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    Note 1

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    Os Relati ONY ons 'Creative 160 i i | 163 164 164 166 | 168 169 | j | | ! | | i 170 Introduction to Creativity and Innovation (Chapter 1) ee, Introduction to Creativity CUTE tel eLefeyi) SSS PS aE 1.1.1. Introduction to Creativity Creativity is an on-going process as it constantly needs to ident fy improved ways to expand the business, however difficult it might be or how limited the resources may be. Creativity is added advantage to entrepreneurs in their capabilities to invent something new, not only in theory but also in concrete. Entrepreneurs feel motivated by the fact that his efforts from start to the scratch go through the entire Process and obtain the desired result. After achieving one target, he takes up another challenge since this is what he wants to continue doing. Be According to Robert E. Franken, “Creativity is defined as the tendency to Benerate or recognise ideas, altematives, or possibilities that may be useful in | solving problems, communicating with others, and entertaining ourselves and others”, According to Dr. Betty Edwards, “Creativity is the ability to find new solutions {0.8 problem or new modes of expression; thus it brings into existence something new to the individual and to the culture”, According to Linda Naiman, “Creativity as the act of tuming new and imaginative ideas into realty. Creativity involves two processes ~ thinking, then producing.” According to Rollo May, “Creativity is the process of bringing something new into being. Creativity requires passion and commitment. It brings. to. our awareness what was previously hidden and points to new life. The experience is/ one of heightened consciousness ~ ecstasy”. As per psychologists, creativity has numerous definitions. Creativity is social as Well as mental process that encompasses finding out improved ideas or views or a Superior approach in which the creative mind can comprehend existing ideas and notions. The emergence of conscious or unconscious viewpoint enhances creativity. Another pefeeption about creativeness (onthe basis of its etymology) is that creativeness is theprocess of doing something, new. It is a sub-set of intelligence which depicts ‘he set of fundamental elemental and relational functions that have a high-connection with reliability viz Sub-set of conditional intelligence. To be particular, relicbility is crucial for intelligence. Ifthe function Of brain which is responsible for developing rational associations commits errors, it would not be termed as intelligence; reasonably it might be called “intuition”. Ie mistakes become regular, then this is termed as lack of intelligence. “4 Creativity & Innovation Management Introduction to Ci A : 5) Ability: The 1.1.2. Nature of Creativity creativity. It d Following are the nature of creativity: maaereeenie Nature of Creativity | improved idea | simple yet real sa Tioginative ree | It is a fact ¢ Purposeful a \ children are ir Original ue { restrain this ct 1 needs to be c | ‘Ability | process. ‘Aude | 6) Attitude: Cre: Process Being capabl: experiment w 1) Imaginative: Things which are not known earlier or which people, are able to enjoy lumaware of, are exposed during creative thinking. Hence, creative thinking better, needs means the first imagination. This type of thinking can be viewed in art, while acceptable thi science and technology are also insightful. mind might 1 For example, it was the result of imagination only, that Johann Guttenberg Gens Combined wine press and coin punch to invent printing press. Galileo 7) Process: Cree Conducted imaginary experiments while being in prison. Another such puts in effort example of imagination is Einstein, who imagined that atoms moved adaptations to randomly before their movements were witnessed in the laboratory. | bull's eye in ¢ 2) Purposeful: There is a purpose behind every creative imagination. This can i eee vary from opening a wine bottle without using a cork screw, to surviving @ perapaghonnl Janken boat, to finding improved treatment for cancer patients, or to develop eee atypical ional effect of cé is. inventor so th: 3) Original: Originality emphasises on the individuality which is a significant 1.13. Elen feature of creativity. Individuality of a creative mind is very similar to the Ninieaeee process of a plant emerging out of a seed. Albert Szent-Gyorgyl is a 1) Goncoptual F Physician and the Noble Prize winner, who discovered Vitamin C and has ieee vans highlighted this characteristic of creativity in his definition: nena tetas “Discovery consists of looking at the same thing as everyone else and 2) Conceptual thinking something different.” | uate 4) Of Value: This feature states that the end result or outcome of creativity must | 3). Originality: have some value. In order to make creative thinking worth evaluation, the solutions to qi evaluation process needs to identify the pupose of innovation and its | issues and situ Sianificance. The purpose must not be harmful, unethical or destructive; ratherit | 4) Complexit should serve original and unique solutions to the problems in the organisation. | een os ‘ E ; | cata a Value is a very important feature, yet it is specifi kind since diffeent things effort x9 evalu might be of value for different people at diffeent levels. For example, different people have different perspectvés regarding graft @ unique-of The four eiemes writing or drawings on walls). Hence the question is worth putting up: experience, know! “Whose values and what sort of values are we using to judge and act?” secherllingness sation Management which people are creative thinking wed in art, while san Guttenberg g press. Galileo n. Another such at atoms moved oratory. sination, This can w, to surviving a nts, or to develop ch is a significant ary similar to the ont-Gyorgyi is a itamin C and has reryone else and of creativity must th evaluation, the novation and its structive; rather it 1e organisation. +e different things s. For example, ffiti (a unique of vutting up: and act?” luction to Creativity and Inno vatiou (Chapter 1) 15 >) Ability: The capability to envision or originate something new is called creativity. It does not mean that something is developed out of the blue, but numbers of old ideas are combined or restructured to create a new and improved idea. The new idea might be extraordinarily brilliant or might be a simple yet realistic idea that no one had yet thought of. Tt is a fact that every individual has the aptitude to be creative. Even children are immensely creative. As they grow into adults, education might restrain this creativity, which can be revived with some effort. A person just needs to be committed to creativity and give time for his or her thought process. ©) Attitnde: Creativity is about having an attitude towards idea, object or habit. Being capable of adapting to the changes and novelty, willingness to experiment with new ideas and notions, having a flexible viewpoint, being able to enjoy the goodness and simultaneously looking for means to make it better, needs an attitude. The society where we live allows only usual and acceptable things such as strawberries dipped in chocolate syrup. A creative mind might look for different options such as ready-to-eat meals, instant coconut milk cubes, etc. 7) Process: Creativity is a continuous process where the individual constantly Puts in efforts to advance the ideas and results with minor changes and adaptations to work, Traditionally, it is believed that creativity cannot hit the bull's eye in the first attempt, other than exceptions. The truth behind great innovations made by pioneering companies is that, the inventor is usually so obsessed with refining and improving his invention that he keeps on making changes until he is satisfied. Hence, the company has to take it off from the inventor so that the product can be marketed. LA. \ Allements of Creativity Following are the elements of creativity 1) Conceptual Fluency: I isthe capability to produce quite alot of appropriate ideas in a short duration related to a certain problem, issue or situation, which should be resolved. 