CREATIVITY, INNOVATION, ENT

REPRENEURSHIP
& DESIGN THINKING
Shyhnan Liou, ICID, NCKU
3C as holistic value chain

CREATIVITY INNOVATION ENTREPRENEURSHIP

Implementation Business model Future

Novelty Value
Usefulness Team

三創：創意 X 創新 X 創業
Design thinking as creative process of
problem solving

Moscow, Desire, feasible, viable

IDEO shoppingcar

Aged alone, Parkinson,

Google glass
Car for disable life straw
Singapore
What’s creative?
Novel and useful ?
Creative or not? Why?
When we need this?
Design why? And for whom?
When we shall need this?
What else left in our life?
Who need this?
Controllability?
Do you think it’s beautiful? …and why
?
今天美術課：題目是【畫你最好的朋友】
Cases video
 Functional?
:Parkinson, Accord, AUDI, Mosco station.
 Value deliver?
: bad, who is perfect
 Interaction Design Channel
http://vimeo.com/channels/interactiondesign/page:2
 CREATIVITY INNOVATION ENTREPRENEURSHIP

Design Thinking Novelty

Usefulness
Implementation

Team
Business model Future
Value

1. Feasibility: what is functional possible

within the foreseeable future.
2. Viability: what is likely to become part of a
sustainable business model
3. Desirability: what makes sense to people
and for people

37
Why Creativity?
Creativity for design
Why design?
We design for ….

Design for solve problem,

Fulfill the need,
Realize the value,
Pursuit wellbeing

Uncharted Play Inc.

https://
www.youtube.com/watch?v=r8SnqImNv74
 Living labs is
42

 a new research paradigm

 providing human-centric (use
r-driven) innovation service
 operating in real life/work
context
 as a sustainable open co-cre
ation environment (innovatio
n stakeholders: users, techn
ology R&D, designers…/ citi
zen-business-public partners
hip)

IDR 2012
Successful innovation

 The goal of Design Thinking is "matching people’s needs

with what is technologically feasible and viable as a bu
siness strategy" , and is to pursuit innovation.
 Issues of living labs
44
Hum a n c e ntric inno v a tio n !!

Re a l Life
Co nte xt ( whe re / whe n)

LL Te a m
(De sig ne rs, Tre nd a na lysis O p e ra ting in re a l life c o nte xt !!
Psyc ho lo g ist)
Use rs ( who , wha t )
Ne
ed
an
a ly
s is

ICID

Fie ld
Be tte r life
( We ll Be ing )

io n
da t
Sm a rt Living v a li
Te c hno lo g y
Te c h fo rc a sting / va lid a tio n
Living La b s
(inno va tive / ( Op e n inno va tio n )
fo rsig hte d )
Susta ina b le o p e n c o -c re a tio n
e nv iro nm e nt !!

ty
b usine ss

ci
y
lic

ho
Po

Ec
Co m m unity
Go ve rm e nt ind ustrie s
( c itize ns)
Design Thinking
Creative process of problem solving
 Design Thinking is creative problem solvin
g process
46
 Dynamic creative process: divergent X convergent
49
Sprint Design ( google)
3C & DT
Cases IDEO
https://www.ideo.com/work/#work_items
Sprint design Google V
http://www.gv.com/sprint/
Stanford Dschool
http://dschool.stanford.edu/use-our-methods/
EMPATHIZE
“To create meaningful innovations, yo
u need to know your users and care abo
ut their lives.”
 Empha size understa nd UX

WHAT is the Empathize mode

Wha t people do?
Physica l ma nifesta tion of
Observing How they intera ct with
their experience
their environment

 Empathy is the centerpiece

of a human-centered design infer
process.
 The Empathize mode is the Wha t they think &
work you do to understand feeling

people, within the context

of your design challenge.
Enga ging
Ask why
Inta ngible mea ning of
their experience
 It is your effort to under
stand the way they do thin
Wha t their beliefs &
gs and why, their physical va lues
and emotional needs, how t
hey think about world, and
what is meaningful to them
. Wha t they
Insight
need?
DEFINE
“Framing the right problem
is the only way to create the right so
lution.”
WHAT is the define mode

