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Nature of the Creative Process
ธรรมชาติของกระบวนการสร้างสรรค์

Creativity in Communication
ความคิดสร้างสรรค์ในการสื่อสาร

CONTENT เกาะบาหลีคือสวรรค์ของโลก สภาพร่างกายและความงามตระการตาของเกาะนี้ดึงดูดนักท่องเที่ยวมากมายจากทั่วโลกให้มาเยือน ชายหาดขาวสะอาดตา วิวทิวทัศน์อันงดงาม และวัฒนธรรมที่เป็นเอกลักษณ์ของเกาะนี้ คือสิ่งที่ทำให้คุณต้องมาเยือนเกาะบาหลีอย่างแน่นอน

Objectives เป้าหมาย
Nature of Creativity ธรรมชาติของความคิดสร้างสรรค์
The Notion of Creativity: Creation and Creativity
สมการของความคิดสร้างสรรค์: การสร้างสรรค์และความคิดสร้างสรรค์
The Creation of Ideas in the Service of Persuasive Communication
การสร้างความคิดเพื่อใช้ในการสื่อสารเชิงโน้มน้าวใจ
Nature of the Creative Process in Advertising
ธรรมชาติของกระบวนการสร้างสรรค์ในการโฆษณา

El proceso creativo การสร้างสรรค์

Los resultados creativos
ผลงานสร้างสรรค์

Summary รายสรุป
Bibliography บรรณานุกรม

OBJECTIVES วัตถุประสงค์

To assimilate the nature of creativity.
ในการรวมเป็นอันหนึ่งอันเดียวกับธรรมชาติของความคิดสร้างสรรค์
To understand the notion of creativity.
เพื่อเข้าใจแนวคิดเกี่ยวกับความคิดสร้างสรรค์
To understand advertising creative styles.
เพื่อทำความเข้าใจกับสไตล์การสร้างสรรค์โฆษณา
To know what is the creative process in advertising and what is its nature.
ทราบว่ากระบวนการสร้างสรรค์ในการโฆษณามีลักษณะอย่างไร

Nature of Creativity ธรรมชาติของความคิดสร้างสรรค์

When talking about creativity, as a first approximation to define it, it can be said that it is a complex, dynamic and integrating process, which simultaneously involves cognitive, emotional and perceptive factors. Creativity manifests itself in any area of knowledge: sciences, technologies, humanities, fine arts, design, etc.
เมื่อพูดถึงความคิดสร้างสรรค์ หากพิจารณาเป็นการเริ่มต้น ก็สามารถกล่าวได้ว่า เป็นกระบวนการที่ซับซ้อน มีความเคลื่อนไหวและการบูรณาการในตัว ซึ่งเกี่ยวข้องกับปัจจัยด้านการรู้คิด อารมณ์ และการรับรู้ในเวลาเดียวกัน ความคิดสร้างสรรค์แสดงออกในทุกด้านของความรู้: วิทยาศาสตร์ เทคโนโลยี มนุษยศาสตร์ ศิลปะสร้างสรรค์ การออกแบบ ฯลฯ

"It is associated with perceiving and thinking in an original, unique, novel, but at the same time useful and socially valued way. It refers to the production of something new, which expands or transforms a knowledge, a product or a service, and which is applauded by experts in that domain" Guilera, L. (2020).
"มันเกี่ยวข้องกับการรับรู้และการคิดในลักษณะที่เป็นแบบต้นฉบับ เป็นเอกลักษณ์ ไม่ซ้ำใคร แต่ในขณะเดียวกันก็เป็นประโยชน์และได้รับการยกย่องจากสังคม เป็นการผลิตสิ่งใหม่ๆ ที่ขยายหรือเปลี่ยนแปลงความรู้ ผลิตภัณฑ์หรือบริการ และได้รับการชื่นชมจากผู้เชี่ยวชาญในสาขานั้น" Guilera, L. (2020).

It can be pointed out that the nature of creativity, as well as the consequences it provokes, arouse great attraction among experts and non-experts. In this sense, it should be noted that when a scientific notion is disseminated, that is, when it is passed from a restricted group of specialists to the general public, there is a change "from an intellectual system and logical, scientific and individual thinking, to a global thinking, to a social thinking. This transformative phenomenon must have previously gone through a complex process of assimilation and integration" Ricarte Bescós, J. M. (2000). This means that every specific notion regularly follows a process of assimilation that makes it common, characteristic of a culture and an epoch.
ไอเดียสร้างสรรค์และผลกระทบที่มีต่อมันได้ดึงดูดความสนใจอย่างมากจากทั้งผู้เชี่ยวชาญและคนทั่วไป เมื่อมีความคิดทางวิทยาศาสตร์ที่เผยแพร่ออกไป จะมีการเปลี่ยนแปลงจากระบบความคิดทางปัญญา และการคิดเชิงตรรกะ วิทยาศาสตร์ และรายบุคคล ไปสู่การคิดในลักษณะองค์รวม และการคิดเชิงสังคม กระบวนการเปลี่ยนแปลงนี้จะต้องผ่านกระบวนการของการซึมซับและการบูรณาการที่ซับซ้อนมาก่อน ซึ่งทำให้ความคิดเฉพาะเรื่องนั้นๆ กลายเป็นสิ่งที่คุ้นเคยและเป็นลักษณะเฉพาะของวัฒนธรรมและยุคสมัยนั้น

According to Ricarte Bescós, curiously, the notion of creativity has gone through an inverse process, where a common notion in its origin has become a scientific notion, that is to say, a notion of specialists. In this way, he points out that the origins of creativity are scattered and when an epistemological investigation is proposed "the result, as noted by I. A. Taylor, is disappointing: in 1959 this author recognized the existence of one hundred different definitions of creativity" Ricarte Bescós, J. M.

