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The purpose of this paper is to elucidate the factors influencing creativity in information system development (ISD). Specifically, this paper compares two groups, students and practitioners, in order to identify salient factors influencing creativity in this field.

An empirical study was conducted through two online surveys in Taiwan. The subjects were university students (n=220) and practitioners (n=187) who had ISD project experiences. Data were collected via an online survey and analyzed using partial least squares (PLS) structural equation modeling. The authors present state-of-the-art PLS path modeling, including heterotrait-monotrait, standardized root mean square residual, second-order identification, and partial least squares multigroup analysis (PLS-MGA).

Both the student and practitioner results showed that the most salient factor influencing creative behavior was use of creativity technologies. In addition, cognitive style, recognition, and database programming had a significant positive effect on creative behavior for the students but not for the practitioners. The PLS-MGA results indicated that differences in creative behavior between the students and practitioners need to be considered.

There are two main limitations. The first one is its design. This study was cross-sectional and there is a likelihood of common source bias due to self-reported data. In the future, researchers can use brain-imaging tools (e.g. functional magnetic resonance imaging (fMRI)) or eye tracking measurement to reduce self-reporting bias in creative behavior research. The second limitation is related to the sample. The subjects were university students and practitioners who had ISD project experiences; however, the heterogeneity of the investigated individuals (e.g. background, ability or experience) in university or industry may limit the power and generalizability of this study. Future studies may take same samples into consideration.

No previous study has investigated factors influencing the creativity of information system (IS) students and practitioners by using a decomposed and second-order research model. Thus, this paper, based on Amabile’s creativity theory, attempts to elucidate the factors influencing IS students’ and practitioners’ creativity.

This chapter critically evaluates the role of creative identity and how this shapes entrepreneurial identity. The main driver for creative practitioners is one of being ‘creative’, but this is in combination with the factors that support entrepreneurial behaviours, and it provides the narrative for their entrepreneurial identity. The quest to operate successfully as a creative practitioner in the creative industries drives entrepreneurial behaviour. The research examines the relationship between creative identity and entrepreneurial identity and how these two identities intertwine. To respond to this question, the study critically evaluates the concept of creative identity and entrepreneurial identity with fourteen creative practitioners in the UK, working as either chartered architects or freelance photographers. The research employed a qualitative approach and interpretivist ontology. Semi-structured interviews were undertaken with the participants. The key finding that highlights the driver for entrepreneurial identity is the quest to operate successfully as a creative practitioner in the creative industries. This quest is underpinned by the desire to be able to express their creative identity, often referred to as a creative ‘voice’. Entrepreneurial identity and entrepreneurial behaviours function as conduits in which creative practitioners channel their primary driver of creative identity. This chapter contributes to the knowledge about creative practitioners’ entrepreneurial identity and creative identity and how these two identities relate to each other.

This paper examines the US opera sector as a means for interrogating how varying forms of non-standard work shape gender inequality in the creative industries.

The authors draw on 16 seasons of opera production data from Operabase.com to conduct a gender-based exploratory data analysis of the key creative roles of conductor, director and designers, as well as the hiring networks through which teams are formed, at the 11 largest opera companies in the United States.

The authors find that women, as a group, experienced gender-based disadvantage across the key creative roles of opera production, but particularly in the artistic leadership roles of conductor and director. The authors also find that women's exclusion in the field is being further perpetuated by the sector's non-standard and overlapping employment structures, which impacts women practitioners' professional visibility and career opportunities.

The study can help organizations implement strategic hiring practices that acknowledge the relationship between gender inequality and varying forms of non-standard work with the aim of increasing women's representation.

This study work establishes the scale of gender inequality operating within a sector that has received minimal scholarly attention as a site of employment. The study analysis also offers important insight for the wider creative industries and highlights opportunities to redress gender inequality in other sectors where project-based work is prevalent.

This chapter examines emerging theoretical approaches and thematic aspects of creative and cultural entrepreneurship and the significant societal and economic contributions of creative firms. It reviews the concepts and definitions essential to examining creative industry entrepreneurship. The authors then provide framing for this exceptional collection of chapters in Volume 1 (of 2) and discuss existing research approaches from surveys and small-scale qualitative studies. Then, the chapter’s overview showcases the range of international research included in three sections: conceptual reflections on creative and cultural entrepreneurship, resilience and adaptation of creative and cultural enterprises, and insights into creative subsectors. Finally, the chapter proposes a research agenda for developing the field further, addressing methodological gaps (longitudinal studies and cluster research), emerging thematics (rural creative industries and creative placemaking) and sector studies (game and film industries).

The dichotomy of views on “arts for arts sake” and “art must meet commerce” elicits the clash about how creative entrepreneurs encounter the dilemma of fulfilling personal satisfaction and chasing entrepreneurial aspiration along the entrepreneurial process. It is argued whether or not creative entrepreneurs can integrate artistic creativity and entrepreneurial alertness to disentangle the conflict and tension between art and commerce in the guanxi embedded culture context. The complex guanxi ties of creative entrepreneurs identified as bonding ties with families, bridging ties with friends and social ties with colleagues are presumed to activate personal and social values.

The research design consists of two stages: face-to-face interviews and empirical survey. A total of four successful local creative entrepreneurs in craft arts were interviewed and asked questions related to their source of creative inspiration, market alertness and value creation. Findings derived from interviews enrich the questionnaire development of the empirical survey. The survey was conducted to realize the social phenomenon of creative entrepreneurs' guanxi, cognitive process and satisfaction with Taiwan's creative industry context. In total, 318 creative entrepreneurs’ responses were collected and analyzed by using structural equation modeling (SEM).

Results suggest that guanxi networks lead to the acquisition of various social resources that are conducive to alertness in entrepreneurial opportunities and stimulate artistic creativity, which in turn gratify creative entrepreneurs' senses of entrepreneurial satisfaction with life, work and social contribution, as well as achieve higher entrepreneurial aspiration, perceived as social recognition and meaning of work.

Results of this study enrich the understanding of creative entrepreneurs and their awareness of balancing opportunity alerting and artistic creativity while starting creative businesses. Diverseness and closeness of guanxi networks can fill the gap between art and market and further pave the way to winning aspiration.

This paper advances the existing literature on creative entrepreneurship by adopting guanxi network theory to explore entrepreneurs' cognitive process in the linkage of artistic creativity and entrepreneurial alertness and their mediating effects on perceived entrepreneurial satisfaction and aspiration.

Being both in the academic and management consultancy worlds, one can be haunted by questions about the validity and integrity of what is sometimes done in the name of “stimulating creativity and innovation”. Here are expressed some private, even perhaps “darker” thoughts, doubts and concerns – not necessarily with a view to providing answers – but by way of increasing one′s own and, perhaps, others′ awareness of these issues.