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Don’t Allow Yourself to Get Burned
I am not a big fisherman, but I do enjoy it whenever the opportunity comes my way. I have some friends who are fanatics and occasionally I will go out with one of them. They have nice boats and it makes for an enjoyable day. I like fishing from...
Mark Victor Hansen to Keynote Success Summit
You have permission to publish this article electronically or in print, free of charge, as long as the bylines are included. A courtesy copy of your publication would be appreciated - send to: support@wakeuplive.com Mark Victor Hansen to...
Reaping the Harvest: Are the weeds crowding out the fruits of your labor?
One of my highly creative clients (I’ll call her Kate) used to think she could never be organized. She had always believed getting organized meant that she’d have to give up her creativity, self-expression and spontaneity and become a rigid and...
The Key to High Productivity is Energy Management
One of the issues most often raised by my clients is better time management. People have tried prioritizing tasks, blocking out parts of their day for certain tasks, implementing new systems and getting better at delegation. While all of those...
The Quickest Way To Start A Business Online
Want to get into business fast with minimal investment? Want a business that will generate a steady passive Income? Consider This: Joining an affiliate program is one of the easiest ways to get into business quickly online! In fact joining an...
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Managing Creativity and Innovation part 1 of 2
Leaders, consultants and managers must be competent in at least thirteen domains to even begin effectively managing creativity and innovation. Part 1 of Managing Creativity and Innovation covers the first seven of these domains.
a) The difference between creativity and innovation. Often used interchangeably, the two must be thought of as separate and distinct. One definition for creativity is that it is problem identification and idea generation, whilst innovation is best described as idea selection, development and commercialisation. These definitions alone imply at least six competencies (including one holistic). At a minimum, the differences mean that, at each stage, varying skills, processes and structures are required.
b) The size and richness of idea pools. Initially creative thinking is used to generate an idea pool and then critical thinking reduces those ideas to feasible ones. To maximise the quantity and quality of the idea pool, a conscious application of processes and techniques must be applied. Some of these include
i)Using a variety of stimuli and frameworks to open up pathways
ii)Not stopping when a good idea seems to present itself
iii)Consciously stimulating change in direction
iv)Distinguishing between the numbers of ideas produced, their novelty, diversity and frequency of production.
c) Creative types. There is common belief that some people just are more creative and certain theorists argue for creativity characteristics such as tolerance of ambiguity and intolerance for conformity. However, traits are notoriously difficult to detect and not stable nor transferable across situations. Also, motivation is thought to be more important than traits – this is similar to possessing high intelligence - one must be motivated to improve and apply it.
d) Learning versus Talent. Can creativity be learned and developed or is it a natural talent or gift? The best way to answer this question is to investigate whether creativity improves with practice. The experience curve, automisation, learning theories and the experiences of practitioners suggest that people do get better at generating more, better, diverse and novel ideas - but there are caveats, such as an increase in path dependency and peaks and troughs in motivation.
e) Motivation. Someone with natural ability or placed in the right environment may not take advantage of it unless motivated. Intrinsically motivated individuals tend to expend more effort and create
more output and synergistic extrinsic motivation better enables a person to complete an endeavour. On the other hand, non-synergistic extrinsic motivation leads to a person feeling controlled and manipulated and is incompatible with intrinsic motivation. Specific motivators such as material reward, progress to the ideal self, self-determination, self-evaluation, feedback, enjoyment, competency expansion, recognition and feasibility can all be quantitatively measured and monitored.
f) Organisational Culture. We can all be more creative, so what is stopping us? Often people complain of some degree of evaluation apprehension – this manifests itself in many ways but two of the most common are a fear of seeming unintelligent or unoriginal. Some cultures are more risk averse than others, others do not manage competition well and yet others engender friction by misallocating resources.
g) Organisational structure. Many theories argue that certain structures, such as hierarchical and mechanistic, hinder creativity and innovation. Whilst these theories generally tend towards validity, there are many reasons why a business has a particular organisational structure - history, logistics, market segmentation, product line, strategy and so forth – therefore it is unreasonable to ask a firm to change it. Ultimately, what managers need, is a knowledge of the properties of a fostering structure so that they may incorporate those elements into their existing one.
This field yields much interesting data. For example, many respondents argued that all structures, even those so-called flat structures, are in reality hierarchical.
Some very simple changes can be implemented. These include:
i)Direct communication links to decision makers.
ii)Cross-divisional information flow.
iii)Tangible progress of ideas.
Part 2 of Managing Creativity & Innovation will discuss Group Structure, Knowledge, Networks and Collaboration, Radical and Incremental Creativity and Innovation, Structure and Goals, Process and Valuation.
Kal Bishop, MBA, http://www.managing-creativity.com
About the Author
Kal Bishop is a management consultant based in London, UK. He has consulted in the visual media and software industries and for clients such as Toshiba and Transport for London. He has led improv, creativity and innovation workshops, exhibited artwork in San Francisco, Los Angeles and London and written a number of screenplays. He is a passionate traveller.
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| Motivation - Wikipedia, the free encyclopedia |
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