I think that this could be addressed in Mandatory 2 and the improvement for Mandatory 1 in terms of depth of knowledge would be to show that idling gives you novel ideas while

conscious hard work does not. In Mandatory 2, I will cover the historical context and theoretical concepts so as to convince people that I know my research and my project is credible and not based on my intuition and knowledge alone. As I thought of ideas for both Mandatories, I tried to generate as many concepts ideas I could, and only chose that were good in quality and developed it further.

WEEK 8

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Ideas for Mandatory 1 & 2 IDEA 1:

Title: The Sweet Spot Concept: To brand spaces the ideal environment for idea incubation to take place. These 'Sweet Spots' are ideal for performing activities that are mundane routines such as 'taking a shower, washing dishes etc. '. This enables the

facilitation of mind-wandering since the task performed is dull and not mentally stimulating. This idea is a photography project that captures the ideal places to be at, where solitary activities can be performed. Perhaps, in order to meet the 'depth of knowledge and understanding' component, it can show the notable people in the past (who have had experience with arriving at insights example: Archimedes) VS what the environment

is like today while enforcing the idea that the spaces/ spots may appear different and strangely, not an office space, but they are still great breeding spots for novel insights to be generated.

THE SWEET SPOT

WEEK 8 IDEA 2: Title: Repelling Boredom Concept: This idea depicts the modern man during times of distraction and leisure, he will seek to find ways to entertain himself through stimulating activities such as surfing

the Internet. This goes to show that he does not engage in boredom, rather, his instincts are to fight them off. However, instead of letting his mind-wander, he decides to find sources of entertainment which keeps his mind occupied with the present moment and paying a lot of attention to be engaged. This concept seeks to show the repelling behaviour we have towards boredom through objects that repel against each other or do not mix and blend well, such as: ➡ Water resistant ➡ Oil and water ➡ Magnets ➡ Repel insects

CREATIVE PROCESS JOURNAL

WEEK 8 IDEA 3: Title: I Don't Trust Myself | The Long Lost Mind Concept: Since the current context involves people being overly focused at work, they do not possess the mindset or believe that their unconscious thoughts are just as powerful. Hence, this situation can be narrated into a story whereby a person has no trust towards their unconscious mind. They will

not let their mind wander, they prefer to think logically and intensively. They believe this is the way to being productive, and the only idea generation method. I thought of a few ways to show this idea of separation: ➡ Seeing it as an enemy: enemy of the state, terrorists, war? ➡ Two people getting divorce: counselling sessions ➡ Through a person's self-reflection ➡ A relationship that was once whole, now separated ➡ Fraud from a company that leads to mistrust ➡ Taking on a challenge that involves fear: e.g. bungee jumping ➡ Someone who only lives by the quote 'seeing is believing, so doing is productive and not doing is not' ➡ Tabloid news designed in a Scientific style to show that we do not trust our unconscious thoughts and use them intentionally to boost creativity ➡ Rediscovering an old but very powerful machine that we have lost touch with: the human mind. Present the mind the same way how 'Apple'releases their latest technology

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IDEA 4: Title: Illumination | Unconscious Inference | Visual Irrationality Concept: To use the concept of optical illusion

which deals

with the fact that we cannot convince ourselves rationally that our eyes have played tricks on us. It is as though we cannot accept and comprehend the wonders of our unconscious mind – we would rather stick with what we are comfortable with and is, perceived to be 'rational', rather than the 'irrationality' of the unconscious mind. The idea of illusion can be referenced with the concept of 'magic' in terms of its perceptive traits – paranormal methods to manipulate natural forces. This is why some people who are unaware that they are going through a stage of 'idea incubation' tend to think that epiphanies cannot be recreated and are beyond our control. This is the myth that I would like to debunk – to clear up the uncertainties that people have towards the nature of insights that were arrived through periods of idea incubation. The formation of visual impressions, Helmholtz realized, is achieved primarily by unconscious judgments, the results of which "can never once be elevated to the plane of conscious judgments" and thus "lack the purifying and scrutinizing work of conscious thinking". In spite of this, the results of unconscious judgments are so impervious to conscious control, so resistant to contradiction that they are "impossible to get rid of" and "the effect of them cannot be overcome". So whatever impressions this unconscious inference process leads to, they strike "our consciousness as a foreign and overpowering force of nature". ➡ Perhaps the illusion could involve a person to stare hard at a certain spot (example of conscious thinking) and proceed to close their eyes (example of unconscious thinking), in order to reveal something. This further promotes the idea that dual modes of processes are essential in the effectiveness of the optical illusion to be experienced/revealed.

WEEK 8 IDEA 5: Title: The Recipe to Creativity/Genius Concept: The concept of using a cookbook is to show that there are 'recipes' to success in terms of creativity or what most people define as 'genius'. This cookbook is basically a compendium of formulas that make up different types of creative people. The contents of the cookbook is written in the way that the different types of dishes are represented by the individual creatives and each dish share the same common 'ingredient' which is 'idleness' in the sense of idea incubation. â&#x17E;Ą In order, to show that the ingredients in the recipe are associated with terms related to creativity,

the ingredients will be replaced with actual food to actual activities that creatives perform or even the tools the use. â&#x17E;Ą The intend of this book to allow readers to be expose to the idea that creativity is made up of more than just intensive periods of conscious hard work involving the working memory, instead, it entails the dual process of both conscious and unconscious thoughts.

CREATIVE PROCESS JOURNAL

WEEK 8 IDEA 6: Title: Creative Contact Concept: This concept shows the items that creative individuals come into contact with during the creative process. The aim of this publication is to inform readers that creatives do not merely use tools designed for making (e.g. pen knife, ruler, pen etc.), instead, it may involve tools that are unusual and unexpected such as iron for ironing clothes to mop for mopping the floor. These unexpected objects

will be explained to show that it is used during the idea incubation phase where creative practitioners take a break to perform mundane activities. â&#x17E;Ą Flat lay the objects that creative practitioners come into contact with during the creative process.

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IDEA 7: Title: We are not Robots Concept: This concept's design approach is to provoke the idea that we are not machines: working continuously to be productive, most of all, require no downtime. This is very much like how human-centered design is practiced – to go against the idea that artificial intelligence can

I am not a robot take over the role of designers. Hence, the need for empathy in design thinking – to better understand how your target audience functions on a human level. ➡ A campaign to remind people that they are humans. The deliverables of the campaign (posters, stickers, etc.) shall be placed in working environments (on the table, laptop, notebook etc.). It shall remind people at work that they are not machines, that they need to take breaks.

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IDEA 8: Title: New Found Science

Thinking Skills and Creativity 7 (2012) 21–27

What inspires designers? Preferences on inspirational approaches during idea generation

Concept: To present the "discovery" of the human brain in a way we never imagined it to be. The art direction is referenced from how scientist write their research paper.

Contents lists available at SciVerse ScienceDirect

Thinking Skills and Creativity

Milene Gonc¸alves, Carlos Cardoso and Petra Badke-Schaub, Faculty of Industrial Design, Delft University of Technology, Landbergstraat 15, NL-2628CR Delft, The Netherlands

journal homepage: http://www.elsevier.com/locate/tsc

Creativity: The role of unconscious processes in idea generation and idea selection

Searching for inspirational stimuli is an essential step in the initial stages of the design process. However, there is a lack of information on what designers search for during such a phase. There is no distinction between what student and professional designers use as inspirational sources or idea generation methods. We present the results of a questionnaire involving 103 student and 52 professional designers on their reported preferences for inspirational approaches. Students and, to some extent, professional designers seem to give an exaggerated importance to a restricted number of approaches, when they could take advantage of a wide range of available resources. Further results have uncovered possible research directions for the exploration of alternative stimuli for inspiration during ideation phases. 2013 Elsevier Ltd. All rights reserved.

Simone M. Ritter ∗ , Rick B. van Baaren, Ap Dijksterhuis Radboud University Nijmegen, Behavioural Science Institute, Montessorilaan 3, 6500 HE Nijmegen, The Netherlands

a r t i c l e

➡ The campaign's direction is inspired by science conventions works. It will expound on the latest

esigners, as human beings in general, are widely influenced by what surrounds them in their daily lives. This influence can occur in a systematic way, when designers actively search for inspiration, or even unconsciously or by chance (Goldschmidt & Sever, 2010; Herring, Chang, Krantzler, & Bailey, 2009). Inspiration has been defined as ‘the process of being mentally stimulated to do or feel something, especially to do something creative’ (Hornby, 2000). In design, inspiration as a process could entail both more active (deliberately searching for particular information, via the internet or books, for instance) as well as more passive (randomly encountering relevant information) procedures. Whilst engaging in information search, there is a general agreement that sources can arise from a number of different places. For instance, inspiration may be elicited by design examples of products or buildings, art pieces, pictures, written documents, but also from diverse forms of life from nature or other phenomena. Design researchers have defined inspiration in design as a process that can integrate the use of any entity in any form that elicits the formation of creative solutions for existing problems (e.g., Eckert, Stacey, & Clarkson, 2000). However, the overConsciousness and Cognition 15 (2006) 135–146 whelming amount of possible stimuli a designer can search for and use adds

1. Introduction In everyday life, creative vision is highly appreciated. For example, a recent survey among 1500 chief executives around the world ranked creativity as the most crucial leadership quality (IBM Corporation, 2010), and creativity was rated as an important determinant of making a psychology article influential (Sternberg & Gordeeva, 1996). In the scientific literature, ‘creativity’ is defined as the process of bringing into being something that is both new and useful (e.g., Amabile, 1996; Sawyer, 2006; Sternberg & O’Hara, 1999). Given that effort, hard work, and training play an important role in the creative process (Amabile, 1996; Csikszentmihalyi, 1996; Sawyer, 2006), one may expect that creativity is achieved through extensive conscious thought; however, several studies have pointed out that the unconscious mind is also indispensable in creative performance (e.g., Simon, 1996; Smith, 1995). Moreover, the importance of the unconscious in creativity is emphasized by many anecdotes about individuals hailed as geniuses (Ghiselin, 1952; Wallas, 1926; Woodworth & Schlosberg, 1954). For example, the mathematician Poincaré was convinced that his creative ideas emerged from the unconscious, and Einstein reported that he first ‘saw’ the solution to a problem without being able to express it (Ghiselin, 1952). In arts, experiences of creativity seem to be similar. According to Schopenhauer (1970, p. 41), “everything primary, and consequently everything genuine, works as the forces of nature do, unconsciously.” These and many similar anecdotal reports strongly suggest that creativity cannot be explained by conscious processes Consciousness alone. According to dual process theories, we have a conscious, rule-based, controlled system, and an unconscious, associaand tive, automatic system (Evans et al., 2009). In creativity, the period during which the unconscious is at work is often called Cognition ‘incubation’. One of the earliest well-developed concepts of incubation was postulated by Wallas (1926), who assumed that

www.elsevier.com/locate/concog

Creativity—the unconscious foundations of the incubation period

Ap Dijksterhuis *, Teun Meurs Social Psychology Program, University of Amsterdam, Roetersstaat 15, 1018 WB Amsterdam, The Netherlands

Edited by: Matthijs Baas, University of Amsterdam, Netherlands

Contents lists available at SciVerse ScienceDirect

Abstract

Organizational Behavior and Human Decision Processes

In three experiments, the relation between diﬀerent modes of thought and the generation of ‘‘creative’’ and original ideas was investigated. Participants were asked to generate items according to a speciﬁc journal homepage: www.elsevier.com/locate/obhdp instruction (e.g., generate place names starting with an ‘‘A’’). They either did so immediately after receiving the instruction, or after a few minutes of conscious thought, or after a few minutes of distraction during which ‘‘unconscious thought’’ was hypothesized to take place. Throughout the experiments, the items parFour empirical tests of Unconscious Thought Theory ticipants listed under ‘‘unconscious thought’’ conditions were more original. It was concluded that whereas conscious thought may be focused and convergent, unconscious thought may be more associative and divergent. Hilde M. Huizenga ⇑, Ruud Wetzels, Don van Ravenzwaaij, Eric-Jan Wagenmakers 2005 Elsevier Inc. All rights reserved. Department of Psychology, University of Amsterdam, The Netherlands i n f o

Reviewed by: Kirsten G. Volz, Werner Reichardt Centre for Integrative Neuroscience, Germany Ut Na Sio, Carnegie Mellon University, USA Stephanie Lichtenfeld, University of Munich, Germany *Correspondence: Simone M. Ritter, Behavioural Science Institute, Radboud University Nijmegen, Montessorilaan 3, P.O. Box 9104, 6500 HE Nijmegen, Netherlands e-mail: S.Ritter@psych.ru.nl

Keywords: Consciousness; Unconscious; Creativity; Thinking

a b s t r a c t

Article history: Received 17 April 2008 Accepted 28 November 2011 Available online 23 December 2011 Accepted by William Bottom

Simone M. Ritter* and Ap Dijksterhuis Behavioural Science Institute, Radboud University Nijmegen, Nijmegen, Netherlands

Received 20 July 2004 Available online 12 July 2005 Organizational Behavior and Human Decision Processes 117 (2012) 332–340

a r t i c l e

According to Unconscious Thought Theory, people make better decisions after unconscious than after conscious thought (Dijksterhuis, Bos, Nordgren, & van Baaren, 2006a). Unconscious Thought Theory yields four speciﬁc predictions. First, an exact replication of Dijksterhuis et al. (2006a) study should indicate that unconscious decisions are superior to conscious decisions. Second, decisions should improve with duration of conscious thought. Third, unconscious decisions should be superior to conscious decisions, even if unconscious decisions are deliberated while having access to information. Fourth, unconscious decisions should be based on a weighting strategy. We report results of four studies, featuring 480 participants, that yield no evidence in favor of these predictions. Therefore our ﬁndings cast doubt on Unconscious Thought Theory and its advice to base decisions on unconscious thought. The results of our studies suggest that it is better to base decisions on conscious thought while having access to information. q This research was supported by NWO-Vernieuwingsimpuls 2011 Elsevier Inc. All rights reserved. *

REVIEW ARTICLE

published: 11 April 2014 doi: 10.3389/fnhum.2014.00215

HUMAN NEUROSCIENCE

Where creativity resides: The generative power of unconscious thought q

➡ Perhaps I could design a publication as though it is the latest volume of the encyclopedia.

Today’s world of continuous change thrives on creative individuals. Anecdotal reports suggest that creative performance benefits from unconscious processes. Empirical research on the role of the unconscious in creativity, though, is inconsistent and thus far has focused mainly on one aspect of the creative process – idea generation. This is the first study to assess the role of the unconscious mind for both idea generation and idea selection. Participants generated creative ideas immediately, after conscious thought, or after a period of distraction during which unconscious thought was hypothesized to take place. After having listed their ideas, participants selected their most creative idea. Performance in idea generation was similar between conscious and unconscious thought; however, individuals who had unconsciously thought about ideas were better in selecting their most creative idea. These findings shed more light on the role of unconscious processes in creativity, and provide a means to enhance creative performance. © 2011 Elsevier Ltd. All rights reserved.