2) Conceptual Flexibility: It is the capability to have different point of views or frame of references and diverse methods for solving the same problem. 3) Originality: 1t is the capacity to generate now, extraordinary, unique solutions to queries or problems and out-of-the-box interpretations of everts, issues and situations. 4) Complexity Orientation: It is the aptitude to challenge and search for answers to difficult and uncertain situations or iseues, and to happily put in effort to evaluate, incorporate, elucidate and resolve them, The ‘four elements of -creativity: are strongly interlinked with a person's experience, knowledge and imagination. They are also associated with motivation and willingness towards problem solving, Creativity & novation Management \ atin Ct 1.4, 4 Ps of Creativity \ aiegesuene tea ~egree—that—creativity_research—can—be—organisedwithinrfour \ cad eae npains.(Rhodes described these domains as the “four Ps” of creativity, namely \ son, process, product, and press Keoricores ‘Although Rhodes noted that 4) eativity may be viewed from perspectives of ,%TSon, process, product, and press the environment — the four P’s of creativity. ch Energy: A extraordinarily higi absorption, passion 5) Thorough: Of co y understanding this framework one can evaluate, recognise and change the cdmmitted creative tuations to have more deliberate innovation and actually feel happier and more | fabhion. lifilled in life. It is believed that being creative is a natural state and a quick look 1 history and human progress demonstrates this point quite well. Often times, srson feels unhappy and stressed when he/she is not being creative, sees no ogress and the options are limited. Understanding how to return to a natural ate may be part of the key to happiness. The 4 Ps of Creativity are as follows: 6) Curiosity: Alengy curjosity ~ a somet understand one’s w He br she may have of exploring attics, 4Ps of Creativity 7) Humiour: Another ability to take child , inventions, proble around” with idea upside Yown, back adult is essentially : Both Freud and C: important feature 0 8) hana Fan Person Process Product Press of the environment 1.4.1. — Person [A person is the individual or team that creates something. The person is where the ‘most study of creativity has taken place. A person has various characteristics and traits. i attraction jo fantas These may include both on-going trait characteristics and fluctuating state complexity, A clas i fos S showed that credi sharacteristics of the person, and may involve observable evidence as well as ‘more inferred capabilities and personal traits. Consideration may include abilities, cognitive styles, affective and motivational patterns, underlying intentions, attitudes, and values, and many other features one may yet need to identify. drawings over simy may excite treativi fault. Tolerancé fo novelty, is essentia ambiguous period i One ee « creative people ten The -creative personality can be described with some combination of the following traits, tendencies and characteristics: 1) Aware of Creativeness: Most highly creative people are quite aware of their creativeness. They are in the habit of doing things creatively and they like being flying saucers, Yes creative, Creativity consciousness is a common and important trait among 9) Artistic: Artistic a1 creative people. In improving one’s own creativity and in teaching creativity to | simply that credtiv others, creativity consciousness is the number one trait to develop music, dance, the: persons creative in 2) Originality: The trait of originality is so basic that dictionaries often use the | term interchangeably with creativity. Originality also may be considered a | 10) Open-Mii creative ability in the sense of one’s capability Tor ufliqueness and non- | to new ideas and \y conformity in thought. une | Open-enindednes ded: A 3) Independence, Risk-Taking: These two traits inter-relate closely, since a not making-up on! person cannot display high independence without the accompanying creativity barriers willingness to take a creative risk. The creative person must dare to differ, logical, and avoidin t prod a i vation Management sed within four ceativity, namely aodes noted that ‘oduct, and press and change the appier and more and a quick look ell. Often times, creative, sees no turn to a natural ure as follows: sent son is where the raracteristics and fluctuating state dence as well as include abilities, lying intentions, .0 identify. abination of the ite aware of their nd they like being rtant trait among ching creativity t0 op. ries often use the be considered a ueness’and non- closely, since a € accompanying: ast dare to differ, | | | Introduction to Creativity and Innovation «Chapter 1) 7 make changes, challenge waditions, make waves, and bend rules, independence and risk-taking expose the cr and embarrassment, and the possi Such ive person to possible criticism ities of failure or looking foolish. 4) High Energy: A defining trait of creatively productive people is their extraordinarily high level of energy, which appears as enthusiasin, driving absorption, passionate interest, and an unwillingness to give-up. 5) Thorough: Of course, high risk-taking and energy are not enough. The committed creative person must finish the projects, preferably in an organised fashion, 6) Curiosity: Alongwith originality and high energy, another classic trait is curiosity — a sometimes child-like sense of wonder and intrigue, a desire to understand one’s world. He or she may have a history of taking things work. He or she may have a history of taking things apart to see how they work and of exploring attics, libraries, and’museums. 7) Humour: Another frequent trait is a keen sense of hurnour. It relates to one’s ability to take child-like and playful approach to problems. Many discoveries + inventions, problem solutions, and artistic creations are the result of “fooling around” with ideas, playing with strange possiblities, or tuming things upside down, backward, or inside out. A relevant quote is that “the creative adult is essentially a perpetual child ~ the tragedy is that most of us grow-up". Both Freud and Carl Rogers agreed that regression to a child-like state is an important feature of fantasy and creative thinking. 8) Attraction to Fantasy, Complexity, and Novelty: The creative person's attraction to fantasy, complexity, and novelty may reflect the person's own complexity. A classic demonstration by Frank Barron and George Welsh showed that creative persons preferred smudgy-complex, asymmetrical drawings over simple and balanced ones. While novel ideas and innovations may excite creative people, others habitually may analyse defects and find fault. Tolerance for ambiguity, which relates intimately to complexity and novelty, is essential in the sense that -creative problem. solving involves an ambiguous period in which the problem is clarified and solutions considered. One unique twist to the attraction to fantasy, complexity, and novelty is that creative people tend to be stronger believers on psychical phenomena and flying saucers, despite their generally higher intelligence level. 