THE PRACTICE AND MANAGEMENT

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THE PRACTICE AND MANAGEMENT
OF CREATIVITY
Professor Jonathan Feinstein
Yale School of Management

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Outline
I. The Nature of Creative Development.
Creative Interests. The
Generation of Creativity Creative Responses
Exploration, Creative
Connections, Creative Expertise. II. Fostering
and Managing Creativity in Organizations.
Group Processes Divergent and
Convergent Thinking
Structure and Environment.
Initiatives to Generate Creativity and Imprint
Processes. Best Buy
Example. Values and Leadership.
III. Discussion.
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Creative Development
I study creative development, the process of
development of individuals engaged in creative
endeavors through which they come to make
creative contributions of whatever kind, to
society and the world. Framework presented in
The Nature of Creative Development
(2006). Creative development for a person (or
group) unfolds over time it doesnt all happen
in the moment. Sudden ideas, discoveries, and
illuminations do occur, but are embedded in a
larger, rich process of development.
Organizational implications. Evident from the
history of innovations in every field, from
financial services to fast food to government,
science and art (think of your own field).
Myriad examples show this - Albert Einstein,
Matisse, Ray Kroc, John Maynard Keynes, Rachel
Carson, Virginia Woolf, Thomas Edison, the laser,
mutual funds, tax systems, the novel, the
Internet.
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Basic Structure
A persons creative development is rooted in and
grows out of creative interests he forms. A
creative interest is a domain or topic that an
individual defines for himself that he finds
exciting and fascinating and wants to explore and
develop creatively. Individuals form conceptions
of their interests, defining them. Creative
interests are distinctive, unique (roots of
distinctiveness). The core of creative
development is a two-step process 1. We
form creative interests. 2. We explore
and strive to develop our interests creatively.
Our interests spark ideas we have we
engage in projects rooted in our
interests.
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Phases of Development

• Formation of creative interests also form a
  conception of ones interest thinking about it.
• Exploration of interests open-ended. Form rich
  conceptual structures in the domain of ones
  interest. Generation of ideas and projects.
• Project pursuit focus on specific projects
  inward focus.
• Cycle through these phases over and over again.
  More complex patterns.

