@article {1272,
	title = {Live and Let Die: On the Management of Creativity},
	journal = {Technology Innovation Management Review},
	volume = {9},
	year = {2019},
	month = {10/2019},
	pages = {16-26},
	publisher = {Talent First Network},
	chapter = {16},
	address = {Ottawa},
	abstract = {Literature has pointed to the importance of feedback on creative ideas in innovation management processes. However, little is known about the practices that constitute the feedback process and their effect on employees\&rsquo; future willingness to consistently and recurrently contribute with creative ideas to organized innovation management efforts. In this research, we draw on data from a single case study at a German multinational manufacturing firm. We show the flip side of managerial attempts to provide feedback and foster employees\&rsquo; creative output. In particular, we identify distinct practices organizational actors employ along the sequence of idea generation, elaboration, championing, and implementation, and find that the practices can turn organized innovation management efforts into a political process. Furthermore, we present a virtuous and a vicious circle of managerial attempts to manage creativity in innovation processes. In doing so, we highlight the value of taking a practice lens to better understand the challenges in organized innovation management efforts and propose future research in other contexts. We suggest that managers should flexibly design organized innovation management processes to account for radical ideas and to pay close attention to a coherent communication when providing feedback and encouraging employees to contrive creative ideas. Our work contributes to the body of research on innovation management by shedding light on the dark side of organized innovation management efforts.},
	keywords = {case study, creativity, Feedback, Innovation management, Qualitative Research.},
	issn = {1927-0321},
	doi = {http://doi.org/10.22215/timreview/1272},
	url = {https://timreview.ca/article/1272},
	author = {Michael Hartmann and D{\'e}sir{\'e}e Laubengaier and Kai Foerstl}
}
@article {1194,
	title = {Editorial: Innovation Strategy and Practice (November 2018)},
	journal = {Technology Innovation Management Review},
	volume = {8},
	year = {2018},
	month = {11/2018},
	pages = {3-3},
	publisher = {Talent First Network},
	address = {Ottawa},
	keywords = {best practice, collaboration, creativity, cybersecurity, framework, information security, innovation, innovation ecosystems, maturity model, method, model, practice, research, research institutions, strategy},
	issn = {1927-0321},
	doi = {http://doi.org/10.22215/timreview/1194},
	url = {https://timreview.ca/article/1194},
	author = {Chris McPhee}
}
@article {1197,
	title = {A Practice Method for Studying Creative Communities},
	journal = {Technology Innovation Management Review},
	volume = {8},
	year = {2018},
	month = {11/2018},
	pages = {22-31},
	publisher = {Talent First Network},
	address = {Ottawa},
	abstract = {Explaining innovation {\textendash} even merely spotting it actually happening {\textendash} is difficult. In this article, I introduce an industry-friendly approach that will enable practitioners and researchers alike to observe, interpret, and understand the different types of creativities {\textendash} the raw materials necessary for innovation {\textendash} that happen in creative communities. The Practice Method for Studying Creative Communities (PMSCC) is based on theories developed by Nonaka and Takeuchi. However, unlike mainstream practice-oriented methods, the PMSCC does not necessitate the use of theory-heavy conceptualizations; instead, it focuses on the everyday, creative micro-interactions in communities. As I describe in this article, the PMSCC offers practitioners and researchers an effective way to gain new insights into an otherwise relatively opaque process. Besides outlining the method, I also present results from a research project utilizing the PMSCC, showing how the method can produce worthwhile findings, foster new insights, and help practitioners hone their creative processes.},
	keywords = {communities, creativity, innovation, practice, research method, teamwork},
	issn = {1927-0321},
	doi = {http://doi.org/10.22215/timreview/1197},
	url = {https://timreview.ca/article/1197},
	author = {Pekka Buttler}
}
@article {1079,
	title = {Editorial: Insights (June 2017)},
	journal = {Technology Innovation Management Review},
	volume = {7},
	year = {2017},
	month = {06/2017},
	pages = {3-4},
	publisher = {Talent First Network},
	address = {Ottawa},
	keywords = {competitive intelligence, creativity, cybersecurity, entrepreneurship, internal communication management, Internet of Things, service design, training, university{\textendash}industry collaboration},
	issn = {1927-0321},
	doi = {http://doi.org/10.22215/timreview/1079},
	url = {http://timreview.ca/article/1079},
	author = {Chris McPhee}
}
@article {1080,
	title = {Realistic Creativity Training for Innovation Practitioners: The Know{\textendash}Recognize{\textendash}React Model},
	journal = {Technology Innovation Management Review},
	volume = {7},
	year = {2017},
	month = {06/2017},
	pages = {5-15},
