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One of the problems we face in the transition from an industrial society to a global knowledge economy is the need for a new breed of leaders and a new understanding of leadership. Creativity in organizations is traditionally considered to be the domain of the R&D department, and design and marketing functions. The consequences of this way of thinking are that creativity, innovation and the implementation of innovation have not been a part of everyday life throughout an organization, but rather things that are the responsibility of a few people often located in departments far away from the “front line.” It is the front line that is in daily contact with users/customers, and which, in the knowledge society, will become increasingly important. The purpose of this paper is to discuss how we can develop a new type of leadership in the knowledge economy. The authors suggest that the necessary conditions for this new type of leadership, which is refered to here as “innovation leadership”, are developed in a holistic model which includes the following elements: entrepreneurial action, innovative leadership, creative energy fields within the organization, high‐tech wealth creation and innovation as a business process.

The authors' perspective here is that of a holistic integrated model where leadership and administration coordinate and balance each other, promoting creativity, innovation, productivity and change. The methodology used is conceptual research, where an analytical model is discussed.

For the established policy in enterprises and other social systems it is important to open up to fields of contagion, cutting down parts of the forest and allowing the principle of the order of succession to reign freely. In established enterprises it is important to: uncover creative energy fields; identify innovation leaders; spread contagion by cutting down areas of the forest where you want the principle of the order of succession to apply; and ensure that you have active spreaders of contagious new creative energy fields in the enterprise.

If one freely interprets Hamel, then in order to promote the development of relational competence, 80 percent of the resources involved in high‐tech wealth creation should be allocated to innovation culture, and 20 percent to performance culture. Hamel says that innovation culture is constituted by “passion, creativity, initiative”. The most important aspect of innovation culture is not so much developing many new ideas and patents, but rather converting these ideas to profit for the company; the motto “from idea to invoice” springs to mind here. However, in most companies it is perhaps the performance culture rather than the innovation culture that is given priority.

The social implications can be stated by citing Hamel, who outlines five important lessons that need to be followed: go to the root of any problem; build what is new on new ground; commit to revolutionary goals, but reach the goals by taking small steps; evaluate continuously, but do not paralyse the system with analysis and quarterly results; and be persevering.

To the authors' knowledge, few authors (if any), have related systemic thinking (cybernetics) to the new leaders we need in the global economy.

This paper aims to report on the construction of a scale to measure a firm's stance towards creative consumers; that is, customers who adapt, modify or transform a proprietary offering.

A measurement instrument, called the 3As, is developed to assess the extent to which an organization is aware of its creative customers, its attitude towards its creative customers, and finally the action it takes in response to its creative customers. A total of 178 Executive MBA students were used to fine‐tune a set of items using exploratory factor analysis (EFA).

An empirical test of reliability and validity resulted in three clearly defined factors or dimensions, which correspond to the three constructs of awareness, attitude and action. The relationship between the scales' prediction of stances and a manager's self typing of the organization is assessed, and the relationship between firm stance, environmental turbulence, and performance explored.

This paper provides the first scale for measuring a firm's stance toward creative consumers.

This paper focuses on individuals' improvisation in organizations. The extant literature in this area examines improvisation as either a predictor or an outcome variable. However, there is still considerable confusion about the essence of improvisation and its individual-level determinants. To address these deficiencies, we discuss the differences between improvisation, creativity, and intuition, integrating insights and theories from those fields. Then, we propose a comprehensive model describing a process that includes contextual and individual level variables, which leads to improvisation. Finally, we discuss the theoretical and practical implications of our model and suggest avenues for future research.

The purpose of this paper is to present new aspects of the tension between creativity and productivity and improve the understanding on how research can be developed in very restricted environments, such as the context of an organization managed using the methods of Project Management. And more generally, it introduces the rhetoric of judgment as a fundamental aspect involved in the development and specification of projects.

The theoretical approach is based on the phenomenological theory of human intentional action developed by Alfred Schutz, in which the notion of mental project is more flexible than that of project management. In it the concepts of subaction and repeated action are considered a combination of similar actions already performed. The Kantian notion of judgment is introduced to outline self-persuasion as a fundamental source of creativity.

