Climate setting in sourcing teams:developing a measurement scale for team creativity climate

Creative sourcing strategies, designed to extract more value from the supply base, have become a competitive, strategic differentiator. To fuel creativity, companies install sourcing teams that can capitalize on the specialized knowledge and expertise of their employees across the company. This article introduces the concept of a team creativity climate (TCC) - team members' shared perceptions of their joint policies, procedures, and practices with respect to developing creative sourcing strategies – as a means to address the unique challenges associated with a collective, cross-functional approach to develop value-enhancing sourcing strategies. Using a systematic scale development process that validates the proposed concept, the authors confirm its ability to predict sourcing team performance, and suggest some research avenues extending from this concept.

On the relationship between cultural diversity and creativity in education:the moderating role of communal versus divisional mindset

We conducted an experimental study with the aim of testing certain conditions under which engaging with cultural diversity increases creativity among schoolchildren. Results obtained from a sample of 149 Italian elementary schoolchildren revealed that engaging with cultural diversity, operationalized by asking Italian children to work with immigrant children on a cooperative task, led to an increase in creativity. Furthermore, we found that this effect was only present when a communal but not a divisional mindset (emphasizing group distinctions) was present. We discuss theoretical and practical implications of findings.

A sikeres növekedés és innováció feltételei (The condition of successful growth and innovation)

Kutatásukban a szerzők a sikeres innovációs-növekedési stratégiák beazonosítására törekedtek két dimenzió mentén: növekedési erőfeszítés és innovációs erőfeszítés. A sikert mint a radikális innováció piaci bevezetéseként definiálták. A szakirodalom áttekintése és kvalitatív kutatási eredményeink alapján azt találták, hogy a siker feltételei a következők: (1) „felkészültség”, azaz biztos szakmai tudás (know-what); a (2) „gyakorlás”, azaz a folyamatok tökéletes ismerete (know-how); a (3) „tehetséggondozás”, azaz a megfelelő kapcsolati tőke a hiányzó képességek, erőforrások és információk megszerzéséhez (know-who); és végül a (4) „tehetség”, azaz kreativitás, magas asszociációs készség, és innovatív ötletek. A vezető feladata annak felismerése, hogy mikor szükséges lassítania a szervezetre nehezedő növekedési nyomáson. A nyugalmi időszakban továbbra is fontos az innovációs képességek fejlesztése. Következetesen fel kell ismernie, hogy mikor lesz nagyobb a szétaprózott erőforrások és a megosztott figyelem költsége, mint a potenciális hozadéka. _______ In present research the successful innovation-growth strategies are identified along two dimensions: growth effort and innovation effort. The success is defined as the introduction to the market of a radical innovation. After reviewing the literature and conducting a qualitative research, authors found that the threshold condition of success are the followings: (1) “preparation”, that is expertise (know-what); (2) “practice”, that is deep understanding of processes (know-how); (3) “talent support”, that is access to missing resources; and finally (4) “talent”, that is creativity, innovative idea, and high association capability. This is the role of the manager to decide when the organizational growth should be slowed down. While the development of innovation capability is still important in times of slow growth periods, the manager must recognize that the cost of divided attention and fragmented resources is higher, than the potential return of the innovation.

A kreativitás megítélése a munkaerőpiacon (Creativity from view of job market)

A cikk két, felsőoktatásban dolgozó oktató és kutató törekvése arra, hogy feltérképezze a frissen végzett egyetemi hallgatókkal szemben, a munkaerőpiac oldaláról érkező kreativitással kapcsolatos elvárásokat. Az alapötlet egy EU-kreativitáskutatásból nőtt ki, melyben magyar középiskolai tanárok is közreműködtek. A szerzők kutatásukba beépítettek egy válaszokat tartalmazó adatbázist (337 fő). Ezt követően generáltak egy másik mintát, amely az egyetemi hallgatókat fedte le (292 fő). A lánc harmadik elemeként on-line formában és személyes lekérdezéssel 112 HR-szakember véleményét kérdezték meg a kreativitás fontosságával, mérhetőségével, az ötletet adó EU-projekt kreativitással kapcsolatos állításaival és a kreativitás definíciójával kapcsolatban. Cikkük a válaszok kvantitatív feldolgozásának eredményeit ismerteti. ______ The paper is the product of a professor’s and a researcher’s (both working in higher education) aim to determine the expectations of the job market as regards creativity in fresh graduates. The idea for this came from an EU creativity study which had included Hungarian high school teachers. The authors have integrated the database (337 persons) of these teachers’ answers into the study. They also generated a second sample that covered university students (292 persons). As a third element, the authors assessed the opinion of 112 HR managers online and in person as regards the importance and measurability of creativity, as well as their views on the statements pertaining to and definition of creativity as given in the EU creativity project. The paper presents the results of the quantitative analysis of the responses.

