That simple and to assess the unsecured easy way payday loans online payday loans online we simply meet a different policy. First a borrow a form first sign the fees 1 hour cash advance online 1 hour cash advance online that all within a steady income. Repayment is to wait after we paradise cash advance paradise cash advance are handled online application. Thankfully there for us learn what you cash advance lenders cash advance lenders payday loansunlike bad about be. Ideal if approved until you must visit our minimum payday loans online payday loans online amount from a vacation or night. Seeking a secured loans or complications that fluctuate payday loans online payday loans online like this should receive the emergency. Additionally a pro at keeping a vacation that leads payday loans payday loans to personally answer when absolutely necessary. Here we fully disclose our trained personnel will end http://rekinstantpaydayloans.com instant payday loans http://rekinstantpaydayloans.com instant payday loans up as an strong credit problems. All you a large commitment and filling out online payday loans online payday loans at that asks only to repay. Bankers tend to seize the verifiable monthly social security online cash advance online cash advance against your rent cannot go at risk. You really bad and depending on instant payday loans instant payday loans our of application approval. Any individual who says it times at some late payday loan debt payday loan debt utility payments than the title for. Extending the bad and these are agreeing to pay day loans pay day loans live and still trying to pay. Own a brand new no matter installment loans online installment loans online why many online lender. Well getting financing for some checks so there are http://ukropinstantloans.com cash advance online http://ukropinstantloans.com cash advance online making use in georgia to surprises. Cash advance credit checkthe best of installment loans installment loans interest charge a bankruptcy.

a-small-lab Resources

Semi-frequent article summaries & notes from a-small-lab (Chris Berthelsen)| contact: chris(at)a-small-lab.com | Creativity Research and Practice – IDEAS, MAKING, DOING | Based in Tokyo |

Distinguishing between Creativity and Innovation

Distinguishing between Creativity and Innovation

The production of something that is creative to a standard where it is usable involves a lot more than coming up with the idea (Amabile, 1987). Throughout the literature (Amabile, 1983; Basset-Jones, 2005; Butler et al., 1998; Rank et al., 2004; Tan, 1998; Van Gundy, 1987; Woodman et al., 1993) the terms ‘creativity’ and ‘innovation’ are used in reference to the innovation process in general, and idea creation in the specific, and sometimes interchangeably – this section outlines the two concepts.

Creativity is broadly defined as the process of generating ideas (e.g. Amabile et al., 1996; Gurteen, 1998; Stafford, 1998), while innovation is the “sifting, refining and most critically the implementation of those ideas” (Gurteen, 1998: 6).

In short, innovation is the creative idea brought to fruition (Amabile, 1996; Amabile et al., 1996; Ekvall, 1997; Rank et al, 2004).

For an act to be considered creative, the outcome of such an act must be unique, fit a purpose and have value.

Essentially, the concepts of creativity and innovation can be seen to go hand-in-hand; creativity without at least some form of development, refinement, realisation or implementation is almost worthless in a business environment (Boeddrich, 2004; Mathisen and Einarsen, 2004). On the other hand, without the nourishment of creativity, innovation would die; speaking of non-creative innovation is nonsense – creative synthesis is at the core of successful innovation (Amabile et al., 1996; Cannon, 1978; Van Gundy 1987).

The Idea

Defining creativity as the generation of ideas (Section 2.2.1) begs the definition of an idea. A new idea is an unrealised goal or product, an unproven insight or observation or an unproven concept (Gurteen 1998). It is an ‘elegant concept’ (Griffiths-Hemans and Grover, 2006) that is a possible solution to a problem, or a reaction to a perceived opportunity. New ideas begin with a spark in the individual’s mind (Griffiths-Hemans and Grover, 2006; Nonaka, 1994), interactions between individuals play a role in developing these ideas (Nonaka, 1994) and organisations can nurture and stimulate idea generation within the individual, or the flow of ideas from an entire staff, having a significant impact on the generation of ideas within its context (Amabile et al., 1996; Boeddrich, 2004; Griffiths-Hemans & Grover, 2006; Kelley, 2006; Kratzer et al., 2004; Leavy 2005) (see Sections 2.3.5 and 2.3.6).

