Creating possibilities for collective creativity : Brokerage Functions in Practice-Based Innovation

In the network era, creative achievements like innovations are more and more often created in interaction among different actors. The complexity of today‘s problems transcends the individual human mind, requiring not only individual but also collective creativity. In collective creativity, it is impossible to trace the source of new ideas to an individual. Instead, creative activity emerges from the collaboration and contribution of many individuals, thereby blurring the contribution of specific individuals in creating ideas. Collective creativity is often associated with diversity of knowledge, skills, experiences and perspectives. Collaboration between diverse actors thus triggers creativity and gives possibilities for collective creativity. This dissertation investigates collective creativity in the context of practice-based innovation. Practice-based innovation processes are triggered by problem setting in a practical context and conducted in non-linear processes utilising scientific and practical knowledge production and creation in cross-disciplinary innovation networks. In these networks diversity or distances between innovation actors are essential. Innovation potential may be found in exploiting different kinds of distances. This dissertation presents different kinds of distances, such as cognitive, functional and organisational which could be considered as sources of creativity and thus innovation. However, formation and functioning of these kinds of innovation networks can be problematic. Distances between innovating actors may be so great that a special interpretation function is needed – that is, brokerage. This dissertation defines factors that enhance collective creativity in practice-based innovation and especially in the fuzzy front end phase of innovation processes. The first objective of this dissertation is to study individual and collective creativity at the employee level and identify those factors that support individual and collective creativity in the organisation. The second objective is to study how organisations use external knowledge to support collective creativity in their innovation processes in open multi-actor innovation. The third objective is to define how brokerage functions create possibilities for collective creativity especially in the context of practice-based innovation. The research objectives have been studied through five substudies using a case-study strategy. Each substudy highlights various aspects of creativity and collective creativity. The empirical data consist of materials from innovation projects arranged in the Lahti region, Finland, or materials from the development of innovation methods in the Lahti region. The Lahti region has been chosen as the research context because the innovation policy of the region emphasises especially the promotion of practice-based innovations. The results of this dissertation indicate that all possibilities of collective creativity are not utilised in internal operations of organisations. The dissertation introduces several factors that could support collective creativity in organisations. However, creativity as a social construct is understood and experienced differently in different organisations, and these differences should be taken into account when supporting creativity in organisations. The increasing complexity of most potential innovations requires collaborative creative efforts that often exceed the boundaries of the organisation and call for the involvement of external expertise. In practice-based innovation different distances are considered as sources of creativity. This dissertation gives practical implications on how it is possible to exploit different kinds of distances knowingly. It underlines especially the importance of brokerage functions in open, practice-based innovation in order to create possibilities for collective creativity. As a contribution of this dissertation, a model of brokerage functions in practice-based innovation is formulated. According to the model, the results and success of brokerage functions are based on the context of brokerage as well as the roles, tasks, skills and capabilities of brokers. The brokerage functions in practice-based innovation are also possible to divide into social and cognitive brokerage.

Building organizational creativity – a multitheory and multilevel approach for understanding and stimulating organizational creativity

