22 sept, 2012 culture, creativity and innovation: a critical research panorama xavier castañer...

22 Sept, 2012

Culture, Creativity and Innovation:

A Critical Research PanoramaXavier Castañer

Assistant Professor of Strategy, UNIL

Co-director of the Diploma on Cultural Management, UNIGE-UNIL

22 Sept, 2012

Culture, creativity and innovation, Prof. X. Castañer2

• Definitions of culture, creativity and innovation

• Links

• Can we manage them in organizations? Influencing individuals within organizations

• Can we encourage them through policies? (in orgs, cities, regions, countries…)

Questions

22 Sept, 2012


• Broad definition: Set of taken-for-granted – Assumptions/beliefs: existence after life, free will/capable of

choosing…– Values: property, democracy,…– Norms: etiquette-politeness, …– Rituals: family ceremonies, sport manifestations, elections,…– Artifacts: exchange/payment means (coins, bills, credit cards,…),

entertainment tools (instruments, books, TV, smart phones), transportation means (chariot, boat, car, plane,…)

• Narrow definition: Performing arts, heritage, cultural industries (audiovisual/recording/video games, publishing), creative industries– Linked to the identity of a community, tradition/s, emotion– Aesthetic experience (beauty)– Shared with other sectors: design - textile/clothing, furniture,

architecture, jewelry -, perfumes,… (Castañer, 2012) – centrality of R&D + identity/emotion/aesthetics like vehicles (vs pharma)

Definition of (Community/National) Culture

22 Sept, 2012


• Amabile (1988): novel and useful ideas– Novelty: new… relative to? (Castañer & Campos, 2002)

• Own past: individual, group, organizational,…• Others’ today – where?

– Inside: peers, subordinates, superiors– Outside: « customers », other incumbents, experts, media,…

• Others’ past: discovery vs rediscovery (ancient music)

– Usefulness: solves a problem• For whom? « in the eye of the beholder »• When? In the past, now, in the future? (O fortuna, velut luna, statu

variabilis)

– Is it a good idea to combine both? • No, selecting on the DV• From an evolutionary perspective (Campbell, 1959; Castañer & Cavotta,

2012) we need the separate study of idea– generation, imagination, « innovation » (ideation): source of variation (Burgelman, 1991)– communication/lobbying (e.g. De Clercq et al, 2011)– selection & retention & abandonment (Burgelman, 1994)

Definition of Creativity

22 Sept, 2012


• Invention vs innovation– Invention: new idea, theory, principle, method, tool (scientific –

patentable) « beyond the state of the art »– Innovation:

• Application of the invention to the development of a new commercializable good

• Incremental vs radical– Recombination of existing elements (Schumpeter, 1942)

• Referent

Definition of Innovation

22 Sept, 2012


• New goods: New products or services– New food product (soda), drug, car, plane– New services: telecom, online banking/trading, fastfood,…

• New methods and organizations– Of developing products: biotech, nanotech,…– Of managing people: 360 degrees HR evaluation, relational

marketing, TQM/reengineering– Of structuring: the matrix organization

Types of Innovation (Schumpeter, 1942)

22 Sept, 2012


• Content = repertoire– Invention – new genre (idea): dodecaphonism, experimentalism,

random serialism, …– Innovation: a work which initiates a new genre

• World creation, contemporary work: innovative?

• Form of– Interpretation (AM)– Transcription/adapt (BR)– Interdisciplinarity (CS)

