CREATIVITY TECHNIQUES

1.- BRAINSTORMING OR BRAINSTORMING

2.- MORPHOLOGICAL ANALYSIS
3.- ANALOGIES
4.- BIONIC
5.- BRAINWRITING
6.- FORCED MORPHOLOGICAL CONNECTIONS
7.- CREATE IN A DREAM
8.- CRE-IN
9.- DO IT
10.-THE ART OF ASKING
11.- THE CATALOG
12.-THE WHY OF THINGS (THE COMPASS)
13.- STRATAL
14.- GALLERY OF CELEBRITIES (HALL OF FAME)
15.- GENERATION OF IDEAS AT A DISTANCE
16.- IDEART
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17.- ANIMATED IDEAS
18.- IDENTIFICATION OR EMPATHY
19.- IMANCHIN
201.- INSPIRAVIDEOS
21.- THE INVESTMENT
22.- LIST OF ATTRIBUTES
23.- MENTAL MAPS
24.- METHOD 635.
25.- DELPHI METHOD (DELPHI)
26.- MICRODRAWINGS
27.- MYTHOLOGY
28.- MORPHING
29.- CLEAN EYES (FRESH EYES)
30.- DALI TECHNIQUE (HYPNOTIC IMAGES)
31.- TRIZ
32.- SCAMPER
33.- 4X4X4
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1.- BRAINSTORMING OR BRAINSTORMING
So that?
Brainstorming, also called brainstorming, brainstorming, brainstorming, brainstorming... is an eminently
group technique for generating ideas.
As?
 Work materials : room, chairs for the group, large blackboard or notebook to write down ideas,
recorder (optional), clock.

 Participants: facilitator or coordinator (stimulates the process), secretary (writes down ideas),
group members.

Stages of the process :

1st Warm-up:
Group exercise for better collective functioning.
Example: say objects that are worth less than 1,000 pesetas,
name all the soft things that come to mind...
2nd Generation of ideas.
A number of ideas is established that we want to reach.
The time during which we are going to work is marked.
And the four fundamental rules mentioned below:
 All criticism is prohibited
 Any idea is welcome
 As many ideas as possible
 The development and association of ideas is desirable

The participants say everything that comes to mind according to the problem posed and keeping the
previous rules.
Example :
What can we do to improve urban traffic problems?
Answers : Burn the cars, live in the countryside, restrict the days on the road, increase the price of cars a
lot, increase the price of gasoline a lot, go by bike, go on foot, don't leave the house, everyone live in the
same house, work and live in the same building, penalize the use of the car, puncture all the wheels...

3rd Work with ideas.

Existing ideas can be improved by applying a checklist; Other ideas can also be added. Osborn
recommends using questions such as the following:

IDEA: Don't leave home.

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  apply in another way? How to live without leaving the car?
 Modify? How to leave home without using the car?
 enlarge? How to always be away from home without a car?
 reduce? How to get out of the car only once/week?
 replace? How do you know that others don't take the car out?
 reorganize? How to work and live without a car?
 invest? How to always live in a car?
 combine? How to use a car for several strangers?
 After these stages, the following techniques can be used to vary the way of working it:
 group work is complemented and/or replaced by individual work or intergroup contacts;
 verbal communication is complemented and/or changed by written communication;
 the gathering of ideas without evaluation is interrupted by phases of evaluation;
 the beginning without already existing ideas is modified by a beginning with a "bank of ideas";
 the constructive collection of stimuli is complemented by a destructive compilation of
disadvantages;
 the spontaneous integration of ideas can be complemented and/or replaced by a successive
integration;
 The checklist can be supplemented and/or changed by visual stimuli.

4th Evaluation.
After generating ideas, the group establishes the criteria with which it will evaluate the ideas. Examples:
Profitability of the idea, degree of feasibility, degree of extension of the idea...

2.- MORPHOLOGICAL ANALYSIS

What is and for what?
It is one of the most valuable techniques for generating a large number of ideas in a short period of time
and was developed in the technological work of astrophysics and space research carried out in the 1940s,
as a result of the work of the astronomer Fritz Zwicky. .
It is a combinatorial creative ideation technique consisting of breaking down a concept or problem into
its essential elements or basic structures. With its features or attributes, a matrix is built that will allow
us to multiply the relationships between such parts. Thus, in its most basic form, Morphological Analysis
is nothing more than the generation of ideas through a matrix.

As?
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1. Specify the problem or objective.
2. Select the parameters of the problem.
To determine if a parameter is important enough to add, ask yourself, "Would the problem still exist
without the parameter I'm thinking of for the array?"
3. Make a list of the variations.
Under each parameter you must list as many variations as desired for that parameter. The number of
parameters and variations will determine the complexity of the matrix. It is generally easier to find new
ideas within a simple framework than within a complex one. For example, a matrix with ten parameters,
each of which has ten variations, produces 10 billion potential combinations.
4. Try different combinations.
When the matrix is finished, you have to make random walks through the parameters and variations,
selecting one or more from each column and then combining them in completely new ways. All
combinations of the matrix can be examined to see how they affect the problem. If you are working with
an array containing ten or more parameters, it may be useful to examine the entire array at random, and
then gradually narrow it down to portions that are especially fruitful.
It is a very suitable technique for generating ideas in exploratory work, but it is also distinguished by its
complexity to carry it out. It is very appropriate for:
 New products or services or modifications to those that already exist.
 Applications for new materials.
 New market segments.
 New ways to develop a competitive advantage.
 New promotional techniques for products and services.
 Identification of opportunities for the location of new business units.

Example:
A publisher is looking for new products and decides to work with four parameters: book classes, book
properties, editing processes and forms of information.

Matrix of ideas for editorial

Class Properties Processes Shapes
1 Fiction Sound (audio, Acquisition of Large format gift
books) originals books
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 2 Non-fiction Color Production Bulletin
3 Classics Texture Marketing Anthologies
4 "How to..." books Social Traditional or non- Software
(cooking, home responsibilities traditional
care, etc.) distribution
5 Business Illustrations writing software Bound
6 Textbooks Essence: paper or Balance Rustic
flexible disk
7 Children Smell Advertising Prize
8 Religion Exercises, games or Time from Magazine
puzzles manuscript to
finished product
9 Mystery Flavor Knowledge or Loose leaves
entertainment
10 Sports Large, small or Design and format Packaged with other
strange shape products

3.- ANALOGIES
What is it and what is it for?
It consists of solving a problem through a detour: instead of attacking it head-on, that problem or
situation is compared with something else. Gordon , creator of Synectics (a creative method based on the
use of analogies) insisted that "it is about parallelizing different facts, knowledge or disciplines using this
mechanism." For example, we try to solve a business problem by looking for an analogous problem in
other disciplines: in biology, in history, in a collective sport...
As?
1 Know what the problem is

Example: Manufacture a bathtub that takes up as little space as possible.

