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Tenors like "bring in the arts and get the creativity for free" have attracted business practitioners and researchers, and this "intersection" of business and arts has developed into a study field. Metaphorical learning from arts involves musical, also theatrical, and terpsichorean improvisation. Not surprisingly, several subfields in business - entrepreneurship, project, process, and service management - as well as other business and non-business fields - have been "jazzed". Another strengthening trend is linking different (sub)fields and fostering mutual learning. The paper seeks for novel possibilities to learn from jazz and to support further mutual learning and linking of disserted business, also non-business fields. Nowadays traditional business models and services are moving towards problem-solving and adaptation to change, implementing creativity and improvisation. Taking a fresh stock of relevant academic literature and discussion revealed the increasing importance of organizational improvisation. Jazz (music and arts) appeared to be a fruitful metaphor and source of learning. As differences appeared across the examined fields, possibilities for learning from jazz, as well as for mutual learning are not yet depleted. This paper provides insights to further learning from the jazz approach, as well as mutual learning and enrichment between the examined subfields. [ABSTRACT FROM AUTHOR]

The dynamics of changes ocurring in the global scenario as a result of the boiling phenomena of the fourth industrial revolution, accompanied by globalization in version 4.0, accelerate the transformations in the markets, giving rise to emerging business initiatives (startups), loaded with disruptive digital technologies that arise to offer new products, services and processes to customers that have modified habits and consumption preferences in both natural and legal persons due to the adaptation and evolution of virtual ecosystems in the business and industrial field. The objective of this theoretical review article is to analyze the success and failure factors that achieve scalability of start-ups in Latin America. The methodology used was qualitative, a documentary research of a descriptive level, using the inductive, deductive and analysis-synthesis methods. The findings showed that among the success factors, which can be mentioned: value proposition, market and its needs, motivation, start-ups, a vehicle for digital transformation, open innovation, entrepreneurial team and leadership training, timing, localization, financing, growth, scalability and expansion. While those of failure are: education, training, financial support government policies, transfer of Research and Development (R+D), inadequate testing and scaling before of time. For these businesses to avoid failing in the attempt, they must focus on training to achieve new knowledge that emerges from smart industry and globalization 4.0, consumer demands, feasible technologies for the design of the product, service or process; as well as study the environment where they operate. [ABSTRACT FROM AUTHOR]

This research focuses on a contemporary theoretical paradigm emerging in the study of human creativity in the field of business. The question is where creativity can be best fitted? It is argued that creativity is a multi-disciplinary approach Darbellay, Moody and Lubart, 2017. While this concept and its application of theories/models can be applied in different fields of knowledge which includes but not limited to psychology, sociology, anthropology, economy, business and management and philosophy. This study explores creativity in business perspective for instance to how people see creativity as creative practitioners. To conclusion the purpose of this research is explain creativity that aims to provide a concrete guide to the 'fostering' of creativity in business and to complement a deeper understanding of its application from the perspective of working people in the UAE. [ABSTRACT FROM AUTHOR]

Technical and professional communication (TPC) scholars have called for increased attention to creative thinking in the field's writing practices. This article examines posts about creativity on two social networking websites and generates challenges, skills, and practices relevant to posters' creative work. [ABSTRACT FROM AUTHOR]

This semi-ethnographic research is an exploration of the creative process from the unique perspective of the circus business. It examines from an interpretivist perspective how circus companies collaborate in the generation and manifestation of ideas, balancing the demands of maintaining a strict physical training regime with devising the circus aesthetic for an expectant audience. The focus of the research is a retired aerial trapeze artist and company director supported by contributions from semi-structured interviews with nine contemporary circus directors and an arts policy officer. Issues were identified from attending three circus network events providing an opportunity to conduct an online questionnaire resulting in thirty-nine responses. Following thematic analysis across all data, key themes emerge identifying networked creativity, productive creativity and intrinsic creativity which correlates to conceptual models of creativity and innovation in organisations. Preliminary findings suggest that networks, skills and intrinsic motivation are integral to creativity within the circus business environment. Whilst this may not be unique to circus, the depth to which it is experienced and its inter-relationality to the form, is readily apparent. This has potential interesting implications for further research within a circus context as well as implications for further exploration of practice in other creative sectors. [ABSTRACT FROM AUTHOR]

This paper seeks to explain why Hollywood's dominant firms are narrowing the scope of creativity in the contemporary period (1980–2015). The largest distributors have sought to prevent the art of filmmaking and its related social relations from becoming financial risks in the pursuit of profit. Major filmed entertainment, my term for the six largest distributors, must discount expected future earnings to present prices with the forward-looking logic of capitalisation; and uncertainty about where creativity in cinema is going can produce financial uncertainty about the future earning potential of new film projects. Conversely, a degree of confidence in the expected future earnings of Hollywood cinema can increase when the art of filmmaking and broader social world of mass culture are ordered by capitalist power [Nitzan, J. and Bichler, S., 2009. Capital as power: a study of order and creorder. New York: Routledge]. For the period of 1980–2015, major filmed entertainment lowered its risk relative to the period before, 1960–79. This historical process of risk reduction is the effect of major filmed entertainment making the wide-release strategy (a.k.a., saturation booking) more predictable through an aggressive implementation of the blockbuster style and the high concept standard. [ABSTRACT FROM AUTHOR]