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Alexander Calder
Alexander Calder had an interest in the
universe, the solar system and basic shapes of
the universe set in space, as the basis of art.
In his Autobiography he vividly describes an
experience he had in his early twenties on board
a ship It was early one morning on a calm sea,
off Guatemala, when over my couch -- a coil of
rope I saw the beginning of a fiery red sunrise
on one side and the moon looking like a silver
coin on the other. It left me with a lasting
sensation of the solar system. Good example of
specific experience contributing to sparking a
creative interest. (His interest most likely
formed over time afterwards.) He told a reporter,
The first inspiration I ever had was the
cosmos, the planetary system. And he told an
art critic, The basis of everything for me is
the universe. The simplest forms in the universe
are the sphere and the circle. I represent them
by discs and then I vary them.
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In the introduction to one of his
early exhibitions Calder wrote From the
beginnings of my abstract work, even when it
might not have seemed so, I felt there was no
better model for me than the Universe. Spheres
of different sizes, densities, colors, and
volumes, floating in space, traversing clouds,
sprays of water, currents of air, viscosities and
odors of the greatest variety and disparity.
Nice example illustrating a rich conception of a
creative interest. Calder
was also fascinated by motion and the idea of
motion as art. He said he felt that art was too
static to reflect our world of movement from
early on, and said that relatively early in his
art career he became interested in the idea of
motion as an art form in motion as art and
setting art in motion. Ultimately he connected
his two interests in the invention of the mobile.
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Thomas Edison
As a young man Edison was excited by telegraphy,
as were many young people of his day (hot field)
his first attempts at invention were developing a
system for multiplexing. Over time he formed a
mature, distinctive creative interest in
inventing peripheral devices for use with
telegraph systems, especially for input/output,
e.g., systems for writing out and recording
telegraph messages automatically. Led to his
first important inventions, the stock ticker and
electric pens. Typical pattern enter a field
with broad, standard interest, then over time
form a mature, distinctive creative
interest. Many further examples Warren Buffet,
Ray Kroc, Estée Lauder. In business, often a
creative interest takes the form of a guiding
strategy or approach.
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From Creative Interests to Ideas and Projects
Paths of Creativity Generation
Two main pathways through which we generate ideas
and projects rooted in our creative interests
Creative responses. Exploration in interest
domains. Building up rich conceptual
structures generative of ideas and insights
creative expertise.
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Creative Responses
We have many experiences and encounter
a great multitude and variety of different
elements (stimuli) in the course of our lives,
certainly during phases when we are exploring our
interests and are relatively open in our
engagement with the world. Out of all the
experiences we have and elements we encounter, we
attend to, focus on, and respond to a tiny
fraction. Most simply pass us by.
Our creative interests are central in guiding our
attention and focus and mediating our responses
to experiences and elements. Once we form an
interest, it acts like a filter, picking out
select experiences and elements or specific
aspects of complex experiences or elements that
resonate with our interest. This perceptual act
of recognition is often creative (noticing novel
aspect). It also often triggers a further
response, a chain of associations, mediated by
our interest, leading to an original idea or
insight. Different kinds of
experiences and elements trigger creative
responses. Highly salient experiences and
elements more likely to.
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Alexander Calder and His Mobiles
Alexander Calder went to Paris in
1926. Around this time he began building up his
famous circus. He also began working in wire,
fashioning people and animals. He returned to
Paris in 1930 he met an architect who knew
Mondrian and a circle of artists and art critics,
and went to visit Mondrians studio -- a friend
had recounted marvels. It was a
very exciting room. Light came in from the left
and from the right, and on the solid wall between
the windows there were experimental stunts with
colored rectangles of cardboard tacked on. Even
the Victrola, which had been some muddy color,
was painted red. . This visit gave me a
shock. A bigger shock, even, than eight years
earlier, when off Guatemala I saw the beginning
of a fiery red sunrise on one side and the moon
looking like a silver coin on the other.
This one visit gave me a shock that started
things. Though I had heard the word
modern before, I did not consciously know or
feel the term abstract. So now, at thirty-two,
I wanted to paint and work in the abstract. And
for two weeks or so, I painted very modest
abstractions. At the end of this, I reverted to
plastic work sculpture wire which was still
abstract. visits Mondrians studio in Paris.
Sees the bright colors, red, in simple shapes
like rectangles, et cetera placed around the room
link to simple shapes of the universe arranged
in space. Asks Mondrian, Why dont you set them
in motion? Thus connection is made with his
interest in setting art in motion. Mondrian
answers They are already in motion. Calder
goes home that very night cuts out simple shapes
of brightly colored paper, arranges in space to
move. Invention of the mobile in modern art.
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Mondrians studios were in fact generally
recognized as remarkable. Like walking around
inside one of Mondrians paintings. Put a great
deal of work into designing and creating them, to
great effect. He wrote, we are at the end of
art as a thing separated from our surrounding
environment, and his studios, it has been said,
were his only opportunity to partially
concretize his radical ideas towards the total
environment. Clear resonances/linkages with
Calders interests. In particular the wall
works and objects were all set in
three-dimensional space, surrounding one thus
connecting with Calders interest-conception of
the universe and its basic elements, the solar
system, as the basis for art. Also very simple
elements, like rectangles (though not discs or
circles). Also a lot of red Calders favorite
color. Note link to his experience on the boat
off Guatemala. Calder began to design sculptures,
mainly with wire, setting simple objects in
space, directly connecting and growing out of his
interest. Did not have motion initially about a
year later added motion once had objects in
space natural to link to art in motion and the
circus inventing the mobile.
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Further Examples

• Thomas Edison. At exhibition sees Elisha Grays
  early prototype for a telephone. Sparks Edison
  to begin working on a telephone, rooted in his
  knowledge of electromechanical devices (for
  peripheral devices).
• Tim Berners-Lee. Had interest in
  nonhierarchical, nonstandard data structures and
  systems in which any two elements could be
  linked. Going to CERN the organizational
  environment sparks a creative response very
  non-hierarchical, complex, webbed
  inter-relationships. Tim gets idea to write
  program to describe organization Enquire.
  Enquire is a method of documenting a system. It
  concentrates on the way the system is composed of
  parts, and how these parts are interrelated.
  ENQUIRE imposes no constraints on the high level
  design. Can freely add nodes and links. Later
  Tim returns to CERN, develops idea to
  interconnect peoples computers origins of the
  World Wide Web.
• Many further examples in book.

