02197nas a2200229   4500008004100000022001400041245005400055210005300109260004200162300001000204490000600214520154800220653001501768653001501783653001301798653002601811653002601837100002201863700002701885700001701912856003801929       2019                        eng d  a1927-032100aLive and Let Die: On the Management of Creativity0 aLive and Let Die On the Management of Creativity  aOttawabTalent First Networkc10/2019  a16-260 v93 aLiterature has pointed to the importance of feedback on creative ideas in innovation management processes. However, little is known about the practices that constitute the feedback process and their effect on employees&rsquo; future willingness to consistently and recurrently contribute with creative ideas to organized innovation management efforts. In this research, we draw on data from a single case study at a German multinational manufacturing firm. We show the flip side of managerial attempts to provide feedback and foster employees&rsquo; creative output. In particular, we identify distinct practices organizational actors employ along the sequence of idea generation, elaboration, championing, and implementation, and find that the practices can turn organized innovation management efforts into a political process. Furthermore, we present a virtuous and a vicious circle of managerial attempts to manage creativity in innovation processes. In doing so, we highlight the value of taking a practice lens to better understand the challenges in organized innovation management efforts and propose future research in other contexts. We suggest that managers should flexibly design organized innovation management processes to account for radical ideas and to pay close attention to a coherent communication when providing feedback and encouraging employees to contrive creative ideas. Our work contributes to the body of research on innovation management by shedding light on the dark side of organized innovation management efforts.10acase study10acreativity10aFeedback10aInnovation management10aQualitative Research.1 aHartmann, Michael1 aLaubengaier, Désirée1 aFoerstl, Kai  uhttps://timreview.ca/article/127200860nas a2200313   4500008004100000022001400041245006400055210006100119260004200180300000800222490000600230653001800236653001800254653001500272653001800287653001400305653002500319653001500344653002600359653001900385653001100404653001000415653001300425653001300438653002600451653001300477100001800490856003800508       2018                        eng d  a1927-032100aEditorial: Innovation Strategy and Practice (November 2018)0 aEditorial Innovation Strategy and Practice November 2018  aOttawabTalent First Networkc11/2018  a3-30 v810abest practice10acollaboration10acreativity10acybersecurity10aframework10ainformation security10ainnovation10ainnovation ecosystems10amaturity model10amethod10amodel10apractice10aresearch10aresearch institutions10astrategy1 aMcPhee, Chris  uhttps://timreview.ca/article/119401672nas a2200217   4500008004100000022001400041245005600055210005400111260004200165300001000207490000600217520108200223653001601305653001501321653001501336653001301351653002001364653001301384100001901397856003801416       2018                        eng d  a1927-032100aA Practice Method for Studying Creative Communities0 aPractice Method for Studying Creative Communities  aOttawabTalent First Networkc11/2018  a22-310 v83 aExplaining innovation – even merely spotting it actually happening – is difficult. In this article, I introduce an industry-friendly approach that will enable practitioners and researchers alike to observe, interpret, and understand the different types of creativities – the raw materials necessary for innovation – that happen in creative communities. The Practice Method for Studying Creative Communities (PMSCC) is based on theories developed by Nonaka and Takeuchi. However, unlike mainstream practice-oriented methods, the PMSCC does not necessitate the use of theory-heavy conceptualizations; instead, it focuses on the everyday, creative micro-interactions in communities. As I describe in this article, the PMSCC offers practitioners and researchers an effective way to gain new insights into an otherwise relatively opaque process. Besides outlining the method, I also present results from a research project utilizing the PMSCC, showing how the method can produce worthwhile findings, foster new insights, and help practitioners hone their creative processes.10acommunities10acreativity10ainnovation10apractice10aresearch method10ateamwork1 aButtler, Pekka  uhttps://timreview.ca/article/119700693nas a2200241   4500008004100000022001400041245003600055210003300091260004200124300000800166490000600174653002900180653001500209653001800224653002100242653003800263653002300301653001900324653001300343653004000356100001800396856003700414       2017                        eng d  a1927-032100aEditorial: Insights (June 2017)0 aEditorial Insights June 2017  aOttawabTalent First Networkc06/2017  a3-40 v710acompetitive intelligence10acreativity10acybersecurity10aentrepreneurship10ainternal communication management10aInternet of Things10aservice design10atraining10auniversity–industry collaboration1 aMcPhee, Chris  uhttp://timreview.ca/article/107901690nas a2200277   4500008004100000022001400041245009900055210006900154260004200223300000900265490000600274520083600280653001601116653002501132653002301157653002101180653001501201653002401216653002501240653002301265653001801288653002201306100002601328700002101354856003701375       