Purpose: Research about how creative economy grew considerably in last years, mainly by the increase of representation that this sector has in the global economy. It is believed that creative economy's organizations have some characteristics that differentiate them for the traditional areas where creativity is relevant in the innovation process. Thus, this paper aims to analyse the process of innovation in the creative economy organizations. Originality/gap/relevance/implications: Due to still early literature in the Brazilian context, we expect to contribute to it in the business studies field. Key methodological aspects: We conducted an exploratory qualitative research study on four micro enterprises that are part of the creative industries. The theoretical approach was about innovation in creative organizations, so as it was possible to realize an analysis of innovation in the investigated business from three categories identified in the literature: organization, technology options and customers. Summary of key results: It was found that these organizations have some characteristics that differ from traditional sectors of the economy, both in the type of innovation and in the way the innovation process is managed. However, it is questionable whether the flexibility that both aids in the flow of ideas and information would be a reality in larger companies. Key considerations/conclusions: As contributions, this article raised a reflection on creativity and innovation in this segment and also on innovation in creative microenterprises. [ABSTRACT FROM AUTHOR]

This book aims to develop a new conception of creative industries, a term largely associated with the aggregated economic activity of artists. Hartley, Wen, and Li expand the scope of creative industries by defining creativity as newness of any variety and arguing that newness emerges from groups communicating with each other. This wide definition of creative industries invites scholars of entrepreneurship communication and technical communication to join the multidisciplinary conversation on the creative industries. The authors? very distributed understanding of creativity raises interesting questions, allows for the study of large-scale phenomena, and leaves open questions of precarity and devalued expertise. [ABSTRACT FROM AUTHOR]

The article focuses on the creativeness of organisations. Noted are the significance of the right culture and the right people to come up with a creative organisation. Development of principles, participation of employees in decision making, and responsiveness to stakeholder and customer needs are considered necessary in instilling a creative culture.

Today's fast paced global environment requires information professionals to be leaders keeping pace with user needs. Two academic research libraries share their work seeking to ensure and leverage the creativity in their organizations focusing on the most meaningful innovative opportunities. The premise is that usefulness and appropriateness is achieved through strategic alignment, thereby opening the door of opportunity for innovative products and services. The ability to seize the opportunity each group seeks to meet is due to the recognition by the organization of that alignment. And so, organizational perception, awareness, and value all affect the successful implementation of creativity. The products and services presented in this article, Harvard's Baker Library Historical Collections Online and Purdue University's career wiki, stem from organizational alignment, and the work of the leadership teams to influence perception, create awareness, and demonstrate value. [ABSTRACT FROM AUTHOR]

Professional studies has traditionally been regarded as an add-on extra to the mainstream business of creative practice for design students. It has frequently been delivered in the final year of study and the content has normally been giving general advice on CV preparation plus appearances from successful practitioners and/or various funding bodies. This article shares the experiences of developing professional studies for students at the Arts Institute at Bournemouth as a funded ADC-LTSN project, with reference to creativity as it is perceived in the world of business and management. This revealed a dominance of the myth of the creative artist in the literature of art, design and management studies. The second part of the project involved professional trainers using psychological profiling tools and other activities with the students. This led to a consideration of the importance of teamworking for the process of creativity. The activities met with some resistance from the students. This could be explained by the prevalence of the myth of the creative artist and also the questioning culture of a higher education context. [ABSTRACT FROM AUTHOR]

Creativity has become one of the most sought-after skills from graduates across business and industry. It is therefore imperative to infuse creativity training within business programs of study and professional development experiences, to remind people of their eternally curious and creative nature. The objective of this paper is to explore the literature around theories of creative potential and performance—including creative identity, creative mindset, and creative self-efficacy. We consider perspectives that reveal that creativity is a mindset predicated on beliefs and ways of thinking. Educational psychology literature and theories of creative self-belief illustrate how creative identity, mindset, and self-efficacy form the core of an individual's belief system to think, act, and develop creatively in the world. This connects to the potential of arts-based methods as a means to infuse creative learning into business education. We illustrate how our findings can be put into practice by sharing an example of an art-based intervention that is currently in progress to develop creative capacity among students in an internationally known business program. We conclude with the idea that its incumbent upon business education, professional development, and training to incorporate methodologies that enhance creative capacity by initially eliminating or minimizing self-perceived limitations in people, such as fear, negative personal judgement, and chattering of the mind—and theories of creative self-belief provide a foundation that can undergird arts-based methods toward this goal. [ABSTRACT FROM AUTHOR]