9) Artistic: Artistic and aesthetic interests usually are keen. One explanation is simply that creative people are more likely to have been involved in, e.g., music, dance, theatre, art, or handicrafts. However, the trait extends to persons creative in science, business, and other traditionally non-art areas, 10) Open-Minded: A creative person, virtually by definition, (© new ideas and willing to look at problems from various points of view. Open-mindedness includes not fearing the new, different, or-unknown and not making-up one’s mind in advance. The trait relates to Von Qech's creativity barriers of looking for just one right answer, being practical and logical, and avoiding ambiguity, frivolity, mistakes, and foolishness. must be receptive. _ 18 Creativity & Innovation Management 11) Needs for Alone Time: The need to create demands time for thinking, reflection, solving problems, and creating. Creative children and adults often prefer to work alone, reflecting their creative independence 12) Perceptive: Perceptiveness and intuitiveness, whether in art or science areas, are common traits of creative people. There is greater sensitivity to details, patterns, implications, relationships, and “what should follow”. Intuitive “mental leaps” are quicker. 13) Emotional: The Dabrowski and Piechowski phenomenon of “emotional giftedness” or “overexcitability” usually happens in very high IQ gifted persons. ‘The syndrome includes free play of imagination, vivid imagery, fantasy, paranormal thinking, metaphorical thought, inventions, and poetic and dramatic perceptions, as well as fast talking and extra high energy levels. The syndrome includes having emotional highs and lows, moodiness, and emotional sensitivity. 14) Ethical: Another trait related to high mental ability and creativity, and one found in Terman’s early studies of highly gifted children, is a tendency for ethical thinking, and behaviour — empathy, idealism, altruism, and simple helpfulness. 1.1.4.2. Process ; ‘The process refers to motivation, perception, leaming. thinking, and communication. Process is about how creativity occurs. It looks at the stages of _ creativity, and the different techniques that people use to get them from the start of the process to the end, from idea to product. i ‘These includes ways in which creators think, feel, experience, motivate and direct themselves and behave related to the generation ‘of original and meaningful (creative) outcomes. Of particular interest are aspects of process which may be relatively unique, or necessary, even if not sufficient, to the generation of creative aad me Creative Process Clearly, action by itself has no meaning; it is of little value to simply “do things” ‘without having inspiration and direction. Entrepreneurs need ideas to pursue and ideas seldom materialise accidentally. Ideas usually evolve through a creative process whereby imaginative people germinate ideas, nurture them, and develop them successfully. A model of the creative process is shown in Figurel.1 . dea Preparation: iumaination | | Verification: Germination: | | Conscious + Recognition | | Application “The seeding search for of idea a5 or test 10 stage of anew bp} knowledge being teasble Lp] prove ides idea *] | Rationatisation || information |-] Realisation. | | has value Recognition Fantasizing Validation Figure 1.1: Creative Process Introduction to Creativity Various labels have be scientists agree on fi illumination, and ve differently to move a behaviour varies great 1) Idea Germination planting seed as a occurs when pollit take root. Exactly can be examined v to an individual's i 2) Preparation: On creative people 1 they are tying 1 information about idea for a new pt Inventors will set new product ideat 3) Incubation: Ind more often, they All have heard a ideas come from people while the: substance throug’ is allowed time t« 4) Mumination: In of the thunderbo! often long and forgotten. Illumi important point preparation and i idea full meanin catalytic event, t is critical for entr 5) Verification: Ar litde meaning w essential to tran: application, Veri application. This committed to fil creation. During impossible or to developed, or tk Inyentors quite « their products o1 Innovation Manageme Introduction to Creativity and novation (Chapter 1) 0 3 time for thinking. Iren and adults gften Various labels have been applied to stages in the creative process, but most social scientists agree on five stages, ie., idea germination, preparation, incubation, 2. illumination, and verification. In each stage, a creative individual behaves art or science freas, differently to move an idea from the seed stage of germination to verification: ensitivity (0 details, behaviour varies greatly among inidividuals and their ideas: 1 follow”. Intuitive 1) Idea Germination: The germination stage is a seeding process. It is not like planting seed as a farmer does to grow com, but more like the natural seeding that ‘occurs when pollinated flower seeds, scattered by the wind, find fertile ground to | lake root, Exactly how an idea is germinated is a mystery; itis not something that ery high AQ gifted | can be examined under a microscope. However, most creative ideas can be traced ion, vivid imagery, to an individual's interest in or curiosity about a specific problem or area of study. ‘entions, /and poetic c high energy levels. 2) Preparation: Once a seed of curiosity has taken form as a focused idea, ws, mobdiness, and creative people embark on a conscious search for answers. If it is a problem they are tying to solve, then they begin an intellectual journey, seeking information about the problem and how others have tried to resolve it. If itis an idea for a new product or service, the business equivalent is market research. Inventors will set up laboratory experiments, designers will begin engineering ew product ideas, and marketers will study consumer buying habits. j I ! | 3) Incubation: Individuals sometimes concentrate intensely on an idea, but, j | } snon of “emotional creativity, and jone a, is a tendency for truism, and simple more often, they simply allow ideas time to grow without intentional effort. All have heard about the brilliant, sudden “flashes” of genius, but few great ideas come from thunderbolts of insight. Most evolve in the minds of creative people while they go about other activities. The idea, once seeded and given Substance through preparation, is rut on a back burner; the subconscious mind is allowed time to assimilate information. i : i motivate and direct | 4) IMlumination: In this stage the idea resurfaces as a realistic creation. The fable al and meaningful | of the thunderbolt is captured in this moment of illumination-even though the { | i | i { | ig, thinking, and aks at the/stages of them from the start zess which may be often long and frustrating years of preparation and incubation has been eration of creative forgotten. Iumination may be triggered by an opportune incident. The important point is that most creative people go through many cycles of preparation and incubation searching for that incident as a catalyst to give their idea full meaning. When a cycle of creative behaviour does not result in 2 catalytic event, the cycle is repeated until the idea blossoms or dies. This stage is critical for entreprencurs because ideas by themselves have little meaning. 