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Methods for Creativity


With UCA Department of Humanities

Lecturers

A keyword of this minor is cross-disciplinarity. It is the fruits of a collaboration between Aura Parmentier Cajaiba, lecturer in management sciences, Jean-François Trubert, Professor in music, and Manuel Boutet, researcher in sociology.

Summary

Working in the creative industries today requires specialized skills very diverse in nature (ie. technical, artistical, communicational, etc.). However, this is no longer sufficient, other skills such as critical thinking, deductive and inductive reasoning, as well as social perceptiveness relate also to the creative worker's paraphernalia. To tackle this situation, three principles are explored:

  • The creative practitioner must know how to get out of his comfort zone to cooperate with a variety of colleagues whose occupational logics are most of the time very different with his own.
  • To improvise, alone or collectively, the creative practitioner must master dedicated methods and tools s/he has previously tested out in practice.
  • To be creative, the creative practitioner needs to be capable of reflexivity – i.e. be able to step back from daily routinized work, to rely on his own understanding of his job, on the knowledge he has of his job context, and on the values that motivate his creative endeavor.

Organization: The sessions will alternate current questions and presentation of practical methods followed by workshops (brainstorm, C-K method, improvisation, collective writing, scripting, gamification, design thinking).

Contents:

Each of the three teachers develops a complementary aspect, essential to the creative practitioner future, which are articulated throughout the semester:

1. Industries, professions, careers, how to get there?

Since when do we talk about creative industries? What are the common rationales of creative professionals? How are careers in these sectors? We will explore the notion of creativity, starting from the history of the creative industries, to tackle the present issues of the "cognitive capitalism" – a context where creativity is sometimes described as the last frontier of "non-robotisable" human work.

2. Creativity methods for teamwork, which techniques for which values?

To create new services and products in an ever-changing context (crises, competition, technical renewal, geopolitical and climate changes, and so on....), relevant and appropriate methods must be rendered available. Out-of-the-box thinking cannot be ordained, on the contrary, it implies to combine each other's knowledge, skills and know-how. Getting out of daily practices requires a reflexive stance regarding one's working methods and values at work (productivity vs. ecological transition; hierarchy vs. project ; individual VS collective performance...).

3. What is a collective creation? Learning together through artistic practice.

In a dynamic of both cross-disciplinary and multi-media performance practice - that can include writing, robots, drawing, music, videos, sound, molecules, virtual reality headsets, insects, digital applications, etc. - an improvised collective artistic production will be realized during the sessions. Based on each student's technical and cultural background, and relaying on a TSU (temporal semiotic unit) methodology, we will develop a collective artistic work involving everyone.

Prerequisite

No