.
ตามที่ Ricarte Bescós กล่าว ความคิดสร้างสรรค์เป็นสิ่งที่มีพัฒนาการย้อนกลับ จากข้อคิดเห็นทั่วไปมาเป็นแนวคิดทางวิทยาศาสตร์ของผู้เชี่ยวชาญ Ricarte Bescós ชี้ว่าแหล่งกำเนิดของความคิดสร้างสรรค์นั้นกระจัดกระจายและเมื่อมีการศึกษาระบบวิทยาศาสตร์จะพบว่าผลลัพธ์นั้น น่าผิดหวังตามที่ I.A. Taylor ได้ระบุไว้ในปี 1959 ว่ามีนิยามของความคิดสร้างสรรค์ถึง 100 นิยาม

This is why the popularization of the nature of creativity has not simplified its exploration. However, neither has it prevented the awakening of interest in studying its origins.
นี่คือเหตุผลว่าทำไมการทำให้ความคิดสร้างสรรค์เป็นที่แพร่หลายไม่ได้ทำให้การสำรวจมันง่ายขึ้น อย่างไรก็ตาม มันก็ไม่ได้ป้องกันการตื่นตัวของความสนใจในการศึกษาต้นกำเนิดของมัน
To approach the origins of the nature of creativity, we must turn to two authors: Huarte de San Juan and Francis Galton. Both authors are the precursors of what has come to be called 'creativity', "who analyzed creative intelligence from two different approaches: that of ingenuity, in Huarte, and that of invention, in Galton" Ricarte Bescós, J. M. (2000).
การเข้าถึงต้นกำเนิดของธรรมชาติของความคิดสร้างสรรค์ เราต้องหันมาพิจารณาผู้เขียนสองคน: ฮวาร์เต้เดอซานฮวานและฟรานซิส กัลตัน ทั้งสองผู้เขียนเป็นต้นกำเนิดของสิ่งที่เรียกว่า 'ความคิดสร้างสรรค์' ซึ่งได้วิเคราะห์ความฉลาดในการสร้างสรรค์จากแนวทางที่แตกต่างกัน: ในแง่ของความคิดสร้างสรรค์ในฮวาร์เต้ และในแง่ของการประดิษฐ์ในแกลตัน

Juan Huarte de San Juan, Spanish philosopher and physician, published in 1575 his work Examen de ingenios para las ciencias, where he develops a scientific analysis of the different types of intelligence. In this work, Huarte de San Juan shows the difference of abilities that exist in men.
ฮวน วาร์เต เดอ ซาน ววน นักปรัชญาและแพทย์ชาวสเปน ได้เผยแพร่ผลงานของเขาในปี 1575 ชื่อ Examen de ingenios para las ciencias ซึ่งเขาได้พัฒนาการวิเคราะห์เชิงวิทยาศาสตร์ของความแตกต่างของประเภทของสติปัญญา ในผลงานนี้ วาร์เต เดอ ซาน ววน ได้แสดงให้เห็นถึงความแตกต่างของความสามารถที่มีอยู่ในมนุษย์

"Its very title, Examen de ingenio para las ciencias, indicates the double purpose of the work: the first, theoretical or scientific, with the exploration of the variety of aptitudes; and the second, practical or technical, in which it explains how these techniques are applied to the various sciences or professions" Ricarte Bescós, J. M. (2000).
"ชื่อเรื่องที่อยู่ในรูปโฉมดั้งเดิม Examen de ingenio para las ciencias แสดงถึงวัตถุประสงค์คู่ของงานนี้: หนึ่ง ทฤษฎีหรือวิทยาศาสตร์ ด้วยการสำรวจความหลากหลายของความสามารถ และสอง ปฏิบัติหรือเทคนิค ซึ่งอธิบายถึงวิธีการที่เทคนิคเหล่านี้ถูกนำมาประยุกต์ใช้กับวิทยาศาสตร์หรืออาชีพต่างๆ" Ricarte Bescós, J. M. (2000).

Huarte de San Juan's intuitions about the psychology of the individual, the psychology of states or professions, psychotechnics and pedagogy, made the work have an enormous repercussion. The author qualifies human knowledge according to whether it depends on memory, understanding or imagination.
ความคิดริเริ่มของ Huarte de San Juan เกี่ยวกับจิตวิทยาของบุคคล จิตวิทยาของรัฐหรืออาชีพ เทคนิคทางจิตวิทยา และการศึกษา ทำให้ผลงานของเขามีอิทธิพลอย่างมาก ผู้เขียนจำแนกความรู้ของมนุษย์ตามว่าขึ้นอยู่กับความจำ ความเข้าใจ หรือจินตนาการ

Given its impact, it can be said that Examen de ingenios para las ciencias:
เนื่องจากผลกระทบของมัน จึงกล่าวได้ว่า Examen de ingenios para las ciencias:

"It was the first essay of a scientific morphology of the brain and of the theory of selection. But, above all, it is an essential study to know the causes and evolution of ingenuity and of that other power which is the imaginative power to which (in Huarte's words) belongs the knowledge of how to live in the world" Ricarte Bescós, J. M. (2000).
การแปลเรื่องใหม่ของสมองและทฤษฎีการคัดเลือก แต่สิ่งสำคัญที่สุด คือเป็นการศึกษาที่จำเป็นเพื่อทราบถึงสาเหตุและวิวัฒนาการของความฉลาดและอำนาจในการจินตนาการซึ่งตาม Huarte's ถือเป็นความรู้ในการดำเนินชีวิตในโลก

It was at the end of the 19th century when the first systematic study of invention appeared, pointing to the new concept of 'creativity' and distancing itself from classical approaches. This study came from the hand of Francis Galton, an English anthropologist and scientist, known mainly for the study of "hereditary qualities to improve the human race that he described with the word eugenics" Ricarte Bescós, J. M. (2000).
ปรากฏในช่วงปลายศตวรรษที่ 19 เมื่อการศึกษาเชิงระบบเกี่ยวกับการประดิษฐ์คิดค้นเป็นครั้งแรก โดยชี้ไปยังแนวคิดใหม่เกี่ยวกับ 'ความคิดสร้างสรรค์' และห่างไกลจากแนวทางการศึกษาแบบดั้งเดิม การศึกษานี้มาจากฝีมือของฟรานซิส กอลตัน นักมานุษยวิทยาชาวอังกฤษและนักวิทยาศาสตร์ ที่รู้จักกันเป็นหลักในการศึกษา "คุณลักษณะทางพันธุกรรมเพื่อปรับปรุงเผ่าพันธุ์มนุษย์" ที่เขาอธิบายด้วยคำว่า 'ยูจีนิกส์'

In 1869, Galton published Hereditary Genius. Francis Galton, using genealogical analysis, measuring ingenuity and abilities, and applying statistical techniques, "tried to prove that the only really important element of genius was to possess a high degree of comprehensive mental capacity; an exceptional degree of intelligence to apprehend and grasp everything that is around us" Ricarte Bescós, J. M. (2000).
ในปี 1869 กอลตันได้เผยแพร่หนังสือ Hereditary Genius ฟรานซิส กอลตัน โดยใช้การวิเคราะห์ทางวงศ์วิทยา การวัดความคิดริเริ่มและความสามารถ และการใช้เทคนิคทางสถิติ "พยายามที่จะพิสูจน์ว่าองค์ประกอบที่สำคัญที่สุดของอัจฉริยภาพคือการมีระดับความสามารถทางสติปัญญาที่สูงมาก; ระดับความเข้าใจที่พิเศษในการรับรู้และเข้าถึงทุกสิ่งที่อยู่รอบตัวเรา" ริคาร์เต้ เบสคอส, เจ.เอ็ม. (2000).