2. Generation of ideas

This second phase is the one of moving away from the problem with the imagination. It is the
imaginative phase and we produce analogies, comparable circumstances.

The group has proposed as analogies the waterfall, the cyclone, the water mill...

3. Selection of ideas

The third phase is selecting: we have a long list of analogies and it is time to select the ones that we
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consider most appropriate and cross them with the problem.

Intersection:

"A cyclone is needed at home... a waterspout... vertical... the walls will be cylinders that fit... when we do not
use it, it will form a seat or a decorative element... in service it will be a cylinder... and the water jets will
start from the floor or walls and they will rebuild our cyclone..."

1. In the work that corresponds to the selected analogies, there are three hypotheses:

 The content of the analogy is perfectly understood and it intersects with the problem.

 The analogy is deepened on an intellectual level: greater knowledge of the analogy.

 Or devote attention to deepening the analogy from within: that is, identifying with the analogy.

4.- BIONIC
What is it and what is it for?
Ricardo Marín, doctor in Education and one of the most profound researchers of creativity in Spain, states
in the book "Manual of Creativity" that bionics is a procedure used in the technological field to discover
new devices inspired by human beings. nature and, usually, in living beings. Botany and zoology are the
two main sources of inspiration for bionics.
The bionic approach to creative problem solving requires the intervention of specialists in various
disciplines—biological and technological—in order to discover solutions from the living world and be
able to translate them into new devices.
As?
1. Detailed study of the behavior of the living beings of interest, focusing attention on their particular
properties.
2. Translation into models of the properties of living beings: models of a mathematical, logical, graphic or
symbolic nature.
3. Development of the models, testing them and trying to reproduce the functions of living beings as
much as possible.
What can you extract from nature to generate ideas?
For example, what can you observe in a worm to create a new chair?

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5.- BRAINWRITING
What is it?

It is a variant of Brainstorming or Brainstorming that is done in writing.

What is it for?
 A surprising number of ideas are produced.
 It is useful for people who have difficulties speaking in public.
 Combine individual and group idea generation.
 It can be done remotely (email, etc.).
 It is a nice variant for teams that do regular Brainstorming or Brainstorming.

As?

Once the creative object has been defined and, generally, before ideas have begun to be generated. It can
also be used to deepen ideas about a creative sub-objective that emerged in Brainstorming or
Brainstorming.
The group in a circle with a blank piece of paper per person. Time is given for each member individually
to write down the ideas that occur to them (two minutes and three or four ideas are enough).
At the direction of the facilitator, all roles are changed at the same time (for example, everyone goes to
the member on the left, we all get ideas that the previous one wrote). The ideas that the partner wrote
are read quietly and new ideas are written (inspired or not by theirs). Each time the sheets come with
more ideas and the time expands a little more each time. In another variant, each person leaves the
sheets of their ideas face down in the center and takes others from the pile.
After several rounds, all the ideas that have arisen are read aloud and those that the group likes the most
are circled.

6.- FORCED MORPHOLOGICAL CONNECTIONS

What is it?

It is a proposal by Koberg and Bagnall that is actually the sum of the basic principles of two techniques:
the “ Attribute Listing ” created by R. Q. Crawford and the “ Forced Relationships ” of Charles S. Whiting.

What is it for?

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It is very powerful because in the first phase it allows ideas to emerge about aspects that we had not
taken into account and in the second it provokes very inspiring analogies.

How is it done?

Once we have defined the creative objective and have generated a few ideas in a brainstorm, we are
ready to give it one more twist:
We decompose the creative objective into components or blocks. Areas emerge that perhaps we had not
explored.
We list different aspects or parts in each block. This alone stimulates us to generate new ideas.

We connect, we randomly cross various aspects of various blocks. It provokes very stimulating
connections that generate very unusual ideas.
Example: "We want ideas to improve public playgrounds."

Perhaps we had
COMPONENTS (step 1) not taken into
account:

GAMING OTHER INFRA-

LOCATION USERS MATERIALS
FACILITIES STRUCTURES

Swings Parks Girls Wood Litter bins

Benches and
Slides Malls Children Iron
tables

ASPECTS Mothers and

Networks Plazas Rope Fences
(step 2) Fathers

Tunnels Distance from traffic Old people Plastic Roofed

Rockers On rooftops Criminals Cork Floors

Professionals
Maybe it hadn't
Water games Make them portable (Monitors, Foam Loan of toys
occurred to us:
babysitters...)

We connect (step 3) (the resulting idea is inspired by those intersections but does not have to include all
aspects of the intersection).

 Seesaws – Parks – Professionals – Plastic – Plants > Idea: Hire instructors to give gardening
workshops to children (they could be retired volunteers)

 Slides – distance from traffic – Children – Iron – Fences > Idea: Make any furniture or urban
construction a space suitable for children's play, such as a slide on a bridge, a swing at each bus
stop...

 Networks – Shopping centers – Criminals – Foam – Benches and tables > Idea: Create a kind of
“chillout”, a highly padded, covered and comfortable space for adults and children to rest.

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7.- CREATE IN A DREAM
What is it and what is it for?
It is a technique to create during sleep. With it we try to take advantage of the creative power of dreams.
Many scientists and poets have continually emphasized this possibility. In sleep or in moments of
drowsiness, the probability is greater for the images that arise to be translated into original ideas. In
those moments, the unconscious manifests itself more easily because the existing blockages in
consciousness disappear and the daydreams that appear can be the beginning of the solution.
As?
Both at the individual level and in group work, there is a problem or objective that demands our
attention.
Before going to sleep, it is advisable to leave paper and pencil on a nearby table to immediately write
down the dreams, images or associations that come to mind, before we can fall asleep as well as the
moment we wake up. These notes are then discussed in the group to see if it is possible to extract
material that can help solve the problem.
In order to take advantage of this technique, it is recommended to organize group work sessions in the
afternoon and internalize the elements of the problem before going to sleep.

8.- CRE-IN
What is it?
Based on the fact that you need to believe to create and to grow and investigate from within to innovate,
CRE-IN is a methodology that allows you to generate in each person a creative and innovative force that
helps you create positive situations from within to your daily reality. .
This methodology involves the use of techniques that have to do with the internal search for peace ,
reflection , relaxation , disinhibition , concentration , loss of the feeling of ridicule , laughter as an expression
of joy and crying as a discharge. necessary in the face of a logical situation, through the rescue of play
(playful activities) as a vehicle for our feelings, our pleasure, our fun.
The techniques that make up this methodology come from psychodrama, music therapy, body expression,
yoga, Fedora gymnastics and theatrical games.

