creativity in innovation processes vesa harmaakorpi 5 credits vesa harmaakorpi professor innovation...
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Creativity in innovation processes
Vesa Harmaakorpi
5 credits
Vesa HarmaakorpiProfessor
Innovation SystemsLappeenranta University of Technology
Lahti School of Innovation
Content and requirements
Lectures 24 h Assignment Exam (lectures + the study material)
Vesa Harmaakorpi
Evaluation
Assignment 50 % Exam 50 %
Vesa Harmaakorpi
Lecture days
7 May 2013, Background: Innovativeness and creativity (6 h), Vesa Harmaakorpi
8 May 2013, Workshop on creativity (6 h), Anne Pässilä
16 May, 2011 Creative methods of innovativeness (6 h), Tapani Frantsi
17 May, 2011 Innovation session (6 h), Tapani Frantsi
Vesa Harmaakorpi
Focus of the course
Creative personality Creative thinking skills and methods Creative will and motivation
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Creative personality
• Develop your own creative and innovative thinking.
• Feel encouraged to use methods that enhance creativity and innovativeness.
• Are able to view your own identity and role as innovation promotor.
• Are aware of the positive use of methods and ways of action.
Vesa Harmaakorpi
Skills and methods of creative thinking
• To see and experience different ways of approaching problems and solving them.
• To get ideas for new integrated methods.• To get ideas how to apply the methods in
different environments and processes.
Vesa Harmaakorpi
Creative will and motivation
• To analyse your own motivation, interaction and your own style of intervention with others.
• To analyse the issues that are found problematic in the work of a creative group.
• Your socio-cultural reading ability is challenged, you will learn to observe the different status and hierarchies in communication.
Vesa Harmaakorpi
Group assignment
• What is creativity?• Decsribe a concrete situation in which creativity
has bloomed.• Describe a concrete situation in which creativity
has been killed.
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The new innovation paradigm
Vesa Harmaakorpi
Vesa HarmaakorpiProfessor
Innovation systemsLappeenranta University of Technology
Lahti School of Innovation
Origins of innovation?
Vesa Harmaakorpi
Science-based Science, technology, innovation (STI)
Practice-based Doing, using, interacting (DUI)
Innovations - new ideas taken into practice
Combining knowledge, expertice and technology in novel ways.
Many different types: product, process, oganisational, social, system, service…
They are often developed complex, interactive and continuous priocesses.
They are not a marginal phenomenon but a part of everyone’s life.
Vesa Harmaakorpi
Analytical vs. interpretative process of innovation
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ANALYSIS INTERPRETATION
•The focus is a project, with a well-defined beginning and end•The thrust is to solve pre-defined problems•Managers set goals•Managers convene meetings and negotiate to resolve different viewpoints and eliminate ambiguity•Communication is the precise exchange of chunks of information
•The focus is a process, which is ongoing and open-ended•The thrust is to discover new meanings•Managers set directions•Managers invite conversations and translate to encourage different viewpoints and explore ambiguity•Communication is fluid, context-dependent, undetermined
Looking for structural holes…
Vesa Harmaakorpi
Metal industry
Biotechnologyresearch
Information technology research
Nanotechnology reserach
.
Clients
Distances in structural holes
Geographic Cultural Social Organisational Cognitive Communicative Functional
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Video
Stora Enso Packaking
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Group assignment
Discuss what happened in the video What has that to do with innovation? Distances?
Vesa Harmaakorpi
Innovation System
Vesa Harmaakorpi Autio, 1998
Absorptive capacity in innovation systems
Vesa Harmaakorpi Autio, 1998; Zahra & George, 2002
Third generation regional innovation systems
Vesa Harmaakorpi
Knowledge exploitation subsystem
Knowledge generation subsystem
Innovation policyInnovation intermediary toolsInnovation culture
Constructed competitiveness
Cross-disciplinarity
Related variety platforms Changing
Techno-
Economic
Paradigm
Economic
Development
Policy
Science and
Technology
Policy
Innovation system
Modes of knowledge production
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Mode 1 knowledge production is traditional knowledge production based on single disciplines. It is homogeneous and primarily cognitive (STI).
Mode 2 knowledge knowledge production, by contrast, is created in broader, heterogeneous interdisciplinary social and economic contexts within an applied setting (DUI).
Science-based innovation (STI, Mode 1)
Practice-based innovation(DUI, Mode 2a)
Practice-based innovation (DUI, Moodi 2b)
Most typical logics and capital
Agglomeration – Clusters – Economies of scaleIntellectual capital – Financial capital
Proximity
Related variety – Innovation platformsSocial capital – Institutional capital
Distance
Developing innovation capability – Breaking silos Social capital – Structural capital
”Near distance”Most typical innovation types and processes
Radical technological innovations and related concepts
Analytical
Radical concepts and system innovations
Interpretative
Organisational innovations - Social innovations - Service innovations
InterpretativeMost typical innovation methods and environments and knowledge transfer mechanism
Scientific methods
World class scientific centres
Technology diffusion for the firms of clusterScience and related expertise
Methods of intellectual cross-fertilisation (also virtual)Arenas of intellectual cross-fertilisation in value networks
Scanning and absorbing technology and market signalsNetworks, Serendipity, Customers
Problem-based learning (e.g. culture-based methods)Arenas of developing organisational innovation capabilityOrganisational learning
”Normal” staff, Customers Most typical logics of knowledge production
World classic scientific expertise in narrow fieldCodifield knowledgeAnalyticalHomogeneous knowledge production
Brokering – General ability to build possible worldsFuture-oriented SyntheticHeterogeneous knowledge production
Brokering – General ability to build possible worldsTacit knowledgeSymbolicHeterogeneous knowledge production
Most typical communication
Integrative Dissipative Dissipative
Most typical evaluation
Input-type measuresOutput-type measures
Dynamic measures Dynamic measures
Group assignment
Describe the differences between science-based and practice-based innovation.
