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<p>Foreword ix</p> <p>Acknowledgments xi</p> <p>Preface xiii</p> <p>Introduction xv</p> <p><b>Chapter 1. Innovation Management: Issues and Key Points for a Vital and Strategic Process </b><b>1</b></p> <p>1.1. A question of survival 1</p> <p>1.1.1. The example of Blockbuster Video 2</p> <p>1.1.2. A regime of intensive innovation 2</p> <p>1.1.3. From creativity to innovation 3</p> <p>1.1.4. Equipping ourselves to innovate better 4</p> <p>1.1.5. Modeling innovation at the company level 6</p> <p>1.2. The blue ocean strategy 6</p> <p>1.3. Open innovation 8</p> <p>1.3.1. The two types of open innovation 9</p> <p>1.3.2. The example of the MayAM challenge 10</p> <p>1.3.3. Collaborative innovation 10</p> <p>1.3.4. Crowdsourcing 11</p> <p>1.3.5. The lead user 11</p> <p>1.4. Technical and human issues from ideation to design 13</p> <p>1.4.1. The sketch as a reflective process 13</p> <p>1.4.2. Types of representation 14</p> <p>1.4.3. Conditions for the effectiveness of sketches 15</p> <p>1.4.4. The phases of ideation 16</p> <p>1.4.5. The right tools at the right time 17</p> <p>1.4.6. A growing variety of tools 19</p> <p><b>Chapter 2. Creativity and Cognition: Factors and Biases of Mental Processes Involved in Creative Activities </b><b>21</b></p> <p>2.1. The creativity process 21</p> <p>2.1.1. The Wallas model (1926) 21</p> <p>2.1.2. The GENEPLORE 22</p> <p>2.1.3. Analogies 24</p> <p>2.2. The factors of individual creativity 26</p> <p>2.2.1. The individual creativity model 26</p> <p>2.2.2. Investment theory 27</p> <p>2.3. Creativity and personality 28</p> <p>2.3.1. The Myers Briggs Type Indicator 29</p> <p>2.3.2. The Big Five 30</p> <p>2.3.3. Constituting a group for ideation 31</p> <p>2.4. The factors of organizational creativity 32</p> <p>2.5. Cognitive biases and creativity 35</p> <p><b>Chapter 3. Physical and Virtual Environments and their Influence on Creativity </b><b>43</b></p> <p>3.1. Physical environment of creation 43</p> <p>3.1.1. Interference and stimulation 45</p> <p>3.1.2. Layout 47</p> <p>3.1.3. Natural elements 50</p> <p>3.1.4. Colors, sounds, light and temperature 53</p> <p>3.1.5. Creativity, posture and movement 55</p> <p>3.2. Virtual creation environment 59</p> <p>3.2.1. Avatars 60</p> <p>3.2.2. Inspiring environments 64</p> <p><b>Chapter 4. User-Centered Innovation Methods: Design Thinking, Double Diamond, Lean UX and Time to Concept </b><b>67</b></p> <p>4.1. Design Thinking 67</p> <p>4.2. The Double Diamond 70</p> <p>4.3. Lean UX 71</p> <p>4.3.1. Uncertainty linked to innovation 71</p> <p>4.3.2. Definition 72</p> <p>4.3.3. The Lean UX loop 72</p> <p>4.4. The Time to Concept method 74</p> <p>4.4.1. An example of the application of Time to Concept method 74</p> <p>4.4.2. Managing innovation projects in Time to Concept 76</p> <p>4.4.3. The six principles of the Time to Concept method 78</p> <p><b>Chapter 5. Some Creative Problem-Solving Methods: TRIZ, C-K, CPS, Design Sprint </b><b>83</b></p> <p>5.1. The TRIZ method 83</p> <p>5.2. The C-K theory 85</p> <p>5.3. Creative Problem Solving 86</p> <p>5.4. Design Sprint 87</p> <p>5.5. Lateral thinking 89</p> <p>5.6. Synectics 91</p> <p>5.7. Detour techniques 92</p> <p>5.8. Discovery matrices 93</p> <p><b>Chapter 6. All-Terrain Ideation Techniques: Brainstorming, Brainwriting, Brainsketching, Bodystorming and Immersive-Storming </b><b>95</b></p> <p>6.1. Brainstorming 95</p> <p>6.2. Brainwriting 97</p> <p>6.3. Brainsketching 98</p> <p>6.4. Bodystorming 99</p> <p>6.5. Immersive-storming 101</p> <p><b>Chapter 7. Immersive Tools for Every Innovative Situation </b><b>103</b></p> <p>7.1. Design in virtual reality 103</p> <p>7.1.1. The natural gesture 103</p> <p>7.1.2. Links with CAD 105</p> <p>7.1.3. Comparison of sketching tools 106</p> <p>7.2. Co-design in virtual reality 108</p> <p>7.2.1. Information capture in virtual reality 109</p> <p>7.2.2. Asymmetrical collaboration 110</p> <p>7.2.3. Affordances and constraints for immersive-storming 112</p> <p>7.3. Types of immersive applications for creativity 114</p> <p>7.4. Choosing the right creativity tools 118</p> <p>7.5. Immersive tools for innovation project stages 120</p> <p>7.5.1. Immersive technologies and Design Thinking 121</p> <p>7.5.2. Immersive technologies and Lean Startup 123</p> <p>7.5.3. Immersive technologies and Time to Concept 124</p> <p>7.5.4. Immersive technologies and the creative process 126</p> <p><b>Chapter 8. A Successful Immersive Experience for More Creativity </b><b>129</b></p> <p>8.1. The experience of immersed users 129</p> <p>8.1.1. Drawing inspiration from reality 130</p> <p>8.1.2. A future standardization 130</p> <p>8.1.3. User support 131</p> <p>8.1.4. Physical space planning 133</p> <p>8.1.5. The psychological dimensions of the user experience 134</p> <p>8.2. The creative’s user experience 135</p> <p>8.2.1. The Creative Support Index 135</p> <p>8.2.2. The design of tools for ideation 136</p> <p>Conclusion 139</p> <p>References 141</p> <p>Index 159</p>

<b>Sylvain Fleury</b> and<b> Simon Richir</b> are researchers at the École Nationale Supérieure d'Arts et Metiers in Laval-Paris, France, and specialists in the use of immersive technologies and creativity in product design.

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