Creativity for Scientists and Engineers

Name: Creativity for Scientists and Engineers | A practical guide
Brand: Institute of Physics Publishing
Price: 38.99 EUR
Availability: OnlineOnly

A practical guide

Dennis Sherwood(Autor*in)

Institute of Physics Publishing

Erschienen am 11. Oktober 2022

350 Seiten

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Inhalt

Intro
Preface
Acknowledgements
Author biography
Dennis Sherwood
Foreword
Introduction
Outline placeholder
The right answer
Kepler's BIG IDEA
The egg-shaped orbit
0.00429 and 5° 18´
What happened next
Kepler re-visited
Observation
Curiosity
Permission
Luck
Bisociation
Knowledge
Hard work
Tenacity
Failure
Learning from mistakes
Risk
Don't fall in love with your own ideas
No problem to solve
References
Chapter 1 What, precisely, is creativity?
1.1 Some dictionary definitions
1.2 My 'sound-bite' definition - just five words
1.3 Ideas as outcomes, ideas as questions
1.4 Invention and discovery
1.5 What's missing from the sound-bite?
1.6 What is 'new'?
1.7 It's difference that's important, not novelty.
1.8 .and the best way to discover differences is to be observant
1.9 Value
References
Chapter 2 Creativity in context
2.1 Creativity alone is not enough
2.2 A richer picture
2.3 Process 1 - Creativity
2.4 Process 2 - Evaluation
2.5 Processes 3 and 4 - Development and Implementation
2.6 The Target Diagram and skills
References
Chapter 3 The six domains of creativity
3.1 Creativity is not just about 'the better mousetrap'
3.2 Content
3.3 Process
3.4 Strategy
3.5 Structures
3.6 Relationships
3.7 You!
3.8 The importance of the organisational culture
Chapter 4 Koestler's Law
4.1 Arthur Koestler's definition of creativity
4.2 The 'Eureka moment' myth
4.3 'But I'm not a creative person'
4.4 Creativity is all about patterns
4.5 'Bisociation' and 'thinking aside'
4.6 The more familiar the parts, the more striking the new whole
4.7 What Koestler's Law does, and doesn't, do
4.8 The Koestler Challenge
References
Chapter 5 Some more examples of Koestler's Law
5.1 Literature
5.2 Art
5.3 Chemistry
5.4 How chemistry made impressionist art happen.
5.5 .and how physics has facilitated contemporary art
5.6 History, politics, philosophy, and economics
5.7 Newton's Laws of Motion and Gravitation
5.8 A brief digression - coincidence, co-invention and the zeitgeist
5.9 The light bulb
5.10 Casa Batlló
5.11 The DC electric motor
5.12 The impossible building
5.13 Special relativity
5.14 The structure of DNA
5.14.1 DNA and X-ray crystallography
5.14.2 Photo 51
5.14.3 Florence Bell
5.14.4 Sven Furberg
5.14.5 The diffraction pattern of a helix
5.14.6 James Watson
5.14.7 The triple helix
5.14.8 The missing Koestler's Law fragment
5.14.9 Jerry Donohue
5.14.10 The Nobel Prize
5.14.11 A moment to reflect
5.15 DNA - a final word
References
Chapter 6 The 'da Vinci problem'
6.1 Building on Koestler's Law
6.2 The helicopter that couldn't fly
6.3 The problem of the missing component
6.4 You might be a 'victim', now
6.5 Identify the missing component(s) as precisely as you can
6.6 Keep your eyes - and ears - open
6.7 Be patient
6.8 In conclusion
References
Chapter 7 Emergence - why some patterns are better than others
7.1 Emergence
7.2 Same components, different patterns
7.3 Not too little, not too much
7.4 Patterns within patterns
7.5 Emergence is often subjective
7.6 An enriched definition of creativity
References
Chapter 8 Knowledge, experience, learning, and unlearning
8.1 Where are the Koestler's Law 'components'?
8.2 Donald Hebb's Theory of Learning
8.3 The learning trap
8.4 Unlearning
8.5 Why is unlearning so difficult?
8.5.1 Love
8.5.2 Laziness
8.5.3 Fear
8.5.4 Arrogance
8.5.5 Unlearning is indeed difficult.
8.6 Hegel, and genetics
8.7 A brief pause.
References
Chapter 9 How to have great ideas 'on demand'
9.1 InnovAction!
9.2 Step 1: Define the 'focus of attention'
9.3 Step 2: Individually and in silence, write down everything you know about the agreed focus of attention
9.4 Step 3: Share
9.4.1 What the 'share' is about
9.4.2 Managing the group dynamics
9.4.3 Self-facilitate
9.4.4 One point at a time
9.4.5 Writing on the flip-chart
9.4.6 Be succinct
9.4.7 Don't worry about structure
9.4.8 Don't argue.
9.4.9 .but do ask questions
9.4.10 Don't duplicate points already captured
9.4.11 Don't start generating ideas (yet!)
9.4.12 And eventually.
9.5 Step 4: Then choose one feature, and ask 'How might this be different?'
9.6 Step 5: Let it be.
9.7 Step 6: .and then, when that discussion runs out of steam, choose another feature and repeat Steps 4 and 5
9.8 The nine dots puzzle revisited
References
Chapter 10 InnovAction! in action