Organizational creativity is increasingly important for organizations aiming to survive and thrive in complex and unexpectedly changing environments. It is precondition of innovation and a driver of an organization’s performance success. Whereas innovation research increasingly promotes high-involvement and participatory innovation, the models of organizational creativity are still mainly based on an individual-creativity view. Likewise, the definitions of organizational creativity and innovation are somewhat equal, and they are used as interchangeable constructs, while on the other hand they are seen as different constructs. Creativity is seen as generation of novel and useful ideas, whereas innovation is seen as the implementation of these ideas. The research streams of innovation and organizational creativity seem to be advancing somewhat separately, although together they could provide many synergy advantages. Thereby, this study addresses three main research gaps. First, as the knowledge and knowing is being increasingly expertized and distributed in organizations, the conceptualization of organizational creativity needs to face that perspective, rather than relying on the individual-creativity view. Thus, the conceptualization of organizational creativity needs clarification, especially as an organizational-level phenomenon (i.e., creativity by an organization). Second, approaches to consciously build organizational creativity to increase the capacity of an organization to demonstrate novelty in its knowledgeable actions are rare. The current creativity techniques are mainly based on individual-creativity views, and they mainly focus on the occasional problem-solving cases among a limited number of individuals, whereas, the development of collective creativity and creativity by the organization lacks approaches. Third, in terms of organizational creativity as a collective phenomenon, the engagement, contributions, and participation of organizational members into activities of common meaning creation are more important than the individualcreativity skills. Therefore, the development approaches to foster creativity as social, emerging, embodied, and collective creativity are needed to complement the current creativity techniques. To address these gaps, the study takes a multiparadigm perspective to face the following three objectives. The first objective of this study is to clarify and extend the conceptualization of organizational creativity. The second is to study the development of organizational creativity. The third is to explore how an improvisational theater based approach fosters organizational creativity. The study consists of two parts comprising the introductory part (part I) and six publications (part II). Each publication addresses the research questions of the thesis through detailed subquestions. The study makes three main contributions to the research of organizational creativity. First, it contributes toward the conceptualization of organizational creativity by extending the current view of organizational creativity. This study views organizational creativity as a multilevel construct constituting both of individual and collective (group and organizational) creativity. In contrast to current views of organizational creativity, this study bases on organizational (collective) knowledge that is based on and demonstrated through the knowledgeable actions of an organization as a whole. The study defines organizational creativity as an overall ability of an organization to demonstrate novelty in its knowledgeable actions (through what it does and how it does what it does).Second, this study contributes toward the development of organizational creativity as multi-level phenomena, introducing developmental approaches that face two or more of these levels simultaneously. More specifically, the study presents the cross-level approaches to building organizational creativity, by using an approach based in improvisational theater and considering assessment of organizational renewal capability. Third, the study contributes on development of organizational creativity using an improvisational theater based approach as twofold meaning. First, it fosters individual and collective creativity simultaneously and builds space for creativity to occur. Second, it models collective and distributed creativity processes, thereby, contributing to the conceptualization of organizational creativity.

Balancing creativity and risk intelligence in professional knowledge-intensive business services

The main strengths of professional knowledge-intensive business services (P-KIBS) are knowledge and creativity which needs to be fostered, maintained and supported. The process of managing P-KIBS companies deals with financial, operational and strategic risks. That is why it is reasonable to apply risk management techniques and frameworks in this context. A significant challenge hides in choosing reasonable ways of implementing risk management, which will not limit creative ability in organization, and furthermore will contribute to the process. This choice is related to a risk intelligent approach which becomes a justified way of finding the required balance. On a theoretical level the field of managing both creativity and risk intelligence as a balanced process remains understudied in particular within KIBS industry. For instance, there appears to be a wide range of separate models for innovation and risk management, but very little discussion in terms of trying to find the right balance between them. This study aims to shed light on the importance of well-managed combination of these concepts. The research purpose of the present study is to find out how the balance between creativity and risk intelligence can be managed in P-KIBS. The methodological approach utilized in the study is strictly conceptual without empirical aspects. The research purpose can be achieved through answering the following research supporting questions: 1. What are the characteristics and role of creativity as a component of innovation process in a P-KIBS company? 2. What are the characteristics and role of risk intelligence as an approach towards risk management process implementation in a P-KIBS company? 3. How can risk intelligence and creativity be balanced in P-KIBS? The main theoretical contribution of the study conceals in a proposed creativity and risk intelligence stage process framework. It is designed as an algorithm that can be applied on organizational canvas. It consists of several distinct stages specified by actors involved, their roles and implications. Additional stage-wise description provides detailed tasks for each of the enterprise levels, while combining strategies into one. The insights driven from the framework can be utilized by a vast range of specialists from strategists to risk managers, and from innovation managers to entrepreneurs. Any business that is designing and delivering knowledge service can potentially gain valuable thoughts and expand conceptual understanding from the present report. Risk intelligence in the current study is a unique way of emphasizing the role of creativity in professional knowledge-intensive industry and a worthy technique for making profound decisions towards risks.

