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Building Healthy Organizations for Optimal Performance > Innovation & Creativity > Flashcards

Innovation & Creativity Flashcards

1
Q

Creative activities and creativity leads to multiple “career”(-related) benefits, like?

A

Creative activities and creativity leads to multiple “career”(-related) benefits:
❖Wages and bonus
❖Promotion(s)
❖Surprising job and gig offers ❖Expat experience
❖Partnership and collaboration opportunities

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2
Q

WHY CREATIVITY “MANIA”? A CATEGORISATION?

A
  1. Economic
    - Economic advantage;
    ▪ Abundance: oversupplied goods→change for differentiation/comp.
    advantage.
    ▪ Money: outsourcing from West to East
    ▪ Automation: efficient robots
    ▪ Scarcity of human resources
    ▪ Now: Sustainability
    - Career success.
  2. Political/relational
    ▪ Status;
    ▪ Image build;
    ▪ Interpersonal attraction.
  3. Biological
    ▪ Healthy advantage;
    ▪ Happiness.
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3
Q

What is creativity?

A
  1. Creativity is the ability to create (= to make new things) and think of of new ideas (Merriam- Webster).
  2. Creativity is a process resulting in a product; it is the production of a novel and appropriate response, product, or solution to an open-ended task. The response must be new, but it must also be appropriate to the task to be completed or the problem to be solved. In addition, the task must be open-ended, rather than having a single, obvious solution (Amabile & Mueller, 2008).
  3. Creativity is the ability to produce new ideas which are novel to the idea producers themselves (Drabkin, 1996).
  4. Creativity is not an attribute of individuals, but of social systems making judgments about individuals…The social and cultural conditions, interacting with individual potentialities, brought about the objects and behaviours we call creative” (Csikszentmihalyi, 1994).
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4
Q

What is the scope of creativity?

A
  1. “the production of novel and appropriate responses, products, or solutions”.
  2. Core elements: novelty and usefulness
  3. Domains: business, science, fine art.
  4. Scope: R&D staff, sales teams, HR jobs…. all job positions.
  5. Types: incremental (“c”) vs. radical (“C”)
  6. Level: individual, team, organisational, regional, country/cultural
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5
Q

Difference between CREATIVITY & INNOVATION?

A
  1. Many consider innovation and creativity the same; do not make a distinction between two concepts – no essential difference.
  2. Others do demarcate the two concepts:
     Innovation more used at the organizational level, whilst creativity refers to an individual or team characteristic.
     Creativity is not necessarily innovation → If you have a brainstorm meeting and dream up dozens of new ideas then you have displayed creativity, but there is no innovation until something gets implemented. This suggests that innovation encompasses the creativity concept.
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6
Q

What are the different views on creativity?

A
  1. Ability
    ▪ …to produce new ideas that are novel to producers themselves (Drabkin, 1996)
  2. Process
    ▪ Production of novel and appropriate responses, products, or solutions (Amabile & Mueller, 2008)
  3. Attribution and judgment
    ▪Creativity implies persuasion in that creative people change the way that others think (Simonton, 1990)
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7
Q

DIFFERENT VIEWS UNITED: MODEL ??

A

Within:
- Ability: Expertise & Creative ability
- Motivation(s
+ Environment
–> (Process)
- Novel & useful products and services (influenced by attribution & judgement)

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8
Q

What is CREATIVITY AS (INDIVIDUAL) ABILITY?

A
  1. Ability = the quality or state of “being able” =
  2. A (natural) capacity or talent that enables an individual to perform a particular job or task successfully.
     Creativity is one of the 24 values.
  3. Long-standing perspective: some individuals are more inclined to be creative than others by
    virtue of their personality or abilities (van Knippenberg & Hirst, 2015).
  4. Differences between individuals:
     Intelligence
     Demographic/biographic characteristics
     Personality/psychological/cognitive traits
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9
Q

FUEL FOR CREATIVITY: COGNITIVE STYLES

A

Kirton’s Cognitive Style measure (1987):
- Continuum ranging from adaptation to innovation.
 Adaptor: doing things better.
 Innovator: doing things differently; the more creative thinkers.