2017                        eng d  a1927-032100aRealistic Creativity Training for Innovation Practitioners: The Know–Recognize–React Model0 aRealistic Creativity Training for Innovation Practitioners The K  aOttawabTalent First Networkc06/2017  a5-150 v73 aCreativity is increasingly being recognized as important raw material for innovation, which highlights the importance of identifying ways to increase the creativity of practitioners. In this article, we describe our efforts to design a creativity training program specifically for innovation practitioners. Our aim was to develop a program that would be both theoretically sound (i.e., based on a rigorous scientific foundation) and relevant for practitioners (i.e., applicable to real-world contexts). Our transdisciplinary study employed co-creation as a method to ensure that three layers of focus would be taken into consideration: metacognitive knowledge, metacognitive monitoring, and metacognitive control. The result is a program called Creative Awareness Training, which is based on the new Know–Recognize–React model.10aco-creation10acognitive creativity10acreative awareness10acreative process10acreativity10acreativity training10afront-end innovation10ainnovation process10ametacognition10atransdisciplinary1 aValgeirsdottir, Dagny1 aOnarheim, Balder  uhttp://timreview.ca/article/108000694nas a2200253   4500008004100000022001400041245004800055210004500103260004200148300000800190490000600198653001500204653001800219653002100237653002200258653001500280653002400295653002100319653002000340653001300360653001300373100001800386856003600404       2016                        eng d  a1927-032100aEditorial: Managing Innovation (April 2016)0 aEditorial Managing Innovation April 2016  aOttawabTalent First Networkc04/2016  a3-40 v610acreativity10acybersecurity10aentrepreneurship10afrugal innovation10ainnovation10amanaging innovation10anational culture10aOpen innovation10aprojects10astartups1 aMcPhee, Chris  uhttp://timreview.ca/article/97601981nas a2200205   4500008004100000022001400041245007300055210006900128260004200197300001000239490000600249520138300255653001501638653001901653653001501672653001501687653002101702100001601723856003601739       2016                        eng d  a1927-032100aWhy National Culture Should Be at the Heart of Innovation Management0 aWhy National Culture Should Be at the Heart of Innovation Manage  aOttawabTalent First Networkc04/2016  a18-250 v63 aOver a period of decades, a substantial body of knowledge has accumulated that correlates national culture and socially and economically important behaviour, including innovation practice. National culture is an interconnected web of mental models that is shared by national groups and transcends the individual. It is highly influential in moderating the cognition and behaviour of groups and individuals. Different resources, including cognition and behaviour, are required at the different stages of the innovation process, and the context, including national culture (within which innovation is practiced), is an important consideration in designing strategy. Because innovation is a psychological and social process, understanding how national culture moderates that cognition and behaviour within the different stages of the innovation process and how the wider innovation ecosystem impacts innovation practice is central to understanding, strategizing and managing the innovation process. However, there has been limited application of this knowledge by practitioners. Therefore, this article examines the importance of national culture from a practitioner perspective, distilling the managerial implications and providing a list of questions that serve as a checklist to enable practitioners to analyze the implications of their own national and organizational context. 10acreativity10aimplementation10ainitiation10ainnovation10anational culture1 aSmale, Tony  uhttp://timreview.ca/article/97802022nas a2200265   4500008004100000022001400041245007800055210006900133260004200202300001000244490000600254520126800260653001901528653002601547653001601573653001501589653001401604653001001618653001401628653000801642653002301650653002901673100001801702856003601720       2015                        eng d  a1927-032100aThe Creativity Canvas: A Business Model for Knowledge and Idea Management0 aCreativity Canvas A Business Model for Knowledge and Idea Manage  aOttawabTalent First Networkc07/2015  a50-580 v53 aInnovation depends on ideas generated through creativity and the knowledge and research that make it possible to put ideas to work. However, these two activities are very dependent on the people who perform them. As demonstrated by a pilot project realized at Hydro-Québec’s research institute (IREQ), any approach that does not take this understanding into account is doomed to failure. This article proposes that what must be developed is a knowledge and idea management system designed as a coherent ecosystem that takes all controlling factors into account and is based on stakeholder interest and preferences. This ecosystem is the result of a meticulous design of each of the elements that must generally be taken into account in a business model. A business model approach includes not only developing a value proposition for knowledge and idea management that suits the target clientele but also a good understanding of the resources and activities required to deliver this value proposition and especially the ways to finance them. Key to the development of such an