	publisher = {Talent First Network},
	address = {Ottawa},
	abstract = {Creativity is increasingly being recognized as important raw material for innovation, which highlights the importance of identifying ways to increase the creativity of practitioners. In this article, we describe our efforts to design a creativity training program specifically for innovation practitioners. Our aim was to develop a program that would be both theoretically sound (i.e., based on a rigorous scientific foundation) and relevant for practitioners (i.e., applicable to real-world contexts). Our transdisciplinary study employed co-creation as a method to ensure that three layers of focus would be taken into consideration: metacognitive knowledge, metacognitive monitoring, and metacognitive control. The result is a program called Creative Awareness Training, which is based on the new Know{\textendash}Recognize{\textendash}React model.},
	keywords = {co-creation, cognitive creativity, creative awareness, creative process, creativity, creativity training, front-end innovation, innovation process, metacognition, transdisciplinary},
	issn = {1927-0321},
	doi = {http://doi.org/10.22215/timreview/1080},
	url = {http://timreview.ca/article/1080},
	author = {Dagny Valgeirsdottir and Balder Onarheim}
}
@article {976,
	title = {Editorial: Managing Innovation (April 2016)},
	journal = {Technology Innovation Management Review},
	volume = {6},
	year = {2016},
	month = {04/2016},
	pages = {3-4},
	publisher = {Talent First Network},
	address = {Ottawa},
	keywords = {creativity, cybersecurity, entrepreneurship, frugal innovation, innovation, managing innovation, national culture, Open innovation, projects, startups},
	issn = {1927-0321},
	doi = {http://doi.org/10.22215/timreview/976},
	url = {http://timreview.ca/article/976},
	author = {Chris McPhee}
}
@article {978,
	title = {Why National Culture Should Be at the Heart of Innovation Management},
	journal = {Technology Innovation Management Review},
	volume = {6},
	year = {2016},
	month = {04/2016},
	pages = {18-25},
	publisher = {Talent First Network},
	address = {Ottawa},
	abstract = {Over a period of decades, a substantial body of knowledge has accumulated that correlates national culture and socially and economically important behaviour, including innovation practice. National culture is an interconnected web of mental models that is shared by national groups and transcends the individual. It is highly influential in moderating the cognition and behaviour of groups and individuals. Different resources, including cognition and behaviour, are required at the different stages of the innovation process, and the context, including national culture (within which innovation is practiced), is an important consideration in designing strategy. Because innovation is a psychological and social process, understanding how national culture moderates that cognition and behaviour within the different stages of the innovation process and how the wider innovation ecosystem impacts innovation practice is central to understanding, strategizing and managing the innovation process. However, there has been limited application of this knowledge by practitioners. Therefore, this article examines the importance of national culture from a practitioner perspective, distilling the managerial implications and providing a list of questions that serve as a checklist to enable practitioners to analyze the implications of their own national and organizational context. },
	keywords = {creativity, implementation, initiation, innovation, national culture},
	issn = {1927-0321},
	doi = {http://doi.org/10.22215/timreview/978},
	url = {http://timreview.ca/article/978},
	author = {Tony Smale}
}
@article {914,
	title = {The Creativity Canvas: A Business Model for Knowledge and Idea Management},
	journal = {Technology Innovation Management Review},
	volume = {5},
	year = {2015},
	month = {07/2015},
	pages = {50-58},
	publisher = {Talent First Network},
	address = {Ottawa},
	abstract = {Innovation depends on ideas generated through creativity and the knowledge and research that make it possible to put ideas to work. However, these two activities are very dependent on the people who perform them. As demonstrated by a pilot project realized at Hydro-Qu{\'e}bec{\textquoteright}s research institute (IREQ), any approach that does not take this understanding into account is doomed to failure. This article proposes that what must be developed is a knowledge and idea management system designed as a coherent ecosystem that takes all controlling factors into account and is based on stakeholder interest and preferences. This ecosystem is the result of a meticulous design of each of the elements that must generally be taken into account in a business model. A business model approach includes not only developing a value proposition for knowledge and idea management that suits the target clientele but also a good understanding of the resources and activities required to deliver this value proposition and especially the ways to finance them. Key to the development of such an ecosystem is the creation of fully functional innovation communities, which are responsible for building up and nurturing their ideas and knowledge assets and getting value out of them.},
