Facilitation of creative performance by using blue and red accent lighting in work and learning areas

Research has shown that colours influence motivation and cognitive performance. In achievement contexts, red evokes avoidance motivation that hinders creativity, while blue elicits an approach motivation that facilitates creativity. However, due to their position and mode of presentation, colours may convey a different message. Red accent lighting creates a cosy, friendly room atmosphere that may, even in an achievement context, elicit an approach rather than an avoidance motivation. Results (N = 146) showed that both blue and red accent light increased strategic approach motivation compared to white accent light. Moreover, through the heightened approach motivation, colourful accent light indirectly improved creative performance. Implications for future research on colour and practical implications for colour usage are discussed.

Practitioner Summary: Designing work environments for creativity is a new topic in ergonomics research and practice. The present study demonstrates indirect effects of coloured accent light on creativity providing interesting possibilities for the design of workplaces for knowledge workers, classrooms and all other rooms in which people work on new ideas.     

Virtual reality application influences cognitive load-mediated creativity components and creative performance in engineering design

Virtual reality (VR) can promote design performance, and may generate a high cognitive load and affect creative design thinking as well. In order to examine the effect of VR application on cognitive load and engineering design creativity, this study recruited 81 eighth-grade students as participants and employed a non-equivalent-groups quasi-experimental design to examine how VR application influences creativity components and creative performance. A creativity component scale (creative motivation, creative thinking, and professional cognition), a measurement of creative performance, and a cognitive load scale were used to collect data. The study also investigated the ability of VR application to predict creativity components and creative performance, using cognitive load as the mediator. The conclusions are as follows: (1) VR application had marked effects on professional cognition and creative motivation but no effect on creative thinking skills. (2) VR application had marked effects on the novelty and usefulness aspects of creative performance, particularly with respect to usefulness. (3) VR application had marked effects on extraneous and germane cognitive load, but no influence on intrinsic cognitive load, and (4) Both VR application and cognitive load were able to predict creativity components and creative performance. Their abilities to predict creative performance approached an acceptable level. Nevertheless, VR application had no effect on general creative thinking skills; therefore, other teaching strategies are needed to strengthen creative thinking.     

Addressing Constraints Creatively: How New Design Software Helps Solve the Dilemma of Originality and Feasibility

Are designers doomed to sacrifice creativity when integrating new product development processes? Although many studies highlight the need to produce original and innovative designs, maintaining creativity in the design process continues to be difficult due to industrial constraints. Thus, creativity is restricted to phases in the ‘fuzzy front end’ to avoid those constraints that might effectively kill it. However, constraints are also acknowledged as a resource for creativity, as has previously been shown with artists and engineers. Thus, we pose the following research question: In which cases can a constraint be a resource for creativity? To answer this question, we investigate different types of computer‐aided design (CAD) software. Relying on an experimental method, we compare the performance of those types of software at the so‐called design gap where design sketches are transformed into digital models. We show that some CAD software enables designers to work under additional constraints, be more creative and avoid the trade‐off between robustness and creativity, and that understanding this performance means appreciating that such software enables designers to play with the embedded constraints to reveal associated fixations and to design models that follow the constraint but overcome the fixation. Constraints and creativity are linked by two competing processes: constraints decrease the degree of freedom and, as a result, creative possibilities, but embedding constraints increases the awareness of fixations and therefore the capacity to design original models. Today, new CAD tools more effectively support the second process, which leads to ‘acquired originality’ in design.     

Creative cognition: A multidisciplinary and integrative framework of creative thinking

Extant research provides vast information on antecedents to creativity. However, creative thinking is oftentimes treated as a black box, requiring input and producing creative output. Cognitive processes occurring during creative thinking tend to be neglected, although they can provide a bridge between the inputs to creativity and the resulting outputs. Literature offers different perspectives on creative thinking processes, such as the separation of divergent and convergent thinking, different stages of creativity or the concept of creative cognition. This variety of concepts underlying creativity has led to confusion and misinterpretations of some concepts. Moreover, the overemphasis on creative outcomes and divergent thinking has resulted in a neglect of a more comprehensive view on cognitive dimensions of creativity. Through reviewing and synthesizing multidisciplinary literature on creativity, an integrative framework is developed positioning cognitive elements of creativity within a system including organizational antecedents to creativity and creative outcomes. The framework seeks to offer pathways to increasingly incorporate the concept of creative cognition into future research. Suggesting different forms of creative cognition that individuals engage in during creative thought, this theoretical work further offers a theoretical development of creativity concepts that intends to inspire future research designs and facilitates cross-disciplinary knowledge transfer.     

