1. Creativity in innovation processes Vesa Harmaakorpi 5 credits Vesa Harmaakorpi Professor Innovation Systems Lappeenranta University of Technology Lahti School of Innovation

2. Content and requirements  Lectures 24 h  Assignment  Exam (lectures + the study material) Vesa Harmaakorpi

3. Evaluation  Assignment 50 %  Exam 50 % Vesa Harmaakorpi

4. Lecture days  7 May 2013, Background: Innovativeness and creativity (6 h), Vesa Harmaakorpi  8 May 2013, Workshop on creativity (6 h), Anne Pässilä  16 May, 2011 Creative methods of innovativeness (6 h), Tapani Frantsi  17 May, 2011 Innovation session (6 h), Tapani Frantsi Vesa Harmaakorpi

5. Focus of the course  Creative personality  Creative thinking skills and methods  Creative will and motivation Vesa Harmaakorpi

6. Creative personality Develop your own creative and innovative thinking. Feel encouraged to use methods that enhance creativity and innovativeness. Are able to view your own identity and role as innovation promotor. Are aware of the positive use of methods and ways of action. Vesa Harmaakorpi

7. Skills and methods of creative thinking To see and experience different ways of approaching problems and solving them. To get ideas for new integrated methods. To get ideas how to apply the methods in different environments and processes. Vesa Harmaakorpi

8. Creative will and motivation To analyse your own motivation, interaction and your own style of intervention with others. To analyse the issues that are found problematic in the work of a creative group. Your socio-cultural reading ability is challenged, you will learn to observe the different status and hierarchies in communication. Vesa Harmaakorpi

9. Group assignment What is creativity? Decsribe a concrete situation in which creativity has bloomed. Describe a concrete situation in which creativity has been killed. Vesa Harmaakorpi

10. The new innovation paradigm Vesa Harmaakorpi Professor Innovation systems Lappeenranta University of Technology Lahti School of Innovation

11. Origins of innovation? Vesa Harmaakorpi  Science-based  Science, technology, innovation (STI)  Practice-based  Doing, using, interacting (DUI)

12. Innovations - new ideas taken into practice  Combining knowledge, expertice and technology in novel ways.  Many different types: product, process, oganisational, social, system, service…  They are often developed complex, interactive and continuous priocesses.  They are not a marginal phenomenon but a part of everyone’s life. Vesa Harmaakorpi

13. Analytical vs. interpretative process of innovation Vesa Harmaakorpi ANALYSISINTERPRETATION The focus is a project, with a well-defined beginning and end The thrust is to solve pre-defined problems Managers set goals Managers convene meetings and negotiate to resolve different viewpoints and eliminate ambiguity Communication is the precise exchange of chunks of information The focus is a process, which is ongoing and open-ended The thrust is to discover new meanings Managers set directions Managers invite conversations and translate to encourage different viewpoints and explore ambiguity Communication is fluid, context- dependent, undetermined

14. Looking for structural holes … Vesa Harmaakorpi Metal industry Biotechnology research Information technology research Nanotechnology reserach. Clients

15. Distances in structural holes  Geographic  Cultural  Social  Organisational  Cognitive  Communicative  Functional Vesa Harmaakorpi

16. Video  Stora Enso Packaking Vesa Harmaakorpi

17. Group assignment  Discuss what happened in the video  What has that to do with innovation?  Distances? Vesa Harmaakorpi

18. Innovation System Vesa Harmaakorpi Autio, 1998

19. Absorptive capacity in innovation systems Vesa Harmaakorpi Autio, 1998; Zahra & George, 2002

20. Third generation regional innovation systems Vesa Harmaakorpi Knowledge exploitation subsystem Knowledge generation subsystem Innovation policy Innovation intermediary tools Innovation culture Constructed competitiveness Cross-disciplinarity Related variety platforms Changing Techno- Economic Paradigm Economic Development Policy Science and Technology Policy Innovation system

21. Modes of knowledge production Vesa Harmaakorpi  Mode 1 knowledge production is traditional knowledge production based on single disciplines. It is homogeneous and primarily cognitive (STI).  Mode 2 knowledge knowledge production, by contrast, is created in broader, heterogeneous interdisciplinary social and economic contexts within an applied setting (DUI).

22. Science-based innovation (STI, Mode 1) Practice-based innovation (DUI, Mode 2a) Practice-based innovation (DUI, Moodi 2b) Most typical logics and capital Agglomeration – Clusters – Economies of scale Intellectual capital – Financial capital Proximity Related variety – Innovation platforms Social capital – Institutional capital Distance Developing innovation capability – Breaking silos Social capital – Structural capital ”Near distance” Most typical innovation types and processes Radical technological innovations and related concepts Analytical Radical concepts and system innovations Interpretative Organisational innovations - Social innovations - Service innovations Interpretative Most typical innovation methods and environments and knowledge transfer mechanism Scientific methods World class scientific centres Technology diffusion for the firms of cluster Science and related expertise Methods of intellectual cross- fertilisation (also virtual) Arenas of intellectual cross- fertilisation in value networks Scanning and absorbing technology and market signals Networks, Serendipity, Customers Problem-based learning (e.g. culture-based methods) Arenas of developing organisational innovation capability Organisational learning ”Normal” staff, Customers Most typical logics of knowledge production World classic scientific expertise in narrow field Codifield knowledge Analytical Homogeneous knowledge production Brokering – General ability to build possible worlds Future-oriented Synthetic Heterogeneous knowledge production Brokering – General ability to build possible worlds Tacit knowledge Symbolic Heterogeneous knowledge production Most typical communication IntegrativeDissipative Most typical evaluation Input-type measures Output-type measures Dynamic measures

