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Extensive summary for creativity and innovation in organizations (including lecture notes, images, models)

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Rijksuniversiteit Groningen (RuG)

This is a very extensive summary of the course creativity and innovation. Lecture notes are included as well as a table of contents at the beginning. If you do not want to read the whole article, most articles have a short summary at the beginning. Whatever you need for this course, you can look it...

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WEEK 1 .............................................................................................................................3
Lecture 1.................................................................................................................................. 3
Beyond Big and Little: The Four C Model of Creativity – Kaufman & Beghetto (2009) ................ 6
Defining Creativity ................................................................................................................. 15
Defining Creative Ideas: Toward a More Nuanced Approach - Litchfield, Gilson & Gilson, 2015 18
How do we study creativity? .................................................................................................. 28
Janssen, O. (2003) - Innovative behavior and job involvement at the price of conflict and less
satisfactory relations with co-workers. ................................................................................... 31
Creativity – Guildford, J.P (1950) ............................................................................................ 39

WEEK 2 ...........................................................................................................................47
Lecture 2................................................................................................................................ 47
A meta-analysis of personality in scientific and artistic creativity............................................. 51
Feist, 1998 ............................................................................................................................. 51
The Curvilinear Relation Between Experienced Creative Time Pressure and Creativity:
Moderating Effects of Openness to Experience and Support for Creativity - Baer & Oldham, 2006
.............................................................................................................................................. 63
The Disadvantage of the Big 5 ................................................................................................ 71
Personal Need for Structure and Creative Performance: The Moderating influence of Fear or
Invalidity – Rietzschel............................................................................................................. 74
Mad genius revisited: Vulnerability to psychopathology, biobehavioural approach-avoidance,
and creativity. – Baas et al., 2016 ........................................................................................... 81

WEEK 3 ...........................................................................................................................95
Lecture 3 – Intrinsic and Extrinsic Motivation .......................................................................... 95
The Social Psychology of Creativity: A Componential Conceptualization (Amabile, 1983) ....... 107
Effects of Social-Psychological Factor son Creative Performance: The Role of Informal and
Controlling Expected Evaluation and Modeling Experience - Shalley and Perry-Smith ............ 115
Rewards and Creative Performance: A Meta-Analytic Test of Theoretically Derived Hypotheses -
Byron and Khazanchi ............................................................................................................ 123

WEEK 4 ......................................................................................................................... 133
Lecture 4 – When more is less, and less is more brainstorming and group creativity .............. 133
Brainstorming 1. Stroebe, W., Nijstad, B.A., & Rietzschel, E.F. (2010). Beyond productivity loss in
brainstorming groups: the evolution of a question. ............................................................... 139
Narcissism and Creativity ..................................................................................................... 156

, Are Two Narcissists Better Than One? The Link Between Narcissism, Perceived Creativity, and
Creative Performance – Goncalo et al. 2010 .......................................................................... 158
Groups as information processors ........................................................................................ 166
Group Creativity and Innovation: A Motivated Information Processing Perspective – Carsten et
al., 2011 ............................................................................................................................... 169
Effects of Need for Closure on Creativity in Small Group Interactions - Chirumbolo, A., Livi, S.,
Mannetti, L., Pierro, A., & Kruglanski, A. W. (2004) ............................................................... 176

WEEK 5 ......................................................................................................................... 180
Lecture Week 5 .................................................................................................................... 180
The effects of promotion and prevention cues on creativity By Friedmann & Förster (2001) .. 184
Promotion/prevention and approach/avoidance motivation ................................................ 195
‘Necessity is the mother of invention: avoidance motivation stimulates creativity through
cognitive effort’ by Roskes, De Dreu & Nijstad (2012)............................................................ 198
Construal Level Theory ......................................................................................................... 205
Temporal Construal Effects on Abstract and Concrete Thinking: Consequences for Insight and
Creative Cognition (Forster, Friedman & Liberman, 2004) ..................................................... 209
Replications and extensions ................................................................................................. 218
Construing Creativity: The how and why of recognizing creative ideas - Mueller et al............. 220
From the Lab to Reality (or “reality”) .................................................................................... 226