 The define mode is when you unpack and synthesize your empathy findi
ngs into compelling needs and insights, and scope a specific and mea
ningful challenge. It is a mode of “focus” rather than “flaring.”
 Two goals of the define mode are to develop a deep understanding of
your users and the design space and, based on that understanding, to
come up with an actionable problem statement: your point of view.
 Your point of view should be a guiding statement that focuses on spe
cific users, and insights and needs that you uncovered during the em
pathize mode.
 More than simply defining the problem to work on, your point of view
is your unique design vision that you crafted based on your discover
ies during your empathy work. Understanding the meaningful challenge
to address and the insights that you can leverage in your design wor
k is fundamental to creating a successful solution.
WHY define
 The define mode is critical to the design process because it explicitly ex
presses the problem you are striving to address through your efforts. In o
rder to be truly generative, you must first craft a specific and compellin
g problem statement to use as a solution-generation springboard.
 As a test, a good point of view (POV) is one that:
 Provides focus and frames the problem
 Inspires your team
 Provides a reference for evaluating competing ideas
 Empowers your team to make decisions independently in parallel
 Fuels brainstorms by suggesting “how might we” statements
 Captures the hearts and minds of people you meet
 Saves you from the impossible task of developing concepts that are all thi
ngs to all people
 Is something you revisit and reformulate as you learn by doing
 Guides your innovation efforts
Case 1
62 IDEATE
“It’s not about coming up with the
‘right’ idea, it’s about generating
the broadest range of possibilities.”

Ideation_DT 2014
 We ideate in order to transition from identifyin
g problems to creating solutions for your users
63

Impose
Stroke Fa cilita e
constra int

Empa thy ma p

Define Ideate
Problem Solution

Journey ma p

Design
principle

POV HMW Brainstorming Bodystorming

[USER] needs to [USER’S NEED] because [SURPRISING What might we [solution] to [USER’S NEED] ?
INSIGHT]

Ideation_DT 2014
 Process of ideation: Brainstorming
64

Ideation_DT 2014
 Why facilitate?
65

Ideation_DT 2014
66 Ideation_DT 2014
67 Ideation_DT 2014
 More strategies for getting ideas
68

Ideation_DT 2014
PROTOTYPE
Build to think and test to learn
WHAT is the Prototype mode
 The Prototype mode is the iterative generation
of artifacts intended to answer questions that
get you closer to your final solution.
 In the early stages of a project that question
may be broad – such as “do my users enjoy co
oking in a competitive manner?”
 In these early stages, you should create low-r
esolution prototypes that are quick and cheap
to make (think minutes and cents) but can elic
it useful feedback from users and colleagues.
WHAT is the Prototype mode 2
 In later stages both your prototype and question may get a
little more refined. For example, you may create a later s
tage prototype for the cooking project that aims to find o
ut: “do my users enjoy cooking with voice commands or vis
ual commands”.
 A prototype can be anything that a user can interact with

– be it a wall of post-it notes, a gadget you put together

, a role-playing activity, or even a storyboard.
 Ideally you bias toward something a user can experience. W

alking someone through a scenario with a storyboard is goo

d, but having them role-play through a physical environmen
t that you have created will likely bring out more emotion
s and responses from that person.
WHY prototype
 To ideate and problem-solve. Build to think.
 To communicate. If a picture is worth a thousand words, a protot
ype is worth a thousand pictures.
 To start a conversation. Your interactions with users are often
richer when centered around a conversation piece. A prototype is
an opportunity to have another, directed conversation with a use
r.
 To fail quickly and cheaply. Committing as few resources as poss
ible to each idea means less time and money invested up front.
 To test possibilities. Staying low-res allows you to pursue many
different ideas without committing to a direction too early on.
 To manage the solution-building process. Identifying a variable
also encourages you to break a large problem down into smaller,
testable chunks.
HOW to prototype
 Start building. Even if you aren’t sure what you’re doing, th
e act of picking up some materials (post-its, tape, and found o
bjects are a good way to start!) will be enough to get you goin
g.
 Don’t spend too long on one prototype. Let go before you find
yourself getting too emotionally attached to any one prototype.
 ID a variable. Identify what’s being tested with each prototyp
e. A prototype should answer a particular question when tested.
That said, don’t be blind to the other tangential understandin
g you can gain as someone responds to a prototype.
 Build with the user in mind. What do you hope to test with the
user? What sorts of behavior do you expect? Answering these que
stions will help focus your prototyping and help you receive me
aningful feedback in the testing phase.
TEST
“Testing is an opportunity to learn about
your solution and your user.”
--- Share your solutions and get feedback
WHAT is the Test mode

