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The content of training (art-based method) and instructional strategies (blended learning) can improve business school students' creativity and attempts to determine how training can be maintained using longitudinal tracking. The study aims to answer (1) whether the incorporation of art-based methods enhances the creativity of students compared to traditional face-to-face (F2F) teaching, and (2) whether such creative training and blended teaching methods have a higher transfer of training.

This study adopted a two-stage design (1) it adopted a 2 × 2 (with or without art-based methods * blended teaching or F2F teaching) between-subject design of experiments with 221 participants and (2) a one-year follow-up study was conducted (participants who were employed for 6 months to one year after graduation) with 187 participants and their directors.

The results showed that the inclusion of art-based methods in the creative training of students strengthens creative ability of the students; there were no significant differences between blended and traditional learning. The authors examined the effect of transferring creative training through a questionnaire analysis of participants and employers of the participants. Self-regulated and self-directed learning positively influence motivation to transfer, which positively influences creative performance.

The higher the level of self-regulated and self-directed learning of students, the more effective the transfer of creative training is over time.

The paper aims to analyze the relationships between standardization and creativity in the process of service innovation in knowledge‐intensive business services (KIBS), specifically in those specialized in highly creative outputs (KIBS in design and communication). Studies on knowledge management and on service management emphasize the opportunity to gain efficiency through a standardization of services and organizational processes. However, creative activities are characterized by informality and difficulty to be standardized.

The study adopts a qualitative research approach. Two case studies of medium‐size KIBS specialized in design and communication, localized in Bangalore (India) and in Treviso (Italy) are developed to identify how KIBS approach knowledge management both internally and externally and how firms structure the innovation process.

KIBS can use a suitable knowledge management strategy to balance creative outputs with standardization based on a working method. Standardization can refer to the way the creative effort is organized and managed internally through appropriate organizational processes, with the approach confirmed empirically.

Main limitations are related to the case study and the industry selected. The authors acknowledge the need to compare firms belonging to other industries to strengthen the results.

From a theoretical point of view the paper enriches the research framework concerning knowledge management in services by exploring the relationship between standardization and creativity. From an empirical point of view, the research is able to deepen understanding on the KIBS knowledge management strategies and their impacts on processes of service provision and innovation.

With the continuous improvement of social and economic development as well as the rising level of demand for spiritual life, the design of cultural and creative products has ushered in new opportunities and challenges. Therefore the research related to cultural and creative products design is an inevitable choice for industrial innovation and market competition. The article aims to analyze the frontier hotspots and trend evolution of theoretical research on cultural and creative design in China by presenting different research fields, personnel and institutions embodied by cultural and creative products, thus providing a forward-looking development reference for China's special cultural and creative product design practice.

In this paper, the visualized citation analysis tool — CiteSpace V is used to analyze and map the relevant literature of Chinese cultural and creative design in CNKI (Chinese National Knowledge Infrastructure) as the data sources, through bibliometric methods, in order to study the application development of Chinese cultural and creative design and provide reference for the application research of Chinese cultural and creative industries.

With the improvement of China's comprehensive strength, cultural self-confidence and strategy are being paid more and more attention by scholars; with the future research of China's cultural and creative design theory, cross-integration becomes the future trend; with the gradual maturity of China's cultural and creative design methodology, how to choose the right method for pioneering research is a difficulty for the future development of cultural and creative design; with the continuous development of China's economy, the method construction of innovative cultural and creative industry system becomes the focus of future research; with the continuous progress of science and technology, the integration of emotion and product industry is the mainstream of future development on cultural and creative design.

Through an objective empirical analysis of the development of Chinese cultural and creative products, it will broaden the research horizons of relevant scholars, understand the development direction of China's cultural and creative industries, enrich the design practice application of Chinese cultural and creative products, enhance the understanding of international counterparts on Chinese cultural and creative design research and promote the exchange among international counterparts.

