This paper reports generating creative ideas based on customer needs using Kano Model and Importance-Differentiation Matrix (I-D Matrix). Nowadays, every customer demands creative ideas on product innovations in order to be satisfied her needs. However, most existing methods are limited to get creative ideas that reflect customer needs. Any creative ideas that do not fully reflect customer needs are obviously more difficult to succeed in the market than those that reflect customer needs. This paper distinguishes each quality elements the customer needs in terms of Kano Model. And it presents the effective ways of generating creative ideas by I-D Matrix in order to overcome current uppermost limits.

The CEOs of global companies have been realized the imagination and creativity that can be obtained from the corporate culture is the crucial competitive power for sustainable growth. Thus, most domestic companies take an increasing interest in how to make creativity efficiently. This paper, however, argues that the proper application of performance indicators can engender creativity and innovation in organizations without costly investing on creativity. Assuming that creativity is actually dominated by the emotion of human resources rather than the rationality, this paper suggests the performance indicators developed based on the viewpoint of the characteristics of human needs and the relationship between the human needs and the attribute of works. The performance system which consists of activity, sociality and creativity is presented and the performance indicators for each category are also suggested to improve the spontaneity and creativity of human resources.

This paper suggest the methods when we solve problems by TRIZ before grasp of customer needs by Kano model. Recently, many companies are very interested in TRIZ such as Six Sigma. Especially, the company commences to use TRIZ for solving a lot of problems in which occur by products and services. But It will be happen a lot of time and costs to solve all problems completely. Finally, This paper helps more effective problem definition to avail Kano model for reducing time and costs at solving problems by TRIZ.

The purpose of this paper is to answer to the question that how the leader of an organization can creatively solve his (or her) problems under the rapidly changing circumstances of knowledge-based society. Before arguing how to embody creative leadership, it explains the meaning of leadership compared with management and presents what creativeness means. Then it shows why creative leadership is necessary in the 21 st century of knowledge and information society. In the third section, it identifies six elements of leadership and then explains how to realize creative leadership element by element. It is a theoretical work, previous stage of an empirical research. Theoretical framework presented here must be useful in evaluating how much an organizational leader exercises creative leadership, comparing and identifying who is the most creative leader among several leaders, and analyzing the reasons why an organization fails to achieve its goals in the aspect of leadership.

미학적인 디자인이 상품가치를 갖게 될 현재 사회에서 디자인은 기존의 개념을 탈피하고 파괴하는 반동의 에너지와 부드럽고 유연한 감성을 불어넣는 것이어야 한다. 이러한 디자인 목표에 이르기 위한 '창조적 발상'은 디자이너가 갖추어야 할 가장 중요한 능력 중의 하나이며, 형태적 접근이나 이미지 개발은 물론 기능이나 성능 등 상품 컨셉(Concept)까지 관여하는 디자인 문제해결에 있어서의 총체적인 개념이다. 본 연구에서는 창조성의 정의, 디자인의 환경변화와 그에 따른 디자이너가 갖추어야 할 조건, 선행연구 된 창조적 디자인 발상법 등을 살펴보고 휴대폰을 대상으로 창조적 디자인 사고를 위한 디자인 방법을 제시함으로써 창조성의 중요성과 디자이너의 창조적 가치 향상에 기여하고자 한다.

The Two Kings, based on the myths of Edain in the ancient pagan Ireland, is Yeats’s long autobiographical narrative poem. This poem expresses not only the poet’s private love story but also his deep concern in the national affairs with realistic consciousness of responsibility. Therefore, in spite of its mysteriousness it shows that Yeats has traveled far into the actual world since his earlier narrative poems. In this poem Yeats adopted only the main part of the original story and changed its plot and reversed its ending on purpose. He reconstructed the original story and recreated it as a “universal” private mythos through imaginative embellishment and creative modification. Furthermore, by clothing each mythical character with multi-roles and -symbols, he succeeded in making the poem a piece of work with both individuality and universality. Through the symbolical behaviors of the characters, Yeats states his firm conviction that a man’s life should be determined by his own free will, and that the lovers’ happiness should dwell in their earthly life, not in their union after death. And the poet asserts that nothing is more important than the reliance and morality between human beings for our true life and happy love. In addition, the poet contends that a leader of a nation must deliver his subjects from their chronic oppression and poverty.

경기도 시흥시 정왕동 시화공업단지 내 주식회사 진도종합건설 시화소각장 주변을 생태적으로 건전하게 유지하기 위한 수단으로 생태적 설계에 바탕을 두고 복원사업을 실시하였고, 서울시 노원구의 수락산에 인공 조림된 아까시나무 임분을 복원생태학의 원리에 바탕을 두고 관리하여 그 효과를 평가하였다. 생태학적으로 창조된 숲은 조경 방법을 적용하여 조성된 숲과 비교하여 주변의 자연림과 더 유사한 종 조성을 나타내었고, 종 다양성도 높아 생태적 복원의 효과가 확인되었다

Baile and Aillinn, based on a pagan myth of ancient Ireland, is a long narrative poem which expresses Yeats’s private love story along with his deep interest in his fatherland and its national literature. Naturally, Yeats enlarged the simple plot of the story which tells about the two lovers’ death and their going to live in Aengus’s land among the dead. He also partly created his own private myth in order to transmit his many-folded intent. By clothing each mythical character with a role and symbol appropriate for his purpose, he succeeded in making his poem overcome the limitation of private utterance and making it a poem with both individuality and universality. The death of Baile and Aillinn has a duplicate symbolic meaning. Firstly, their death is an inevitable ritual process to get an eternal beatitude through the union after death and a sort of sublimation of a tragic love, in which we can glimpse at the poet’s plaintive love for Gonne. Secondly, their death is a kind of ritual murder symbolizing a Messianism of the Irish desiring for liberation from inveterate poverty and oppression over time. In conclusion, Baile and Aillinn is an excellent piece showing Yeats’s seasoned poetic technique of creating a poem with new meaning through mythologizing with great subtlety not only his own autobiographical elements but also the national feelings of the Irish people.