Ricarte Bescós states that, after Galton's work, little attention has been paid to creativity. It was in 1950 when J. P. Guilford gave a new impulse to research focused on creativity. In this sense:
การสร้างสรรค์ได้รับความสนใจน้อยลงนับจากงานวิจัยของ Galton จนกระทั่งในปี 1950 เมื่อ J. P. Guilford ได้ให้แรงขับเคลื่อนใหม่แก่การวิจัยเกี่ยวกับการสร้างสรรค์

"As president of the American Psychological Association, he noted that of the 121,000 titles published in the last twenty-three years and listed in the Psychological Abstracts Index, only 186 were classified as directly related to the topic of creativity. Considering the disappointing data, Guilford made possible a favorable climate for the analysis and study of creativity" Ricarte Bescós, J. M.

.
ในฐานะประธานสมาคมจิตวิทยาแห่งสหรัฐอเมริกา เขาสังเกตว่าจากจำนวนหัวข้อทั้งหมด 121,000 ชิ้นที่ตีพิมพ์ในช่วง 23 ปีที่ผ่านมาและบันทึกอยู่ในดัชนี Psychological Abstracts Index มีเพียง 186 ชิ้นที่ถูกจัดอยู่ในหัวข้อที่เกี่ยวข้องโดยตรงกับเรื่องความคิดสร้างสรรค์ ในขณะที่ข้อมูลที่น่าผิดหวังเช่นนี้ Guilford ได้สร้างบรรยากาศที่เอื้ออำนวยต่อการวิเคราะห์และศึกษาเกี่ยวกับความคิดสร้างสรรค์

It was from Guilford's contribution in 1950 that numerous works and research on creativity began to emerge. In this sense, questions about its nature have arisen all over the world and their answers have provoked a deep interest in the subject of invention.
กิลฟอร์ดได้มีส่วนสำคัญในปี 1950 ที่ทำให้งานและการวิจัยจำนวนมากเกี่ยวกับความคิดสร้างสรรค์เริ่มปรากฏขึ้น ในแง่นี้ คำถามเกี่ยวกับลักษณะของมันได้เกิดขึ้นทั่วโลกและคำตอบของพวกเขาได้กระตุ้นความสนใจอย่างลึกซึ้งในเรื่องการประดิษฐ์

THE NOTION OF CREATIVITY: Creation and Creativity
ความคิดเรื่องความคิดสร้างสรรค์: การสร้างและความคิดสร้างสรรค์

According to Ricarte Bescós, it can be affirmed that the modern notion of creativity already has a sediment of empirical research based on different theoretical and experimental lines: "to focus the study of creativity as a product, as a specific process and as a personal characteristic" Ricarte Bescós, J. M. (2000).
ตามที่ Ricarte Bescós กล่าวว่า สามารถยืนยันได้ว่าแนวคิดสมัยใหม่เกี่ยวกับความคิดสร้างสรรค์มีพื้นฐานของการวิจัยเชิงประจักษ์บนแนวคิดทฤษฎีและการทดลองที่แตกต่างกัน: "มุ่งเน้นการศึกษาความคิดสร้างสรรค์ในฐานะผลิตภัณฑ์ กระบวนการเฉพาะ และลักษณะส่วนบุคคล"

It should be noted that to these three lines of research are added the different hypotheses referring to creative abilities, a controversial and problematic issue, since there are authors who claim that creativity is closely linked to intelligence, "because to be intelligent is to be able to 'interligare', which in Latin means the ability to relate or associate concepts, proportions and/or things, that is, to make links" Pineda, M. (2009).
สิ่งที่ควรสังเกตคือ มีสมมติฐานต่างๆ เกี่ยวกับความสามารถในการสร้างสรรค์ ซึ่งเป็นประเด็นที่มีความขัดแย้งและปัญหา เนื่องจากมีผู้เขียนบางคนที่กล่าวว่า ความสร้างสรรค์มีความเกี่ยวข้องอย่างใกล้ชิดกับความฉลาด "เพราะการเป็นผู้ที่มีความฉลาดนั้น หมายถึงการมีความสามารถในการ 'interligare' ซึ่งในภาษาละตินหมายถึง ความสามารถในการเชื่อมโยงหรือสัมพันธ์กับแนวคิด สัดส่วน และ/หรือ สิ่งต่างๆ ซึ่งก็คือการสร้างความเชื่อมโยง" Pineda, M. (2009).

However, in spite of this position in which it is defended that creativity is an ability of exceptional people, of the 'chosen ones', there are authors who assert that "creativity does not depend on divine entities or exceptional characteristics, but results from a particular constellation of personal characteristics, cognitive skills, technical knowledge, social and cultural circumstances, resources and, to a large extent, luck" Vecina Jiménez, M.L. (2006).

In his work The Act of Creation, Arthur Koestler defines creativity as the ability to bisociate; that is, as the ability to combine two or more elements of knowledge that are not usually associated with each other. In this sense, according to Koestler, one is creative if one has the ability to perceive similarities where others only see differences. Koestler stated that he had coined the term 'bisociation', "to make a distinction between the routine skills of thinking that occurs on a single 'plane', and the creative act that always works on 'several planes"' Bocardo, R. (2006).