This study aims to investigate whether there is evidence that tailored provision for creative practice was spreading across disciplines in the UK during the period 2014–2020. In doing so, the author examined the potential and limitations of the archives of a national research assessment exercise as a source for understanding perceived priorities in doctoral provision during a period of recent history.

This study examined descriptions of doctoral provision in the research environment statements that formed part of the publicly available submissions to the, 2021 research excellence framework (REF). Aligning with meta-research and historical discourse analysis approaches, the study involved a close reading and critical analysis of a small sample of documents across four different disciplinary areas.

In creative disciplines, tailored support was identified for creative practice in practice research. There was a lack of discussion of such provision in other disciplines, including in education research where arts-based methods are used. This study demonstrates the limitations and challenges of using the REF archives to understand the history of doctoral provision. Only qualified interpretations can be made about actual institutional practice, revealing more about perspectives on the relative importance of different facets of doctoral provision.

The research is novel in investigating the potential of discipline level REF research environment statements as sources for research into discourse on doctoral education. In identifying evidence for tailored provision and the missing stories of this spreading to other disciplines, it challengesthe author to consider the support requirements for creative practice appropriate to the doctoral education contexts.

The purpose of this paper is to present a fresh approach to stimulate individual creativity. It introduces a mathematical representation for creative ideas, six creativity operators and methods of matrix-algebra to evaluate, improve and stimulate creative ideas. Creativity begins with ideas to resolve a problem or tackle an opportunity. By definition, a creative idea must be simultaneously novel and useful. To inject analytic rigor into these concepts of creative ideas, the author introduces a feature-attribute matrix-construct to represent ideas, creativity operators that use ideas as operands and methods of matrix algebra. It is demonstrated that it is now possible to analytically and quantitatively evaluate the intensity of the variables that make an idea more, equal or less, creative than another. The six creativity operators are illustrated with detailed multi-disciplinary real-world examples. The mathematics and working principles of each creativity operator are discussed.

The unit of analysis is ideas, not theory. Ideas are man-made artifacts. They are represented by an original feature-attribute matrix construct. Using matrix algebra, idea matrices can be manipulated to improve their creative intensity, which are now quantitatively measurable. Unlike atoms and cute rabbits, creative ideas, do not occur in nature. Only people can conceive and develop creative ideas for embodiment in physical, non-physical forms, or in a mix of both. For example, as widgets, abstract theorems, business processes, symphonies, organization structures, and so on. The feature-attribute matrix construct is used to represent novelty and usefulness. The multiplicative product of these two matrices forms the creativity matrix. Six creativity operators and matrix algebra are introduced to stimulate and measure creative ideas. Creativity operators use idea matrices as operands. Uses of the six operators are demonstrated using multi-disciplinary real-world examples. Metrics for novelty, usefulness and creativity are in ratio scales, grounded on the Weber–Fechner Law. This law is about persons’ ability to discern differences in the intensity of stimuli.

Ideas are represented using feature-attribute matrices. This construct is used to represent novel, useful and creative ideas with more clarity and precision than before. Using matrices, it is shown how to unambiguously and clearly represent creative ideas endowed with novelty and usefulness. It is shown that using matrix algebra, on idea matrices, makes it possible to analyze multi-disciplinary, real-world cases of creative ideas, with clarity and discriminatory power, to uncover insights about novelty and usefulness. Idea-matrices and the methods of matrix algebra have strong explanatory and predictive power. Using of matrix algebra and eigenvalue analyses, of idea-matrices, it is demonstrated how to quantitatively rank ideas, features and attributes of creative ideas. Matrix methods operationalize and quantitatively measure creativity, novelty and usefulness. The specific elementary variables that characterize creativity, novelty and usefulness factors, can now be quantitatively ranked. Creativity, novelty and usefulness factors are not considered as monolithic, irreducible factors, vague “lumpy” qualitative factors, but as explicit sets of elementary, specific and measurable variables in ratio scales. This significantly improves the acuity and discriminatory power in the analyses of creative ideas. The feature-attribute matrix approach and its matrix operators are conceptually consistent and complementary with key extant theories engineering design and creativity.

