The light-bulb is oftentimes used as metaphor for creative ideas which shed “new light” on a problem — the light of insight and progress. However, the history of the light-bulb is de facto not an example for innovation but, per contrast, for exnovationDefinitionExnovation is the semantic antonym of innovation. It occurs when processes, products, or ideas that are perceived as de facto standards are not innovated further (cf. 'status quo bias'. (i.e., inhibition and repression of novel ideas and creative change).
References
Drago, V., & Heilman, K. M.. (2012). Creativity. In Encyclopedia of Human Behavior: Second Edition
“The goal of this article is to review the brain mechanisms that mediate creativity, and how diseases of the brain influence creativity. studying patients with brain lesions has been crucial for neurologists and neuropsychologists in understanding the modular organization of the brain, or the notion that there are specific areas of the brain that mediate specific functions. in the past 20. years, functional imaging has provided converging evidence for the concept of modularity or localization of function, but we believe that it is a mistake to think that technology such as functional imaging and electrophysiology will replace the insights gleaned from observations and studies of patients with neurological disorders. additionally, studies of the behavioral changes associated with lesions of the brain have allowed scientists to fractionate many complex functions into their components parts.in this article, we will provide some examples on how neurological diseases might influence creativity and help delineate the brain mechanisms that may explain why some neurological diseases may affect creativity; however, before providing specific details of the relationships between neurological diseases and changes in creativity, we will first briefly review some experimental literature about creativity. this review will be followed by a discussion of case reports of artists with neurological diseases and how their disease influenced their creativity.”
Sternberg, R. J.. (2006). The nature of creativity. Creativity Research Journal
“Like e. paul torrance, my colleagues and i have tried to understand the nature of creativity, to assess it, and to improve instruction by teaching for creativity as well as teaching students to think creatively. this article reviews our investment theory of creativity, propulsion theory of creative contributions, and some of the data we have collected with regard to creativity. it also describes the propulsion theory of creative contributions. finally, it draws some conclusions.”
Amabile, T. M., Conti, R., Coon, H., Lazenby, J., & Herron, M.. (1996). Assessing the work environment for creativity. Academy of Management Journal
“We describe the development and validation of a new instrument, keys: assessing the climate for creativity, designed to assess per- ceived stimulants and obstacles to creativity in organizational work environments. the keys scales have acceptable factor structures, in- ternal consistencies, test-retest reliabilities, and preliminary conver- genl and discriminant validity. a construct validity study shows that perceived work environments, as assessed by the keys scales, dis- criminate between high-creativily projects and low-creativity projects; certain scales discriminate more strongly and consistently than others. we discuss the utility of this tool for research and practice.”
Nayak, R., Agarwal, R., & Amabile, T. M.. (2011). a Model of Creativity and Innovation in Organizations. International Journal of Transformations in Business Management
“Presents a study which examined the factors influencing creativity and innovation in organizations. integration of a model of individual creativity into a preliminary model of organizational innovation; criteria for models of organizational innovation; discussion of the model’s limitation and implications for practice.”
Amabile, T.. (2006). How to kill creativity. In Creative Management and Development, Third Edition
“The article addresses the topic of business creativity, its benefits, and how managers can inspire it. the author’s research shows that it is possible to develop the best of both worlds: organizations in which business imperatives are attended to and creativity flourishes. the author observes that creativity is a function of three components: expertise, creative-thinking skills, and motivation. she believes managers can influence these components through workplace practices and conditions. the author sees managerial practices affecting creativity as falling into six general categories: challenge, freedom, resources, work-group features, supervisor encouragement, and organization support. inset: the creativity maze.”