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Likewise, they are combined with other traditional techniques such as brainstorming, random
provocations, or creative collage to achieve specific objectives and allow the inclusion of other techniques
in part or in whole to complement the goals sought.

What is it for?
 Achieve inner growth in each participant who will be another after experiencing this permanent
searching within.

 Generate new feelings, different emotions, different moods that will change the way each group
sees things.

 Achieve a more imaginative and less structured perspective. Many will believe that they learned to
imagine and dream like they never did before, without realizing that everything they found was
inside them: hidden.

 Allow yourself to be surprised, when you believe that when exercising orders or mandates, what
you do has nothing to do with the desired slogan, and then it appears before you with impressive
clarity.

 Exercise play and fun vs. work and routine.

As?
The preset goals or objectives (slogans) can be individual or group . In the workshops or individual
focuses, personal work or team or group work can be combined. In the group case, creative and
innovative workshops or focuses are organized for the members of the same company-organization-
institution.
The difference is that this focus or workshop is made up of people of different ages and different or
identical areas of the same company , that is, they have the same corporate identity. While in the first case,
people of diverse origins and strangers to each other with uneven ages and diametrically opposite
objectives, lives, trajectories and attitudes can form the workshop.
The innovation of this methodology is that people with opposing or juxtaposed interests can also meet
where their objectives can be clearly personal or dissimilar from the rest and their search is absolutely
personal but begins to be shared from this workshop or focus. That is to say, although the first
experiences were carried out in companies with groups of salespeople and promoters or customer
service personnel and later with telemarketers, this methodology has given good results in people who
individually want to improve professionally or personally regardless of their family circle or of the
company to which it belongs.
CRE-IN starts from the premise that if we look inward and compare our interior with what happens to us
on the outside; If we can relax and "fly" or "play", destructuring ourselves and losing the fear of feeling and
enjoying the little things in life, surely new ideas will emerge as a creative and innovative act, perhaps not
because they are exceptional or uncommon but rather because they are exceptional. because they renew
us or recreate us .
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Creating is believing or we could say believing to create. Only if I believe in myself , only if I have
confidence in what I feel and what I hope can I reach the optimal state to create . Confidence and inner
knowledge is the fundamental piece and basis of every creative act. If I don't believe, I don't relax. If I
don't believe, I don't see my insides and I don't let the best of me come out to the outside to "enlighten"
me.

Innovating if you don't look from the inside is impossible. The daily inside gives us the opportunity to
review the difficulties, to rediscover our best feelings. To play, or rather, to allow ourselves to play is to
believe that we can create and innovate.
The more conflictive our moment is and the more difficult our current situation, the more we need to
recover our inner strength , the greater the need to recover our self-esteem , and the more we have to relax
to create "magical" solutions in the face of difficult moments (Magical does not mean illogical, unrealistic
or impossible. Magical is synonymous with ideas that can only appear if I "let them appear"). If this does
not happen, we become depressed or lock ourselves in our own problem, which worsens day by day and
no ideas appear.
Have fun while you work or study. Have fun even in the face of tragedy. It's not a "pretend I don't care"
posture, it's not a "pretend like I'm having fun" posture, that doesn't work. Having fun in difficult times
can only be achieved from the Interior. If I manage to find myself inside and I can find there my best part,
my best moments, my most powerful forces, my history, my desires, my glory and my defeat, only there
will I be able to Grow and Investigate.
CRE-IN is the methodology that investigates within to innovate because the more we believe, the more
we grow and also the more we create.
Encouraging imagination, incorporating new techniques that allow me to see reality from another angle,
increasing my capacity for creation, are part of CRE-IN .

9.- DO IT

What is it?
Do It, translated "do it" is based on the following concepts:
o Define
o Open
o Identify
o Transform

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This means the need to define problems, open yourself to many possible solutions, identify the best
solution and then effectively transform it into action.

Define the problem

It is necessary that the problem be correctly identified. It's about defining the problem. The steps are:
 Focus of Mind: You must ask why the problem exists. This can lead to a broader problem
statement. Attempt to subdivide the problem into smaller problems. This can lead to a new,
narrower exposition of the problem.

 Mind Squeeze : Write down at least two words from the objective of the problem. Select the
combination of words that best represents the exact problem you want to solve. Use this to write a
new, more optimal and effective statement of the problem.

 Mind Extension: catalog the objectives and criteria that the solution to the problem must satisfy.
(Think of the obstacles that must be overcome.)

Open to solutions
Be open to considering many solution ideas. Catalog any ideas that are on your mind. So....
 Mind Without fail : Ask other people. Use their solutions as promoters for your own ideas.

 Mind Surprise : List ridiculous ideas. Use them to provoke more reasonably.

 Free Mind: Stimulate fresh ideas by forcing similarities between your problem and things that are
logically unrelated to your problem. Write down the name of a physical object, painting, plant or
animal. Catalog its features in detail. Use the cataloged features to stimulate ideas.

Identify solutions
Identify the best solution to the problem and modify it until you are ready to transform your idea into
action.
 Mind integrates : Review your objectives and criteria and select the best of the ideas that arise.

 Mind is reinforced : Catalog the negative aspects of your idea. Try to reduce them.

 Mind Stimulates : Exaggerate the worst and best potential consequences that could result from
implementing your solution.

Transform idea into action

Transform your solution idea into action.

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10.-THE ART OF ASKING

What is it?
Alex Osborn, creativity expert and creator of Brainstorming , stated that " the question is the most creative
of human behaviors ." Osborn developed a series of brainstorming questions that can be applied in
exploring the problem.
So that?
This is a fundamental set of questions that are used to formulate all possible approaches to the problem
and, thus, open the perspective we have of the problem. They are also useful for the perception of new
uses, applications or possibilities of a product or service.
Question Checklist

 When? What kind of? With what?

 Because? Which is it? In what?
 That? For which one? About what?
 Through what? With who? About what?
 What kind of? Where from? Where?
 So that? Because it causes? For how long?
 Whom? Whose? Further?
 For whom? As? More often?
 Who? What extent? Less?
 All? How much?
 Not all? How far? So that?
 Important? Where? Where from?
 Again? Where else? More difficult?
 How often?

As?
Example: The motivation of workers. How to increase it?

Problem Statement: exploration.

Questions to ask:
 When are workers motivated?
 Why does your motivation increase?
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  How long are they motivated?
 With whom do you increase motivation?
 Is everyone motivated?
 What are they motivated by?