	keywords = {business model, business model canvas, communities, creativity, ecosystem, ideas, knowledge, R\&D, research institute, technological innovation},
	issn = {1927-0321},
	doi = {http://doi.org/10.22215/timreview/914},
	url = {http://timreview.ca/article/914},
	author = {Raouf Naggar}
}
@article {908,
	title = {Editorial: Creativity in Innovation (July 2015)},
	journal = {Technology Innovation Management Review},
	volume = {5},
	year = {2015},
	month = {07/2015},
	pages = {3-4},
	publisher = {Talent First Network},
	address = {Ottawa},
	keywords = {creativity, ideation, innovation, knowledge, leadership, management, processes},
	issn = {1927-0321},
	doi = {http://doi.org/10.22215/timreview/908},
	url = {http://timreview.ca/article/908},
	author = {Chris McPhee}
}
@article {911,
	title = {Establishing New Codes for Creativity through Haute Cuisine: The Case of Ferran Adri{\`a} and elBulli},
	journal = {Technology Innovation Management Review},
	volume = {5},
	year = {2015},
	month = {07/2015},
	pages = {25-33},
	publisher = {Talent First Network},
	address = {Ottawa},
	abstract = {Ferran Adri{\`a} is one of the most recognized chefs in the world. His restaurant, elBulli, was awarded five times the title of the Best Restaurant in the World. Through an analysis of the last 30 years of the creative journey of elBulli, this contribution highlights that Adri{\`a} and his team of chefs succeeded in articulating two different processes: i) a process of creativity that aimed at defining a new {\textquotedblleft}school{\textquotedblright} of high cuisine and ii) a process of innovation that was expressed by the new gastronomic experiences offered to the (happy few) customers of the restaurant until its closure in 2011. A careful examination of the coupling and decoupling of these two processes shows how they fueled each other, and how the management of the organization (through a specific type of ambidexterity) was conducive to the adequate articulation of the two processes. },
	keywords = {ambidexterity, creative process, creativity, elBulli, exploitation, exploration, Ferran Adri{\`a}, gastronomy, haute cuisine, innovation},
	issn = {1927-0321},
	doi = {http://doi.org/10.22215/timreview/911},
	url = {http://timreview.ca/article/911},
	author = {Ignasi Capdevila and Patrick Cohendet and Laurent Simon}
}
@article {909,
	title = {Introduction to the Special Issue on Creativity in Innovation},
	journal = {Technology Innovation Management Review},
	volume = {5},
	year = {2015},
	month = {07/2015},
	pages = {5-13},
	publisher = {Talent First Network},
	address = {Ottawa},
	abstract = {Managing creativity for innovation is a key challenge in today{\textquoteright}s economy; therefore, the management of ideas will play in increasing role in driving the growth and resilience of organizations. Rather than simple inspired insights, ideas have to be addressed as complex socio-cognitive processes, to be organized and managed. To benefit from the full value of new ideas, management must constantly balance the formal and the informal, the logic of creation and the logic of production, and must learn to couple idea-generation processes and innovation processes through renewed knowledge management practices. In this introduction to the Technology Innovation Management Review{\textquoteright}s special issue on Creativity in Innovation, the guest editors highlight the need to manage: i) ideation processes to foster creativity, ii) the tension that exists between the logic of creation and production; and iii) disruptive innovation to transform a traditional industry. },
	keywords = {creativity, ideas, ideation, innovation, management},
	issn = {1927-0321},
	doi = {http://doi.org/10.22215/timreview/909},
	url = {http://timreview.ca/article/909},
	author = {Patrick Cohendet and Laurent Simon}
}
@article {912,
	title = {Lessons in Creativity from the Innovative Design of the Swatch},
	journal = {Technology Innovation Management Review},
	volume = {5},
	year = {2015},
	month = {07/2015},
	pages = {34-40},
	publisher = {Talent First Network},
	address = {Ottawa},
	abstract = {No space is off-limits to innovation, even those occupied for many years by leading players and proven solutions. The case of the innovative Swatch watch, re-examined in this article with new information and insights, demonstrates that, without knowledge, design is not possible; but, with only knowledge, all we can do is reproduce. Innovation also requires creativity, the introduction of new concepts. Knowledge needs to be associated with unbridled, surprising, and hitherto unknown creativity, as described by the concept-knowledge theory of design. In this article, a new analysis of the well-known but misunderstood case of the Swatch yield lessons about the importance of creativity and knowledge in developing innovative products. },
	keywords = {concept, creativity, design, engineering, innovation, knowledge, Swatch},
	issn = {1927-0321},
	doi = {http://doi.org/10.22215/timreview/912},
	url = {http://timreview.ca/article/912},
	author = {Gilles Garel}
}
@article {913,
	title = {Luxury and Creativity: Exploration, Exploitation, or Preservation?},