ecosystem is the creation of fully functional innovation communities, which are responsible for building up and nurturing their ideas and knowledge assets and getting value out of them.10abusiness model10abusiness model canvas10acommunities10acreativity10aecosystem10aideas10aknowledge10aR&D10aresearch institute10atechnological innovation1 aNaggar, Raouf  uhttp://timreview.ca/article/91400585nas a2200217   4500008004100000022001400041245005200055210004900107260004200156300000800198490000600206653001500212653001300227653001500240653001400255653001500269653001500284653001400299100001800313856003600331       2015                        eng d  a1927-032100aEditorial: Creativity in Innovation (July 2015)0 aEditorial Creativity in Innovation July 2015  aOttawabTalent First Networkc07/2015  a3-40 v510acreativity10aideation10ainnovation10aknowledge10aleadership10amanagement10aprocesses1 aMcPhee, Chris  uhttp://timreview.ca/article/90801708nas a2200289   4500008004100000022001400041245010300055210006900158260004200227300001000269490000600279520086900285653001801154653002101172653001501193653001201208653001701220653001601237653001801253653001501271653001801286653001501304100002201319700002201341700001901363856003601382       2015                        eng d  a1927-032100aEstablishing New Codes for Creativity through Haute Cuisine: The Case of Ferran Adrià and elBulli0 aEstablishing New Codes for Creativity through Haute Cuisine The   aOttawabTalent First Networkc07/2015  a25-330 v53 aFerran Adrià is one of the most recognized chefs in the world. His restaurant, elBulli, was awarded five times the title of the Best Restaurant in the World. Through an analysis of the last 30 years of the creative journey of elBulli, this contribution highlights that Adrià and his team of chefs succeeded in articulating two different processes: i) a process of creativity that aimed at defining a new “school” of high cuisine and ii) a process of innovation that was expressed by the new gastronomic experiences offered to the (happy few) customers of the restaurant until its closure in 2011. A careful examination of the coupling and decoupling of these two processes shows how they fueled each other, and how the management of the organization (through a specific type of ambidexterity) was conducive to the adequate articulation of the two processes. 10aambidexterity10acreative process10acreativity10aelBulli10aexploitation10aexploration10aFerran Adrià10agastronomy10ahaute cuisine10ainnovation1 aCapdevila, Ignasi1 aCohendet, Patrick1 aSimon, Laurent  uhttp://timreview.ca/article/91101570nas a2200217   4500008004100000022001400041245006600055210006600121260004200187300000900229490000600238520096300244653001501207653001001222653001301232653001501245653001501260100002201275700001901297856003601316       2015                        eng d  a1927-032100aIntroduction to the Special Issue on Creativity in Innovation0 aIntroduction to the Special Issue on Creativity in Innovation  aOttawabTalent First Networkc07/2015  a5-130 v53 aManaging creativity for innovation is a key challenge in today’s economy; therefore, the management of ideas will play in increasing role in driving the growth and resilience of organizations. Rather than simple inspired insights, ideas have to be addressed as complex socio-cognitive processes, to be organized and managed. To benefit from the full value of new ideas, management must constantly balance the formal and the informal, the logic of creation and the logic of production, and must learn to couple idea-generation processes and innovation processes through renewed knowledge management practices. In this introduction to the Technology Innovation Management Review's special issue on Creativity in Innovation, the guest editors highlight the need to manage: i) ideation processes to foster creativity, ii) the tension that exists between the logic of creation and production; and iii) disruptive innovation to transform a traditional industry. 10acreativity10aideas10aideation10ainnovation10amanagement1 aCohendet, Patrick1 aSimon, Laurent  uhttp://timreview.ca/article/90901370nas a2200229   4500008004100000022001400041245006700055210006700122260004200189300001000231490000600241520074500247653001200992653001501004653001101019653001601030653001501046653001401061653001101075100001801086856003601104       2015                        eng d  a1927-032100aLessons in Creativity from the Innovative Design of the Swatch0 aLessons in Creativity from the Innovative Design of the Swatch  aOttawabTalent First Networkc07/2015  a34-400 v53 aNo space is off-limits to innovation, even those occupied for many years by leading players and proven solutions. The case of the innovative Swatch watch, re-examined in this article with new information and insights, demonstrates that, without knowledge, design is not possible; but, with only knowledge, all we can do is reproduce. Innovation also requires creativity, the introduction of new concepts. Knowledge needs to be associated with unbridled, surprising, and hitherto unknown creativity, as described by the concept-knowledge theory of design. In this article, a new analysis of the well-known but misunderstood case of the Swatch yield lessons about the importance of creativity and knowledge in developing innovative products. 