WEEK 6 ......................................................................................................................... 227
Lecture notes WEEK 6 – Creativity and Innovation in the Organizational Context ................... 227
Reference: Baer, M. (2012). Putting creativity to work: The implementation of creative ideas in
organizations. Academy of Management Journal, 55, 1102-1119. .......................................... 234
Short version: Creativity and innovation in teams (Somech & Drach-Zahavy, 2011)................ 241
Translating Team Creativity to Innovation Implementation: The Role of Team Composition and
Climate for Innovation - Anit Somech, Anat Drach-Zahavy 2011 (long version)....................... 243
Decreasing marginal returns on creativity? ........................................................................... 249
Team-Level Predictors of Innovation at Work: A Comprehensive Meta-Analysis Spanning Three
Decades of Rese – Hülsheger et al., 2009 .............................................................................. 255
Lecture notes: Networking and the idea journey: Perry-Smith and Manucci paper (2017) ...... 264
From creativity to innovation: the social network drivers of the four phases of the idea journey -
Perry-Smith, JE & Mannucci, PV. - Summary......................................................................... 267
In week 6, we learned that: .................................................................................................. 281

, WEEK 1
1. What is this ‘creativity’ thing anyway? Basic concepts and historical overview.

Kaufman, J.C., & Beghetto, R.A. (2009). Beyond big and little: The four c model of creativity.
Review of General Psychology, 13, 1-12.

Litchfield, R. C., Gilson, L. L., & Gilson, P. W. (2015). Defining creative ideas: Toward a more
nuanced approach. Group & Organization Management, 40, 238-265.

Janssen, O. (2003). Innovative behavior and job involvement at the price of conflict and less
satisfactory relations with co-workers. Journal of Occupational and Organizational
Psychology, 76, 347-364.

Guilford, J.P. (1950). Creativity. American Psychologist, 5, 444-454.

Closing Points

❖ Creativity is operationalised and studied in a variety of ways, and it is important that we
keep doing so
- the phenomenon is too complex to limit to a single indicator
- even the question what a “good” or “bad” idea is has multiple answers

❖ Creativity is not always a matter of happy-happy-joy-joy
❖ there is a dark side to creativity as well – both intended and unintended

❖ An important challenge is to look beyond creativity and innovation as dependent
variables
❖ we should also study how people respond to creativity and innovation
❖ this is one of the more important recent trends in the literature
Lecture 1

The Four P’s of Creativity (Rhodes, 1961)

❖ Refer to different approaches/focuses to creativity

1. Person: Characteristic of the creative person (is personality related to creativity? are
creative people more intelligent? how can we find creative employees?)

2. Product: characteristics of creative achievements (what distinguishes a creative idea
from a conventional one? What is an “idea” anyway?)

, a. originality = more is better?
→ originality is widely seen as the hallmark of creativity
→ but it is more a curvilinear relationship originality and appreciation

b. innovation sweet spot: far enough from existing products to attract interest,
close enough to fall within a company’s existing positioning and capabilities
(Goldenberg et al., 2003)
→ e.g. first iPad (from different company) failed, because it was too far away
from the norm; later it worked because people were more used to mobile phones

c. what happens when people are exposed to original ideas?
- originality may generate “word of mouth”, but only positively when combined
with feasibility
d. originality is essential but definitely not enough

3. Process: the way in which creativity is achieved (how do creative ideas get generated?
Is creative thought different from ordinary thought?)
➢ inspiration
➢ the mystical approach to creativity:
“enlightenment”
➢ inspiration as a stage
 common division of the creative
process:
1) preparation
2) incubation
3) illumination/inspiration
4) evaluation

→ familiar and recognizable, but not necessarily helpful or informative; it is not
a theoretical model that actually explains what happens but more an intuitive
description of how things seem to go
 focus on inspiration detracts from the deliberate and goal-directed aspects of
creativity
→ creativity is not just something that happens to us (which is definitely not the
case); we can make it happen

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