5) Verification: An idea once illuminated in the mind of an individual still has little meaning until verified as realistic und useful. Entrepreneurial effort is essential to translate an illuminated idea into a verified, realistic and useful application. Verification is the development stage of refining knowledge into application. This is often tedious and requires perseverance by an individual i committed to finding a way to “harvest” the practical results of his or her | - ~ creation. During this stage, many ideas fall by the wayside as they ptove fo Be i impossible or to have little value. More often, a good idea has already been developed, or the aspiring entrepreneur finds that competitors already exist. Inventors quite often come to this harsh conclusion when they seek td patent their products only to discover similar inventions registered. simply “do things” deas to pursue and throught a creative them, and develop Figurel.1. 20 Creativity & Innovation Management Components of the Creative Process ‘The creative process has three distinct components: 1) Motivation: Initial motivation which provides stimulus for processing — | information and exploring alternative solutions, | 2) Skills in the Task Domain: The extent of the knowledge, talents arid technical skills of the entrepreneur will help in his search for solutions, pin pointing an idea and verifying the 3) Skills in Creative Thinking: These will help him to visualise different solutions, generating a number of alternatives, see divergent uses of a single idea etc. to come up with a workable idea or plan | ‘The creative process is not a linear or straightforward. In reality one often jumps from one stage to another and back again. Creativity and creative people often leapfrog from one stage to the next as they discover how to turn an idea into a finished product. Each creative idea, solution or product will follow its own course. While the process used may be similar the journey will always be different. 1.1.43. Product Result or outcome of creative efforts, be this a concrete product, behavioural result or repetoire, set of ideas to be communicated or indeed a process one is attempting to influence. These products may be identified for the purposes of this entry by using IPAR’s widely utilised criteria of originality and meaningfulness. Ghiselin has pointed out that a creative product is “intrinsically a configuration of the mind, a presentation of constellated meaning, which at the time of its appearance in the mind was new in the sense of being unique, without a specific precedent”. According to Sprecher, “A truly creative product or contribution has the characteristic of being itself creative in the sense that it generates additional creative activity.” He pointed out that many creative findings lead to new problems which require new solutions which in tum lead to new discoveries. The amount of activity a creative product generates can be considered as an important | but frequently undervalued criterion, and is probably related to a large extent 10 divergent production. Many\esearchers have directed their energies to identifying a variety of criteria and Messick contributed important indights regarding creative product criteria, and most investigators would agree with their statement, “No matter whatother positive qualities it might possess, thea person generally insists as a firststep that a product be novel before one is willing to call it creative.” This criterion also referred to as originality, statistical infrequency, or unusuatness, has to-do with.the newness of .- a product. : f rN Criteria of Creative Thinking which Results in the Formation of a Creative Product | Introduction to Creativity With respect to the ¢ criteria are seen as im 1) Novelty: Perceiv: consensus; a ere that this inventic refers to the diffe novelty (H-creati 2) Usefulness: The is simultaneous! creative, some ¢ solved in an opt room in a buildin bulbs used nowac Besides the main crit 1) Quality: With can be conveyec outstanding new 2) Importance: Th example, a new human contact v scope than anew 3) History of Dis evaluation if one of hardwork. Nc known to have r 1.14.4. — Pressol In Mooney’s view, around individuals ¢ circumstances neces well add issues of ct the first place, either particular concrete « capability to generat Factors of Creative 1) Challenge and) best work and fe related problem talents for logis future demands. When people ar clock and wait energies are stifl Innovation Management alus for. processing ledge, talents and *h for solutions, pin visualise different cent uses of a single ity one often jumps ‘eative people often tum an idea into a vill follow its own ey will always be coduct, behavioural cd’a process one is che purposes of this 1 meaningfulness lly a configuration at the time of its without a specific or contribution has enerates additional ‘ings lead to new w discoveries, The ved as an important © a large exteat to variety of criteria sssick ‘contributed nost investigators ositive qualities it that a product be also referred to as ith the newness of ion of a Creative Introduction to Creativity and Innovation (Chapter 1) n With respekt to the creative product, which is a result of creative thinking, two ctiteria are sken as important: Rerceived novelty depends on both the evaluating person and social ~ tive innovation can have novelty even if it tums out later that this invention has already been made elsewhere. In this vein, Boden refers to the difference between personal novelty (P-creativity) and historical novelty (H-creaiity). The setond criterion, usefulness, ensures that not everything new is simultaneously labelled a creative product. For a product to be called creative, some of the Yonstraints posed by the problem have to have been solved in an optimal way. For example, if one wants to illuminate a dark room in a building, large mbiror system seem less useful than the electric light bulbs used nowadays, Besides the main criteria, Lubart mations three subsidiary ones: 1) Quality: With these additional criteria the gradations of product creativity can be conveyed. For example, it\makes sense to say that a qualitatively outstanding new product is better thatha half-baked product. 2) Importance: The importance of a protiuct is also related to its scope. For example, a new car-alarm system that ‘distingui human contact with a vehicle and thereby\avoids false alarms has a lower 3) History of Discovery: Lastly, the history of evaluation if one learns that the invention came about by pure chance instead of hardwork. Normally, respect for creative produ known to have resulted from a very ambitious long-term 1.1.4.4. Press of the Environment In Mooney’s view, this involves disceming “what pattern of circumstances around individuals or groups accompanies what patterns of behaviour in them, ‘umstances necessary for releasing creative production”. Note that one may well add issues of culture and sub-culture shaping perception and conceptions in the first place, either in the moment or over time. These can facilitate or restrain Particular concrete outcomes or requisite processes the creator might have the capability to generate. fort. Factors of Creative Environment 1) Challenge and Involvement: People are personally committed to doing their best work and feel challenged to use their skills in solving meaningful work- related problems. They. feel rewarded and motivated to use their natural talents for logistics, tactics, diplomacy, and strategies to meet current and "future desiiands. Intrinsic task motivation is high, When people are not challenged and involved, they basically punch the time clock and wait for the end of the day to come. They feel that their natural energies are stifled rather than encouraged. 