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The purpose of this paper is to present a fresh approach to stimulate individual creativity. It introduces a mathematical representation for creative ideas, six creativity operators and methods of matrix-algebra to evaluate, improve and stimulate creative ideas. Creativity begins with ideas to resolve a problem or tackle an opportunity. By definition, a creative idea must be simultaneously novel and useful. To inject analytic rigor into these concepts of creative ideas, the author introduces a feature-attribute matrix-construct to represent ideas, creativity operators that use ideas as operands and methods of matrix algebra. It is demonstrated that it is now possible to analytically and quantitatively evaluate the intensity of the variables that make an idea more, equal or less, creative than another. The six creativity operators are illustrated with detailed multi-disciplinary real-world examples. The mathematics and working principles of each creativity operator are discussed.

The unit of analysis is ideas, not theory. Ideas are man-made artifacts. They are represented by an original feature-attribute matrix construct. Using matrix algebra, idea matrices can be manipulated to improve their creative intensity, which are now quantitatively measurable. Unlike atoms and cute rabbits, creative ideas, do not occur in nature. Only people can conceive and develop creative ideas for embodiment in physical, non-physical forms, or in a mix of both. For example, as widgets, abstract theorems, business processes, symphonies, organization structures, and so on. The feature-attribute matrix construct is used to represent novelty and usefulness. The multiplicative product of these two matrices forms the creativity matrix. Six creativity operators and matrix algebra are introduced to stimulate and measure creative ideas. Creativity operators use idea matrices as operands. Uses of the six operators are demonstrated using multi-disciplinary real-world examples. Metrics for novelty, usefulness and creativity are in ratio scales, grounded on the Weber–Fechner Law. This law is about persons’ ability to discern differences in the intensity of stimuli.

Ideas are represented using feature-attribute matrices. This construct is used to represent novel, useful and creative ideas with more clarity and precision than before. Using matrices, it is shown how to unambiguously and clearly represent creative ideas endowed with novelty and usefulness. It is shown that using matrix algebra, on idea matrices, makes it possible to analyze multi-disciplinary, real-world cases of creative ideas, with clarity and discriminatory power, to uncover insights about novelty and usefulness. Idea-matrices and the methods of matrix algebra have strong explanatory and predictive power. Using of matrix algebra and eigenvalue analyses, of idea-matrices, it is demonstrated how to quantitatively rank ideas, features and attributes of creative ideas. Matrix methods operationalize and quantitatively measure creativity, novelty and usefulness. The specific elementary variables that characterize creativity, novelty and usefulness factors, can now be quantitatively ranked. Creativity, novelty and usefulness factors are not considered as monolithic, irreducible factors, vague “lumpy” qualitative factors, but as explicit sets of elementary, specific and measurable variables in ratio scales. This significantly improves the acuity and discriminatory power in the analyses of creative ideas. The feature-attribute matrix approach and its matrix operators are conceptually consistent and complementary with key extant theories engineering design and creativity.

First to define and specify ideas as feature-attribute matrices. It is demonstrated that creative ideas, novel ideas and useful ideas can be analytically and unambiguously specified and measured for creativity. It is significant that verbose qualitative narratives will no longer be the exclusive means to specify creative ideas. Rather, qualitative narratives will be used to complement the matrix specifications of creative ideas. First to specify six creativity operators enabling matrix algebra to operate on idea-matrices as operands to generate new ideas. This capability informs and guides a person’s intuition. The myth and dependency, on non-repeatable or non-reproducible serendipity, flashes of “eureka” moments or divine inspiration, can now be vacated. Though their existence cannot be ruled out. First to specify matrix algebra and eigen-value methods of quantitative analyses of feature-attribute matrices to rank the importance of elementary variables that characterize factors of novelty, usefulness and creativity. Use of verbose qualitative narratives of novelty, usefulness and creativity as monolithic “lumpy” factors can now be vacated. Such lumpy narratives risk being ambiguous, imprecise, unreliable and non-reproducible, Analytic and quantitative methods are more reliable and consistent. First to define and specify a method of “attacking the negatives” to systematically pinpoint the improvements of an idea’s novelty, usefulness and creativity. This procedure informs and methodically guides the improvements of deficient ideas.

