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It emphasizes dislocation across disciplines and workplaces, then outlines how collaborative engagements operate on multiple interlocking levels—from project agents and institutional power hierarchies to tools, technologies, and cultural genres—showing knowledge as context-dependent and relational.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & Report",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/opinions-all-about-creativity-and-innovation/149397/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/opinions-all-about-creativity-and-innovation/149397.png","ImageObject",300,407,{"name":42,"@type":43},"Tawan","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-09-28","2026-08-27",true,{"@type":52,"interactionType":53,"userInteractionCount":55},"InteractionCounter",{"@type":54},"ViewAction",9,{"@type":57,"mainEntity":58},"FAQPage",[59,65,69],{"name":60,"@type":61,"acceptedAnswer":62},"What is the purpose of the introductory prolegomenon in the collection?","Question",{"text":63,"@type":64},"It explains why the editors sought opinions on creativity and innovation and how the resulting essays create a thematic flow for readers.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"Why does the introduction argue that creativity and innovation are hard to define?",{"text":68,"@type":64},"It states that neither concept forms a coherent, controlled whole; they are dislocated and shaped by context, discipline, and workplace practice.",{"name":70,"@type":61,"acceptedAnswer":71},"How does the introduction describe creativity and innovation as relational activities?",{"text":72,"@type":64},"It presents them as emerging from collaborative engagements that involve interactions among agents, institutions, tools, technologies, and cultural genres across multiple interlocking levels.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},149397,1787799208,{"code":4,"msg":82,"data":83},"success",[84,88,92,96,101,106,111,115,119,122,126],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":85,"show_sort_weight":86,"slug":87},"Story & Novel",90,"story-novel",{"id":26,"doc_module":4,"doc_module_name":25,"category_name":89,"show_sort_weight":90,"slug":91},"Literature",80,"literature",{"id":33,"doc_module":4,"doc_module_name":25,"category_name":93,"show_sort_weight":94,"slug":95},"Exam",70,"exam",{"id":97,"doc_module":4,"doc_module_name":25,"category_name":98,"show_sort_weight":99,"slug":100},5,"Comic",60,"comic",{"id":102,"doc_module":4,"doc_module_name":25,"category_name":103,"show_sort_weight":104,"slug":105},6,"Technology",50,"technology",{"id":107,"doc_module":4,"doc_module_name":25,"category_name":108,"show_sort_weight":109,"slug":110},7,"Healthcare",40,"healthcare",{"id":112,"doc_module":4,"doc_module_name":25,"category_name":29,"show_sort_weight":113,"slug":114},8,30,"research-report",{"id":55,"doc_module":4,"doc_module_name":25,"category_name":116,"show_sort_weight":117,"slug":118},"Religion & Spirituality",20,"religion-spirituality",{"id":117,"doc_module":4,"doc_module_name":25,"category_name":120,"show_sort_weight":117,"slug":121},"World Cup","world-cup",{"id":123,"doc_module":4,"doc_module_name":25,"category_name":124,"show_sort_weight":123,"slug":125},10,"Lifestyle","lifestyle",{"id":127,"doc_module":4,"doc_module_name":25,"category_name":128,"show_sort_weight":97,"slug":129},19,"General","general",{"code":4,"msg":82,"data":131},{"doc_id":79,"user_id":132,"nickname":42,"user_avatar":133,"doc_module":4,"category_id":112,"category_name":29,"doc_title":10,"doc_description":12,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":55,"is_deleted":4,"is_public":22,"is_downloadable":22,"audit_status":22,"page_count":94,"language":139,"language_code":8,"site_id":7,"html_lang":8,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":12,"update_tm":80,"read_time":143},2336475104042,"https://ap-avatar.wpscdn.com/avatar/22000c4c32af1715be0?x-image-process=image/resize,m_fixed,w_180,h_180&k=1786537525561427321","Opinions: All about Creativity and Innovation Andy C. Pratt, Doris Ruth Eikhof, Keith Sawyer, Robert D. Austin, Peter Johnson, Martyn Straw, Patrik Wikstrom, Jie Ren, Filip Lau and Mikkel Brok-Kristensen, with an introductory essay by Brian Moeran  \nA Prolegomenon  \nBrian Moeran (Copenhagen Business School, Denmark, and the University of Hong Kong)  \nSeveral months ago, when Jakob, Timothy and I were planning this spring’s issue of the JBA, we realised that we would probably have two articles ready for publication on professional people―architects and fashion designers―regarded as “creative.” So, in an attempt to overcome the randomness of journal submissions and to create a thematic flow for our readers, we decided to seek opinions on creativity and innovation from people in the business world and from academics who make it their business to conduct research on them. The results are here before you.  \nApproach more than halfa dozen people from different occupational and cultural backgrounds and request them to write about creativity and innovation, and a journal editor looking for textual coherence is asking for trouble! What follows is an eclectic mixture of opinions about the nature of creativity and innovation in virtually all forms of business life: from organizational management to crowdsourcing, from branding to stardom, from workforce neurodiversity to  \nPage 1 of 70  \n\n| JBA 4(2): 228-297 Fall 2015 |\n| --- |\n| © The Author(s) 2015 ISSN 2245-4217 |\n| [www.cbs.dk/jba](www.cbs.dk/jba) |\n\nthe various treatments for Toy Story. Written in a variety of styles―some“business-speak,” others conversational, yet others academic―these essays offer different people’s takes on ideas of creativity and innovation, and support the assertion that, like culture (Williams 1985), creativity isone of the most widely used and misused words in the English language (Negus and Pickering 2004: vi). Neither it nor innovation may be regarded as “a coherent, controlled, well-rounded and clean-edged affair.”Rather, both are “dislocated”(Latour 2005: 46)―a dislocation that is most apparent, perhaps, in the intellectual silos in which we all wallow and which, it seems to me, occasionally pushes one or two ofus to try toreinvent the wheel. But that, maybe, is what creativity and innovation are all about!  \nNevertheless, precisely because of these disciplinary and workplace dislocations, I should admit that I myself learned a lot from these opinion pieces, and that they added to my own understandings of the business of creativity and innovation (Moeran 2014) . Like Doris Eikhof, in the past I have on occasion been exasperated by the ways in which people talk about this “mantra.” To paraphrase Jana Costas and Gideon Kunda’s opinion piece title in the last issue of the JBA: “When I hear the words ‘creativity’ and ‘innovation,’ I reach for my gun.”  \nClearly, there’s no “proper” use of creativity or innovation, or of any other word that is, in Andy Pratt’s formulation, as deceptive, simple and self-evident, but also elusive (the whole point of “keywords [Parkin 1979, Moeran 1984]) . Still, as he then goes on to say, we should be reflexive about our production of knowledge and try to pin things down a bit if we’re going to talk about them―something Benoît Godin does superbly in his essay on the shift over time of the word innovation from being forbidden to becoming a cliché, and that Pratt himself does with how 20th century history has affected our understandings and use of both innovation and creativity. Both essays underline the argument that“knowledge is always and necessarily formed in context.”  \nPratt argues that creativity and innovation are relational activities and that their interaction generates more than the sum of their components. In this respect, a number of scholars (myself included) like to think of creativity and innovation in terms of collaborative engagements, and it is in fact such engagements which underpin the essays that follow here―","cbCaibG71YVomBRq","https://ap.wps.com/l/cbCaibG71YVomBRq","pdf",1070062,"English","# A Prolegomenon\n## Framing creativity and innovation\n## Dislocation across disciplines and workplace life\n## Relational activities and collaborative engagements\n## Multi-level interactions: agents, institutions, tools, and cultural genres","[{\"question\":\"What is the purpose of the introductory prolegomenon in the collection?\",\"answer\":\"It explains why the editors sought opinions on creativity and innovation and how the resulting essays create a thematic flow for readers.\"},{\"question\":\"Why does the introduction argue that creativity and innovation are hard to define?\",\"answer\":\"It states that neither concept forms a coherent, controlled whole; they are dislocated and shaped by context, discipline, and workplace practice.\"},{\"question\":\"How does the introduction describe creativity and innovation as relational activities?\",\"answer\":\"It presents them as emerging from collaborative engagements that involve interactions among agents, institutions, tools, technologies, and cultural genres across multiple interlocking levels.\"}]","Opinions - All about Creativity and Innovation | PDF",176]