Innovation for Society

Оглавление

Joëlle Forest. Innovation for Society

Table of Contents

List of Tables

List of Illustrations

Guide

Pages

Innovation for Society. The P.S.I. Approach

Introduction: The P.S.I. Approach to Thinking About the Meaning of Innovation1

Notes

1 Thinking About the Meaning of Innovation. 1.1. Introduction

1.2. Why bring up the question of meaning?

1.2.1. The meaning of innovation: an old question. 1.2.1.1. A positive view of innovation

1.2.1.2. A contested relationship to progress

1.2.2. The illusion of meaning

1.2.2.1. From the meaning of innovation for society to the meaning of innovation for business

1.2.2.2. The paradox of happiness

1.2.2.3. In search of lost meaning

1.3. The P.S.I. approach (Penser le Sens de l’Innovation)

1.3.1. The question of meaning considered from the point of view of direction and signification

1.3.2. The P.S.I. approach: a philosophy of and for action

1.4. References

Notes

2 Curiosity Killed the Cat. 2.1. Introduction

2.2. Origins, functions, definitions. 2.2.1. The origins of observation: ethnology, anthropology and sociology

2.2.2. Did you say “observation”?3

2.3. Observing in order to innovate

2.3.1. What existing approaches tell us

2.3.2. Observation and the P.S.I. approach

2.3.2.1. Observing for inspiration (finding meaning) or observation for innovation by serendipity

2.3.2.2. Observing in order to understand the environment in which innovation must take place (the user’s signification)

2.3.2.3. Observing in order to meet users: experiencing signification

2.4. Applications

2.4.1. Proven know-how

2.4.1.1. Preparing the field: choosing one’s position, field, and method of observation

2.4.1.1.1. Choice of field and observation tools

2.4.1.1.2. How long will you be in the field?

2.4.1.1.3. Different methods of observation

2.4.1.1.4. The field: data collection

2.4.2. Observing in order to find an idea: allowing yourself to be surprised

2.4.3. Observing in order to identify the problem

2.4.4. Checking your idea/concept

2.5. Conclusion

2.6. References

Notes

3 Identifying and Defining a Meaningful Problem. 3.1. Introduction

3.2. The “problem” of the problem

3.2.1. The problem in design science

3.2.1.1. Defining the problem

3.2.1.2. Informing the problem

3.2.2. Design Thinking, or defining the problem from the user’s point of view

3.2.3. Sociological extensions around the user

3.2.3.1. The CAUTIC method

3.2.3.2. Other user-centered approaches

3.3. What are the issues of meaning about the problem?

3.3.1. A central issue: avoiding failures

3.3.2. Textbook case studies

3.3.2.1. The modern washing machine as a cultural problem

3.3.2.2. VHS versus Betamax

3.3.2.3. The slow adoption of the videophone

3.4. What should we do?

3.4.1. Informing the problem: monitoring tools

3.4.1.1. Identifying existing problems: analysis of the forums

3.4.1.2. Collecting data on the problem

3.4.1.3. Competitive and opinion monitoring

3.4.2. Defining the problem well

3.4.2.1. The 5 whys, or how to get back to the real problem

3.4.2.2. Identifying functionalities: functional analysis

3.4.2.3. Developing role-playing games to develop empathy and identify problems

3.5. Conclusion

3.6. References

Notes

4 Outlining the Meaning of Innovation Using Cartography. 4.1. Introduction

4.2. History, definitions and concepts. 4.2.1. Some historical elements

4.2.2. Definitions and concepts

4.3. Issues linked to cartography in regard to innovation

4.3.1. Outlining trends using cartography, getting inspired, finding meaning with mood boards

4.3.2. Outlining to represent user needs using cartography

4.3.3. Outlining the imaginary using cartography

4.4. Applications

4.4.1. Mapping the world of the object to get inspiration and thinking about the meaning of innovation

4.4.2. Mapping the imaginary to think about the political meaning of innovation

4.4.3. Mapping the imaginary to experiment with ethics

4.4.4. Comparing the designer’s meaning of innovation with the user’s meaning of innovation via the empathy map

4.5. Conclusion

4.6. References

Notes

5 Bringing Meanings to Life. 5.1. Introduction

5.2. Creativity representations

5.2.1. From the register of the inexplicable…

5.2.2. … to creativity as a process

5.2.3. Russian doll processes

5.2.4. Updating creative rationality

5.3. Creativity issues

5.3.1. Creativity and business performance

5.3.2. Incremental versus radical innovation

5.4. Key ingredients for creativity

5.4.1. Getting beyond the fixation effect

5.4.2. Encouraging unexpected connections

5.4.3. Suspending judgment and opening up the field of possibilities

5.4.4. The art of selection

5.5. Conclusion

5.6. References

Notes

6 In Search of Hidden or Lost Meaning. 6.1. Introduction

6.2. Collecting data through interviews

6.2.1. A method that dates back more than a century

6.2.2. Innovation management

6.2.2.1. Market studies

