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The objective of the work is to show the way in which creativity can influence entrepreneurial activity in Latin America. To do this, a review was made of the work related to: the mechanisms and contexts that stimulate creativity in business activities both internationally and in the region; and those that account for the contextual frameworks that favor or inhibit the development of business activity. Based on the above, it was reviewed in a more specific way, to what extent the link between creativity and entrepreneurship works or does not work in different types of companies such as small rural companies, women's businesses, and informal ones. In the last section of the chapter, with data constructed from the GEM, the impact of the context is shown to understand the geographical, historical, cultural, and institutional variations in the actions of entrepreneurship and creativity in the region, and with it, qualify the global studies on their relation.

Considering the urgency of creativity development in the higher education system, this article justifies an effective model of creativity management for students and teachers at universities. The model is based on an empirical assessment of the difference between the creativity potential and its actual level. The data was taken from the managing factors playing an important role in the development of creative potential. The study was carried out in Kazakhstan.

The method of surveying 872 teachers and 944 students in Kazakhstan quantified the levels of actual creativity of students and their potential, as well as the gap between the two parameters. The authors identified the nature of the influence of the creativity development factors, contributing to the achievement of the creativity potential of teachers/students.

The gap between the levels of actual and potential creativity at universities for both teachers and students was found to be one of the main factors governing the creativity management in the education system. The main problems hindering the efficient management of actual and potential creativity at education institutions are personal and institutional factors.

The results are based on a limited sample of respondents, taking into account the higher education system in Kazakhstan.

Assessment and justification can be useful in determining the unused creative abilities of students and teachers in the process of developing creativity within the educational process.

The value of this study lies in an empirical assessment of the difference between actual creativity and creativity potential in the higher education system as an object of pedagogical management, as well as a deterministic hierarchy of causal factors of this gap. These results are valuable in the aspect that, when developing an effective management strategy, influencing these factors, in particular the institutional factor of the educational process, it is possible to increase the potential for the development of creativity of students and professors of higher educational establishments. Besides, a very useful scientific result in the framework of the development of this topic is the establishment of the primacy of ensuring the development of the creativity potential of teachers in the process of managing the development of students' creativity.

What are the value theories used by art economists which can help define the field as a unique research program? We categorize the research program in art economics in Lakatosian terms and find that art economists share a value system around art which is that art contains value beyond that of exchange. This difference introduces a “paradox” of value to be addressed (either implicitly or explicitly) by the art economist in practice, in that mainstream economics assumes value is realized through exchange only. We then survey the literature and find evidence to support this value paradox claim. We also find that the art economics research program does not adequately address the potentiality of the state using art as instrumental value and introduce political economy to factor in a self-interested state using art production as a means to reproduce and ideally expand state legitimacy and power in society. We then give two examples of art-statism in practice to illustrate the possibility of art’s instrumentality.

In the last two decades, risk reporting has followed a normative and calculative culture rather than the “materiality” of data. Although integrated reporting (IR) has become flooded with extra information, it does not adequately disseminate material information to stakeholders. In addition, the poor tone from the top diminishes creativity. This study aims to investigate how companies creatively address issues of the materiality of risk information in IR and how IR can be aligned with enterprise risk management.

Qualitative research was conducted via interviews with 50 chief risk officers and senior management executives in the Indian and UK insurance markets.

Overall, five institutions were observed to exhibit elements of being early adopters of institutional creativity. This confirmed the present study’s theoretical contribution of five divergent types of early adopters. The motivations for creativity are reflected in the resources available to these institutions.

To the best of the authors’ knowledge, this study provides a new insight into IR from internal mechanisms to deal with issue of materiality.

China has been exceptionally competent at utilising the technology of others but the ability to develop its own is yet to be tested. The purpose of this paper is to investigate China's capacity for nurturing radical technology. For China to recapture its earlier technological prowess it will need a creative class. The paper proposes eight stepping stones for China to move from its current situation to a position where creativity and radical technology re‐emerge.

This is a conceptual paper that investigates options for China using a historical and trans‐disciplinary review.

Radical technology was a major strength for China prior to the 1500s. This paper suggests that China's subsequent demise in the technology stakes came from a combination of factors including regressive policies and the West finding a new politico‐economic model around science and technology. In total, eight stepping stones for Chinese institutional reform around creativity and radical technology are proposed.

Chinese businesses need to go much further than cost innovations and incremental additions to seriously challenge the creative capacity of their Western counterparts. This paper offers important insights for Chinese policy makers as they embark on innovation advancement in a highly competitive international business environment.

Fostering radical technology is a challenge for any society. Developing this aspect of Chinese society is a critical element for China and its policy makers as they progress to the next phase of economic growth.

The paper shows that identifying systemic issues for China's radical technology demise is important. Offering steps for China to increase its capacity for radical technology is equally worthy of investigation.

The purpose of this paper is to empirically investigate the role of knowledge management (KM) in creating a culture of learning and creativity in a non-western context. It further seeks to stimulate broader empirical and theoretical discussions on this topic.

As little is known about KM approaches in the regional context, the qualitative approach was chosen as an appropriate method of studying this phenomenon. The openness of the qualitative method enables data collection that is not constrained by predetermined categories of analysis, and thus allows for a level of depth and detail that quantitative methods cannot provide. The empirical investigation is based on semi-structured interviews and conducted in the KM department of Dubai Municipality.