Describe the differences between innovation processes that lead to a technical product and to a social ”service product”.
How do they affect creativity?
Vesa Harmaakorpi
Video
Toothtroll
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Group assignment
What happened in the video? Users in the process?
Vesa Harmaakorpi
In the source of creativity
Vesa Harmaakorpi
Vesa HarmaakorpiProfessori
InnovaatiojärjestelmätLappeenrannan teknillinen yliopisto
Lahti School of Innovation
Is it possible to teach creativity as a ”general skill”?
It may be difficult to teach creativity in the traditional sense of the word, but it is essential to nourish creativity!
Vesa Harmaakorpi
Creative personality
Vesa Harmaakorpi
• Problem solver
• Artistic personality
• Creativity as a way of life
Business Creativity
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Creative-thinking skills
Motivation
Expertise
(Amabile, 1997
Obstacles of creativity
Fragmentation Lock-ins Association obstacles Fast falsification of ideas Playing wrong
Illusion, delusion, collusion Playing right – creative play?
Vesa Harmaakorpi
Complexity of creative people
Creative people are very energetic, but on the other hand, they have an efficient way of retiring to silence and rest
Creative people are simultaneously intelligent and naive In creative people, playfulness and discipline coexist Creative people are at the same time capable of fantasizing
and of very realistic thinking Extrovert and introvert characteristics coexist in creative
people
Vesa HarmaakorpiCsikszentmihalyi, 1996
Complexity of creative people
Creative people are at the same time humble and proud. Creative people are often psychologically androgyne. Creative people are at the same time traditional and
conservative as well as rebellious and revolutionary Creative people are at the same time very emotionally
committed as well as critical and objective in relation with their work
Creative people are susceptible both to agony and to pleasure
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Logical thinking and response to stimuli
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Response to stimuli
Logical thinking
”Mad” ”Geniuses”
”Intelligent beavers”
Super-creative groups
The groups share a common dream, a vision Conflicts generating between people with big egos are solved
by reminding of the importance of the dream Activities are consciously guarded against the pressure,
routines or uncomprehension from the outside world or other units of mother organization
The groups have a real or imaginary enemy which helps the group to steel itself in relation to the enemy
The groups see themselves as challengers or winning underdogs
Vesa Harmaakorpi (Bennis, 1997)
Super-creative groups
Working in the groups often means personal sacrifices to the individuals
The leaders of the super-creative groups are not necessarily the most intelligent or competent members in issues of substance
The members are made to play the most ”optimal location” and the most optimal role for the entity
The groups share a youthful spirit and a playful culture, misfortunes are accepted and you fall forwards, not backwords from them
The dynamics in the group arises from the fact that the members have to produce an external result from their work
Vesa Harmaakorpi (Bennis, 1997)
Harmaakorpi creativity triangleHarmaakorpi creativity triangle
Vesa Harmaakorpi 17.10.2002 Vesa Harmaakorpi
Self-efficacy
Communication
Silence
Focus
Openness
Openness Openness
Group assignmentGroup assignment
Vesa Harmaakorpi
Discuss what the elements in Harmaakorpi’s creativity triangle mean from the point of view of creativity
Find practical examples from your own work environment that have fostered those elements of
Do you find examples of supressive methods?
Components of creativity management according to Amabile
Challenges Freedom Resources Group work characteristics Guidance and encouragement Support of the organization
Vesa Harmaakorpi
Challenges
Engage the right people to the right tasks Give people the right degree of challenge in
their work Too easy challenges are frustrating, too
difficult ones cause anxiety
Vesa Harmaakorpi
Freedom
One must be given freedom to choose how to climb a mountain
Not freedom to choose the mountain where to climb
Shifting from one target to another in the middle of climbing destroys creativity
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Resources
Time: Too fuzzy and loose deadlines lead to frustration.
Too tight dead-lines lead to burnout.
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Group work characteristics
Seeking distances Casting groups that support each other Super-creative groups
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Guidance and encouragement
Disposing of the feeling of haste Disposing of the appraisal of criticism Recognizing the value of creative work Nonfalsifying communication Role model given by the leader
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Support of the organization
Reward system Open distribution of knowledge Putting aside the ”political” problems
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Rewarding as a tool to boost creativity
Money does not necessarily put an end to people’s creativity, but in many occasions it does not have a boost effect either.
Creativity and rewarding of monkeys – is that what puts an end to creativity?
How to reward?
Vesa Harmaakorpi