Examples of artistic innovations

22 Sept, 2012


• Innovation vs imitation:– Exact replica vs taking inspiration of similar elements– Beyoncé (2005-2011): « her song “Countdown” bears a striking

resemblance to the work of the Belgian choreographer Anne Teresa De Keersmaeker… Ms. De Keersmaeker said the pop diva had borrowed liberally from two of her pieces, “Achterland” from 1990 and “Rosas danst Rosas” from 1983. The dancers in Beyoncé’s video not only share some dance moves with the “Rosas danst Rosas” piece, but also the costumes, the set and even some specific shots resemble a film of the dance made by Thierry De Mey, she said… The co-director of the video, Adria Petty, told MTV news recently she had showed Beyoncé footage of contemporary dance in Europe to generate ideas… She added that borrowed choreography seemed robbed of its original power in the context of a pop music video. “In the 1980s, this was seen as a statement of girl power, based on assuming a feminine stance on sexual expression,” she wrote. “I was often asked then if it was feminist. Now that I see Beyoncé dancing it, I find it pleasant but I don’t see any edge to it. It’s seductive in an entertaining consumerist way.”» New York Times, Oct 10, 2011,

– Self-plagiarism (e.g. Bach, Händel)– Citing others only « partly » (Mozart « citing » Martin i Soler in Don

Giovanni)

Innovation vs Imitation

22 Sept, 2012


Links • Culture’s values:

innovation/experimentation/search/exploration/risk– Very much in Western culture: GMO, human

genoma/cloning, nuclear energy, digitalization, space exploration,… Knowledge advancement, profit pursuit,…

– East/Asia?, Middle-East?– Cultural hybridization thru migration and IT?

• Creativity– Motivation: self-realization/self-esteem, self-expression,

political stance, intellectual property rights/money, reputation/recognition,…

• Innovation– Commercial application– Social entrepreneurship

22 Sept, 2012


• Still a modernist value?

– Need/urge for newness/novelty – we get bored (human attention) … but what about tradition?

– Means for stratification/distinction/differentiation which gives status/reconnaissance of the innovator (the romance of geniouses)

– Progress: « improvement » over the past?

Innovation

22 Sept, 2012


• Haskell (1983): the perception of the avant-garde is critical because of the gradual internalisation of an ideology which proposes that the goal of art is to subvert the aesthetic status quo given that artistic value depends on the fact of being ahead of the present taste, which implies that it has to be incomprehensible for the current public (Born, 1995, p.43-44)

– Who judges? • The own « milieu » (critics, experts,…) – corporatism

and the autonomy of the art world

« Modernist » Innovation

22 Sept, 2012


• Creation of a movement thru discourse (« branding ») and sociopolitical / educational action thru the creation of structures and manifestations (festivals, summer schools), proselitism – ex:

• Impressionnists (White et White, 1965), Minimalists

• Serialism, IRCAM (Born, 1995)

• « Authentic » interpretation of ancient music (Christie, Herreweghe, Hogwood, Kuijken, Savall, …): instruments and techniques (ornamentation), summer schools, festivals, artist-imprésarios, new ensembles (La Chapelle Royale, The Academy of Ancient Music, Capella Reial de Catalunya,…) (François, 2006)

How Does an Innovation Get Recognized as such and as Legitimate?

22 Sept, 2012


• Where does it take place? (Castañer & Cavotta, 2010)

– Performing arts: outside, adoption/programming, except in dance companies

– Cultural industries: outside (publishing), expect in TV/movie companies with internal production capabilities, and video games companies

– Heritage: inside, deciding what to present and how from the collection or other museums

– Isolated individual by him/herself vs interactive organizational/network/collaborative project, ex: composer-libretist- metteur en scène…) (Becker, 1982)

Cultural Innovation or Content Innovation in the Cultural/Artistic Domain

22 Sept, 2012


• Requires experimentation/search– Solving problems– Pursuing opportunities (entrepreneur)– Btof: Aspiration-gap model (March & Simon, 1958, Bromiley, 1991)

– Requires:• Individual motivation/traits: entrepreneur, risk-taker,… (employee selection

hence…)• Organizational culture (values):

– Experimentation is good; counter the pressure to conform to routines (March, 1991)– Trying things from other organizations/domains is good – need contacts (weak vs strong ties,

network position, Granovetter, 1973; Burt, 1992)– Failed experimentation is not punished (Sitkin, 1992)

– Recognition» Economic incentives (Barnard, 1938; Meckling & Jensen, 1976)» Promotion/award

