Few innovation techniques can harvest more
creativity, generate greater yields and better reduce risks than can "Creative Destruction" (aka: Creative Obsolescence, Rolling Invention, Innovative Leaping, etc.)
This technique requires stamina, persistence and deployment rigor from all those participating. Creative Destruction can serve to extract more of the creative capacities from targeted audiences than do other approaches. This technique tends to work best with well-prepared, confident, capable, high performance and competitive audiences. If this technique is properly deployed and managed, not only is it incredibly fruitful for the organization, it can be equally engaging and deeply satisfying on a personal level.
The returns on everyone's investment by applying this technique can be literally unimaginable as you begin. Indeed, that's the whole point! Creative Destruction basically creates layer after layer of imagination to incrementally reveal new possibilities that cannot be foreseen or captured without a relentless, "destructive" effort and tenacious pursuit.
This technique is based on a universally observable phenomenon of creativity "steps." Each significant creative event, fresh insight or new idea forms a basis, "step" or foundation for the next generation of creativity. Each incremental step, by its nature, destroys or obsoletes the prior generation. These incremental steps most often come about across extended periods of time, are supplied by competitors, inventors at "the fringes," may be brought about by some form of crisis or be ushered by "accident." None of these scenarios are generally most advantageous to an organization. In fact, most of these can be detrimental or create risks and liabilities exposures. It is generally to an organization's advantage not to provide the time or window of opportunities for these type of situations to mature on their own accord.
Therefore, it is the purpose of the Creative Destruction process, when well executed, to accelerate the "steps" of creativity, as possible, practical and reasonable. This method can allow leaps across what might otherwise be a costly and often dangerous evolution of incremental ideas over an extended period of time. This technique, though sometimes quite difficult to execute and demanding of audiences, can generate significant competitive, operational and financial advantages.
Creative Destruction additionally provides a (often much needed) severe, critical review and "test" of new ideas prior to their acceptance and development. An idea that withstands Creative Destruction is better qualified to merit investment.
The basic method is very simple:
A. For a specific topical area an Original iChallenge™ is applied and distributed to a carefully targeted audience to direct and precipitate creativity. Idea Value Propositions™ (IVPs) are harvested and from these, the idea(s) deemed superior in merit are chosen.
opposed to this being an "ending moment," with this technique, this is a beginning of repetitive, cycles.
B. Once you have chosen the best idea(s), it is applied to form new and applicable content within a new iChallenge, known as a Destroyer iChallenge™. Per program design and planning, this is distributed to the same audience, to a new audience, or to blends thereof, to provoke each person to creatively produce substantively better ideas, so much better that one or all of the newly emerging ideas "destroy" the prior idea.
C. You again harvest, choose the best idea and once again apply this new idea for repeating the cycle within a new Destroyer iChallenge.
D. You continue the cycles until you reach a point that the prevailing new idea cannot be destroyed. This idea is known as the Survivor Idea.
Though the premise and method of Creative
Destruction is simple, effective execution demands attention to the progressive production of provocative, effective content and queries within the progressive iChallenges. There may be many variations within each cycle, (sometimes radically so) applied during different stages and with differing approaches to
better enable and unleash creativity.
Here are points of consideration when applying this technique:
1. There may be merit in providing no indication in the Original iChallenge that you will be applying a Creative Destruction process. (If you do provide this indication, some persons in the audience may not "opt in" with submissions within the original cycle so as to become "heroes" in later cycles.) In some cases, one way to circumvent this issue is by permitting only those who submit IVPs, perhaps combined with entirely new audiences, to participate in subsequent Destroyer iChallenges cycles.
2. An argument can be made that whenever creativity is sought, Creative Destruction should always be a consideration or option to apply, at the discretion of reviewers or program administrator.
3. Creative Destruction may be applied within, before or after other Innovation Harvester techniques. For example, it can follow a technique of Divergence>Convergence, such that once you have "converged" on the best idea(s) you attempt to destroy it with a better ideas.
4. Creative Destruction should not be limited only to the digital domain of Innovation Harvester. Many cycles will benefit from vigorous human interaction, team dynamics, collaboration and applicable group exercises that spur creativity, expression, new understandings, discussions and inspiration.
5. Program and content design, including queries, should be well considered, designed and planned well in advance of each cycle. Considerable empathy, creativity, resourcefulness, rigor and diligence should be extended so as to extract maximum creative output from the audience from each cycle. Due to this techniques demanding nature, each cycle should be managed as a separate project or program with separate "owners," reviewers, etc. A certain "newness" to each cycle is a definite plus.
6. There can be inevitable benefits gained in applying methods and approaches for amplifying personal creativity during a cycle. For example, mind-mapping, associative thinking, 2x2 framing, metaphorical representations using toys or unrelated objects from nature and brainstorming can benefit elevating the thinking to new levels of productivity. Visualization models can be applied as "themes" to enhance the creative potential certain Destroyer iChallenge bodies of content, or that take place as "augmenting exercises" within cycles thereof.
With well prepared audiences creativity enhancement tactics should typically be applied when the cycles begin to decrease in idea yields, but generally not before the third cycle. Target audiences that are available to be well-prepared beforehand can benefit immediately at the onset of a program.
Creative amplification methods that stretch the mind, provoke imagination and insights especially those that introduce a range of emotions can be particularly effective, ...if not over used, well-crafted, well-delivered. Off-site or radically altered experiential environments, such as at a park, within a competitors environment, in a kindergarden or on a mountain top can lead to brain quakes.
Many creativity enhancement approaches may take place in moderated sessions that augment and are executed in conjunction with a Destroyer iChallenge. There may be value in obtaining professional moderation and leadership.
7. When using the Creative Destruction technique, "false" or "apparent" mental fatigue can be an issue, which must be anticipated and addressed appropriately.
8. When proper target audience orientation and preparation has not taken place beforehand, persons with fragile egos or low self-esteem may have difficulty seeing their "fresh" ideas destroyed and replaced so quickly.
9. In some settings, Creative Destruction can be conducted in an "evergreen" manner. That is, even at a point that a "survivor" idea is determined based on whatever applicable criteria or influences, a new cycle is created so as to have presence within a target audience. (It's better to provoke inspiration internally than to have it occur at a competitor or elsewhere with negative consequences.)
10. The investment in, and resource allocations to, Creative Destruction and its cycles should be generally proportionate to the estimated potential rewards of the specific topic in which innovation is sought.
11. Creative Destruction can be effective, audience engaging and highly productive in yields within open-source innovation programs, such as with supplier, academic, customer or candidate audiences. However, such programs should be carefully choreographed with thoughtful design and intensive management.
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