10aconcept10acreativity10adesign10aengineering10ainnovation10aknowledge10aSwatch1 aGarel, Gilles  uhttp://timreview.ca/article/91201511nas a2200217   4500008004100000022001400041245007100055210006700126260004200193300001000235490000600245520089400251653001801145653001501163653001501178653001401193653001101207100002001218700001901238856003601257       2015                        eng d  a1927-032100aLuxury and Creativity: Exploration, Exploitation, or Preservation?0 aLuxury and Creativity Exploration Exploitation or Preservation  aOttawabTalent First Networkc07/2015  a41-490 v53 aThis article considers the role of creativity in the production and delivery of luxury. The concept of creativity is closely aligned to the idea of luxury goods as rare and highly crafted, often unique, objects produced through artistic endeavour. Moreover, some luxuries, such as expensive cars and private jets, require leading-edge design and technologically advanced inputs. Although creativity is essential for the development of new luxury goods and services, this article highlights that some luxuries are timeless and eschew the changes associated with radical creative transformations. Following a brief discussion of the nature of luxury and creativity, a number of examples are employed to illustrate the different roles of creativity in the development and delivery of different types of luxury. The relationship between luxury and creativity is shown to be varied and complex.10acraftsmanship10acreativity10ainnovation10aknowledge10aluxury1 aRoberts, Joanne1 aArmitage, John  uhttp://timreview.ca/article/91301354nas a2200205   4500008004100000022001400041245008000055210006900135260004200204300001000246490000600256520074700262653002101009653001801030653001501048653001501063653001501078100001901093856003601112       2015                        eng d  a1927-032100aSetting the Stage for Collaborative Creative Leadership at Cirque du Soleil0 aSetting the Stage for Collaborative Creative Leadership at Cirqu  aOttawabTalent First Networkc07/2015  a59-650 v53 aDebates about the nature of leadership for creativity have been ongoing since the 1950s. But, despite the central role leadership plays in the management of creative processes, few contributions highlight the actual practice of leadership for collaborative creative ventures. This interview with the Director of Acrobatics and Coaching at Cirque du Soleil addresses the reflexive experience of a creative leader faced with the challenges of integrating multiple expertises around complex, technological, human, and poly-sensorial creative performances. In this context, leadership for collaborative creativity appears as a constant and dynamic balancing act between people, ideas, deliverables, and the position and personality of the leader.10aCirque du Soleil10acollaboration10acreativity10ainnovation10aleadership1 aSimon, Laurent  uhttp://timreview.ca/article/91501624nas a2200253   4500008004100000022001400041245012700055210006900182260004200251300001000293490000600303520083600309653003101145653002201176653001701198653001501215653001801230653001501248653001501263100002201278700001801300700001601318856003601334       2015                        eng d  a1927-032100aToward a New Understanding of Creative Dynamics: From One-Size-Fits-All Models to Multiple and Dynamic Forms of Creativity0 aToward a New Understanding of Creative Dynamics From OneSizeFits  aOttawabTalent First Networkc07/2015  a14-240 v53 aThis article proposes an alternative to a managerial "best practice" approach to creativity based on the notion of creativity as a singular concept. Our alternative draws on three fundamental ideas that are emerging in different pockets of the creativity literature in a way that can be readily conceptualized and applied in practice. The first idea is that creativity is really about "creativities", or a cluster of different and discrete qualities that can be combined to suit the context in which they operate. The second is that creativity is not static: it is about "creativitying", or the action and the practice of combining these creativities, which evolve over time. The third is that being creative in organizations is not an individual act: rather, it is the multiple activities of groups as they go about creativitying.10aaction-embedded creativity10acreative dynamics10acreativities10acreativity10acreativitying10ainnovation10amanagement1 aCummings, Stephen1 aBilton, Chris1 aogilvie, dt  uhttp://timreview.ca/article/91001264nas a2200193   4500008003900000022001400039245006200053210006100115260004200176300001000218490000600228520071000234653002200944653001500966653002100981653001501002100001701017856003601034       2012                          d  a1927-032100aCreativity: Linking Theory and Practice for Entrepreneurs0 aCreativity Linking Theory and Practice for Entrepreneurs  aOttawabTalent First Networkc08/2012  a10-150 v23 aIn this article, creativity research is brought into focus for those involved in the practice of entrepreneurship. The author provides a background on creativity research, how it is defined, and systems models that attempt to explain it. The author distinguishes between creative and innovative activities, and provides advice to entrepreneurs to help realize the creative potential of their organizations. The author reinforces the view that entrepreneurs create new value by investing in ideas, and specific recommendations are made for creating supportive structures, building teams of creative individuals, and successfully championing ideas to acquire the resources they need to produce innovations. 10acommercialization10acreativity10aentrepreneurship10ainnovation1 aDuxbury, Tom  uhttp://timreview.ca/article/594