3) 4) 5) 6) Creativity & Innovation Management Freedom: Freedom may be synonymous with choice. People want the freedom to choose what needs to be done to meet the situation at hand - whether it is planning how a project will be executed, asking questions, generating ideas, or implementing a plan. When people working together have freedom, they have the opportunity to use their time in ways that are relevant to them in meeting challenges. Rather than rely on procedural how- tos, they are free to invent their best approach. With freedom also comes the choice of the best use of time. If all their time is scheduled and accounted for, then the opportunity for freedom is diminished. Trust and Openness: Sharing ideas, thoughts, opinions, and experiences is an optimal condition in which people can do their best work. The key to ‘openness is trust. Trust is demonstrated by respecting and honourably treating people with due regard. Imagine what it is like when there is no trust. People are skeptical, and reserved. They hold back their best thinking and suggestions, fearing others might use them to their personal advantage. Where trust and openness exist, people feel welcome to contribute. Idea Support: When one has a new idea or wants to “bounce” an idea off someone else, what kind of response a person is likely to get? Human nature being what it is, one’s new idea may be met with reasons why it cannot be done. In words, gestures, facial expressions, or intonations, a person sometimes learn the value of one’s new idea in less than supportive ways. This is typical of the adulthood phase of the creative eyele. New ideas are often closely associated with the individual who offers them. ‘When a new idea is criticised, so is the person who offers it up. After a person has been criticised a number of times for new offerings, the survival mechanism clicks into gear. Rather than face the hurt, embarrassment, and potential threat of losing the position, one keeps the new ideas to it and resists offering them. Humour and Playfulness: Laughter, spontaneity, jokes — all are welcome as promoters of a climate that supports creative thinking and action. Let us face it, life at work, can get a little tiresome. To help people get fresh outlooks for new ideas as well as to relieve some stress, humour can go a long way. To achieve the “aha” (the new connection or idea), the “ha-ha” (the humour factor) is often required. Humour also acts as a healthy psychic balancing tool for stress and anxiety and to heighten morale. Humour helps shift energies. Where there is little humour and playfulness there is little evidence of the vitality of life. People are serious and levels of camaraderie are low. Idea Time: Many people need some time to generate and consider different ideas before going into action. Environments that support high quality work provide regular occasions to do this. The value placed on using creative thinking for new ideas is made overthrough this practice. Imagine the implicit message about the value of creative thinking in an office where new ideas are welcome only during one three-hour idea-generating session. Or new ideas offered up out of context or off the agenda are lost to the atmosphere instead of being recorded for later consideration. Introduction to Creativity ‘The pressure to the individuals i others are less a! D may creative thinkin; dealing with the of innovation s infer less than gossip flourishe 8) Debate: Debate Honouring thos: Debate might b an opportunity in a non-threate behind the idea views to thems information ope an innovation & full scope of int 9) Risk-Taking: ¢ and milking ev: what, where, ¥ success. Re-ex: adulthood phas« When risking i anything that m 1.15. Facto There are two fact: organisational: 1) Individual Inf associated with different cognit which implies solutions to ad proficiencies is dreams which i Traits of perso high. energy, confidence, in taking, intrinsi creativity. It is prove to be moi Innovation Menagement ©. People want the situation at hand ~ 4, asking questions, le working together me in ways that are on procedural how dom also comes the d and accounted for, . and experiences is t work. The key to honourably treating e is no trust. People best thinking and versonal advantage. sntribute. younce” an idea off get? Human nature ‘8 why it cannot be mations, a person 1 Supportive ways. 1 who offers them, Cup. After a person survival mechanism potential threat of fering them. all are welcome as action. Let us face fresh outlooks for a long way. a-ha” (the humour chic balancing tool sips shift energies, le evidence of the are low. consider different high quality work on using creative inking in an office ar idea-generating agenda are lost to tion. i I | | | i | | iB Introduction to Creativity and Innovation (Chapter 1) 23 The pressure to perform in idea-generating session sometimes overwhelms the individuals involved. While some may favour this form of idea collection, others are less at ease with this and other traditional approaches. 7) Conflict: One -may be surprised to see conflict on the list. (“Conflict strategies” may be a more useful term to use.) Organisations that support creative thinking and action honour individuals having a mature, adult way of dealing with their emotions. A high amount of conflict contributes to a lack of innovation success. When conflict is high, people protect their turf and infer less than positive meanings about the actions of others. Grapevine gossip flourishes and morale dips seriously low, 8) Debate: Debate is about hearing different viewpoints from different voices, Honouring those viewpoints is important. Debate might be better termed as discussion where all parties involved have an opportunity to share their perceptions of an event, situation, or challenge in a non-threatening way. Debate centres on the idea, rather than the person behind the idea. Where there is litle debate or discussion, people keep their views to themselves. They are less likely to become involved and share information openly. Important bits of information that could make or break an innovation are not offered up. One-sided decisions result that overlook the fall scope of information available for optimum decision-making, 9) Risk-Taking: Successfully working with risk involves learning from failure and milking every ounce of data regarding decisions and actions (é:., who, what, where, when, why, how, feélings, interactions and so on) to create Success. Re-examining the process and outcomes of failures typifies the adulthood phase of the creating cycle, ‘When risking is unwelcome people play it safe. They are afraid to suggest anything that may harm their status. 