Research Recommendations on Supporting and Developing Creative Environments: A review of the article: Creative Knowledge Environments

This is a follow-up to my creativity post of 6-15-2009

Reference: Hemlin, S., Allwood, C.M. & Martin, B.R. Creative Knowledge Environments (2006). Creativity Research Journal, 20, (2), pp. 196-210.  Which is also available online here.

First the results.  In my reading, the recommended conditions should have:

  • clear (and coordinated) objectives;
  • a research culture built over time;
  • a supportive and cooperative group climate that seeks and respects diverse thought in identifying salient problem features (sense-making);
  • strong vision with leadership in stimulating, structuring and promoting ideas;
  • a flat decentralized organizational structure giving appropriate autonomy to individuals linked by collective goals;
  • supportive and clear communication styles in a highly interactive environment (high levels of social capital) able to mediate any potential clash of ideas;
  • adequate resources (time, funding, equipment, library materials . . . etc.);
  • diverse individual characteristics (discipline, institution, cultural, social, geographical, motivational, etc. . .) with strong and varied individual competencies appropriate for the discipline(s) or field(s) involved;
  • appropriate quality control (although not in too excessive or intrusive a form);
  • an institutional base with an established reputation and visibility’
  • strong but flexible links with individuals both inside and outside of the organization
  • respect for breaking routines when necessary and for taking appropriate risks.

The paper notes that innovation tends to cluster geographically and reasons that:

innovative activities involve a significant element of tacit, embedded, and to some extent locally bound, or ‘sticky’ knowledge that is best communicated face-to-face . . . facilitated by small distances (Asheim & Gertler, 2004)

ARTICLE PURPOSE:

Looking primarily at the processes that lead to creative products this paper is attempting to identify what:

. . . types of factors are thought to either enhance and hinder creative output, but we are still in the early stages of finding empirical correlates as well as potential constellations of policies and leadership initiatives.

A definition from the paper (paraphrased):

Creative Knowledge Environments are environments, contexts, and surroundings (teams, companies, regions, nations) that exert a positive influence on human beings engaged in creative work producing innovative products.

A CATEGORIZATION SCHEMA FOR KNOWLEDGE ENVIRONMENTS:

The authors consider 3 levels of environments macro, meso and micro levels.  In addition they also provide the following more detailed classification schema for characterizing details of specific environments:

Components of Knowledge Environments and their Characteristics

Task characteristics: short-term/long-term, simple/complex, routine/novel, modularised/integrated

Discipline/field: natural sciences VS engineering VS social sciences VS humanities, theoretical VS experimental VS modelling, basic/applied, single paradigm VS multiple paradigms VS pre-paradigmatic, reductionist/‘holistic’, discipline-based/inter- or multi-disciplinary, influence of ‘epistemic community’

Individuals: knowledge, skills, abilities, cognitive style (e.g. broad/narrow, focused/eclectic), motivation, interests, career plans, values, beliefs, other personality properties (e.g. introvert/extrovert)

Group characteristics: size, integrated/loosely coupled, inward looking (‘group think’) VS outward- looking, leadership style, degree of group tension/harmony, heterogeneity/homogeneity of group members, ‘chemistry’ of personalities in the group, composition of knowledge, skills and abilities, agreed on or contested beliefs or underlying assumptions

General work situation for individuals: number of different work tasks or projects, features of time available for research (e.g. sparse/abundant, fragmented or concentrated), job ambiguity (total autonomy VS narrowly defined goals), quality of IT available (including the usability)

Physical environment: facilities, buildings, architecture, location, climate, equipment

Organisation: income sources, economic situation, organisational structure and culture, reward profile, leadership and managerial style (e.g. controlling/allowing), degree of organisational tension/harmony

Extra-organisational environment: small/large economy, expanding/decreasing economy, market characteristics (e.g. open/restricted, global/regional, competitive/monopoly), reward profile, information availability (open/closed), job opportunities and mobility, regional, national and cultural characteristics

Each of the above classifications can be divided into the elements of the social domain (“openness to new ideas or innovation, relations between colleagues or organisations, and routines for the upkeep of equipment”) and the cognitive domain (“bodies of knowledge and skills, cognitive work style and thinking style (e.g. adopting an experimental or ‘trial and error’ approach).  The cognitive domain can also be analyzes for spacial distributed aspects.  Environments can also be classified by the Triple Helix of industry, government, and non-profit.  Although these classifications will effect environments, it is likely that creating positive conditions for creativity will share much more across institutional types than they will differ.

INFORMATION ON THE NATURE OF CREATIVE INDIVIDUALS

These are general findings the authors derive from the literature and could be considered general recommendations for looking at the creative potential of individuals:

Internal motivation is generally seen as more important in relation to creativity. . .

Many researchers stress the prior need for quite extensive knowledge of the domain.  . . .

individuals should be given sufficient time and opportunities for practice and learning to occur.  . . .

creative problem-solving might rely more on “weak methods” (general problem solving skills)

In general, creative persons show greater openness to experience(,) higher tolerance for ambiguity (and have) flatter hierarchies of associations’ (i.e. having many associations for a particular stimulus with a fairly equal probability for each association, and with associations being easily affected by internal and external events)

Although the authors discuss other personality aspects of creative people, but the research seems more correlational than causational and sometimes conflicting.  I’m reluctant at this time to place much weight on other recommendations regarding personality.