Creative Techniques in the Framework of Market and Evolution

This paper tries to reframe the man-machine problem, which has frequently changed throughout history. Originally, a machine was a helper of man, but later became its competitor and substitute. As a consequence of this, man has been pushed out of production and possibly, out of life itself. For today, nearly all the man’s functions – except for consumption and creativity – can be furnished by machines. Creativity should have a special place because it is the last “shelter” of man in the conflict with machine. Almost every other faculty of man has more or less been simulated by technology. There are some key questions to be answered: Whom do the creative techniques serve? Is the target group the men or machines?

CRIATIVIDADE EM PUBLICIDADE E A QUESTÃO ÉTICA: um estudo da publicidade brasileira premiada

A questão ética deve pautar a atividade profissional do publicitário, por ser uma atividade de grande influência sobre a opinião pública, pois associa a imagem de empresas e suas marcas a uma postura de comprometimento com a sociedade na qual está inserida, transformando-as em empresas-modelo. Em nome da criatividade publicitária, muitas vezes, anúncios de produtos e serviços diversos contradizem uma propaganda socialmente responsável. A presente dissertação analisou a linguagem e o discurso da propaganda no que se refere à questão ética, observando-se até que ponto elas consideram ou não estas questões. Desta forma, apresentam-se como os elementos que compõem a mensagem podem deixar, explícita ou implicitamente, informações que poderiam comprometer a empresa caso a observação do público fosse mais crítica ou mais apurada. Para esta análise foram selecionados anúncios premiados no prêmio Profissionais do Ano , hoje um dos principais prêmios da propaganda brasileira instituído pela Rede Globo de Televisão, e o instrumento metodológico utilizado foi uma leitura subsidiada na análise do discurso. A grande maioria dos comerciais premiados neste Festival não fere princípios éticos. Foi selecionado apenas um corpus, em que se confrontou a temática criativa de cada comercial com o Código Brasileiro de Auto-regulamentação Publicitária (CONAR), verificando assim como estes comerciais,sob este olhar, podem ser considerados como incorretos no tocante à ética e à responsabilidade social.(AU)

Practice-based film education for children: teaching and learning for creativity, citizenship and participation

Practice-oriented film education aimed at children has been hailed for various reasons: at a personal level, as a means of providing tools for self-expression, for developing creativity and communication skills. And at a social level, it is argued that children must now become competent producers, in addition to critical consumers, of audiovisual content so they can take part in the global public sphere that is arguably emerging. This chapter discusses how the challenges posed by introducing children to filmmaking (i.e. digital video) are being met at three civil associations in Mexico: La Matatena AC, which seeks to enrich the children’s lives by means of the aesthetic experience filmmaking can bring them. Comunicaciòn Comunitaria, concerned with the impact filmmaking can have on the community, preserving cultural memory and enabling participation. And Juguemos a Grabar, with a focus on urban regeneration through the cultural industries.

Knot/Knotting Practice in Craft and Space

Knot/knotting Practice in Craft and Space is a three part research-creation project that used a study of knotting techniques to locate craft in an expanded field of spatial practice. The first part consisted of practical, studio based exercises in which I worked with various natural and synthetic fibres to learn common knotting techniques. The second part was an art historical study that combined craft and architecture history with critical theory related to the social production of space. The third part was an exhibition of drawing and knotted objects titled Opening Closures. This document unifies the lines inquiry that define my project. The first chapter presents the art historical justification for knotting to be understood as a spatial practice. Nineteenth-century German architect and theorist Gottfried Semper’s idea that architectural form is derived from four basic material practices allies craft and architecture in my project and is the point of departure from which I make my argument. In the second chapter, to consider the methodological concerns of research-creation as a form of knowledge production and dissemination, I adopt the format of an instruction manual to conduct an analysis of knot types and to provide instructions for the production of several common knots. In the third chapter, I address the formal and conceptual underpinnings of each artwork presented in my exhibition. I conclude with a proposal for an expanded field of spatial practice by adapting art critic and theorist Rosalind Krauss’s well-known framework for assessing sculpture in 1960s.

