L’organizzazione della creatività

Translated title of the contribution: [Autom. eng. transl.] The organization of creativity

Fabrizio Montanari, Federica De Molli*

*Corresponding author

Research output: Chapter in Book/Report/Conference proceedingChapter

Abstract

[Autom. eng. transl.] Creativity is a topic that has always fascinated philosophers and scientists. From Plato to Aristotle, from Kant to Freud, thinkers from different disciplines have questioned the nature of the creative process. Initially, creativity was thought to be a kind of divine inspiration. For the Latins and the ancient Greeks, it was attributable to a divine figure (δαίμων) who, placing himself halfway between what was divine and what was human, performed the function of intermediary between the two. It was thanks to figures such as the Muses, for example, that poets and musicians acquired the inspiration for their compositions. Only with Humanism has there been a radical change of course. Consistent with the anthropocentric setting of the philosophical systems of the time, in fact, we began to consider creativity no longer as a divine gift, but as the result of the individual's abilities. From this moment, therefore, the reflections on creativity have focused on the individual factors capable of influencing it. In this sense, the idea that creativity is a typical trait of the personality of an exceptional individual has gradually established itself: the creative genius. Romanticism subsequently exalted this vision by providing it with an aura of mystery and linking it to the idea of recklessness that had already struck some classical philosophers such as Aristotle and Seneca. It was only between the end of the 19th century and the beginning of the 20th century (with the studies of the mathematician Henri Poincaré, for example) that creativity became the subject of scientific research; in fact, scientists, inspired by the ideas of Darwinism, began to question what were the individual factors capable of influencing creativity. Thanks to some research (which are now considered classics in the literature on creative processes), it has been possible to identify, for example, certain traits typical of creative personalities such as non-conformism, flexibility of thought, self-confidence and openness to the new. These first studies, mainly of a psychological matrix, were followed by research in other fields, such as economics and sociology, which made it possible to develop a more complex and articulated vision of creativity, taking into consideration not only the personal characteristics of the individual , but also the influence of contextual variables linked, for example, to the organizational characteristics of the workplace. This chapter offers a review of the main theories of creativity. In particular, starting from psychological studies, he will continue to highlight the most important contextual determinants. In this sense, after focusing on those that act at group and organizational level, we will proceed to discuss the most recent studies that have adopted a more extensive concept of context. In particular, ample space will be given to the role played by the spatial dimension, illustrating how the physical characteristics (especially of new workspaces) can stimulate creative processes. The chapter closes with a brief mention of the social vision of creativity and the role potentially played by geographical and territorial characteristics.
Translated title of the contribution[Autom. eng. transl.] The organization of creativity
Original languageItalian
Title of host publicationOrganizzazione aziendale. Comportamenti e decisioni per il management
Pages235-260
Number of pages26
Publication statusPublished - 2020

Keywords

  • creatività
  • network
  • processi creativi
  • spazi

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