∗ Corresponding author. Tel.: +31 0 24 36 12144; fax: +31 0 24 36 12677. E-mail addresses: S.Ritter@psych.ru.nl, simone ritter@yahoo.de (S.M. Ritter).

discovery of what scientist have discovered about the brain. Can show how it is being reported on the News: newspaper & TV.

a b s t r a c t

Keywords: Creativity Unconscious processes Fostering creativity Idea generation Idea selection

Corresponding author: Milene Gonc¸alves m.guerreirogoncalves @tudelft.nl, milene. gg@gmail.com

i n f o

Article history: Received 17 October 2011 Received in revised form 16 November 2011 Accepted 5 December 2011 Available online 15 December 2011

Keywords: sources of inspiration, design methods, creativity, design education, design practice

Creativity is one of the most important assets we have to navigate through the fast changing world of the 21st century. Anecdotal accounts of creative individuals suggest that oftentimes, creative discoveries result from a process whereby initial conscious thought is followed by a period during which one refrains from task-related conscious thought. For example, one may spend an embarrassing amount of time thinking about a problem when the solution suddenly pops into consciousness while taking a shower. Not only creative individuals but also traditional theories of creativity have put a lot of emphasis on this incubation stage in creative thinking. The aim of the present article is twofold. First, an overview of the domain of incubation and creativity is provided by reviewing and discussing studies on incubation, mind-wandering, and sleep. Second, the causes of incubation effects are discussed. Previously, little attention has been paid to the causes of incubation effects and most findings do not really speak to whether the effects should be explained by unconscious processes or merely by consequences of a period of distraction. In the latter case, there is no need to assume active unconscious processes. The findings discussed in the current article support the idea that it is not merely the absence of conscious thought that drives incubation effects, but that during an incubation period unconscious processes contribute to creative thinking. Finally, practical implications and directions for future research will be discussed. Keywords: creativity, problem solving, incubation, mind wandering, sleep, unconscious processes

1. Introduction

Creativity has long been associated with the labor of the unconscious mind. Nobel laureates and famous artists, when probed to introspect on the process leading to their discoveries or

Keywords: Decision making Heuristics Lexicographic strategy Unconscious Thought Theory Decision aids

016.025.030.

Corresponding author. Fax: +31206391896 E-mail address: a.j.dijksterhuis@uva.nl (A. Dijksterhuis).

Introduction

Unconscious Thought Theory

doi:10.1016/j.concog.2005.04.007 The key assumption of Unconscious Thought Theory (UTT, Dijksterhuis & Nordgren, 2006) is that unconscious thought and conscious thought are characterized by different processes. That is, ‘‘unconscious thought’’ processes have a relatively large capacity – hence, they allow for an optimal decision strategy in which all attributes of choice alternatives are weighted according to their importance. These unconscious processes require time, therefore the quality of decisions increases with the duration of unconscious thought (Dijksterhuis & Nordgren, 2006, p. 99; see also Dijksterhuis, 2004). ‘‘Conscious thought’’ processes on the other hand, have a small capacity and therefore only allow for simplified decision making strategies. As summarized by Dijksterhuis and Nordgren (2006, p. 105): ‘‘When a decision strategy warrants the careful and strict application of one specific rule, as in a lexicographic strategy, use conscious thought. When matters become more complicated and weighting is called for, as in the weighting strategy, use unconscious thought’’. Dijksterhuis et al. (2006a) tested one of the main predictions derived from UTT, namely that in complex situations, decisions should be better after unconscious than after conscious thought. ⇑ Corresponding author. Address: Department of Psychology, University of A complex decision making situation was operationalized as a sitAmsterdam, Weesperplein 4, 1018XA Amsterdam, The Netherlands. uation in which participants had to choose between four options E-mail address: h.m.huizenga@uva.nl (H.M. Huizenga). (cars) defined by 12 attributes each (e.g. mileage, service, legroom). 1 A select subset of the many online references: http://news.bbc.co.uk/1/hi/health/ The attributes were presented verbally, one attribute at a time. Fol4723216.stm, http://americanscientist.org/template/Newsletter?member2 2 id=null&issueid=7262, http://www.washingtonpost.com/wpdyn/content/article/ Paul Seli1, Evan F.lowing Risko , andofDaniel Smilekhad an interval 4 min, participants to indicate which car 1 2 2006/02/19/AR2006021901108.html, http://www.newscientist.com/artiDepartment of Psychology, Harvard University, Department Psychology, of Waterloo they thought wasand best. In this 4 of min interval, University participants either cle.ns?id=dn8732, http://www.nytimes.com/2006/02/21/health/psychology/ deliberated their decisions (an operationalization of ‘‘conscious 21deci.html?ei=5088&en=94fce15a93b5dd86&ex=129,81,78,000&adxnnl=1&partthought’’) or performed a secondary task in which they had to ner=rssnyt&emc=rss&adxnnlx=1182113728-IcgxwPfeyZCsn9oZYxTrMA.

It may seem self-evident that the best way for people to solve a complex decision problem is to carefully and consciously weigh the pros and cons of each choice alternative. However, this view has been challenged by an influential study on unconscious decision making (Dijksterhuis et al., 2006a). This study formed the empirical basis of Unconscious Thought Theory (Dijksterhuis & Nordgren, 634068 2006) and prompted the advice that complex decision problems are best addressed not by conscious deliberation but by unconscious thought, that is, by sleeping on them. This counterintuitive claim received a lot of positive attention in the popular media,1 yet also raised skeptical comments from within the scientific community (e.g., González-Vallejo, Lassiter, Bellezza, & Lindberg, 2008; ResearchUnconscious Article Shanks, 2006). In this article, we first summarize Thought Theory, we then derive four predictions from this theory and test these predictions in four studies featuring a total of 480 participants. Finally, we integrate our results with previous results and discuss implications for Unconscious Thought Theory. research-article2016

PSSXXX10.1177/0956797616634068Seli et al.Reconceptualizing Mind Wandering

On the Necessity of Distinguishing Between Unintentional and Intentional Mind Wandering

Psychological Science 2016, Vol. 27(5) 685–691 © The Author(s) 2016 Reprints and permissions: sagepub.com/journalsPermissions.nav DOI: 10.1177/0956797616634068 pss.sagepub.com

In recent years, there has been an enormous increase in the number of studies examining mind wandering. Although participants’ reports of mind wandering are often assumed to largely reflect spontaneous, unintentional thoughts, many researchers’ conceptualizations of mind wandering have left open the possibility that at least some of these reports reflect deliberate, intentional thought. Critically, however, in most investigations on the topic, researchers have not separately assessed each type of mind wandering; instead, they have measured mind wandering as a unitary construct, thereby conflating intentional and unintentional types. We report the first compelling evidence that an experimental manipulation can have qualitatively different effects on intentional and unintentional types of mind wandering. This result provides clear evidence that researchers interested in understanding mind wandering need to consider the distinction between unintentional and intentional occurrences of this phenomenon. Keywords mind wandering, intentional, unintentional, deliberate, spontaneous, open data Received 10/1/15; Revision accepted 1/31/16

Important achievements in the arts and sciences depend on creativity (Feist and Gorman, 1998; Kaufman, 2002), and creativity is associated with the development of new social institutions (Bass, 1990; Mumford, 2002) and economic growth (Amabile, 1997; Simonton, 1999). It is generally accepted that a creative idea or a creative solution to a problem has to be novel (i.e., original) and useful (Amabile, 1983; Runco and Pritzker, 1999). Creativity is not limited to the realms of greatness, but can also be found in daily life, for example, when one has to accomplish a task in a new way (Cropley, 1990) or when one has to adapt to changes (Runco, 2004). Today’s world of continuous change thrives on creative individuals. Creativity has been related to cognitive abilities, expertise, and practice (Patrick, 1986; Amabile, 1996; Runco, 2004; Ericsson, 2006; Sawyer, 2012), and one may expect that creativity mainly thrives on extensive conscious thought. However, creative individuals, in describing their work habits or the process of creative problem solving, have suggested that oftentimes, creative ideas result from a period of incubation—a process whereby initial conscious thought is followed by a period during which one refrains from task-related conscious thought (for anecdotal accounts, see Ghiselin, 1952). The most frequently cited anecdote is probably the one from the mathematician Poincaré: “[. . .] I left Caen, where I was living, to go on a geologic excursion under the auspices of the School of Mines. The incidents of the travel made me forget my mathematical work. Having reached

Coutances, we entered an omnibus to go some place or other. At the moment when I put my foot on the step, the idea came to me, without anything in my former thoughts seeming to have paved the way for it, that the transformations I had used to define the Fuchsian functions were identical with those of non-Euclidian geometry. I did not verify the idea; I should not have had the time, as, upon taking my seat in the omnibus, I went on with a conversation already commenced, but I felt a perfect certainty. On my return to Caen, for conscience’ sake, I verified the result at my leisure.” (Poincaré quoted in Hadamard, 1945, p. 13).

In addition, several famous anecdotes suggest that sleep facilitates creativity, ranging from musical compositions to scientific insights (Mazzarello, 2000). In speaking of the attainment of solutions, “Beatle” Paul McCartney announced that he came up with the melody for “Yesterday” in a dream, and the Nobel Prize winner Loewi woke up with the idea for how to experimentally prove his theory of chemical neurotransmission. The idea that a period of incubation might facilitate creativity has not only been suggested by creative minds, but has also been stressed in creativity models. Wallas (1926) proposed that the creative process entails four stages: Preparation (acquisition of knowledge to some task), Incubation (process that occurs when conscious attention is diverted away from the task), Illumination (creative idea flashes into sight), and Verification (creative idea is subjected to evaluation). Certainly a creative idea may be found before a decrease in conscious effort, that is, before the Incubation stage.

Creativity Research Journal Frontiers in Human Neuroscience

April 2014 | Volume 8 | Article 215 | 1

www.frontiersin.org

ISSN: 1040-0419 (Print) 1532-6934 (Online) Journal homepage: http://www.tandfonline.com/loi/hcrj20

Creative People Use Nonconscious Processes to Their Advantage Jason Gallate , Cara Wong , Sophie Ellwood , R. W. Roring & Allan Snyder To cite this article: Jason Gallate , Cara Wong , Sophie Ellwood , R. W. Roring & Allan Snyder (2012) Creative People Use Nonconscious Processes to Their Advantage, Creativity Research Journal, 24:2-3, 146-151, DOI: 10.1080/10400419.2012.677282 To link to this article: http://dx.doi.org/10.1080/10400419.2012.677282

Published online: 08 Jun 2012.

Humans spend a considerable amount of time mind wandering (Killingsworth & Gilbert, 2010). Although mind wandering sometimes has beneficial functions, such as facilitating creative thinking (Baird et al., 2012) and problem solving (Ruby, Smallwood, Sackur, & Singer, 2013), at other times, it has serious negative consequences. For example, mind wandering has been associated with an increased risk of injury while driving (Knowles & Tay, 2002), problems in educational settings (Risko, Anderson, Sarwal, Engelhardt, & Kingstone, 2012), affective dysfunction (Smallwood et al., 2003), and impaired performance in daily life (McVay, Kane, & Kwapil, 2009). Given the prevalence and consequences of mind wandering, the number of studies examining it has increased rapidly in recent years, and these studies are spread across various domains. When the term mind wandering was first introduced in psychological science roughly a decade ago, Smallwood and Schooler (2006, p. 946) defined it as a situation in which executive control shifts away from a primary task to the processing of personal goals.

Mind-wandering shares certain similarities with standard views of controlled processing, however, there is an important difference. Controlled processing is generally associated with the intentional pursuit of a goal. Mind-wandering, however, often occurs without intention . . . or even awareness that one’s mind has drifted. Smallwood and Schooler (2006) clearly implied that although mind wandering often occurs without intention, such lack of intention is not a prerequisite for an experience to be classified as mind wandering. That is, the authors made it clear that people can intentionally engage in mind wandering. Research consistent with this proposition has demonstrated that individuals do indeed engage in both intentional and unintentional mind

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Corresponding Author: Paul Seli, Department of Psychology, Harvard University, 33 Kirkland St., Cambridge, MA 02138 E-mail: paulseli@fas.harvard.edu

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Date: 24 August 2016, At: 06:44

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IDEA 9: Title: La La Land Concept: Brand mind-wandering as a visit. What is interesting from each individual. These practitioners and it shows they are idling.

place in your head that you can is that, the la-la lands differs states of mind belong to creative what their mind is thinking when

La la Land: A place renowned for its frivolous activity. A state of mind characterized by unrealistic expectations or a lack of seriousness. â&#x17E;Ą Spatial innovation: sing three dimensional objects to craft the land. This gives the land a more "realistic" look to it, rather than just purely existing in your mind. Seeing the land itself can alter the way we think of the unconscious mind.

WEEK 8 IDEA 10: Title: Think Tank | The Idle Brain Concept: The goal of this outcome is to demonstrate the research on how mind-wandering can enhance creativity. Let me explain what the research has shown: There are 4 stages in the Creative Process as proposed by Graham Wallas. The stages are: Stage 1: Preparation, Stage 2: Incubation, Stage 3: Illumination, Stage4: Verification The stage that I will be focusing on is the transition between stages 1 and 2. Most creative practitioners may skip stage 2, but what I am promoting is the value of stage 2, Incubation as that is where novel ideas are generated. During periods of incubation, the creative individual has to perform mundane activities and not stimulating ones such as playing chess or crossword puzzles as they are mentally engaging. Instead, they should be idle – doing nothing. Doing nothing is not doing nothing at all, it is performing routines such as 'taking a shower'. The reason for such is, as you perform these low mental effort activities, your mind begins to wander. There has been a lot of studies and debate about the brain. Researchers have always thought that the brain would be offline as we are not doing anything, and that it is purely unwanted "noise". However, recent neuroscience has since proved this hypothesis false. Neuroscientist have been conducting fMRI scans on people, while they are instructed to lie down and do nothing. The results were surprising: your brain is active and pumping a lot of blood when you are idle. The network that is activated during moments of idleness is called the Default Mode Network. This network is associated with creativity as it is in charge of low-level imaginative processes. ➡ In order to show the activity in the brain, I had an insight (haha, for real): using lava lamps to show the activity in the brain. Bubbles = active brain. The tablets that produce the bubbles can be labelled as "mind wandering" ➡ To replicate the fMRI scans, the tank holding the liquids shall have the "x-ray" effect.

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WEEK 8 IDEA 11: Title: Insights versus Analytic Solutions Concept: Another research that favours periods of incubation is on how insight solutions are more often correct than analytic solutions. Insights can be generated through unconscious processes (a.k.a. idea incubation). Hence, to make more creative and correct solutions to a creative brief, it is better to "sleep on it", and the insights will "pop up, out of the blue", than to think hard using methodical strategies (e.g. brainstorming, mind maps). â&#x17E;Ą To show this comparison, I could show how two creative practitioners arrive at solutions, one through conscious thinking, the other unconscious. Their solutions will both be graded by "clients" and the solution that scored better would be the one who went through a period of idea incubation.

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IDEA 12: Title: Eureka Myths Concept: The historical component for the myths/stories of notable periods of idea incubation The term for the moment of "Eureka!" or "AHA!".

Mandatory 2 would be to narrate people who have encounters with that led to great discoveries. illumination is widely known as

â&#x17E;Ą Develop a series of CPJ, but instead of a journal, it could be a documentation. This allows readers to understand their work flow/creative process and get a better understanding of how this relates to the set ups in Mandatory 1. â&#x17E;Ą The historical context should cover the beginnings of the myth: Archimedes who took a shower to today's context: Steve Jobs.