Although the term bisociation seems to be original to Arthur Koestler, Ricarte Bescós asserts that the idea is not, since the concept of double identity is deeply rooted in Roman and Greek mythology. Thus, he points out that:
ถึงแม้ว่าคำว่า "bisociation" จะดูเหมือนจะมาจากอาร์เธอร์ เค็อสส์เลอร์เป็นคนคิดขึ้น แต่ริคาร์เต้ เบสคอส กล่าวว่าแนวคิดนี้ไม่ใช่เรื่องใหม่ เนื่องจากแนวคิดเรื่องการมีตัวตนสองด้านนั้นมีรากฐานที่ลึกซึ้งในเทพนิยายโรมันและกรีก ดังนั้น เขากล่าวว่า:

"Lucretius observed that the mermaids were composed of parts appropriate to their function of woman and fish; and that the centaur was part horse and part man. In both cases, as in many others, the imaginary elaborated a product resulting from a new restructuring or bisociation" Ricarte Bescós, J. M. (2000).
สตรีนางเงือกประกอบด้วยส่วนต่างๆ ที่เหมาะสมกับภาระกิจของสตรีและปลา และมนุษย์เพศอาคเนย์ประกอบด้วยส่วนของม้าและมนุษย์ ทั้งสองกรณีเช่นเดียวกับกรณีอื่นๆ จินตนาการได้ขยายผลลัพธ์อันเกิดจากการปรับโครงสร้างใหม่หรือการผลิตผลใหม่

Jules Henri Poincaré, a French mathematician, defined creativity in terms of the formation of new combinations. The condition of this combination is that it must have a value that differentiates it, that makes it new.
จูล์ส เฮนรี่ ปวงการ์เร่ นักคณิตศาสตร์ชาวฝรั่งเศส ได้นิยามความคิดสร้างสรรค์ในแง่ของการก่อรูปลักษณะใหม่ เงื่อนไขของการผสมผสานนี้คือ มันต้องมีคุณค่าที่จะแตกต่างและให้ความใหม่ขึ้น

On the other hand, there is the position of Calvin W. Taylor, who emphasizes that:
อีกด้านหนึ่ง มีตำแหน่งของCalvin W. Taylorซึ่งเน้นว่า:

"Novelty or originality is ordinarily valued as a necessary, but not sufficient condition; for what is considered new to have the opportunity to be valued as creative, it will be necessary that -under some other criterion- it possesses an added or specific value. Creativity can be defined, therefore, as that type of thinking that results from the production of ideas (or other types of products) that are both novel and valid" Ricarte Bescós, J. M. (2000).

For Charles H. Verbalin, creativity involves reflection and study rather than action. Thus, Verbalin emphasizes that creativity is the process of presenting "a problem to the mind with clarity (either by imagining, visualizing, supposing, meditating, contemplating, etc.), and then originating or inventing an idea, concept, notion or scheme along new or unconventional lines" Ricarte Bescós, J. M. (2000).

Another definition of creativity is provided by Erika Landau who, starting from the premise that creativity is something dynamic, defines it as "the ability to find relationships between previously unrelated experiences, and that occur in the form of new mental schemes, such as new experiences, ideas or products" Ricarte Bescós, J. M. (2000).

It is evident that people can only generate new things from other already existing things. Thus, it is said that an individual is a creator when he has "combined existing ideas and things, supposedly disparate, in an original, new way, not known until then by his peers, forming a useful and functional whole" Guilera, L. (2020).

In this sense, all creation would be the novel combination of what already exists. A restructuring of what is already known in order to find something new. In this way, procedures, ideas, colors, words, tools, symbols, forms, etc., are combined in a new or unusual way, and "in this way, products, services or meanings that did not exist before are created. Humans are denied the right to create from nothing" Guilera, L. (2020).

Continuing with the definitions, Guilera points out that a definition of creativity that would be current and quite acceptable would be the one that considers creativity as devising, perceiving, expressing and converting into reality something new and valuable. As can be seen, as with other concepts, there are as many definitions as there are authors who have researched the subject.
ดำเนินต่อการให้คำนิยาม Guilera ชี้ว่าคำนิยามของความคิดสร้างสรรค์ที่ทันสมัยและน่าพอใจคือการพิจารณาความคิดสร้างสรรค์ว่าเป็นการคิดค้น การรับรู้ การแสดงออก และการแปลงเป็นจริงของสิ่งใหม่และมีคุณค่า ดังที่เห็นได้ว่ากับแนวคิดอื่น ๆ มีคำนิยามมากมายเท่ากับจำนวนผู้เขียนที่ได้ศึกษาเรื่องนี้

That is why authors such as Runko and Sakamoto consider that creativity "is among the most complex human behaviors; it is influenced by a wide range of evolutionary, social and educational experiences, and manifests itself differently in each domain of knowledge" Guilera, L. (2020).
It is convenient to clarify that the colloquial and grammatical use of the words creation and creativity is often confusing. It is therefore necessary to clarify the meaning of both concepts. Thus, "creation is the act of creating, while creativity is the process that culminates in the creative act" Ricarte Bescós, J. M. (2000).
สะดวกในการอธิบายว่าการใช้คำว่า "การสร้าง" และ "ความคิดสร้างสรรค์" ในภาษาพูดและไวยากรณ์มักจะสับสน จึงจำเป็นต้องชี้แจงความหมายของทั้งสองแนวคิด ดังนั้น "การสร้างคือการกระทำในการสร้าง ขณะที่ความคิดสร้างสรรค์คือกระบวนการที่จบลงด้วยการกระทำในการสร้าง" Ricarte Bescós, J. M. (2000)

The term creation refers to the achievement, the finding, the encounter, the result obtained. Thus, creation occurs "in the instant of illumination. It is the 'eureka' phenomenon of Archimedes, the aha reaction of Martin Gardner, or the emotional quality of 'ecstasy' of Rollo May" Ricarte Bescós, J. M. (2000). For its part, the term creativity is understood as both the capacity to create and the faculty to create. That is, it is the process that leads to the act of creation.

It should be recalled that Creativity is the name given to the lecture delivered by Joy Paul Guilford in 1950. In this sense, Ricarte Bescós emphasizes that Creativity, "in addition to signifying the emergence of a specific notion, rediscovered for research the epistemological value of a term that, from then on, encompassed both its usual semantic field and its psychological significance" Ricarte Bescós, J. M. (2000).

Thus, as a signifying term, Creativity must be understood, above all, as a working instrument; that is, it is an expression that brings together numerous pre-existing concepts that continuously assimilates new meanings as a consequence of the uninterrupted increase in experimental research.

