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Actual for You - Managing Creativity
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The intrinsic motivation, or desire, of an individual to be creative is linked to both their personal values and drives, tempered by the environment in which they work and we need to examine the drivers of the organisational environment next.
Environmental Trauma!
Research undertaken by Ekvall defined 10 dimensions, or characteri
Before sticking your head into one of the many consignment thrift shops around, there are some words and phrases that can be good to have defined. Many times people are confused by terms such as consignment, thrift and resale. What is the difference. Lets take a look at that.One could argue that all shops that sell more or less used consumer goods are resale shops, but it is possible to clarify the distinctions here. A thrift shop is owned by a not for profit organisation. A consignment shop takes your merchandise and when it is sold you receive usually between 40-60% of the sales price. The so called resale shops on the other hand often buy the goods straight up front from the original owner, then sell it.Lets look at some more terminology that will most likely prove itself useful when you enter
The ability of an organisation to create new products/services and innovate new processes is an essential skill providing a sustainable form of competitive advantage.
Given that organisations need to be creative, why are only a few really good at it and why are only a few individuals perceved as creative?
In this article we will examine the theories that underpin creative organisations and the attributes of the managers and individuals who work within them.
Individualism
Theories of why one individual may be more creative than another have changed dramatically over the last 50 years. In the 1950’s it was considered that individuals with creative flair were ‘born’ not ‘bred’ and as such the hunt was on for people with these elusive skills. This theory evolved during the 1960’s but the feeling was still that individuals could not be trained to be creative.
In the 1980’s and 90’s two new theories came to dominate the discussion surrounding creativity, these being ‘intrinsic motivation’ (how much the individual wants to be creative) and the ability of the working environment to either stifle or promote creativity, so called ‘climate’.
Table 1 – Summary of thinking on Creativity
- 1950’s – Creativity is an ability that you either have or don’t have
- 1960’s – Creativity is a function of how mentally flexible you are
- 1970’s – Creativity can only flourish if you have relevant experience
- 1980’s – You must be intrinsically motivated to be creative
- 1990’s – Creativity exists only in the right climate
- 2000's - Innovation is a combination of skills, motivation and climate
The intrinsic motivation, or desire, of an individual to be creative is linked to both their personal values and drives, tempered by the environment in which they work and we need to examine the drivers of the organisational environment next.
Environmental Trauma!
Research undertaken by Ekvall defined 10 dimensions, or characteris
Looking for skills to help increase career opportunities or enhance current position? Then consider the importance of time, meeting, and project management skills and how gaining better control in these areas can lead you where you want to go in the business world. It may be easy to see these skills will help in current job, but how can you be sure they will apply to future opportunities? If you are skeptical, try looking at job descriptions on the various job-search websites and you will discover that most of them will require one or more of these management skills (also referred to as planning or organization skills). Think about how using these skills may be seen by others who may be able help with your desired career growth. Being able to organize yourself will be noticed by a few people within the org
Individualism
Theories of why one individual may be more creative than another have changed dramatically over the last 50 years. In the 1950’s it was considered that individuals with creative flair were ‘born’ not ‘bred’ and as such the hunt was on for people with these elusive skills. This theory evolved during the 1960’s but the feeling was still that individuals could not be trained to be creative.
In the 1980’s and 90’s two new theories came to dominate the discussion surrounding creativity, these being ‘intrinsic motivation’ (how much the individual wants to be creative) and the ability of the working environment to either stifle or promote creativity, so called ‘climate’.
Table 1 – Summary of thinking on Creativity
- 1950’s – Creativity is an ability that you either have or don’t have
- 1960’s – Creativity is a function of how mentally flexible you are
- 1970’s – Creativity can only flourish if you have relevant experience
- 1980’s – You must be intrinsically motivated to be creative
- 1990’s – Creativity exists only in the right climate
- 2000's - Innovation is a combination of skills, motivation and climate
The intrinsic motivation, or desire, of an individual to be creative is linked to both their personal values and drives, tempered by the environment in which they work and we need to examine the drivers of the organisational environment next.
Environmental Trauma!
