Search results

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.

Despite the importance of brokers in creative projects, limited attention has been devoted to the micro-interactions by which brokers induce others’ collaboration while simultaneously retaining some control over creative production. Building on an interactionist perspective, we develop the concept of brokerage style – i.e., a recognizable pattern in the ways in which a broker interacts with others. By using different brokerage styles in different phases of a creative project, brokers can orient the social interactions among project participants, “charging” those interactions with different types of emotional energy and mutual attention, eventually inducing collective collaboration and limiting participants’ expectations of control. We illustrate our interactionist model of brokerage styles with examples from the music and TV industries.

Higher education institutions (HEIs) frequently overlook the importance of encouraging creative thinking in students. A review of the prevailing practices in a fully online tertiary distance education (DE) institution revealed a lack of learning activities that foster creativity. The study aims to find out whether the creative collaborative group project is a feasible, effective and acceptable learning activity for fostering creativity in students of a fully online graduate-level DE course.

Seven groups of five to six graduate students each had five weeks to conceptualize, prepare and deliver a creative collaborative group project on lifelong learning using key concepts learned from the course.

All groups submitted well-crafted creative projects within the given time frame. Reflections on their experience positively correlated with known outcomes associated with creative skills. Students valued the experience and had a better understanding of the concepts. These support the feasibility, effectiveness and acceptability of the project for fostering creativity in a fully online DE institution.

The feasibility, effectiveness and acceptability may vary in different contexts; future iterations in the same and/or other courses are recommended.

The creative collaborative group project is a feasible, effective and acceptable strategy for fostering creativity in online distance education.

Creativity can be enhanced through appropriate online collaborative learning activities.

The study adds to the body of literature on the use of creative collaborative group projects to foster creativity in HEIs.

Scholars continue to debate whether planning, in fact, contributes to creativity and innovation. In this chapter, we argue that planning is critical to innovation and will contribute to the generation of viable new ideas. Effective planning, however, must be based on an incremental approach involving a viable portfolio of projects. The implications of this model for the management of innovation at the organizational, group, and individual levels are discussed. Potential new directions for research are considered, along with the model's implications for the management of creative ventures.

The purpose of this paper is to investigate funders' decisions in supporting reward-based crowdfunding (RBCF) in the creative industries by providing insights into the role of trust in the decision-making process of funders. In doing so, the authors examine how trust is developed through online interaction.

Data were collected from interviews and participation at short-term immersive events and gatherings. In addition, data were gathered from online discussions and social media platforms related to RBCF campaign. Qualitative analysis was performed to offer a deeper understanding of funder decision-making processes.

New insights were revealed into funder decision-making processes. Using foraging practices, funders participating in RBCF campaigns build trust before framing their final funding judgments. The paper’s findings highlight the interplay of organizational competency with previously uncharted relational dimensions associated with funder decision-making processes. The authors also revealed how nascent and experienced funders differ in their evaluation of risk.

This study offers an understanding of funder decision-making processes in creative RBCF campaigns. Their support of RBCF campaigns in the creative industries can present some potential risks. Further investigation is still required to reveal the funder's decision-making process. By looking at the roles of trust, the authors provide a conceptualization of competence and the relational dimension of trust, and how trust is developed as a means for mitigating risk.

This paper aims to address a dilemma raised in the accounting literature on how managers of creative practices can produce and use accounting measurements that support employees’ self-determination to create whilst also building trust in them to work for the interests of the organisation.

Using pragmatic constructivism as a paradigmatic setting, the paper develops a learning method of trust building as a way for organisations to produce and use accounting measurements. Empirical analysis of the European Capital of Culture Aarhus 2017 demonstrates the method in action.

The study displays a learning method of trust building as an effective way for organisations to account for their creative practices without intruding on the creative process of the people involved. The method involves proactive judgement and pragmatic observation of the trustworthiness of the actors’ language games, construction of quality in the conceptual structures of management narratives and measurement models, and learning that narrows the gap between the actors’ proactive judgement and the pragmatic observation of trustworthiness. Through such processes, including principles of truth, dialogical interactions, ongoing reflections and co-authorship, trust can be built in self-determining, creative actors to drive intentional results.

The learning method of trust building extends the literature on trust building and on knowledge processes of performance measurement of actors in creative practices.

This is the first attempt in the accounting literature to develop a learning method of trust building.

The purpose of this paper is to discuss the characteristics of creative economies in favelas and their potential in terms of social development from a comparison between the theory on creative economy and the characteristics of the initiatives mapped in the Mangueira favelas.

The research was based on qualitative methodology and literature review. The creative economy initiatives were mapped in the territory of Mangueira and semi-structured interviews and questionnaire of closed questions were applied with the representatives of these. The data collected were treated with the content analysis method.