In order to improve understanding, the terms directly related to creativity, as well as their meanings, are presented:
ในการพัฒนาความเข้าใจ คำศัพท์ที่มีความเกี่ยวข้องโดยตรงกับความคิดสร้างสรรค์ พร้อมทั้งความหมายของแต่ละคำได้ถูกนำเสนอ:

Create - Creativity: means to produce "something from nothing; to establish, to found, to introduce for the first time a thing; to bring it into being or give it life, in a figurative sense" Ricarte Bescós, J. M. (2000).
Discover - Discovery: this term refers to finding that which was hidden or ignored; "to come to know something that was unknown; something that, although unknown until then, existed and was there until it was discovered" Ricarte Bescós, J. M. (2000).
Imagine - Imagination: means to represent ideally a thing in images, that is, to invent it, to create it in the imagination. By imagining is understood the "faculty to form mental images of new ideas, projects, etc." Ricarte Bescós, J. M. (2000).
Intuition - Insight: "to perceive or understand an idea intimately and instantaneously, without the process of reasoning, as if it were in sight" Ricarte Bescós, J. M. (2000).
ความถนัด - การรับรู้: "การรับรู้หรือเข้าใจความคิดอย่างลึกซึ้งและทันที โดยไม่ผ่านกระบวนการคิดอย่างมีเหตุผล เหมือนกับการมองเห็น" Ricarte Bescós, J. M. (2000).
Invent - Inventiveness: to discover or find something new or unknown; "to think or devise something that did not previously exist" Ricarte Bescós, J. M. (2000).

Ricarte Bescós points out that all these meanings have led to a certain semantic confusion. Thus, among others, the terms genius, originality or imagination are commonly used to "signify the cause and effect relationship between creation and the human capacity to produce something new" Ricarte Bescós, J. M. (2000).

In summary, it can be pointed out that the nature of creativity is linked to the different creative capacities, and that these capacities, in turn, constitute a set of personality traits and intellectual capacities. Thus, it can be stated that "a person's creativity lies in the conjunction of an attitude, a set of skills and a way of working following a set of rules, techniques and methods" Guilera, L. (2020).

The Creation OF IDEAS in THE SERVICE OF PersuASIVE COMMUNICATION
การสร้างแนวคิดเพื่อการสื่อสารเชิงโน้มน้าว

As mentioned, creativity, i.e., the creation of ideas, is a complex concept, which is closely linked to artistic expression, inspiration, communication, technological discoveries, education, personal behaviors, etc.

Creativity means imagination, adaptation, originality, construction:
สร้างสรรค์หมายถึง จินตนาการ การปรับตัว ความเป็นต้นฉบับ การสร้างสรรค์:
"Evolution, inner freedom, poetic force and, in broader terms, a certain detachment from the basis of the problem. It interests in a confused and global way researchers, pedagogues, industrialists, artists, scientists, psychologists and, of course, advertisers. Each of these groups feels attracted by it, needs it and tries to insert it in a 'subjective methodology', adapted to their particular needs" Ricarte Bescós, J. M. (2000).

It should be remembered that, in the advertising field, creativity begins with the advertiser posing a problem and it is the advertising creative who has to solve it, always within well-defined lines.

In order to solve this problem, the advertiser hires the services of a company specialized in advertising communication, i.e. an advertising agency, to expose messages (campaigns) whose objective is to persuade consumers, following a creative strategy.

It is clear that the creative act is not limited to an activity without purpose, but aims to achieve an improvement over a previous situation. In the case of advertising, creation is linked to the communication of a brand, a company, a product or a service. "The solution is influenced by the characteristics of the creative proposal itself, in terms of skill and tactics to resolve a given conflict, which is usually not achieved on the first attempt. Nor is there a single solution" Tena Parera, D. (2017).

According to Ricarte Bescós:

"Wherever you are and wherever you go, you can be sure you will find some kind of advertising message. You will find them on the radio, on television, in newspapers, in magazines, along the streets and on highways, on rooftops and in telephone booths, even in the sky" Ricarte Bescós, J. M. (2000).

However, in order to achieve effective persuasive communication, a combination of certain factors must take place, such as:

The quality of the transmission, linked to the use of the code and the operation of the channel. The quality of the interpretation of the message. The quality of the feedback, which is a consequence of the previous factors: the quality of the transmission and the quality of the interpretation.

Thus, it can be said that advertisers achieve their objectives when they manage to communicate a message to their audience with sufficient effectiveness to move, delight or persuade.

As is well known, advertising professionals know who buys and uses a product. They know where it is sold, what its packaging looks like and what its market price is. Thus, they know both its weaknesses and strengths. "They know which features have the greatest appeal to the consumer. It is this rhetorical selling proposition that defines the content of the advertising campaign and guides the direction of creativity" Ricarte Bescós, J. M. (2000).

However, it is one thing to have a sales proposition and another to sell it. To do so, it is necessary to know how to express it through convincing arguments. That is to say, it is necessary to have the 'gift' of creativity and, in this way, "to establish with success that ambiguous interrelation between product and consumer" Ricarte Bescós, J. M.

This ability to translate a sales proposition in effective terms is the main function of copywriters and advertising creatives. Thus, the real challenge facing these professionals is to formulate creative strategies that dramatize the special features of a service or product.

Different creative styles can be used in the formulation of strategies that are capable of dramatizing these special characteristics of a product or service. In the following, the most outstanding creative paths will be highlighted. However, it should be noted that these styles are not substitutes, but are often combined in such a way as to multiply all creative possibilities.

Of the different proposals for classification of advertising styles that exist, Luis Bassat "identifies ten main ways, to which he adds emotion and humor" Rodriguez del Bosque, I., Suárez, A., & García, M. D. M. (2012). These basic styles of creativity are: problem-solution, demonstration, comparison, analogy, visual symbol, presenter, testimonial, slice of life, slice of film and music.