After posing these questions and their corresponding answers, the vision of the problem is more open.
We have more perspectives to address it and move on to the idea generation stage.

11.- THE CATALOG

What is it?
The catalog is a technique for both individual and group creativity that contrasts pairs of words, objects
and ideas.
So that?

Each word works in our brain as a stimulus to generate new neural connections and thereby give new
ideas to solve a specific creative objective.
For example, the same mechanism is used with words in the forced relations technique, with nature in
Bionica , with works of art in Ideart and with videos in Inspira video .

As?

1. The creative objective is defined and written

2. You consult a catalog: a book, magazine, dictionary or whatever you want and two words are selected
at random.
3. Words associated with each of the two chosen words are written.
4. The original words, or the associated ones, are randomly combined and related to the creative
objective.
5. ideas are written
6. Continue with more pairs of words if you wish.

12.-THE WHY OF THINGS (THE COMPASS)

What is it?
Idea generation technique. It was invented by Arthur Van Goundy (Techniques of Structured Probelm
Solving, Van Rheinhold, 1998). Mainly use whys as a question.
So that?

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It serves to guide our creative objective but does not offer solutions .
As?
 The creative objective is defined.
 We ask ourselves “why?” with every answer we give
 We answer all the whys and ask more “why?”

Example:

I have a hotel. I was always committed a year before, but now it's hard to fill the rooms. My hotel is not fully
booked.
 Because?
 Maybe people will register later
 Because?
 Maybe they are looking for cheaper hotels
 Because?
 They don't have much money to spend on vacation.
 Because?
 Maybe they have less vacations
 Because?
 Leisure is increasing, and people are worried about how to spend their time
 Because?
 Perhaps they expect more alternatives to spend their free time.

We stop here. Don't we offer you alternatives? Don't we know your wishes? Should we look for formulas
to attract clients? We will start the process again
 Because?
 Maybe many people don't want to go to a hotel
 Because?
 Maybe they prefer to rent a house
 Because?
 Maybe they are more free than in a hotel

13.- STRATAL
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What is it?
A stratal is a series of parallel statements that are considered as a whole. It is not necessary that the
statements have any connection with each other. Nor is there any attempt to understand them. It is not
intended to cover all aspects or be descriptive. There is no attempt to be analytical.
Just as you use a random word simply because you want to use it, different statements are placed
together in a stratal simply because you want to put them together that way. The purpose of a stratal is to
sensitize the mind so that new ideas can appear.
As?
A stratal could consist of any number of lines of text, but for its formalization I have established that the
lines be five. Five is enough to have a certain richness of possibilities, but not so much that the stratal
cannot be considered as a whole. Each line must be a phrase or statement, not a single word.
An example
 A stratal about the Barcelona Football Club:

...There are players of many different nationalities.

...The president is a lawyer
...They play a sport in which the ball cannot be touched with the hand.
...It is one of the best teams in the world.
...They play every other Sunday in a stadium located in Barcelona near Les
Corts.

It is about linking the phrases together so that, for example, at first glance it does not seem that there is
much relationship between the fact that there are players of many nationalities and that the president is
a lawyer, but if we investigate a little more we can realize that A lawyer is a type of diplomat and can
mediate and can know the laws of the country of different nationalities. From there you can make
thousands of possible combinations.
A stratal is a reflective process. You make it and then read it over and over again until some ideas begin to
emerge. Obviously it does not make sense if we develop a stratal molding it to a predetermined idea.
Making stratals requires practice, since there is a tendency to understand and, therefore, to link the
statements with each other, a fact that must be avoided because what has value is precisely its random
and arbitrary quality. The more disjointed the stratal layers, the broader the sensitization.
You have to think of the strata as the wet parts of the paper before painting with watercolor. When you
get to the wet parts, the paint flows and forms new designs.

14.- GALLERY OF CELEBRITIES (HALL OF FAME)

What is it?
Technique created by Michael Michalko taken from his book Thinkertoys. It consists of extracting ideas
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from a creative objective or focus based on quotes from famous people and great minds in history (both
real and fictional).
In reality, it is a variant of Forced Relationships or Random Word but using famous phrases instead of
words.

So that?

It helps to discover new perspectives and generate ideas based on a creative objective or focus.

As?

The quotes and phrases of these people contain ideas and potential ideas whose essence can be extracted
to extract the seeds that will germinate into your new ideas.

1º) Search for quotes and phrases .

You can search for famous quotes and phrases on the internet, for example in: Mundocitas , in Proverbia
and in Quotes and sayings .
For example:
 “Running a big country is like cooking small fish” (Lao Tsu)
 “There are two ways to diffuse light, be the candle or the mirror that reflects it” (Edith Wharton)
 “The perfection of art is to hide art” (Quintiliano)
 “And to find expression I must find every changing form” (TS Elliot)
 “Form always follows function” (Louis Henri Sullivan)

2º) Create a list of celebrities. Think about famous people, living or dead, real or fictional, who attract
you for some reason or motivate you for something and make a selection (about 30).
For example:
 Clarence Darrow
 Andrew Jackson
 Winston Churchill
 Eric Fromm
 Sigmund Freud
 Plato
 sherlock holmes

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  Socrates
 Leonardo da Vinci
 Sun Tzu
 Mark Twain

3º) When you have a creative objective or focus you can consult your list. Choose an author (who
will be like a counselor) and select one of their quotes.

4º) Write down the thoughts and ideas that arise (all of them!) .
It is important in this part:
 The more, the better.
 Not judge.
 Freewheel.
 Combine and improve.

5º) Choose the ideas or information that you think have the most creative or innovative potential.

6º) Take a creative break (between 5 and 10 minutes) for new ideas.
 If more ideas appear: continue with them.
 If no more ideas appear: select another quote or choose another author (or advisor).

Example

Creative Objective : How can I increase my repeat sales?

Author selection (advisor) : Robert Frost (to act as business advisor)

Chosen Quote : “The woods are lovely, dark and deep. But I have promises to keep, and miles to go before
I sleep” (Robert Frost).

Note – you can choose the quote at random or review all the author's quotes and choose the one you like
the most –
Ideas that occur:
 What does the client consider important? How can I deliver it to you?
 Can I go the extra mile for the client? Does it make any difference? Will they become loyal buyers?
What can we do?
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  The forests are full of trees. The trees are the clients. How are trees cared for? How are they cared
for? How are they harvested? What similarities are there between trees and clients? Can I
“nurture” clients daily? weekly?
 What are the deep, dark desires of customers? Can I discover them?
 Should I work more? During how much time?
 Should you put company promises in writing?
 Should we rewrite our guarantees?
 What can I do so that the client perceives me as honest and hardworking?
 Wood comes from trees. It is built with wood. How can I build better relationships with clients?
More effective? More service? Troubleshooting? Provide information?
 Robert Frost made personal appearances. Should we have executives make personal visits?
Seminars?
 The trees are pruned. Do I have too many clients? Should you prune unprofitable accounts so you
can spend more time on profitable ones?

