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'This is a landmark study that tackles an important black box in innovation studies — i.e. communities of innovation. While conventional work focuses on formal organizations, a select group of academic leaders highlights the various communities that cut across firms and form the vital 'underground' for processes of creativity and ideation. While targeted toward business and management, this volume is a must-read for all social scientists interested in the dynamics underlying the current knowledge economy.'Journal of Economic GeographyThis book describes the important role played by communities in innovation processes and how organizations can benefit from it. A community brings together individuals who share a common passion for a given area of knowledge and can contribute to innovation at different levels: capitalization of good practices, problem solving, sharing of expertise, or development of new and creative ideas. The literature has progressively identified many variants of communities such as communities of practice, epistemic communities, communities of interest, virtual communities, etc. These forms of communities differ regarding the type of the specialized activities of knowledge on which they focus. As practitioners and academics increasingly emphasized the needs of collaborative approaches in innovation, they progressively challenged the traditional idea that innovation is mainly generated by hierarchical corporate departments and highlighted the active role that communities play in innovation processes. The aim of this book is to shed light, using multiple examples, on the proactive and fundamental role of communities in the new innovation practices of organizations.
Collective Creativity combines complex and ambivalent concepts. While ‘creativity’ is currently experiencing an inflationary boom in popularity, the term ‘collective’ appeared, until recently, rather controversial due to its ideological implications in twentieth-century politics. In a world defined by global cultural practice, the notion of collectivity has gained new relevance. This publication discusses a number of concepts of creativity and shows that, in opposition to the traditional ideal of the individual as creative genius, cultural theorists today emphasize the collaborative nature of creativity; they show that ‘creativity makes alterity, discontinuity and difference attractive’. Not the Romantic Originalgenie, but rather the agents of the ‘creative economy’ appear as the new avant-garde of aesthetic innovation: teams, groups and collectives in business and science, in art and digital media who work together in networking clusters to develop innovative products and processes. In this book, scholars in the social sciences and in cultural and media studies, in literature, theatre and visual arts present for the first time a comprehensive, inter- and transdisciplinary account of collective creativity in its multifaceted applications. They investigate the intersections of artistic, scientific and cultural practice where the individual and the collective merge, come together or confront each other.
This book brings together leading representatives of activity-theoretically-oriented and socioculturally-oriented research around the world, to discuss creativity as a collective endeavour strongly related to learning to face the societal challenges of our world. As history shows, major accomplishments in arts and technological innovations have allowed us to see the world differently and to identify new learning perspectives for the future which were seldom limited to individual action or isolated activities. This book, while primarily focused on educational insitutions, extends its examination of creativity and learning to include other settings (such as government agencies) beyond the limits of schooling.
Most would agree that a learning community of practice cultivates social and intellectual development in educational settings but what are the other benefits and what does a learning community actually look like in practice? This book explores such questions as: “Are learning communities essential in education?” “How are they designed and developed?” “What difference do they make in learning?” The book contains contributions of educators who share their research and practice in designing and implementing learning communities in school, university, and professional network settings. It presents their experiences, and the “how to” of these educators who are passionate about building and sustaining learning communities to make a real difference for students, teachers, faculty, and communities. Combining scholarly and practitioner research, the book offers practical information to teachers, school and university administrators, teacher educators, and community educators.
COOP 2010 is the 9th edition of the International Conference on Designing Cooperative Systems, being the second European conference in the field of Computer Supported Cooperative Work after ECSCW. The conference brings together researchers who contribute to the analysis and design of cooperative systems and their integration in organizational community, public and other settings, and their implications for policy and decision making. Cooperative systems design requires a deep understanding of collective activities, involving both artifacts and social practices. Contributions are solicited from a wide range of domains contributing to the fields of cooperative systems design and evaluation: CSCW, HCI, Information Systems, Knowledge Engineering, Multi-agents, organizational and management sciences, sociology, psychology, anthropology, ergonomics, linguistics.