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IDEA 13: Title: A Neuroscientist Perspective Concept: I thought of a concept, a central theme for Mand 1 & 2 so that the fluid of viewing the different works will be smooth and easy to digest. The idea is to base my works from a neuroscientist perspective whereby he/she is studying a creative practitioner's creative process. ➡

Accompanying items could research papers etc.

the

researcher's

name

tag,

➡ The entire set up can be divided and labelled as "Study 1, 2.. etc.) ➡ What happens if I created a bed/table for people to lie on as though they are undergoing an fMRI scan.

******* ON A SIDE NOTE, I SHOULD BE MORE RESPONSIBLE AND START RETURNING BOOKS THAT I HAVE BORROWED FROM VARIOUS LIBRARIES. THE FINES INCURRED... *******

Week Nine

Studio Project

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27th Sep 2016 Today is the first day of class since project week. Upon arriving at class, we were given a set of instructions to adhere to. This activity involves presenting our ideas to people from other classes as they contribute by providing us feedback while we assess their works too. Instructions: ➡ Place Mandatory 1 on the table ➡ Place Mandatory 2 on the wall ➡ Communal Briefing Mandatory 2:

HOSPITAL C! MR 2016C HLS +LPH ➡

mind wandering

oil

YOUR MIND WHEN IT WANDERS: AL

mind wandering

5cm

MF 1.08

SP L7.8 SL 5,0 FoV 230*230 192*256 Sag>Cor(-3.2)>Tra(1.6)

TR 20.0 TE 8.9 TA 03:25 BW 60.0 M/ND

W C

A1 HL 1,2:HS1.2

external view

water + colouring

880 423

internal view

unconscious processes

1043 F, 33Y STUDY 1 22/12/2016 17:45:32 2 IMA 01/04

vinegar + colouring tools

I had decided to work on Idea #10 which is the 'Think Tank'. This idea provides the theoretical framework that during moments of idling, the brain is still actively engaged. I did a visualisation sketch of how I imagined the tank would appear and operate after I have watched videos online explaining how to make lava lamps by myself (D.I.Y.). 1043 F, 33Y

STUDY 1 22/12/2016 17:45:32 2 IMA 01/04

HOSPITAL C! MR 2016C HLS +LPH ➡

YOUR MIND

WHEN IT The reason why I decided to use a tank instead of the common WANDERS: material: a bottle is because I imagined the four sides of the tank to display different views of the fMRI scans. AL

5cm

MF 1.08 TR 20.0 TE 8.9 TA 03:25 BW 60.0 M/ND

SP L7.8 SL 5,0 FoV 230*230 192*256 Sag>Cor(-3.2)>Tra(1.6)

The main art direction has reference to fMRI scans. fMRI is A1 HL 1,2:HS1.2

W C

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alka seltzer

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a functional neuroimaging procedure using MRI technology that measures brain activity by detecting changes associated with blood flow. The fMRI technique was invented not too long ago, during 1990 by a group at Bell Laboratories.

mind mind unconscious unconscious processes wandering wandering processes alka alka seltzer seltzer

oiloil

water water + colouring + colouring HOSPITAL C! MR 2016C HLS +LPH ➡

oil vinegar vinegar + + colouring colouring

tools tools

W C

880 423

unconscious processes

Also, in the visualisation, I included two types of reactive products that I needed to use in order to show the activity that is happening in the brain. Most tutorials that I have watched instructed the viewers to use alka seltzer (an effervescent water + colouring tablet) to stimulate bubbles. However, I conducted a search vinegar + to find other solutions that can replace tablets as it mightcolouring be internal view costly to purchase tablets. HOSPITAL HOSPITAL C! C! MR 2016C MR 2016C HLS HLS +LPH +LPH ➡ ➡

unconscious processes

D SP L7.8 SL 5,0 FoV 230*230 192*256 Sag>Cor(-3.2)>Tra(1.6)

mind wandering

5cm

MIND R MIND EN IT IT NDERS: ERS:

unconscious processes unconscious processes

OROR

mind wandering mind wandering

tools

However, I have decided that tablets are easier to handle as if I were to contain liquid separately, the transfer of the liquid may be messy as spillage may occur. 5cm

5cm

SP L7.8 SP L7.8 SL 5,0 SL 5,0 FoV 230*230 FoV 230*230 192*256 192*256 Sag>Cor(-3.2)>Tra(1.6) Sag>Cor(-3.2)>Tra(1.6) W C

880 W 423 C

880 423

1043 F, 33Y STUDY 1 22/12/2016 17:45:32 2 IMA 01/04

HOSPITAL C! MR 2016C HLS +LPH ➡

YOUR MIND WHEN IT WANDERS: AL

5cm

MF 1.08 TR 20.0 TE 8.9 TA 03:25 BW 60.0 M/ND A1 HL 1,2:HS1.2

SP L7.8 SL 5,0 FoV 230*230 192*256 Sag>Cor(-3.2)>Tra(1.6) W C

880 423

alka seltzer

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Hence, I illustrated how the tank would appear during periods of idling. The fMRI scans that are designed will have a die-cut of the brain shape, so that viewers can see the liquids in the tank. This is repeated on the 4 panels of the tank. As I had no prior experience in making a lava lamp, I had to search for tutorials online for instructions. The materials needed are: ➡ A tank (usually, people would suggest bottle) ➡ Vegetable oil ➡ Food colouring ➡ Water ➡ Alka Selzter tablets (can be substituted for any other product that generates effervescence from interacting with liquid. At first I thought that the product 'Redoxn' could be a substitute for the Alka Selzter. However, the price range is way more than my budget. Also, there are other types of effervescent products: those that come in powder form. The steps are: ➡ The tutorials that I have watched kept saying to add the water into the tank/bottle first then add the oil then the colouring. However, I felt that this was pretty inefficient as you would have to wait until the colouring to mix with the water as it sinks down the layer of oil. This step can be improved by adding water into the tank and then drop a few colouring into the tank so that it makes contact with the water instantly. ➡ If you followed my instructions, the next step is adding the vegetable oil into the tank. Due to the different amount of density and polarities. Oil and water do not mix or are immiscible because oil is less dense than water and will float on it. ➡ The next step is to add the alka cause a reaction to happen. This tablets are designed to break in another liquid, releasing carbon

seltzer in. This would is because the effervescent contact with water or dioxide in the process.

➡ As the carbon dioxide rises in the form of bubbles, the thick layers of the oil will appear like a lava lamp.

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Since Stefanie did not attend school today, I placed my laptop on the side of her table so others do not have to walk all the way in to my seat, and it's easier to see that there is work displayed. However, this turned out to be a terrible move because at the end of the sessions, the feedback I received was... unexpectedly unhelpful, in a funny way. Take a look: Feedback:

Quite far from design statement? Man 2 and Man 1 don't match

Consider automatic feeding?

Hi Chiobu What's this? Quite far from your Man 1 and design statement. Did you change your design statement?

The people who commented mistaken my work for Stefanie's project. Hence, they displayed signs of confusion as they were not related to Stef's brief on Instagram. Disappointed with the feedback I received, I went and spoke to some people and asked them to review my work and give me feedback. One of

WEEK 9 which suggested "automatic feeding", meaning to use a device that people use when keeping fish as pets. The feeding device will automatically dispose the food for the fish during specific intervals. This meant that the users need not drop the tablets into the tank as the feeder would do so, at its on pace. I find that idea to be interesting but I knew it would not work due to a few factors: ➡ There will be an issue with the number of tablets I have to supply: more than if I issued them in pre-packed sachets. ➡ Viewers need to understand that the cause for activity in the idle brain is contributed through periods of 'Mind Wandering'. Hence, the label on the sachets will better inform the viewer. Back to the class-to-class activity: TASK: Use post it notes and go around other class and see their works and give them comments. Take note of these components ➡ Creativity ➡ Content ➡ Context

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The following pages are some of the works that I had browsed as we looked at other classes' works:

Mand 2 idea: Conduct interview with graphic designers Mand 2 idea: Packaging, toy store and catalogue.

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Mand 2 idea: Using gift card/voucher as an identity.

Mand 2 idea: Pictures that depict quotes of the different social classes and their memory of food.

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Mand 2 idea: Show conflicting identities of Singaporeans and struggle between cultures.

Mand 2 idea: Certificate of expiration. Laser-cut a set of hand held letterpress kit.

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Mand 2 idea: Use scanimation technique to show visual movement.

Mand 2 idea: Create a dressing room set up.

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Mand 2 idea: Observations and interviews with residents.

Mand 2 idea: Replicate GIF design into print through scanimation.

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Mand 2 idea: Publication of instagram posts that shows the behind the scenes of each post.

Mand 1 idea: Case study video.

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Mand 2 idea: Show the detactable features of the face that allows machines to recognise and distinguish people.

Mand 2 idea: Interactive cube.

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My comment:

Mand 2 idea: A booklet that practices minimalism.

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Mand 1 idea: Documentation of Lasalle students at work.

Mand 2 idea: Travelling book: a collection of opinions

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Mand 2 idea: Create a endless roll of postit notes which shows that there is lot to do.

Mand 2 idea: Print village map design using batik technique + interview with batik workers.

WEEK 9 After the activity ended, we headed back to our own classes. Below is the agenda for today: Class A Agenda: ➡ Formative feedback ➡ General feedback for studio ➡ Time management ➡ Clarification for Mandatory 1 & 2 ➡ Studio work From next week onwards, there will be round table sessions ➡ 8 Students sign up ➡ Based on a first come, first serve basis ➡ This session will go on for until Week 13 (TBC) ➡ An optional session, not compulsory ➡ Can sit in and listen to others who signed up ➡ Helps to give us feedback based on not just one lecturer, but from other lecturers who will be marking our work as well Formative Feedback: Stanley asks the class if anyone has not received their audio feedback. He also wanted to know if this new method of communication is better than traditional hand-written method. He mentions that the teaching team have always find ways to improve the learning experience in Lasalle and hence we should let him know whether this new technique is effective or not. I feel that for me, it has certainly made things more clear as the difference of writing it down than to listen to someone speak is the added feature of the tone of voice. This brings about more clarity and allows me to understand what my lecturer is actually saying when he is commenting on my work. Another reason why written comments may not be as effective is that the text, unlike storytelling, lack the communication of expression and emotion which can be told, through the use of voice recording. General Feedback for Studio: Stanley notes that we were generally unafraid to produce work but, the clarity in the work is not good enough. However, he notes that he would rather see work being produce and make them clear than to have no work produced at all. He also states that he is very pleased with our CPJ – well documented.

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WEEK 9 Time Management: He states that the time we have this term would be shorter than the previous term. Hence, we have to make full use of each class that we have. When he assessed our work, he was able to tell who did their work at the last minute. This can be seen through the craftsmanship I suppose, that it might be weak and the idea may also not be the best idea. Stanley encourages the class to nail the 4 learning outcomes, especially the one on studentship. Side notes: Every week is work check, and week 14 is by appointment only. Submission is on Week 16, Friday (TBC). We were encouraged to document our ideas consistently so we do not have to reinvent ideas next time. Clarification of Mand 1 and Mand 2: Mandatory 1: For you to design something to interest your target audience. It has to attract them and be visually interesting without complicating the content. Lay down the content of: WHO, WHY, WHEN, WHERE, WHAT and HOW (Kipling Method). Mandatory 2: Convince them that you have the facts. Something like the summary of readings (dissertation). It is to show them that you know your subject matter very well. It should show the historical breakdown - what is the history of events? It should be in-depth, and not just random information. Can use statistics to convince people. Also, to include the cultural context. These information helps to convince viewers that your project is on a good basis and has its significance. Do not design it as an editorial or compendium as it is just purely just showing the text, when readers can just refer to a book. Instead, the main challenge is to design outcomes in a creative form that intrigues viewers while providing solid information. Just like an exhibition, your project should have different facets that shows different bits of information. Publication and editorial, is not highly recommended as it does not score high on creativity and can be text heavy and stale. Not that it is banned, we just have to push ourselves to think out of the box. And with that, I ask myself "what other better way can I can design a piece of information?" It has to show the theoretical understanding through secondary

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research. However, I may also choose to conduct my own research too. The designed outcome may be a book, but we should push ourselves to do better, to think out of the box. I may refer to the 'SOR' - significance of research in my dissertation as an analogy, a guide to introduce the subject matter. For Mand 2, it is about convincing people about why they should "be idle etc." Note: week 12 is open studio. Next week: Show 40% of work completed

Later on the day, while idling, some thoughts came to me. This is what I wrote down on my phone: I recorded a voice memo to myself. And yes, I do "chat with myself". This is a form of note taking when sudden insights I have during the day come to me, unexpectedly (JUST LIKE MY FYP TOPIC) and I do not carry my hard copy notebook with me. Usually these notes are difficult for someone else to understand because they do not know the context and most of the time, I am just speaking to myself. Therefore, I am a living proof that incubation truly works haha.

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CREATIVE PROCESS JOURNAL DAN

WEEK 10

ABIGAIL

MONICA

CARMEN

SARAH

STEF

DEAN

IVY

DAVE

Also, through this experience, we now know how well Owen cooks HAHAHA. As a class, we came up with our manifesto which is pasted on our classroom wall: (following page)

CHARLOTTE

LEON

STANLEY

On the day itself, there was a lot of food. We had a wonderful time bonding. It was a great meal as a class and also cause we were not actively talking about work. CLASS A IS THE BEST! :-)

MISSING IN THIS PIC: NAJIB, PHOEBE & ADALIUS

OWEN

We discussed on Whatsapp on what we should each bring for the pot luck session.

ROX

JIE MIN

Instructions: ➡ Place Mandatory 1 on the table ➡ Place Mandatory 2 on the wall ➡ Communal Briefing

KEIZA

VANESSA

Today is the first day of class since project week. Upon arriving at class, we were given a set of instructions to adhere to. This activity involves presenting our ideas to people from other classes as they contribute by providing us feedback while we assess their works too.

JUSTINA

VERNICE

29h Sep 2016

WEEK 9 29th Sep 2016 Later in the afternoon, we attended a talk by historian Antariska on 'The final Japanese occupied areas in 1945' during our Dissertation class. The talk was very insightful as he shared with us his job as a historian and what his research project is about.

BACKGROUND: Antariksa (Indonesia) is a researcher and co-founding member of KUNCI Cultural Studies Center, Yogyakarta, Indonesia. He has conducted research about Indonesian art, culture and history and is author of Tuan Tanah Kawin Muda: Hubungan Seni Rupa-LEKRA 1950–1965 (The Linkage Between the Arts and the Institute of People’s Culture in Indonesia 1950–1965) (2005).

CREATIVE PROCESS JOURNAL He is currently working on his new book, Art Collectivism in Japanese-Occupied Indonesia. FOCUS: Antariksa’s research interests lie in the complexities of the Indonesian art environment. In particular, art collectivism during Japanese occupation (1942–1945) and its impacts and

influences on Indonesian art history. While in Residence, he will investigate art collectivism in Singapore during Japanese occupation, and collaboration and camaraderie between ChineseIndonesian and Nanyang style artists in Singapore.

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MANDATORY 1

I have decided to email Stanley to ask him for his feedback on my projected plan for my studio submission. In my email to him, I attached a PDF of the visualisation that I had. The plan I had was based on the feedback he had given me, as well as other ideas that I had thought of.

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MAND 1.0

IDEA ??? IDEA ???

MAND 1.1

IDEA ???

IDEA !!!!

FOR ANSWERS: STARE IDEA !!!! HERE IDEA !!!!

IDEA !!!! IDLING TOOLKIT

MAND 1.0

MAND 1.1

1. Video on laptop to explain the setup: hard work does not produce solutions, instead, put you in a creative block/impasse.The video will proceed to show hints of the ‘idling setup’.