Results indicate that the impact of KM on organisational learning (OL) is below expectations. Written official statements or policies are not sufficient to enforce learning and creativity. Notably, institutional changes at the extreme produce conditions that might reduce the rate of OL. The role of KM is to develop context-specific strategies to embrace learning and creativity.

The developmental process as it unfolds in Dubai has hardly been addressed by academics. However, because of the absence of research related to the regional context in general and KM and OL in particular the authors recommend future researchers to explore the impact of institutional settings on managing knowledge and learning. Researchers can identify in this regard the complexity of an emerging economy and attempt to develop a more fine-tuned understanding of its relationship to KM and OL.

In light of the institutional structures, the findings on KM and OL provide managers guidance in making decisions under extremely uncertain institutional settings.

KM and OL have been discussed within organisational and management research; however, the majority of these studies adopt a western-based perspective. This paper contributes to the understanding of the relationship between KM and OL in an emerging market setting, which has so far received insufficient attention.

This paper aims to highlight for the first time, creativity's vital role in a new approach in the higher education world which can improve the current university instructional strategies post financial crisis.

The paper offers a theoretical framework which has emerged from literature review and personal business and educational experiences of the authors. It seeks to provide synthetically some answers/“solutions”, focusing on a three dimensional framework: where to play the game of creativity; how to deliver creativity to business students, meaning by what structures and methods; and how to win in implementing this game.

Many researchers appeared to focus on making their findings applicable to the entire education system paying little attention to issues specific to the business education sector. Succinctly, the focus of the papers is on “how to do it” part, which provides several realistic insights on how to connect communities into the game of creativity. Other methods required relate to: balancing creativity with core essentials; promoting excellence and sustainability; networking between students; faculty, management and community; improving learning environment; developing staff; teaching; learning competencies and programme curricula under an integrated service vision; anticipating educational future trends in networking; and building creative climates and partnerships.

The paper's conclusions and recommendations present a practical set of good practices through the explicit and implicit identification of core characteristics for creativity in higher education. Eventually, the first mission in wanting to be creative is to really comprehend the problem, knowing all ways to approach it.

Conceptualizing creativity as an ascription made by external audiences, this paper sheds light on the organized making of creativity, a process we label creativization. Creativitization is based on specific forms of knowledge and communication. By means of empirical illustrations from the field of fashion, we first view the utilization of knowledge in the form of materializations (in technologies), repertoires (of routines), and pooling (in projects). Second, we shed light on the significance of communication and demonstrate that communication in the form of themes, narratives, and storytelling not only serves external purposes of staging, but also fulfills internal functions of developing novelties. Third, we consider the (often lose) couplings between knowledge utilization and communication in the making of creativity. Finally, because manifest and highly institutionalized creativity expectations absorb resources and attention, we view creativization as an innovation barrier or even a substitute for innovations rather than its base.

Entrepreneurial intentions have traditionally been linked to an entrepreneur's personal ability to take advantage of opportunities. Yet, entrepreneurs' perceptions of contextual factors, which extend beyond one's control, deserve equal attention. This paper looks at the role played by cultural intelligence and the institutional environment in shaping entrepreneurial intentions.

The role played by cultural intelligence in entrepreneurial intentions and the mediating role played by the institutional environment were studied quantitatively by analyzing 224 young potential entrepreneurs who had participated in a business plan competition. This study used cross-sectional data, developing an original full collinearity assessment approach to check for any common method bias.

This study reveals a positive relationship between cultural intelligence and entrepreneurial intentions. Likewise, any favorable perceptions of the institutional environment tend to increase the probability of engaging in entrepreneurship and further strengthen the positive effect of cultural intelligence on entrepreneurial intentions.

This study provides a holistic view of the relationship between the entrepreneur and the context in which ventures are created, explaining the role played by cultural intelligence in entrepreneurship based on evidence drawn from a developing country. This contributes to a critical reflection on personal and environmental factors and the antecedents of entrepreneurial intentions.

This paper is written to add to current knowledge of the views of science, technology, engineering and mathematics (STEM) discipline early career researchers (ECRs) about creativity. It aims to explore their understandings of and attitudes towards creativity, as well as their perceptions of which environmental factors facilitate creative research. By discussing the findings in the context of earlier work, the paper seeks to challenge developers to re‐examine current practice in developing creativity by suggesting a broader and deeper approach than is currently often taken.

The paper reports on a qualitative study which collected data from semi‐structured in‐depth interviews with STEM researchers. A thematic analysis was performed on the data.

This research demonstrates that young researchers have a complex range of perceptions of creativity, and that negative attitudes towards it are common in the STEM environment. Three key environmental facilitators of creativity were also uncovered which are: a positive research environment; sufficient constructive communication; and time and space to be creative. It is argued that more emphasis should be placed upon optimising the environment for creative work to occur.

Whereas most previous work has focussed on experienced scientists, this paper outlines the complex and important issue of creativity in the context of STEM ECRs. It offers those who wish to support such researchers an accessible summary and recommendations of how to improve practice in the development of creativity. In particular, the paper argues that placing a greater emphasis upon optimising the environment will enhance the impact of creativity development efforts.