 The Test mode is when you solicit feedback, about the prot
otypes you have created, from your users and have another
opportunity to gain empathy for the people you are designi
ng for.
 Testing is another opportunity to understand your user, bu
t unlike your initial empathy mode, you have now likely do
ne more framing of the problem and created prototypes to t
est.
 Both these things tend to focus the interaction with users
, but don’t reduce your “testing” work to asking whethe
r or not people like your solution. Instead, continue to a
sk “Why?”, and focus on what you can learn about the per
son and the problem as well as your potential solutions.
WHAT is the Test mode

 Ideally you can test within a real context of the use

r’s life. For a physical object, ask people to take
it with them and use it within their normal routines.
 For an experience, try to create a scenario in a loca
tion that would capture the real situation. If testin
g a prototype in situ is not possible, frame a more r
ealistic situation by having users take on a role or
task when approaching your prototype.
 A rule of thumb: always prototype as if you know you
’re right, but test as if you know you’re wrong—te
sting is the chance to refine your solutions and make
them better.
WHY test

 To refine prototypes and solutions. Testing info

rms the next iterations of prototypes. Sometimes
this means going back to the drawing board.
 To learn more about your user. Testing is anothe
r opportunity to build empathy through observati
on and engagement—it often yields unexpected in
sights.
 To refine your POV. Sometimes testing reveals th
at not only did you not get the solution right,
but also that you failed to frame the problem co
rrectly.
HOW to test

 Show don’t tell. Put your prototype in the user’s hands

– or your user within an experience. And don’t explain
everything (yet). Let your tester interpret the prototype
. Watch how they use (and misuse!) what you have given th
em, and how they handle and interact with it; then listen
to what they say about it, and the questions they have.
 Create Experiences. Create your prototypes and test them
in a way that feels like an experience that your user is
reacting to, rather than an explanation that your user is
evaluating.
 Ask users to compare. Bringing multiple prototypes to the
field to test gives users a basis for comparison, and com
parisons often reveal latent needs.
 Creativity 1.0 Creativity 2.0

Context Industrialization Post-industrialization

Organizing relations Producer-Consumer Creator-Creator

Relations Relations

Production-consumption Clear Fussy

boundary

Productions Products, services ideas, concepts

Idea generation Perfactual thinking Gain-focused

supported by design counterfactual thinking
thinking evoked by other
production
Idea selection Hedonic value (utility & Experiences, meaning
aesthetics) (grounded in culture,
values and beliefs)
Transmission Market mechanism Creator contagion
Social Innovation
A novel solution to a social problem t
hat is more effective, efficient, sust
ainable, or just than current solution
s (Center for social innovation in Stanford, 2016)
 Why Social Innovation ?

How to continue in the real world …

 Social Innovation & Social Needs
• A novel solution to a social problem that is more effective, ef
ficient, sustainable, or just than current solutions (Center for s
ocial innovation in Stanford, 2016)
• New ideas (products, services and models) that simultaneous
ly meet social needs and create new relationships or collabo
rations (Murray et al., 2010)
• An initiative, product or process or program that profoundly c
hanges the basic routines, resource and authority flows or bel
iefs of any social system (Westley, 2008)
• Innovative activities and services that are motivated by the go
al of meeting a social need and that are predominantly devel
oped and diffused through organizations whose primary purp
oses are social (Mulgan, Tucker, Ali & Sanders, 2007)
 Social Innovation Process
(Social Innovation Spiral from Young Foundation)

Social Innovation Social Innovation

Creation Diffusion
83
Why Design Thinking ?