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10
Q

FUEL FOR CREATIVITY: PERSONALITY TRAITS

A 
Big-5 Personality (Goldberg, 1990):
 Openness to experience (+);  Agreeableness;
 Introversion/extraversion;
 Conscientiousness (-);
 Neuroticism/ emotional stability
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11
Q

FUEL FOR CREATIVITY: GOALS AND REGULATION

A
  • Big-5 Personality traits are quite general (high amount of variance explained), and are derived empirically rather than from theory.
  • As a reaction, search for more conceptually grounded explanations, for instance:
     Goal orientation: learning (mastery) vs. performance:
    → Performance-approach/prove: moving towards aspired goals and positive outcomes; proving one’s qualities.
    → Performance-avoidance: moving away from aversive stimulations and negative end-states.
  • Regulatory focus: promotion-focus (i.e. pursuit of certain goals due to desire to approach gains – risk seeking) vs. prevention-focus (i.e. pursuit of certain goals due to desire to avoid losses – risk averse).
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12
Q

Performance-approach & promotion focus lead to?

A

Approach oriented motivation promotes creativity;
• Activated and engaged individuals;
• Enhances cognitive flexibility;
• Broaden the scope of attention; (slide 32 out of 70)

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13
Q

Performance-avoidance and prevention-focus lead to?

A

Bi-sided effect of avoidance oriented motivation on creativity;
• Deactivated and disengaged individuals (not always);
• Enhances cognitive control, e.g., cognitive persistence;
• Narrow the scope of attention.

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14
Q

What is CREATIVITY AS A PROCESS?

A

Four basic stages (Amabile, 1996): 1. Problem definition/finding;
2. Preparation;
3. Idea generation;
4. Validation/communication.
There is a begin and an end to the process, but no strict order.

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15
Q

INFLUENCING THE PROCESS: COMPONENTIAL VIEW?

A
  1. Importance of selecting people that demonstrate high levels of each of the individual components of creativity:
    –> Componential Theory (Amabile):
     Component 1: (Domain-relevant) Expertise.
     Component 2: Creativity skill (i.e. set of creativity-relevant processes stemming from a person’s personality, cognitive style, and working style).
     Component 3: (Intrinsic) Motivation.

Addition: Environmental component: can foster or block creativity.

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16
Q

MOTIVATION COMPONENT: IMPORTANCE?

A
  1. Intrinsic motivation
    - Inner interest, associated with interest, passion, enjoyment:
     High engagement and autonomy in tasks;  Tendency to risk;
     Flexibly explore.
2. Extrinsic motivation
External goals, such as rewards, expectation of evaluation
 Low engagement in tasks (not always); 
 Tendency to comply;
 Exploit than explore.
17
Q

‘SYSTEMS VIEW’ OF CREATIVITY?

A
  1. Where the Componential Theory emphasises/centres around the individual, the Systems Theory (Csikszentmihalyi, 1999) also considers the domain and the field.
    - -> Creativity takes place in a system rather than in a singular person.
  • Domain transmits information to the person;
  • The person produces a variation, selected or not by the field,
  • The field in turn passes selected variations to the domain.
18
Q

COGNITIVE PROCESS(ING) OF CREATIVITY?

A
  1. INDIVIDUAL INPUTS
    - Traits (Intelligence, personality, cognitive abilities):
     Characteristic behaviours and feelings that are consistent and long lasting
     Biological basis
     Independent of environmental influences.
    - States (motivational states, emotional states):
     Temporary behaviours or feelings that depend on a person’s situation and motives at a particular time
     Influenced by traits
     Situational
    –> Traits & Individual states lead to uncommon novel, many ideas, insights, solutions, recognition & selection, evaluation (novel & useful outcomes).
    But how?
19
Q

So how do we move from the inputs to the outcomes?