– Freedom/autonomy (power to use time)– Financial resources

» Amount: slack or lack (Singh, 1986; Bolton, 1993; Nohria & Gulati, 1996)

» Funding mix (Heilbrun, 2001; Pierce, 2000; Neligan, 2006; Pompe et al, 2011)

Encouraging Creativity/Innovation in Organizations

22 Sept, 2012


• Subsidies to individuals or organizations– The programming choice has been made/targetting the donors– Constraining? Levels of administration (e.g. Pompe et al, 2011)– Crowding out?– Inertia/complacency

• Protection of possible future rents – copyrights (Towse, 2002), still a risk

• Making the territory more attractive– Infrastructure (spaces, transportation,…)– Culture (openness, tolerance, diversity) – BCN

• Public ownership/funding

Encouraging Creativity/Innovation through (Cultural) Policies

22 Sept, 2012


Thanks much for your attention and participation

22 Sept, 2012


• Comment émerge l’innovation dans une organisation? Comment la stimuler?– Traits individuels:

• Personnalité: Motivation intrinsèque (expression) vs besoins économiques vs besoin de reconnaissance (Maslow, 1964)

– (In)satisfaction (March et Simon, 1958) – Rébellion contre ordre présent – être périphérique,

marginal (Rogers, 1995) – Amateur du risque, entrepreneurial (Birley, 1985)

» Perception d’un besoin/opportunité (Kirzner, 1923)

• Réseau social:– Influence/attentes des autres (dedans et dehors,

profession-milieu)– Position structurelle (capital social)

Innovation – Facteurs Explicatifs

22 Sept, 2012


• Sélection, formation et promotion: – Personnalités souhaitées– Plusieurs profils (diversité)

• Possibilité de progrès (hiérarchique et économique) pour différentes carrières

• Culture homogène vs hétérogène – convergence vs conflit, exploitation vs exploration (March, 1991)

• Tolérance de l’erreur (Sitkin, 1992)

• Promotion de contacts entre (différentes approches):– Membres– Membres et personnes externes (e.g. Alessi)

• Reconnaissance– Professionnelle– Economique

• Culture org/valeurs, exemple du leader/manager

Comment stimuler l’innovation?

22 Sept, 2012


• Sélection des propositions:– Exploration autorisée au préalable (contenu ou seulement

ressources)– Test

• Préserver l’innovation/l’innovateur– Opportunités externes pour l’innovateur– Loyauté et implication organisationnelle de l’innovateur– Capacité d’influence de l’innovateur (voix, Hirschman, 1970)– Internalisation, alliances et avantage (Disney-Pixar)

• Protéger l’innovation et les rentes qui en découlent?– « Innovation ouverte » (Chesbrough et Teece): plus

d’adeptes? Plus d’innovations? Innovations complémentaires? Modèle économique?

Comment gérer l’innovation? Défis

22 Sept, 2012


• Comment émerge l’innovation? Comment la stimuler?– Au-delà des traits individuels (voir sélection)

– Perception de traits organisationnels:

• Besoin de différentiation/distinction pour survivre (être perçu/reconnu)

• Liberté, possibilité d’exploration (culture org)

• Ressources vs manque de ressources? (March et Simon, 1958; Bolton, 1993)

• Incitations:– Économiques (Ross, 1973; Meckling et Jensen, 1976)– Reconnaissance interne

Innovation – Facteurs Explicatifs (I)

22 Sept, 2012


Innovation vs Imitation

• Beyoncé et Anne Teresa De Keersmaeker

• Mozart et Salieri

22 Sept, 2012


Invention vs Innovation: Différents Domaines

• Sound recorder and phonographe

• Silicone d’hydrogel et lentilles

22 Sept, 2012


Invention vs Innovation: Différents Domaines

• Cellule photovoltaïque et panels photovoltaïques

22 sept, 2012 culture, creativity and innovation: a critical research panorama xavier castañer...

Documents

innovation links

innovation ideation

art innovation

definition of creativity

new idea

new products

castaer cavotta

castaer campos