Design thinking
for issue &
solution

Design thinking
for sustainable
model
Design thinking
for scaling up
 Challenges in Social Innovation Process

Problem
Identification

All Stakeholders’
Needs

Network for
Sustaining Social
Communication

Source: Murray, Mulgan and Caulier (2010) 85

Ecotourism & community development Team & region

Balancing social entrepreneurship Design thinking for SI

86
 Social Innovation Process

Social Innovation Creation Social Innovation Diffusion

Module Issue & Solution Scale up Sustainable Model

Systemic
Objective Prompt Proposal Prototype Sustaining Scaling Change

Phase Empathy Define Ideate Prototype Testing Modeling Diffusion Networking System

• Minimum viable • Social innovation

• Unmet needs and • Innovation diffusion
solution system
Researchproblem identification
• Integrating and
• Shared learning
mechanism
• Scale-up strategy
• Measurement of social
Issue network value
prioritizing all • Creation of social
• Typology of social • Empowered
stakeholder’s needs communication
innovation mechanism

• Empathy Map • Strategy Canvas

Tool for • Journey Map • Brainstorming • Innovation Diffusion
• Business Model
Workshop • POV • Prototyping Model
Canvas
• Blue Print • Stakeholder Map
• 5 Why • Open Innovation
• Site Testing • Scenario Forecasting
• Storytelling Canvas
 4. Sustaining Phase
• Identify income streams to ensure the long
term financial sustainability of social innov
ation provider

• How to create the

revenue model for training
cost after the government
funding ?
• What is the future
business plan and
organizational form ?
 Issues in Sustaining Phase
• What is the ownership and organizational form o
f social innovation ?
• What is future business plan and assessment m
ethod ?
• How to incorporate the core stakeholder in the st
ructure of an organization (Stakeholder governa
nce) ?
• What is supply chain and demand chain ?
• How to raise the funding ?
• What is the relation with public sector ?
 5. Scale up
• Strategies for growing and spreading an in
novation – from organizational growth, lice
nsing and franchising to diffusion

• How to alliance with

other app software and
association in different
city ?
• How to diffuse the
concept to mainstream
consumer market ?
 Issues in Scaling Phase
• Who is the target user group as a diffuser ?
• How to promote the social innovation through pa
rtnership, public policy, innovative service, inter
mediate platform, event, media, or e-procureme
nt ?
• How to grow through collaboration, licensing, so
cial franchising, or acquisition ?
 6. Systemic Change
• Involves the interaction of many elements
such as social movements, laws and regul
ations, infrastructures, and entirely new wa
ys of thinking and doing.

• How to create the

certification system and
regulation for social
movements ?
 Issues in Systemic Changing Phase
• How to train a group of professionals and practition
ers with both new skills and attitudes ?
• How to create the support models or systemic drive
s to energize and empower citizen groups ?
• How to build the infrastructures and interstructures
to support new systems ?
• How to implement legal and regulatory devices to e
mbed change ?
• How to create new evidence and facts or develop n
ew measurements of well-being to shift public polic
y towards holistic goals of social innovation ?
Social Needs ?

Individual Level
Social Needs ?

Society Level
 What is unmet social need in CC
I ?
 Healthier
• Cultural Preservation ?
 Safer
• Cultural Regeneration ?
 Smarter • Local Identity ?
 Happier • New Lifestyle ?
 Cleaner • Support for Talents ?
 Richer • Space Reuse ?
 Fairer • Education ?
 More democratic • Industry Development ?
 Social Enterprise: ( 社會企業 )
 An organization that applies commercial strategies to max
imize improvements in human and environmental well-being
(Enterprise for social innovation)
 Social Entrepreneur: ( 社會創業家 )
 Individuals with innovative solutions to society’s most
pressing social problems (Initiators for social enterpris
e)
 Social Design: ( 社會設計 )
 The use of design process to bring about social change
 CSR (Corporate Social Responsibility): ( 企業社會責
任)
 A company’s sense of responsibility towards the communit

y and environment (both ecological and social) in which i

t operates
 NPO (Nonprofit Organization): ( 非營利組織 )
 An organization whose purposes are other than making a pr
 Viewpoint of Entrepreneurshi
p
Social Entrepreneurship:

