Analysis of Creative Products: Review and Synthesis*

Designing creative artificial systems

“…This may be due, for instance, to the fact that one is a peer and the other is a layman, or one knows the architect' s work well and the other does not, or one knows what the old city hall looked like and the other does not. The creativity assessment problem is, for example, described by Besemer and Treffinger (1981). Besemer and Treffinger analyse possible creativity criteria by means of a creative product analysis matrix, involving three dimensions: novelty, resolution, and elaboration & synthesis.…”

“…The assessor's background, social influences and individual characteristics all play a role (Csikszentmihalyi, 1999). Also knowing the state of the art is influential: different assessors may disagree in their judgement of the same subject (e.g., Besemer & Treffinger, 1981;Boden, 1991;Finke et al, 1992;Gero, 1996;Pease et al, 2001;Macedo & Cardoso, 2002;Tang & Gero, 2002). Colton et al (2001) state that, when assessing the creativity of computer programs, assessors should only consider those valuable novelties produced by a computer program that have not been included to instigate creative results, either preprogrammed or the result of fine-tuning the program.…”

Faking or Convincing: Why Do Some Advertising Campaigns Win Creativity Awards?

“…In these studies, the fundamental concept of "novelty" was introduced as a key characteristic of creativity. Finally, the third and smallest area of psychological studies attempted to identify the particular characteristics of creative outcomes (Besemer and O'Quin 1986;Besemer and Treffinger 1981). Following this school of thought, Jackson and Messick (1965) introduced a multi-item approach that identifies four underlying dimensions of creativity: unusualness, appropriateness, transformation and condensation.…”

A importância do guia de turismo na experiência turística: da teoria à prática das agências de receptivo de Curitiba- PR

“…Ela adota parâmetros de análise baseados em indicadores de criatividade e inovação em produtos, adaptados do modelo CPAM -The Creative Product Analysis Matrix (BESEMER;TREFFINGER, 1981;BESEMER, 1998), e dimensões da experiência turística, estudados por Pine II e Gilmore (1999); Pulido-Fernández e Navarro-Hermoso (2014) e emoção, pela teoria do fluxo, segundo Arnould e Price (1993);Carl III (1994) e Csikszentmihalyi (1975. Os resultados da pesquisa demonstram os indicadores mais adequados ao objetivo do tema proposto.…”