A
  1. BRAIN PROCESS(ING):
    - INFORMATION STORAGE AND RETRIEVAL.
    Semantic network model of brain
     Nodes represent concepts
     Nodes link to each other based on relatedness
    # Cognitive units / nodes
    # Relatedness / Association  Proximal
     Remote
    Different styles across individuals…
  2. DIFFERENT STYLES ACROSS INDIVIDUALS: DUAL COGNITIVE PATHWAYS (TO CREATIVITY)
    - Divergent processing:
     Broad and inclusive mental categories
     Divergent and loose processing style
     Flexible and flat associations
    - Convergent processing:
     Narrow set of categories
     Persistent, analytical and deep processing style
     Systematical search and incrementally combining possibility.
20
Q

What is divergent processing: cognitive flexibility?

A
  • Cognitive flexibility: the ease with which people can switch to a different approach or consider a different perspective.
  • Creativity comes from broad and inclusive exploration of various categories that are otherwise disconnected.
21
Q

What is convergent processing: cognitive persistence?

A
  • Cognitive persistence: the degree of sustained and focused task-related cognitive efforts.
  • Creativity comes from in-depth exploration among a few categories.
22
Q

What is the interplay between two pathways of the creativity model?

A

Flexibility & Persistence –> Creating ideas (original and appropriate)

23
Q

BRAIN PROCESS(ING) MODEL OF CREATIVITY?

A

Individual input (traits & states) –> cognitive flexibility & cognitive persistence –> novel and useful outcomes.

24
Q

DEMARCATING AFFECT/EMOTIONS/MOODS?

A
  • -> AFFECT:
  • Defined as a broad range of feelings that people experience. Affect can be experienced in the form of emotions or moods.
  • -> EMOTIONS:
  • Caused by specific event.
  • Very brief in duration (seconds or minutes).
  • Specific and numerous in nature (many specific emotions such as anger, fear, sadness, happiness, disgust, surprise)
  • Usually accompanied by distract facial expressions.
  • Action oriented in nature.
  • -> MOODS:
  • Cause is often general and unclear
  • Last longer than emotions (hours or days)
  • More general (2 main dimensions - positive and negative affect- that are comprised of multiple specific emotions)
  • Generally not indicated by distinct expressions
  • Cognitive in nature.

Affect –> emotions Moods –> affect

25
Q

HOW DOES EMOTION EXPLAIN CREATIVITY?

A
  • Positive emotions
    –> Broaden-and-Build Theory explains the function of discrete positive emotions – e.g. joy, interest, contentment, pride, and love (Fredrickson, 1998).
     Positive emotions broaden people’s thought-action repertoires.
     Undo lingering negative emotions.
     Defocused attention and larger cognitive context (i.e. cognitive flexibility).
     Fuel psychological resilience, which is individual’s tendency to cope with stress and adversity.  Trigger upwards spirals toward improved/enhanced emotional well-being.
26
Q

ORGANISATIONAL FRAMEWORK OF EMOTION, AFFECT AND CREATIVITY

A

Slide 56

27
Q

Pros and Cons of THE DARK SIDE OF CREATIVITY?

A
  1. Pros
    - Flexible
    - Risky
    - Confident
    - Independent
  2. Cons
    - Undisciplined
    - Deviant
    - Arrogant
    - Uncooperative
  3. Gino and Ariely (2011) found that creative people displayed all sorts of dishonest traits:
    more likely to cheat on a game in the lab; better at justifying their dishonesty afterwards.
28
Q

THE DARK SIDE OF CREATIVITY?

A

Gino and Ariely (2011) found that creative people displayed all sorts of dishonest traits:

  • more likely to cheat on a game in the lab.
  • better at justifying their dishonesty afterwards.
29
Q

SITUATIONAL INFLUENCE ON CREATIVITY:

HOW CAN ORGANISATIONS FOSTER CREATIVITY?