Processes of novelty generation and adoption have received much more attention than novelty evaluation. This paper explores the internal processes enacted by organizations to recognize and assess novel ideas for further implementation by focusing on the role that artifacts play in identifying the creative potential of an idea versus another one. Our empirical study focuses on the evaluation of novelty in the form of new experiences and builds on the analysis of two highly creative organizations, elBulli restaurant, led by chef Ferran Adrià, and the Italian Drama Academy Nico Pepe. We find that organizations implement three distinct processes to evaluate the novelty of ideas: analyzing, structuring, and formalizing. In these processes, artifacts play a key role in making novel ideas tangible by anticipating audiences’ reactions, integrating the novelty generated into an organizational corpus of knowledge, and consolidating novel ideas for future applications. Our results show that these processes take place iteratively in all phases of the idea’s journey, increasingly leading to the collective identification and assessment of novelty.

Building on the socio-cultural theory and the climate literature, the purpose of this paper is to examine: how to effectively manage computer-mediated platforms to improve innovation performance, and which types of computer-mediated platforms firms should be more involved with.

The multivariate mediated regression method and relative effect analysis were employed to test the model.

Analyses reveal that online creative climate mediates the effects of the perceived innovation policy on both novelty and meaningfulness of creative behaviors. In addition, online creative climate is positively related to both radical and incremental innovation performance. Further, the relative performance results of the four types of computer-mediated platforms are found to be unequal.

The results suggest to managers that establishing creative climates in computer-mediated platforms is a promising approach to improve firms’ innovation performance. The results further indicate that managers should acknowledge the advantages and limitations of each type of computer-mediated platform in order to increase innovation performance. Otherwise, firms may misallocate resources and investment efforts in computer-mediated platforms.

By categorizing computer-mediated platforms into four types, this study provides the first synthesis of personal interactions that occur in computer-mediated environments. This study presents the first empirical assessment of how creative climate can be used as a facilitator for improving innovation performance and which type of computer-mediated platforms is more appropriate for radical or incremental innovations.

Organizations may fail to innovate because receivers exhibit bias against adopting creative ideas. This paper explores many motivational, cognitive, and affective factors that can cause receivers to hinder the creativity–innovation process. In particular, receivers may engage in motivated reasoning and skepticism against creative ideas, face barriers to recognizing creative value, and experience negative affect when receiving creative ideas. Each creative adoption decision point during the creativity–innovation process is an opportunity for bias to derail progress. This helps explain why innovation can be so difficult. Understanding the biases that hinder the creativity–innovation process allows individuals and organizations to take action to mitigate them.

Managers are increasingly faced with situations that call for creative ways to engage consumers and employees. With online and offline options available for creative problem solving, consumers are constantly engaging with brands to provide different solutions to everyday problems. There are numerous contextual factors that influence creative output, external primes (distal vs proximal) being one of them. This research attempts to find the boundary conditions such as cognitive load, expectations of performance feedback and optimism that interact with environmental primes to influence quality and quantity of creativity. Doing so would help managers create conditions that can enhance creative output.

Three experiments were conducted; the first tests the interactive effect of primes and cognitive load, and the second involves the enhancing effect of expectation of performance feedback. Given that cognitive load depresses creativity and expectation of performance feedback enhances creativity, the third study finds whether optimism enhances the effects of distal primes under high cognitive load condition.

Study 1 demonstrates that the boundary factor of cognitive load moderates the relative difference between proximal and distal primes: cognitive load depresses the enhancing effects of distal primes. Study 2 demonstrates that expectation of performance feedback can enhance the effectiveness of distal primes to a greater extent than proximal primes. Study 3 suggests that highly optimistic individuals can overcome the depressing effects of cognitive load when exposed to distal primes and expectation of performance feedback.

The research demonstrates the environmental conditions that influence creative output in problem solving.

This research attempts to highlight the importance of contextual factors in influencing creativity. In the process, this research highlights the interactive forces that deter or enhance creativity so that managers can provide optimal conditions that enhance creative output for their employees and consumers.

In a dynamic and complex environment, employees’ creative performance (CP) can be essential in developing a distinguished and competitive strategy for an organization. Using the lens of competency management, this study aims to examine how employees perceived environmental uncertainty (PEU) and competency formula relate to employee CP, with a focus on the hospitality industry.

The data was collected from employees in the hospitality sector. Both symmetrical (PLS-SEM) and asymmetrical (fuzzy-set qualitative comparative analysis [fsQCA]) tests were performed to gain in-depth knowledge of how individual, organizational and environmental factors can be configured to explain employees’ CP.

