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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 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.

A creative identity, the incorporation of creativity into self-definition, is associated with creative outcomes. Given the importance of creativity to organizational success, understanding creative identity and in particular creative identity work (the formation and maintenance of creative identity) can be useful in understanding creatives within organizations. To be considered creative, individuals need to not only produce unique artefacts, but these artefacts need to be assessed by legitimate judges as being creative. Judges may be within an organization (e.g., senior researchers within a laboratory) or may be external to an organization (e.g., award judges in international advertising competitions). Underpinning creative identity work is the creative assessment, however this assessment is ambiguous and contextual. In other words, what is considered creative in one context or by one judge may not be considered creative in another context or by different judges. The ambiguity of the creative assessment makes creative identity work a precarious undertaking. Based on two case studies – a R&D laboratory and an advertising agency – this research explores the strategies which creative individuals employ in their creative identity work in response to the ambiguity of the creative assessment. This research contributes to the growing area of creative identity research by unpacking three specific strategies used as part of identity work of creatives: defending, emotional distancing and differentiating. These strategies assist the creatives in maintaining a coherent sense of who they are within the organizational context despite the unpredictability of the creative assessment.

The idea of “creating something from nothing” resonates strongly with the creation process associated with artists. The Levi-Strauss and Baker and Nelson discussions also refer to entrepreneurial bricolage as something that entails a “make do with what is at hand”. The purpose of this paper is to investigate how artists utilise bricolage to create projects and develop their skills. Little is known of their perceptions of entrepreneurial behaviour and bricolage, and how they construct these bricolage networks. The tension between sharing, creating and to maintain a personal brand is negotiated by leveraging these bricolage relationships.

In-depth interviews with artists that actively make a living from their involvement in the creative industries were conducted. This provided insight into their perceptions on networking and bricolage. Since networking is such an individual and interchangeable process the interviews allowed the author to unravel these complexities of the relationships.

The findings produced two themes. The first, demonstrated the entrepreneurial behaviour of these artists and their unique contributions. The second theme involved the bricolage relationships formed to overcome resource constraints. The collaborative nature highlighted the co-creation relationships that are strategically formed to provide long-term opportunities and sustained working relationships.

This study contributes to literature on bricolage, management, creative industries and entrepreneurship in non-traditional settings.

This study contributes to theory on bricolage and entrepreneurial behaviour in small enterprises and creative industries. Artists can benefit from the knowledge to build strategic networks to secure future work.

Educators can use this information to prepare aspiring artists to create more independent and/or interdependent entrepreneurial projects.

This work encourages further cross-disciplinary research on the arts, entrepreneurship, networking and small business studies.

While new product introductions can potentially promote growth and benefit for brands, it remains unclear how marketers can develop effective communication strategies to increase the chance of success for new products. The present research investigates the role of cuteness in leveraging the effectiveness of a narrative emphasizing an insight versus an effort in this regard.

This research presents two experimental studies. Study 1 examines the moderating role of cuteness on the likelihood of purchasing a new product featuring an insight-based (vs effort-based) narrative. Study 2 extends the findings of Study 1 using different stimuli and establishes the underlying mechanism.

Results show that when a cuteness appeal is present, an insight-based (vs effort-based) narrative will lead to a higher purchase likelihood. However, these differences do not emerge when a cuteness appeal is absent (a control condition). Further, perceived brand creativeness will mediate this effect.

The findings of this research contribute to the literature on lay belief of creativity, cuteness, and product narrative, as well as managerial implications on how to promote new products.

Considers the availability of objective criteria for creativity enhancement from relevant applied research. Uses research to address the problem of creativity within the framework of artificial intelligence. Compares thinking to using a map and discusses creativity in terms of making our own maps rather than just following existing maps. Suggests that creativity includes the individual′s mastering of existing rules, enabling him or her to see when these rules might be broken. It thus follows that basic heuristic competences underlie the creative act. A strategy for stimulating creativity should include a more systematic basis for the development of creative resources, in the concept of heuristic competence.