The introduction of an extended notion of project and routine involving judgment expands the rational, generic and technical notion of project management. And the rhetorical aspect of judgment, at the individual level, establishes the possibility to deliver unexpected outcomes that are considered creative.

The proposed notions of project and routines mediated through the rhetoric of judgment present theoretical and practical progress in the subject of managing projects.

This paper aims to present an interpretive case study in education for sustainability (EfS) that applies VanWynsberghe and Herman’s (2015, 2016) adaptive education as pedagogy. Dewey’s theory of behaviour change is applied to educative experiences based on habit disruption and real-world learning, leading to creativity in the formation of new habits. The programme presented inverts dominant conceptions of knowledge to design innovative sustainability pedagogy. Instead knowledge resides alongside experience, cases, intuition, advice, experimentation and dialogue in the individual and collective effort to address daily sustainability challenges.

The paper reports on the outcomes of an interpretive case study (Merriam, 1998) of a higher education programme in sustainability pedagogy. It presents a series of reflections by instructors and participants in discussing the programme’s relationship with the core themes of habit, disruption, creative action and dialogue framed within the five features of adaptive education: stakeholders, real-world learning, off campus, transdisciplinarity and non-traditional rewards.

Through this examination, the authors found that adaptive education offered a pedagogy that simultaneously addressed the need for increased sustainability knowledge, whilst inverting its dominance. As a long-term project, the extent of the programme’s impact will be evident beyond the programme’s completion.

This interpretive case study is analysed through high-level conceptual and theoretical aspects of the pedagogy rather than the particularities of the case. By putting the centrality of knowledge into question, the authors are advocating for a more experimental role for higher education in its teaching and learning. These questions are broadly applicable.

There are research, learning and social benefits to this programme. Adaptive education builds capacity for future leaders and educators of sustainability.

The paper concludes with a discussion for further theorizing and research on adaptive education and EfS in higher education. This research will contribute to broader discussions of the evolving role of education in sustainability.

Aging is a continuous process of growth and decay, both of which start at birth and continue throughout life. Activity develops muscles and neurons; inactivity atrophies them. Here we propose lifelong creative activity as a method to deal with aging. Decreased creative and learning capacity is a self‐fulfilling prophecy. Changing personal perceptions and expectations can promote health care and productive behavior.

The purpose of this study is to test a model connecting Chinese employees’ positive and negative affect and creative self-efficacy with supervisor-rated creative performance in Chinese business. Building on the cognitive tuning theory, this paper answers several calls for research to examine the joint effects of positive and negative affects on creative performance in the China business environment.

The participants were drawn from one of the largest petrochemical companies in China. We drew 459 leader-subordinate dyads across different jobs situated in multiple divisions to complete our surveys. The authors used hierarchical linear modeling to test the hypotheses.

The findings suggest that creative self-efficacy has a positive influence on creative performance during low PA scenarios. The authors also demonstrated that for employees in China, creative self-efficacy has a positive influence on creativity when employees experience both low levels of positive affect and high levels of negative affect.

As the findings suggest, Chinese employees who experience positive affect may engage in heuristic, top-down cognitive processes. Furthermore, findings from the present study also serve to extend the scope of the cognitive tuning model by testing the informational roles of positive and negative affects in self-regulatory processes rather than focusing directly on the main effects of employee affect. An important finding in this study is the three-way interaction indicating that individuals experiencing low positive affect and high negative affect will see a strong connection between creative self-efficacy and creative performance.

The present document presents the possible contributions of strategic design to organizational transformation, as a part of business intellectual capital.

A case study from a Colombian family business group, with three business units, industrial, commercial and service, were used. Interviews regarding critical events and semi-structured interviews were employed. Data were processed with NVivo software.

It was found that abductive, empathetic and creative competencies (human capital) that may facilitate the comprehension of nature, needs and alternatives to be employed in organizational change processes. Further, the importance of the participative design approach in co-creation, with interest groups, transformation projects (relational capital), and design thought, as a methodology for the implementation of the preceding (structural capital), was identified.

The results revealed, in this case, suggest several future investigative routes. Firstly, increased empirical research, based on this proposal, is suggested. Specifically, it would be relevant to perform causal studies that report the contribution of each of the components of strategic design to the diverse organizational transformation processes. A third line of investigation might include delving into certain relationships that have already been identified, but require further comparison. One of these might be the role of design thought as a method to perform specific organizational transformation projects.

