What can managers do for creativity? Brokering creativity in the creative industries

Bilton, Chris; Leary, Ruth

doi:10.1080/10286630290032431

Cited by 135 publications

(78 citation statements)

References 8 publications

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“…Es más, partiendo de la definiciones más recientes aplicadas a la creatividad como una capacidad psicológica, algunos autores llegan a discutir en qué medida puede ser considerada creativa una profesión (Bilton y Leary, 2002;Bilton, 2006), lo que les sitúa en una posición central en la gobernanza y la gestión de las instituciones culturales. Según Mulcahy (2003): «one of the key elements in a new wave of cultural entrepreneurship is to move away from a defensive/ reactive leadership style to one that is confident and positive in communicating the incontestable value of the arts and culture for society as a whole».…”

Section: El Rol Directivo Como Una Tarea Creativa Orientada a La Creaunclassified

Número complet

redacció¹

2014

PapRevSoc

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Section: El Rol Directivo Como Una Tarea Creativa Orientada a La Creaunclassified

Número complet

redacció¹

2014

PapRevSoc

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“…In accordance with personality, it is said that creativity is embodied in a particular type of personality: the individual creative genius (Batey, Furnham & Safiullina, 2010;Bilton & Leary, 2002;DeFillippi, Grabher & Jones, 2007;Furnham & Bachtiar, 2008) associated with intelligence (Batey, Chamorro-Premuzic & Furnham, 2009;Batey, Furnham & Safiullina. 2010;Furnham & Bachtiar, 2008) Sternberg & Lubart (1991, 1995 have supported the salience of inter alia the following personality attributes for creative functioning: willingness to overcome obstacles, willingness to take sensible risks, willingness to tolerate ambiguity, and self-efficacy -all of them concern so called creative personality (Zhou, 2003).…”

Section: Edwards-schachter Et Al (2015)mentioning

confidence: 99%

“…This environment -organizational contextinvolves mainly job characteristics e.g. job creativity requirements, supervisor close monitoring, developmental feedback Oldham & Cummings, 1996;Shalley, Gilson & Blum, 2000;Zhou, 2003), group interaction, incentive structures, failure-tolerant cultures (Amabile, 1996;Bilton & Leary, 2002;Woodman, Sawyer & Griffin, 1993) and leadership (Shin & Zhou, 2003) as well as supporting creativity it advocates the creative-process engagement resulting in positive creative attitudes and satisfaction (e.g. Shalley, Gilson & Blue, 2000;Gilson & Shalley, 2004 (Gilson & Shalley, 2004), job complexity, routinization (Anderson, Potočnik & Zhou, 2014), and leadership (especially transformational) (Bono & Judge, 2003;Gong et al, 2009;Shin & Zhou, 2003).…”

Section: Edwards-schachter Et Al (2015)mentioning

confidence: 99%

The Multi-level Homologous Logic and Prospective Research Concept on the Effects of Creativity and Ambidextrous Leadership on Innovative Performance

Piórkowska

2017

jmr

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The aim of the paper is to develop a conceptual research framework with regard to the relationships between creativity, ambidextrous leadership and innovative performance incorporating a multi-level homologous perspective. The aim has been achieved through critical extensive literature studies. The overarching key finding is that the effects of creativity and ambidextrous leadership on innovative performance may be examined within a multi-level homologous approach illustrating the associations among creativity, creative performance, and organizational performance at the individual, team, and organizational performance. The first section presents a general overview of the creativity phenomenon, namely creativity conceptualization as well as antecedents and effects at individual, team, and organizational level. The creativity with regard to ambidextrous leadership has been highlighted in the second section. Then, creativity, ambidextrous leadership and innovative performance in terms of a multi-level homologous research concept (specifically, a model, propositions, and measurement tools proposed) have been illustrated in the third section. Final remarks and research directions have been posed in the last section.

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“…This requires work practices, structures and processes which are radically different from industrial age forms of organising work (Baron, 2001;Ehin, 2008;Bilton, 2007;Bilton, Leary, 2002;Mumford, 2000).…”

Section: Managing Creativity For Innovation -Facilitating Ambidexterity?mentioning

confidence: 99%

We Are Always After That Balance: Managing Innovation in the New Digital Media Industries

Hotho

Champion

2010

Journal of Technology Management & Innovation

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The pressure to innovate is growing as technology cycles change more rapidly. Organisations need to balance exploration and exploitation effectively if they are to heed the innovation imperative. Organisational ambidexterity is proposed as a means to achieve such balance with structural or contextual ambidexterity as possible choices. Yet how organisations become ambidextrous is an as yet under-researched area, and different industry sectors may pose different innovation challenges. Using the case study method, this paper examines how a computer games company responds to an industryspecific innovation challenge and how it endeavours to balance exploration and exploitation. The findings suggest that ambidexterity is difficult to achieve, and is fraught with organisational tensions which might eventually jeopardise the innovation potential of a company. The paper suggests that more qualitative research is needed to further our understanding of innovation challenges, innovation management and organisational ambidexterity.

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What can managers do for creativity? Brokering creativity in the creative industries

Cited by 135 publications

References 8 publications

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The Multi-level Homologous Logic and Prospective Research Concept on the Effects of Creativity and Ambidextrous Leadership on Innovative Performance

We Are Always After That Balance: Managing Innovation in the New Digital Media Industries

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