Source: Neck et al. (2009)

 Viewpoint of Design
Social Design:

Source: Neck et al. (2009)

 Viewpoint of Innovation
Social Innovation:

Source: Canada Government (2010)

 Viewpoint of Organization
Social Enterprise:

Source: Emerson (2003)

Source: Abu-Saifan (2012)
How to identify the issue / problem / unmet social
needs ?
Inspiration
Inspiration is a motivational state th
at compels individuals to bring ideas
into fruition
 Inspiration

During an episode of inspiration,

Evocation Transcendence the individual gains awareness
of new possibilities that
Evocation refers to the transcend ordinary or mundane
fact that inspiration is concerns. The new awareness is
evoked rather than initiated Inspiration vivid and concrete, and it
volitionally by the surpasses the ordinary
individual. In other words, constraints of willfully generated
one does not feel directly ideas.
responsible for becoming
inspired; rather, a stimulus
object, such as a person, an
idea, or a work of art,
evokes and sustains the
inspiration episode.
Approach Motivation Once inspired, the individual
experiences a compelling
approach motivation to transmit,
actualize, or express the new
vision.

Thrash, Todd M., and Andrew J. Elliot. "Inspiration as a psychological construct." Journal of personality and social psychology 84.4
(2003): 871.
 Component processes
a relatively passive proc a relatively active process t
ess that they called be hat they called being inspir
ing inspired by ed to
The process of being insp The process of being inspired
to involves motivation to ac
ired by involves apprec tualize or extend the valued
iation of the perceived qualities to a new object.
intrinsic value of a st
imulus object.
Transcenden
Evocation Approach
ce
Motivation

Thrash, Todd M., and Andrew J. Elliot. "Inspiration: core characteristics, component processes, antecedents, and function."
Journal of personality and social psychology 87.6 (2004): 957.
Inspiration in design thinking
更完整的科技使命
從綠色到橘色

劉世南 副教授 / 成功大學 創意產業設計研究所

科技始終來自人性
Human factor engineering
Customer orientation
User center design
Positive psychology
Happiness science
Humanitarian technology…
科技的目的 : 服務人們追求生活價值的工具
更完整的科技發展使命
環境 環境 永續
保護 科學 發展 自然環境

（節能/減碳）
地球暖化

綠色科技

科技
失控成長 更完整的 科技使命
（工業化）

橘色科技
貧富懸殊/ 金融風暴/ 恐怖主義

（幸福/關懷/健康）

幸福 生理 文化 文明生活
經濟 地理 心理
學 學 學
科技始終來自人性
Human factor engineering
Customer orientation
User center design
Positive psychology
Happiness science
Humanitarian technology…
科技始終來自人性
Brain-Machine
Customer orientation
The substance of style

 Starbucks: the age of aesthetic

s
 McDonald: the age of convenienc
e
 Ford: age of mass production

Green to Orange 116

What consumers truly want ?
 With Every Business a St
age, authors Pine & Gilmor
e raise the curtain on c
ompetitive pricing strat
egies and reveal that bu
sinesses are missing the
ir best opportunity for
providing consumers with
what they truly want: an
experience.