Innovation is a necessary function of organisations today. In order to develop innovative products, services and procedures, managers must encourage and promote creative thinking within their organisation. Everyone can be creative but there are some people who have a naturally creative flair. This paper examines some of the behaviour and creative processes that these people undertake in order to develop imaginative and novel ideas. Specifically, the paper describes some of the thoughts, ideas and behaviours of Brian Eno, a rock musician in the 1970s, and compares them with some of the other great creative minds of the past such as George Bernard Shaw and Michael Faraday. The paper concludes with some lessons that have been drawn from exploring the minds of these people and recommends that managers should nurture creativity with their organisation.

The main objective of this study is to analyze content posted by automotive sector brands on their YouTube channels, identifying the use of a branded content format, the application of insights to creative conceptualization and the dissemination of messages related to messages' environmental commitment.

A descriptive study was conducted using qualitative content analysis as the methodological approach. The sample is made up of 691 videos posted on YouTube from September 2020 to August 2021 by the ten automotive brands with the biggest advertising budgets in Spain (InfoAdex, 2021).

The findings reveal a predominance of the advertorial format in content posted on YouTube by automotive sector brands, while the branded content format is less popular. Creative concepts based on insights are rare and limited to videos with an advertisement format. The theme of respect for the environment is used mainly in connection with the discourse on vehicle features and not so much as a commitment by the brand in response to consumer concerns or the changes that the automotive sector is undergoing.

The originality of the study lies in the approach it takes to content posted by automotive brands on YouTube. The paper's contribution is innovative in that the study monitors posts by brands in the sample on YouTube over the course of a year, rather than just during the specific periods when these brands run advertising campaigns.

This paper aims to bring together the existing theory from knowledge management (KM), competitive intelligence (CI) and big data analytics to develop a more comprehensive view of the full range of intangible assets (data, information, knowledge and intelligence). By doing so, the interactions of the intangibles are better understood and recommendations can be made for the appropriate structure of big data systems in different circumstances. Metrics are also applied to illustrate how one can identify and understand what these different circumstances might look like.

The approach is chiefly conceptual, combining theory from multiple disciplines enhanced with practical applications. Illustrative data drawn from other empirical work are applied to illustrate some concepts.

Theory suggests that the KM theory is particularly useful in guiding big data system installations that focus primarily on the transfer of data/information. For big data systems focused on analytical insights, the CI theory might be a better match, as the system structures are actually quite similar.

Though the guidelines are general, practitioners should be able to evaluate their own situations and perhaps make better decisions about the direction of their big data systems. One can make the case that all the disciplines have something to add to improving how intangibles are deployed and applied and that improving coordination between KM and analytics/intelligence functions will help all intangibles systems to work more effectively.

To the authors’ knowledge, very few scholars work in this area, at the intersection of multiple types of intangible assets. The metrics are unique, especially in their scale and attachment to theory, allowing insights that provide more clarity to scholars and practical direction to industry.

Social entrepreneurs who use market mechanisms to solve wicked problems (Rittel & Webber, 1973) may benefit from practices based on design thinking. Design thinking offers approaches to work iteratively on both problem and solution spaces collaboratively with multiple diverse stakeholders, which is characteristic of innovating for social change. This research conceptualizes designing as a construct formed by three practices: making improvements, generating creative leaps, and problem-solving. Using Boland and Collopy’s (2004) conception of a sense-making manager, it proposes “how” nascent social entrepreneurs take actions and also proposes “what” specific activities they undertake for the development of the venture. A conceptual model proposing “what” it is that social entrepreneurs do and “how” they go about their activities affecting new venture development is tested using structural equation modeling. Preliminary support for the predictive capability of the model is encouraging, suggesting that practices based on design thinking may be further developed in order to advance theoretical understanding of the application of design thinking for social entrepreneurship.