**7. Application**

The BoC model here presented was previously developed, tested, and optimised in a set of workshops realised in the context of University Programs (Bachelors, Masters, and PhDs programs) and Research Groups, Business Associations, and blended groups of students and professionals, in Spain, Italy, Brazil, Portugal, Japan, and China.

The BoC model can be applied during workshop sessions that are developed during an ongoing methodology of 16 hours. The practice is preferably divided into four sessions occurring on different days. A single phase—information, objectives, actions, and project—is developed during each session.

At the beginning and at the end of each workshop session and in accordance with the audience's profile, four questions are asked to implicitly influence every BoC model phase—information, objectives, actions, and project. They have the goal to analyse the progression and improvement in the reflection and comprehension, and innovation and creativity skills of the participants during the entire process. Therefore, the BoC model assumes the main purpose of improving such skills in a tangible way. The questions are:

i.What is the surrounding sociological perspective of your organisation?

ii.What are the actionable points that you wish to obtain and develop?

iii.What 'products' do you hope to make?

iv.What are the particular features that these new 'products' must possess?

#### *Biology of Creativity: A Nondesign-Inspired Model to Enhance Creativity and Innovation Skills DOI: http://dx.doi.org/10.5772/intechopen.112738*

Consequently, the answers to the same questions happening at the end of the workshop must reveal an improved capacity of creative competence, observed by a more complete 'Creative Cycle', a greater 'Imaginative Capacity', a better 'Identification of Patterns', and a clear 'Lexicon Enrichment'.

Additionally, these four evaluation parameters serve the diagnostical purpose for a variety of audiences, such as companies and organisations, and to creative practitioners (such as designers) as well. These parameters allow for the tangible evaluation of competences for innovation and creativity. So, it is possible that one entity may be able to critically observe and comprehend practical realities using abstractions, although being unable to complete the creative process and consequently unable to generate new objects of knowledge. This setting is casually observed, and it may be explained by the homogenisation of the technical and managerial competences within the organisation. Other causes may also explain this dogmatic setting like the absence of progressive learning practices [32], the exclusive orientation towards specific and known markets [43, 44], thus avoiding the risk-taking activities associated with the exploration of unfamiliar environments [45, 46]. Such limitations are aggravated by the utilisation of a poor lexicon in the definition of strategies, objectives, and other leadership decisions [22, 24, 47, 48].