Resulting ideas:
 Analyze customer problems and provide them with better and more current product information
to help them address their problems.
 Spend more time with customers with the idea of discovering what is or is not important to them.
 Ask key clients to work for me as advisors.
 Help the client do more business by further supporting their efforts. Suggest and initiate
marketing programs for key clients.
 Inform them of what their competition is doing. Become a distribution center for information
about customer competition.
 Make sure sellers are compatible with your accounts; If not, change accounts to ensure
compatibility between sellers and customers.
 Give loyal customers preferential treatment.

15.- GENERATION OF IDEAS AT A DISTANCE

What is it?

http://www.neuronilla.com/content/view/523/1/It is an idea generation technique in which

participants can produce ideas remotely and in large numbers.
What is it for?

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When people have time, geographic and other reasons that prevent them from meeting to generate ideas,
this technique will be useful to them.
It can be used whether it is a small or large group of people. The advantage is that it allows remote
participation and eliminates travel and accommodation costs. Obviously, at the cost of losing the benefits
of face-to-face group communication that facilitates bonding, spontaneity, and ideas emerging through
bridging ideas.

As?
Remote means that the session is not held in person, therefore we can use many ways: it can be through
email, Skype, telephone, messages, a common participation website, blog, chat, video, etc.
Let us choose the channel we choose, the process in all cases will be:
 Set the creative goal

 Generate ideas ( brainstorming , the more the better) and if you want to introduce more new
techniques after the obvious ones come out.

 After a month (date that can be modified depending on the group's needs) all the ideas will be
collected.

 The coordinator will make a summary of everything collected and share it with the team.

Grades :
 If the Skype or chat medium is chosen, the participants will be able to meet on a specific date. The
advantage of this is that bridging ideas can arise, that is, the idea that one person says can suggest
another idea to another person. Spontaneity and creativity are encouraged even more. There is a
feeling of group closeness.

 The other ways also encourage bridging ideas in the event that the emails are sent as soon as the
ideas are written (without waiting for the end of the month) but the spontaneity is less since not
everyone sees their email at the same time.

 If you want, you can have a discussion about the results in a group.

 It is about achieving a continuous association of ideas throughout the month.

 It is very important to maintain a common language and standards during the process.

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16.- IDEART
What is it?
It is a technique for generating ideas (within the scope of provocative thinking) that uses visual stimuli,
usually paintings.
It was created in 2000 by Franc Ponti, professor at EADA.

How does it work?

Given a certain creative focus, a sheet that can generate analogies and associations is intuitively chosen.
First of all (whether the technique is used individually or in a team) it is about describing the sheet and
"playing" with the concepts that may be derived from it (constructing stories, detecting hidden aspects,
fable, making comparisons, etc.). ). Subsequently, and as a fundamental step in the technique, we will try
to "force" connections between the creative focus and the sheet. At that moment, the analog capacity of
the users of the technique plays a very important role, who must use creative phrases and movements
such as:
This is similar to our problem in that...
This aspect of the sheet or drawing is related to…
What if we did like…?
Our new product is like…because…

An example
A group of product managers is preparing to find ideas for a new summer ice cream that will generate
strong demand. The director of the session uses the sheet "Le viol", by the Belgian painter René Magritte.
These could be some of the ideas generated through viewing the sheet. It must be taken into account that
they would be ideas launched quickly, and that they would need to be polished and concreted.

Eyes, nose and mouth become the body of Ice cream that simulates the body
a woman of a woman

Ice cream with some type of edible

The hair seems to have a lot of consistency
hair

The neck is extremely long, it looks like

Ice cream-giraffe
that of a giraffe

Reversible ice cream, eaten from

The body is face and the face is body
one side or the other

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 Transparent ice cream but with a
Deadpan
strong flavor

17.- ANIMATED IDEAS

What is it?

It is a visual thinking technique originally invented by Alexander, Ishikawa and Silverstein to invent
building designs.

So that?

It serves as a technique to generate creative and innovative ideas. Ideatoons (graphic symbols) teach you
to free your thinking by turning it upside down. Encourages visual thinking.

As?

It's about creating abstract visual symbols instead of words. With its combination, its shape, movement,
position... new ideas emerge. The important thing is to know what the graphic representations you make
mean.

1st) Divide the creative objective or focus into words or attributes.

2nd) Draw an abstract graphic symbol based on each attribute . For example, if you have 6
attributes, take six pages or sheets of paper and make a symbol on each one. You can draw whatever you
want, whatever comes to mind or suggests. On the back, write the attribute or word. You can also use a
different color for each one.
For example, if you are looking for the marketing design of a product, the attributes may be: packaging,
distribution, promotion, sale. Example:

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3º) Put all the drawings on a table facing up.

4º) Look for ideas to link your objective with the drawings. Relate, connect, make associations of
ideas. Write down the ideas.

5º) If you are blocked you can add other Ideatoons (graphic symbols) or start again with others.

18.- IDENTIFICATION OR EMPATHY

What is it?
It consists of putting yourself in the place of another being.
What is it for?
It helps to gain another perception, another point of view on an issue.

As?
After defining the creative objective and having generated new ideas, we look for a new perception that
opens different paths.
I choose a person, character, animal, plant, object, element... that is or is not related to the creative
objective or field on which I work.
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Examples
 I'm looking for how to reduce pollution in rivers from a company's discharges and I imagine I'm a
fish.
 I imagine you are my client.
 I am an architect and I walk around my building in a wheelchair to empathize with disabled users.

As a group, you can distribute pieces of paper with different beings so that each person can identify with
one (a six-year-old child, an old woman, a foreign person, a competitive professional, an elephant...)
I empathize or identify with that "being", I put myself "in its shoes", I perceive how it thinks, feels or acts.
Examples
Some questions I can ask are: What are my hobbies? What do I feel when...? What is a day in my life like?
What scares me? What do I need? How do I relate? what can I do to...?
This new perception helps me generate new ideas and aspects to take into account.
A group variant of this technique consists of performing improvised representations (scenarios) or role
plays with the different characters.

19.- IMANCHIN

What is it and what is it for?

Creativity technique devised by Mó nica Ló pez Ortiz. Useful for generating ideas while we are on the
street or walking.