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Exploration of Creative Interests
Our creative interests especially
our conceptions of our interests - guide us as we
follow paths exploring our creative interest
domains. These domains are self-defined, and we
define our own paths of exploration what to
read, what subtopics to explore, what to attend
to, what to learn, what issues and problems to
explore and think about. The distinctiveness of
our interests means they define distinctive
domains, shaping our paths of exploration. Through
exploring we build up rich conceptual structures
with rich patterns of interconnections within the
domains of our interests. These structures are
generative of ideas and insights
Making creative connections among elements
Samuel Taylor Coleridge in his poetry. Recognizing
patterns, generalizations Charles Darwin,
business seers.
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Creative Expertise
Individuals build up expertise in the domains of
their interests through exploring them. Because
their creative interests are distinctive domains,
their expertise is distinctive, unique to them
creative expertise. Example Ray Kroc formed an
interest, as a salesman, in commercial grade
kitchens, their efficiency of operations, hygiene
and quality of food preparation, modern style.
He built up great knowledge about his interest
I considered myself a connoisseur of kitchens
after all, selling multimixers took me into
thousands of them. When he went to visit the
McDonald brothers restaurant in California (they
had placed a large order) he recognized the
potential of what they had created and saw
clearly the details of their operations, as
others did not. A creative response, sparking
his development of McDonalds.
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Constellations of Interests

• Individuals develop constellations of interests.
  Apart from the distinctiveness of particular
  interests, the constellation is distinctive.
• Alexander Calder universe as basis for art art
  in motion and motion as art.
• Tom Stoppard said in interview his ideas for
  plays happen when two of my interests plait
  together.
• Thomas Edison. Interest in peripheral devices
  for telegraph systems. Formed an interest in
  sound transmission and recording. He connected
  these brilliantly in the invention of the
  phonograph. (Read my book for that one!).

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Fostering and Generating CreativityIn
Organizations
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Creativity Generation Is An Ongoing Process
The best way to approach creativity generation is
to recognize that the organization must put in
place systems and processes to enable the ongoing
generation of creativity. The need for
creativity is neverending for organizational
renewal and vitality. It is easy to fall into the
trap of focusing on generating one great creative
breakthrough and forget the need to instill
processes and structures for ongoing creativity
generation, which is essential as move past
founding. Creativity generation rooted in

• Fostering Creative groups and teams.
• Creativity Initiatives (at strategic times).
• Values and leadership support.

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Brainstorming Groups
A classic approach for generating creative ideas
and solutions is brainstorming groups. Many
organizations today use this approach
effectively. Often form groups spontaneously
fluid part of the culture.
Divergent and Convergent Thinking (Two Modes)
Divergent Thinking. This is the phase of
generating ideas possible routes to take to
solve a problem or come up with a new approach
spreading out making divergent connections
(wild ideas are good) that are unusual and
novel fast moving, generating a lot of ideas,
building on ideas. No criticism or
judgment. Convergent Thinking. Weeding out
potential approaches and solutions analysis
judgment and evaluation choosing a particular
path to pursue or explore further.
Highly creative people are often (surprisingly)
good at both phases. Cycling through
(revisioning).
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The Brainstorming GroupClient, Facilitator, and
Group Members

• The Client has the problem or issue to address.
  He presents to the group and makes suggestions at
  intervals.
• The Facilitator runs the group. She sets the
  rules by which the group will work, frames the
  problem, attends to the group climate. She is
  focused on how the group is functioning, not
  being creative herself she works to sustain the
  groups creativity. Facilitation isnt easy and
  takes practice.
• The other group members work together to
  generate a creative idea, approach, or solution.
  The interpersonal environment is key. Members
  should try to build on the ideas of others (the
  benefit of working in a group) but can check
  out. Its vital for them to feel comfortable,
  not judged.