Scientific creativity and diversity of physical work environment: framework development

The aim of this research was to develop a framework to analyze how physical environment influences scientific creativity. Due to the relative novelty of this topic, there is still a gap in the unified method to study connection between physical environment and creativity. Therefore, in order to study this issue deeply, the qualitative method was used (interviews and qualitative questionnaire). Scientists (PhD students and senior researchers) of Graduate School of Management were interviewed to build the model and one expert interview was conducted to assess its validity. The model highlights several dimensions via which physical environment can influence scientific creativity: Comfort, Instruments and Diversity. Comfort and Instruments are considered to be related mostly to productivity, an initial requirement for creativity, while Diversity is the factor responsible for supporting all the stages of scientific creative process. Thus, creative physical environment is not one place by its nature, but an aggregative phenomenon. Due to two levels of analysis, the model is named the two-level model of creative physical environment.

Organizational creativity – Hegemonic and alternative discourses

SUMMARY Organizational creativity – hegemonic and alternative discourses Over the course of recent developments in the societal and business environment, the concept of creativity has been brought into new arenas. The rise of ‘creative industries’ and the idea of creativity as a form of capital have attracted the interests of business and management professionals – as well as academics. As the notion of creativity has been adopted in the organization studies literature, the concept of organizational creativity has been introduced to refer to creativity that takes place in an organizational context. This doctoral thesis focuses on organizational creativity, and its purpose is to explore and problematize the hegemonic organizational creativity discourse and to provide alternative viewpoints for theorizing about creativity in organizations. Taking a discourse theory approach, this thesis, first, provides an outline of the currently predominant, i.e. hegemonic, discourse on organizational creativity, which is explored regarding themes, perspectives, methods and paradigms. Second, this thesis consists of five studies that act as illustrations of certain alternative viewpoints. Through these exemplary studies, this thesis sheds light on the limitations and taken-for-granted aspects of the hegemonic discourse and discusses what these alternative viewpoints could offer for the understanding of and theorizing for organizational creativity. This study leans on an assumption that the development of organizational creativity knowledge and the related discourse is not inevitable or progressive but rather contingent. The organizational creativity discourse has developed in a certain direction, meaning that some themes, perspectives, and methods, as well as assumptions, values, and objectives, have gained a hegemonic position over others, and are therefore often taken for granted and considered valid and relevant. The hegemonization of certain aspects, however, contributes to the marginalization of others. The thesis concludes that the hegemonic discourse on organizational creativity is based on an extensive coverage of certain themes and perspectives, such as those focusing on individual cognitive processes, motivation, or organizational climate and their relation to creativity, to name a few. The limited focus on some themes and the confinement to certain prevalent perspectives, however, results in the marginalization of other themes and perspectives. The negative, often unintended, consequences, implications, and side effects of creativity, the factors that might hinder or prevent creativity, and a deeper inquiry into the ontology and epistemology of creativity have attracted relatively marginal interest. The material embeddedness of organizational creativity, in other words, the physical organizational environment as well as the human body and its non-cognitive resources, has largely been overlooked in the hegemonic discourse, although thereare studies in this area that give reason to believe that they might prove relevant for the understanding of creativity. The hegemonic discourse is based on an individual-centered understanding of creativity which overattributes creativity to an individual and his/her cognitive capabilities, while simultaneously neglecting how, for instance, the physical environment, artifacts, social dynamics and interactions condition organizational creativity. Due to historical reasons, quantitative as well as qualitative yet functionally- oriented studies have predominated the organizational creativity discourse, although studies falling into the interpretationist paradigm have gradually become more popular. The two radical paradigms, as well as methodological and analytical approaches typical of radical research, can be considered to hold a marginal position in the field of organizational creativity. The hegemonic organizational creativity discourse has provided extensive findings related to many aspects of organizational creativity, although the con- ceptualizations and understandings of organizational creativity in the hegemonic discourse are also in many respects limited and one-sided. The hegemonic discourse is based on an assumption that creativity is desirable, good, necessary, or even obligatory, and should be encouraged and nourished. The conceptualiza- tions of creativity favor the kind of creativity which is useful, valuable and can be harnessed for productivity. The current conceptualization is limited to the type of creativity that is acceptable and fits the managerial ideology, and washes out any risky, seemingly useless, or negative aspects of creativity. It also limits the possible meanings and representations that ‘creativity’ has in the respective discourse, excluding many meanings of creativity encountered in other discourses. The excessive focus on creativity that is good, positive, productive and fits the managerial agenda while ignoring other forms and aspects of creativity, however, contributes to the dilution of the notion. Practices aimed at encouraging the kind of creativity may actually entail a risk of fostering moderate alterations rather than more radical novelty, as well as management and organizational practices which limit creative endeavors, rather than increase their likelihood. The thesis concludes that although not often given the space and attention they deserve, there are alternative conceptualizations and understandings of organizational creativity which embrace a broader notion of creativity. The inability to accommodate the ‘other’ understandings and viewpoints within the organizational creativity discourse runs a risk of misrepresenting the complex and many-sided phenomenon of creativity in organizational context. Keywords: Organizational creativity, creativity, organization studies, discourse theory, hegemony