Green to Orange 117

User center design
Orange is technology of caring

Green to Orange 119

Technology for Disabled People

Assistive technology
for disabled people
Green to Orange 120
The Sun, The Genome, The Int
ernet
 將太陽能、基因工程
、網際網路通力合作
，打造出未來公義的
社會，
 也主張人類必須將倫

理推力加諸科技發展
，也是強調人文為科
技的基礎。
人道主義科技（ humanitarian technology)

http://www.unfoundation.org/global-port.html
失控的成長 在電影「摩登時代」裡，
卓別林表達對工業革命抹滅人性的不滿
失控的成長

古老文明都踏入了「進步的陷
阱」──在文明發展至巔峰時，對
生態的索求也到達頂點，為了追
求持續的成長繁榮，只好搶劫未
來，以支付眼前的開銷，最後將
大自然賜予的款待洗劫一空，然
後隨著環境的崩毀而瓦解。進步
就是不斷的向前走，但我們最終
得到了什麼？
失控的成長

 「歷史每重演一次，代價就上漲一次。」地球上第一個
文明蘇美瓦解時，只影響到五十萬人；
 羅馬的衰亡則影響了上千萬人；
 假若我們的現代文明失控，將為數十億人帶來無盡災難
。
 廿世紀期間，世界人口數成長了四倍，經濟成長則超過
四十倍，這樣的進步以著大規模的猛烈攻擊為代價，生
物圈中沒有一個角落能躲過這種大量出血性的耗損。
 今日的人類在經濟層面上皆如出一轍，以整個地球的自
然資本為生。在這場堅持「經濟沒有極限」的遊戲中，
過去的輸家是窮人，如今玩輸的，卻是地球。
綠色科技

 過度工業化，代價是過度
的耗損能源以及污染導致
自然環境的破壞，
 綠色科技就是對環境友善
的科技，其目的即在減低
人們經濟活動帶來的負面
影響以維護自然環境與資
源。綠色科技以永續發展
為核心目標，而解決方法
也講究符合社會公平、經
濟允許和環境健全的準則
。
橘色科技

 橘色科技是由台灣國立成功大學王駿發教授所提出的理
念，為了是希望呼籲全世界更多各方有志之士，從
綠色科技到橘色科技，甚或從綠色運動到橘色運動，加
強人本科技之研究與提倡，讓科技真正帶給人類健康幸
福與人文關懷。
 其範疇將涵蓋 :(1) 老人健康安全照護與疾病預防、 (2)
兒童健康安全照護與疾病預防、 (3) 受災戶天然災害防
治與救援、 (4) 低收入家庭照護與關懷、 (5) 身心靈障
礙照護與關懷、 (6) 人文素養之提升等，來加速這方面
科技之推動。橘色科技甚至可以再延伸為橘色經濟，橘
色設計，橘色產品，橘色空間等（引自維基百科）
為什麼綠色科技之外還要發展橘色科技？

 這根本的關聯，在於人們的生活
品質是他們與所處環境下彼此互
動的結果。
 特定的物理與社會的環境提供了
可能的生活方式與內容；而人們
的生活方式與行為也將會影響與
建構生活的環境。
 綠色科技從環境的危機覺醒強調
生存環境的保護與建設，然而，
若是人們的生活方式與意識型態
還是像過去一樣，持續的耗損所
生存的環境，則綠色科技僅是危
機處理式的治標不能治本。
 綠色科技的必須搭配橘色科技的
建立，才能更根本的落實。
為什麼綠色科技之外還要發展橘色科技？

Green to Orange 129

金融風暴

 相對於工業發展對環境耗損的代
價，所喚醒的綠色科技運動，這
兩百年來的科技文明，以及所催
化資本主義的自由市場，卻極化
貧富差距；
 正如經濟學家 Fred Hirsch 在
《成長的社會限度》書中的警告
：「科技無論怎麼發展，都無法
讓全世界的人普遍享用到」。
 政治學家 Robert Lane 在《市
場自由的失樂園》提出近兩個世
代以來，罹患嚴重憂鬱症的比率
已經增加三倍以上，
金融風暴

心理學家 David Myers 在《矛盾的

美國：富裕時代的精神飢荒》更揭
示：物質富裕並沒有帶來對等的主
觀幸福感，反而我們的心理健康正
在嚴重退步。
富裕的現代人選擇越多，卻在競爭
與爭取的社會價值，反而導致空前
的不快樂。結果像過度複雜的金融
延伸產品，不僅不能使窮人能買到
房子，
反而導致整體的金融風暴，其威力
可比喻 2004 年印尼海嘯的傷害。
After 911