Problem-solution: the problem-solution path is one of the oldest, but one of the most common. It consists of showing a problem not solved by not using a certain product, a problem solved thanks to the use of a product or a problem that the product does not solve, but makes it much more bearable.
Demonstration: As its name suggests, the demonstration consists of showing the audience in a clear and explicit way those rational advantages of a product. That is, "it is the visual proof that the product works" Rodriguez del Bosque, I., Suárez, A., García, M. D. M. (2012).
Comparison: The comparison is based on the fact that, at the time of purchase, the consumer has in his mind a series of brands to choose from in order to make his decision. In view of this, the main competitors must be identified in order to try to position the company's brand as a favorite. This can be done by comparing the product or service "with the generic competition, with substitute products, or directly with another brand. Provided that the veracity of the claims can be assured, it is possible to make a direct comparison" Rodriguez del Bosque, I., Suárez, A., & García, M. D. M. (2012).
Analogy: consists of representing what a product does through an association of ideas.
Visual symbol: "tries to visually express an idea to make it more memorable" Rodriguez del Bosque, I., Suárez, A., & García, M. D. M. (2012).
Presenter: Another creative way is to use the figure of a presenter. This figure has to be the main focus of the advertisement, so it is essential to find the right person.
Testimonial: consists of using a person to give a testimonial on the use of a product. This can be a celebrity, a subject matter expert or an anonymous person. The subject matter expert will increase perceived trust. On the other hand, the celebrity generates credibility through affective channels. While with the anonymous person "it is about the target audience identifying with him/her, which will improve the acceptance of the message" Rodriguez del Bosque, I., Suárez, A., & García, M. D. M. (2012).
Pieces of life: also known as life scenes, involves the recreation of a story that apparently has been extracted from the daily life that revolves around the product. With this style "an identification with the situation shown is sought again, and to generate a climate of sympathy, emotion or humor towards the product" Rodriguez del Bosque, I., Suárez, A., & García, M. D. M. (2012).
Film clips: the film clips imitate the style of the movies. In this way, an advertisement "can pick up scenes of action, suspense, humor or any other usual theme in film fiction, being the product integrated into it in a natural way" Rodriguez del Bosque, I., Suárez, A., & García, M. D. M. (2012).
Music: This is one of the most complete and effective. Original music composed for the campaign or pre-existing music can be used, after negotiation and payment of the corresponding rights. It should be noted that music acts on emotions and directly affects behavior. That is why it is present in many radio and television spots.

Emotion: As is known, emotion is a state of arousal. Sadness, fear, anger or laughter are types of emotions. These stimuli are widely used in advertising, since they are:

"Processed with little effort on the part of the audience, they do not activate their natural defenses, distract from the persuasive intent of the message and are easy to remember. If fear is appealed to, it is a negative emotion. In these cases, you should always explain to people how to avoid the 'danger' or problematic situation, logically, by using the product or changing their habits" Rodriguez del Bosque, I., Suárez, A., & García, M. D. M. (2012).

Humor: is a positive emotion. Its use is intended to relax the audience and increase positive thinking to facilitate acceptance of the message. It should be clarified that, for humor to be effective, it is necessary to know how to use it.

In addition to these basic styles of creativity, there are others that can be classified into "rational paths, which appeal to the receiver's reason, emotional paths, supported by emotional impact, and proactive paths, which use the receiver's intelligence and involvement" Rodriguez del Bosque, I., Suárez, A., & García, M. D. M. (2012).

Animation: this style consists of using cartoons.
Serial: these are characters that appear in the advertisements and are related to each other, as if it were a series of successive chapters or installments.
Suspense: aims to attract the consumer's curiosity by communicating a mysterious first part, which draws their attention to subsequent advertisements in which the brand and the product will be presented.
Sensuality: tries to awaken a motivation at the erotic level.
Affective-emotive: "emotional aspects by evoking childhood memories, certain places, nature or other regressions" Rodriguez del Bosque, I., Suárez, A., & García, M. D. M. (2012).
Exaggeration: It is not intended to make the public believe the story because it is out of reality, but simply to generate sympathy for the recreated situation.
Animals: consists of relying on animals, "either affectively, using domestic animals, or through wild animals that arouse expectation" Rodriguez del Bosque, I., Suárez, A., & García, M. D. M. (2012).
Fantastic: the use of the unreal or the fantastic comprises the presentation of something out of the realm of the possible and which arouses attention.
Rhythm: "Body or object rhythm, based on the existence of rhythmic movements of people, animals or various objects. Many times this style is linked to musical rhythm" Rodriguez del Bosque, I., Suárez, A., & García, M. D. M. (2012).
Based on children: children's images are sometimes used in advertisements, either as a central aspect or as a secondary one.

In short, it can be pointed out that all these types of dramatizations are the ones that give meaning to sales propositions and "try to trigger a positive effect on consumers' attitudes and behaviors" Ricarte Bescós, J. M.

Nature of the Creative PROCESS IN AdVERTISING

If the question is asked as to how the creative process is developed in advertising practice, it should be made clear that the answer is not simple. Regardless of the way in which the creative problem is posed or the procedures used to solve that problem, one is always going to find oneself faced with a wide range of solutions. "This dispersion is the greatness and the servitude of creation" Ricarte Bescós, J. M. (2000).

Since its origins, the human being is in a successive and continuous search for new ideas. Discovering the path of creativity, but how does the creative process develop? To answer this question, it should be clarified that for some authors creativity is only a myth. On the other hand, for others, "it is a mysterious force that manifests itself through an unusual insight or a genial power of intuition" Ricarte Bescós, J. M. (2000).

It can be said that, historically, creativity has been considered as an intellectual process linked to art. Thus, there are writers, painters, musicians, playwrights, etc., who are creators, while the rest are simply imitators of a style. Thus, artistic creativity can be described as "the combination of elements (shapes, colors, words, sounds, sequences or planes) that try to create an aesthetic effect" Ricarte Bescós, J. M. (2000).

However, on other occasions the creative process is synonymous with invention, novelty, new forms of expression, etc., whether or not they are aesthetic. It is in these cases when the creative process will depend on "elements tending to create a new, unknown effect" Ricarte Bescós, J. M. (2000).

On the other hand, there is the position that identifies the creative process with originality. Here the creative tries to create, with a series of elements that he already knows, a striking, surprising, original arrangement.

According to Ricarte Bescós, the wide range of creativity nuances does not end here. To exemplify this, he points out that:

"The inventor is usually called a creator or creative; that is to say, the person who discovers a new application of energy, or of force or of labor. And the surgeon who develops techniques suitable for transplantation or the sociologist who discovers new and more effective and reliable forms of social research is also creative. And, of course, also creative is the politician who knows how to turn his country's history around at a given moment. Or the businessman who creates with few means and a lot of imagination a source of wealth for himself, for his collaborators and for society" Ricarte Bescós, J. M.

As can be seen, there are several creative processes that Ricarte Bescós lists as follows:

Creativity as art or as aesthetics.
Creativity as novelty.
Creativity as originality.
Creativity as technological invention or simply as technique.
Creativity as ideological discovery.