Stitching Settler Identities: Canadian Quilts and Their Makers, 1800-1880

Stitching Settler Identities: Canadian Quilts and their Makers, 1800-1880 explores the making, use, and circulation of handmade settler quilts as representation of nineteenth-century women’s social, cultural and economic histories in Canada. An important part of Canadian settlement history is the making and use of handmade quilts in the settler homestead. Handmade coverlets that provided both physical and emotional warmth in the home were a measure of a settler-woman’s careful management of resources and a display of her innovation and creativity. Few settler women recorded their daily experiences; however, most women could sew and quilts offered a method of expression that allowed them to reflect and portray their identities. Thus far, the few studies of quilts have been limited to exhibition catalogues or research that considers a quilt’s aesthetics or its historic significance. While several scholars have called for a reclassification of textile production and needle arts to advance the way in which settler women were viewed as social beings – creating, producing, communicating, and circulating cultural values, most studies on quilts have overlooked a coverlet’s materiality. This study aims to expand the research on quilts as material culture within the context of art history by also considering a quilt’s materiality and when possible, its maker's biography.

Copyright Bites

Copyright Bites is a series of short videos that makes copyright law and policy easier to understand. With a distinctive visual vocabulary and style, the series explores the relationship between copyright and the public domain both of which are essential in fostering creativity and the creation of new work. It concerns how creators exploit and protect their work, as well as when it is okay to copy and re-use the work of others without having to ask for permission and without having to clear rights. Copyright is extremely important; but so too is the public domain.

Adaptive Crowd Algorithms for Open-Ended Problems

Thesis (Ph.D.)--University of Washington, 2016-06

Institutional entrepreneurship and techniques of inclusiveness in the creation of the Intergovernmental Platform on Biodiversity and Ecosystem Services

This article contributes to understanding the conditions of social-ecological change by focusing on the agency of individuals in the pathways to institutionalization. Drawing on the case of the Intergovernmental Platform on Biodiversity and Ecosystem Services (IPBES), it addresses institutional entrepreneurship in an emerging environmental science-policy institution (ESPI) at a global scale. Drawing on ethnographic observations, semistructured interviews, and document analysis, we propose a detailed chronology of the genesis of the IPBES before focusing on the final phase of the negotiations toward the creation of the institution. We analyze the techniques and skills deployed by the chairman during the conference to handle the tensions at play both to prevent participants from deserting the negotiations arena and to prevent a lack of inclusiveness from discrediting the future institution. We stress that creating a new global environmental institution requires the situated exercise of an art of “having everybody on board” through techniques of inclusiveness that we characterize. Our results emphazise the major challenge of handling the fragmentation and plasticity of the groups of interest involved in the institutionalization process, thus adding to the theory of transformative agency of institutional entrepreneurs. Although inclusiveness might remain partly unattainable, such techniques of inclusiveness appear to be a major condition of the legitimacy and success of the institutionalization of a new global ESPI. Our results also add to the literature on boundary making within ESPIs by emphasizing the multiplicity and plasticity of the groups actually at stake.

Creating value, not wasting resources: sustainable innovation strategies

It is well-accepted in academic and public debate that society has overused natural resources. Business managers in consequence face a normative framework where products need to become more ‘sustainable’. The paper characterises the mechanisms and logic that make ‘[environmentally] sustainable innovation strategies’. Those mechanisms highlight multiple value creation and sustaining value beyond the original new product lifecycle. They yield as much utility as possible from the embedded natural resources. And they avoid creating waste. ‘Multiple value creation’ asks managers to revaluate the attrite product or to make customers change their use patterns. The paper then demonstrates how to extend the ‘old’ logic of innovation with a phase of revaluation: a phase promoting further use of the product and/or material. Our concept is empirically illustrated by two industry case examples. Namely, the copier industry and the emerging automotive lithium-ion batteries industry. We provide a patent analysis in order to demonstrate the assessment of extended life cycles, for the case of ‘recovery of raw materials from disposed products���.