First to define and specify ideas as feature-attribute matrices. It is demonstrated that creative ideas, novel ideas and useful ideas can be analytically and unambiguously specified and measured for creativity. It is significant that verbose qualitative narratives will no longer be the exclusive means to specify creative ideas. Rather, qualitative narratives will be used to complement the matrix specifications of creative ideas. First to specify six creativity operators enabling matrix algebra to operate on idea-matrices as operands to generate new ideas. This capability informs and guides a person’s intuition. The myth and dependency, on non-repeatable or non-reproducible serendipity, flashes of “eureka” moments or divine inspiration, can now be vacated. Though their existence cannot be ruled out. First to specify matrix algebra and eigen-value methods of quantitative analyses of feature-attribute matrices to rank the importance of elementary variables that characterize factors of novelty, usefulness and creativity. Use of verbose qualitative narratives of novelty, usefulness and creativity as monolithic “lumpy” factors can now be vacated. Such lumpy narratives risk being ambiguous, imprecise, unreliable and non-reproducible, Analytic and quantitative methods are more reliable and consistent. First to define and specify a method of “attacking the negatives” to systematically pinpoint the improvements of an idea’s novelty, usefulness and creativity. This procedure informs and methodically guides the improvements of deficient ideas.

In this paper we ask: “What are the opportunities and challenges that creative methods pose in terms of conducting research processes with indigenous peoples impacted by emergencies and disasters?” To do that, we critically examine the creative and collaborative methodological approaches applied in the research project, Moving with Risk: Forced Displacement and Vulnerability in Colombia. This project sought to understand the trajectories of risk of families who were forcibly displaced as a result of the armed conflict in Colombia and resettled in areas at risk of disaster.

This article is intentionally written from the perspective of the researchers’ positionality. In doing so, we embrace writing that is situated and embodied in the researcher’s experiences and positionalities. This reflexive writing allows us to question the methodological experience of the research project we are analysing and, at the same time, ourselves, “the researchers” be questioned by it.

In this paper, we show how creative methods and participatory research can foster awareness and become the basis for inclusive and reciprocal research processes with indigenous communities in disaster studies. Specifically, we show that the use of creative methods helped us recognise that agency needs to be framed in collective spaces with the indigenous women we were working with and in relation to their livelihoods needs. We argue that finding spaces to conduct collaborative research and recognize agency is inextricably related to how the researchers reflect on their positionality.

This article contributes to critical perspectives in Disaster Studies and to an overall understanding of the role that creative methodologies play in research processes with people affected by disasters. It provides a novel perspective on the opportunities and challenges of applying arts-based methods in disaster risk studies with indigenous communities in Latin America.

The purpose of this paper is to introduce imagination workshops as a creative method for studying privacy from a sociomaterial perspective. The workshops incorporate a creative element – the imagination game – into a traditional focus group setting. The imagination game is a role-playing card game that involves participants imagining scenarios set in the future.

The imagination workshop method is illustrated through an empirical study exploring imaginaries of the future smart home. The study encompasses five workshops with a total of 46 participants.

The findings from the empirical application of the method highlight its strengths in uncovering thoughts and feelings related to human–data relations that might be difficult to attain through more conventional methods, such as affective responses to privacy dilemmas. By combining imagination and collaborative activity, less taken-for-granted ideas can be tapped into.

The paper contributes to consumer research by introducing a novel qualitative method for studying privacy. By drawing from a new materialism perspective, the imagination workshops bring to light the sociomaterial dimensions of privacy that extend beyond mere cognitive decision-making processes. In this way, the method can be applied to reveal the dynamic and visceral nature of the construct. In addition to privacy research, the method provides ample opportunities for application in diverse contexts interested in technological futures.

The purpose of this paper is to present the adapted model per phases of the creative problem solving (CPS) process, where multi‐criteria decision making (MCDM) methods are used in the decision‐making phase. Also, to adapt and complete the steps of the six‐question technique, in order to establish the criteria's importance.