Luovuus näyttelijäntyössä

This thesis considers creativity in acting and performing. The original question is how to construct roles creatively. The thesis also considers the quality of creativity at a general level. In addition, the question expands to consider directing and, briefly, the ethics of making theatre. The first section discusses acceptation as a tool for opening the blocks that restrain creativity. It also discusses what the use of acceptation causes and what challenges it brings when creativity begins. The second and the third sections deal with two productions that have changed the author's view of creativity and theatre. The first production is "Medeia Goes Karaoke". This section considers the influence of listening and being in contact when making the role of Medeia. The second production is about directing, "My Roots are Water and Blood". This section considers revising performing and directing and especially the influence of the Alexander-technique. The last section concerns the definition of what good acting is. It also discusses the differences between performing and acting and presents the author's opinions concerning the ethics of acting. The aim of this work is to define creativity in acting, performing and theatre-making, through the author' s personal experiences.

Sanoin kuvaamaton : teatterintekijän pohdintoja intuitiosta

This thesis examines the concept of intuition from different aspects. The basis for this thesis has been the author`s experience about education as a supportive process for intuitive thinking. It studies what taking advantage of intuition means for the author of this thesis and how intuition can be defined as a concept. This thesis shows what intuition means both from the performer`s and the director`s point of view. The author attemps to explain how these two areas of her professional identity either support or prevent intuitive creativity from emerging successfully. The intuition of a performer is examined through playback theatre and the insight associated with playback theatre. Regarding the work of a director, the author describes the making of a walking tour performance called "Sama maa" (2006) that she directed. The author attempted to fully utelize her intuitive creativity while planning the performance. The intuitive choices of the author were the basis for planning and carrying out the performance. This thesis studies a concept that is very challenging to explain in words. There is not a lot of literature about concept of intuition with respect to theater. The author of the thesis has ended up thinging about guestion that is very important to her, a guestion about relationship between controlled and authentic mental processing. The author also engourages others to think about the meaning of intuition and insight to themselves as a part of a daily life and as a part of the artistic creativity.

Luovuus ja itsetuntemus ohjaajantyössä

This research deals with obstacles and opportunities with respect to creativity. It mainly focuses on the author's most meaningful discoveries as an individual and a professional in the field of theatre during the past two years of her education. The research is a description of that transitional phase in her life. Firstly, the research discusses creativity and presence. Secondly, it describes the author personally and professionally and compares her earlier and current ways of working. It contemplates the obstacles and opportunities considering her self-knowledge and creativity, and disucsses the problems she has faced on the way to freedom and well-being. Following this, the author presents the tools for increasing her creativity, self-knowledge and body awareness in theatre work: the Gestalt Method, Acting with the Inner Partner and the Authentic Movement. She discusses the relativity between overall well-being in life and the quality of theatre work. The final section of the present research discusses the process of directing the play Suurin on rakkaus in 2006. It deals with issues such as self-knowledge in directing, group management, the importance of terror and excitement in directing and ways of enduring both. The conclusion explanes the reasons behind the author's capability of working with small groups, with creative and passionate theatre workers. It also lists the benefits of exploring one's passions, cooperating with enthusiastic and creative artists and the pursuit for balance in art and in everyday life.