1.1.5. Factors Affecting Creativity There are two factors that have an impact on creativity such as individual and organisational: 1) Individual Influence: There are number of individual factors which are associated with creativity. One of these factors is cognitive process. Under different cognitive processes, divergent thinking is one of significant process, Which implies to a person’s capability to devise a number of prospective solutions to a difficult situation. Moreover, use of metaphors and associative Proficiencies is also related to creativity. The state of unconsciousness like dreams which is considered as creative thinking is also a cognitive process. Traits of personality like breadth of interest, artistic and intellectual values, high energy, independence of judgement, need of achievement, self. confidence, intuition, creative self-image, tolerance for ambiguity, risk taking, intrinsic motivation, desite for recognition, etc, are related to ~ creativity. It is also believed that people who are usually in a good mood Prove to be more creative in problem solving, 2) sment Creativity & Innovation Man ‘Tabk ‘conomie and Individual Factors Influencing Creativity Factor Comment Education ‘Atquired knowledge and expertise ‘amily | Greative-Thinking | Imagi skills Se Living Environment | Location, society, pastime and leisure activities, decreased crime rate. = ‘Varied Background | Experiencing different cultures, ving: and work aimospheres ‘Age “Activities which fend to descend withthe ascending age. sphere, background, ie lexibility, thinking out-of the box. Persona Varia neresis self confidence, values, epi, and bones} Organisational Influence: In terms of creativity, organisational influence can either be constructive or destructive. The originators of creativity feel self-sufficient and independent, being a team member, with individuals of different skill sets including creative heads, supervisors and peers. However, creativity can be enhanced by having a flexible organisational structure, highly supportive supervisors and being able 10 participate in organisational decision making. Creativity is hampered when one’s work is closely monitored by superiors, the evaluation process, political issues, new ideas being criticised bitterly, facing a win-lose situation, cut-throat competition and risk prevention. Orgalisational rewards are considered as one way of boosting creativity which has varied outcomes. ‘Table 1:2: Work Environment Factors Influencing Creativity Factor ‘Comment Encouragement |1) Organisational “Approval to create abstract, uncertain but beneficial a ii) iii) Positi al and positive evaluation of novel ideas; stimulus through performance-related realistic (KPD), and extrinsic rewards (bonus); low of ideas between employees and! ‘and making employees a part of| ‘sion making process and management. ‘communication and unbiased, iv) Two-way 2) Supervisory: Excel translucent evaluation. 3) Work Group: Team members from different backgrounds, acceptance for new ideas and| ive dispute, team efforts. ‘Katonomy ‘or|Structured way for managing and ishing tasks, 10-Ao-list Freedom ‘and working hours dedicated to the task. ‘Resources [Adequate budget and resources allocated fox the task. Creative Location | Geographical location, staff canteens and (food quality, ning hours, and variety), facilities, natural Light work areas. Tecurity and Safety |Safety of employees, security of job (no, hire-aidd-fire mentality), : {health and hygiene in the working environment, Pressure ‘Stress factor due to work pressure, positivity due t\mmediate, intellectual chaiienges.. z (Organisational Enlarged bureaucracy, low level of transparency, al Impediments stievances, not being performance-related, rigidity, not a supporting unit, inflexible and strict management structures. Introdvction to Cre 1.1.6. Im The importance 1) Ability to remained v solutions tc as entreprei 2) Increases and creatis effectivene ideas in creativity, are represe process fol of problen from proce 3) Enhances and skills people to improved \ 4) Assists in needs an + areas, Att opportuni totally out actions. 117. O1 ‘There are anu these barriers ‘These obstacle 1) Defining incomplet be misplac engage in problem is definitions For exan excessive definition efforts sw variety of such appr «the real» increasing Innovation Management 5, decreased erime ork atmospheres inding age. ‘lism, and honesty. nisational influence tS of creativity feel with individuals of nd peers. However, isational structure, te in organisational S_work is closely | issues, new ideas throat competition red as one way of ativity | ‘ain but beneficial vel ideas; we-related realistic 8 (bonus); 1 eimployees and yees a part of| 5 and management. 1 and unbiased, rent backgrounds, ‘pute, team efforts, 1g tasks, to-do-list | task, stias (food quality, ‘bt work areas \nd-fire mentality), | due to immediate, Introduction to Creativity and Innovation (Chapter !) 1.1.6. Importance of Creativity ‘The importance of creativity is discussed below: 1) Ability to Discover New Solutions: Creativity is one concept that has remained unexplored in depth. It has the capability t0 look up for better solutions to issues and inventing new things. Hence, ereativity is appreciated as entrepreneurs are always ready to solve problems. 2) Increases Efficiency: Creativity also plays a crucial role in the innovative and creative process. Ideas that end up improving the output and the effectiveness of system needs creativity. It acts as a main source to develop ideas in order to increase the efficiency and usefulness of a system. In creativity, there are two main features, viz., people and process. The people are represented as the resources who find out the solution. Whereas, the Process follows above methodology. It is target-oriented and structured way Of problem-solving. Although the approach that people might use differs from process to process, 3) Enhances Knowledge: Creativity provides the benefit of in-depth knowledge and skills to the people and also widens the scope of knowledge. It helps People to utilise their prior skills in creating better ideas, techniques and improved ways of implementing them, 4) Assists in Exploring Opportunities: In order to develop something new needs an extensive research to find out the opportunities in the different areas. At times, it might also be needed to set up new areas or new market Opportunities. Tn the initial stage, new ideas might be developed by thinking totally out-of-the-box or by following a dynamic process or alternative set of actions. 1.1.7. Obstacles to Creativity ‘There are a number of common impediments or barriers to creativity. Removing these barriers can be the first step in fostering creativity in oneself and others, These obstacles are: 1 Defining the Problem Incorrectly: If the problem is defined incorrectly, incompletely, or inappropriately, then creative approaches to solving it will be misplaced. One of the ways in which this can occur is when individvals engage in what is called vertical thinking. Vertical thinking occurs when a Problem is defined in a single way and there are no deviations or alternative definitions considered until the solution is reached. For example, an organisational problem might be defined as one of excessive costs in a particular service unit. If there are no challenges to this definition of the problem, then people will logically pursue cost-cutting efforts such as reducing hours of service, laying” off staff, decreasing the variety of services, and postponing purchases of equipment and supplies, But such approaches might make the problem worse if it is later discovered that the real problem was failure to understand and respond to chahges to increasing customer needs 26 Creativity & Innovation Management 2) Judging Ideas Too Quickly: People often reject ideas that are inconsistent with their current thinking. It has been heard by people defending current practices by saying, e.g., “We have always done it that way”. Although constancy and consistency might be a human need and a virtue in certain circumstances, blind adherence to the status quo in organisation is not. As Allison argued in his analysis of the Cuban missile crisis, sometimes organisations (and the people in them) try to fit problems into particular organisational routines, whether or not the situation really calls for a novel response. 