A scattered CAT: A critical evaluation of the consensual assessment technique for creativity research

Amabile’s consensual assessment technique (CAT)—taking the consensus opinions of domain experts—is considered a “gold standard” of creativity assessment for research purposes. While several studies have identified how specific procedural choices impact the CAT’s reliability as a measure, researchers’ depth of knowledge about procedures and their effects still remains incomplete. This article explores gaps in the research by reviewing CAT and creativity literature and aims to explore to what extent the creativity research community needs to revisit and reflect on the CAT and solidify protocols for its implementation. The conclusion highlights the need for new debate and a program of research to clarify, evidence, and harmonize CAT methodology while simultaneously preserving the CAT’s flexibility. This would enable the development and sophistication of the CAT, including possible new assistive technologies, to further strengthen its use within the science of creativity. (PsycINFO Database Record (c) 2019 APA, all rights reserved

O processo criativo em design, no desenvolvimento de produtos, serviços e experiências alimentares no mestrado em inovação em artes culinárias da Escola Superior de Hotelaria e Turismo do Estoril

Tese de Doutoramento em Design, com a especialização em Design apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Doutor.O estudo apresentado define-se pelo cruzamento do Design com a alimentação, particularmente na aplicação prática do Design no âmbito das Artes Culinárias, seguindo algumas recomendações de investigações anteriores e de casos de referência, de forma a potenciar a aplicação de um modelo de processo criativo em Design no desenvolvimento de produtos, serviços e experiências alimentares no contexto do ensino superior em Artes Culinárias. Esta investigação tem como objetivo contribuir para a delimitação de um campo disciplinar, o Food Design, e tornar a sua aplicação, no contexto das Artes Culinárias, uma prática projetual comum para os desafios propostos pelo sistema alimentar atual. Com a prossecução destes objetivos esperamos também contribuir para a criação de sinergias entre Design e Artes Culinárias e para que o modelo proposto seja passível de ser aplicado em reestruturações curriculares dos cursos superiores de Artes Culinárias e Produção Alimentar. Metodologicamente é uma investigação mista que utilizou sobretudo métodos qualitativos. O processo de investigação foi concebido em três grandes momentos. No primeiro, que corresponde a uma fase teórica, é feita uma revisão e uma crítica da literatura sobre Design, alimentação, criatividade, processo criativo e inovação. Esta primeira parte foi complementada com casos de referência no ensino superior das Artes Culinárias, onde a aplicação de modelos de processo criativo em Design já é adotada. A segunda fase é empírica e engloba a utilização, a recolha e a criação de novos dados sobre a adaptação de um modelo de processo criativo em Design, a ser aplicado na prática projetual dos alunos do Mestrado em Inovação em Artes Culinárias (MIAC) da Escola Superior de Hotelaria e Turismo do Estoril (ESHTE), a partir da disciplina de Food Design. A terceira fase engloba a adaptação do modelo de processo criativo à prática projetual dos alunos do MIAC bem como a avaliação e análise descritiva e qualitativa dos resultados obtidos (produtos, serviços e experiências alimentares). A principal conclusão está relacionada com o facto de ser possível desenvolver e adotar um modelo de processo criativo em Design, bem como ferramentas úteis e pedagógicas que abordem os aspetos mais relevantes do sistema alimentar – neste caso a dieta mediterrânica e o consumo de leguminosas – sem que a sua complexidade seja um fator inibidor do seu uso por futuros chefs. Pretendemos também demonstrar que a clareza e a facilidade de integração do modelo são fatores essenciais para a formação dos alunos, enquanto forma de agregação de conhecimento interdisciplinar para o processo de desenvolvimento de produtos, serviços e experiências alimentares. Outra conclusão prende-se com o facto de a sua aplicação transversal ao programa curricular do mestrado permitir um maior foco do trabalho dos alunos ao englobar o conhecimento de todas as disciplinas com um único fim – o desenvolvimento de produtos, serviços e experiências alimentares – possibilitando a criação de um portfólio culinário amplo, que se afasta por completo do modelo pedagógico mestre-aprendiz. Através das metodologias e do processo criativo utilizado, o Design pode, neste caso, ter um contributo relevante para o desenvolvimento de produtos, serviços e experiências alimentares como agente criador de novos modelos de conhecimento dentro da prática das Artes Culinárias.ABSTRACT: The study presented is defined by the crossing of design with food, specifically in the practical application of design in the field of culinary arts, following some recommendations from previous studies and reference cases in order to promote the application of a creative process in design in the development of food products, services and experiences in higher education in what concerns the culinary arts. This research aims to contribute to the definition of a disciplinary field, Food Design, and to make its application in the field of culinary arts a common project practice for the challenges offered by the current food system. Through the dissemination of these objectives we also hope to contribute to the creation of synergies between Design and Culinary Arts and to the implementation of the adopted model in curricular restructurings of higher programmes of Culinary Arts and Food Production. Methodologically it is a mixed research that used mainly qualitative methods. The research process was designed in three great moments, where a first theoretical phase presented a review and literary criticism about design, food, creativity, creative process and innovation. The literary criticism was complemented with reference cases in higher education of the culinary arts where the use of creative process models in design have already been adopted. The second phase is empirical and includes the use, collection and creation of new data on the adaptation of a creative process model in design to be applied in the design practice of the students of the Master in Innovation in Culinary Arts (MIAC) at the Estoril Higher Institute for Hotel and Tourism Studies (ESHTE) from the discipline of Food Design. The third phase encompasses the adaptation of the creative process model to MIAC students’ design practice and a descriptive and qualitative evaluation and analysis of the results obtained (food products, services and experiences). The main conclusion is related to the fact that it is possible to develop a creative process model and useful and pedagogical tools that address the most relevant aspects of the food system – in this case the Mediterranean diet and the consumption of pulses – without its complexity being a inhibiting factor to future Chefs. We also intend to demonstrate that the clarity and easiness of integrating the model are essential factors for the growth of students, as it is an interdisciplinary knowledge aggregation model for the process of developing products, services and food experiences. Another conclusion is that its use in the curricular programme of the master’s degree, in a transversal way, allows a greater focus on the work of the students by including the knowledge of all the disciplines with a single end – the development of products, services and alimentary experiences – allowing for the creation of a broad culinary portfolio that departs completely from the master-apprentice pedagogical model. Design, in this case through creative methodologies and processes, has a relevant contribution to the development of food products, services and experiences as an agent that creates new knowledge models within the Culinary Arts practice, thus broadening the field of action of Food Design.N/