Innovaation alkupään johtaminen

Työn tavoitteena oli selventää innovaatioketjun alkupään liittyviä keskeisiä käsitteitä, menetelmiä ja toimintamalleja sekä laatia innovaation alkupään ja kyvykkyyden arviointi- ja johtamismallit. Innovaatio on määritelmänsä mukaisesti uusi keksintö, joka on sovellettu käytäntöön ja se luo yritykselle lisäarvoa. Innovaatio on uusi malli, käytäntö tai konsepti, joka muuttaa vallitsevia käytäntöjä siten, että teknologinen ja taloudellinen suorituskyky paranee. Keskeinen kysymys on kirkastaa sumea etupää (Fuzzy Front End) uusiksi liiketoiminta-mahdollisuuksiksi. Innovaation tietolähteet: hiljaiset signaalit, trendit, kilpailija- ja asiakastieto, nousevat uudet teknologiat, tuotepalaute sekä tutkimus-, patentti- ja lisensiointi-informaatio, tarjoavat yrityksille mahdollisuuksia mm. tuote-, prosessi-, palvelu- ja liiketoimintainnovaatioksi. Tulevaisuuden näkeminen alkaa tietämisestä miten hallitsemme signaaleita, jotka ovat olemassa tänään, mutta niitä ei ole tunnistettu. Taitavissa innovaatioyrityksissä tulevaisuuden etsiminen on avainprioriteetti. Mullistavia uusia teknologioita otetaan käyttöön kaikilla teollisuuden aloilla. Näitä mahdollisuuksia on jatkuvasti ja systemaattisesti monitoroitava ja hyödynnettävä. Innovaatiot ja luovuus liittyvät läheisesti toisiinsa. Yrityksen innovatiivisuuden kehittämiseen liittyy sekä organisaatio- että yksilötason jatkuvaa kehittämistä. Yksilöt ovat organisaatiossa ideoiden lähde, mutta sen kehittäminen innovaatioksi on koko organisaation vastuulla. Innovatiivinen organisaatio on aina myös luova, koska luovuus on innovaation lähde. Luovuuden avulla tuotetaan uusia ja hyödyllisiä ideoita ja toimeenpanokyky sisältää ideoiden kehittämisen ja hyödyntämisen liiketoiminnassa. Innovaatiot edellyttävät myös uutta ajattelua. Rationaalinen ajattelu on jopa innovatiivisuuden este. Ajattelukyvykkyyden kehittäminen johtaa tutkimuksien mukaan tehokkaampaan kommunikointiin ja tuloksekkaampaan tiimityöhön. Innovaatiot syntyvät usein vuorovaikutuksessa poikkiorganisatorisissa tiimeissä Innovaatiot eivät synny sattumalta vaan johtamisen tuloksena. Luovuuden ja kyvykkyyksien johtaminen on innovatiivisen organisaation peruselementtejä. Innovaatiokyvykkyyden osatekijöitä ovat innovaation tietolähteiden hyödyntäminen, toimialan osaaminen, innovaatioita tukevat johtamis- ja tietojärjestelmät, innovaatiokulttuuri, prosessilähtöisyys ja dynaaminen kyvykkyys. Innovaatioiden johtaminenon strategialähtöistä, innovaatioprosessien implementointia, työkalujen ja menetelmien hallintaa sekä innovatiivisuuden kehittämistä.

