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.     

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.     

Organizational creativity‐innovation process and breakthrough under time constraints: Mid‐point transformation

Time, as a constraining resource, is an important factor in organizational creativity processes. Yet we know little about its role in influencing the creative‐innovative process. This paper uses a case study to integrate three process‐oriented theories concerning the importance of process mid‐points and breakthrough as time resources dissipate. The context we examine is the design process of an exhibition of industrial innovations at the Science Museum in Jerusalem. We argue that actors select a course of action at approximately the temporal mid‐point of a process and that this course of action is itself creative and leads to a breakthrough transformation. Two types of mid‐point creative breakthrough transformation are classified as recombining and pruning. We suggest a theoretical integration and further directions for research.     

Moral organizational creativity: Exploring ethical antecedents for a new construct

The objective of this article is to provide the means of supporting the coexistence of creativity and ethics at the organizational level. It contributes to the literature by offering a process model that shows how organizational creativity can be combined with ethics. This work begins by examining how the features of ethical work climates may affect creativity in organizations. We advocate the position that an organization can be both creative and moral through the triggering of moral imagination, dependent in part on the type of ethical work climate espoused in the workplace. As a result, we offer a new formulation of organizational creativity that includes an explicit ethical dimension: moral organizational creativity. This expanded concept treats the dominant elements of ethical work climates and moral imagination as essential ingredients of ethical and organizational creativity. Investigating the link between ethical work climates and moral imagination is meaningful to understanding how an organization can address the requirements of creativity and ethics and therefore enhance organizational creativity.     

Assessing Job Candidates' Creativity: Propositions and Future Research Directions

Identifying and selecting creative employees is of key importance in today's high‐pace business environment. Yet, little is known about how assessors in organizational settings evaluate the creative potential of job candidates. In this paper we review the extant literature on individual and team creativity in order to identify criteria (cues) against which job candidates' creativity could be assessed. We argue that the creative potential of job candidates could be evaluated against four key dimensions (the creative individual, the creative product, the creative process and the creative environment) and call for empirical research to further explore and test our propositions in practice.     

A Theoretical Framework Linking Creativity,Empowerment, and Organizational Memory

Empowerment, creativity, and organizational memory are constructs that have been researched in MIS. While each construct has received individual attention, we have found relatively little research linking them. One of the major edicts of empowerment is delegation of decision making authority to lower-level employees. Increased authority allows employees more freedom to be creative. However, if creative thought is generated but not captured, innovative ideas may be lost. Organizational memory can capture creative ideas as they are generated so that empowered teams can draw upon positive creative experiences. We developed a theoretical model to illuminate the relationships between organizational memory, worker empowerment, and creativity. The model portrays the linkages between empowerment and creativity, creativity and organizational memory, and organizational memory and empowerment. The model was developed based on the literature in each respective area and an interview-based study concerning “empowered” systems development project teams and organizational memory. Analysis of the interview data revealed that empowered workers generate creative solutions to problems. However, creative solutions can only be used for future projects if they are somehow recorded into organizational memory. Organizations that empowered their workforce and embraced creativity reported increased customer satisfaction, waste reduction, and some quality gains. In contrast, those that did not empower reported little or no change. Organizations that recorded creative solutions to problems believe that retrieval of this information could be potentially useful for future projects. Potential challenges faced by organizations classified into each cell are also presented. This classification scheme should prove useful as a guide to organizations examining the potential benefits and pitfalls of worker empowerment and organizational memory.     

Exploratory Study of Organizational Creativity in Creative Organizations

The creative industries represent an important and growing sector of the UK economy. This paper explores organizational creativity in firms within the creative industries. A questionnaire based on both Amabile's ‘Organizational Creativity’ model and Ekvall's ‘Creative Climate’ model was completed in ten firms in different sectors of the creative industries. Follow‐up interviews with five firms were also conducted, to compare the outputs from each model as well as the variation in responses from firms in different sectors. The results indicate that both models of organizational creativity are complementary, although not necessarily fully applicable in the creative industries. Specific differences between firms in the graphic design/branding sector and firms in product design were also observed.     

