An Organizational Model to Understand the Creativity Workshop

Ideas are vital for organizations because they are the source for innovation and this in turn is endless source of competitive advantage. The correct definition of concepts not only allows the targeting of academic studies, but its future application in everyday life of organizations. The overall objective of this article is to clarify the terms related to generation of ideas, ideation and idea management. The method used was a literature review, and later, an analysis of the concepts used by the studies surveyed, seeking points of convergence and divergence. As a result we propose a clarification in order to aid understanding of the terms, setting a benchmark for future research. We conclude that ideation and idea generation are the same, they are the process of creating new ideas and idea management comprises the management of ideas throughout the innovation process.

Ideas exchange must needed in order to get the novel and creative solution for problems and also to implement it for future innovations. Ideas exchange will be met in many meetings, work session, discussion in a group of people to achieve the solution. There is a brainstorming method to create and generate ideas in order to exchange it with freewheeling and as flexible as they can or in another words with free-flowing burst of ideas (Osborn, 1957). This brainstorming involves the interconnected influences of cognitive, social, and motivational process from each contributor. The expressing of their ideas are affected by this model, in cognitive aspect the members have basic knowledge that can be used for idea generation. The second aspect is social that can influence because of the comment or judgment by another members that can block their mental. The last aspect is motivational process because each of members must know what the benefit and urgency of this group idea generation. Figure 1. A Cognitive-Social-Motivational Model of Group Ideation

The process of new product development often requires diverse knowledge and skills. The organisations are becoming increasingly ‘‘team’’ based. In many cases working in teams and collective creativity skills are becoming more important than job-related knowledge. There are not many studies on how to increase the efficiency in collective creativity. The study presented in the article was conducted in two phases. The first phase of the study was aimed on the identification factors most important for the efficiency of collective creativity. The survey of 38 teams was performed. The second phase of the study is aimed at identification possible solutions/principles on how to increase the efficiency of collective creativity process. The analysis of three existing collective creativity models is conducted. Based on the findings the Simultaneous Collective Creativity (SCC) model was developed. Each step of the model is described in detail in the article.

2013

This paper analyses four settings of so-called collaborative "creative workshops" (their methods, logistics, regulation processes) and provide peepholes on their respective features, with the informed goals of defining criteria for comparison, finding shared essence and distinctive characteristics. Key aspects such as time, facilitation and autoorganization shape a "creative continuum" that formalizes how creativity can be stimulated and how participants might collaboratively develop creative behaviors. KEYWORDS Creative and collaborative workshops, creative tools and methodologies, impact of time and regulation on collective creativity. ABOUT CREATIVITY Creativity, innovation, creative economy or creative management are timely topics in fields such as design, economics, education or innovation research. Various initiatives around these concepts take place and, among them, invitations to experience hands-on, practical approaches of creativity-what we will call in this paper "creative workshops". The emergence of these workshops raises various fundamental questions about creativity. One of them concerns its very essence: can we teach it? When it comes to educate to creativity, two schools of thought coexist. Indeed, if creativity has long been considered by most as an unexplainable gift that cannot be learned nor taught (MacKenzie, 1998), others start formulating divergent opinions: properly structured by tools and methodologies, creativity (or contexts favorable to creativity) could emerge

Psychologists have created highly specific and elaborate models of the creative process and the variables affecting creative performance. Unfortunately, much of this research has tended to take either an overanalytical or an underanalytical approach. By overanalytical we mean that researchers have studied single, isolated stages of group creativity, such as idea generation. By underanalytical we mean that researchers have tended to treat ''creative group performance'' as a single, unitary construct. However, we argue that it would be better to approach creativity as a multidimensional sequence of behaviors. In support of this argument, we discuss research on individual as well as group creativity showing that, firstly, there are multiple routes toward creative performance (e.g., flexibility and persistence), which may be pursued 1 alone or in combination. It is likely that these different routes are subject to distinct influences. Secondly, we argue and show that different stages of the creative process (problem finding, idea generation, idea selection, idea implementation) are not necessarily affected by the same variables, or in the same way. We highlight some new questions for research, and discuss implications for the management of groups and teams.

2012

Since 10 years, during creativity sessions called “48hours”, a lot of ideas is generated. To avoid losing any information and prepare the following phases of the innovation process, we have developed with EDF R&D, an application called "Ideofil®"

World Journal of English Language, 2022

Creativity or innovation address the process of developing and applying new information. As a consequence, they are vital to Organizational Learning. However, as organizational learning is a new career, innovation or creativity must be addressed in this new setting. This research starts by proposing a framework inside which these difficulties may be examined. It then continues on to look at just how human creativity is inhibited in numerous ways, particularly deep-seated views of the world. Finally, this research evaluated two devices that promote knowledge management or creativity: discussion in the human domain as well as groupware in the technical area. The authors of this research investigate the notions of creativity, innovation, or knowledge, but also their responsibilities. Innovation and uniqueness are required in all academic areas or educational activities, not simply the arts. People can think critically, tackle complicated problems, but also come up with innovative solut...

2009

This research focuses on creativity and innovation management in organizations. We present a model of intervention that aims at establishing a culture of organizational innovation through the internal development of individual and team creativity focusing on problem solving. The model relies on management’s commitment and in the organization’s talented people (creative leaders and employees) as a result of their ability in defining a better organization. The design follows Min Basadur’s problem solving approach consisting of problem finding, fact finding, problem definition, solution finding and decision implementation. These steps are carried out using specific techniques and procedures that will link creative people and management in order to initiate the process until problems are defined. For each defined problem, project teams will develop possible solutions and implement these decisions. Thus, a system of transformation of the individual and team creativity into organizational...

2016

The team has become the basic organisational unit of development and innovation work and an understanding of creativity at the collective level is crucial for long-term sustainability. This article takes a process perspective and understands group creativity as emerging from the interaction among group members. It is about the possibility to enable the emergence of selforganisation, thereby increasing group creativity. This paper presents an experiment where four out of eight randomly formed groups of students were given a work order structured according to the group process model “GroPro”. In groups using the GroPro ideas were significantly more often promoted, observed and used by other group members, and used in the final solution. Further, the two best solutions and the more creative solutions of the task were found among the GroPro groups. A work process structured according to the GroPro model seems to increase self-organisation as well as the creativity of the group. Further,...

This paper analyses four settings of so-called collaborative "creative workshops" (their methods, logistics, regulation processes) and provide peepholes on their respective features, with the informed goals of defining criteria for comparison, finding shared essence and distinctive characteristics. Key aspects such as time, facilitation and autoorganization shape a "creative continuum" that formalizes how creativity can be stimulated and how participants might collaboratively develop creative behaviors. KEYWORDS Creative and collaborative workshops, creative tools and methodologies, impact of time and regulation on collective creativity.