A

a. Physical environment
b. Organisational culture and climate
c. Job settings
d. Interpersonal connections & team stimulations
e. Leadership
Person-in-situation framework (Hirst & van Knippenberg)

30
Q

SITUATIONAL INFLUENCE ON CREATIVITY:
HOW CAN ORGANISATIONS FOSTER CREATIVITY?
A) PHYSICAL ENVIRONMENT— SACRED SPACE

A

Environmental influence
Colour decoration
–> Colour stimulates creativity, blue or red? (Mehta & Zhu, 2009)
▪Up to 161 volunteers solved problems in front of a either a blue, red or neutral background on computers.
▪Difference tasks were given to participants, such as designing toys
- Blue associates with openness, peace, and tranquility
Intend to take risks, imagine, and explore
Boosts creativity
- Red associates with dangers, warnings, and mistakes
Intend to vigilant and conservative solutions
Prohibit concentration

Spatial density
Physical boundaries in rooms
 Office gardens vs. cubicles
“An environment described as agreeable, with adequate illumination, furniture, space, and ventilation”.

31
Q

SITUATIONAL INFLUENCE ON CREATIVITY:
HOW CAN ORGANISATIONS FOSTER CREATIVITY?
B) ORGANISATIONAL CULTURE AND CLIMATE

A
  • Organisational culture: system of beliefs, norms, feelings, and values shared by its members, which are translated into (employee) behaviour.
  • Organisational climate: it is about “what it feels like to work in a certain organisation”.

Manifestations of culture might be observed in different organizational factors:
 Organizational structure (hierarchical vs. flat)
 Corporate policy
 R&D investment
 R&D alliance with other firms
 Empowerment
 Reward system

32
Q

SITUATIONAL INFLUENCE ON CREATIVITY:
HOW CAN ORGANISATIONS FOSTER CREATIVITY?
C) JOB SETTINGS

A
  • Job complexity
     Stimulate need of competence
  • Job autonomy
     Satisfy need of autonomy
  • Job interdependence
     Need of relatedness
     Various expertise
  • Job requirements
     External expectations on creativity
  • Deadlines
     External expectations

~Goal-setting theory
~ Self-determined theory
~ Intrinsic motivation

33
Q

SITUATIONAL INFLUENCE ON CREATIVITY:
HOW CAN ORGANISATIONS FOSTER CREATIVITY?
D) INTERPERSONAL CONNECTIONS

A 
- Intragroup interaction:
Creative stimuli from coworkers 
 Expertise and resources from coworkers 
 Leader’s support
 Feedbacks and refinement

~Resource composition
~ Diversity benefits
~ Social learning

34
Q

SITUATIONAL INFLUENCE ON CREATIVITY:
HOW CAN ORGANISATIONS FOSTER CREATIVITY?
D) TEAM STIMULATIONS

A

Team composition:
 Personality: extraversion + conscientiousness
 Diverse gender, ethnical groups, cultural backgrounds
 Diverse educational backgrounds, technical skills

Team processes:
 Information elaboration

35
Q

SITUATIONAL INFLUENCE ON CREATIVITY:
HOW CAN ORGANISATIONS FOSTER CREATIVITY?
E) LEADERSHIP

A
  • Leaders play an important role in fostering organisational/individual creativity:
  • Certain leadership styles are more effective than others:
     Task-oriented leadership
     Relation-oriented leadership
  • De Jong & Den Hartog (2007) – leadership behaviours associated with creative (innovative) employee behaviour:
    1. Role modelling;
    2. Intellectual stimulation;
    3. Stimulating knowledge diffusion;
    4. Providing vision;
    5. Consulting;
    6. Delegating;
    7. Support for innovation;
    8. Organising feedback;
    9. Recognition;
    10. Rewards;
    11. Task assignment
36
Q

HOW TO TRANSLATE DISPOSITION INTO ACTION: PERSON-IN-SITUATION PERSPECTIVE?

A

1) Situation strength: the extent to which the situation conveys clear clues as to what is appropriate and inappropriate behaviour in that situation.
2) Situation trait relevance: the extent that “it is thematically connected by the provision of cues, responses to which indicate a person’s standing on the trait” (Tett & Burnett, 2003).
3) Situational resources: the extent to which the situation provides the resources to achieve the outcomes inspired by one’s trait.

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