Creativity and Innovation in organizations (PSMAB8)
Summary
Extensive summary for creativity and innovation in organizations (including lecture notes, images, models)
53 views 4 purchases
Course
Creativity and Innovation in organizations (PSMAB8)
Institution
Rijksuniversiteit Groningen (RuG)
This is a very extensive summary of the course creativity and innovation. Lecture notes are included as well as a table of contents at the beginning. If you do not want to read the whole article, most articles have a short summary at the beginning. Whatever you need for this course, you can look it...
Master Work, Organisation And Personnel Psychology
Creativity and Innovation in organizations (PSMAB8)
All documents for this subject (3)
Seller
Follow
radjasjockasi
Content preview
WEEK 1 .............................................................................................................................3
Lecture 1.................................................................................................................................. 3
Beyond Big and Little: The Four C Model of Creativity – Kaufman & Beghetto (2009) ................ 6
Defining Creativity ................................................................................................................. 15
Defining Creative Ideas: Toward a More Nuanced Approach - Litchfield, Gilson & Gilson, 2015 18
How do we study creativity? .................................................................................................. 28
Janssen, O. (2003) - Innovative behavior and job involvement at the price of conflict and less
satisfactory relations with co-workers. ................................................................................... 31
Creativity – Guildford, J.P (1950) ............................................................................................ 39
WEEK 2 ...........................................................................................................................47
Lecture 2................................................................................................................................ 47
A meta-analysis of personality in scientific and artistic creativity............................................. 51
Feist, 1998 ............................................................................................................................. 51
The Curvilinear Relation Between Experienced Creative Time Pressure and Creativity:
Moderating Effects of Openness to Experience and Support for Creativity - Baer & Oldham, 2006
.............................................................................................................................................. 63
The Disadvantage of the Big 5 ................................................................................................ 71
Personal Need for Structure and Creative Performance: The Moderating influence of Fear or
Invalidity – Rietzschel............................................................................................................. 74
Mad genius revisited: Vulnerability to psychopathology, biobehavioural approach-avoidance,
and creativity. – Baas et al., 2016 ........................................................................................... 81
WEEK 3 ...........................................................................................................................95
Lecture 3 – Intrinsic and Extrinsic Motivation .......................................................................... 95
The Social Psychology of Creativity: A Componential Conceptualization (Amabile, 1983) ....... 107
Effects of Social-Psychological Factor son Creative Performance: The Role of Informal and
Controlling Expected Evaluation and Modeling Experience - Shalley and Perry-Smith ............ 115
Rewards and Creative Performance: A Meta-Analytic Test of Theoretically Derived Hypotheses -
Byron and Khazanchi ............................................................................................................ 123
WEEK 4 ......................................................................................................................... 133
Lecture 4 – When more is less, and less is more brainstorming and group creativity .............. 133
Brainstorming 1. Stroebe, W., Nijstad, B.A., & Rietzschel, E.F. (2010). Beyond productivity loss in
brainstorming groups: the evolution of a question. ............................................................... 139
Narcissism and Creativity ..................................................................................................... 156
, Are Two Narcissists Better Than One? The Link Between Narcissism, Perceived Creativity, and
Creative Performance – Goncalo et al. 2010 .......................................................................... 158
Groups as information processors ........................................................................................ 166
Group Creativity and Innovation: A Motivated Information Processing Perspective – Carsten et
al., 2011 ............................................................................................................................... 169
Effects of Need for Closure on Creativity in Small Group Interactions - Chirumbolo, A., Livi, S.,
Mannetti, L., Pierro, A., & Kruglanski, A. W. (2004) ............................................................... 176
WEEK 5 ......................................................................................................................... 180
Lecture Week 5 .................................................................................................................... 180
The effects of promotion and prevention cues on creativity By Friedmann & Förster (2001) .. 184
Promotion/prevention and approach/avoidance motivation ................................................ 195
‘Necessity is the mother of invention: avoidance motivation stimulates creativity through
cognitive effort’ by Roskes, De Dreu & Nijstad (2012)............................................................ 198
Construal Level Theory ......................................................................................................... 205
Temporal Construal Effects on Abstract and Concrete Thinking: Consequences for Insight and
Creative Cognition (Forster, Friedman & Liberman, 2004) ..................................................... 209
Replications and extensions ................................................................................................. 218
Construing Creativity: The how and why of recognizing creative ideas - Mueller et al............. 220
From the Lab to Reality (or “reality”) .................................................................................... 226
WEEK 6 ......................................................................................................................... 227
Lecture notes WEEK 6 – Creativity and Innovation in the Organizational Context ................... 227
Reference: Baer, M. (2012). Putting creativity to work: The implementation of creative ideas in
organizations. Academy of Management Journal, 55, 1102-1119. .......................................... 234
Short version: Creativity and innovation in teams (Somech & Drach-Zahavy, 2011)................ 241
Translating Team Creativity to Innovation Implementation: The Role of Team Composition and
Climate for Innovation - Anit Somech, Anat Drach-Zahavy 2011 (long version)....................... 243
Decreasing marginal returns on creativity? ........................................................................... 249
Team-Level Predictors of Innovation at Work: A Comprehensive Meta-Analysis Spanning Three
Decades of Rese – Hülsheger et al., 2009 .............................................................................. 255
Lecture notes: Networking and the idea journey: Perry-Smith and Manucci paper (2017) ...... 264
From creativity to innovation: the social network drivers of the four phases of the idea journey -
Perry-Smith, JE & Mannucci, PV. - Summary......................................................................... 267
In week 6, we learned that: .................................................................................................. 281