SATU NCKU Shyhnan 132

 Distribution of culture
133

SATU NCKU Shyhnan

恐怖主義
 Comparing distribution of happiness
135
新文藝復新
幸褔經濟學
多元文化的共榮
關愛的文明價值
跨領域整合
綠色與橘色並茂
幸褔經濟學

SATU NCKU Shyhnan 137

多元文化的共榮

《思維的疆域》作者
Richard Nisbett ，對於長久
以來東西方思想及行為的差
異，也提出該差異之地理與
經濟的文化深層基礎。人們
如何在相異文明下彼此關懷
以共同追求幸福快樂，是人
本主義主要的價值。
關愛的文明價值

剖析為何人類社會的演變在不同的地
域竟有如此截然不同的結果，指出各
地人種並非智力不同，而只能發展出
最適合當地生物和地理環境的文明。
作者提出一個不爭的事實：因為各大
洲的「自然資源」（也就是生物地
理）本來就分配不平等，所以導致各
地社會的發展在起跑點上就有落差；
「槍砲、病菌、與鋼鐵」
關愛的文明價值

Diamond 以更為寬廣的視野，檢視歷
史上文明的衰頹與延續之因，為「進
步」重新定義。在《大崩壞》一書試圖
從中尋找出這些文明最後滅絕的原因與
模式。除了生態環境的破壞、氣候變化
、強鄰威脅、友邦的支持等因素之外，
他認為最重要的關鍵在於︰一個社會面
對環境問題的應變能力如何。一些文明
社會沒落了，另一些社會卻找到了解決
問題的方法，得以存續發展。
跨領域整合

相對於 Edward Wilson

嘗試整合自啟蒙時代
以來分離的人文、社
會、科學，以求《知
識大融通》的企圖心

橘色科技是積極人文
與科技的跨領域合作
的實踐工程。
綠色與橘色並茂

從綠色到橘色，除了是借鏡
於綠色科技的興起運動，更是
整體與的反省科技對於人類文
明推動的目的，尤其在工業革
命之後所衍生的文明與生活的
衝突，如何保護以及永續人類
的生存環境，以追求健康與幸
福的生活，也就是綠色與橘色
並茂，是當前綠色科技之外更
應發展的橘色科技。
橘色科技是積極人文與科技的跨領域合作的實踐工程。經由生活實驗與
開放創新，讓科技真正帶給人類健康幸福與人文關懷
未來社會情境
Context ( When, Where )

橘色計畫
趨勢分析 （likelihood, Impact ) 未來生活
人性設計 Target ( Who, What )

創新前瞻科技研發 前瞻技術預測 需求
（Opportunity, Threat ）

商機
政府政策
產業，市場
However…
What’s creativity resides?
Design why? Culture matters!
 Where does creativity reside?
145

This year's 100 Most Creative People http://www.fastcompany.com/100/

The most creative mind
http://www.fastcompany.com/multimedia/slideshows/content/creative-minds-
2008.html

The culture-creativity
most creative products, design…
 Are some cultures more creative?

146

 Japanese culture suppres

ses creativity in scient
ific discovery (French,
2001, New York Times)

 “a tradition of tinkeri
ng and building has made
Japan welcoming to exper
imental ideas, no matter
how eccentric” (Fackler
, 2007, New York Times).

culture-creativity
146
 What is creative does not have to be a new creation. An old idea in a cert
ain cultural tradition may be perceived to be a creative idea in another c
ultural tradition (Niu & Sternberg, 2001).

the neurological effect of mindf an “established” knowledge in

ulness Zen Buddhism

147 culture-creativity
 what is creative to an individual may not be seen
as creative to the group or the larger culture.
148
 Portrait of Dr. Gachet
 $147.8 million

culture-creativity
 Infernal affairs

149

culture-creativity
 Popular in west, but not in home country?

150

culture-creativity