6.2.2.2. Design Thinking: mobilizing interviews in order to refine

6.2.2.3. CAUTIC: collecting the significations of use

6.3. Thoughts on the meaning of an innovation: some examples

6.3.1. Validating the signification of need from an existing product

6.3.2. Interpreting signification for society: back to the videophone

6.4. Applications

6.4.1. Encouraging the assignment of meaning

6.4.1.1. Finding the right people

6.4.1.2. Establishing a relationship of trust

6.4.2. Organizing and analyzing meaning

6.4.2.1. Creating a thematic guide

6.4.2.1.1. With experts

6.4.2.1.2. With users

6.4.2.2. Analyzing the content

6.4.3. Accessing meaning

6.4.3.1. Repositioning in socio-technical issues

6.4.3.2. Thinking about direction

6.5. Conclusion

6.6. References

Notes

7. Intermediary Representations as a Vector for Thinking About the Meaning of Innovation. 7.1. Introduction

7.2. From the representation of the product to that of the meaning of innovation

7.2.1. Multiple representation modes mobilized in design

7.2.2. From the representation of functions to that of the meaning of the innovative concept

7.3. Issues of intermediary representations in the innovation process

7.3.1. Intermediary representations at the service of the designer

7.3.2. Intermediary representations at the service of the actors involved in the design process

7.3.3. Intermediary representations to test signification with users

7.3.4. Economic and societal stakes of intermediary representations in design

7.4. Implementations

7.4.1. Acting to think

7.4.2. Think to act

7.4.3. Developing the test procedure

7.5. Conclusion

7.6. References

Notes

8 What if Innovation were Recounted to Me? 8.1. Introduction

8.2. Narrative functions. 8.2.1. Universality and functions of the narrative

8.2.2. Strong links between innovation and stories

8.2.3. What other approaches do with storytelling

8.2.3.1. Uses of storytelling in Design Thinking

8.2.3.2. Design fiction: producing stories to better understand the future by questioning our uses

8.2.3.3. Storytelling for management and communication

8.3. Issues and examples for thinking about meaning

8.3.1. For the designer, inspiring stories

8.3.2. Storytelling to understand the signification of a problem

8.3.3. Stories to generate meaning for society

8.4. Applications

8.4.1. Choosing the direction of innovation with a fictional corpus (for the designer)

8.4.2. Excluding directions from a fictional corpus (for the designer)

8.4.3. Writing prospective narratives to think about the future of society (for the designer)

8.4.4. Writing narratives to understand the user’s intended signification

8.4.5. Enhancing an innovative concept using storytelling

8.5. Conclusion

8.6. References

Notes

Conclusion. C.1. A vector for conscious innovation

C.2. The P.S.I. approach as a position

Notes

Index

C, D, E

F, H, I

M, N, O, P

R, S, T, U

Other titles from. in Innovation, Entrepreneurship and Management. 2020

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Smart Innovation Set

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The genesis of innovations resembles the development of a tree (see Figure 1.5). The trunk represents, starting from a defined problem, the meaning of innovation projected by the designer (safety, autonomy, user-friendliness, durability, etc.). The branches represent alternative solution principles (concepts), with each principle corresponding to a possible direction. The plurality of possible directions is reminiscent of a characteristic of the design process that there is no single solution to a design problem. It should also be pointed out that these are not only technological22 or high-tech23. These directions are not independent of the environment in which they operate, whether we consider the state of scientific and technological knowledge available, the company’s own skills24, or the representations or technological orientations favored in the framework of public policies25. The deployment of a direction depends on the capacity of the concept imagined to generate meaning for the user, the meaning perceived by the user being a function of the value creation, itself a function of the meanings of product in use, that is, the capacity of innovation to be integrated into the practices, representations and values of future users26. Finally, these directions do not all have the same signification for society (relationship to freedom, the principle of universality, etc.) and can open up new directions and new fields of what is possible (the case of direction 1 in Figure 1.5)27. We also perceive that if the direction does not generate meaning (for the user and/or the society), it will not be able to spread (as in the case of direction 3 in Figure 1.5).

Figure 1.5. Innovation meaning tree. For a color version of this figure, see www.iste.co.uk/chouteau/innovation.zip

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