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The Brainstorming GroupKey Functioning
The Client sets the task. In the Group Work
there are 2 key elements
Alternate phases of divergent and convergent
thinking. First a divergent phase, lasting
anywhere from 40 minutes to a few hours. Then a
convergent phase, choosing avenues to pursue.
Then another divergent phase, maybe with
subgroups, each pursuing a path. Then
convergent et cetera. It is crucial to have
positive, criticism-free group atmosphere during
the divergent thinking phases. Its hard to
refrain from criticism and judgment (we do it
constantly in our minds, often not even being
fully conscious of it) but crucial for the
free-flow of ideas. Thats why the phases are
kept separate. Facilitator is important for this.
Organizations use this. IDEO My students.
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Structured Innovation Programs
Many organizations are developing structured
innovation programs to facilitate creativity and
innovation. The goal is to expose individuals to
approaches for generating creativity and
innovation, and perhaps also to generate some
neat ideas along the way. Employees participate
then bring back what theyve learned to their
home units. Here Ill outline one such program
done at Best Buy. Many more examples.
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Best Buy The Innovation Learning Journey
To instill a structured approach for innovation
generation Best Buy developed a 6 month training
program. Individuals volunteered. It was a 100
time commitment (even more) and the participants
described it as a rollercoaster ride. At the
end they could bring what they learned back to
their units. The Program started with Bootcamp
(3 days retreat setting, set goals, get a sense
for the program).
This material is from HBS Case 9-604-043.
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Innovation Journey The 4 Stages

• Discovery Stage. Participants divided into 5
  groups. Each explores a different facet of Best
  Buy culture and industry. They go out into the
  field and also reflect to identify key themes,
  trends, radical perspectives. 5 areas are

• Consumer Insights. Consumer unmet needs visit
  innovative and awesome stores and organizations.
• Identifying company and industry orthodoxies to
  challenge.
• Discontinuities. Identify emerging new trends
  around the world and in the industry.
• Map their industry (competitive landscape).
• Core competencies of Best Buy strengths to
  leverage interviews with employees, customers,
  vendors, analysts.

Lasts about 6 weeks. A lot of traveling and data
gathering.
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• Innovation Lab. Teams share their insights and
  data. Groups form to brainstorm and generate
  ideas for new ventures to pursue based on these
  insights and data. Over the 3 days nearly 1,000
  ideas are generated.
• Venture Idea Generation Stage. Groups of
  participants pursue each theme area and identify
  the top venture prospects. Business plans are
  sketched out for each of a handful of ventures.
• Venture Pursuit. A Venture Review Board
  determines internal funding and support for
  individual ventures (internal VC model).
  Ultimately 2 ventures make it through and are
  launched as pilot programs.

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Values in Organizations
Organizational environments center around and
define central values for the individuals who
work in them. Organizational culture often
centers around values culture is, loosely, a
normative basis and interpretive framework
guiding people and constraining their
behavior. Values Inventories Researchers have
developed surveys and other methods to assess
values in an organization. Related to open
discussions about mission and culture. From the
point of view of fostering creativity and
innovation, what are central values to assess and
try to build into organizational culture?
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Values for Creativity and Innovation
Openness. To what extent do individuals feel
able to voice new ideas, and concerns. Do they
feel they will be punished? Do senior
individuals set an example by raising issues and
encouraging others to do so? Openness has many
aspects communication physical environment
attitudes. Directives versus inclusive
communication. Tolerance and support for
questioning the established way of doing things.
Are individuals encouraged and rewarded for
trying new approaches even if they fail? Are
they asked to do so? Is it expected as a normal
part of work? Is there broad group support and
responsibility for individual and small group
risk-taking? Playfulness. Can individuals
advance up the hierarchy through innovative work?
Are they rewarded for such work? (Both formal and
informal status hierarchies are important.) How
common is this are there examples / exemplars?
Intrinsic vs. extrinsic rewards.
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Leadership
Leadership is fundamental to creating the values
orientation needed to foster creativity and
innovation. Innovations can come from employees
at all ranks. But leaders are key in setting the
culture and values that enable individuals to
feel comfortable and confident and motivated to
be creative. Different styles of leadership

• Hands-on Bill Gates. Leader intrudes,
  creative.
• Multiple paths encouraged let highly creative
  people loose The Manhattan Project.

Leadership is absolutely crucial for changing an
organizations culture and values orientation.
Change at many levels simultaneously a global
shift (paradigm shift) Oticon Example.