A framework for understanding creativity in requirements engineering

Creativity is important in the discovery and analysis of user and business requirements to achieve innovative uses of information and communication technologies. This paper builds a theoretical framework for understanding creativity in requirements engineering. The framework provides a systematic means of understanding creativity in requirements engineering and comprises five elements (product, process, domain, people and socio-organisational context). The framework provides researchers with a sound basis for exploring how the five elements of creativity can be incorporated within RE methods and techniques to support creative requirements engineering. It provides practitioners with a systematic means of creating environments that nurture and develop creative people, cognitive and collaborative processes and products.     

To be human is to be creative

We will assert than in the era of Ubiquitous Technology to be human is to be creative. Small children are experimental and creative actors. The socialisation process in modern societies, both at home and at educational institutions, does not enhance and develop their creativity. On the contrary, their creativity is discouraged in many ways. We conceptualise creativity developmentally: It is possible to use activities, teaching methods, motivation and procedures to enhance and develop creativity, even in older people. This paper gives some guides that can be used both at home and at work to explore, enhance and develop ones own creativity and the creativity of others. Each suggestion is presented from a practical viewpoint and then related to some of the tools and concepts that scientists and artists use in their creative endeavours.     

Gender and support for creativity at work

Although innovation is vital for the success of organizations, many may not be capitalizing on the creativity of all workers. Gender bias in attributions of creativity may lead to an imbalance in the extent to which organizations support the creativity of men and women. Because organizational support for creativity is positively associated with creative outcomes, this may undermine the creativity of women in the workplace. To determine if gender influences creative workplace behavior through support for creativity, conditional process models were used to analyze the survey responses and external employment data of workers (N = 14,590) across industries in the US. Our analyses demonstrate that men report greater support for creativity in the workplace than women, and greater support for workplace creativity leads to more frequent creative workplace behaviors. The proportion of women employed in an industry influences this relationship, such that differences between men and women become smaller as the proportion of women in an industry increases. However, the level of creativity required in an occupation does not influence the relationship between gender and creativity. The theoretical and practical implications of these results are discussed.     

Computer-assisted creativity: Emulation of cognitive processes on a multi-agent system

For creativity to be computed, it is paramount to understand the cognitive processes involved, which have been elucidated by either surveying creative people or discovering regions of the human brain that activate during creative endeavors. From this scattering, the author proposes a holistic framework to describe them and their interaction. Hence, creativity can be regarded as a meta process which coordinates autonomous cognitive processes such as planning or divergent thinking. To represent the interplay of cognitive processes around creativity, models are developed in the Agent Unified Modeling Language (AUML). Then, the execution of each process is delegated to autonomous agents and a global coordination protocol is devised. The implementation of the MAS is done on the JADE platform. Two modules of the resultant system are exemplified: opus planning and divergent exploration. The coordination protocol is also presented. The domain in which the software system is tested is the creation of musical pieces.     

Assessment of Product Engineering Creativity

One important element of a company's capability to innovate is the creativity of each individual employee – especially in the context of product engineering. Employee recruitment or promotion to improve the creativity of one's workforce needs assessment of individual creativity. This paper proposes a human resource assessment methodology suitable to assess creative ability of product engineers on an individual level. This methodology is composed of pre‐existing instruments to measure prerequisites (including cognitive abilities, expertise, personality and motivation), and outputs of general creativity. The specifics of product engineering creativity and recruitment or promotion decisions are taken into account.     

