Your Soul Spills Out: The Creative Act Feels Self-Disclosing

Goncalo, Jack A.; Katz, Joshua H.

doi:10.1177/0146167219873480

Cited by 14 publications

(12 citation statements)

References 67 publications

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“…Only if ideas have an independent existence can they be owned by an individual who is not their creator. This is the premise of studies on the psychological experiences of ownership, which have shown how generating ideas is experienced as disclosing information about or aspects of oneself (Goncalo & Katz, 2019), that psychological ownership affects how people adopt others' suggestions for change (Baer & Brown, 2012), and the extent to which they elaborate information (Knight & Baer, 2014). Similarly, the premise of research on idea management (Vandenbosch, Saatcioglu, & Fay, 2006) is that ideas can be treated like a collection of objects (e.g., Litchfield & Gilson, 2013).…”

Section: The Location Of Ideasmentioning

confidence: 99%

Unpacking “Ideas” in Creative Work: A Multidisciplinary Review

Hua

Harvey

Rietzschel

2022

ANNALS

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New ideas are central to a wide array of organizational phenomena and research that involve creativity and innovation. Yet, there is little consensus on what the concept of 'ideas' means, with a broad range of creative outputs being conceptualized as ideas. This fragmentation makes it challenging to compare studies and build a cumulative base of knowledge. To integrate different streams of organizational research, we reviewed papers across the creativity, innovation, entrepreneurship, design, knowledge creation, and network literatures. We propose a "wave-particle duality" framework of ideas to synthesize two distinct but complementary approaches to understanding and studying ideas. Our framework offers guidance on how to approach the study of ideas, reconciles apparent conflicts in the literature, and suggests opportunities for advancing our understanding of ideas in creative work.

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Section: The Location Of Ideasmentioning

confidence: 99%

Unpacking “Ideas” in Creative Work: A Multidisciplinary Review

Hua

Harvey

Rietzschel

2022

ANNALS

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“…Following the power prime, participants were introduced to a creative task, which was to generate novel ideas for a new candle scent following procedures used in previous research (Goncalo & Katz, 2020). Specifically, the participants read the following: "This next section is a task about product development.…”

Section: Methodsmentioning

confidence: 99%

“…Idea novelty. Two independent coders scored the novelty of participants' candle scent ideas, following Goncalo and Katz (2020). Specifically, two trained coders who were blind to the experimental condition and predictions of the study coded each idea for novelty, which was defined as "the extent to which the idea does not resemble the typical candle scent".…”

Section: Methodsmentioning

confidence: 99%

“…We argue that this occurs because the experience of being creative can, in and of itself, have positive psychological consequences (Sassenburg & Moskowitz, 2005;Goncalo, Vincent & Krause, 2015;Khessina, Goncalo EFFECT OF POWER ON CREATIVITY OVER TIME 5 & Krause, 2018). Engaging in the process of creative ideation entails the free and unfettered exploration of alternative ideas and perspectives (Goncalo & Katz, 2020)-a process of divergent thinking that can boost feelings of autonomy (Kim, Goncalo, & Rodas, 2023) and liberation from emotional and psychological constraints (Kim, Zeppenfeld, & Cohen, 2013;Goncalo et al, 2015). In other words, for those with low power, initial constraints on the free expression of creative ideas might be overcome with initial engagement with the creative task.…”

Section: Effect Of Power On Creativity Over Timementioning

confidence: 99%

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Low power warm-up effect: Understanding the effect of power on creativity over time

Kim¹,

Lucas²,

Goncalo³

2023

Preprint

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Prior research suggests that having power makes individuals more creative, because the powerful are more willing to break with convention. We investigate the possibility that lower power individuals can also be creative when given the opportunity to warm up by completing a creative task more than once. In Study 1 (N = 153), we divided a creative ideation session into two consecutive rounds and found that low (vs. high) power individuals were less creative in the first round (replicating prior research), but low power individuals improved in the second round, attenuating the low power disadvantage. We replicated this effect in Study 2 (N = 121; pre-registered), with a different creativity task (i.e., structured imagination task) and expanded timeframe (i.e., five rounds instead of two). In Study 3 (N = 179; pre-registered), we again replicated the warm-up effect using two different creativity tasks that allowed us to rule out an alternative explanation. We conclude by discussing the theoretical implications of our findings for research on the dynamic effects of power on creativity and the practical implications for creativity, social equality, and education.

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“…Creative workers often forge strong links between their self-concept and what they create (e.g., Elsbach & Flynn, 2013;Rouse, 2016;Baer & Brown, 2012). Jazz musicians are no differentthey view their playing as reflections of themselves (Goncalo & Katz, 2019).…”

Section: Using a "Third Ear": Creating A Passive Observer Role For Conscious Intentionmentioning

confidence: 99%

Trying Not to Try: The Paradox of Intentionality in Jazz Improvisation and its Implications for Organizational Scholarship

Fisher¹,

Caliskan²,

Hua³

et al. 2021

Research in the Sociology of Organizations

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Organizational scholars have long been interested in how jazz musicians manage tensions between structure and freedom, plans and action, and familiarity and novelty. Although improvisation has been conceptualized as a way of managing such paradoxes, the process of improvisation itself contains paradoxes. In this essay, we return to jazz improvisation to identify a new paradox of interest to organizational scholars: the paradox of intentionality. To improvise creatively, jazz musicians report that they must "try not to try", or risk undermining the very spontaneity that is prized in jazz. Jazz improvisers must therefore control their ability to relinquish deliberate control of their actions. To accomplish this, they engage in three interdependent practices. Jazz musicians intentionally surrender their sense of active control ("letting go") while creating a passive externalized role for this sense of active control (using a "third ear"). Letting go allows new and unexpected ideas to emerge, while the metaphorical third ear can identify promising ideas or problematic execution and, in doing so, re-engage active agency ("grabbing hold"). Examining the practices within creative improvisation reveals the complexity of the lived experience of the paradox, which we argue suggests further integration among organizational research on improvisation, creativity, and paradox.

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Your Soul Spills Out: The Creative Act Feels Self-Disclosing

Cited by 14 publications

References 67 publications

Unpacking “Ideas” in Creative Work: A Multidisciplinary Review

Unpacking “Ideas” in Creative Work: A Multidisciplinary Review

Low power warm-up effect: Understanding the effect of power on creativity over time

Trying Not to Try: The Paradox of Intentionality in Jazz Improvisation and its Implications for Organizational Scholarship

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