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This volume brings together empirical and conceptual papers that go beyond questions of idea generation to account for the dynamics of idea development, judgement, and dissemination – processes which are at the heart of organizing for innovation.
This volume brings together empirical and conceptual papers that go beyond questions of idea generation to account for the dynamics of idea development, judgement, and dissemination – processes which are at the heart of organizing for innovation.
This book presents unique insights and advice on defining and managing the innovation transformation journey. Using novel ideas, examples and best practices, it empowers management executives at all levels to drive cultural, technological and organizational changes toward innovation. Covering modern innovation techniques, tools, programs and strategies, it focuses on the role of the latest technologies (e.g., artificial intelligence to discover, handle and manage ideas), methodologies (including Agile Engineering and Rapid Prototyping) and combinations of these (like hackathons or gamification). At the same time, it highlights the importance of culture and provides suggestions on how to build it. In the era of AI and the unprecedented pace of technology evolution, companies need to become truly innovative in order to survive. The transformation toward an innovation-led company is difficult – it requires a strong leadership and culture, advanced technologies and well-designed programs. The book is based on the author’s long-term experience and novel ideas, and reflects two decades of startup, consulting and corporate leadership experience. It is intended for business, technology, and innovation leaders.
Creativity is a defining feature of contemporary work life. Who has not taken part in brainstorming sessions, read glossy pamphlets about innovation and creativity as important cornerstones of a new business strategy, or been made aware of the importance of creative skills for one ́s career? But what does it mean to be creative in and as an organization? Organizing Creativity provides an answer to this question. The book builds on the premise that creativity is essentially about ideas. Every organization is dependent on valuable ideas for solving everyday problems as well as inventing new processes, products or services. The main argument of the book is that an analysis of organizational creativity should always account for the interdependency of context, process and practice. Based on cultural and processual perspectives, it highlights the implications of context, process and practice for different aspects of the creative process: generating, evaluating and facilitating ideas. Furthermore, it reflects on how dominant notions of creativity in the economy and society prevent transformative changes and suggests a radical transformative approach to organizing creativity as an alternative. To support and illustrate its argument, Organizing Creativity draws on abundant empirical examples, case illustrations and seminal research from Sociology, Social Psychology and Organization Studies. It provides us with a multi-dimensional perspective and will both further our understanding of and spark critical reflection on the complex interplay of the organizational, social and cultural contexts, processes and practices of organizing creativity.
Reignite your creative-thinking skills to produce innovative solutions Organizational Creativity: A Practical Guide for Innovators and Entrepreneurs by Gerard J. Puccio, John F. Cabra, and Nathan Schwagler, is a compelling new text designed to transform the reader into a creative thinker and leader. Arguing that creativity is an essential skill that must be developed, the authors take a highly practical approach, providing strategies, tools, and cases to help readers hone their creative abilities. Whether students are preparing to become entrepreneurs or to work in an established firm, this text will help them survive and thrive in an era of innovation and change.
Innovation is the major driving force in organisations today. With the rise of truly global markets and the intensifying competition for customers, employees and other critical resources, the ability to continuously develop successful innovative products, services, processes and strategies is essential. While creativity is the starting point for any kind of innovation, design is the process through which a creative idea or concept is translated into reality. Managing Innovation, Design and Creativity, 2nd Edition brings these three strands together in a discussion built around a collection of up-to-date case studies.
Creativity, whether individual or collective, is often approached without taking into account organizational processes, routines and management systems. However, in today’s constantly changing world, developing creativity at all levels of an organization is the key to developing a continuous flow of innovation and solving complex problems in order to achieve set goals. Organizational Creative Capabilities presents a comprehensive approach to creativity, with a view towards building a genuine organizational capability with the potential to deliver strategic advantages. The book provides an understanding of organizational creative capabilities through methods of openness, slack, socialization, agility, equipment and idea management. It provides keys and examples for developing recurrent, value-creating creativity, and also addresses the question of measuring the performance of creative capabilities.
The co-founder and longtime president of Pixar updates and expands his 2014 New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve. “Might be the most thoughtful management book ever.”—Fast Company For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout. Pursuing excellence isn’t a one-off assignment but an ongoing, day-in, day-out, full-time job. And Creativity, Inc. explores how it is done.
Serf-era and provincial Russia heralded the spectacular turn in cultural history that began in the 1860s. Examining the role of arts and artists in society's value system, Richard Stites explores this dramatic shift in a groundbreaking history of visual and performing arts in the last decades of serfdom. Provincial town and manor house engaged the culture of Moscow and St. Petersburg while thousands of serfs and exserfs created or performed. Against this background, Mikhail Glinka raised Russian music to new levels and Anton Rubinstein struggled to found a conservatory. Long before the itinerants, painters explored town and country in genre scenes of everyday life. Serf actors on loan from their masters brought naturalistic acting from provincial theatres to the imperial stages. Drawing on extensive archival research, Stites's richly detailed book re-visualises the culture of a flamboyant era and offers new perspectives on the origins of Russia's nineteenth-century artistic prowess.
Although many leaders acknowledge and invest in creativity, we seldom see it hold a credible place in the business development process. Creativity at Work takes a practical approach to creativity, showing how to select practices to produce results and add value. The authors explain how to: * Understand the creative preferences of organizations, departments, work groups, and individuals * Identify and compare the different creativity profiles that describe specific purposes, practices, and people * Produce the desired results by developing the right practices * Blend creativity practices to meet the complex needs that characterize most work situations o Develop required creative abilities in a team and in oneself