1. Placed beside Mand 1.0 to show contrast, making it easier to make comparisons. 2. Idling toolkit placed in the middle of table.

2. Motivational quotes to inspire hard work.

3. Sticky notes that show that this person has arrived at novel insights.

3. Sticky notes/whiteboard and bulletin board filled with endless to-do things.

4. Backdrop consists of sky background. Possible mediums for backdrop:

4. Video and sticky notes to show that person does not have creative idea yet. 5. Food (banana, red bull, coffee) for energy to enhance concentration. 6. ‘The Anatomy of Doing’ publication

a) images as backdrop b) video projection as backdrop c) use real landscapes as backdrop (might have to do it outside class as the window is slanted) 5. Open concept: accepts distractions but does not engage in stimulating activities 6. Sticky notes to show that this person prioritises mundane activities such as “wash the dishes, iron clothes etc.”

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MANDATORY 2 MANDATORY 2 WEEK 9

MAND 2.0

CREATIVE PROCESS JOURNAL MAND 2.0: HOW IT WORKS MAND 2.0: HOW IT WORKS

MAND 2.0

1043 F, 33Y

1043 F, 33Y STUDY 1 22/12/2016 17:45:32 2 IMA 01/04

YOUR IDLING BRAIN: AL

1043 F, 33Y STUDY 1 22/12/2016 17:45:32 2 IMA 01/04

MIND WANDERING

5cm

MF 1.08 TR 20.0 TE 8.9 TA 03:25 BW 60.0 M/ND A1 HL 1,2:HS1.2

MF 1.08 TR 20.0 TE 8.9 TA 03:25 BW 60.0 M/ND

SP L7.8 SL 5,0 FoV 230*230 192*256 Sag>Cor(-3.2)>Tra(1.6) A1 W 880 HL 1,2:HS1.2 C 423

STUDY 1 22/12/2016 17:45:32 2 IMA 01/04

HOSPITAL C! MR 2016C HLS +LPH ➡

YOUR IDLING BRAIN:

YOUR IDLING BRAIN: AL

1043 F, 33Y STUDY 1 22/12/2016 17:45:32 2 IMA 01/04

MAND 2.1

HOSPITAL C! MR 2016C HLS +LPH ➡

5cm

880 423

MF 1.08 TR 20.0 TE 8.9 TA 03:25 BW 60.0 M/ND A1 HL 1,2:HS1.2

Objective: Objective: Show that insight solutions are better than analytic Show that insight solutions are better than analytic solutions. solutions. Medium: Medium: A series ofthinking posters (still thinking of more creative A series of posters (still of more creative mediums). mediums).

YOUR IDLING BRAIN:

SP L7.8 SL 5,0 FoV 230*230 192*256 Sag>Cor(-3.2)>Tra(1.6) W C

MAND 2.1

D SP L7.8 SL 5,0 FoV 230*230 192*256 Sag>Cor(-3.2)>Tra(1.6) W C

D SP L7.8 SL 5,0 FoV 230*230 192*256 Sag>Cor(-3.2)>Tra(1.6)

880 423

W C

880 423

EXTERNAL VIEW EXTERNAL VIEW

oil

POSTER 1. POSTER 1. To show thatthought unconscious thought can outperform To show that unconscious can outperform conscious as itthe cannovelty promote the novelty conscious thoughts as itthoughts can promote dimensioninofterms creativity terms of the insights dimension of creativity of theininsights generated. generated. - The of the poster willquestion: pose a main question: - The header of the header poster will pose a main What isofyour source of for idea generation? What is your source inspiration forinspiration idea generation? Books/internet...? OR the unconscious mind? Books/internet...? OR the unconscious mind? -The poster show two types of answers -The poster will show two will types of answers generated by generated by creative and practitioners andthat youthe canone tellwho that the one who creative practitioners you can tell used conscious produced analytic solutions used conscious thoughts and thoughts producedand analytic solutions less thanused the one who used unconscious are less novelare than thenovel one who unconscious produced insight solutions. thoughts and thoughts producedand insight solutions.

MAND 2.0

1.the To show the is active 1. To show that idlingthat mind is idling activemind and not filled and not filled with ‘noise’. Idle moments = doing nothing with ‘noise’. Idle moments = doing nothing = daydreaming. = daydreaming.

water + colouring water + colouring

POSTER 2. POSTER 2. 2. Insight solutions are often correct more often than analytic 2. Insight solutions are correct more than analytic solutions. solutions.

INTERNAL VIEW INTERNAL VIEW

2. Stylised fMRI scans (something 2. Stylised in fMRI scans in (something like x-ray). like x-ray). oil

oil

3. It is concept based onofthe concept of how lava lamp 3. It is based on the how lava lamp operates. thetablets, alka seltzer tablets, labelled operates. Once the alka Once seltzer labelled as ‘daydreaming/mind as ‘daydreaming/mind wandering’ is wandering’ added into is added into the tank, bubbles arethere formed the tank, bubbles are formed and is and there is visual movement to show the state of the brain. visual movement to show the active state ofactive the brain. panels thedifferent tank arefMRI the different fMRI scan 4. Four panels4.ofFour the tank areofthe scan views of theright brain (front, left side and back). views of the brain (front, side, leftright side side, and back). I might to add athat ‘keyindicates: legend’ that indicates: 5. I might want5.to add a want ‘key legend’ “BUBBLES ACTIVITY IN THE BRAIN” “BUBBLES – ACTIVITY IN –THE BRAIN” This set with a booklet/write up to explain that 6. This set up 6. comes withup a comes booklet/write up to explain that the network activated during day-dreaming the network activated during day-dreaming is similar to is similar to thatbrain. of a creative Hence, is daydreaming that of a creative Hence, brain. daydreaming valuable is valuable in terms creativity. of enhancing creativity. in terms of enhancing

- Poster that shows two types of answers - Poster that shows two types of answers generated by generated by creative practitioners: analytic creative practitioners: analytic solutions and solutions insight and insight solutions. a score for both answers, the one solutions. There will be aThere scorewill forbe both answers, the one whois scored more the one who employed their who scored more the one whoisemployed their unconscious (insight solutions). unconscious mind (insight mind solutions).

MAND 2.2

-A Objective: Objective: To communicate stories of notable people inver hi To communicate the stories of the notable people in history Isa and theirwith experiences with idea incubation that led and their experiences idea incubation that led to aro great discoveries. great discoveries. wo the Possible ideas: Possible ideas:

IDE Clu IDEA 1: IDEA 1: ________’s Creative Process Journal ________’s Creative Process Journal / Behind the / Behind the -B Scenes with ________ Scenes with ________ no be - To for design a CPJ peopleArchimedes like Newton, Archimed - To design a CPJ people likefor Newton, tho andofEinstein, all experiences of whom hadwith experiences and Einstein, all whom had ‘eureka’ with ‘eu moments. moments. -T This CPJ will document workofand insteadNe of - This CPJ will- document their work andtheir instead to lookingand at sketches and signs of analytic looking at sketches signs of analytic thinking, you thinking, will did seeunsual that they did unsual such will see that they activities suchactivities as ‘taking a as ‘tak -H bath.’ bath.’

Themention CPJ will the firstbrief mention the brief - The CPJ will-first that they had:that aka they had: the problem needed to address, followed by th the problem they needed tothey address, followed by the creative leads to the discovery/inven creative process whichprocess leads towhich the discovery/invention that they camethat up they with.came up with. IDEA 2: IDEA 2: Photography book Photography book

will show images of local Singaporeans - The book will- The showbook images of local Singaporeans idling and have the book slidepage out backing and the book will slidewill outhave backing that will page that replace the man’s face with someone notable: replace the man’s face with someone notable:

water + colouring water + colouring

INTERACTS WITH INTERACTS WITH SELTZER TABLETS ALKA SELTZERALKA TABLETS

- This makesunderstand the readersthat understand that even tho - This makes the readers even though welike may like weidling, are lazy idling, we may appear weappear are lazy and theand truth is the trut that famous creatives are just like u that famous inventors and inventors creatives and are just like us.

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MAND 2.2

Objective: To communicate the stories of notable people in history and their experiences with idea incubation that led to great discoveries. Possible ideas: IDEA 1: ________’s Creative Process Journal / Behind the Scenes with ________ - To design a CPJ for people like Newton, Archimedes and Einstein, all of whom had experiences with ‘eureka’ moments. - This CPJ will document their work and instead of looking at sketches and signs of analytic thinking, you will see that they did unsual activities such as ‘taking a bath.’ - The CPJ will first mention the brief that they had: aka the problem they needed to address, followed by the creative process which leads to the discovery/invention that they came up with. IDEA 2: Photography book - The book will show images of local Singaporeans idling and the book will have slide out backing page that will replace the man’s face with someone notable:

- This makes the readers understand that even though we may appear like we are lazy and idling, the truth is that famous inventors and creatives are just like us.

- Another way to do this is to compare ‘expectations’ versus ‘reality’: create two scenarios, one of which is Isaac Newton hard at work and the other is him idling around. However, since I do not have images of them, I would have to adopt a ‘collage’ technique: to combine their faces with someone else’s body. IDEA 3: Club of Genius - Branding a members-only club/society that includes notable people who came up with novel ideas. They believe in the value of idling and using unconscious thoughts to produce insights. - The founding members are people like Einstein, Newton etc. They have items or spaces that they like to work at/with. - Hence, this deliverabe shall brand the space/item.

Eventually, Stanley replied my email, and by that time, I had already made some decisions so I can have items to present for the next studio class.

******* THIS IS THE START OF THE PARTITION CRISIS... *******

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Today in class, we were told to indicate the materials we needed from the shared resources for our open studio submission. Prior to this submission was the formative feedback.

wanted to scale up their works and since our studio space does not have enough wall space for everyone, we have to share the materials amongst classes.

Based on the formative feedback, I realised that there has been a major increase in the request for materials. I understand that everyone might probably have figured that they may have

Later in the night, Rox requested that we email her our draft on the materials that we need. Hence, I crafted this email:

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1. The floor plan and where it will positioned: 1. sketch The floor plan sketch andbewhere it will be positioned:

SCENARIO 1

SCENARIO 2

2. Reason why 2. you need awhy partition: Reason you need a partition: The partitions are needed to create a spacetothat showcases The partitions are needed create a space two that showcases two scenarios of people working. They are placed They side by to show scenarios of people working. areside placed side by side to show contrast. I will require 3 partitions because: contrast. I will require 3 partitions because:

SCENARIO 2 SPACE REQUIRED SPACE REQUIRED FOR MANDATORY 2 MANDATORY 2 FOR

a) Partition no.1:a)Left panel no.1: to hold motivational quotes Partition Left panel to hold motivational quotes b) Partition no. 2:b)Right panel motivational quotes for scenario 1 for scenario 1 Partition no.to2:hold Right panel to hold motivational quotes + use as a central the two scenarios left panel to capture + divider use as abetween central divider between the+ two scenarios + left panel to capture image projection for scenario 2 for scenario 2 image projection c) Partition no.3:c)Right panelno.3: to capture image for scenario 2 for scenario 2 Partition Right panel toprojection capture image projection

3. Reason why 3. you are putting partitions in the area Reason why you are putting partitions in the area you are proposing: you are proposing: PEDESTAL

PEDESTAL

In order to minimise the to number of partitions I will using, I have decided In order minimise the number ofbe partitions I will be using, I have decided to use the whiteto wall ourwhite classroom where Keiza sits.where This saves useinthe wall inbehind our classroom behind Keizame sits. This saves me from using 2 extra partitions. The reason why The I need the white because from using 2 extra partitions. reason why I wall needisthe white Iwall is because I have items to behave placed andtovideos to beand projected. items be placed videos to be projected.

WHITE WALL BEHIND WHITE WALL BEHIND PARTITION 2 PARTITION NUMBER 3 PARTITION NUMBER 1 PARTITION NUMBER 1 NUMBER PARTITION NUMBER 2 PARTITION NUMBER 3 WHERE KEIZA AND WHERE KEIZA AND NAJIB SITS NAJIB SITS - Total number of partitions used: the existing 3 partitions I am3using - Total number of partitions used: the existing partitions I am using - Area used: against white wall at where Keiza Should there beShould a shortage space, my back planmy back up plan - Area used: against white wallsits. at where Keiza sits. thereofbe a shortage of up space, is to use the level 5 classrooom, also agaisnt a white wall (D501). is to use the level 5 classrooom, also agaisnt a white wall (D501). Other resourcesOther needed are: resources needed are: - Three tables (one of which already used for Scenario 1 currently, so I would needso 2 more tables) - Three tablesis (one of which is already used for Scenario 1 currently, I would need 2 more tables) - One chair (one-of which is already used for Scenario 1 currently, so I would needso 1 more chair – most One chair (one of which is already used for Scenario 1 currently, I would need 1 more chair – most likely to supply this by myself ) likely to supply this by myself ) - A projector - A projector - A “pedestal” for- Mandatory (inMandatory which I have already A “pedestal”2for 2 (in whichsourced) I have already sourced)

LEE JING LIN 17750

WEEK 9 One day later, I scouted for other spaces that I could use for studio submission. I went to D501, our old studio space.

I noticed a few projectors in the room as well. This one was hanging on the ceiling and projected on the wall. Should I not have my short throw that I had initially used for formative feedback, I can take this into consideration.

CREATIVE PROCESS JOURNAL Instead of using partitions, I could rely on using the wall instead. This way, others can use my partitions if they needed to. I also noticed they have different kind of partitions, unlike the plaster ones we have in class.

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Later on the day, I went to the library in our school to do work. I was looking at this book for some inspiration on how to build works that are large in scale to create impact:

TITLE: INSTALLATION ART by GINKO PRESS

I came across this installation by Mounir Fatmi who has covered the whole of a wall with VHS cassettes that literally vomit the magnetic tapes of their entrails onto the parquet in the direction of photocopy machines they eventually reach.

WEEK 9 I thought that I could perhaps apply that idea for my Mandatory 1, where I could reinforce the idea of having a lot of work. The act of multiplying the papers all over the 'hard work scenario' is an exaggeration to the situation. The overwhelming number of papers piling up on the desk could spill on the floor.

Another project I saw was " The Tender Interval (2010) 16mm film with optical sound, 5 minutes 40 seconds" by Vicki Thornton. The Tender Interval takes place in a generic film set, sparsely dressed with archetypal film props â&#x20AC;&#x201C; a ticking clock, metal desk lamp, pot plant, pile of books â&#x20AC;&#x201C; all chosen as stock cinematic signifiers. Taking the tangram, an ancient Chinese puzzle, as point of departure, the film fluctuates between descriptive text intertitles and images of a girl, and asks the viewer to fill the gaps between screen images with those from their own memory. Shot on an old Bolex camera, both the physical and imaginary sites of the film (the set, the memoryimages created) are highly mediated: firstly, by the film's nostalgic visual approach and, secondly, by allowing for a subjective, spectator-led narrative to unfold.

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WEEK 9 " The Tender Interval" gave me the idea that I could perhaps, in the next semester, create a film with creative practitioners during, perhaps a planned sabbatical or weekend. This reminds me of 'The Happy Film' by Stefan Sagmeister.