Team experiential cognitive style and team performance: The moderating impact of workplace setting

With an increasing need in organizations to come up with novel and useful ideas to renew and survive, team creativity has grown in importance to managers and researchers. As the cognitive resources of team members are the core input for team creativity, researchers increasingly look at team cognition in general and team cognitive styles in particular. In this research stream, the environmental context in which team members are embedded has received limited attention. We therefore experimentally test variation in the physical workplace environment and how it influences the relationship between team experiential cognitive styles and team creativity. Manipulating the nature of architectural elements in the room, we distinguish between a physical workplace with (i) experiential cues and (ii) rational cues. We also use a control condition where architectural elements are absent in the workplace environment. We rely on resource‐matching theory to build our hypotheses. Using data of 75 student teams of a Dutch university, we find that the relationship between teams' experiential cognitive style and team creativity was positive in the control condition. This positive relationship became insignificant in the two conditions where experiential or rational cues were introduced. Theoretical and practical implications are discussed.     

An Exploratory Study of Entrepreneurial Creativity: Its Antecedents and Mediators in the Context of UAE Firms

In this study, we attempt to advance our understanding of the role of entrepreneurial creativity in the context of firms in the United Arab Emirates (UAE). Through field research accompanied by a review of the related literature, this study identifies crucial antecedents of entrepreneurial creativity. The proposed model combines variables belonging to different contextual factors such as external factors (resource access, resource possession, and alertness to opportunity) and individual factors (creative self‐efficacy, expertise and intrinsic motivation). The model is tested using data from a large‐scale survey of firms in the UAE. We find that expertise and creative self‐efficacy is significantly related to entrepreneurial creativity. The results also reveal that intrinsic motivation and alertness to opportunity are the key mediators between contextual factors and entrepreneurial creativity. The findings of this study present some interesting practical implications to entrepreneurs in order to improve their creative skills.     

Dynamic tabletop interfaces for increasing creativity

We designed a tabletop brainwriting interface to examine the effects of time pressure and social pressure on the creative performance. After positioning this study with regard to creativity research and human activity in dynamic environments, we present our interface and experiment. Thirty-two participants collaborated (by groups of four) on the tabletop brainwriting task under four conditions of time pressure and two conditions of social pressure. The results show that time pressure increased the quantity of ideas produced and, to some extent, increased the originality of ideas. However, it also deteriorated user experience. Besides, social pressure increased quantity of ideas as well as motivation, but decreased collaboration. We discuss the implications for creativity research and Human–Computer Interaction. Anyhow, our results suggest that the Press factor, operationalized by Time- or Social-pressure, should be considered as a powerful lever to enhance the effectiveness of creative problem solving methods.     

Emotions as Constraining and Facilitating Factors for Creativity: Companionate Love and Anger

Generally the literature has favoured the notion that positive affect facilitates creative performance. However, a recent critical review has demonstrated that negative affect can enhance cognitive performance and improve motivation. Moreover, with a few exceptions, previous research comparing positive and negative affect as either a facilitator of or a constraint on creativity factors has rested primarily on the valence approach. Unfortunately, the results were mixed. This paper explores the effects of two common specific emotions elicited in work team processes, anger and companionate love, on individual creativity, with the cognitive‐activation and the functions‐of‐emotions perspectives. The results from our experiment demonstrate that positive emotions can constrain and negative emotions can foster creative performance. More specifically, we found that companionate love constrains creativity, whereas anger facilitates it. Furthermore, our qualitative analyses of interviews with employees justify the implications of the experimental results in an organizational context. Our findings suggest that nurturing a moderate degree of hostility towards opposing ideas from others in an idea‐generation process while concurrently encouraging thoughtfulness in an idea‐implementation process can facilitate managing organizational innovation processes.     

How is Creativity Best Managed? Some Empirical and Theoretical Guidelines

In an Internet‐based study with an ethnically‐diverse sample of 1,337 managers from 19 countries (mainly the US and Canada), eight managerial competencies that elicit creativity in subordinates were ranked according to how well they predicted desirable self‐reported outcomes. The most valuable of eight managerial competencies proved to be: Provides Adequate and Appropriate Resources. Females outscored males in all eight competency areas, a dramatic finding that is consistent with other research on executive skills. The eight competencies can be derived from Generativity Theory, a formal, empirically‐based theory of the creative process, and are also evident in many successful cases of creativity enhancement in business and industry. Scores on a test that measured the competencies were substantially higher for people who had had creativity management training and were positively correlated with the number of hours of training people reported. In general, the study revealed a fairly dramatic range of competence across the eight areas and suggests that most managers lack trainable skills that are essential for encouraging workplace creativity.     