As a result of the present investigation, a model is established (see Figure 2) which may be useful to companies to address organizational transformation, capitalizing on the benefits offered by strategic design. In summary, the proposal considers four phases (see the central circle in Figure 2). Phase 1: understanding organizational occurrences and situations, the basis upon which to determine the nature of an organizational transformation. This activity alludes to the work that is collaboratively managed with different interest groups, in the systematic comprehension of the business organizational transformation chain of events. Phase 2: determining the path to be followed or the route for collaborative action. Doing so in participative fashion permits the representation of a diversity of ideas and opinions on a given problem/potential identified in the preceding process. This stimulates and strengthens the creative competency in company personnel (Jeffries, 2007). If this competency is incorporated into the corporate culture, differential factors may be established, in an environment with broad competency, thus achieving transformations appropriate for a competitive environment.

Co-creation, the central axis of the organizational transformation process. At the base of all organizational transformation processes is an approach focused on human beings, whose principal questions include: What place do individuals have in strategic problem resolution, like those of organizational transformation, in companies? How are human competencies strengthened when applied to organizational transformation processes? What types of ties are made, beyond the establishment of natural relationships (work, purchase, sell), with interest groups? And most importantly: How do they achieve the construction of new business realities together? To do this, participative and co-creative methods must be employed as a scenario to jointly achieve multiple satisfaction realities, in which understanding the essence of the participative design approach becomes meaningful (Jones, 2015).

Design thought, as a methodological proposal for organizational transformation projects. The use of inspiration, ideation, and implementation stages, iteratively and permanently, is suggested. Continuous review of the point of departure, the path trodden and the goals to be achieved should be prioritized, such that they may act as compasses for organizational transformation, considering strategic design to be a key motor (Yee et al., 2017).

Behavior in organizations is predominantly driven by expectations and routines derived from past experience rather than by envisioned scenarios reflecting future potentialities. The disproportionate weight placed on expectations derived from past experience has been blamed for a variety of problems associated with individual and organizational creativity and change. Drucker addressed this long‐standing problem by arguing that decision makers must address the degree of “futurity” they need to factor into their present thinking and action. Specifically, decision makers must consider the relative weight or ratio given to ideas derived from two temporally distinct sources of knowledge – expectations constructed from remembering past experiences, and visions derived from imagining the future. In this paper I seek to describe how varying the priority given to remembering and imagining during enactment (action‐perception‐sensemaking) episodes affects organizational creativity and change.

The purpose of this paper is to analyze the role of embodied dimensions and relational possibilities of (serious) play at work. It shows how a phenomenological and processual approach can help in developing an integral understanding of (serious) play and its paradox in relation to work and practical wisdom and professional artistry in organizations.

Based on the literature review and phenomenology, the role of embodied dimension, and the nexus of playful practitioners, practices and playgrounds are discussed. Systematically, then the concept of “inter-playing” is proposed as a specific embodied and processual practice. Subsequently, the in-between is shown to be a medium and transrelational nexus for (serious) play that allows a more comprehensive understanding and implications.

Based on the phenomenological and relational approach, the concept of (inter-)play allows an extended understanding of serious play and its paradox as a form of an inter-practice. The mediating in-(ter-)between is revealed as decisive for playful practices and playgrounds in organizations. Serious play is linked to practical wisdom and professional artistry in organizations.

Specific theoretical and methodological implications for exploring and enacting play are offered. It is suggested to take research itself as a form of inter-practice and to enact a more integral epistemology and methodological pluralism, including body-related and art-based approaches and critical issues.

Some specific practical implications are provided that facilitate and enable embodied play and play-spaces in an ongoing, arts-based learning and development process in organizational and educational contexts.

The corporeality of responsive inter-play is seen as connected to sociality and social interaction as self and others are considered as a nexus. In particular, poetic phrónêsis in professional playful practice is linked to social creativity that includes attention and recognition of others and otherness as well as social inclusivity.

By extending the existing discourse and using an embodied approach, the paper proposes a novel orientation for re-interpreting serious play. Equally, it offers the new processual concepts of inter-play and inter-practice that allow more explorations and connections to discourses and practices of phronesis and art(istry).