The film is about Sagmeister who decides to turn himself into a design project whereby he challenges himself on redesigning his personality to become a better person. Sagmeister is also known for arranging planned sabbaticals. Another work that I came across in the book, which I did not take down of, gave me an idea that perhaps I could set up mutliple scenarios of places and things people do just like the image (next page) and include a write up of the thoughts that is going through their mind in that moment in time. Perhaps these moments and thoughts should all reflect the point when a person has discovered an insight, which is the art of incubation and how it works. Either that, or I could allocate a few areas around school where I think is interesting for ideas to take place. It could be discrete places like the staircase (the one behind the staff room seems pretty cool). Maybe the FRASS? Or even the car park. These spots are so random and so far-fetched from the idea that only ideas can be generated at

CREATIVE PROCESS JOURNAL the work desk.

Our minds are constantly working and stimulated even when we are "offline from work". This reminds me of an article I read regarding creating distance from your work, also known as the 'Abstraction Method of Problem Solving". Portion of article extracted from 99u.com: During the past 10 years, psychologists Yaacov Trope, Nira Liberman, and their colleagues have provided a lot of evidence for what they call â&#x20AC;&#x153;construal level theory:â&#x20AC;? The closer you are to an object or event, the more specifically you think about it. While the more distant you are to that object or event, the more abstractly you think about it. This idea has important implications for your creativity. Every object or event in the world can be thought of in many ways. Take the four-legged beast you see walking down the street on a leash, it could be thought of as:

WEEK 9 Fluffy the poodle who lives next door (very specific) a French poodle (slightly less specific) a dog (a bit more abstract) an animal (more abstract) a thing (very abstract)

CREATIVE PROCESS JOURNAL While at the library, I came across another book:

This ability to think of things at different levels of specificity applies to events and goals as well. If you pick up the phone to call a client to try to make a sale, you could think of this very abstractly (engaging in a relationship), less abstractly (working on a sales call) or even quite specifically (holding the phone to your ear and talking). The second half of construal level theory is that your tendency to think of something either abstractly or specifically depends on your distance from it. Distance can refer to physical distance, social distance, or even distance in time. For example, the classic New Yorker magazine cover of the New Yorkerâ&#x20AC;&#x2122;s view of the world reflects this concept. In this cover, the island of Manhattan is shown in great detail, then there is a strip labeled New Jersey, and the rest of the country occupies about as much space as New Jersey does. That is, the more physically distance there is to an item, the fewer details you use to think about it. There are several ways to create that distance. Imagine that you are solving the problem for someone else rather than for yourself. Think about what the solution to the problem will look like 5 years in the future rather than right now. Think about how people 1000 miles away might be conceptualizing the problem. Each of these methods helps to create some distance, and that can help you focus on the more abstract parts of the situation. After you re-think the problem, though, it is important to focus on the details again. So, once you have an insight that changes the way you think about the problem, focus on it close up again. In that way, you can ensure that the solution you develop will also address the little things that can make the difference between success and failure.

TITLE: I WANT TO SPEND THE REST OF MY LIFE EVERYWHERE, WITH EVERYONE, ONE TO ONE, ALWAYS, FOREVER, NOW

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The book contains dynamic and provocative collection of Hirstâ&#x20AC;&#x2122;s ideas and obsessions is a powerful combination of text and visuals. Here are some of the works in which I thought, shared similarities with my topic.

In this case, the art work adopts of voice and art direction. I think work as the copy in Hirst's work can creative practitioners face as well

a rather pessimistic tone this can be applied to my be relatable to the stress as boredom.

WEEK 9 "The acquired inability to escape" is really interesting as the text is almost blended into the background, almost unnoticeable to the eye. Upon further obersvation then can one read the text. Perhaps under the Incubation scenario, I could print white vinyl onto the white partition to create the illusion that it exists and yet it does not. This idea talks about how our minds drift off and wander, and that to do that is a skill. This is in contrast with the idea that maximum concentration is the best for productivity. Maybe my copy could say: "mind wandering is a skill that creatives possess". Yet again, it does not say anything about "escape", or fading away... How about, "let your mind wander". The word "wander" suggests escaping. This reminds me of Ivy's project on escapism... *INTERMISSION* I just had an idea, perhaps I could have a large sheet of paper for people to doodle or write random words. I say this coming from a personal experience of doodling when I am bored. I dont exactly draw, but I love to write. I believe that that is rather obvious, if you know me, you know that I love to write down notes in class, as compared to others who use their laptops. My CPJs have always been hand-written. I feel that I am able to geenrate more ideas through writing. That said, this time round, I decided to print my CPJ instead because my writing may, after a while, become illegible due to the messiness. I am always open to doing things differently. Not to digress, but maybe I could give some creative practitioners a notebook for them to draw silly things on. I do not actually know if people do that, or if it is just me...

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WEEK 9 This week, I plan to go and look for materials. The first thing on my list was to source for the tank to store the oil. I wanted to find something that had equal measurements on the sides. I thought of using acrylic and so I went to Bras Basah Complex: Unfortunately, the shop 'Acrylic Center' was closed.

Hence, I headed down to Art friend and looked at their acrylic (image on the right). However, the price was a little too high for my budget and also, I am unsure of whether the box is secure enough. I spoke to the staff and they said they are not very certain that it can hold liquid either. They said the box is sealed using acrylic glue. I rather not risk it broken as it contains a lot of oil... [insert image of oil spill haha].

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WEEK 9 While I was still in Art Friend, I made several calls to aquarium shops to check the price of their aquariums. I specified that I wanted glass aquariums, minimum 210mm x 297mm (A4) in size. Most of them said they do not carry tanks, which I find, is rather strange... Anyway, I decided to use a normal glass bottle instead, since it is just consultation. I just want to show the reaction between the contents. Still in the store, I walked around to browse some items and came across this empty light bulb which I thought was quite related to my topic. Light bulb = idea = creativity.

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WEEK 9 After I managed to buy some other materials from Art Friend, I headed to Daiso at Plaza Sing. I came across this artificial grass (image below) which I think could be quite interesting if I sprayed it to blue (To match the colour scheme. Blue and oragne are opposite ends of the colour wheel) and cover the floor in the Incubation scenario. Also, at Daiso I was looking at storage systems (image on right) and noting down for myself for future reference should I need to use it. I would say they are not the best looking items but they serve as inspiration on how to hook items on the partitions.

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Week Ten

Studio Project

WEEK 10 Here are some of the sketches and planning I did:

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3rd Oct 2016 Before I present my idea tomorrow, I had to prepare my "tank" using a glass bottle I have at home and alka seltzer I bought from Watsons.

Grab a bottle with a cap.

Fill 1/5 of the bottle with water.

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Fill the bottle with vegetable oil. Do NOT fill it to the brim of the bottle.

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Add about 4 drops of food colouring. You may add this before adding the oil so the colouring mixes with the water more quickly.

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Wait for the ink to settle with the water.

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As you can see, the water and oil are separated due to the different densities.

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Grab your alka-seltzer.

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This is how the tablet looks like.

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Break the tablet into at least 3 equal parts.

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Get ready to drop the tablet in. Use one of the broken pieces of tablet.

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Watch the reaction.

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If you do not break the tablets, it may cause a violent reaction, and may result in spillage.

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You may want to close the bottle using the cap.

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The reaction may last for a while until all the bubbles disappear. This may take up to a minute.

WEEK 10 After conducting that experiment, here are some of things I noticed: 1. Do not put too much colouring for it may not show the colour too well. A little goes a long way. 2. Remember to leave some gap and space in case it overspills. 3. Perhaps find a lid to cover the tank but remember to have a hole for the tablet to drop. 4. If its possible, find a substitute for the oil as it is yellow or find some sheet that can make it appear black and white.

4th OcT 2016 Timeline: Week 12 is WIP show Week 13 is the last class Today, we are supposed to show 40% of our studio progress and next week, 60%. We must start to work on our design brief for next semester. A benchmark to assess whether the design brief works or not is that if I were to pass the brief to someone else to design, they would be able to do it without having any doubts or question. For today's studio clsss, we were tasked to assess our classmate's work based on the learning outcomes. I was given Stef and Charlotte's work while Abigail, Charlotte and Leon assessed mine. We were asked to grade their works too. Those who did not bring work to class may not find this session to be very helpful, so it is important to bring in work consistently for every week to ensure good feedback from the lecturer and peers. The work in progress show (a.k.a. Open Studio) will be opened to the public for a few days, as well as fellow students from other courses in Lasalle.

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WEEK 10 This is Charlotte's work:

Here are some of Stef's work:

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WEEK 10 I brought the bottle to class. It fascinated a lot of people when the reaction started hahaha.

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My feedback for Stefanie.

WEEK 10 Here are the comments I received from my peers. They were very helpful and most of it, I have already considered of. Nonetheless, this critique session enabled me to see what others are doing, so I know my pacing and see whether my ideas are creative or not.

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5th October 2016 Although I did not sign up for the round table session, I sat in and listened to students presenting their works and the feedback given to them. Every time I hear the questions raised by the lecturers, I would try to imagine how I would reply.

After the round table session ended, Stef and I sat down with Stanley and Yasser. I had a few questions for Stanley, regarding my studio work.

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Consultation with Stanley and Yasser:

YS: Can I see?

Legend: JL: ME SL: STANLEY LIM YS: YASSER SURATMAN SF: STEFANIE FONG

SL: Yes, you know her topic? JL: I thought of showing the invention of what they came up with and their creative process.

JL: Do I have to show the 'Creative Process' by Graham Wallas? Is that the framework? SL: Yes!

SL: Oh okay. YS: You want to show the physical process? JL: As in to show the process that these people went through. YS: Show means what? So is it this design? Or the exercise?

YS: Did you guys sign up for round table?

JL: The design.

SF: No HAHAAHAH

YS: Okay.

YS: OHHHHHHH

SL: How many are you doing?

JL: I want to show the historical context of the notable people in history who went through the Incubation experience. I thought of doing it in an exhbition kind of style.

JL: 5 to 10 SL: Okay. I think the first you want to do is decide why that 5 to 10. Secondly, there might be a more interesting way to do it. YS: Yeah, presentation wise right?

HALL OF EUREKA

SL: Yeah, cause this might be a bit dry. Archimedes Period: 250 BC Scope: Physics

ARCHIMEDES' PRINCIPLE A law stating that a body totally or partially immersed in a fluid is subject to an upward force equal in ma gnitude to the weight of fluid it displaces. HOW IT HAPPENED A law stating that a body totally or partially immersed in a fluid is subject to an upward force equal in ma gnitude to the weight of fluid it displaces. A law stating that a body totally or partially immersed in a fluid is subject to an upward force equal in ma gnitude to the weight of fluid it displaces.

YS: Also, I'm just gonna do this, the boxing. Sometimes, I do not think you need to box you know. I find students who box cause they are not confident about their design. JL: Oh, I know what you mean. I meant like it is supposed to be a photo frame, like those you'd see in an exhibition. YS: Oh so like frame ah. SL: Oh, oh. So this is the wall? JL: Yes haha.

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SL: Oh, this is not the exact thing you are going to print on paper la.

SL: Oh. Charmaine's one is very specific about how procrastination can make you a better designer.

JL: No no no haha.

YS: But at the same time I think she...

YS: You know how I love frames.

SL: I think she started on the same, except hers (mine) is a bit more scientific. Charmaine's one is a bit more whimsy.

SL: Yasser loves frames. So he'll minus 5 and give you another 5 back for the pen (the one I lent him).

YS: Right, right, right right.

YS: HAHAHAHA

SL: But hers is, she has a scientific background to proof it.

JL: So I should find a better way to present it?

YS: There's the science behind it la.

SL: Yea. Because what we saw yesterday with your bubbly thing right, it seems to suggest that there is a lot. But this again seems to suggest that it is just nice about science.

SL: Yes, it's like the more we are not engaged, purposefully disengaged with your topic, the better we are at making connections.

YS: Are you still doing the 'distraction' thing?

YS: Is this something that is proven in design? Like the process of making.

SL: Hers is about.. JL: About incubation. YS: Oh different ah. I thought you were doing distraction: similar to Shawn.

JL: It's part of the creative process. The 4 stages. Preparation to Incubation, which is the one I want to focus on, illumination and verification. YS: Okay.

JL: Mine is more on mind-wandering.

SL: I think this part needs to be communicated.

SL: Yeah hers a bit more on mind-wandering.

YS: Yes.

JL: It is also about distraction, but during that period you have to perform mundane activities. Not stimulating activities.

JL: I was going to ask you whether I need to show that.

SL: To help encourage creativity. YS: Okay. So, like Charmaine with the procrastination thing? SL: Which Charmaine? YS: Charmaine, the other Charmaine. Also blonde one. The one always with Samuel.

YS: Yes, I was wondering why you select 'Incubation'. SL: Yup, and what does incubation do? Because for a lot of designers, these things happen to us very intuitively. Like we jump through the stages very fast, we won't say like "Oh, I am going through Incubation now." You know that kind of thing? But then if you give us a definition then we can tell that, "Oh, we are going through incubation and there is something I can do to ..."

WEEK 10 YS: Sometimes we are already doing these things like incubation but we don't know it is called incubation, you know? SL: So maybe as a start, for Mandatory 2, that could be the four stages. The 4 stages of creativity and what the characteristics are. And that this project looks at incubation and what can be done during incubation. You can say like traditionally what we would do is that we would sit down and force an idea out, that kind of thing. However, there is a true scientific research that has been proven that that might not be the best way, and then you start introducing these things.

CREATIVE PROCESS JOURNAL and answers will just come out ah? JL: It is trying to tell you that when you day dream, and then.. YS: I do that a lot. SL: You day dreaming now ah. YS: Yeah, actually I am thinking of... SL: Prata ah I can tell..., I see the prata in his face...

JL: Got it. Speaking of that, for Mandatory 1, you suggested for me to do the contrasting thing right? So I thought of doing the two...

YS: Ya hahaha, the glacey ice...

SL: The two thing right?

YS: Rendang pillow

JL: So, for the 'Incubation' booth right, I am going to project a video into the space.

SL: Okay, calm down! HAHAHA

SL: Rendang

YS: Where is this place?

SL: Err, I think can. It is just how you are going to present it lor. And also whether there is context to this, cause lets say you have the two right, the context will be clearer. Because if we see it alone it will be... it'll be like Yasser's question.

SL: Is that your home window?

YS: Why is it this format?

JL: Yes haha. So it's like asking you to stare into space.

JL: Because of the partitions.

YS: This your house ah?

YS: OH! So you are gonna...

SL: Wah, so nice. Where is this place?

SL: Oh you so got three ah?

JL: Loyang.

JL: Ya, so three partitions agasinst a wall.

SL: Wah, so far ah. You stay at Loyang?

SL: Wah! So you need three ah.

JL: So this is like, looking out of the window. And there is taking a shower. So, it is like mundane routine activities.

JL: No, just one projector against the wall.

*shows video*

SL: Yup. YS: So, what am I supposed to do with this? So, I just stare

SL: Oh, so you play one after another? JL: YA!

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MANDATORY 1

MANDATORY 2

YS: How are you gonna create that slit?

JL: No, because I need to use this for this space.

JL: Okay, wait ah. Lemme find the file to show you. MAND 1.0

IDEA ??? IDEA ???

IDEA ???

SL: Yeah, this is the super focused designer thinking that he MAND 2.0: HOW IT WORKS can sit here and force his ideas out. This one is the "zhou bou" designer that actually has most ideas.

MAND 1.1

IDEA !!!!

IDEA ???

IDEA !!!!

MAND 2.0

IDEA !!!!