Analyzing these processes, Ricarte Bescós points out that they all have three points in common:

They all refer to the concept of invention, of discovery.
What is found is related to a purpose. "The end sought as an objective of the creative process and that can be of a very heterogeneous nature, such as the solution of an aesthetic, technological or psychological problem" Ricarte Bescós, J. M. (2000).
The final result of this process, i.e., the creative finding, "is always obtained from known elements, and through a more or less conscious elaboration process, depending on the case" Ricarte Bescós, J. M. (2000).

In other words, it can be stated that there is no such thing as pure creativity, but that everything is drawn from experience.

Drawing on James Webb Young, Ricarte Bescós points out that there are two principles related to the origin of ideas. The first principle is that an idea "is neither more nor less than a new combination of old elements. The second is that the ability to achieve new combinations based on old elements depends to a great extent on the talent for finding relationships" Ricarte Bescós, J. M.

It should be remembered that Koestler called these new relationships 'bisociations'. To achieve them, one has to follow a precise and clear method with which to operate in the production of ideas. For Young, this method is explained by comparing the production of ideas with the production of automobiles. "Since, for him, the production of ideas is also the fruit of an assembly line, because in this production the mind also follows a technique that can be learned and controlled" Ricarte Bescós, J. M. (2000).

Extrapolating this question to the field of advertising, it can be stated that ideas are born from a new combination of specific knowledge about the product or service in question, its target audience and general knowledge about life.

In short, creativity is a fundamental value in advertising communication and, in particular, in the field of advertising creative strategy. It is thanks to creativity that advertisements gain special interest and achieve a high power of attraction and persuasion. Thus, "there is no doubt that creativity is the specific and unique product of advertising. A creative campaign is one that has the strength to impact the target audience" Ricarte Bescós, J. M. (2000).

The Creative Process

First of all, it should be clarified that the stages of the creative process vary according to the author who develops them. In this regard, Pineda states that, traditionally, the creative process consists of five stages:

The preparation: or immersion in a set of issues that cause curiosity or are interesting.
Incubation: moment in which ideas are installed "and interact underneath the consciousness. During this time, probably, unusual connections are made" Pineda, M. (2009)
Enlightinment: is the moment when all the pieces fit together.
Evaluation: is the stage in which one must decide whether the intuition obtained during enlightenment is worth paying attention to. That is, "it is when one feels most insecure" Pineda, M. (2009).
The elaboration: this stage is the most timeconsuming and involves the hardest work. "It is assumed that there is less inspiration than work. We would include in this period the verification, i.e., once the idea has been elaborated, it is necessary to prove that it corresponds to what has emerged in the illumination" Pineda, M. (2009).

However, the author considers that the creative process is not so linear, but rather a cyclical or recurring matter. Thus, he states that a person can:

"Returning several times to have intuitions or to dive into the data and even to incubate. The number of recurrences to each stage of the process depends on the depth and breadth of the situation or problem being addressed as much as on the mental ability, knowledge and personality of each person" Pineda, M. (2009).

It should not be forgotten that people have qualitative and quantitative differences during the creative process and not all people are affected equally by the possible barriers they face during the process. According to Pineda, these barriers are:

Lack of energy due to the type of demands we live with.
Lack of attention and control over it.
Lack of discipline or control over the available energy.
Lack of projection of the available energy.

For his part, Guilera considers that the stages of the creative process consist of:

Detect a need, a problem, an insufficiency, a dissatisfaction or a discomfort.
Present it to the mind with clarity (either by visualizing it, supposing it, imagining it, meditating on it or analyzing it).
Originate an idea, "concept, notion or scheme to solve it according to new non-conventional actions. It involves a study and reflection followed by an evaluation and a final realization" Guilera, L. (2020).

According to Guilera, authors who have focused on researching the creative process have shown that being creative is a matter that is within the reach of anyone. With more or less effort or with more or less previous training, anyone can be creative. Thus, it is a matter of being clear about the steps of the process and following them with a positive attitude.

It should be noted that, in the specialized literature on the subject, different theoretical models can be found. However, all of them agree with the "five basic stages defined in 1910 by John Dewey for the problem-solving process" Guilera, L. (2020)

According to John Dewey, problem solving consists of:

Perception of the problem or difficulty.
Definition of the problem and its delimitation.
Generation of ideas and solutions.
Critical evaluation of solutions
Acceptance of the most appropriate solution.

To Dewey's model, Henri Poincaré and Graham Wallas add two sub-stages within phase 3 (Generation of ideas and solutions). These substages would be incubation and illumination. Considering these substages, the model would have the following form:

3.1. Reflection: search for a new idea.

3.2. Incubation: abandon or leave aside for a period of time this idea.

3.3. Lighting: is the moment when the new idea finally emerges.

During the incubation sub-stage, the mind must relax; this is when the time for reflection has elapsed and the desired solution has not been achieved.

"It is about letting the rational mind rest so that the cognitive unconscious can emerge and bring us, suddenly and at the least expected moment, the illumination (also called inspiration, sudden understanding or insight) that we need. It has been proven that, during incubation, ideas are agitated below the threshold of consciousness and spontaneous connections are made automatically. Totally unusual combinations and associations of ideas can be produced" Guilera, L. (2020).

For his part, Poincaré stresses the importance of intuition in creative processes. In this sense, he states that the creator will select a specific problem because he 'intuits' that he will be able to find novel solutions to it. Thus, "the creator applies all his mental capacities to the search for new solutions: his instincts, his emotions, his intuitions, his reasoning and his planning capacity" Guilera, L. (2020).
Joseph Rossman's contribution to the creative process is also interesting, since he considers that an additional phase should be incorporated between stages 2 and Pineda, M. (2009). phase he calls 'review of available information'. And finally, Guilera himself adds:

"If we lack important information, we will have to search for it with the appropriate tenacity before starting to generate ideas and proposals for solutions. A lack of information or erroneous starting information in the definition of the problem can lead us to absolute sterility in our reflections. It is a matter of gathering, contacting, collecting and assimilating a significant and varied amount of information as raw material to be processed in the following stages" Guilera, L. (2020).

Thus, synthesizing the models of the different authors, it can be considered that the stages of the creative process are:

Detection of the difficulty or problem.
Definition and delimitation of the problem.
Preparation: review of all available information.
If information is missing, look for it.
Idea generation: formulation of different alternative solutions (applying mental strategies and creativity techniques).
If the ideas do not come, incubate the problem.
Illumination. Appearance of a new idea.
Development of ideas. Mock-ups, sketches, pilot tests, etc.
Critical evaluation of the proposed solutions. Comparison of advantages and disadvantages.
If there are no valid solutions, return to step 2.
If there are valid solutions, accept them and perfect them.

