**8. Conclusions and future work**

In the case that companies, organisations, processes, products, territories, *etc.*, in a first moment must have the capacity of moving between apparently dispersed signals, in an expanding attention, that widen the horizon, in a second moment, they must have the capacity of concentrating themselves, ignoring and selecting the pertinent signals. It is this transition process, from a space of attention to a space of concentration that characterises the BoC model, throughout the four phases—information, objectives, actions, and project. Additionally, it is also the main objective in the context of companies, organisations, processes, products, territories, *etc.*, to provide them with a new biology of creativity and innovation, making them able to widen and coordinate multiple areas of knowledge targeting the broad scope of the creative practice. And to provide them the capacity to reconfigure, optimise, and continuously update their activity in a broader perspective of content and processes' design, but mostly in a more active perspective towards a richer, more complex, and challenging society.

Lastly, and referring to the initial question—in the context of a 'Biology of Creativity', is there a maturation time necessary for a company, organism, *etc.*, or product to reach their complete productivity?—Yes, as an embryo develops until it reaches adulthood, there is the need to some years for a child to reach her complete productivity, fully able to be integrated in society. Analogically, companies, organisations, processes, products, territories, *etc.*, also need time to make reviews and adjustments to fit into society.

Contrary to other disciplines where the focus is dedicated to the understanding and analysis of the target phenomena, design, and creativity are disciplines focused on the synthesis and creation of novel things [11, 24]. Hence, it is obvious that design and creative teaching and practice must incorporate a wide range of disciplines, mostly outside of the design realm, such as business administration, ethics, and sociology, biology, and ecology, to be able to better fit into a multisectoral context [24]. Accordingly, the noticeable climate crisis constitutes evidence of the

opposite point, that design has promoted an unbalanced practice in a world hit of constant crises.

The power of the BoC model relies on the use of non-design text references to expand the comprehension, lexicon, and action of the participants, irrespective of their provenience. The observed creativity empowerment is a natural achievement of the BoC model that is encouraged by the reasonable easiness of interpretation of the novel texts, allowing a practical comparison with the current reality of each participant's sociological context. Thus, the participant is urged to act upon the new ability to analyse and compare, creating space for a more motivated, active, and responsible individual in an ambitious and empowered action plan.

The BoC model forces the questioning of diverse elements and features that constitute the structure of a manifold of cases studies. Thus, the BoC model helps creativity professionals, innovators, companies and organisations, and other entities in general, to develop capacities of reflection and action in the innovation and creativity setting. This is achieved by employing an easy-to-apply stepwise framework constitute of different phases that walk the talk of creativity. The discomfort some participants feel while working with the BoC model is normal and should be interpreted as natural. However, those discomforts must be attenuated during the work promoted by the BoC model.

In terms of the scientific literature associated with the BoC model, design-byanalogy methods are what are explored during the work plan. These methods mainly represent a way to solve design fixation [49]. Although fixation may be helpful for developing extremely focused projects and tailoring product development efforts for known markets, it is valuable to solve fixation to potentiate creativity and help guide further projects that relate to challenges coming from unpredictable events and for perhaps unknown markets. Therefore, further research must be performed in order to decipher the complex causes of design fixation and individual and collective limitations to creativity and innovation, such as cognitive entrenchment [50], confirmation bias [51], psychological ownership [52], and tolerance for ambiguity [53, 54].

Similar to what was observed by others [55], the BoC model also promotes the rise of ideas from the analogies permitted by the reference texts and throughout the different BoC's phases—information, objectives, actions, and projects. Additionally, the particularities of the participants, such as their expertise and career paths, enrich the learning experience and the constructs generated [33]. Therefore, the introduction of novel texts, perspectives, and other elements, into the innovation and creativity processes allows a satisfactory approximation to the real world [25].

Despite its international application and very positive appraisal, the BoC must be further developed and improved. So, the next steps may rely on the application of the BoC model to more audiences that could continue the formal validation of its assumptions, processes, and evaluation methods, and identify limitations that could be further explored. Moreover, the last phase—project, should be further developed in order to allow an upscaled approach for participants from high valued enterprises and governmental bodies, with a diverse background and expertise. However, it must be interesting to develop tailored project's sub frameworks that could encompass the manifold variables coming from different industries and sectors. Nevertheless, an improved validation must be addressed in upcoming research endeavours to enable standardisation of research and implementing practices of the BoC model [56]. Still, we believe that the BoC model presents an original, novel, proper, and detailed stepwise process that can be widely deployed

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

and parametrised for self and autonomous use of individuals and organisations to promote a better practice regarding creativity.

A possible critique of the BoC model is the constant appropriation of references that are distant from the design and creative education and practice standards, increasing the chance of misinterpretation of seminal concepts and theories. Another critique is the fact that some of the referenced texts may be outdated, and novel perspectives are now more accepted in the scientific community. However, these two critiques do not hamper the strengths of the BoC model since its aim relies on the analogical power of the references to provide enhanced creativity and innovation skills [11, 47, 57]. Nevertheless, the scientific rigour of the BoC model is paramount and it must be pushed forward in the design and creative practice in general to strengthen the activity of creative professionals whatsoever, where a broader knowledge and experience are essential.