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YOUR IDLING BRAIN: AL

YOUR IDLING BRAIN:

MIND WANDERING

SL: She is going to get the projector. Eh, maybe short throw ah. AL

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JL: What is short throw? W C

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YS: Short throw, cause ICT, they guard it with their life eh. EXTERNAL VIEW

SL: Short throw is the, you know normal projector you have to put a certain distance. And then short throw you put on the floor oil and it will project upwards.

MAND 2.0

YS: Yes, and say you can put very close to the wall. The short throw can just be here. Because some students want to project something on the wall and then they need it to be... if someone stand in front ah, then it will cast a shadow...

MAND 1.1

MAND 1.0

1. Video on laptop to explain the setup: hard work does not produce solutions, instead, put you in a JL: creative Sorry? block/impasse.The video will proceed to show hints of the ‘idling setup’.

YS: The... the...

1. Placed beside Mand 1.0 to show contrast, making it easier to make comparisons. 2. Idling toolkit placed in the middle of table.

2. Motivational quotes to inspire hard work.

3. Sticky notes that show that this person has arrived at novel insights.

3. Sticky notes/whiteboard and bulletin board filled with endless to-do things.

4. Backdrop consists of sky background. Possible mediums for backdrop:

JL: The video is here YS: Oh... I see

4. Video and sticky notes to show that person have creative idea yet. JL: does So,notthis is partition 1,

white wall. 5. Food (banana, red bull, coffee) for energy to enhance concentration.

a) images as backdrop b) video projection as backdrop partition 2,realpartition 3 and (might the have to c) use landscapes as backdrop do it outside class as the window is slanted) 5. Open concept: accepts distractions but does not

YS: This is segmented ah? This is one engage space, this is one space. in stimulating activities 6. ‘The Anatomy of Doing’ publication It does not allow you to see what is happening around here.

6. Sticky notes to show that this person prioritises mundane activities such as “wash the dishes, iron clothes etc.”

POSTE To sho consc dimen gener

- The What i Books

-The p creativ used c are les thoug

water + colouring

JL:idling Yeah, was about that. The shadow. 1. To show that the mind is I active andthinking not filled INTERNAL VIEW YS: Oh, where is the slit?

Mediu A seri mediu

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IDLING TOOLKIT

Object Show solutio

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IDEA !!!!

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STUDY 1 22/12/2016 17:45:32 2 IMA 01/04

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FOR ANSWERS: STARE IDEA !!!! HERE

IDEA ???

YS: Right, right. How are you gonna project this ah? Short throw ah?

MAND

with ‘noise’. Idle moments = doing nothing = daydreaming.

YS: Short throw very precious leh.

2. Stylised in fMRI scans (something like x-ray).

SL: I am thinking of how to introduce the 4 stages.oil Now that I 3. It is based on the concept of how lava lamp think of it right, the 4 stages seem to be okay to forward first operates. Once the alka seltzer tablets, labelled leh. As an introduction. Otherwise, if I see it... Maybe like, as ‘daydreaming/mind wandering’ is added into the tank, bubbles are formedwhat and there is 4 stages then talk about during Incubation, explain the visual movement to show the active state of the brain. this is what usually happens, then you go through this... 4. Four panels of the tank are the different fMRI scan views of the brain side,have left sideto and go back).through YS:(front, So right they 5. I might want to add a ‘key legend’ that indicates: SoIN THE maybe I could “BUBBLES – JL: ACTIVITY BRAIN”

area.

water + colouring

these 4 stages. Okay. INTERACTS WITH

SELTZER TABLETS have somethingALKA here first like a holding

6. This set up comes with a booklet/write up to explain that the network activated during day-dreaming is similar to YS:brain. Yes. that of a creative Hence, daydreaming is valuable in terms of enhancing creativity.

SL: It could be on this side of the panel la.

POSTE 2. Insi solutio

- Post creativ solutio who s uncon

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WEEK 10

CREATIVE PROCESS JOURNAL SL: This project questions what we do during the Incubation period of the creative process. JL: Preparation, then incubation... But actually what I wanted to say was that I wanted to provoke this idea, but now that you said that I should do it... SL: I mean, you could provoke it, it is just that ah, but I am just worried that they sit in it and they might not get what it is for. They will be like, "Hmmm... Interesting... This is what I do normally." JL: Because there is a video that says that this person tries so hard... YS: Can I draw something? (Refer to images on previous pages) YS: Okay, these 4 stages, like this.. From top view, you have these areas, like one is here, one is here, one is here and one is here. Then you have to go through here, but in between there is boards here. SL: Then what is in the center? YS: I don't know, it is just space. So, you see from the top la, let's say this is here, then this is here... I don't know what this is la, you just start from here and in between there are opportunities for you to put information here, and here before you go into this... SL: Wah, then it means she needs a lot of space la. JL: And partitions. SL: Yeah. YS: I mean if, I don't know, I am just saying. I am assuming these 4 stages, I am just thinking... SL: Yasser is the coordinator for Level 3, if he says... he can make it happen ah! HAHAHA YS: I am just saying that if it is something that you wanna

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CREATIVE PROCESS JOURNAL

think aboiut and it is worth.. You is a need to inform, you don't want superficial... Like they have to go understand. Maybe, I don't know...

have to see la. Cause there people to get lost. Like too through this whole thing to Just suggesting.

fMRI right, like the scans of the brain. So, the tank has 4 sides and it will show the scans from 4 angles. SL: So, this part you are gonna cut out ah?

YS: Can I see the artefacts ah?

JL: Ya.

SL: As in? Oh, yesterday was the test run to see whether it will work...

SL: So where does the rest of the information go? You talked about the scientific and logical bit. I mean, the scientific reasons or framework of why would do these things. Where does the information go? Is there a separate outcome?

YS: Ah...

MAND 2.0: HOW IT WORKS

MAND 2.1

SL: But this is what it will be like la.

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JL: Ya, so wait, accompanying the tank are these pills that will be packaged in this medication thing. I was thinking of doing a scientific booklet.

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YOUR IDLING BRAIN:

Objective: YS: Scientific booklet ah? We have a lot of that leh. Show that insight solutions are better than analytic SL: But then again, a lot of your research is scientific, so solutions. maybe there is a reason ah. Possible. My concern would be the depth of knowledge, like I mentioned yesterday in class, like the cognitive part will go up, but I don't understand what it Medium: is for. I am not convinced that I would know something new. But would be quite to see la. So need A seriesamofconvinced posters it (still thinking of interesting more creative to how then you can layer that.

mediums).

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EXTERNAL VIEW YS: So it is like, your brain is on drugs and become like fried egg?? HAHA JL: So, it is like, you drop the tablets into the tank and the bubble will appear. oil

YS: This is for Mandatory 2? JL: Yes. So, the tank looks something like this. And you know

JL: I was thinking of doing a legend to explain the data. So POSTERlike, 1. if you see the bubbles, it means that there is an increase of blood flow in the brain, which is a catalyst to productive To showactivity. that unconscious thought can outperform

conscious thoughts as it can promote the novelty SL: Okay. Let's try it. Maybe next week we would dimension of creativity terms of the insights of work that goes in here. generated.

see the amount

YS: I want to see an actual brain.

SL: HAHAHAHA. - The header of the poster will pose a main question: What is JL: your of inspiration idea generation? I source also thought of another for thing I wanted to show, I read this researchOR that that insight solutions are more often Books/internet...? thesays unconscious mind? correct than analytical solutions.

SL: Right, you mention this of yesterday right? -The poster will show two types answers generated by creative practitioners and you can tell that the one who used conscious thoughts and produced analytic solutions are less novel than the one who used unconscious

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JL: Yes, So, I thought of like two people trying to answer a creative brief and one person is the analytical kind, whereas the other person relies on insight solutions. So, basically the brief is to produce a dish that attracts children to eat healthily. So the person who relies on methodical approaches will come up with very straightforward solutions. Overly logical.

SL: As in, when do you intend to introduce this? After the drop the tablet thing? After the medicinal...

YS: Overly logical right.

JL: Like the stylisation of it.

SL: The other more creative. Right.

SL: Might be, because then it might look like a few designers.

CREATIVE BRIEF OBJECTIVE Produce a dish using the ingredients provided to encourage children to have healthier meals while making the consumption process enjoyable.

NAME OF CANDIDATE Methodical Analysis

NAME OF CANDIDATE Insight through incubation

RECIPE Step 1: Use working memory Step 2: Concentrate and think hard Step 3: Employ mental effort Step 4: Use methodical approaches (e.g brainstorm)

RECIPE Step 1: Prepare the mind by concentrating on work Step 2: Do not concentrate on work Step 3: Perform mundane tasks Step 4: Let the mind wander (e.g daydream)

TYPE OF SOLUTION Analytic solution

TYPE OF SOLUTION Insight solution

JL: If they look very different in terms of art direction, is that problem? SL: Might be.

YS: Yea, they might be a bit removed. SL: But I think to be able to communicate this would be interesting. Like I think sometimes, to show it as examples or you communicate it in an actual facts of what that report says. Or maybe you can get people to diagnose themselves? Cause just now you mention the score card, like very scientific ah. Like if you are very analytical, what are the problems that you have. And then what you need to do to cure yourself... There could be another way to do it... Like it could be a self-discovery kind of thing. Like after they look through it, they start thinking like, errr maybe ah, for a lack of a better word, a questionnaire? YS: Star Wars! Smart girl! (Refers to print design on my shirt) SL: Never wear LOTR YS: Don't wear LOTR!

JL: So, I created this score card that shows that the one that came up with an insight solution is rated higher than the analytical one. YS: Is this connected to just now the responses? JL: As in visually? YS: As in, are they going to be a set of things?

SL: Actually LOTR don't have shirt. Actually have, but not as commercialised as Star Wars. Not as sell up as Star Wars. JL: Right. Can I ask you something? Must I include the importance of research? SL: I think as you are going through, as you transit to Mand 2 right, it would start to reveal why it is important along the way. But if you want to make a point of why this is important, you can end it with something, like as creative practitioners, is there a better way to practice? And that might make people

WEEK 10 realise why there is an importance. JL: Okay. Thank you so much. SL: Thank you "okinawachannels". Why do you call yourself "okinawachannels" (on Instagram). YS: Okinawa Channels? SL: No, that is her Instagram account. Why, you like Okinawa? JL: Oh no, it is a song title haha. YS: You know that song? HAHA SL: Obviously I don't know... HAHAHA

Debrief for round table: ➡ There are some glaring issues that were addressed, so look into it. ➡ Weigh the different opinions and decide how u wanna bring the project forward. ➡ Show it to the rest of the Lecturers so that they won't get surprised. ➡ And if you share with the Lecturers, they can share good articles. Don't silo. ➡ Be selective, don't try to answer all the lecturer's concerns. You cannot please everyone. ➡ Research premise: sort that out first.

CREATIVE PROCESS JOURNAL

WEEK 10 7h October 2016 We had to confirm with Rox our space needed as well as partitions snd pedestals. According to Rox, I was notified that we do not have enough resources for everyone. She suggested that I should source for my own partitions.

CREATIVE PROCESS JOURNAL

Week Eleven

Studio Project

WEEK 11 10th October 2016 The search for the tank continues. I found an aquarium shop near school at Beach Road. So, I headed down to the shop from school. Upon arrival, I asked the uncle to show me all the tanks he had.

Initially, I could not decide between two tanks that offered almost the same size. Eventually, I picked one that had a glass lid. This is great because I could drill a hole on the lid to allow people to drop the pills in.

CREATIVE PROCESS JOURNAL

WEEK 11 The tank costed me $37, which is quite reasonable. I then took the cab back to school to load the tank. I took note of the measurements so I could prepare my file at home.

CREATIVE PROCESS JOURNAL

WEEK 11 Next off my list was the sourcing of partitions. This worried me a lot because I have no experience in dealing with this material. I did not know where I could find it and how much it would cost me. Initially, I had asked Stanley if I could borrow it from other courses and he said no. I asked if I could retrieve it from the basement and he replied saying that he is not in charged. I had then turn to my friends whom I think may need partitions and asked if they want to find it with me. I spoke to Dean (image on right) and he said he might need them too. So, I called up a few places to check the price and size. Unaware of where to find the exact same partitions as the one we have in school, I had to call the facilities mangaer who is on leave at that point in time. Hence, I crafted an email in which, no one has replied (updated on 17 Nov 2016).

Besides the school, I had consulted with my dad on whether he knows of any place in which I can get these partitions and he said he has to search for it. After a few days, he sent me this image of this rack (image on next page). However, I declined as it does not allow me to nail against the panel. It was made of metal, with many empty gaps and hole. Eventually, Dean had given up on the idea of purchasing the

CREATIVE PROCESS JOURNAL

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boards because to him it is just a work in progress show. However, for mine, I really needed the partition as I am certain of my deliverable and the materials needed. Hence, my last resort was to... build my own partitions from scratch.

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WEEK 11

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Week Twelve

Studio Project

WEEK 12 This week is the open studio and we are all rushing to churn out the set up for the submission. I felt that I was kind of being time because I had to create 3 partitions from scratch while others could use the school reources. I spoke to Clarence from the other class and he gave me a few tips on materials I should buy in order to create the partitions. He was going to build a table and his friend Sam, was going to build a shelf from scratch. Speaking to Clarence was very useful as he explained what the materials are, some of which, are new to me and where to find them. One of items were the 'L" bracket:

CREATIVE PROCESS JOURNAL

WEEK 12 The "L" brackets are meant to be attached to the bottom of the partition to allow it to stand on its own. He mentioned that I could get these at Daiso.

He also recommended that I get these nails to secure the brackets. Finally, he showed me where to get the wood for the partitions. This is how I came to know of Ban Heng Long. He was kind and asked if I wanted to join them the next day to get wood. I agreed to it. So before I head down to BHL, I have to get these items from Daiso first.

CREATIVE PROCESS JOURNAL

WEEK 12 And so, the next day, I went to Daiso but did not manage to find the exact "L" bracket and so I settled for another one which looked fancier. I had gotten 12 pieces of these brackets, two on one side of the panel.

After sourcing for supplies, I met them at BHL and we ordered our wood and had it delivered together to school. There were many variations of thickness for the wood. If its too thick, it will be very hard to carry because of its size. But thick is

CREATIVE PROCESS JOURNAL good because it can hold the tape on the side. But if it is too thin, it will wobble a lot and might fall if there is strong wind blowing against it.

WEEK 12 Eventually, I made up my mind and settled for the 3 blocks of wood. I purchased the ones coated with white on one side of the panel. Then I would have to just paint the other side white too. Moving on, I had to get the brackets again because the one from Daiso is not strong enough. In the end, I paid a few hundred dollars for the wood and the delivery.

CREATIVE PROCESS JOURNAL

We then walked to the store behind BHL and purchased some brackets, nuts and bolt. The "L-shaped stand" costed $8 for 1 pcs and I had to buy 12 of it...

WEEK 12

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After reaching school, the people from BHL arrived and we had to carry the wood up. This process was extremeley tiring and inconvenient due to the size and the weight of the partiions. I am truly grateful for Sam and Clarence for helping me to lift thw partitions from level 1 to 3. We helped each other to carry wood and look out for people, so that we would not hit them.

After shifting the boards up, we headed to the workshop to borrow some items and to cut some wood. The wood is needed so I can lay my partitions down on the floor, outside D301, so that when I drill holes onto the partitions, they would not get in contact with the ground, but on the wood instead. As I am unfamiliar withn operating the machines in the workshop, Clarence and Sam did a demonstration for me so I could do it on my own. I would say that being in the workshop is one of the things that fears me because I am terrible at all these tools. But I took on the challenge because I needed the partitions,

and I really wanted this to work out. After we had cut the wood into smaller pieces, we had to sand them so we will not get cuts from the uneven wood.