3) Stopping at the First Acceptable Idea: Because people often are under pressure to come up with solutions to probléms, sometimes the response is to accept the first good idea that comes along. Time pressures, different problems competing for the attention, or simply lack of recognition that other ideas might be better can lead one to choose alternatives too quickly. Obviously, this can result in forgoing what might have been a later — but better idea. 4) Lack of Support: Creative ideas can wither on the vine. If someone comes up with an interesting and original idea but no one listens or considers it, then the idea probably will not go anywhere. One might learn over time that curiosity and questioning are not welcome in the work environment. Sometimes, a person is not creative because it takes a great deal of mental energy, and the demands of daily jobs simply consume all of the reserves. Moreover, thinking does not look like working. 5) Hostility to Sharing Knowledge: In some organisations, there is not only a ack of support, but also an outright hostility to creativity and the sharing of ideas. This may take the form of supervisors insisting the workers do not deviate from standard procedures, to not “waste time” by talking among themselves, or routinely tell employees. that “we do not have time to experiment” or “we tried that once and it did not work”. In such cases, “it is unrealistic to expect or assume that individuals are basically willing to share knowledge even when incentives are introduced”. 1.1.8. Rules Overcoming Obstacles to Creativity Hindrances to creativity seem overwhelming; however, they can be overcome. One has to be creative in how to show their creativity. Following are some simple rules to become more creative: 1) Necessity: One should realise that being creative isn’t a luxury for the organisation; it’s a necessity. Thus one should always be motivated—for the good of the organisation and, consequently, for their own good—to be creative. 2) Be Positive: One should have an optimistic attitude. Grumbling will not do any good: Believing that improvements are possible, and forging ahead in spite.of the barriers. 3) Get the Data: Finding shortcuts to showing the value of ideas. Doing some research and making any case as solid as possible so that it becomes, more difficult for someone to reject it out of hand. Invoduet n to Creat 4) Change the perspectives. pieces. The: elements of t 5) Thinking in they'll soon ideas. Hence ones. 6) Tolerate An mind’s mean side’s non-ar through and : 7) Persevere: work, 8) Eliminate 1 generating n internal distr creative thin! 9) Don’t Follo problem, so + many answer likely one wi 10) Verbalize: * one should issue with ot! 11) Take Notes: should recort to announce they do appe 12) Take a Brez off. Rest, pl automatically 13) terate: Aft That is whe creative clin sequence. 14) Quit: Whe: totally satisfi best solution involved in't 15) Don’t follow should do the rnnovation Management are inconsistent with current practices by vugh constancy and ‘ircumstances, blind llison argued in his s (and the people in ines, whether or not le often are under s the response is to oressures, different 2ognition that other itives 100 quickly. been a later — but If someone comes or considers it, then arn over time that vork environment. ‘eat deal of mental all of the reserves. there is not only a and the sharing of, he workers do not by talking among lly willing to share ativity can be overcome. ollowing are some a luxury for the motivated—for the sto be creative. nbling will not do 1 forging ahead in ideas. Doing some tit becomes more Introduction to Creativity and Innovation (Chapter 1) 7 4) Change the Perception: Looking at a problem fom a variety of Perspectives. Initially, examine the problem by breaking it into separate Pieces. Then finding a way to really sce (perhaps for the first time) those elements of the whole. 5) Thinking in Sequence: If anyone evaluates their ideas as they occur, then they'll soon bog down and prevent themself from coming up with better ideas. Hence, one should accept all ideas at first and then sort out the good ones. 6) Tolerate Ambiguity: One should not organise their thoughts or control their mind’s meanderings. That's the job of the left side of the brain. Let the right e's non-analytical thinking get a chance at the problem, Later, it can sift through and select. 7) Persever work. + As with any difficult job, one has to work at it. It will be hard 8) Eliminate Distractions: Uninterrupted concentration is important for generating new ideas. The distraction of a phone call, a visitor—or even internal distractions like concern about getting ideas a fair hearing—can stop creative thinking, 9) Don’t Follow Only One Answer: There may be several solutions to a problem, so don’t stop afier hitting the first answer. One should generate as many answers as they can. The larger the pool of possible solutions, the more likely one will find the winner. 10) Verbalize: Words are the tools of thought. Instead of staring at the problem, ‘one should write down their ideas, or route to getting those ideas, Discuss the issue with others. 11) Take Notes: New ideas are ephemeral. They're easy to forget. Hence, one Should record them before they disappear. Since ideas don’t have the courtesy to announce themselves in advance, one should be ready to trap them when they do appear. 12) Take a Breather: After focussing on a problem, one should take some time off. Rest, play, sleep or do something else. Subconscious will take over and automatically continue probe-and-search operation. 13) Iterate: After the period of gestation, one should come back to the problem, That is when subconscious will donate its contributions. Begin another creative climb to improve the ideas. Repeat this concentration-relaxation sequence. 14) Quit: When someone worked hard to solve the problem—but still aren't ‘otally satisfied with the solution—perhaps this is the time to stop. ‘Take the best solution and follow it up. Don’t use creativity as an excuse not to get involved in the difficult job of implerientation, * 15) Don’t follow All the Rules: One should loosen up. Smash a few icons. One should do their thinking in their own way because everyone is different. 