Importance of Creativity in Entrepreneurship

Abstract

Purpose -The purpose of this paper is to highlight the importance and role of encouraging the development of organizational creativity in the modern enterprise. Creativity is an essential element of entrepreneurial activity, important for overcoming the challenges and obstacles in the development of the concept from the design to implementation. Creativity in contemporary market conditions refers to research and the application of different business access. Development of organizational creativity and introduction of new products and services is crucial for the survival and development of the organization. The aim of this paper is to answer the question of how encouraging creativity within organizations can help and contribute to better business and achieving competitive advantage. Methodology -In this paper the existing theories and models of creativity were analyzed, according to which a model for managing organizational creativity that would be applicable to organizations willing to change was distinguished, taking into account the concept of a framework for networked creativity that may include individual creativity, creativity in team / group and organizational creativity. Findings -Organisations themselves must in the best way possible develop their employees' creativity on the road to good ideas. For this, motivated and multidisciplinary individuals or teams are needed, able to come up with creative ideas. Organizations that endeavor to devise methods of quality management, as well as decide to encourage creativity in their business, have to invested a lot in it, which is certainly the most common means investment in creative training. Contribution -The work represents the first phase of research in preparation for the empirical study of the role and importance of organizational creativity as a competitive advantage in organizations.

Digital geographies of public art: New global politics

“…7 navigate, act in and enact upon networked digital spaces. Populism and global digital or ÔnetrootsÕ art activism (after Milohnic, 2005) have been politicising spaces by challenging norms and notions of stable places and identities in favour of open, dynamic, situated and contextualised understandings (see Luger and Ren, 2017). Consequently, we put forward a critical digital geography of public-art practice, which upends, or at least re-frames, the digital network society (Castells, 1996) by considering the ways that artivism and populism may converge and conflict (see Section III).…”

“…Despite a growing number of recent explorations of digital public art (e.g. Paul, 2016;Reed, 2014), this literature has not yet been firmly joined to scholarship on spatial and political geographies of arts activism (see Milohnic, 2005;Trottier and Fuchs, 2015). Digital activist geographies have broadly dealt with the relationship between global social movements and social media activism (e.g.…”