WEEK 12 So, the first thing I did was to lay the small blocks of wood that I had cut from the workshop on the ground. 4 wood on each corner of the partition. Then I would place the partition on top of the wood. Next, I would grab an "L-shaped stand" and mark the holes on the partition using a pencil to indicate where I should drill the hole. A total of 2 holes are needed to be drilled for each "L-shaped bracket". That equates to drilling 12 holes in total. After drilling the holes, I had Sam help me to hold the partition while I place two of the "L-shaped stands" on both sides of the panel. Next, I inserted the bolts into each hole and screw the nuts in using the spanner that I had borrowed from the workshop. I had to screw it in as tight as possible, while on the other side is Clarence who is also using a spanner, but he has to stop it from turning, so it can be fastened altogether.

CREATIVE PROCESS JOURNAL

WEEK 12 Since one side of the partition is already covered in white, I had to buy white paint to paint the other side too.

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When you accidentally touch wet paint... NOOOOOOO

WEEK 12 Next on my list was the lightbox that I am planning to use to display the historical context where the anecdotal accounts are. I bought mine from Typo because they were on sale!

CREATIVE PROCESS JOURNAL Initially I wanted to get a light box that does not have the slots but they were all very expensive and not within my budget. Especially since I have already spent so much on the partitions alone, I did not want to splurge so much on a light box that could cost me $150+. Instead, Typo sells it at $80 for the A3 sized light box. I could use the money I saved on printing my CPJ and other items. Meanwhile, I spoke to Marcus from Kevin's class and I asked him how he was doing and he told me he is having some trouble with his vinyl sticker. Speaking to him allowed me to understand more on what vinyl stickers are and how they work. I have never printed on vinyl before and I may consider using it this time. He shared with me why it was difficult to transfer each letter from the sticker to the surface. He said that if the strokes are too thin, they may break. He suggested a minimum stroke width that can help in the peeling and transfering. It seems like sans serif is much easier to peel off than serif typefaces.

WEEK 12 During this time, whenever I was free, I would record video clips for the 'Incubation' phase. One of which is filming my sister who is washing her hands.

CREATIVE PROCESS JOURNAL It is nearing open studio and I am going to set up my works. I have reserved a spot at where Owen and Keiza sits as behind them are the white walls which I needed to use.

WEEK 12 I had to repaint the wall too because it was dirty and there were many spots and stains. The next thing I did was to place my partitions at the corner and hang the motivational posters up.

CREATIVE PROCESS JOURNAL

WEEK 12 I also went down to print the image for my tank. I had to manually die cut the inner parts of the brain scan so that viewers can see the bubbling reaction.

CREATIVE PROCESS JOURNAL Printed on the sheets of transparency are the historical context. It was rather challenging to cut these transparencies because I picked the thickest ones and they are hard to cut through. Some of them were uneven. Hence, I have decided that after this submission, I would have it send to Botak Sign to die cut instead.

WEEK 12 Maybe I was too tired that when I place the lid on the table, it was too hard and the lid started to crack and fall apart... So, I had no choice but to cut acrylic in the workshop.

CREATIVE PROCESS JOURNAL Also, I had bought alks seltzer from the pharmacy and now I need to breake them and insert them in zip loc bags that I designed.

WEEK 12 Initially I had this big pedestal to use but I figured that it consumes too much space. Hence, I went to ask Leon if he could give it to me and he said yes.

CREATIVE PROCESS JOURNAL

WEEK 12 Next up involves the workshop again. This time, with Dean, to drill a hole in an acrylic sheet I bought. He also neeeded to cut his acrylic sheet for his "sunglasses". We helped each other out during the cutting session.

CREATIVE PROCESS JOURNAL

WEEK 12 This is the completed piece of acrylic. The curve of the hole was really difficult to cut in a smooth shape. I thought of covering that with a sticker.

CREATIVE PROCESS JOURNAL That night, before I went home, I bought three bottles of 2 litres of vegetable oil for my tank. Although I would prefer to use other types of oil like canola because the yellow is much lighter, but vegetable oil works best because it is thicker, so the bubbles can be seen more prominently.

WEEK 12 Now it is time to fill the tank up with water. I used the kettle to hold the water. It is a good indication of how many litres I would need. The water should fill just nice, slightly below the lowest die cut.

CREATIVE PROCESS JOURNAL Next, I have to mix the dye in the correct ratio. I wanted to create a purple mixture and so red and blue dye was added. Due to the nature of the blue dye which is much darker than the red, I would use more red ink than blue ink.

WEEK 12 I have decided to print my title on the vinyl sticker so it is the first thing people would look at when they enter the set up.

CREATIVE PROCESS JOURNAL Initially, I experimented with designing post it notes that are similar to the motivational quotes because the wall is rather empty in front. But it did not look very pleasing and so I removed it from the wall.

WEEK 12 After setting up, the lecturers told us to leave the studio while they briefed us on what is going to happen next. We were assigned to grade and assess students from other classes. I was assigned to Charmaine Lam from Yasser's class.

CREATIVE PROCESS JOURNAL

WEEK 12

These were the comments I wrote for her.

CREATIVE PROCESS JOURNAL

WEEK 12

CREATIVE PROCESS JOURNAL

Since I had two markers, these are the feedback that I had received. This is from the first marker.

WEEK 12

CREATIVE PROCESS JOURNAL

WEEK 12

This is from the second marker.

CREATIVE PROCESS JOURNAL

WEEK 12

CREATIVE PROCESS JOURNAL Based on the feedback given to me by the two markers, they marked me down because they felt that the art direction did not match from the 'Preparation' phase with all the orange, to the tank. They both felt that I should have standardized the art direction so that people can tell they belong to the same topic. I completely understand where they are coming from and I will do something about it. I value their feedback because to have third person's perspective on something that I have been looking at everyday gives it a more refreshing point of view. Although there are reasons why the Preparation phase relied so much on the orange, I understand their concerns and I will continue to work on it. For example, instead of using orange to convey the idea of "focus, concentration and alertness" that a creative practitioner face, I could use other design elements to do so. I thought of improving my work for the final submission. So instead of using colour, I will consider using line work to show the rigidness and structure of a person who is analytical. As a contrast, in the Incubation study, I will use gradient to show the "flow" of how mind-wandering is. Free and easy. All of these designs should follow the same colour scheme as the tank: black and white. This way, viewers can better navigate throughout the set up without leaving out an outcome.

This is from the second marker.

WEEK 12 A visual summary of my open studio work:

CREATIVE PROCESS JOURNAL

WEEK 12

CREATIVE PROCESS JOURNAL

WEEK 12

CREATIVE PROCESS JOURNAL

Week Thirteen

Studio Project

WEEK 13 25th Oct 2016 Last Studio Class

CREATIVE PROCESS JOURNAL

WEEK 13

CREATIVE PROCESS JOURNAL

WEEK 13

CREATIVE PROCESS JOURNAL

WEEK 13

CREATIVE PROCESS JOURNAL

WEEK 13

CREATIVE PROCESS JOURNAL

WEEK 13

CREATIVE PROCESS JOURNAL

WEEK 13 I wanted to make the 'Incubation' set up to contain more items and I thought of designing a clock that moves in an anti-clockwise motion. This idea says that even when you are spending time to idle, the the time is not wasted. It is not unproductive. In fact, it is more productive, that is why it ticks backwards, it supplies time, more time to think... unconsciously. So, with this idea in mind, I googled how to make a clock tick in reverse.

After watching a couple of videos, I thought I could manage it on my own. So, I headed down to a clock shop at Tampines and spoke to the staff and told her my idea. However, she was very hesitant and kept saying it will not work. I had asked her which clock would be the best for me to open up and adjust the gears and she said there is no way it can go backwards. I felt disencouraged at that point in time. However, that did not stop me from going to Daiso. From there, I bought myself a clock and some tools and I was determined to try it, to prove that it works.

CREATIVE PROCESS JOURNAL

******* MEANWHILE, I SPENT MOST OF MY TIME CONDUCTING INTERVIEWS WITH DESIGNERS FOR MY DISSERTATION. *******

Week Fourteen to Sixteen

Studio Project

WEEK 14 to 16

CREATIVE PROCESS JOURNAL

Looking at the designed outcome for the historical context, I felt that something was wrong. I realised that the illustrations were a bit out of place because it did not match the style of how fMRI scans are: images. So, I changed all the illustrations into images using the "inverse" technique, where the whites are swapped with the blacks, vice versa.

The new art direction was inspired by this design I saw online:

Also, I went to research on more stories that had the full complete set of the creative process in 4 stages. 1075 F, 33Y

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ABSTRACT:

A collection of CREATIVE PROCESS DOCUMENTS

PERIOD:

1737, 3

THIS DOCUMENT BELONGS TO : ARCHIMEDES PERIOD:

1737, 3

SLOT HERE

- Remove the documents from envelope. - Place the documents onto the slots below for viewing purposes. - Do not remove this sheet.

SLOT HERE

CREATIVE PROCESS STAGE 1: PREPARATION

CREATIVE PROCESS STAGE 2: INCUBATION

➡

A votive gold crown had been made for King Hiero II of Syracuse. The King tasked Archimedes to determine whether the crown had been substituted for silver.

Archimedes could not calculate the density because it would involve melting and damaging of the crown.

One day, Archimedes was taking a bath and he was not actively thinking about the problem.

As he entered the bath tub, he noticed that water had spilled out from the tub.

5cm

CREATIVE PROCESS STAGE 3: ILLUMINATION

CREATIVE PROCESS STAGE 4: VERIFICATION

➡

CENTURY B.C.

INSIGHT: ARCHIMEDES’ PRINCIPLE / PRINCIPLE OF BUOYANCY

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DO NOT REMOVE

CENTURY B.C.

INSIGHT: ARCHIMEDES’ PRINCIPLE / PRINCIPLE OF BUOYANCY

This series of documents details the visual anecdotal accounts of creative luminaries, and their personal encounters of arriving at insight solution through periods of idea incubation. This experience is commonly associated with the term “Eureka”, or ”AHA!”. Dating back to the 3 rd century BC, these accounts capture some of the most important creative insights in history.

➡

THIS DOCUMENT BELONGS TO : ARCHIMEDES

HOW IT WORKS:

All of a sudden, Archimedes had arrived at an insight. His unconscious mind made an association with the current situation and the golden crown.

He realised that if he could measure the amount of water that had been displaced, he would have calculated the volume of his body.

The same effect could then be tested to determine the volume of the golden crown. Archimedes verified his insight by thinking of an experiment to validate his idea.

Excited about his theory, he ran into the streets naked, shouting “Eureka!”. Eventually, revealed to the king that the crown was not completely composed of pure gold.

STUDY

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I re-designed the layout and changed the typeface to suit the new art direction. I will be sending this to print at Botak Sign, a printer which I have worked with for my previous FYP. I brought e sample of the transparency I wanted, it was thick and does not bend easily.

I wanted to standardise the typeface that I will be using for my work. This would be the primary typeface, followed by a monospaced type for heavy text like the body copy. The following images have inspired the new art direction.

I also requested for them to print on the non-shiny side of the transparency so the ink will not chip off easily. For open studio, I printed the design at a regular print shop, True Colours in Sunshine Plaza and paired with my cutting skills, the quality was a let down. By the time open studio ended, most of the ink had been chipped off.

The typeface has to have flexibility in terms of being able to convey a strict and rigid look for the preparation phase as well as a more relaxed look for the incubation phase. I managed to acheive that through adjusting the kerning and casing of the letters. What's great about this is that it also suits the historical and theoretical designed outcomes.

WEEK 14 to 16 In the end, I managed to reverse the clock! WOO HOO! It is a very tricky process because when you start to unscrew it, the gears will all fall apart because the point of screwing them tightly is so that they will stay in place. While I was trying to rip open the mechanism, two of the gears fell out and I had to try my best to figure where they belong to. It is super tricky because you might think it fits in a certain position but you never know if one is supposed to be on top or below.

CREATIVE PROCESS JOURNAL

WEEK 14 to 16

CREATIVE PROCESS JOURNAL

WEEK 14 to 16

CREATIVE PROCESS JOURNAL

Here are some of the rejected drafts that I have worked on:

OVERTHINKING

ES G A T SABO

Syndrome

GES A T O SAB

ANALYSIS

PARALYSIS

OVERTHINKING

S E G OTA B A S

ANALYSIS

CREATIVITY

ANALYSIS Canvas

ANALYSIS

CREATIVITY

Blank

IS PARALYS

PARALYSIS Blank

CREATIVITY

The

Canvas

PARALYSIS

WEEK 14 to 16

CREATIVE PROCESS JOURNAL

I tried to play with the casing.

Feed Your Focus Where Focus Goes, Energy Flows

Dreams Don’t Work Unless You Do

Don’t Expect Anything If You Didn’t Work For It

Work Hard and Make it Happen

Don’t Stop When You’re Tired, Stop When You’re Done

Nothing Worth Having Comes Easy

WEEK 14 to 16

CREATIVE PROCESS JOURNAL

PLANNED 9

MAKE THE BED

AM 1

GO FOR A WA L K

PERIODS

ABOUT ANYTHING ELSE.

WASH THE DISHES DO THE LAUNDRY

This page is intentionally left blank so you would not think about anything else.

HAVE LUNCH

BLANK SO YOU WOULD NOT THINK

HAVE BREAKFAST

BRUSH YOUR TEETH

TAKE A SHOWER

T H I S P A G E I S I N T E N T I O N A L LY L E F T

On my break right now, I am thinking about...

ANY THOUGHTS UNRELATED TO WORK GOES HERE:

MAKE DINNER

This page is intentionally left blank so you

would not think about anything else.

O N M Y B R E A K R I G H T N O W,

IRON CLOTHES

I A M T H I N K I N G A B O U T. . .

