The dialectics of serendipity

Cunha, Miguel Piña e; Rego, Arménio; Clegg, Stewart; Lindsay, Greg

doi:10.1016/j.emj.2014.11.001

Cited by 36 publications

(18 citation statements)

References 63 publications

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“…In general, constructing open innovation activities ensuring a perspective of ‘generative doubt’ [44] might be of utility; this would represent a purposeful search for understanding, while recognizing the limitation of what is currently known. Again, such thinking makes what was historically difficult to define or ‘handle’, somewhat more tangible and amenable to intentional design.…”

Section: Future Trends: Opportunities and Challengesmentioning

confidence: 99%

Crowdsourcing and open innovation in drug discovery: recent contributions and future directions

Thompson¹,

Bentzien

2020

Drug Discovery Today

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Section: Future Trends: Opportunities and Challengesmentioning

confidence: 99%

Crowdsourcing and open innovation in drug discovery: recent contributions and future directions

Thompson¹,

Bentzien

2020

Drug Discovery Today

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“…… The periphery is a preceding horizon; the attempt to capture and represent it is indeterminable.” If focused on – which is to say intentionally observed – it is no longer peripheral at all. Peripheral awareness, 2 as dealt with by Chia and Holt, fosters organizational creativity, as does a combination of preparedness and openness, enriched by generative doubt (Pina e Cunha, Rego, Clegg, & Lindsay, 2015). These, however, are all states which cannot be aimed for directly.…”

Section: Old Chainsmentioning

confidence: 99%

Dancing in chains: Creative practices in/of organizations

Ortmann

Sydow

2017

Organization Studies

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According to Friedrich Nietzsche, artists impose restrictions on themselves to encourage creativity and even have a way of “making things difficult” – imposing new constraints on themselves within which they have to dance. At least in the arts, it is difficulty rather than ease which promotes creativity in accordance with this view. This goes beyond the well-known idea of rules and other structures not only restricting but also enabling creativity; it also goes beyond insight into the creativity-enhancing effects of constraints, as recently emphasized in organization studies. Nietzsche adds three dimensions to this dialectic: time and the process of dancing inspired and encouraged by constraints; the opposition of old and new constraints; and the quality of intended, stimulating self-binding. We see this as an opportunity to explore the inspiring potential of Nietzsche’s piece about arts, “Dancing in chains”, when it comes to the different realm of creative practices and creativity in and of organizations. Such an exploration can obviously not aim to offer recipes of how to bring about valuable novelty, but simply intends to identify pertinent themes, issues and questions for organization studies – topics and aspects brought into a new or sharper light when looked at from Nietzsche’s perspective and that of some other philosophers, including Jon Elster’s analyses of constraints in general and of the complications of self-binding in order to promote creativity in particular. Also, we consider Míchel de Certeau’s “silent production” and Martha Feldman’s improvisational routines as being cases of “dancing in chains”.

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“…Existing creativity research has already started to make use of some of the key ideas and concepts of practice theory, particularly Giddens’ structuration theory (Drazin et al, ; Carlsen, Clegg & Gjersvik, ). In a similar vein, Pina e Cunha et al (), examine Honda's market entry into the United States to illustrate how serendipity is a practical accomplishment, as opposed to a mystery, in the sense that it rests on doubt, preparation, and openness. Similarly, Garud, Gehman and Kumaraswamy () adopt a practice perspective to highlight the complex relational and temporal dynamics underlying the sustained innovations at the 3 M Corporation.…”

Section: Conceptualizing Creativity As An Organizational Process: Twomentioning

confidence: 99%

Studying Organizational Creativity as Process: Fluidity or Duality?

Fortwengel¹,

Schüßler²,

Sydow³

2016

Creat Innov Manage

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This paper contributes to process studies on organizational creativity by developing two competing research agendas. The first perspective, the ‘becoming’ view, depicts creativity as a constant flow of activity that crystallizes every once in a while in unpredictable moments of creativity. The second perspective, the ‘practice’ view, understands creativity as a practised social process, in which structures play the important role of both enabling and constraining individual agents in pursuing creativity as a collective phenomenon. We compare and contrast these two theoretical perspectives, which are based on different process ontologies, and discuss their methodological implications. We argue that the practice perspective offers particular promise, because it allows us to address the important yet paradoxical question of how creativity may be organized and managed.

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The dialectics of serendipity

Cited by 36 publications

References 63 publications

Crowdsourcing and open innovation in drug discovery: recent contributions and future directions

Crowdsourcing and open innovation in drug discovery: recent contributions and future directions

Dancing in chains: Creative practices in/of organizations

Studying Organizational Creativity as Process: Fluidity or Duality?

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