As?
It is about entering a store-bazaar where they sell many varied objects and being inspired by the things
we see, making analogies with our creative objective.
Another option is to buy a random product and generate ideas through that object.
Example
The creative objective of my automotive company is: "I want ideas to retain my customers."
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I enter the bazaar and see a plunger, a figure of a cat that moves its arm automatically, and an umbrella.
This suggests me to create a system that detects the problems to be solved (unblocker), is simple (cat),
and encompasses different possibilities (umbrella rods).
From there, it occurs to me that I could install in each vehicle a very easy-to-use electronic device in
which the customer would write down the aspects that could be improved about the vehicle at the same
moment that they are detected (e.g.: there is no place to hold cans of soft drinks). It would also have a
"help" button and when you press it you would receive a call on your cell phone from a person willing to
solve your need (ahem: I don't remember what pressure the front wheels should have).

20.- INSPIRAVIDEOS
What is it? http://www.neuronilla.com/content/view/625/70/
A powerful creativity technique created by Neuronilla to generate ideas by taking random videos as a
provocation.
The basic principle of this technique is the same as many others, providing us with a random stimulus
that serves as a provocation to face our creative objective from another point of view and generate new
ideas by surpassing the neural connections foreseeable for that objective.
For example, the same mechanism is used with words in the forced relations technique, with nature in
Bionics , with works of art in Ideart .
So that?
Using an audiovisual tool to generate ideas can be a very inspiring stimulus. Since we do not know what
video may appear, it may cause us surprise, curiosity, intrigue, perhaps fear..., all of them will make us
feel different emotions that will serve as an impetus to contribute many valuable ideas.
It is also a stimulus that brings newness to teams that are used to working with other creativity
techniques.
As?
After having your creative objective identified and having previously generated ideas...
1º) Choose a phrase or word at random, if it's crazy the better. You can choose between:
 Write a "crazy" phrase that you make up,
 Take any object you have around you in which there are words and/or phrases and write the first
one you find,
 Open the dictionary, open a random page and write a word,
 ...

It is about viewing a video that you have never seen.

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2º) Put it on YouTube.
3rd) Watch and listen to the video that appears in, for example, third place.
4º) As you feel at that moment, start generating ideas from there, establishing analogies between what
you are seeing and your creative objective to explore new approaches.
Tip : Try to generate ideas without changing videos, this way you will "force" yourself to make unusual
connections.

21.- THE INVESTMENT

What is it?
It consists of "turning around" the creative objective. Different authors refer to it, for example Edward de
Bono considers it a way of presenting a "provocation" and Michalko a linear "Thinkertoy".
What is it for?
Changing the usual direction of an approach stimulates new possibilities.
As?
 We define the creative objective

Examples :
a) I want to sell more detergent.
b) I want to improve telephony.
c) I want to encourage paper recycling.
 We reverse the goal or an assumption of it (something we take for granted) we move in the
opposite direction to the "normal" sequence

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Investments :
a) That I give the money and the clients give me the detergent.
b) Instead of the phone ringing when there is a call, "the phone rings all the time and stops when
someone calls."
c) Instead of giving people paper, "give paper to people."
 We generate ideas stimulated by the provocation that this absurd approach produces in us.

Ideas :
a) The discount coupons that appeared on detergents.
b) That the phone connects to the television and it mutes when there is a call.
c) Incentivize those who recycle with a roll of toilet paper.

22.- LIST OF ATTRIBUTES

What is it and what is it for?
It is a technique created by RP Crawford, ideal for the generation of new products. It can also be used to
improve services or utilities of existing products.
As?
For this technique to give results, you must first make a list of the characteristics or attributes of the
product or service that you want to improve and then explore new ways that allow you to change the
function or improve each of those attributes.
With an example it will be well understood:
Suppose a company wants to identify some ideas to improve a food mixer (this is the problem)
Now, the steps:
First step : Make a list of the current attributes of the model. So:
 Made of stainless steel
 wooden handle
 It is done by hand
 Variable speed
 Can be used by anyone
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  Two hands are needed to use it

(The list can be expanded with other technical attributes)

Second step : Each of the attributes is analyzed and questions are asked about how they could be
improved; For example:
Wooden handles:
o Could they be made of other material?
o Could little ones have a handle that fits in their hand?
o Could they be made in different colors?
o Could they have a completely different design?

 Two hands are needed to use it

And so on. The more questions for each attribute, the better…
Third step : The best ideas that have emerged in step 2 are selected for further evaluation.

23.- MENTAL MAPS

What is it?
It is a technique created by Tony Buzan , researcher in the field of intelligence and president of the Brain
Foundation.
The importance of mental maps lies in the fact that they are an expression of a form of thinking:
radiating thinking . The mind map is a graphic technique that allows you to access the potential of the
brain.
So that?
It is a multi-use technique. Its main application in the creative process is the exploration of the problem
and the generation of ideas . When exploring the problem, its use is recommended to have different
perspectives of it.
As?
To prepare it, follow the following steps:
 Take a large or small sheet of paper, depending on whether it is a group or individual map.
 The most important problem or issue is written in one word or drawn in the center of the page.
 The main themes related to the problem radiate from the central image in a branching way.
 From these themes come images or key words that we draw on open lines, without thinking,
automatically but clearly.

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  The branches form a nodal structure.
Mind maps can be enhanced and enriched with colors, images, codes and dimensions that add interest,
beauty and individuality.

24.- METHOD 635.

What is it?
Devised by Warfield, it seems simpler and easier to control than Brainstorming, while being equally
effective and much less spectacular.
Keys
Six people gather around a table to generate ideas related to a previously raised topic. Each of them is
given a blank sheet of paper.
Three ideas are what each participant will have to write on their sheet, concisely and briefly since they
only have five minutes to write them; Once they have passed, each person will pass their sheet to the
partner next to them and the process of writing three new ideas will be repeated in another five minutes,
after having read the ideas of the previous participants, which will in turn serve as a source of new
inspiration. .
Upon completing the cycle of six five-minute interventions, in which all the sheets will have been
circulated, in an orderly manner and only once for each of the participants, you will be able to have
eighteen ideas on each sheet, which can mean one hundred and eight ideas in just half an hour.
There will be some that are repeated, especially at the beginning of each page, and a few that will be
absurd: have fun analyzing them and be happy when you realize how easy it has been to be so creative.
A variant of this technique is the Brain writing technique developed at the Batelle Institute, which allows
the anonymity of the person making the contributions to be maintained and does not limit the number of
participants, the number of ideas contributed, or the time for each writing turn. , with which similar
results are obtained.
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25.- DELPHI METHOD (DELPHI)
What is and for what?
This is an original and practical method for analyzing and solving open problems. It was developed in the
middle of the 20th century by the Rand Corporation. The Delphi method or Delphi Method is not a
method for creative groups, since the participants do not constitute, as such, a work group, although the
participation of several people is essential. It is used in marketing and foresight to anticipate future
trends.
So that?
A great advantage is that it can be done remotely. It does not require the formal constitution of a group,
since it does not allow the people involved to meet at any time. In fact, it is not necessary for them to
know each other.
As?
Structure of the working group.
There are two types of subjects: the coordinator and the experts.
 The coordinator is in charge of centralizing the work of the experts. It communicates with them,
synthesizes each one's responses, groups them into categories, and sends them to others.

