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This handbook looks to provide academics and students with a comprehensive and holistic understanding of the phenomenon of innovation. Innovation spans a number of fields within the social sciences and humanities: Management, Economics, Geography, Sociology, Politics, Psychology, and History. Consequently, the rapidly increasing body of literature on innovation is characterized by a multitude of perspectives based on, or cutting across, existing disciplines and specializations. Scholars of innovation can come from such diverse starting points that much of this literature can be missed, and so constructive dialogues missed. The editors of The Oxford Handbook of Innovation have carefully selected and designed twenty-one contributions from leading academic experts within their particular field, each focusing on a specific aspect of innovation. These have been organized into four main sections, the first of which looks at the creation of innovations, with particular focus on firms and networks. Section Two provides an account of the wider systematic setting influencing innovation and the role of institutions and organizations in this context. Section Three explores some of the diversity in the working of innovation over time and across different sectors of the economy, and Section Four focuses on the consequences of innovation with respect to economic growth, international competitiveness, and employment. An introductory overview, concluding remarks, and guide to further reading for each chapter, make this handbook a key introduction and vital reference work for researchers, academics, and advanced students of innovation. Contributors to this volume - Jan Fagerberg, University of Oslo William Lazonick, INSEAD Walter W. Powell, Stanford University Keith Pavitt, SPRU Alice Lam, Brunel University Keith Smith, INTECH Charles Edquist, Linkoping David Mowery, University of California, Berkeley Mary O'Sullivan, INSEAD Ove Granstrand, Chalmers Bjorn Asheim, University of Lund Rajneesh Narula, Copenhagen Business School Antonello Zanfei, Urbino Kristine Bruland, University of Oslo Franco Malerba, University of Bocconi Nick Von Tunzelmann, SPRU Ian Miles, University of Manchester Bronwyn Hall, University of California, Berkeley Bart Verspagen , ECIS Francisco Louca, ISEG Manuel M. Godinho, ISEG Richard R. Nelson, Mario Pianta, Urbino Bengt-Ake Lundvall, Aalborg

The Oxford Handbook of Innovation

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Flow The Psychology Of Optimal Experience

Creativity: Flow and the Psychology of Discovery and Invention

Creativity in Context: Update to "The Social Psychology of Creativity"

Creativity Support Tools (CSTs) play a fundamental role in the study of creativity in Human-Computer Interaction (HCI). Even so, there is no consensus definition of the term 'CST' in HCI, and in most studies, CSTs have been construed as one-off exploratory prototypes, typically built by the researchers themselves. This makes it difficult to clearly demarcate CST research, but also to compare findings across studies, which impedes advancement in digital creativity as a growing field of research. Based on a literature review of 143 papers from the ACM Digital Library (1999-2018), we contribute a first overview of the key characteristics of CSTs developed by the HCI community. Moreover, we propose a tentative definition of a CST to help strengthen knowledge sharing across CST studies. We end by discussing our study's implications for future HCI research on CSTs and digital creativity.

https://dl.acm.org/doi/pdf/10.1145/3290605.3300619

Mapping the Landscape of Creativity Support Tools in HCI

Creativity has been a growing topic in the ACM community since the 1990s; however, no clear overview of this trend has been offered. We present a thorough survey of 998 creativity-related publications in the ACM Digital Library collected using keyword search to determine prevailing approaches, topics, and characteristics of creativity- oriented Human-Computer Interaction (HCI) research. A selected sample based on yearly citations yielded 221 publications, which were analyzed using constant comparison analysis. We found that HCI is almost exclusively responsible for creativity-oriented publications; they focus on collaborative creativity rather than individual creativity; there is a general lack of definition of the term 'creativity'; empirically based contributions are prevalent; and many publications focus on new tools, often developed by researchers. On this basis, we present three implications for future creativity-oriented HCI research: develop and employ clearer definitions of creativity; go beyond in-vitro studies of novel tools; and move toward interdisciplinary research collaborations.

Twenty Years of Creativity Research in Human-Computer Interaction: Current State and Future Directions

This article explores the observation that highly limiting, creative decisions of voluntary self-binding that radically prune the design solution space may in fact fuel and accelerate the process toward an innovative final design. To gain insight into this phenomenon, we propose the concept ‘decisive constraints’ based on a review of current, but dispersed, studies into creativity constraints. We build decisive constraints on two definitional conditions related to radical decision-making and creative turning points. To test our concept analytically and ensure its relevance to creative practice, we apply the two definitional conditions to three media facade installation projects in which our interaction design research lab has been involved. In accord with insights from these case analyses, we argue that decisive constraints may inform current research into design processes and act as a creative resource for practitioners, not only in interaction design but, we assume, also across related creative ...

/pdf/decisive-constraints-as-a-creative-resource-in-interaction-59sgjex423.pdf

Decisive constraints as a creative resource in interaction design

This paper suggests a framework for understanding and manoeuvring design spaces based on insights from research into creativity constraints. We define the design space as a conceptual space, which in addition to being co-constituted, explored and developed by the designer encompasses the creativity constraints governing the design process. While design spaces can be highly complex, our constraint-based understanding enables us to argue for the benefits of a systematic approach to mapping and manipulating aspects of the design space. We discuss how designers by means of a simple representation, a design space schema, can identify the properties of the prospective product that s/he can form. Through a case study, we show how design space schemas can support designers in various ways, including gaining an overview of the design process, documenting it, reflecting on it, and developing design concepts. Finally, we discuss the potentials and limitations of this approach.

A constraint-based understanding of design spaces

This paper contributes an analytical framework to improve understanding of the composition of recognized creativity methods used in design. Based on an extensive literature review, our framework synthesizes key concepts from design and particularly creativity research, and is further supported by significant experience with creativity methods in design. We propose that nine concepts are relevant for analyzing creativity methods in design: process structure, materials, tools, combination, metaphor, analogy, framing, divergence, and convergence. To test their relevance as components of an analytical framework, we use these key concepts to analyze three recognized creativity methods that we have often used ourselves: Inspiration Card Workshops, Fictional Inquiry, and Extreme Characters. Our analytical framework expands current categorizations of methods and offers new insight into how creativity methods are composed, how and why they work, and how they potentially may be tweaked or refined for enhanced deployment in design.

Understanding Creativity Methods in Design

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