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Chi sono i creativi nell'epoca della conoscenza? Un viaggio nel tempo e nello spazio per capire come la creatività ha dato forma al mondo. Chi sono i creativi oggi, da dove vengono? Questo libro li colloca in una precisa genealogia: sono gli eredi di Prometeo e Faust, dell'uomo creatore di Nietzsche e dell'imprenditore innovativo di Schumpeter, delle avanguardie europee novecentesche e della grande migrazione in America, fino ai tecnologi visionari della Silicon Valley. In epoca recente, siamo rapidamente passati dall'uomo creatore, che inventa opere d'arte e d'ingegno singolari e risponde solo a sé stesso, alla classe creativa, che innova disegnando prodotti per i mercati da cui noi tutti dipendiamo. I creativi non sono una categoria privilegiata, piuttosto sono portatori di una condizione dello spirito che produce effetti universali e può dare speranza al mondo. Tuttavia, oggi non sanno di appartenere a tale tradizione e mancano di un canone. Come evitare che questa massima diffusione della creatività si trasformi in banalità, in serialità, nel vuoto creativo?

“Creativity” is a word that excites and dazzles us. It promises brilliance and achievement, a shield against conformity, a channel for innovation across the arts, sciences, technology, and education, and a mechanism for economic revival and personal success. But it has not always evoked these ideas. The Creativity Complex traces the history of how creativity has come to mean the things it now does, and explores the ethical implications of how we use this term today for both the arts and for the social world more broadly. Richly researched, the book explores how creativity has been invoked in arenas as varied as Enlightenment debates over the nature of cognition, Victorian-era intelligence research, the Cold War technology race, contemporary K-12 education, and even modern electoral politics. Ultimately, The Creativity Complex asks how our ideas about creativity are bound up with those of self-fulfillment, responsibility, and the individual, and how these might seduce us into joining a worldview and even a set of social imperatives that we might otherwise find troubling.

Innovation is not easy. Understanding the liability of newness but the potential for greatness is the central theme of this work. Innovation Renaissance explores and debunks the myths that have arisen from the proliferation of misleading and often confusing popular press treatments of creativity and innovation. Examples include the notion that successful entrepreneurs are winners because they are innovative—whereas creativity and business start-up acumen are not the same, and are rarely paired—or the idea of disruptive technology, which has now become the buzzword equivalent to radical new technology products or services, despite the fact that new technologies tend to offer simple, limited-capability products or services to satisfy overlooked customer demand. The popularity of open innovation has spawned assumptions, like the idea that crowdsourcing will increase the number of truly new ideas—but in fact the more novel these ideas, the less likely they are to be adopted by incumbent firms because they are less familiar.Starting by defining innovation and the theories that have arisen surrounding it, Ettlie considers individual creativity and innovativeness, radical innovation, new products, new services, process innovation, and information technology. There is special emphasis on neglected topics such as the dark side of the innovation process—the unintended consequences of new ventures. Finally, the last chapter of the book summarizes a prescriptive model of the innovation process and attempts to answer the question: what causes innovation? Three major constructs are explored: leadership, enhancing capabilities and integration. This informative and unique text is designed as a resource for postgraduate students, academics, and professionals deeply committed to understanding and working through the innovation process. The book includes an introduction to the subject before moving on to an in-depth study of emerging evidence and topics in the field.

Die noch in der Frühen Neuzeit als gefährlich angesehene'Einbildungskraft'erfuhr im 18. Jahrhundert eine radikale Aufwertung. In der Moderne wurde Imagination zu einem essentiellen Moment von Prozessen der Planung, des Entwerfens und Organisierens der Welt. Die Fähigkeit, Dinge in Zeit und Raum kreativ miteinander in Beziehung zu setzen, wird seitdem als unerlässliche Kraft der Geschichte betrachtet. Dieser Band konzentriert sich auf die Rolle von Imaginationen in Verräumlichungsprozessen.

As a technology pioneer at MIT and as the leader of three successful start-ups, Kevin Ashton experienced firsthand the all-consuming challenge of creating something new. Now, in a tour-de-force narrative twenty years in the making, Ashton leads us on a journey through humanity's greatest creations to uncover the surprising truth behind who creates and how they do it. From the crystallographer's laboratory where the secrets of DNA were first revealed by a long forgotten woman, to the electromagnetic chamber where the stealth bomber was born on a twenty-five-cent bet, to the Ohio bicycle shop where the Wright brothers set out to “fly a horse,” Ashton showcases the seemingly unremarkable individuals, gradual steps, multiple failures, and countless ordinary and usually uncredited acts that lead to our most astounding breakthroughs.Creators, he shows, apply in particular ways the everyday, ordinary thinking of which we are all capable, taking thousands of small steps and working in an endless loop of problem and solution. He examines why innovators meet resistance and how they overcome it, why most organizations stifle creative people, and how the most creative organizations work. Drawing on examples from art, science, business, and invention, from Mozart to the Muppets, Archimedes to Apple, Kandinsky to a can of Coke, How to Fly a Horse is a passionate and immensely rewarding exploration of how “new” comes to be.

The Collective Imagination explores the social foundations of the human imagination. In a lucid and wide-ranging discussion, Peter Murphy looks at the collective expression of the imagination in our economies, universities, cities, and political systems, providing a tour-de-force account of the power of the imagination to unite opposites and find similarities among things that we ordinarily think of as different. It is not only individuals who possess the power to imagine; societies do as well. A compelling journey through various peak moments of creation, this book examines the cities and nations, institutions and individuals who ply the paraphernalia of paradoxes and dialogues, wry dramaturgy and witty expression that set the act of creation in motion. Whilst exploring the manner in which, through the media of pattern, figure, and shape, and the miracles of metaphor, things come into being, Murphy recognises that creative periods never last: creative forms invariably tire; inventive centres inevitably fade. The Collective Imagination explores the contemporary dilemmas and historic pathos caused by this-as cities and societies, periods and generations slip behind in the race for economic and social discovery. Left bewildered and bothered, and struggling to catch up, they substitute empty bombast, faded glory, chronic dullness or stolid glumness for initiative, irony, and inventiveness. A comprehensive audit of the creativity claims of the post-modern age - that finds them badly wanting and looks to the future - The Collective Imagination will appeal to sociologists and philosophers concerned with cultural theory, cultural and media studies and aesthetics.