Proceedings of the DESIGN 2018 15th International Design Conference 2018
DOI: 10.21278/idc.2018.0318
|View full text |Cite
|
Sign up to set email alerts
|

Generative Heritage: Driving Generativity Through Knowledge Structures in Creative Industries. Lessons From Cuisine

Abstract: Sometimes, a designer needs to share a "creation heritage" to support the generativity of his pairs, in the form of a book. What should be its content? The literature has shown that knowledge in such books might be fixating or defixating, leading to inconclusive results. Using recent advances in design theories we model the features of a heritage oriented towards generativity. Relying on the literary tradition in Cuisine, we validate our model. We show that transferring knowledge implies sharing objects struct… Show more

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...
1
1
1
1

Citation Types

0
8
0

Year Published

2019
2019
2024
2024

Publication Types

Select...
7

Relationship

1
6

Authors

Journals

citations
Cited by 8 publications
(8 citation statements)
references
References 27 publications
0
8
0
Order By: Relevance
“…Recent advances in design theories invite us to view design as a process that uses languages of the known and unknown to bring to life still unknown objects (Le Masson et al, 2017). This way, designers can attain different levels of generativity, such as knowing how to reproduce existing objects, recombine existing knowledge, introduce new knowledge into a codified design process, and create new languages of the unknown to recreate languages of the known (Carvajal Pérez, Araud, Chaperon, Le Masson, & Weil, 2018). Thus, we expect a creative heritage to describe a language of the known and a language of the unknown.…”
Section: Literature Review and Theoretical Propositionmentioning
confidence: 99%
“…Recent advances in design theories invite us to view design as a process that uses languages of the known and unknown to bring to life still unknown objects (Le Masson et al, 2017). This way, designers can attain different levels of generativity, such as knowing how to reproduce existing objects, recombine existing knowledge, introduce new knowledge into a codified design process, and create new languages of the unknown to recreate languages of the known (Carvajal Pérez, Araud, Chaperon, Le Masson, & Weil, 2018). Thus, we expect a creative heritage to describe a language of the known and a language of the unknown.…”
Section: Literature Review and Theoretical Propositionmentioning
confidence: 99%
“…Focusing on engineering and industrial innovation, Carvajal Pérez et al (2018) promote the idea of “Creation Heritages” or “Generative Heritages” to use known objects in the “elaboration of still unknown objects.” Their aim is not only to transfer knowledge resources but also the capacities to use them – their “creative spirit” – for eliciting generative gains in the form of identifying gaps (turning unknown unknowns into known unknowns, filling gaps [turning known unknowns into known knowns], sharing object structures, progress principles, creative reasoning, usage metrics, value criteria and desires as well as creating new objects and designs).…”
Section: Generativity Concepts Able To Facilitate the Decentralization Of Knowledge Management Systemsmentioning
confidence: 99%
“…10. The "grande cuisine" -whose heritage knowledge has been shared by the renowned chefs in their books -has been described as "one of the most iconic crafts where creation and tradition co-evolve in a rich number of ways" (Carvajal-Pérez et al, 2018;Hatchuel et al, 2019). Both, CKDT and PKMS, benefit, of course, from the notion of "standing on the shoulders of giants" where creative authorship adopts and adapts given wisdoms or frames original thoughts within existing structures of meaning to appropriately resonate with the intended referent groups (Kolb and Collins, 2011).…”
Section: 4mentioning
confidence: 99%
“…Applying an extended CKDT framing, they exemplify its utility by offering a case study using "cuisine books, written by important chefs that were eager to share their knowledge heritage and generativity with their colleagues." Aiming for not only sharing knowledge resources but also the capacities to use them ("creative spirit"), they call for advancing their research to other formalized generative heritages in domains beyond cuisine, including KM (Carvajal-Pérez et al, 2018). Their perspectives have been generalized and integrated into Figure 1 as follows.…”
mentioning
confidence: 99%