23. Group assignment  Describe the differences between science- based and practice-based innovation.  Describe the differences between innovation processes that lead to a technical product and to a social ”service product”.  How do they affect creativity? Vesa Harmaakorpi

24. Video  Toothtroll Vesa Harmaakorpi

25. Group assignment  What happened in the video?  Users in the process? Vesa Harmaakorpi

26. In the source of creativity Vesa Harmaakorpi Professori Innovaatiojärjestelmät Lappeenrannan teknillinen yliopisto Lahti School of Innovation

27. Is it possible to teach creativity as a ”general skill”? It may be difficult to teach creativity in the traditional sense of the word, but it is essential to nourish creativity ! Vesa Harmaakorpi

28. Creative personality Vesa Harmaakorpi Problem solver Artistic personality Creativity as a way of life

29. Business Creativity Vesa Harmaakorpi Creative-thinking skills Motivation Expertise (Amabile, 1997

30. Obstacles of creativity  Fragmentation  Lock-ins  Association obstacles  Fast falsification of ideas  Playing wrong  Illusion, delusion, collusion  Playing right – creative play? Vesa Harmaakorpi

31. Complexity of creative people  Creative people are very energetic, but on the other hand, they have an efficient way of retiring to silence and rest  Creative people are simultaneously intelligent and naive  In creative people, playfulness and discipline coexist  Creative people are at the same time capable of fantasizing and of very realistic thinking  Extrovert and introvert characteristics coexist in creative people Vesa Harmaakorpi Csikszentmihalyi, 1996

32. Complexity of creative people  Creative people are at the same time humble and proud.  Creative people are often psychologically androgyne.  Creative people are at the same time traditional and conservative as well as rebellious and revolutionary  Creative people are at the same time very emotionally committed as well as critical and objective in relation with their work  Creative people are susceptible both to agony and to pleasure Vesa Harmaakorpi

33. Logical thinking and response to stimuli Vesa Harmaakorpi Response to stimuli Logical thinking ”Mad” ”Geniuses” ”Intelligent beavers”

34. Super-creative groups  The groups share a common dream, a vision  Conflicts generating between people with big egos are solved by reminding of the importance of the dream  Activities are consciously guarded against the pressure, routines or uncomprehension from the outside world or other units of mother organization  The groups have a real or imaginary enemy which helps the group to steel itself in relation to the enemy  The groups see themselves as challengers or winning underdogs Vesa Harmaakorpi ( Bennis, 1997 )

35. Super-creative groups  Working in the groups often means personal sacrifices to the individuals  The leaders of the super-creative groups are not necessarily the most intelligent or competent members in issues of substance  The members are made to play the most ”optimal location” and the most optimal role for the entity  The groups share a youthful spirit and a playful culture, misfortunes are accepted and you fall forwards, not backwords from them  The dynamics in the group arises from the fact that the members have to produce an external result from their work Vesa Harmaakorpi ( Bennis, 1997 )

36. Harmaakorpi creativity triangle Vesa Harmaakorpi 17.10.2002 Vesa Harmaakorpi Self-efficacy Communication Silence Focus Openness

37. Group assignment Vesa Harmaakorpi  Discuss what the elements in Harmaakorpi’s creativity triangle mean from the point of view of creativity  Find practical examples from your own work environment that have fostered those elements of  Do you find examples of supressive methods?

38. Components of creativity management according to Amabile  Challenges  Freedom  Resources  Group work characteristics  Guidance and encouragement  Support of the organization Vesa Harmaakorpi

39. Challenges  Engage the right people to the right tasks  Give people the right degree of challenge in their work  Too easy challenges are frustrating, too difficult ones cause anxiety Vesa Harmaakorpi

40. Freedom  One must be given freedom to choose how to climb a mountain  Not freedom to choose the mountain where to climb  Shifting from one target to another in the middle of climbing destroys creativity Vesa Harmaakorpi

41. Resources  Time: Too fuzzy and loose deadlines lead to frustration.  Too tight dead-lines lead to burnout. Vesa Harmaakorpi

42. Group work characteristics  Seeking distances  Casting groups that support each other  Super-creative groups Vesa Harmaakorpi

43. Guidance and encouragement  Disposing of the feeling of haste  Disposing of the appraisal of criticism  Recognizing the value of creative work  Nonfalsifying communication  Role model given by the leader Vesa Harmaakorpi

44. Support of the organization  Reward system  Open distribution of knowledge  Putting aside the ”political” problems Vesa Harmaakorpi

45. Rewarding as a tool to boost creativity  Money does not necessarily put an end to people’s creativity, but in many occasions it does not have a boost effect either.  Creativity and rewarding of monkeys – is that what puts an end to creativity?  How to reward? Vesa Harmaakorpi