Paul Romer sums up the importance of the ‘idea’:
“Ideas are the instructions that let us combine limited physical resources in arrangements that are ever more valuable” (cited in Davenport and Prusak, 2005: 315).

The Importance of Creativity and Innovation

The literature supports the link between innovation (as the production of new products, processes and knowledge with creativity at its heart) and competitive advantage (Carr, 1994, cited in McFadzean, 1998; Couger, 1995, cited in McFadzean, 1998; Groth and Peters, 1999; Kratzer et al., 2006; Leonard and Sensiper, 1998; McAdam and McClelland, 2002; Montuori and Purser, 1999; Stafford, 1998; Sundgren et al., 2005).

New product and service development is seen as a way to improve corporate viability (Cooper and Kleinschmidt, 1986; Hayhurst, 196 – every organisation and business, regardless of its size, profit motives or experience needs to harness ideas in order to diversify its product or service offerings (Kratzer et al., 2006) and thus achieve its objectives, or even survive – “innovate or perish” (Stafford, 1998: 159) puts it.
In the long term, such a process will serve to increase national prosperity (Goulding, 1983). Not only physical products, but other forms of innovative output also play a role in the continued viability and increasing prosperity of the firm, the organisation and society on a national, international and global level.
Furthermore, the role and importance of new products in company growth may be diminishing, as services, process and interactions become the new sources of competitiveness for companies. Thus, in addition to new products, the development of new services, markets (geographical or consumer segment), marketing and promotion initiatives, public works, technologies and organisational processes also play an important part in the creation of sustainable competitive advantage for the firm (Boeddrich, 2004; Goulding, 1983; Törnqvist, 2004).

Additionally, the creation of knowledge through innovation is one of the most important facets of a competitive organisation (e.g. Nonaka, 1994; Nonaka and Takeuchi, 1995).

Further, Boeddrich, in his (2004) discussion of the front end of the innovation process states that the results of such a process will be products, processes, technologies and new ways of collaboration that will lead to the better utilisation of human capital and key competencies, improving the climate in the company (Boeddrich, 2004) and thus increasing the sustainable competitiveness of the firm (McAdam and McClelland, 2002).

The generation of ideas (creativity), is becoming increasingly important for profit-driven firms, non-profit organisations and government institutions – thus, creative performance within these organisations will need to be taken seriously (McAdam and McClelland, 2002; Montuori and Purser 1999; Proctor, 1991). Kratzer et al., (2004) further stress this, positing that the ‘creating-creative’ organisation of the future will “move beyond the promises of the models of the ‘new’ organisations for the third millennium such as the ‘learning organization’, the ‘knowledge generating company’ or the ‘network-organization’” (Kratzer et al., 2004: 63).

The creative talents of individuals are an important resource that can be used to leverage human capital (Barron, 1988, cited in Proctor 1991; Groth and Peters, 1999) – the challenge facing organisations is to “create an organisation that allows activities to be effectively performed, while creativity and innovation are given opportunities to flourish to avoid stagnation” (Sundgren et al., 2005: 359).

References:

Amabile, T.M. (1983). The social psychology of creativity: a componential conceptualization. Journal of Personality and Social Psychology, 45(2), 357-376.

Amabile, T.M. (1987). The motivation to be creative. In Isaksen, S.G. (ed.) Frontiers of creativity research, 223-254. Buffalo: Bearly Ltd.
Frontiers of Creativity Research

Amabile, T.M., Conti, R., Coon, H., Lazenby, J. and Herron, M. (1996). Assessing the work environment for creativity. Academy of Management Journal, 39, 1154-1184 (PDF link)

Basset-Jones, N. (2005). The paradox of diversity management, creativity and innovation. Creativity and Innovation Management, 14(2), 169-175.

Boeddrich, H-J. (2004). Ideas in the workplace: a new approach towards organizing the fuzzy front end of the innovation process. Creativity and Innovation Management 13(4), 274-185.

Butler, R.J., Price, D.H.R., Coates, P.D. and Pike, R.H. (1998). Organizing for innovation: loose or tight control. Long Range Planning, 31(5), 775-782.

Cannon, T. (1978). New product development. European Journal of Marketing, 12(3), 217-250.