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.     

Subject Positions and Power Relations in Creative Organizations: Taking a Discursive View on Organizational Creativity

In this paper we take a discursive view on organizational creativity and examine subject positions and power relations produced within a discourse on creativity in two different kinds of creative organizations, an opera house and a games company. In particular, we focus on the ways in which the discourse is practised in creative production processes. The two cases illustrate how the macro‐level discourse on creativity can be enacted in a more micro‐level construction of subjectivities. In the study we identified several subject positions that were shared by both organizations, and examined how they were embedded in the organizations' formal and informal hierarchies. By taking a discursive approach to creativity, we have also been able to explore some unwanted consequences of emphasizing creativity in organizations.     

Toward a theory of managing creativity-intensive processes: a creative industries study

This paper reports the results of an exploratory, theory-building study on the impact of creativity on business processes, their management, and the use of information technology (IT) in particular. The empirical evidence was derived from organizations within the creative industries, specifically film and visual effects (VFX) production. An adapted grounded theory approach was employed in order to analyze the data. The study identifies the dynamics of business processes that can be described as highly dependent on creativity, intensively involving the client, complex, and interdependent. It explains the processes’ organizational context as well as strategies and IT systems that organizations use in order to manage these processes. The study suggests that creativity-intensive processes are characterized by high levels of uncertainty with regard to outcome, process structure, and required resources. Creative organizations pursue both creative and operational process performance while simultaneously mitigating creative and operational risk.     

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.     

Creativity and Stress

Involvement in an organizational change programme presented an opportunity to study relationships between stress and creativity in the organization. Levels of stress were close to population norms, whereas the scores from the Creative Climate Questionnaire indicated a stagnated (as opposed to innovative) organization. Strong negative correlations between stress and creative climate scores were found, especially for stress arising from relationships with others and from organizational structure and climate. In addition, differences in both stress and creativity scores were found between samples from five different levels in the organizations hierarchy. The higher the level, the less the stress and the better the perceived creative climate. It is suggested that this is a function of the type of culture pertaining in the organization. Keywords: Creative climate, occupational stress, organizational hierarchy.     

Creativity in non‐routine jobs: The role of transformational leadership and organizational identification

An increasing number of individuals work in jobs with little standardization and repetition, that is, with high levels of job non‐routinization. At the same time, demands for creativity are high, which raises the question of how employees can use job non‐routinization to develop creativity. Acknowledging the importance of social processes for creativity, we propose that transformational leaders raise feelings of organizational identification in followers and that this form of identification then helps individuals to develop creativity in jobs with little routinization. This is because organizational members evaluate and promote those ideas as more creative, which are in line with a shared understanding of creativity within the organization. To investigate these relationships, we calculated a mediated moderation model with 173 leader–follower dyads from China. Results confirm our hypotheses that transformational leadership moderates the relationship between job non‐routinization on employee creativity through organizational identification. We conclude that raising feelings of social identity is a key task for leaders today, especially when working in uncertain and fast developing environments with little repetition and the constant need to develop creative ideas.     

Constructures: supporting human ingenuity in software

Existing media authoring software programs are generally regarded as offering little support for the earliest stages of the creative process, which have characteristics and needs that are distinct from the later stages. As a step toward addressing this, we present our constructural design philosophy: a set of principles that can be applied to software in any creative medium and under which we believe effective, early-stage creativity tools can be created. We then illustrate the application of these principles with Wheelsong, a complete, constructurally designed, early-stage music composition exploratorium and discuss a selection of musical sketches resulting from its use.     