Developing and testing a training program to promote creativity among Saudi female fashion design students : concentrating on a combination of design behaviours, namely visual literacy, creative thinking and use of modelling systems, in the early stages of the design process.

This case study research aimed to develop and test a training program that promotes Saudi female fashion design students’ creativity in the early stages of the design process. It also investigated the factors that contributed to its results. The training program targeted a combination of design behaviours including visual literacy, use of creative thinking techniques, use of modelling systems and proposed that enhancing these behaviours together in the early stages of the design process could help improve students’ creativity. A comprehensive review of the literature in creativity enhancement in design was conducted to inform the development of the training program. An embedded design of mixed methods was employed, in which a qualitative method, in the form of a semi structured interview, was embedded within a quantitative method, in the form of a quasi-experiment with a pre-test-post-test control and experimental group design, to provide a deep and thorough understanding of the effect of the proposed training program on students’ creativity. The findings showed a significant enhancement in students’ awareness of creativity and the creative design process, and significant improvements in all targeted creative abilities in terms of fluency, originality, and creativity, with fluency being the most increased creative metric and creativity the least. The findings also revealed the students’ perspective on how people in their cultures understand and appreciate creativity in fashion and how this influenced their creativity. The findings also addressed the influence of students’ personal attitudes on their creative behaviours and abilities in the early stages of the design process