 Experts are the people in charge of responding to the problem posed. Their participation is
voluntary and they accept the rules of procedure. They must be people who know well the
problem that is proposed to them and, if possible, who come from different fields, in order to
obtain a richer vision of the problem.

Stages:
1st State the problem
The first thing that is done is the presentation of the problem to experts in the problem area. Therefore, it
is a problem that they know well and hence the expectations regarding their contributions.
2º First solutions.
The solutions provided by each expert are sent to the coordinator, who passes them on to the others
anonymously. Each expert responds to the solutions that the coordinator provides them with new
answers.
3rd Closing.
The coordinator is in charge of closing the problems after the different cross-responses that have been
obtained.

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26.- MICRODRAWINGS
What is it?
Creativity technique proposed by Kepa Landa that consists of the generation and interpretation of images
based on the activity of the subconscious, the application of randomness and statistics.
So that?
This technique is based on the strategy of insects that, through a large number of attempts, manage to
reach unsuspected places, being in a mental state of predisposition towards an idea. This process aims to
put aside rational thinking through speed and open a path to intuitive thinking.
Applying this technique on an A4 sheet with a 7x10 dot matrix as a guide we can obtain about 70 doodles
in about 4 minutes. In a classroom of 20 students we could have about 1,400 doodles.
As?
First phase : for 5 minutes, small drawings or doodles (1 to 2cm in diameter) will be made, one every 3
or 4 seconds. Throughout the entire process you should be thinking about the general idea of the project
to be developed. Without reflecting or looking for a specific idea in each drawing. It is about avoiding a
premeditated drawing. During the process, shapes may appear that may suggest variations.

Second phase : the doodles are projected as large as possible. They must be scanned to project with a
computer or use photocopies and overhead projectors.
 The change in size provides a revision of the shapes barely suggested initially and the creative's
ideas are reinforced.
 Sharing the projection with other people makes it easier for them to also contribute ideas based
on the initial drawings.

Final solutions should be developed from this point.

27.- MYTHOLOGY
What is it and what is it for?
MITO do LOGÍA (Mythology + Methodology) is a dramatization, developed by Paulo Benetti, with the use
of roles from myths. Its objective is to teach the creative process in a very simple way, in which
participants have the opportunity to learn by working on the process itself.
As?
Program participants are invited to develop the roles of the myths during a dramatization.

32
One of the people is invited to be the Client, the one who has a problem, a desire, a dream to realize.
During the dramatization, done in an Oracle, the Priests, Minerva and Circe, collaborate in the idea
generation process, in which the Sirens also participate. Afterwards, King Midas and Minerva contribute
to the selection of the best idea. Finally, Hercules helps the Client prepare an acceptance plan for the
chosen idea.
After the dramatization, the participants, with the guidance of the Facilitator, discuss the metaphors
used: everyone understands how easy the creative process is and how it can be applied in any area of the
organization or personal life.

28.- MORPHING
What is it?
Creativity technique to generate ideas proposed by Kepa Landa that tries to promote associative and
visual thinking, relegating linguistic and analytical thinking.

As?
It consists of drawing on given images of everyday objects, transforming these objects into those that we
intend to develop. It can be carried out on a selection of images of objects printed on white paper or on a
furniture catalog or a supermarket brochure, although it works best with images on a white background.

During the process of drawing on an object many of the characteristics of the object remain and are
contributed as ideas associated with the new design. It works by reading visual language instead of
linguistic language and catalyzes visual associative thinking.

Examples
Turn a stool, a lamp, a cup and a dish drainer into cars.
(Applied in a Master of Automotive Design)

29.- CLEAN EYES (FRESH EYES)

What is it?
Generation technique that consists of looking for people outside the creative objective to produce ideas.
So that?

33
When we are immersed in a problem we have "a conditioned mind" whether due to our training, origin,
beliefs or other causes.

This technique helps generate creative ideas by introducing an "unconditioned" mind that can have
"fresh", clean and pure ideas whose perspective is different. It's more of a beginning.

As?

1. The creative objective is described in writing.

2. People who have no or little relationship with him are introduced and asked to write down ideas .

3. These ideas are gathered (many), they are discussed with the participants to clarify them and they are
passed on to the person or group of people who are related to said creative objective so that they can
evaluate them.

Helpful tips:
 Consult outsiders of different ages, gender, if they come from diverse cultural environments. The
more perspectives, the better.

 Ideas that have been rejected should be archived. They can be a source of new ideas in the future.

 It requires that senior management be willing to accept this system.

 Greater usefulness in creative objectives that are not very technical and poorly structured,
especially when it seems that no ideas arise or being related to the objective makes generation
difficult.

30.- DALI TECHNIQUE (HYPNOTIC IMAGES)

What is it?
It is about generating ideas through associations with hypnogogic images. These can be visual or
auditory.
What do you see in this image?:
It is the letter “E”. Salvador Dalí used this technique. He would relax
and some images or sounds would awaken surreal images. What he
did was put a metal plate on the floor and then he would sit next to it
on a chair holding a spoon on top of the plate. He would relax and
sometimes, as soon as he began to fall asleep, the spoon would fall, make the plate rattle and wake him
34
up. In this way the sleep time was extremely short and he could rescue the images that had appeared to
him.

So that?
Casual combinations, strange conjunctions are created and new ideas appear.
As?
1. Think of a creative goal
2. Relax the body
3. Leave blank mind
4. Calm your eyes : do not try to look for the images with your eyes but rather withdraw voluntary
attention. The images will come from the unconscious.
5. Recording experiences right after they occur (unexpected images that may suddenly disappear).
6. Look for an associative link , that is, write down what comes to mind. Ask yourself questions
such as: is there any relationship with my objective? Do I have any new perception? What
analogies can I find?...

Example . A restaurant owner used this technique. His constant images were gigantic neon images of
different foods. The link was using food as a promotion. Idea: free food at certain times of the day
announcing it with neon signs. But what you didn't know is that items are free until you go inside. It has
become a famous place to eat. Another idea was to create a program for regular customers.