The framework procedure of MCDM, together with the Dialectical Systems Theory's guidelines when solving complex problems has already been introduced. The procedure was well‐verified in practice, but lacked the support of creative qualitative techniques in defining problems, and in generating and choosing alternatives. To eliminate this deficiency, in terms of prescriptive approach, the authors adapted the phases of the CPS process, where MCDM methods are used when choosing alternatives, and completed the steps of the six‐question technique to establish the criteria weights. The discrete Choquet integral was used to consider interactions among criteria.

The article shows that creative approaches are not limited to merely problem definitions and problem structuring. They can also be used in typically analytical steps in the framework procedure.

The completed and adapted phases of the CPS process can allow the mutual assistance of creative and decision‐making methods when solving problems – a step forward to holism.

This article develops and introduces the use of the six‐question technique, in the establishment of criteria weights.

The innovative aspect of this article is that it adapts and completes the CPS process so that MCDM methods can be used when choosing alternatives. It extends the use of creative approaches to typically analytical steps of MCDM, where synergies and redundancies among criteria are considered.

Do LEGO® SERIOUS PLAY® (LSP) workshops result in improved experience of flow components as well as higher levels of creative output than traditional meetings (MEET)? This research studies the extent to which LSP, as a specialized material-mediated and process-oriented cocreative workshop setting, differs from MEET, a traditional workshop setting. Hypotheses for differences in individual flow components (autotelic behavior, happiness, balance), group flow components (equal participation, continuous communication) and creative output were developed and tested in a quasi-experimental comparison between LSP and MEET.

The study was conducted with 39 practitioners in six teams from various industries. In total, 164 observations were collected during two workshops using the Experience Sampling Method. The creative output was assessed by peer evaluations of all participants, followed by structural analysis and quantitative group comparisons.

The results show that two components of individual flow experience (autotelic behavior, happiness) were significantly higher in LSP, and one of the components of group flow experience (continuous communication) was, as expected, significantly lower. Regarding creative output, the LSP teams outperformed the MEET teams. The study suggests that a process-oriented setting that includes time for individuals to independently explore their ideas using a different kind of material in the presence of other participants has a significant influence on the team result.

LSP can improve the components of participants' flow experience to have an impact on the creative output of teams. In cocreative settings like LSP, teams benefit from a combination of alone time and high-quality collaborative activities using boundary objects and a clear process to share their ideas.

This is the first quasi-experimental study with management practitioners as participants to compare LSP with a traditional and widespread workshop approach in the context of flow experience and creative output.

This paper aims to argue that utilising foresight becomes a more useful tool to organisational management, if the innovative technique of “creative competition” is applied. In an empirical analysis, it seeks to show how the technique of creative competition was used in a scenario‐project. The case study shows how and why the technique of creative competition “worked”. These findings will then be used to explore the broader application of creative competition in organisational foresight.

The study first elaborates theoretically on the difference between “forecast” and “foresight” and explores how the addition of the organisational dimension to these terms changes their meanings. It then focuses on the organisation that commissioned the study – Rijkswaterstaat – and describes its history with respect to exploring the future and certain other relevant contextual elements of the case study, such as how the project was organised. After that, it conceptualises the RWS2020 project as an example of using “organisational foresight” and discusses the concept of “creative competition” as a means of bringing “organisation” and “foresight” closer together. The paper then describes what creative competition was used in the case, how it worked in the case study, and how “the game” of creative competition was played. It formulates conclusions on the basis of this case study and then reflects on the findings.

Application of creative competition adds to the integration of foresight in organizational management and organizational change. It supports a more future orientedness in strategic management. Further analysis of other cases is needed to further strengthen theory about application of the method of creative competition.

The technique of creative competition is relatively new and has not been theorized as yet. Organizational foresight has been used as a concept, but has hardly been theorized and empirically tested as well. The paper does both, in an exploratory way. It provides interesting insight into the working of organizational foresight for both academics and practitioners, and identifies strategic choices for managers conducting organizational foresight studies with or without the use of creative competition.