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This commentary is intended to complement the chapter written by Agars, Kaufman, and Locke (this volume). Agars et al. (this volume) are correct in stating that innovation is a vital part of business and that much can be learned about innovation from studies of creativity. This commentary underscores several of the more important points made by Agars et al., questions others, and fills in several gaps found in their chapter. Perhaps most important are the qualifications offered in the present commentary, which are intended to constrain some of the claims made in Agars et al.'s chapter. Related to this is the need to consider the larger picture of scholarship dealing with innovation and creativity. For example, there may be an originality bias among creativity researchers and an unfortunate tendency to ignore relevant but older research. This commentary does have a critical tone, but only because many of Agars et al.'s arguments are entirely tenable and need not be repeated. The gaps, however, should be filled, and some of the claims qualified. Nevertheless, some ambiguity is useful with a complex topic, such as creativity, and it is important to recognize that creativity is not entirely a social process.

Mark D. Agars is an associate professor of psychology at California State University, San Bernardino. He received his Ph.D. from the Pennsylvania State University in industrial and organizational psychology, where he worked with James L. Farr.

As the preceding chapter and commentaries reveal, the field of organizational creativity and innovation is both complex and multifaceted. Many core constructs are ambiguously defined, and levels issues are often confounded within constructs and among proposed relationships. When attempting to advance the understanding of social influence factors and organizational creativity and innovation, multi-level perspectives are particularly well suited to address these complexities. The commentaries of Dionne and Runco represent alternative approaches to facing these challenges. This response to their commentaries discusses our perspective on their recommendations and presents some final thoughts on how multi-level approaches should form the basis for moving the field forward.

This chapter provides an in-depth understanding of the cognitive processes that facilitate creativity from a multi-level perspective. Because cognitive processes are viewed as residing within the individual and as an individual-level phenomenon, it is not surprising that a plethora of research has focused on various cognitive processes involved in creative production at the individual level and the factors that may facilitate or hinder the successful application of these processes. Of course, individuals do not exist in a vacuum, and many organizations are utilizing teams and groups to facilitate creative problem solving. We therefore extend our knowledge from the individual to the team level and group level, providing more than 50 propositions for testing and discussing their implications for future research.

Creativity is a critical skill across disciplines and contexts, and it is an important trait for humans to survive and thrive, personally and collectively. The fast-paced culture of business innovation has sought to promote and reward creativity as a coveted thinking skill. Creativity in and of itself, however, is a value-neutral construct, because novel and effective ideas may also have negative consequences. This darker aspect of creativity has come to the forefront in many recent cases, particularly in contexts involving digital and networking technologies, where the rapid pace of technological change does not encourage the kind of deliberative thinking necessary for nuanced and ethical business decisions. The authors consider why education is essential for expanding the ethical capacity of creative agency in business, describing the need to bring creativity and ethics together in educational opportunities and cultural values. The authors explore the idea of ‘wise creativity’ and the need to infuse more human-centred learning from the arts and humanities into business fields. Further, the authors suggest better practices for creative business education, such as: infusing real-world ethics learning into business education and professional development; infusing the liberal arts curriculum in business; offering opportunities for arts-based approaches in business learning; and instilling genuine mindfulness training in business education environments. The authors’ focus is on a shift away from a culture that values creativity purely as an instrumental approach for greater profitability, and towards one that values wise and humanizing creativity for good business practices that consider societal and individual wellbeing.

The purpose of this paper is to gain insight into the way leisure activities and soft skills relate to creativity in higher education. It determines which activities have a positive impact on the student body’s overall education. Previous research evidences the relationship between specific leisure activities and creativity performance in several scenarios. Our work applies a broad range of these leisure activities to find results within our own specific student population.

The methodology is based on a survey of 303 Spanish students in Business Administration and Tourism. The study uses two instruments to measure the creativity of students, the Runco Ideational Behavior Scale (RIBS) and a three-dimensional construct that measures divergent thinking (originality, fluency and flexibility).

The results reveal that the average for creativity is higher for those students participating in some of the activities proposed. A positive correlation was also observed between the number of leisure activities and the creativity measures analysed. This confirms that students participating in more leisure activities display higher levels of creativity. Finally, the results display that the vast majority of students are involved in some type of activity, but two of the interpersonal skills that companies appreciate the most (reading and writing) are performed by very few students. This is especially the case of writing.

This study contributes to the pedagogical strategies that can be used in universities to motivate practising leisure activities as a mean of fostering creativity. It is important to note that the involvement of students in leisure activities can benefit from their integration into the labour market.

The purpose of this paper is to call into question the most longstanding pedagogical practices in academia while analyzing their potential to foster student creativity and innovation in the classroom. While some suggestions advanced in this paper may not have the same importance in other fields and disciplines, they are highly relevant in the applied, interdisciplinary, and very fast moving field of Library and Information Science (LIS).

Positioning creativity as a teachable skill and relying on the learner-centered pedagogy of Carl Rogers, the paper presents a model that can serve as a litmus test for the creative potential of graduate-level assignments in LIS programs. The model is called “Walls,” “Doors,” and “Fences” (WalDorF); these terms refer to specific statements in graduate assignment descriptions that are necessary (“Walls”); conducive to creative expression (“Doors”); or unjustifiably restrictive (“Fences”). The paper uses a sample assignment from a “Foundations of LIS” course to illustrate the model; it also provides several examples of the WalDorF model application in other LIS courses.

Using the WalDorF model, the paper revisits and challenges some of the most common pedagogical practices in graduate LIS teaching, including the prevalence of written papers as course assignments; the implications of equating “research” with an overview of secondary literature; the need for professors’ approvals of research topics; the meaning of the “quality of writing;” the imperative of “academic” writing as opposed to other types of writing; the word/page limit; the use of standardized reference styles; the class participation requirement; and the late assignment policies, among others.

The real change in education is foundational and goes beyond cosmetic improvements. If we want to develop learning experiences that tap into students’ creative potential, the very core of our approaches needs to be scrutinized and questioned, even the centuries-old staples of academic teaching. At the end of the day, we may decide that changing things is not in the best interests of learning. However, a complete critical analytical work must be done to convince and reassure ourselves that tried-and-true methods are the best way to go. The proposed WalDorF model presents one possible frame for critical revision.

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.

Recognizing the impact of innovation on organizational performance, scholars from a number of disciplines have sought to identify the conditions that make innovation possible. Although these studies have served to identify a number of key variables, the relationship between these variables and innovation is complex. In this chapter, we argue that the apparent complexity of these relationships may be attributed to cross-level differences in the requirements for innovation and the existence of complex interactions among the phenomena operating at a given level of analysis. The implications of this multi-level perspective for understanding how innovation occurs in organizational settings are discussed.