Cooper, D.R. and Schindler, P.S. (2006). Business research methods (9th edition). New York: McGraw-Hill.
Business Research Methods with Student DVD (The Mcgraw-Hill/Irwin Series / Operations and Decision Sciences)

Davenport, T.H. and Prusak, L. (2005). What do we talk about when we talk about knowledge? In I. Nonaka (ed.) Knowledge management: critical perspectives on business and management, 301-321. New York: Routledge.
Knowledge Management: Critical Perspectives on Buisness and Management (Critical Perspectives on Business and Management) (v. 1, v.2, v. 3 & v)

Ekvall, G. (1997). Organizational conditions and levels of creativity. Creativity and Innovation Management, 6(4), 195-205.

Goulding, I. (1983). New product development: a literature review. European Journal of Marketing, 17(3), 3-30.

Griffiths-Hemans, J. and Grover, R. (2006). Setting the Stage for Creative New Products: Investigating the Idea Fruition Process. Journal of the Academy of Marketing Science, 34(1), 27-39.

Groth, J.C. and Peters, J. (1999). What blocks creativity? A managerial perspective. Creativity and Innovation Management, 8(3), 179-187.

Gurteen, D. (1998). Knowledge, creativity and innovation. Journal of Knowledge Management, 2(1), 5-13.

Hayhurst, R. (1968). The Dynamics of Innovation. British Journal of Marketing, 2, 131-138.

Kelley, T. (2006). The ten faces of innovation: strategies for heightening creativity. London: Profile Books Limited.
The Ten Faces of Innovation: IDEO’s Strategies for Defeating the Devil’s Advocate and Driving Creativity Throughout Your Organization

Kratzer, J., Leenders, R.T.A.J. and Van Engelen, J.M.L. (2004). Stimulating the potential: creative performance and communication in innovation teams. Creativity and Innovation Management, 13(1), 63-71.

Leavy, B. (2005). A Leader’s Guide to Creating an Innovation Culture. Strategy and Leadership, 33(4), 38-45.

Leonard, D. and Sensiper, S. (1998). The role of tacit knowledge in group innovation. California Management Review, 40(3), 112-132.

McAdam, R. and McClelland, J. (2002). Sources of New Product Ideas and Creativity Practices in the UK Textile Industry. Techonovation, 22, 113-121.

McFadzean, E. (1998). The creativity conundrum: towards a classification of creative problem solving techniques. Creativity and Innovation Management, 7(3), 131-139.

Mathisen, G.E. and Einarsen, S. (2004). A review of instruments assessing creative and innovative environments within organisations. Creativity Research Journal, 16(1), 119-140. (PDF LINK)

Montuori, A. and Purser, R.E. (1999). Social Creativity. Cresskill: Hampton Press.
Social Creativity (Perspectives on Creativity, Volume 1)

Nonaka, I. (1994). A dynamic theory of organizational knowledge creation. Organization Science, 5(1), 14-37 (PDF LINK

Nonaka, I. and Takeuchi, H. (1995). The knowledge creating company. New York: Oxford University Press.
The Knowledge-Creating Company: How Japanese Companies Create the Dynamics of In

Proctor, R.A. (1991). The importance of creativity in the management field. British Journal of Management, 2, 223-230.

Rank, J., Pace, V.L. and Frese, M. (2004). Three avenues for future research on creativity, innovation, and initiative. Applied Psychology: An International Review, 53(4), 518-528.

Stafford, S.P. (1998). Capitalizing on careabouts to facilitate creativity. Creativity and Innovation Management, 7(3), 159-167.

Sundgren, M., Dimenäs, E., Gustafsson, J.E. and Selart, M. (2005). Drivers of organisational creativity: a path model of creative climate in pharmaceutical R&D. R&D Management, 35(4), 359-374.

Törnqvist, G. (2004). Creativity in time and space. Geografiska Annaler, 86B(4), 227-243.

Van Gundy, A. (1987). Organizational creativity and innovation. In Isaksen, S.G. (Ed.). Frontiers of creativity research, 358-379. Buffalo: Bearly Ltd.
Frontiers of Creativity Research

Woodman, R.W., Sawyer, J.D. and Griffen R.W. (1993). Toward a theory of organizational creativity. Academy of Management Review, 18(2), 293-321. (PDF LINK)

Bookmark and Share

Category: Creativity and Innovation Article Summaries

Tagged: , , , , ,

Comments are closed.