Today’s world is continually facing complex and life-threatening issues that are too difficult or even impossible to solve. These challenges have been titled “wicked” problems due to their radical and multifarious nature. Recently, there has been a focus on global cooperation and gathering creative and diverse methods from around the world to solve these issues. Accumulating research and information on these collective intelligence methods is vital in comprehending current international issues and what possible solutions are being developed through the use of global collaboration. The Handbook of Research on Using Global Collective Intelligence and Creativity to Solve Wicked Problems is a pivotal reference source that provides vital research on the collaboration between global communities in developing creative solutions for radical worldwide issues. While highlighting topics such as collaboration technologies, neuro-leadership, and sustainable global solutions, this publication explores diverse collections of problem-solving methods and applying them on a global scale. This book is ideally designed for scholars, researchers, students, policymakers, strategists, economists, and educators seeking current research on problem-solving methods using collective intelligence and creativity.
Creativity in organizations has become a key topic of organizational research. This work expands on existing research by exploring creativity in the dynamics of social networks. Collective creativity is introduced as a central part of organizational learning and seen as the expression of creativity on the collective level. The research is able to empirically assess creativity in the development of social structures. For the assessment of creativity this work applies a longitudinal study design by combining social network analysis with creativity studies. The approach enables to relate creativity indicators with social network measures. It is based on an empirical study of innovation projects in the automotive industry and thereby extends existing research and theories on creativity, social network dynamics and organizational learning.
Doing Performative Social Science: Creativity in Doing Research and Reaching Communities focuses, as the title suggests, on the actual act of doing research and creating research outputs through a number of creative and arts-led approaches. Performative Social Science (PSS) embraces the use of tools from the arts (e.g., photography, dance, drama, filmmaking, poetry, fiction, etc.) by expanding—even replacing—more traditional methods of research and diffusion of academic efforts. Ideally, it can include forming collaborations with artists themselves and creating a professional research, learning and/or dissemination experience. These efforts then include the wider community that has a meaningful investment in their projects and their outputs and outcomes. In this insightful volume, Kip Jones brings together a wide range of examples of how contributing authors from diverse disciplines have used the arts-led principles of PSS and its philosophy based in relational aesthetics in real-world projects. The chapters outline the methods and theory bases underlying creative approaches; show the aesthetic and relational constructs of research through these approaches; and show the real and meaningful community engagement that can result from projects such as these. This book will be of interest to all scholars of qualitative and arts-led research in the social sciences, communication and performance studies, as well as artist-scholars and those engaging in community-based research.
It is a commonly held assumption among cultural, social, and political psychologists that imagining the future of societies we live in has the potential to change how we think and act in the world. However little research has been devoted to whether this effect exists in collective imaginations, of social groups, communities and nations, for instance. This book explores the part that imagination and creativity play in the construction of collective futures, and the diversity of outlets in which these are presented, from fiction and cultural symbols to science and technology. The authors discuss this effect in social phenomena such as in intergroup conflict and social change, and focus on several cases studies to illustrate how the imagination of collective futures can guide social and political action. This book brings together theoretical and empirical contributions from cultural, social, and political psychology to offer insight into our constant (re)imagination of the societies in which we live.
Named one of "10 Management Classics for 2022" by Thinkers50 Why can some organizations innovate time and again, while most cannot? You might think the key to innovation is attracting exceptional creative talent. Or making the right investments. Or breaking down organizational silos. All of these things may help—but there’s only one way to ensure sustained innovation: you need to lead it—and with a special kind of leadership. Collective Genius shows you how. Preeminent leadership scholar Linda Hill, along with former Pixar tech wizard Greg Brandeau, MIT researcher Emily Truelove, and Being the Boss coauthor Kent Lineback, found among leaders a widely shared, and mistaken, assumption: that a “good” leader in all other respects would also be an effective leader of innovation. The truth is, leading innovation takes a distinctive kind of leadership, one that unleashes and harnesses the “collective genius” of the people in the organization. Using vivid stories of individual leaders at companies like Volkswagen, Google, eBay, and Pfizer, as well as nonprofits and international government agencies, the authors show how successful leaders of innovation don’t create a vision and try to make innovation happen themselves. Rather, they create and sustain a culture where innovation is allowed to happen again and again—an environment where people are both willing and able to do the hard work that innovative problem solving requires. Collective Genius will not only inspire you; it will give you the concrete, practical guidance you need to build innovation into the fabric of your business.