A Review of the Effectiveness of CPS Training: A Focus on Workplace Issues

A major focus within the field of creativity has been on the development of methodologies aimed at deliberately nurturing creative thinking. These methodologies have attempted to mirror the creative process in ways that allow individuals and groups to explicitly call on and employ their creative faculties. In an attempt to uplift employees’ creative capabilities many of these methodologies have been introduced into organizations through training programs, as well as through application to business challenges. Do these methods work? What is the empirical evidence that these deliberate creative process methods enhance employees’ creativity? Though there are a handful of creative process methods, few have married the concern for application with an interest in demonstrating the benefits of these applied efforts through systematic research. Creative Problem Solving (CPS), one of the more popular creative process models, has been one of the rare exceptions. The purpose of this paper is to synthesize the research literature that reports on the impact of CPS training carried out within organizational contexts, that is training programs that involved professionals or students working on real business challenges. Additionally, the positive benefits of CPS are further examined through reports that cite the outcomes of applying CPS to business challenges. In a field replete with methods that have been commercialized, it is imperative to strike a balance between research and practice as an imbalance towards practice may foster a field dominated by individuals who offer untested products and services.     

Creative Potential and Practised Creativity: Identifying Untapped Creativity in Organizations

This study examines the construct validity of creative potential and practised creativity, two overlooked aspects of creativity that may be useful for identifying untapped creative resources in organizations. Results of an exploratory factor analysis (EFA) and a confirmatory factor analysis (CFA) utilizing structural equation modelling techniques provide some initial evidence in support of the construct validity of these concepts. These findings appear to have important managerial implications for increasing creativity and overall organizational effectiveness. The results presented here also suggest some directions for future research aimed at examining the relationships between creative potential, practised creativity and other variables of interest.     

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.     

Creativity (Ideas) Management in Industrial R&D Organizations: A Crea‐Political Process Model and an Empirical Illustration of Corus RD&T

Creativity management is a crucial topic to consider in the debate about the innovative research department. Against the background of discussions about individual creativity and organizational commitment, this article argues that the creative process in organizations is a matter of political strategies. The ideator literally has to sell his/her idea. The article therefore comes up with a crea‐political process model in which there is ample room for the thought that ideas emerge and survive within a social‐political context. In addition, the crea‐political process model is used to analyse the way in which the Corus Group Research Development and Technology (RD&T) department has implemented an electronic idea‐management system. The system, called eureka!, has been designed as a straightforward platform to capture, review, evaluate and select creative ideas. The findings challenge the literature on idea management in organizations to consider the political activities of ideators in the whole process of creativity.     

Do Intelligent Leaders Make a Difference? The Effect of a Leader's Emotional Intelligence on Followers' Creativity

This research investigates the connection between emotional intelligence (EI) and creativity. This was studied by exploring: (i) an association between leaders' EI and their followers' creative output; (ii) an association between six sub‐dimensions of EI and creativity; and (iii) a mediating role of climate in the link between EI and creativity. Two questionnaires (one for leaders and one for employees) were used to collect data in a hospital. Sixty‐six usable leader‐employee dyads were collected. The findings confirmed a positive relationship between leaders' EI and employees' creativity. At an EI's sub‐dimensions level, the current research showed an association between creativity, on one hand, and self‐encouragement and understanding of own emotions, on the other. Finally, no mediating effect of climate was observed. The absence of a mediating effect is interesting, since it suggests a direct link between leaders' EI and employees' creativity, regardless of the climate. This is important, since it calls attention to the paramount role of leaders in shaping individual and organizational behaviours as far as creativity is concerned. The paper also discusses implications for management and practice.     

Organizational Antecedents of Creative Self‐Efficacy

A number of studies have documented a relationship between creative self‐efficacy and creative performance. The main aim of the present study was to investigate organizational factors that may influence such creative self‐efficacy. The examined variables included employees' task type and task autonomy, the quality of relationship between supervisors and subordinates (leader–member exchange [LMX]), as well as perceived levels of collegial support for creativity. The sample included 240 employees in a manufacturing company. The hypotheses were tested using partial least squares analysis. Results showed significant and positive relationships between the study variables and creative self‐efficacy, supporting the hypotheses. Furthermore, the combinations of task autonomy and high‐quality LMX, as well as task autonomy and collegial support for creativity, were positively associated with creative self‐efficacy. The results of this study may give guidance to leaders and consultants who want to enhance the creativity levels of employees through organizational development efforts.