Building A Creative Infrastructure: The Prime Economic Directive

This post begins a process to consider the importance of, and different methods of creativity.  It is a recognition, a re-thinking if you will, of the need for creativity, what it means, and how it is the foundation of much of my recent reading.  I’ll start with a couple of interesting finds from yesterday’s blog reading.  In subsequent posts I’ll look  at the research literature relevant to building a creative infrastructure.

First Harold Jarche posted about a project he undertook involving the idea of a research center bridging university research and venture interests through: applied research – prototyping – pre-commercial seeding.  As part of my comment I asked; Do you think anyone knows how to do such a thing – examples of methods?  A serendipitous browse of other blog readings that day led me to consider that creativity could be the basis of such a research center.

It was later that I came across a post by John Howkins, a guest on The Creativity at Work Blog. John has a new book, Creative Ecologies.

My new book, ‘Creative Ecologies’, shows that eco-systems is a useful model. A creative ecology is a network of habitats where people change, learn and adapt (or not, in some cases).  . . .Ecological models have a great advantage over the financial models that preoccupy government.  Ecologists speak the same language as do biologists and environmentalists and can share their ideas and theories, whereas economists are tied to rationalist preconceptions and to monetary values.  . . . Running throughout the model is what the Indonesian diplomat Soedjatmoko calls the ‘capacity to learn’.  It is astonishing how closely a country’s capacity to learn as a whole, rather than any individual genius, affects national levels of creativity and innovation. (Emphasis added)

He goes on to talk about bringing institutions of learning together and making their impact felt throughout a culture.

. . . bring think-tanks, research bodies and NGOs into the education process; protect learning-for-the-sake-of-learning from being squeezed out by learning-for-a-job vocational courses.  We must re-think ‘knowledge transfer’. . . .

In this perspective, your productivity and your sense of well being may well depend on the ecology you’re in. As Howkins says;

It helps if you are in the right place at the right time.  The old question, Where do you want to live?, is now, Where do you want to think? (Emphasis added)

Howkins, I believe, is talking about the importance of building an infrastructure of creativity, something that he indicate is substantially different from industrial era infrastructures.  It potentially could involve diversity, culture, communication, community resources and many other factors.

Which begins us to a post by Diego Rodriguez at the Metacool Blog on the The four ways of creative cultivators.  Interestingly, Diego begins with the same idea that I left off with in my last post (in my review of Management Rewired), collapsing the distinction between managing and leading.  He also uses a garden metaphor (something to which I’m partial), but I also believe that  he is really talking about 4 ideas for building an infrastructure for creativity:

1. Being at the bottom of things  (T)he leader-as-cultivator makes it their job to live simultaneously at the bottom and in the middle and on the edges, dealing with things that might seem like plain manure to outsiders. The bottom can be a messy place, but it is the wellspring of success . . ..

What is the foundation of creativity?  One aspect is to prepare your ground and the nutrients needed from growth.

2. Trusting what is there  Creative cultivators trust what is there. A wise cultivator resists the temptation to “dig up the seed”, as it were, to check if people are being creative enough. Many breakthrough innovation initiatives are stifled by linear project timetables . . ..

I don’t think this means don’t manage.  Think instead of the ways that Charles Jacobs (In my review of Management Rewired) operates in a Socratic mode collapsing the manager and leader distinction.

3. Seeing the ecosystem:  By their nature, gardens are part of larger ecosystems.

Two things.  Reflecting Howkins, the surrounding intellectual / learning community is an important source for creativity, as we already know in Silicon Valley, the North Carolina research triangle or Boston’s 128 Corridor.  But, it is also important the companies cultivate open environments and their infrastructures and policy frameworks recognize and encourage open boundaries.  Open models are becoming very successful.

4. Taking a bird’s eye view:  Finally, creative cultivators do all of the above while simultaneously curating the garden from a bird’s eye view. Managing a portfolio of creative endeavors requires knowing how many plants a certain piece of land can support and then pruning or as culling appropriate.  . . . guiding growth to be something unique and wonderful – that is the essence of strategy, and of gardening as well.

Diego also emphasizes that we can’t manage creativity, it can only be led:

(Creative Companies) see the leadership of creativity, in all its facets and complexity, as something akin to the act of cultivating a garden. Particularly when it comes to harnessing the power of emergent behavior, where creativity morphs into world-changing innovations, leaders must all — in fact, can only — tend to their gardens.  They must learn to become cultivators of creativity.

Echoing Howkins ideas of the importance of a culture of creativity, Diego says:

. . . it is incumbent upon leaders to unleash the creativity of the many, not the few.  . . . Modern organizations . . . must be able to tap in to the creativity, intelligence, and initiative of everyone affiliated with the brand, not just the talent of a select creative few.

In my next post I’ll review a Hemlin, Allword & Martin article “Creative Knowledge Environments (2008, Creativity Research Journal, 20, 2 196-210.).