Kaupunkiorganisaation uudistuminen. Case Haminan kaupunki

Tutkielmassa tutkittiin kuntaorganisaation uudistumista vuoden vanhan Haminan kaupungin uudistumiskykyisyyttä. Tutkielman empiirisessä osassa käytettiin kvalitatiivista ja kvantitatiivista tutkimusotetta. Tutkimusaineistona olikoko Haminan kaupungin henkilöstö, 1639 henkilöä ja tutkimus suoritettiin keväällä 2004. Tutkimusmenetelminä käytettiin ©businessXray Oy:n KM - factoriaTM, kaupungin ylimmän johdon teemahaastatteluja. Kyselyn vastausprosenttina 44. Tutkimuksen tuloksena todetaan, että Haminan kaupungilla on uudistumiskykyisyyttä ja yhtenäistä näkemystä. Organisaation strategisessa kyvykkyydessä nousi esiin organisaation tilannetietoisuus ja - herkkyys sekä sitoutuminen, jota tarvitaan muutosprosesseissa. Toisaalta nykyisessä organisaation toimintatavassa on kehitettäväävalitun strategian suuntaiseksi. Johdon teemahaastatteluissa korostuivat tulevaisuuden organisaation menestystekijäksi ihmisten välinen avoin vuorovaikutus ja luovat ratkaisut. Haminan kaupungin tulevaisuus on suuntautumassa innovatiivisuuteen, sillä ylin johto on vahvasti dynaamiseen strategianäkemykseen orientoitunut.

Organisaation innovatiivisuutta edistävät ja estävät tekijät. Case Technology Business Research Center

Tämän työn toimeksiantajaorganisaatio oli Lappeenrannan teknillisen yliopiston alainen, kauppatieteitä, teknologiaa ja tuotantotaloutta työssään yhdistävä tutkimusyksikkö, Technology Business Research Center, TBRC. Erään innovatiivisuustutkimusprojektin (InnoSpring) yhteydessä haluttiin selvittää myös oman tutkimusyksikön innovatiivisuuteen vaikuttavia, edistäviä ja estäviä tekijöitä. Tutkielman tavoitteena oli kartoittaa niitä seikkoja, jotka organisaation - tässä tapauksessa yliopiston tutkimusyksikön - henkilökunnan, projektityöntekijöiden, projektipäälliköiden sekä johdon mukaan vaikuttavat yksikön kykyyn luoda ja omaksua uutta, sen innovatiivisuuteen. Työ toteutettiin focus group-ryhmähaastattelumenetelmällä (kvalitatiivinen tutkimus), joihin osallistuivat omina ryhminään työntekijätaso, projektipäälliköt sekä johto.Haastattelut äänitettiin, litteroitiin ja koodattiin Atlas-Ti-ohjelmistolla. Loppuraportti verkostokuvineen luovutettiin tutkimuslaitokselle heinäkuussa 2005. Ryhmäkeskustelun teemoista ja kysymysten muodosta johtuen tulokset käsittelivät niin tutkimusyksikön nykyistä tilaa kuin eräänlaista "toivetilaa", millainen olisi ihanteellinen ja innovatiivinen työpaikka. Merkillepantavaa oli, että työssä tuli systemaattisesti esiin enemmän innovatiivisuutta edistäviä kuin ehkäiseviä seikkoja - vaikka osa edistävistä seikoista koskikin nimenomaan "toivetilaa". Keskustelluimpia teemoja olivat johtajuus,tavoitteellisuus ja strategian, yhteisen suunnan tarve. Samoin olemassa olevienprosessien kehittäminen, osaamisen (niin oman kuin koko organisaationkin) kokoaminen ja kehittäminen edelleen sekä tulosten jalkauttaminen.

Aspects on Process Engineering in the Finnish Pulp and Paper Industry : Thesis for the Degree of Licentiate in Science of Technology

Process development will be largely driven by the main equipment suppliers. The reason for this development is their ambition to supply complete plants or process systems instead of single pieces of equipment. The pulp and paper companies' interest lies in product development, as their main goal is to create winning brands and effective brand management. Design engineering companies will find their niche in detail engineering based on approved process solutions. Their development work will focus on increasing the efficiency of engineering work. Process design is a content-producing profession, which requires certain special characteristics: creativity, carefulness, the ability to work as a member of a design team according to time schedules and fluency in oral as well as written presentation. In the future, process engineers will increasingly need knowledge of chemistry as well as information and automation technology. Process engineering tools are developing rapidly. At the moment, these tools are good enough for static sizing and balancing, but dynamic simulation tools are not yet good enough for the complicated chemical reactions of pulp and paper chemistry. Dynamic simulation and virtual mill models are used as tools for training the operators. Computational fluid dynamics will certainlygain ground in process design.