28 Creativity & Innovation Man Introduction to Creativity wading. Business » ki INNOVATION environment created j may occupy someone 1.2.1. Concept of Innovation - hic sto make prot Creativity is the seed that leads entrepreneurs to innovate, It precedes the een shown in Figure innovation. Innovation is the process of entrepreneurship. Innovation is a key ‘ function in the entrepreneurial process. Innovation can be defined as the ability to f create something new based on knowledge that has been attained. In order for es something to be new, it must be radically different from things which are already in existence. The nature of innovation is important when it comes to problem | solving. Often, the goal of those who use innovation is to solve problems Comper Innovation plays an important role in virtually every aspect of life. Though it is | 1 usually connected to business, technology, or engineering, and can even be useful | ‘The above figure sho: ‘on a personal level into opportunity, Thi ; creative thinking nee« Y\ Agcording to Stephen P. Robbins, “Innovation is a new idea applied to aistisasem ee itiating or improving a product, process or services”. strategically applied { these opportunities an, entrepreneur either creates new wealth producing resources or endows existing | Entrepreneurs come resources With enhanced potential for creating wealth”. understand that an idi | _ these ideas and transfi | the next step is and he Step 1: Come Up wit | when entrepreneurs tt and is it strong enoug about the idea and doe is nothing wrong with / According to Peter Drucker, “Innovation is the means by which the \ Innovation is a new idea, device or process. Innovation can be viewed as the application of better solutions that meet new requirements, inarticulated needs, or existing market needs. This is accomplished through more effective products, processes, services, technologies, or ideas that are readily available to markets, governments and society. While a novel device is often described as an innovation, in economics, | management science, and other fields of practice and analysis innovation is Step 2: Examine anc generally considered to be a process that brings together various novel ideas in a when examining the way that they have an impact on society. question does the idea 1) Does the product ~ Innovation differs from invention in that innovation refers to the use of a better 2) Whois the target and, as a result, novel idea or method, whereas invention refers more directly to the creation of the idea or method itself. Innovation differs from improvement in that innovation refers to the notion of doing something different rather than doing the same thing better. 3) Isita good timing 4) What will make it Entrepreneurs should them answer all these Step 3: Get Feedbacl to share their ideas thi to oneself will do no execute a'business ple 1.2.2. Making the Idea a Reality While the initial ‘spotting’ of ideas is of a random nature, the development of ideas after Scannig the environment is a more purposeful activity. Thus, the - former is an experientjat process while the latter is a strategic process. All basic ideas have to undergo a vigorous process of examination, evaluation, atialysis and | | it will help one realise Be aren " : one think of another i synthesis to identify viable opportunities, Business opportunity may be defined as | Feit talking we the a business proposal an entreprencur would like to pursue considering risk and the reward involved in the proposal which may be manufacturing or servicing or | "4s: Itis always goc sane er eetor Introduction to Creativity and Innovation (Chapter 1) ate. It precedes the a Innovation is a key Skills one fined as the ability to + attained, In order for Processing + Comer) igs which are already 3 it comes to problem to solve problems. of life. Though it is Figure ad can even be useful 2» trading. Business opportunities refers to as favourable circumstance or environment created in production, commercial, service of financial activities that May Occupy someone's time, attention, labour, and other resources, the more of which is to make profit. This process of a basic idea becoming an opportunity has been shown in Figurel.2, Competencies Creative Thinking : Conversion of Idea into Opportuni The above figure shows that a strategic positioning is required to convert an idea into opportunity. This simply means that knowledge, skills, competencies and creative thinking needed to develop an idea are backed-up by factors critical for rew idea applied to market success. When knowledge, skills, competencies and creativity are strategically applied for market orientation, a viable opportunity is bom. Farther these opportunities are converted into reality. zans by which the s or endows existing Entrepreneurs come up with good ideas every day but it is important to understand that an idea is a business or a product. The hardest part is executing these ideas and transforming them into reality. Sometimes itis hard to know whet the next step is and how to take it. Here are the steps to get the idea into reality: garioulated needs, Or | Step 1: Come Up with an Idea: Coming up with 00d ideas is the easy part, but ¢ etertive products, / when entrepreneurs think of one, they should see frit fie the goals and passions available to markets, | and is it strong enough for them to follow and enceate They should be flexible sbout the idea and does not stick to its intial form; it is bound to change and there is nothing wrong with that, an be viewed as the tion, in economics, i ualysis innovation is | Step 2: Examine and Evaluate the Idea: Entrepreneurs should be objective ‘ious novel ideas in a | when examining the idea and evaluate it like a potential investor would. Whe | qestion does the idea answer such as: 1) Does the product or service answers this question? 2) Who is the target audience? 3) Isit a good timing to start this kind of a business? 4) What will make it work and what are the risks involved? to the use of a better rs more directly to from improvement in cent rather than doing | Entrepreneurs should spend time in building the business | them answer all these questions and cover all angels. | Step 3: Get Feedback for Idea and Business Plan: People are sometimes afraid {0 share theit ideas thinking someone will teal or use them, but keeping the ideas » the development of | 45 oneself will do no good. Consult with people who know how to build ‘and 1 acrvity. Time the || execute a busineds plac Talk’ an expert Gt someone who has been in the game; ie process. pepe it will help one realise if the idea will be hard to.transformn to reality. It might help papa lees, | ‘one think of another idea or help one with transforming the idea into a profjtable ity may | plan because it will help idering risk and the | Te@lity. Talking to the target customers can also help one understand the market’s asidering : ; ders ating or servicing or | Eds Itis always good to try out the idea or product before it hits the market, 30 Stet chat on The & idea ad step lac! mat rei be st 8, working properly. Adjust the necessary things; leave the things one did right int Creativity & Innovation Management 1p 4 Make Changes Based on Feedback: Entrepreneurs should make P jes to the product or strategy based on feedback. ‘They should develop a plan ‘pow 10 implement these changes and know what goals they want to achieve. wis to make it happen as faster and cheaper as possible, so start with an perfect it through pilot testing, 5: Building the Team: Many people come-up with good ideas but are fring the skills to execute these ideas. Not everyone have technical or Keting skills, so getting the right people to work is essential. Entrepreneurs | jould think about what professionals they will need to transform the idea into ty and look for the right people to work with. 46: Do not Wait: Even if one thinks the produet or service still needs work, wait until its “perfect”. If one waits too long, the idea will die, i would not Felevant anymore or someone else will execute it, ep 7: Make Changes Based on Actual Experience: Only after the product is

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