	journal = {Technology Innovation Management Review},
	volume = {5},
	year = {2015},
	month = {07/2015},
	pages = {41-49},
	publisher = {Talent First Network},
	address = {Ottawa},
	abstract = {This article considers the role of creativity in the production and delivery of luxury. The concept of creativity is closely aligned to the idea of luxury goods as rare and highly crafted, often unique, objects produced through artistic endeavour. Moreover, some luxuries, such as expensive cars and private jets, require leading-edge design and technologically advanced inputs. Although creativity is essential for the development of new luxury goods and services, this article highlights that some luxuries are timeless and eschew the changes associated with radical creative transformations. Following a brief discussion of the nature of luxury and creativity, a number of examples are employed to illustrate the different roles of creativity in the development and delivery of different types of luxury. The relationship between luxury and creativity is shown to be varied and complex.},
	keywords = {craftsmanship, creativity, innovation, knowledge, luxury},
	issn = {1927-0321},
	doi = {http://doi.org/10.22215/timreview/913},
	url = {http://timreview.ca/article/913},
	author = {Joanne Roberts and John Armitage}
}
@article {915,
	title = {Setting the Stage for Collaborative Creative Leadership at Cirque du Soleil},
	journal = {Technology Innovation Management Review},
	volume = {5},
	year = {2015},
	month = {07/2015},
	pages = {59-65},
	publisher = {Talent First Network},
	address = {Ottawa},
	abstract = {Debates about the nature of leadership for creativity have been ongoing since the 1950s. But, despite the central role leadership plays in the management of creative processes, few contributions highlight the actual practice of leadership for collaborative creative ventures. This interview with the Director of Acrobatics and Coaching at Cirque du Soleil addresses the reflexive experience of a creative leader faced with the challenges of integrating multiple expertises around complex, technological, human, and poly-sensorial creative performances. In this context, leadership for collaborative creativity appears as a constant and dynamic balancing act between people, ideas, deliverables, and the position and personality of the leader.},
	keywords = {Cirque du Soleil, collaboration, creativity, innovation, leadership},
	issn = {1927-0321},
	doi = {http://doi.org/10.22215/timreview/915},
	url = {http://timreview.ca/article/915},
	author = {Laurent Simon}
}
@article {910,
	title = {Toward a New Understanding of Creative Dynamics: From One-Size-Fits-All Models to Multiple and Dynamic Forms of Creativity},
	journal = {Technology Innovation Management Review},
	volume = {5},
	year = {2015},
	month = {07/2015},
	pages = {14-24},
	publisher = {Talent First Network},
	address = {Ottawa},
	abstract = {This article proposes an alternative to a managerial "best practice" approach to creativity based on the notion of creativity as a singular concept. Our alternative draws on three fundamental ideas that are emerging in different pockets of the creativity literature in a way that can be readily conceptualized and applied in practice. The first idea is that creativity is really about "creativities", or a cluster of different and discrete qualities that can be combined to suit the context in which they operate. The second is that creativity is not static: it is about "creativitying", or the action and the practice of combining these creativities, which evolve over time. The third is that being creative in organizations is not an individual act: rather, it is the multiple activities of groups as they go about creativitying.},
	keywords = {action-embedded creativity, creative dynamics, creativities, creativity, creativitying, innovation, management},
	issn = {1927-0321},
	doi = {http://doi.org/10.22215/timreview/910},
	url = {http://timreview.ca/article/910},
	author = {Stephen Cummings and Chris Bilton and dt ogilvie}
}
@article {594,
	title = {Creativity: Linking Theory and Practice for Entrepreneurs},
	journal = {Technology Innovation Management Review},
	volume = {2},
	year = {2012},
	month = {08/2012},
	pages = {10-15},
	publisher = {Talent First Network},
	address = {Ottawa},
	abstract = {In this article, creativity research is brought into focus for those involved in the practice of entrepreneurship. The author provides a background on creativity research, how it is defined, and systems models that attempt to explain it. The author distinguishes between creative and innovative activities, and provides advice to entrepreneurs to help realize the creative potential of their organizations. The author reinforces the view that entrepreneurs create new value by investing in ideas, and specific recommendations are made for creating supportive structures, building teams of creative individuals, and successfully championing ideas to acquire the resources they need to produce innovations. },
	keywords = {commercialization, creativity, entrepreneurship, innovation},
	issn = {1927-0321},
	doi = {http://doi.org/10.22215/timreview/594},
	url = {http://timreview.ca/article/594},
	author = {Tom Duxbury}
}