The research mapped 17 initiatives associated with creative economy sectors in the Mangueira favelas in Rio de Janeiro, Brazil. The initiatives develop cultural and artistic activities that make the young people of the community aware of the history of their families, which promotes the strengthening of social ties and individual empowerment, contributing to local entrepreneurship.

The theory used in Brazil for the elaboration of public policies to promote the creative economy points to the presence of cultural and symbolic aspects in economic activities as resources for the generation of income. However, it is important to understand how this applies in different contexts, which may have or lack certain characteristics of human and physical capital pointed as essential by theory to creative economy promotion.

The results of this research go beyond the theory of creative economy and highlight characteristics of project management and impacts on social development that demonstrate how the dynamics of the creative economy in the Mangueira favelas also represent a case of social innovation using social technology tools.

O estudo tem como objetivo discutir as características na economia criativa em favelas e seu potencial em termos de desenvolvimento social a partir da comparação entre a teoria sobre economia criativa e as características das iniciativas mapeadas na favela da Mangueira.

A pesquisa utilizou ferramentas de metodologia qualitativa e esteve baseado em revisão de literatura. Foram mapeadas as iniciativas de economia criativa no território da Mangueira e realizadas entrevistas semi-estruturadas e um questionário com perguntas fechadas com os responsáveis. Os dados coletados foram tratados com o método de análise de conteúdo.

A pesquisa mapeou 17 iniciativas associadas aos setores da economia criativa na favela da Mangueira, no Rio de Janeiro, Brazil. As iniciativas desenvolvem atividades culturais e artísticas que conscientizam os jovens da comunidade sobre a história de suas famílias, o que promove o fortalecimento de laços sociais e a capacitação individual, contribuindo para o empreendedorismo local.

A teoria utilizada no Brasil para a elaboração de políticas públicas de promoção da economia criativa aponta para a presença de aspectos culturais e simbólicos nas atividades econômicas como recursos para a geração de renda. No entanto, é importante entender como isso se aplica em contextos diferentes, que podem ter ou não algumas características do capital humano e físico apontadas como essenciais pela teoria para a promoção da economia criativa.

Os resultados desta pesquisa vão além da teoria da economia criativa e destacam características de gestão de projetos e impactos no desenvolvimento social que demonstram como a dinâmica da economia criativa nas favelas da Mangueira também representa um caso de inovação social utilizando ferramentas de tecnologia social.

Culture is increasingly recognized as a key component of local development, but this attention is largely focused on large cities. This paper aims to focus on the ways in which the innovative, participatory action-research (PAR) methods of IdeaLabs and community intervention workshops are used by two projects with solidarity economy enterprise (SEE) participants to activate place-based cultural resources for local development in small communities.

An in-depth reflexive analysis undertaken by researchers involved in the two projects, taking a feminist ethics of care perspective, demonstrates the ways in which these two PAR methods promote local development with the goal of fighting against the economic, social and cultural degradation of small cities and rural areas.

The PAR methods used by the two projects examined stimulate place-based local development initiatives through collaboration and knowledge co-production among participants and researchers. The projects go beyond an instrumental view of the use of culture and the arts for local development to innovate and demonstrate new methodologies for more participatory approaches.

This paper addresses a gap in social economy literature, presenting methods that can be used in PAR projects to catalyse the use of culture as a local development tool by local SEEs.

The purpose of this paper is to examine the antecedents of project creativity in international marketing teams. The proposed framework includes both proximal (characteristics that impact the everyday functioning of the team) and distal (characteristics associated with the team's organizations that are relatively remote to the everyday functioning of the team) factors as antecedents of project creativity. Specifically, the authors investigate the influence of three proximal factors, namely, collaboration with foreign counterparts, autonomy, and international experience as well as two distal factors, namely, organizational encouragement and innovative organizational culture.

Data were collected from 156 executives from publicly traded firms in the manufacturing sector in South Korea and tested using hierarchical regression.

Collaboration with foreign counterparts and autonomy exert direct positive influence on project creativity. International experience exerts a curvilinear relationship such that low and high levels of international experience positively influence project creativity, whereas moderate international experience negatively influences project creativity. In addition, whereas the relationship between organizational encouragement and project creativity was supported, the relationship between innovative culture and project creativity was not.

Despite the importance afforded to international marketing teams and creativity in marketing research and practice, little attention has focussed on project creativity in international marketing teams. This study represents an initial effort toward filling the void and identifying certain proximal and distal factors as relevant antecedents of project creativity in international marketing teams. In addition, deviating from extant studies on creativity, this study highlights a curvilinear relationship between international experience and creativity.