Creative Strategic Thinking
Creativity Management De-constructed
There are a number of issues to consider:
Blocks to creativity and organisational culture
What are the blocks to creativity and how can they be overcome?
We can all be more creative, so what is stopping us?
There are many blocks such as evaluation apprehension (in its many forms) and lack of adequate finance and resources.
Separating creative from critical thinking, incremental productivity, tools that draw out tacit knowledge and using frameworks to trigger flow are some of the effective unblocking techniques.
What is psychological safety and freedom?
What properties of an organisational culture cultivate productivity?
What properties of an organisational structure most foster creativity?
There are many reasons why an entity has a particular organisational structure: history, logistics, market segmentation, product line, strategy and so forth.
It is often unreasonable to ask a firm to change its organisational structure, so how do we get around this problem?
What is the most effective team structure?
Many people who are acknowledged to have made great contributions to society have worked alone, but it is very easy for individuals to go "off track" and feedback is required to some degree, as well as other things.
It is also very difficult to separate the idea from its influences.
Many others work in pairs or small teams, as this reduces the negative effects of large groups.
Successful firms generally start off as very small, creative enterprises.
Many people think that brainstorming in large groups enhances creativity, but large groups bring with them politics, status differentials, group think, dilution of ideas and conformity among other things.
This article was contributed by Kal Bishop is a management consultant based in London, UK
Kal Bishop is a management consultant based in London, UK. His specialities include Knowledge Management and Creativity and Innovation Management. He has consulted in the visual media and software industries and for clients such as Toshiba and Transport for London. He has led Improv, creativity and innovation workshops, exhibited artwork in San Francisco, Los Angeles and London and written a number of screenplays.
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