EAT DINNER

6 VACUUM THE FLOOR

MUNDANE

WATER THE PLANTS

TASKS

GO TO THE PARK

TAKE A SHOWER

PM GO TO BED

INCUBATION INCUBATION INCUB SESSION

WEEK 14 to 16

CREATIVE PROCESS JOURNAL

ANY THOUGHTS UNRELATED TO WORK GOES HERE: ANY THOUGHTS UNRELATED TO

ANY THOUGHTS UNRELATED TO

Incubation in Session

WORK GOES HERE:

ANY THOUGHTS UNRELATED TO

WORK GOES HERE:

INCUBATION

INCUBATION ATION UBAT UBATION N INCUBATION S SESSION

IN SESSION

INCUB

Incubation in Session

ANY THOUGHTS UNRELATED TO

ANY THOUGHTS UNRELATED TO WORK GOES HERE:

WORK GOES HERE:

ANY THOUGHTS UNRELATED TO WORK GOES HERE:

T IO N

WORK GOES HERE:

IN C U B A

Incubation in Session

ANY THOUGHTS UNRELATED TO

SIO

S E S S IO

WEEK 14 to 16

CREATIVE PROCESS JOURNAL

I N C U B AT I O N

I I

SIO

ANY THOUGHTS UNRELATED TO

WORK GOES HERE:

ANY THOUGHTS UNRELATED TO

TION

ANY THOUGHTS UNRELATED TO WORK GOES HERE:

SESSIO

N N

C U

ANY THOUGHTS UNRELATED TO WORK GOES HERE:

B A T

ANY THOUGHTS UNRELATED TO WORK GOES HERE:

I O N

E S S O

SESSION

I N

SESSION SESSION SESSION SESSION

I N U B AT I O N

N N N N N N N N N N N N N N N N N N N N N N

SESSION

ANY THOUGHTS UNRELATED TO WORK GOES HERE:

I I I I I I I I I I I I I I I I I I I I I I

ANY THOUGHTS UNRELATED TO WORK GOES HERE:

INCUBATION INCUBATION INCUBATION

ANY THOUGHTS UNRELATED TO WORK GOES HERE:

INCUBATION

MIND EPIPHANIES IN THE CREATIVE PROCESS

THE SCIENCE OF CREATIVE PROCESS

DEBUNKING THE MYTH OF INSIGHT SOLUTIONS

THE CREATIVE PROCESS IN STAGES:

THE CREATIVE PROCESS FROM A SCIENTIFIC PERSPECITIVE

LIGHT BULB MOMENTS OF DISCOVERY: ACCOUNTS OF THE CREATIVE PROCESS

ON A SCAN INTO

PROCESS:

EUREKA MOMENTS IN THE CREATIVE PROCESS

A SCAN INTO THE CREATIVE PROCESSES: MOMENTS OF INSIGHT COLLECTION OF ‘AHA’ MOMENTS IN THE CREATIVE PROCESS

INCUBATION PHASES THAT LEADS TO ‘AHA’! MOMENTS IN THE CREATIVE PROCESS

Moments of Insight

CREATIVE

A SCAN INTO

Moments of Insight

R E P O R T S

Moments of Insight

T H E C R E AT I V E P R O C E S S :

a scan into

T H E

A PEEK INTO

Moments of Insight

T H E C R E AT I V E P R O C E S S :

A SCAN INTO

A SCAN INTO THE CREATIVE PROCESS: MOMENTS OF INSIGHT

Moments of Insight

T H E C R E AT I V E P R O C E S S :

A scan into

Moments of Insight

T H E C R E AT I V E P R O C E S S :

A SCAN INTO

WHAT’S

THE CREATIVE PROCESS:

Share your thoughts as you allow your mind to wander...

THE

YOUR MOMENTS OF DISCOVERY: LIGHT BULB

WEEK 14 to 16 CREATIVE PROCESS JOURNAL

TR 4500.3 M/ND

1075 F, 33Y

LATE 1660s’ INSIGHT: UNIVERSAL LAW OF GRAVITATION

PERIOD:

THIS DOCUMENT BELONGS TO : ISAAC NEWTON

A collection of CREATIVE PROCESS DOCUMENTS

Suddenly, an insight surfaced when he realised that the reason why apples always descend perpendicularly is due to a central drawing power.

CREATIVE PROCESS STAGE 3: ILLUMINATION

Newton had been fascinated with advanced science during his time studying at the University of Cambridge in Lincolnshire.

CREATIVE PROCESS STAGE 1: PREPARATION

Hence, he made a guess that there must be a drawing power in matter (Earth). “Therefore the apple draws the earth, as well as the earth draws the apple.” - Isaac Newton.

Newton was grappling in the late 1660s with the idea that terrestrial gravity extends, in an inversesquare proportion, to the Moon.

➡

However, the calculation done by geographers at that time did not align with Newton’s theory.

CREATIVE PROCESS STAGE 4: VERIFICATION

After having dinner with his friend William Stukeley, on a warm evening, they went and sat under an apple tree for shade.

CREATIVE PROCESS STAGE 2: INCUBATION

Later on, better measurement and better data ultimately provide confirmation to Newton’s theory on the Universal Law of Gravitation.

While they were in the garden, Newton began to absorbed in thoughts while drinking tea.

STUDY

00002 SP F4.7

5cm

MR 25000C HLS

SCANS IN THE SCIENCE Myths & Inspecting OF CREATIVE the CREATIVE accounts of the THE CREATIVE PROCESSES PROCESSES CREATIVE PROCESSES PROCESSES VISUAL CREATIVE Fables of the PROCESSES OF A Scan of A peek into INSIGHTS CREATIVE THE CREATIVE the CREATIVE the CREATIVE AND ITS PROCESSES PROCESSES PROCESSES PROCESSES PROCESSES SCAN Anecdotal An archive of Visualising MOMENTS REPORTS the CREATIVE accounts of the the CREATIVE of INSIGHT: of the CREATIVE PROCESSES PROCESSES the CREATIVE CREATIVE PROCESSES PROCESS PROCESS Scanning Extracts of Identifying A collection through the the CREATIVE the CREATIVE THE of reports on CREATIVE PROCESSES PROCESSES PROVERBIAL PROCESSES THE CREATIVE “AHA” PROCESSES EXPERIENCE A glance at Accounts of Analyzing Reports on the CREATIVE the CREATIVE the CREATIVE the CREATIVE PROCESSES PROCESSES PROCESSES PROCESSES CREATIVE A scan into the A PEEK INTO A peek into SCANS OF T H E R E P O R T S PROCESS PROCESSES of THE CREATIVE the reports of of CREATIVE DOCUMENTS CREATIVE PEOPLE CREATIVE PROCESSES PROCESSES PROCESSES FLASHES OF INSIGHT DECONSTRUCTING A COLLECTION RESULTING FROM THE CREATIVE PROCESS: OF “AHA” PERIODS OF INCUBATION FLASHES OF INSIGHTS MOMENTS Examination of CREATIVE PROCESSES

WEEK 14 to 16 CREATIVE PROCESS JOURNAL

TR 4500.3 M/ND

1075 F, 33Y

TR 4500.3 M/ND

1075 F, 33Y

LATE 1660s’

LATE 1660s’ INSIGHT: UNIVERSAL LAW OF GRAVITATION

PERIOD:

THIS DOCUMENT BELONGS TO : ISAAC NEWTON

A collection of CREATIVE PROCESSES

INSIGHT: UNIVERSAL LAW OF GRAVITATION

PERIOD:

THIS DOCUMENT BELONGS TO : ISAAC NEWTON

A collection of CREATIVE PROCESSES

Suddenly, an insight surfaced when he realised that the reason why apples always descend perpendicularly is due to a central drawing power.

CREATIVE PROCESS STAGE 3: ILLUMINATION

Newton had been fascinated with advanced science during his time studying at the University of Cambridge in Lincolnshire.

CREATIVE PROCESS STAGE 1: PREPARATION

Suddenly, an insight surfaced when he realised that the reason why apples always descend perpendicularly is due to a central drawing power.

CREATIVE PROCESS STAGE 3: ILLUMINATION

Newton had been fascinated with advanced science during his time studying at the University of Cambridge in Lincolnshire.

CREATIVE PROCESS STAGE 1: PREPARATION

Hence, he made a guess that there must be a drawing power in matter (Earth). “Therefore the apple draws the earth, as well as the earth draws the apple.” - Isaac Newton.

Newton was grappling in the late 1660s with the idea that terrestrial gravity extends, in an inversesquare proportion, to the Moon.

Hence, he made a guess that there must be a drawing power in matter (Earth). “Therefore the apple draws the earth, as well as the earth draws the apple.” - Isaac Newton.

Newton was grappling in the late 1660s with the idea that terrestrial gravity extends, in an inversesquare proportion, to the Moon.

➡

However, the calculation done by geographers at that time did not align with Newton’s theory.

CREATIVE PROCESS STAGE 4: VERIFICATION

After having dinner with his friend William Stukeley, on a warm evening, they went and sat under an apple tree for shade.

CREATIVE PROCESS STAGE 2: INCUBATION

However, the calculation done by geographers at that time did not align with Newton’s theory.

CREATIVE PROCESS STAGE 4: VERIFICATION

After having dinner with his friend William Stukeley, on a warm evening, they went and sat under an apple tree for shade.

CREATIVE PROCESS STAGE 2: INCUBATION

Later on, better measurement and better data ultimately provide confirmation to Newton’s theory on the Universal Law of Gravitation.

While they were in the garden, Newton began to absorbed in thoughts while drinking tea.

Later on, better measurement and better data ultimately provide confirmation to Newton’s theory on the Universal Law of Gravitation.

While they were in the garden, Newton began to absorbed in thoughts while drinking tea.

00002 SP F4.7

STUDY

00002 SP F4.7

5cm

MR 25000C HLS

STUDY

5cm

MR 25000C HLS

WEEK 14 to 16 CREATIVE PROCESS JOURNAL

TR 4500.3 M/ND

1075 F, 33Y

TR 4500.3 M/ND

1075 F, 33Y

LATE 1660s’

LATE 1660s’ INSIGHT: UNIVERSAL LAW OF GRAVITATION

PERIOD:

THIS DOCUMENT BELONGS TO : ISAAC NEWTON

A collection of CREATIVE PROCESSES

INSIGHT: UNIVERSAL LAW OF GRAVITATION

PERIOD:

THIS DOCUMENT BELONGS TO : ISAAC NEWTON

A collection of CREATIVE PROCESS DOCUMENTS

Suddenly, an insight surfaced when he realised that the reason why apples always descend perpendicularly is due to a central drawing power.

CREATIVE PROCESS STAGE 3: ILLUMINATION

Newton had been fascinated with advanced science during his time studying at the University of Cambridge in Lincolnshire.

CREATIVE PROCESS STAGE 1: PREPARATION

Suddenly, an insight surfaced when he realised that the reason why apples always descend perpendicularly is due to a central drawing power.

CREATIVE PROCESS STAGE 3: ILLUMINATION

Newton had been fascinated with advanced science during his time studying at the University of Cambridge in Lincolnshire.

CREATIVE PROCESS STAGE 1: PREPARATION

Hence, he made a guess that there must be a drawing power in matter (Earth). “Therefore the apple draws the earth, as well as the earth draws the apple.” - Isaac Newton.

Newton was grappling in the late 1660s with the idea that terrestrial gravity extends, in an inversesquare proportion, to the Moon.

Hence, he made a guess that there must be a drawing power in matter (Earth). “Therefore the apple draws the earth, as well as the earth draws the apple.” - Isaac Newton.

Newton was grappling in the late 1660s with the idea that terrestrial gravity extends, in an inversesquare proportion, to the Moon.

➡

However, the calculation done by geographers at that time did not align with Newton’s theory.

CREATIVE PROCESS STAGE 4: VERIFICATION

After having dinner with his friend William Stukeley, on a warm evening, they went and sat under an apple tree for shade.

CREATIVE PROCESS STAGE 2: INCUBATION

However, the calculation done by geographers at that time did not align with Newton’s theory.

CREATIVE PROCESS STAGE 4: VERIFICATION

After having dinner with his friend William Stukeley, on a warm evening, they went and sat under an apple tree for shade.

CREATIVE PROCESS STAGE 2: INCUBATION

Later on, better measurement and better data ultimately provide confirmation to Newton’s theory on the Universal Law of Gravitation.

While they were in the garden, Newton began to absorbed in thoughts while drinking tea.

Later on, better measurement and better data ultimately provide confirmation to Newton’s theory on the Universal Law of Gravitation.

While they were in the garden, Newton began to absorbed in thoughts while drinking tea.

00002 SP F4.7

STUDY

00002 SP F4.7

5cm

MR 25000C HLS

STUDY

5cm

MR 25000C HLS

WEEK 14 to 16 CREATIVE PROCESS JOURNAL

TR 4500.3 M/ND

1075 F, 33Y

LATE 1660s’

LATE 1660s’ INSIGHT: UNIVERSAL LAW OF GRAVITATION

PERIOD:

THIS ACCOUNT BELONGS TO : ISAAC NEWTON

INSIGHT: UNIVERSAL LAW OF GRAVITATION

PERIOD:

THIS ACCOUNT BELONGS TO : ISAAC NEWTON

Moments of Insight

T H E C R E AT I V E P R O C E S S :

A SCAN INTO

INSIGHT: UNIVERSAL LAW OF GRAVITATION

PERIOD:

THIS ACCOUNT BELONGS TO : ISAAC NEWTON

INSIGHT: UNIVERSAL LAW OF GRAVITATION

PERIOD:

THIS ACCOUNT BELONGS TO : ISAAC NEWTON

Moments of Insight

a scan into

T H E C R E AT I V E P R O C E S S :

TR 4500.3 M/ND

1075 F, 33Y

Hence, he made a guess that there must be a drawing power in matter (Earth). “Therefore the apple draws the earth, as well as the earth draws the apple.” - Isaac Newton.

Newton was grappling in the late 1660s with the idea that terrestrial gravity extends, in an inversesquare proportion, to the Moon.

Suddenly, an insight surfaced when he realised that the reason why apples always descend perpendicularly is due to a central drawing power.

CREATIVE PROCESS STAGE 3: ILLUMINATION

Newton had been fascinated with advanced science during his time studying at the University of Cambridge in Lincolnshire.

CREATIVE PROCESS STAGE 1: PREPARATION

Hence, he made a guess that there must be a drawing power in matter (Earth). “Therefore the apple draws the earth, as well as the earth draws the apple.” - Isaac Newton.

Newton was grappling in the late 1660s with the idea that terrestrial gravity extends, in an inversesquare proportion, to the Moon.

This series of documents details the visual anecdotal accounts of creative luminaries, and their personal encounters of arriving at insight solution through periods of incubation. This experience is commonly associated with the term “Eureka”, or ”AHA!”. Dating back to the 3rd century BC, these accounts capture some of the most important creative insights in history. Insight solutions may arrive through unconscious processes or facilitated by environmental factors.

Suddenly, an insight surfaced when he realised that the reason why apples always descend perpendicularly is due to a central drawing power.

CREATIVE PROCESS STAGE 3: ILLUMINATION

Newton had been fascinated with advanced science during his time studying at the University of Cambridge in Lincolnshire.

CREATIVE PROCESS STAGE 1: PREPARATION

➡

However, the calculation done by geographers at that time did not align with Newton’s theory.

CREATIVE PROCESS STAGE 4: VERIFICATION

After having dinner with his friend William Stukeley, on a warm evening, they went and sat under an apple tree for shade.

CREATIVE PROCESS STAGE 2: INCUBATION

However, the calculation done by geographers at that time did not align with Newton’s theory.

CREATIVE PROCESS STAGE 4: VERIFICATION

After having dinner with his friend William Stukeley, on a warm evening, they went and sat under an apple tree for shade.

CREATIVE PROCESS STAGE 2: INCUBATION

Later on, better measurement and better data ultimately provide confirmation to Newton’s theory on the Universal Law of Gravitation.

While they were in the garden, Newton began to absorbed in thoughts while drinking tea.

Later on, better measurement and better data ultimately provide confirmation to Newton’s theory on the Universal Law of Gravitation.

While they were in the garden, Newton began to absorbed in thoughts while drinking tea.

00002 SP F4.7

STUDY

00002 SP F4.7

5cm

MR 25000C HLS

STUDY

5cm

MR 25000C HLS

WEEK 14 to 16 CREATIVE PROCESS JOURNAL

WEEK 14 to 16 This is the final submission:

CREATIVE PROCESS JOURNAL

WEEK 14 to 16

CREATIVE PROCESS JOURNAL

WEEK 14 to 16

CREATIVE PROCESS JOURNAL

WEEK 14 to 16

CREATIVE PROCESS JOURNAL

WEEK 14 to 16

CREATIVE PROCESS JOURNAL

WEEK 14 to 16

CREATIVE PROCESS JOURNAL