10.1 Ideas for games based on chess
10.2 Some things we know about chess
10.3 Ideas, ideas, ideas.
10.3.1 Self-capture
10.3.2 'Hobbled' bishops
10.3.3 Taking turns
10.3.4 Square occupancy
10.3.5 The initial layout
10.3.6 Combinations
10.4 It really is as simple as that!
10.5 The central step - Step 4: 'How might this be different?'
10.5.1 Three key rules
10.5.2 Don't be negative
10.5.3 Don't lose the key questions.
10.5.4 .and keep a record of all the ideas
10.6 Different ways of being different
10.6.1 Size and scale
10.6.2 Sequence, flow and configuration
10.6.3 Function and scope
10.6.4 Roles and responsibilities
10.7 Some examples
Reference
Chapter 11 Springboards and retro-fits
11.1 InnovAction! is not the only way to have idea 'on demand'
11.1.1 The 'mountains and valleys' metaphor
11.1.2 InnovAction! - a springboard
11.2 Some other springboards
11.2.1 Challenge assumptions
11.2.2 Decomposing and recombining
11.2.3 Edward de Bono's 'PO'
11.3 Random words - a retrofit
11.4 Some other retro-fits
11.4.1 PO-2
11.4.2 Simile, metaphor and analogy
11.4.3 Other people's shoes
11.4.4 Journeying
11.4.5 Visioning
11.4.6 Working backwards
11.5 Springboards and retrofits - which to use?
References
Chapter 12 Creativity workshops
12.1 Observation, curiosity and permission made real
12.2 The workshop themes
12.3 Who should participate?
12.4 How workshops are structured
12.4.1 Why off-site, and why two days?
12.4.2 The workshop agenda
12.4.3 Longer, and shorter, durations
12.5 The idea generation group briefs
12.6 Don't impose constraints on cost and resources
12.7 Creativity, not evaluation
12.8 Quantity, quantity, quantity
12.9 After the workshop
12.9.1 The workshop report
12.9.2 People keep thinking
12.9.3 The next step - wise evaluation
References
Chapter 13 Creativity in science and engineering
13.1 What this chapter is about
13.2 Detecting gravitational waves
Why did it take so long?
Professor Hough picks up the story.
Professor Rowan continues (referring to Sir James Hough as Jim!):
Jim Hough explains further:
Back to Sheila Rowan:
13.3 Building Nemo
So after that phone call, what happened? What changed?
13.4 Synthetic synapses
13.5 Biomimetic adhesives
13.6 The magic colouring sheet
13.7 Quantum entanglement, single-pixel cameras, and novel endoscopes
13.8 Keeping the UK's railways safe
13.9 The 'Medusa Effect'
13.10 Mixing things up: ellipsometry and strong coupling
13.11 Reducing noise
13.12 How nanopatterns made it from a semiconductor facility to an artist's print room
13.13 Newton's Rings and flat screens
13.14 Blue Plan-it® and Water ARC®
How might this be different?
References
Chapter 14 Evaluation in context
14.1 Why wise evaluation is important
14.2 A very bad idea indeed
14.3 Not all ideas are good ones.
14.4 .and even good ideas can be fiercely opposed
14.5 How do you, and your organisation, evaluate ideas now?
14.5.1 Evaluating ideas wisely is really important
14.5.2 Some frequently-used methods
14.5.3 The boss knows best
14.5.4 (Apparently) no process
14.5.5 'Trial by ordeal'
14.5.6 Likes and dislikes
14.5.7 'Pros' and 'cons'
14.5.8 Evaluation by numbers
References
Chapter 15 How to evaluate ideas wisely
15.1 Features of a wise evaluation process
15.1.1 What does a well-designed evaluation process look like?
15.1.2 Consistency
15.1.3 Fairness
15.1.4 Balance
15.1.5 Completeness
15.1.6 Speed
15.1.7 Pragmatism
15.1.8 Transparency
15.1.9 Openness
15.1.10 How does your organisation's evaluation process rate?
15.2 An ideal process for wise evaluation
15.2.1 Overview
15.2.2 Step 1: Imagine the future
15.2.3 Step 2: What are the consequences?
15.2.4 Step 3: The journey
15.2.5 Step 4: How might all the problems be solved?
15.2.6 Step 5: The numbers
15.2.7 Step 6: The decision
15.3 The half-way house
15.4 Wise evaluation, Edward de Bono's 'hats', and the importance of language
15.5 'Evaluation Lite'
15.6 And so to development and implementation
References
Chapter 16 What is 'culture'?
16.1 The Covid-19 vaccine miracle
16.2 Language
16.3 Observation, curiosity and permission revisited
16.4 The wider picture - 'enablers' and 'motivators'
References
Chapter 17 Enablers
17.1 Budgets
17.2 Funding
17.3 Managing development and implementation
17.4 The idea archive
17.5 Physical environment
17.6 Behaviours
References
Chapter 18 Motivators
18.1 Reward and recognition
18.2 Performance measures
18.3 Training
18.4 The role of senior management
18.5 Embedding innovation in the day-job
18.6 So, what next?
References
Outline placeholder
Creativity in the sciences
Creativity in general
Also of interest
Index

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