Amabile, T. M., Barsade, S. G., Mueller, J. S., & Staw, B. M.. (2009). Affect and Creativity at Work. Administrative Science Quarterly
“This study explored how affect relates to creativity at work. using both quantitative and qualitative longitudinal data from the daily diaries of 222 employees in seven companies, we examined the nature, form, and temporal dynamics of the affect-creativity relationship. the results indicate that positive affect relates positively to creativity in organizations and that the relationship is a simple lin- ear one. time-lagged analyses identify positive afifect as an antecedent of creative thought, with incubation peri- ods of up to two days. qualitative analyses identify posi- tive affect as a consequence of creative thought events, as well as a concomitant of the creative process. a pre- liminary theory of the affect-creativity cycle in organiza- tions includes each of these links and proposes mecha- nisms by which they may operate”
Lorenzen, M.. (2019). Creativity in context. In Creativity, Innovation and the Cultural Economy
“‘Creativity in context’ is an update of ‘the social psychology of creativity,’ a . . . text for researchers, students, and other interested readers. this book incorporates extensive new material, going far beyond the original to provide a comprehensive picture of how the motivation for creative behavior, and creativity itself, can be influenced by the social environment. teresa amabile describes new findings both from her own research and from the work of many others in the field, detailing not only the ways in which creativity can be killed by social-psychological influences, but also the ways in which it can be maintained and stimulated. amabile describes a greatly expanded set of methodologies for assessing creativity, and introduces a set of methodologies for assessing the social environment for creativity in nonexperimental studies. throughout, the book maintains a clear focus on a comprehensive view of creativityhow the social context can influence motivation and how motivation, in conjunction with personal skills and thinking styles, can lead to the expression of creative behavior within that context. (psycinfo database record (c) 2009 apa, all rights reserved)”
Amabile, T. M.. (1983). The social psychology of creativity: A componential conceptualization. Journal of Personality and Social Psychology
“Considers the definition and assessment of creativity and presents a componential framework for conceptualizing this faculty. including domain-relevant skills, creativity-relevant skills, and task motivation as a set of necessary and sufficient components of creativity, the framework describes the way in which cognitive abilities, personality characteristics, and social factors might contribute to stages of the creative process. the discussion emphasizes the previously neglected social factors and highlights the contributions that a social psychology of creativity can make to a comprehensive view of creative performance. (99 ref) (psycinfo database record (c) 2009 apa, all rights reserved)”
Gumusluoglu, L., & Ilsev, A.. (2009). Transformational leadership, creativity, and organizational innovation. Journal of Business Research
Anderson, N., Potočnik, K., & Zhou, J.. (2014). Innovation and Creativity in Organizations: A State-of-the-Science Review, Prospective Commentary, and Guiding Framework. Journal of Management
“Creativity and innovation in any organization are vital to its successful performance. the authors review the rapidly growing body of research in this area with particular attention to the period 2002 to 2013, inclusive. conceiving of both creativity and innovation as being integral parts of essentially the same process, we propose a new, integrative definition. we note that research into creativity has typically examined the stage of idea generation, whereas innovation studies have commonly also included the latter phase of idea implementation. the authors dis-cuss several seminal theories of creativity and innovation and then apply a comprehensive lev-els-of-analysis framework to review extant research into individual, team, organizational, and multilevel innovation. key measurement characteristics of the reviewed studies are then noted. in conclusion, we propose a guiding framework for future research comprising 11 major themes and 60 specific questions for future studies.”
Unsworth, K.. (2001). Unpacking creativity. Academy of Management Review
“Creativity research has a long and illustrious history, yet the assumptions on which it is based have not been questioned. most researchers assume that creativity is a unitary construct, hindering a fuller understanding of the phenomenon. here i argue against homogeneity through the development of a matrix of four creativity types: responsive, expected, contributory, and proactive. implications include highlighting an imbalance in research, differences in processes, and predictors for the various types, as well as newly considering methodologies.”
Baas, M., De Dreu, C. K. W., & Nijstad, B. A.. (2008). A Meta-Analysis of 25 Years of Mood-Creativity Research: Hedonic Tone, Activation, or Regulatory Focus?. Psychological Bulletin
“This meta-analysis synthesized 102 effect sizes reflecting the relation between specific moods and creativity. effect sizes overall revealed that positive moods produce more creativity than mood-neutral controls (r= .15), but no significant differences between negative moods and mood-neutral controls (r= -.03) or between positive and negative moods (r= .04) were observed. creativity is enhanced most by positive mood states that are activating and associated with an approach motivation and promotion focus (e.g., happiness), rather than those that are deactivating and associated with an avoidance motivation and prevention focus (e.g., relaxed). negative, deactivating moods with an approach motivation and a promotion focus (e.g., sadness) were not associated with creativity, but negative, activating moods with an avoidance motivation and a prevention focus (fear, anxiety) were associated with lower creativity, especially when assessed as cognitive flexibility. with a few exceptions, these results generalized across experimental and correlational designs, populations (students vs. general adult population), and facet of creativity (e.g., fluency, flexibility, originality, eureka/insight). the authors discuss theoretical implications and highlight avenues for future research on specific moods, creativity, and their relationships.”
Ward, T. B.. (2004). Cognition, creativity, and entrepreneurship. Journal of Business Venturing
“Creativity tests measure specific cognitive processes such as thinking divergently, making associations, constructing and combining broad categories, or working on many ideas simultaneously. they also measure noncognitive aspects of creativity such as motivation (e.g., impulse expression, desire for novelty, risk-taking), and facilitatory personal properties like flexibility, tolerance for independence, or positive attitudes to differentness. raters can score the various kinds of test with substantial levels of agreement, while scores are internally stable to an acceptable degree. the tests also correlate to a reasonable degree with various criteria of creativity such as teacher ratings, and are useful predictors of adult behavior. thus, they are useful in both research and education. however, they are best thought of as measures of creative potential because creative achievement depends on additional factors not measured by creativity tests, such as technical skill, knowledge of a field, mental health, or even opportunity. however, the multidimensional creativity concept they define indicates that assessments should be based on several tests, rather than relying on a single score. abstract from author”
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