**2.2 A revitalised creative practice**

At today's perspective, the practice of creativity has lost the critical thinking referential through which designers and other professionals ask themselves what the necessary 'whys' and 'hows' are for a good design and for a certain desired effect [21, 22]. The current limited scope of creative practice is seen in the absence of designers and artists in the decision-making I, not to mention the difficulties to standardise the formal methodological body related to ambiguity, inspiration, insight, *etc*. [22]. This is contrary to science or management areas, where there is abundant standardisation in the methodological frameworks [1, 11]. According to Whitney and Nogueira [1], 'design continues to produce novel solutions to specific problems but falls short in building knowledge that acts as a context for the various activities we call design'. Therefore, it is urgent a novel and rigorous approach to empower designers and creative professionals. Simultaneously, it is also urgent to exponentially increase the creatives' comprehension of the broader setting where they operate. Additionally, the focus of comprehension in creativity has been too linked to the creation, leaving knowledge gaps in the creative process. The creative process is a dynamic set of acts that deserves better attention and study to depart from the incompleteness that the theories of creativity proposed so far [23, 24].