In this paper, through appreciating one of W. B. Yeats’s later poems, I try to find how the poet’s creative self gets to have its creative power and in what mechanism it expands its poetic circumference. “Among School Children” is the very poem his poetic self and creative imagination are well wrought into. In the poem, the poet suggests that power and knowledge cannot exist together, speaking of the powerful theories of Plato and simultaneously of the philosopher’s powerless being before Nature. He praises Aristotle as a king of kings, and Pythagoras as world-famous golden-thighed, but he mocks them of being old clothes upon an old stick to scare a bird. In the same way, he asserts that “the body is not bruised to pleasure soul.” In the sense of deconstructionists, all the binary oppositions have their hierarchies; however, Yeats puts the two antithetical elements on the identical level, as they are not subordinated to each other, and tries to bridge the abyss or space between. Such an attempt to unite the opposite worlds is manifested in his A Vision. Concerning his “gyre” theory, the figure is frequently drawn as a double cone. The one is called primary gyre, representing space, intellect, mask and fortune; the other antithetical one to represent time, emotion, creativity and will. The narrow end of each cone is in the centre of the broad end of the other. Seen at the narrow end of each cone through the centre of each broad end, appears a circle having a dot at the center. This is the poet’s world of imagination whose centre is his “self” and whose circumference is the limit of the self’s perception. The poet’s life-long activities are related with his efforts to expand the circumference. “Among School Children” is a trace of such activities. The centre is the place where the self of the poet is located; the circumference is where the self “perceives its limitation,” or where arises the feeling of awe, terror, or ecstasy, which means a kind of tension geared between the binary opposite worlds: the finite and the infinite; the mortal and the immortal; life and death; the real and the ideal; youth and age; the body and soul; pleasure and despair. The perception network of the poet connects the centre and circumference. The power to widen the circle originates from the poet’s paradoxical sense of life, of deprivation, and of renunciation through an attainable love with Maud Gonne, tensions between religious struggles, civil revolutions, and so on. The sharp confrontation of these tensions takes place rise to in the circumference and stimulates the poet’s creative imagination. This power of self strengthened by these tensions starts its quest-journey to explore the mysteries beyond the limit of its circle: the mysteries of the opposite worlds separated here and there. The ultimate purpose of the journey, finally, is to reach the united condition of the two worlds, which means what Greg Johnson calls “the highest imaginative enhancement of human identity” or immortality. This united world is the place where “we cannot know the dancer from the dance” and where Yeats’s “unity of being” is synthesized.

The mythic world of William Butler Yeats is a composite whole of Christian, Celtic, Greek, and Roman myths as well as of Irish folklore. Under the influence of Nietzsche, Yeats introduces the form of drama into his mythical world, and discovers Cathleen in an attempt to enhance national culture and patriotism. Yeats also appropriates the thought of Plato, Plotinus, Heraclitus, Blake, Swedenborg, and Boehm, and channels their ideas into his own theory of representation. In this context, The Countess Cathleen has been understood as a play in which the gyres turn into a sphere, and the antinomies are resolved; where the contradictiories, through the very intensity of their opposition, call upon the unity which transcends them. The myths of redemption and natural love represent the binary opposition of good and evil, and Cathleen, who represents the good, sacrifices herself to control the evil and is rewarded for it. To conclude, The Countess Cathleen is a beautiful lyric poem in that Cathleen symbolizes Ireland. In the dramatic atmosphere of the final lines, she arrives at a moment of revelation, of passionate perception.

Yeats thought that man is an imperfect being and tried to achieve self- perfection all his life. Unlike the romantics, however, who tried to achieve Godlike perfection through abstract imagination while ignoring the world of sense, Yeats tried to achieve a secular perfection of mankind through realistic imagination that recognizes the world of sense. He aimed to create a style in literature as well as re-create himself in a style which would harmonize with this literary style. Therefore, his individual development is associated with his artistic development, and his perfection as a human being is reflected in his art of perfect style. His poems can be said to reflect the transformation of his maturing self respectively. This study aims to pursue the development of his self through the images and symbols in his poetry. In his early period, images such as fairies and the legendary hero reflect his weak and feeble self which escaped into an unrealistic world from the actual world. On the other hand, the images of the middle and late periods, such as the hollow moon, Lady Gregory, the chestnut tree and old men reflect his mature self which accepted the actual world. His self and art were transformed and developed from a weak state to a mature and hard state. It was the dynamic imagination and will of the poet that drove the development of his self and art. Therefore, W. B. Yeats can be called a creative poet.

The main aim of the paper is to reveal what is the sign in art and architecture and what is difference between technology and art. By keeping in mind the suggestions of Heidegger's four different worlds, we become able to discern or elaborate on four different contexts of signs and modes in which the sign can work. World (1) is not conceptualized by selected relations of some of things' aspects with one another; rather, it is constructed by our sensory impressions. The sign of World (1) simply points to other objects occurring in the situation. World (2) emerges as an ontological term, and signifies, in terms of relations that are now brought systematically forth, the Being of those entities of World (1) which we naively perceive or take for granted. The sign of World (2) signifies a constructed world. World (3) is understood as the 'wherein' or environment of beings whose total activity is proven to be inseparable from their circumstances. The sign of World (3) is to recover the perspicuous silence of World (3). The World (4) is the ontological-existential understanding of worldhood. The sign of World (4) is to reveal the conspicuous silence of World (4). Finally, the paper suggests that art including architecture cannot be the sign of World (1), (2) but the one of World (3).