, WEEK 1
1. What is this ‘creativity’ thing anyway? Basic concepts and historical overview.
Kaufman, J.C., & Beghetto, R.A. (2009). Beyond big and little: The four c model of creativity.
Review of General Psychology, 13, 1-12.
Litchfield, R. C., Gilson, L. L., & Gilson, P. W. (2015). Defining creative ideas: Toward a more
nuanced approach. Group & Organization Management, 40, 238-265.
Janssen, O. (2003). Innovative behavior and job involvement at the price of conflict and less
satisfactory relations with co-workers. Journal of Occupational and Organizational
Psychology, 76, 347-364.
Guilford, J.P. (1950). Creativity. American Psychologist, 5, 444-454.
Closing Points
❖ Creativity is operationalised and studied in a variety of ways, and it is important that we
keep doing so
- the phenomenon is too complex to limit to a single indicator
- even the question what a “good” or “bad” idea is has multiple answers
❖ Creativity is not always a matter of happy-happy-joy-joy
❖ there is a dark side to creativity as well – both intended and unintended
❖ An important challenge is to look beyond creativity and innovation as dependent
variables
❖ we should also study how people respond to creativity and innovation
❖ this is one of the more important recent trends in the literature
Lecture 1
The Four P’s of Creativity (Rhodes, 1961)
❖ Refer to different approaches/focuses to creativity
1. Person: Characteristic of the creative person (is personality related to creativity? are
creative people more intelligent? how can we find creative employees?)
2. Product: characteristics of creative achievements (what distinguishes a creative idea
from a conventional one? What is an “idea” anyway?)
, a. originality = more is better?
→ originality is widely seen as the hallmark of creativity
→ but it is more a curvilinear relationship originality and appreciation
b. innovation sweet spot: far enough from existing products to attract interest,
close enough to fall within a company’s existing positioning and capabilities
(Goldenberg et al., 2003)
→ e.g. first iPad (from different company) failed, because it was too far away
from the norm; later it worked because people were more used to mobile phones
c. what happens when people are exposed to original ideas?
- originality may generate “word of mouth”, but only positively when combined
with feasibility
d. originality is essential but definitely not enough
3. Process: the way in which creativity is achieved (how do creative ideas get generated?
Is creative thought different from ordinary thought?)
➢ inspiration
➢ the mystical approach to creativity:
“enlightenment”
➢ inspiration as a stage
common division of the creative
process:
1) preparation
2) incubation
3) illumination/inspiration
4) evaluation
→ familiar and recognizable, but not necessarily helpful or informative; it is not
a theoretical model that actually explains what happens but more an intuitive
description of how things seem to go
focus on inspiration detracts from the deliberate and goal-directed aspects of
creativity
→ creativity is not just something that happens to us (which is definitely not the
case); we can make it happen
The benefits of buying summaries with Stuvia:
Guaranteed quality through customer reviews
Stuvia customers have reviewed more than 700,000 summaries. This how you know that you are buying the best documents.
Quick and easy check-out
You can quickly pay through credit card or Stuvia-credit for the summaries. There is no membership needed.
Focus on what matters
Your fellow students write the study notes themselves, which is why the documents are always reliable and up-to-date. This ensures you quickly get to the core!
Frequently asked questions
What do I get when I buy this document?
You get a PDF, available immediately after your purchase. The purchased document is accessible anytime, anywhere and indefinitely through your profile.
Satisfaction guarantee: how does it work?
Our satisfaction guarantee ensures that you always find a study document that suits you well. You fill out a form, and our customer service team takes care of the rest.
Who am I buying these notes from?
Stuvia is a marketplace, so you are not buying this document from us, but from seller radjasjockasi. Stuvia facilitates payment to the seller.
Will I be stuck with a subscription?
No, you only buy these notes for $11.39. You're not tied to anything after your purchase.