Note : It is not about falling asleep but about being active with relaxed body muscles. You can hold a
spoon loosely like Dalí did in his hands. When using this technique you may not understand what the
images may mean but the subconscious is giving you information. Try to make what you perceive useful
to you in some way.

31.- TRIZ
What is it?
It is the technique to generate ingenious ideas, especially in the face of technological problems. It was
developed by Genrich S. Altshuller (scientist, engineer and patent analyst) It is a heuristic method born
from the identification of inventive guidelines in patents, used equally in very diverse technical sectors.
The first publications appeared in the 1950s, with one of the last works published by Altshuller, in 1985,
being the 'Algorithm for the Resolution of Inventive Problems' or by its Russian acronym, 'ARIZ 85.
TRIZ is above all a method that continues to be updated through research into patent advances, although
the analysis approach has been extended to other disciplines of human activity such as social sciences
and even art. A simplification of TRIZ is called SIT or ASIT

35
So that?
TRIZ includes a series of principles that 'the person' must learn, allowing them to analyze a problem,
model it, apply standard solutions and identify inventive ideas. However, the problem analysis phase and
the synthesis of inventive ideas are reinforced if they are carried out in a group.
As?
TRIZ provides 5 fundamental principles:
1-. Functionality and systemic : our environment is full of systems with elements or subsystems
interrelated with each other, which provide a function to some other system. Ex. The light bulb system
consists of a filament, support, base and bulb, and its main function is to transform current into light
(electrical energy into light energy). Science and technology can be organized by disciplines and by
functions, so that when a biologist needs to do something he also has access to knowledge of mechanics
and/or optics, and vice versa.
2-. Ideality : the important thing about a system (especially artificial ones or machines and devices) is
not its parts but the function it provides. It is a pattern of progress that systems tend to reduce their parts
and even disappear, while the function remains. Ex. The professor's pointer has disappeared today and
even the laser pointer may disappear since video cannons, for example, already have their own cursor
(image) that acts as a pointer.
3-. Use of resources : In the search for ideality, the most ingenious inventions and advances are that
instead of adding, they subtract elements; and they take advantage of the resources available within the
system itself or in an immediate environment to solve the problem. Ex. To desulphurize the gases of a
thermal power plant, we use the ashes resulting from the combustion that causes such gases.
4-. Guidelines about the origin and evolution of systems and technology : The analysis of hundreds
of thousands of patent documents that gave rise to TRIZ, identified a series of guidelines that help us
predict how a system may evolve, as well as certain configurations. technological.
5-. Contradictions : Some difficult problems solved had in common the resolution of contradictions.
Sometimes, improving one aspect or problem means aggravating another, we then have a conflict or
contradiction. The usual solution is a compromise. TRIZ provides a series of suggestions to try to 'bridge'
the contradiction. Ex. Dairy pasteurization preserves vitamins but does not eliminate all bacteria. If we
increase the temperature (sterilization) we eliminate more bacteria but destroy more vitamins. The
inventive principle applied is that of 'hurrying' or 'hurrying up':. The UHT system heats the milk to a high
temperature but only for a moment. The bacteria are eliminated but there is no time to degrade the
vitamins. Contradiction resolved!
Like any creativity technique, the result of applying TRIZ to solve problems and generate ingenious
solutions requires some evaluation. Therefore, every solution or idea must observe the essential
principles of TRIZ, which is why only a few manage to survive, although they are usually of high quality.

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32.- SCAMPER
What is it and what is it for?
It is actually a mixture of several techniques. It is a list of questions that stimulate the generation of ideas.
Alex Osborn , the creator of Brainstorming , established the first ones. They were later arranged by Bob
Eberle into this mnemonic:
 S: Substitute?
 C: Combine?
 A: Adapt?
 M: Modify?
 Q: Use it for other uses?
 E: Eliminate or minimize?
 A: Reorder?=Invert?

It can be used together with other techniques in the divergent process of idea generation.
As?
1st Establishment of the problem.
The problem has already been reformulated (see mental maps, art of asking) and it is time
to generate ideas for its solution.
The problem raised is:
Fun alternatives to Saturday nights .
2nd Approach to the SCAMPER questions.
 Replace. ( Substitute things, places, procedures, people, ideas ...)

What would happen if he went out on Tuesdays?

What if the parties are in the countryside instead of in the city?
What can we change about Saturday night?
What if we exchange alcohol for gifts?

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 What if we change night for day?
 Combine . ( Combine themes, concepts, ideas, emotions ...)

What if sports competitions were held on Saturday night?

What if the movies were free on Saturday night?
How to combine fun with silence?
How can we have more fun days even if we work?
 Fit. ( Adapt ideas from other contexts, times, schools, people...)

What has been done in other places?

How do people have fun in Lapland?
And in Mongolia?
How did people have fun 50 years ago in Spain?
How would we like to have fun in the future: 100 years from now?
 Modify ( Add something to an idea or a product, transform it)

How to go out and not drink alcohol?

How to have a party without noise?
How to have fun without money?
How to meet interesting people without having to drink?
 Use it for other uses (extract the hidden possibilities of things)

What's in the parks on Saturday nights?

Who is in the libraries on Saturday nights?
What's on at schools on Saturday nights?
And in museums?
And in theater and storytelling schools...?
 Eliminate (Subtract concepts, parts, elements from the problem)

What if cities did not exist?

What if we were all in wheelchairs?
What if we couldn't drink after 11?

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 What would happen if we had to go out alone?
What if we could invest our Saturday night money on summer trips, training courses, or
consumer durables?
 Reorder (or invert elements, change their places, roles...)

What if we had to work on weekends?

What would happen if you went out from Monday to Friday?
What if you could drink in a library?
3rd Evaluation of ideas.
During this process, answers have been generated to the questions raised. Many of them
will be ideas that must be evaluated according to criteria that can be developed by the
members of the group or that have already been established previously.

33 .- 4X4X4
What is it?
Group technique. The group produces ideas, first individually and later as a group.
Goals
Quantitative production of ideas.
Increased cohesion and communication in the group.
Qualitative selection of ideas.
Development
Each participant writes individually on a piece of paper the four essential ideas about the creative focus
(For example, "ideas to make ends meet"). Once this stage is over, the group is placed in pairs. Each pair
reaches an agreement and writes down the four essential ideas about the creative focus.
They are then placed in groups of four, and so on until the entire group has to agree and decide which are
the four essential ideas about the creative focus or problem. The four final ideas are the qualitative relief
of all the previous production.
Points to consider
A facilitator must be appointed in the group, who is the one who has to make the changes. These will be
carried out with an approximate cadence of between 6 and 10 minutes depending on the experience of
the people participating and depending on the cohesion that the facilitator finds in the group.

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