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This article discusses the limitations of the first generation of creativity-management technologies based on the psychological theories of intelligence and problem solving. The turn into a cultural and systemic conceptions in the psychology of creativity is analysed. It is argued that this psychology converges with the ideas developed in the sociology of knowledge, the history of technological systems, and activity theory as well as in innovation studies. All of them underline the significance of artefact-mediated communities, domains or practices. They agree on the importance of combining heterogeneous cultural resources and knowledge by horizontal networking across the boundaries of knowledge and activity domains. The internet-mediated new communities are discussed as emerging forms of distributed creation. A challenge for the management of creativity is to study and learn from the emerging problems, means and patterns of conduct of these communities.

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Considering that the capacity to innovate is increasingly becoming a decisive factor in the competition between organisations, the study and conception of systems that help the birth of new ideas, products and solutions is rising in importance. In this article, the authors consider the concept of Creative Information Systems and present a proposal for the development of architecture for such a system based on the creative technique of brute thinking.

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Innovation is not creativity. Creativity is about coming up with the big idea. Innovation is about executing the idea — converting the idea into a successful business.

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This paper examines some continuities and ruptures in the use of Web 2.0 such as blogs, social media, user-generated content services etc. vis-à-vis earlier web services.
We hypothesize that one of the sociological characteristics of Web 2.0 services is that making personal production public creates a new articulation between individualism and solidarity, which reveals the strength of weak cooperation.

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"The psychometric assessment of different facets of creative abilities as well as the availability of experimental tasks for the neuroscientific study of creative thinking has replaced the view of creativity as an unsearchable trait. In this article we provide a brief overview of contemporary methodologies used for the operationalization of creative thinking in a neuroscientific context."

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"We explore the association between the context of social relationships and individual creativity. We go beyond a one-dimensional treatment of social relationships, highlighting the importance of both static and dynamic social network concepts. We argue that weaker ties are generally but not always beneficial for creativity, propose the network positions that facilitate and constrain creative work, and describe three moderators. "

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This study examined the impact of cyberloafing on employees' emotion and work. We also examined gender differences in employees' perception towards cyberloafing. In general, respondents felt that some form of cyberloafing at work was acceptable. Men were

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Current neuroscience research confirms what creatives intuitively know about being innovative: that it usually happens in the shower. After focusing intently on a project or problem, the brain needs to fully disengage and relax in order for a “Eureka!” mo

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This volume will bring together academics, policy makers and campaigners to relay stories of innovative practice and to set out policies that might support creativity in the home, in early years education and in the wider public realm.

DEMOS creativity innovation phd