Guilera believes that intuition and enlightenment or inspiration deserve separate importance, since there are many people who believe that there is no possibility of creating anything without inspiration. "And this is not true, since, as everyone in creative professions knows, we can find new and valuable solutions by resorting only to rational, orderly and persistent work" Guilera, L. (2020).

He also considers that in the critical evaluation stage it should be taken into account that each discipline has a series of coordinates that delimit and specify the conditions that any new idea must meet. That is why, if the idea does not meet those criteria, it should be seen if it is possible to modify it to adapt it to the discipline in question. "If it is not possible to adapt the idea, we will restart the creative process from stage 2 or 3 until we find a new idea that is valid" Guilera, L. (2020).

This critical evaluation stage is especially useful, if carried out properly, to improve creative skills, since by contrasting what is desired with what is found, valuable information can be obtained that allows the creator to improve his or her skills.

According to Carlos A. Churba, the creative process is a spiral feedback. That is, the more time you spend creating, the more creative you are.

"The result of the process enriches its author who acquires more experience and, consequently, more resolutive capacity in the next approaches. There is also a qualitative leap in the environment and, consequently, in society. In short, creative activity produces the appearance of new realities that simultaneously transform the established reality and the person who creates it" Guilera, L. (2020).

Creative Results

Quite often, the result of a creative process comes from the fact that the creator has had a special sensitivity in detecting a problem, or a capacity for improvement where most people would only detect something normal.

On other occasions, the creative person, looking for one thing, finds by 'chance' something else that he was not looking for, but that turns out to be tremendously useful and successful. "This is what we call 'chiripa' in Spanish or 'serendipity' as a neologism from the translation of serendipity" Guilera, L. (2020).

In addition, there are also cases in which a product that has failed for its intended purpose proves to be very useful for anotherfunctionthatisnotdiscovereduntilsometimelater.

As we know, the result of a creative process must be original and must have a use value for people. But in order for the imagined product to become a reality and reach its target audience, "it is essential that it can be developed with existing technologies (technological feasibility) and that it can be obtained with a lower investment than the economic benefit it will bring (economic feasibility)" Guilera, L. (2020).

In summary, the result of a creation process must have the following attributes:

Be original or novel: is a unique idea or product, different from all its similar ones. It is detected because it "provokes an emotion of surprise that is usually manifested with an exclamation with the vowel 'a': 'Aaaah!' for artistic creations, 'Aha!' for technical and scientific discoveries, and 'Ha,Ha,Ha!' for humorous findings" Guilera, L. (2020).
It has a use value: at least for a certain period of time and for a part of society or for society as a whole. If it only satisfies its author, here we would enter into a debate on the subjective value of artistic creations "or in the consideration that, sometimes, a creator anticipates in excess to the needs perceived by his society and falls into the incomprehension of his contemporaries" Guilera, L. (2020).
Technological feasibility: can be developed with existing technologies, with those already consolidated or with emerging ones. In the event that there are not yet sufficiently advanced technologies to develop what is imagined, it is inevitable to be doomed to failure.

According to Guilera, an example of this issue would be the case of Charles Babbage:

"Successful creator of a machine built with mechanical gears that calculated logarithms. In 1833 he presented to the Royal Astronomical Society his project to build a general purpose calculating machine which he had named the Analytical Machine.

He laid perfectly on paper the theoretical foundations that, 113 years later, would allow the University of Pennsylvania to build in 1946 the ENIAC, the first modern digital computer, the origin of all the subsequent hatching of electronic computing. Unfortunately for Babbage, the state of existing technologies in 1933 made it practically impossible for him to achieve the realization of his project" Guilera, L. (2020).

Economic viability: the cost to develop the idea or product created must be less than the direct or indirect economic benefits it is expected to achieve.

In this regard, it should be noted that there are many inventions that "remain dead shortly after birth because they are technologically feasible, but at costs that make it impossible to think of their introduction in the real market" Guilera, L. (2020).

SUMMARY สรุป

When we talk about creativity, we can say that it is a complex, dynamic and integrating process, which simultaneously involves cognitive, emotional and perceptive factors. Creativity manifests itself in any area of knowledge: sciences, technologies, humanities, fine arts, design, etc. It is associated with perceiving and thinking in an original, unique, novel, yet useful and socially valued way.

It was at the end of the 19th century that the first systematic study of invention appeared, pointing to the new concept of 'creativity' and distancing itself from classical approaches.

Since Guilford's contribution in 1950, numerous works and researches on creativity began to emerge. In this sense, questions about its nature have arisen all over the world and their answers have provoked a deep interest in the subject of invention.
In his work The Act of Creation, Arthur Koestler defines creativity as the ability to bisociate; that is, as the ability to combine two or more elements of knowledge that are not usually associated with each other. In this sense, according to Koestler, one is creative if one has the ability to perceive similarities where others only see differences.

It can be said that, historically, creativity has been considered as an intellectual process linked to art. However, on other occasions the creative process is synonymous with invention, novelty, new forms of expression, etc., whether or not they are aesthetic. On the other hand, there is the position that identifies the creative process with originality. Here the creative tries to create, with a series of elements that he already knows, a striking, surprising, original arrangement.

BIBLIOGRAPHY บทคัดย่อ

Guilera, L. (2020). Anatomía de la creatividad. Marge Books.
Ricarte Bescós, J. M. (2000). Creatividad y comunicación persuasiva. Servei de Publicacions de la Universitat Autònoma de Barcelona.
Pineda, M. (2009). Lo que sé de creatividad publicitaria. Ideas que hacen marcas profundas. Edición Universitaria.
Vecina Jiménez, M.L. (2006). Creatividad. Papeles del Psicólogo, 2006. Vol. 27(1), pp. 31-39
Bocardo, R. (2006). Creatividad en la ingeniería de diseño. Equinoccio.
Tena Parera, D. (2017). Diseño gráfico publicitario. Editorial Síntesis, Madrid.
Rodriguez del Bosque, I., Suárez, A., & García, M. D. M. (2012). Dirección publicitaria. Editorial UOC.

Nature of the Creative Process ธรรมชาติของกระบวนการสร้างสรรค์