The symmetrical analysis shows that the competency formula mediates the negative impacts of PEU on two dimensions of creativity – that is, novelty and utility. The fsQCA testing generated contrasting findings and revealed that uncertainty, along with the formula elements, is a unique antecedent condition and opportunity for employees’ CP. The inconsistent findings indicate asymmetrical and complex relationships between the proposed antecedents and outcomes in the case of employee creativity.

A combination of symmetrical and asymmetrical approaches is necessary to uncover the complex relationships among employees, organizations and the environment. This study shows that organizational agility, competency strategies and comprehensive strategic management processes can be configured to explain positive outcomes for organizations during uncertain circumstances. The findings can be used by human resource practitioners to maximize employee creativity and enhance organizational performance.

To the best of the authors’ knowledge, this study is the first to use symmetrical and asymmetrical testing to address the inadequacy of explaining employee CP in complex and uncertain environments, and highlight the crucial role of the competency formula in enhancing novelty and utility dimensions of CP. This research examines the impact of various internal and external factors (i.e. individual, organizational and contextual) on employee creativity within the hospitality industry.

This second chapter provides a useful backdrop for understanding innovation beyond the conventional focus on mainstream technology and science by detailing the conceptual underpinnings of cultural innovation. First, the challenges of objectively assessing the worth of novel work in the various fields of art and architecture are explored through the philosophical views of beauty. Second, the strategies and models deployed over time by artists, patrons, and experts to characterize the merits of novelty in the creative fields are reviewed. Third, the economic principles that have been used to frame the value propositions associated with cultural innovations as articulated by cultural economists are explored.

The purpose of this study was to examine the influence of socio-cognitive mindfulness on resilience, stress and thriving among middle managers in higher education at two separate periods during the COVID-19 pandemic. In Study 1, the authors examined how socio-cognitive mindfulness predicted perceived stress and whether the relationship between mindfulness and perceived stress was mediated by resilience. In Study 2, the authors replicated the first study and further hypothesized that the link between mindfulness and thriving was also mediated by resilience.

The authors conducted cross-sectional correlational studies to test the hypotheses using data from 163 middle managers in higher education early in the pandemic in Study 1 and 204 middle managers a year later in Study 2.

Study 1 findings showed socio-cognitive mindfulness predicted perceived stress, and that resilience fully mediated this relationship. In Study 2, socio-cognitive mindfulness did not predict perceived stress, but it did predict thriving, and that relationship was fully mediated by resilience.

This research is the first to address how socio-cognitive mindfulness directly impacts perceived stress and thriving and its impact through building resilience. To date, few studies have focused on stress in higher education middle managers or addressed the importance of building socio-cognitive mindfulness and resilience to thrive amid ongoing challenges. Implications of the pandemic's influence on the results are also addressed.

The journey of novelty – from the moment it arises to the time it takes hold – is as fascinating as it is problematic. A new entity, to be recognized as such, needs to be differentiated from what existed before. However, novelty poses cognitive challenges that hamper its appreciation since it is difficult to form expectations about and make sense of something genuinely new. And since novel ideas, products, technologies, or organizational forms often violate existing practices and social structures, they are usually met with skepticism and resistance. In this introductory piece, we take stock of research into the challenges of generating, recognizing, and legitimating novelty. We review each paper in this volume and highlight the new perspectives and insights they offer about how individuals, teams, and organizations search for novelty, see novelty, and sustain novelty. Finally, we outline several research themes that, we believe, are worthy of further scholarly attention.

In this paper, we bridge the gap between imitation and creativity, as we examine whether and how it is possible to succeed in imitation, understood here as the intentional creation of alikeness and, at the same time, the production of something novel and valuable. By distinguishing processes of copying, echoing, and eluding, we scrutinize how different imitation processes intended to create alikeness lead to the emergence of novelty. Using empirical data from two distinct empirical fields, music and pharmaceuticals, we discuss if and how these processes may even lead to emulation and thus the emergence of novelty superseding the imitated original. We find that novelty emerges during processes of imitation from the interplay of a guiding structure obtained from existing originals and the performative variation embedded in processes of imitation. We thereby identify performance enactment, translations between an imitated core and surrounding opportunities as well as the generative effects of intellectual property regulation as key ingredients to foster emulative novelty.