Research undertaken by Ekvall defined 10 dimensions, or characteri
A lot of people think that they're just going to get a job in the medical billing industry, like it's the same as going to a Burger King and telling the manager that you know how to throw a hamburger patty on a grill and some fries in a vat of oil. This is not so the case with medical billing, regardless of what part of the industry you get into. There is extensive training involved and a number of rules and regulations that you need to be aware of. On top of all that, you better have a good handle on technology because most medical billing is pretty advanced in that area.For example. Let's take the job of the medical biller. First of all, you need to be very detailed oriented. There is so much involved with submitting a claim to a carrier, regardless of who the carrier is. On top of that, each in
In the 1980’s and 90’s two new theories came to dominate the discussion surrounding creativity, these being ‘intrinsic motivation’ (how much the individual wants to be creative) and the ability of the working environment to either stifle or promote creativity, so called ‘climate’.
Table 1 – Summary of thinking on Creativity
- 1950’s – Creativity is an ability that you either have or don’t have
- 1960’s – Creativity is a function of how mentally flexible you are
- 1970’s – Creativity can only flourish if you have relevant experience
- 1980’s – You must be intrinsically motivated to be creative
- 1990’s – Creativity exists only in the right climate
- 2000's - Innovation is a combination of skills, motivation and climate
The intrinsic motivation, or desire, of an individual to be creative is linked to both their personal values and drives, tempered by the environment in which they work and we need to examine the drivers of the organisational environment next.
Environmental Trauma!
Research undertaken by Ekvall defined 10 dimensions, or characteri
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- 1950’s – Creativity is an ability that you either have or don’t have
- 1960’s – Creativity is a function of how mentally flexible you are
- 1970’s – Creativity can only flourish if you have relevant experience
- 1980’s – You must be intrinsically motivated to be creative
- 1990’s – Creativity exists only in the right climate
- 2000's - Innovation is a combination of skills, motivation and climate
The intrinsic motivation, or desire, of an individual to be creative is linked to both their personal values and drives, tempered by the environment in which they work and we need to examine the drivers of the organisational environment next.
Environmental Trauma!
Research undertaken by Ekvall defined 10 dimensions, or characteri
This articles relates to the AlphaMeasure core competency Culture and Climate. AlphaMeasure defines climate as the effect an organization has on the employees, while culture refers more to the acceptable behaviors, attitudes, and habits of the organization as a whole. Knowing and understanding workplace culture and climate leads to a better understanding of what factors are influencing employees. In relation, the level of service your customers receive is almost always influenced by the culture and climate of your organization. This competency can be especially insightful if your organization is experiencing customer service related issues or problems working together internally.A Tale from the Corporate Frontlines: An Employee's Perpective on Culture and Climate. This short story is part of
The intrinsic motivation, or desire, of an individual to be creative is linked to both their personal values and drives, tempered by the environment in which they work and we need to examine the drivers of the organisational environment next.
Environmental Trauma!
Research undertaken by Ekvall defined 10 dimensions, or characteristics, of a creative working environment. Each dimension has a scale that extends from very uncreative through to very creative and the aim is that through both observation and questionnaires the climate of a business is plotted against each of these 10 categories.
Table 2 shows what each of Ekvall’s 10 dimensions would mean in an extremely creative and a powerfully uncreative climate:
-Dimension: Creative Organisation-->Uncreative Organisation
-Challenge: Energetic-->Indifferent
-Freedom: Independent Initiative-->Rule-Bound
-Dynamism: Excitedly Busy-->Boring/Slow
-Openness: Trust & Failures Accepted-->Failure Punished
-Idea Time: Off Task Play-->Little Off Task Play
-Playfulness: Happy & Humorous-->Dull & Serious
-Conflicts: Debated with Insight-->Warfare
-Support: People Listen-->Negative/Critical Comments
-Debates: Contentious Ideas Voiced-->Little Questioning
-Risk Taking: Act on New Ideas-->Detail & Committees
From experience, few businesses define themselves as having a highly creative environment as many of the characteristics in this area go against cultural norms for business in many Western cultures, but the best are working toward the creative end of the scale, whilst the norm tends to be toward an environment that stifles creativity.
Having used Ekvall to assess the ability of an organisation to be sustain a creative environment, to then change the environment we need to look at the things that create, or drive, the organisational environment and the biggest driver of all is the prevailing management sty
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