The Antecedents of Creativity Revisited: A Process Perspective

This study invokes a process view on employee creativity to uncover how the different stages of the creative process are associated with different antecedents. Specifically, we explore the role of five previously identified antecedents of organizational creativity in the different phases of the creative process within organizations: (1) personality; (2) rewards; (3) the role of co‐workers; (4) leadership; and (5) organizational resources. In an analysis of 22 case studies we found that antecedents of creativity indeed have different roles in different stages of the creative process and that antecedents that are helpful in one stage of the creative process, can be detrimental for another stage. Such results highlight the importance of conceptualizing creativity as a process, rather than as an outcome variable.     

Pro‐active neutrality: The key to understanding creative facilitation

Facilitation is a critical means of supporting creative processes in teams. Previous studies have shown that neutrality is central to effective facilitation but no clear conceptualization of neutrality has been provided to date. The aim of this paper is to explore how neutrality is enacted by facilitators, what its key elements and mechanisms are, and how it is perceived in the creative facilitation context. We adopt a theory building mode and conduct an in‐depth case study, following an innovation project in the IT sector with a series of facilitated creativity workshops. Our results show that neutrality is a multi‐dimensional construct that interacts with several outcome dimensions of facilitation, i.e. people, process, and product. We introduce a pro‐active neutrality framework, which explains the mechanisms of neutrality in facilitation and thereby extend theory on both neutrality and facilitation. We further outline a number of propositions that could be explored by future research as well as provide important creativity management implications that will enhance creativity and innovation in the workplace.     

浅谈电脑技术与当今艺术设计

数字时代科学和艺术是并重的，电脑科技的发展改变了艺术设计的手段。而新艺术也促成了技术的产业化。但电脑数字技术也有负作用，如过度依赖软件操作，忽视设计的创意。数字化的设计是文化产业发展的助推器，我国在设计教育方面跟发达国家相比还有很多差距，所以要努力改革，培养复合型、数字化的设计人才。这也是文化产业发展的必然要求。     

浅谈电脑技术与当今艺术设计

数字时代科学和艺术是并重的,电脑科技的发展改变了艺术设计的手段,而新艺术也促成了技术的产业化。但电脑数字技术也有负作用,如过度依赖软件操作,忽视设计的创意。数字化的设计是文化产业发展的助推器,我国在设计教育方面跟发达国家相比还有很多差距,所以要努力改革,培养复合型、数字化的设计人才,这也是文化产业发展的必然要求。     

Organizing Creativity: Creativity and Innovation under Constraints

The best way of organizing creativity within organizations remains somewhat enigmatic to scholars, particularly when it comes to the role of constraints. On the one hand, creative organizations are often associated with freedom, autonomy, weak rules and few boundaries. On the other hand, several studies suggest that constraints, particularly design constraints, often stimulate creativity rather than suppress it. All in all, findings are mixed and inconclusive, and further research that explores this area of tension is required. The goal of this paper is twofold. Firstly, we introduce the topic of constraints and creativity, and raise some of the open questions in this field. By way of illustration, we report on a preliminary study about the role of constraints. Secondly, we set the stage for the contributions in this special issue on creativity and innovation under constraints, by identifying four central themes for further research. We subsequently outline the articles in this issue, and show how each of them contributes to one or more of these themes.     

Where the Art is: Defining and Managing Creativity in New Media SMEs

This paper examines the definition and management of creativity in the ‘creative industries’. Initially the paper sets out the economic and cultural context for the emergence of the creative industries, before going on to argue that there are gaps in our understanding of the role of creativity and particularly the management of creativity within these industries. Based on research undertaken with new media SMEs in the North West of England, the paper then explores the ways in which creativity is defined and managed within this sub–sector. It is shown that the meanings attached to creativity are variable and contested and that the precise definition and management of creativity is strongly determined by the internal workplace culture, and the external social and economic conditions within which firms operate. It is further suggested that while creativity is often seen as a ‘must have’ attribute for new media firms it may also, conversely, be considered a barrier to commercial success. The paper concludes that if we are to understand work and production in the creative industries, and offer institutional support for firms to develop and sustain creativity for competitive advantage, it may be necessary to develop a more detailed understanding of the role of creativity and creative management as both a general and specific, socially embedded process.