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  • Advice Pool - Accessing Your Creative Resources - Part 1

    Creativity is an area that has fascinated me ever since I first became interested in personal development, hypnosis and NLP. What intrigues me is the structure underpinning abilities that we consider exceptional or extra-ordinary.

    Creativity is an interesting area to explore, as so few people know how they are creative. And the limitations
    According to USFDA, a combination product is one composed of any combination of a drug and device; biological product and device; drug and biological product
    in thinking about creativity often become apparent as a result of a few simple questions.

    What do I mean by ‘limitations’? There are many popular presuppositions about creativity that can be very limiting.

    A common idea is that there is such a thing as a ‘creative person’, implying that creative people are born, not made. If you refuse to believe t
    ; or drug, device, and biological product and fixed dose combination would include two or more combinations of drug.

    Examples of combination products may in
    at, it opens up the possibility that anyone can learn to be more creative.

    More creative? Doesn’t that imply that we’re all creative in some way? That leads us to the next limitation - a rigid idea of what constitutes creativity. Does the term only apply to musicians, artists and writers? Or genius inventors? Or can engineers and te
    lude drug-coated devices, drugs packaged with delivery devices in medical kits, and drugs and devices packaged separately but intended to be used together.

    nis players be creative too?

    What is creativity?

    It’s necessary that we develop a working definition of creativity in order to focus in a useful way. The dictionary defines creativity in three ways:

    1. marked by the ability or power to create : given to creating



    This first definition refers to the ability or
    here is enormous increase in the number of combination products entering the market in the recent years. Combination products have proven advantages but fixe
    power to generate something new. It doesn’t describe how – and the word ‘how’ implies a process.



    2. having the quality of something created rather than imitated



    The important part of this second definition is that it makes a distinction between ‘creating’ and ‘imitating’ something, with a line drawn to
    d dose combinations are still in the process of convincing regulatory authority on their advantages over the single ingredient formulations.

    Combination pro
    eparate the two.

    Betty Edwards challenges the precision of that definition in her excellent book “Drawing on the Right Side of the Brain”. Think about this:

    Is tracing a photograph ‘creative’? Is copying a drawing of a scene ‘creative’? How about copying the actual scene? Is that last example different from painting a landscape? Where should the l
    ucts have become life saving products for the pharmaceutical companies who doesn’t have many innovative molecules in their product pipeline and have been inc
    ne be drawn between creation and imitation?



    3. managed so as to get around conventional limits



    This is the ‘thinking out of the box’ that we hear so much about. ‘Conventional limits’ is an ambiguous term and could mean ‘normal limits’ or ‘limits defined by agreement or consensus.’ From a pr
    easingly used in the product life cycle management. Even the companies having product patents are trying to extend their product life cycle through the combi
    ctical point of view, both add up to ‘perceived limits’.

    Creativity of this sort can involve achieving things that were previously thought to be impossible, such as breaking the sound barrier. Or this definition could equally apply to the breaking of established convention with each new artistic movement. Impressionism and Cubism both defie
    nation products and maximize the revenues. But the companies involved in this practice are overlooking that they are burdening the patients both economically
    previous norms in art, for example.



    In light of those definitions:

    • Do you consider yourself to be creative?
    • What creative resources do we all have?
    • How do you know how creative you are / can be?


    There are ways to be more creative. Most approaches focus on strategies for creativity – a
    and physically. They need to rightly judge the benefits of the combination products and they have to even look at the risks involved when combining the produ
    d there are many. However, virtually all of them seem to fit into four broad categories. In this part, we’ll explore the first category – Generation.

    1. New ideas - 'Generation'

    Creativity through generation is the process of evolving new ideas. I recently read an article which looked back at the predictions that were made in the 1960’s a
    ts. Some of the combination products were well accepted by physicians while others suffered. Companies involved in development of combination products are fi
    out what life would be like in the year 2000. While it was possible to predict many of the technologies we have

    today, some things are a complete surprise and novelty. Mobile phones and the World Wide Web are just two examples of generation through novel thinking.

    I’m quite aware that some people may say that a mobile phone isn’t novel – it’s just
    ding difficulty in defining their combination products and facing various challenges from selecting a combination to marketing it.

    Following aspects would a
    a ‘better’ telephone, isn’t it? In my opinion, those that say "there is nothing new under the sun" are basically limiting their ability to create. It’s a bit like saying that there can be nothing new in literature because we all use the same 26 letters of the alphabet!

    My point is that it’s harder to learn and create if you only sort for simil
    dd to the challenges in developing combination products:

    Which markets to tap where the combination products can do fairly well?
    Which combination prod
    rity. An important part of creating a learning environment is to prevent people from sorting for similarity too soon.

    Let me give you an example. I used to teach Chemistry to final year degree students. Talk about a tough audience! The prevailing attitude was:

    • You’re about to talk about X
    • X is a lot like Y
    • an
    cts are meaningful and rational?
    Which therapeutic categories to select?
    Which Combinations can address unmet needs of the patients?
    Do combin
    I know all about Y.

    Willingness to learn had ceased for most, as they had only sorted for similarity. To open up the channels of learning, it was necessary to encourage them to compare what they really knew with what they should know – a strategy of sorting for differences.

    If you see the world through a filter of
    tions increase the patient compliance?
    What would be the developing cost?
    How to tackle the risks encountered during combination product developmen
    ifference, there are new ideas all the time. A small difference results in incremental change – a ‘slightly better’ paperclip, for example. Generation demands a large difference - which results in something novel.

    This creative strategy is great for problem-solving – many of our innovations have been developed as the solution to a pressing p
    t?

    As combination products don't fit into the traditional categories of drugs, medical devices, or biological products, the USFDA is in the process of devel
    oblem. So let’s put it to work.

    Exercise: Problem Solving Through Generation

    Do you have a (practical) problem with no current solution? Or would you like a better way of doing something?

    Apply one of the following strategies:

    1. The Magic Pill Scenario




    Ask yourself:

    If you were to take a magic
    ping new procedures for reviewing their safety, efficacy and quality.

    Professional from academic institutions, pharmaceutical industries, health care indust
    pill that meant you would wake up tomorrow with the problem completely solved, what would have changed?

    This presupposes that there is a solution and you are free to discover for yourself what changes you need to make. It’s also an explicit request to focus on differences between the ‘problem state’ and the ‘solution state’.

    y and representatives from various regulatory agencies are working out to design the regulatory requirements for manufacture and sale of combination products
    e>

    1. Learning From The Future




    Imagine a time in the future when the problem has been solved or the goal has been accomplished.

    Bring yourself forward into that imaginary future, knowing that one day it will be a reality.

    Check that the end result is satisfactory. If it’s not, change it until you’re completely
    .

    As there is an increasing trend of the combination products companies manufacturing such products should be able to tackle the problems involved in the de
    happy with it.

    Now look back towards the present and notice all of the events that took place before that result - those actions which allowed you to accomplish that.

    Be aware of what you did each step of the way and allow your mind to fill in the details as you go.

    Now you know how you will get there and have a complete plan.



    elopment. They need to be wiser in analyzing the market trends and the regulatory requirements.

    Companies that provide selfless information through particip
    urther Ideas

    These are just a couple of ways in which you can apply strategies to generate novel results and solve problems in the process. As I said before, there are many strategies for creativity. And you can use these strategies to evolve more new creative methods.

    Next time, I’ll explore the second category of creativity – Synthesis


    tion in industry events and feedback to regulatory authorities would be able to face the challenges and will be successful in developing combination products

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