81512 Creative Practice and Methods
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particular session, location and mode of offering is the authoritative source
of all information about the subject for that offering. Required texts, recommended texts and references in particular are likely to change. Students will be provided with a subject outline once they enrol in the subject.
Subject handbook information prior to 2025 is available in the Archives.
Credit points: 8 cp
Result type: Grade and marks
Requisite(s): 81511 Problems to Possibilities
There are course requisites for this subject. See access conditions.
Anti-requisite(s): 81538 Frame Innovation AND 81540 Technology, Methods and Creative Practice
Description
Creativity is consistently listed as a key 21st century capability in that it allows us to view, understand and respond to challenges in new and more open ways. In this subject students explore the role creativity plays in innovation process and discover their potential as a creative, transdisciplinary change-maker. They examine what creativity is, and explore creative practice, process, and methods from a variety of perspectives. They learn how to remix and reimagine existing practice, applying new approaches to design their own creative method. They apply these skills by collaboratively devising and leading their own innovation process in response to a complex challenge set by an external partner.
Subject learning objectives (SLOs)
Upon successful completion of this subject students should be able to:
| 1. | Create, apply and evaluate creative methods and approaches to investigate complex issues. |
|---|---|
| 2. | Develop and lead innovation processes that draw on and justify the application of diverse methods. |
| 3. | Collaborate effectively in interdisciplinary teams to meet shared objectives and make appropriate decisions. |
| 4. | Communicate ideas in professional contexts using appropriate and creative strategies. |
| 5. | Reflect on and communicate insights about creativity in relation to self, others, and learning experiences. |
Course intended learning outcomes (CILOs)
This subject contributes specifically to the development of the following course intended learning outcomes:
- Identify and evaluate complex challenges by analysing system dynamics, constraints, and potential leverage points, using disciplinary perspectives, evidence, and diverse viewpoints. (CII.1.1)
- Identify, create, and employ a range of appropriate creative intelligence methods and boundary-crossing methodologies to construct and solve problems and generate transformative possibilities (CII.2.1)
- Practice mutual, responsible value creation, including the implementation of sustainable and entrepreneurial innovation. (CII.3.1)
- Communicate transdisciplinary ideas and solutions succinctly and persuasively using appropriate modalities. (CII.3.2)
- Develop reflexive connection with an evolving self, demonstrating ethical and intellectual positions that reflect well-considered values that enable greater purpose and inclusivity. (CII.4.1)
Contribution to the development of graduate attributes
The subject provides opportunities for you to bring together diverse disciplinary approaches to structuring a creative process. You examine a range of methods, techniques and approaches to devise a unique transdisciplinary methodology for responding to complex social challenges. You explore different ways of understanding and framing problems to create new opportunities and explore how existing patterns of practices can be creatively disrupted to achieve positive transformation.
So your experiences as a student in this subject support you to develop the following graduate attributes (GA):
• GA 2 - Creating value in problem solving and inquiry
• GA 3 Inter- and trans-disciplinary practices
• GA 4 - Imaginative and ethical citizenship
Teaching and learning strategies
This subject uses problem-based learning strategies that involves students in researching and developing their own / group solutions to complex problems / scenarios. Learning takes place in a collaborative, immersive, experiential, studio-based environment. In each studio session students receive feedback and reflection from academics and industry professionals, whilst continuing to work on the problems / projects they are preparing and completing outside studio session times.
Content (topics)
• Creative intelligence: theory, thinking and practice
• Transdisciplinarity and creativity
• Creative methods and techniques
• Ideation and strategy in creative contexts
Assessment
Assessment task 1: Developing as a creative practitioner
| Objective(s): | This assessment task addresses the following subject learning objectives: 4 and 5 This assessment task contributes to the development of course intended learning outcome(s): CII.3.2 and CII.4.1 |
|---|---|
| Type: | Report |
| Groupwork: | Individual |
| Weight: | 30% |
Assessment task 2: Methods for exploring unknowns and making discoveries
| Objective(s): | This assessment task addresses the following subject learning objectives: 2, 3 and 4 This assessment task contributes to the development of course intended learning outcome(s): CII.2.1, CII.3.1 and CII.3.2 |
|---|---|
| Type: | Report |
| Groupwork: | Individual |
| Weight: | 40% |
Assessment task 3: Complex Challenge Sprint
| Objective(s): | This assessment task addresses the following subject learning objectives: 1, 2, 3 and 4 This assessment task contributes to the development of course intended learning outcome(s): CII.1.1, CII.2.1, CII.3.1 and CII.3.2 |
|---|---|
| Type: | Project |
| Groupwork: | Group, group assessed |
| Weight: | 30% |
Minimum requirements
Students must attempt each assessment task and achieve an overall pass mark in order to pass this subject.
Late penalties apply to all assessment tasks as outlined in the TD School Student Guide. Please consult this booklet for other useful information including Special Consideration, Plagiarism, Extension, and Student Support Services.
A minimum of 80% of attendance of classes (as outlined in the timetable) is required.
Required texts
The following resources are available as PDF eReadings and hyperlinks from the UTS Library and can be accessed via Canvas.
Barbara Doran, & Rodger Watson. (2022). Creativity, play and flow. In Doran, Creative reboot?: catalysing creative intelligence. (p. 143 pages + 50 cards?;). Bis Publishers.
Csikszentmihalyi. (1996). The work of creativity. In Csikszentmihalyi, Creativity?: flow and the psychology of discovery and invention (1st ed., pp. 77–106). HarperCollinsPublishers.
Madeline Dore. (2020). Tyson Yunkaporta on How Creativity is Snseparable From Life (p. 46:13). Routine and Ruts. https://routines-ruts.simplecast.com/episodes/tyson-yunkaporta-Y3YKHGjv
Dorst. (2015). Frame innovation?: create new thinking by design . The MIT Press.
Laufer. (2013). Dialogues with creative legends aha moments in a designer’s career (Wurman, Ed.; 1st edition). New Riders.
Linda Hill. (n.d.). How to Manage for Collective Creativity (p. 16:47) [Video]. TedxCambridge. https://www.ted.com/talks/linda_hill_how_to_manage_for_collective_creativity?language=en
Keenan, & Mishra, P. (2016). Profiling Scholars of Creativity: Practicing the Process with Dr. Michele Root-Bernstein. TechTrends, 60(3), 200–203. https://doi.org/10.1007/s11528-016-0055-2
Shannon Mattern. (2021). Unboxing the Toolkit. Tool Shed. https://tool-shed.org/unboxing-the-toolkit/
Robert Root-Bernstein. (2720, Spring). Why is creativity important? (p. 1:10:20) [Video]. NLB Singapore. https://www.youtube.com/watch?v=0P_APgcZSpY
Recommended texts
The following resources are available as PDF eReadings and hyperlinks from the UTS Library and can be accessed via Canvas.
Maria Popova. (2014). What it Really Takes to be an Artist. The Marginalian. https://www.themarginalian.org/2014/12/29/teresita-fernandez-commencement-address/
Napier. (2010). Insight: The Universal Experience. In Napier, Insight?: encouraging aha! moments for organizational success (pp. 1–23). Praeger.
Nielsen. (2006). Inspired?: how creative people think, work and find inspiration (Hartmann, Ed.). BIS Publishers.
Pollack. (2014). The Model T-bone: How analogies spark innovation. In Pollack, Shortcut?: how analogies reveal connections, spark innovation, and sell our greatest ideas (pp. 64–107). Gotham.
Stefik. (2004). Walking in the dark. In B. Stefik (Ed.), Breakthrough?: stories and strategies of radical innovation (pp. 149–157). MIT Press.