Creativity, Production Engineering and entertainment industry

Vinícius Carvalho Cardoso,Gabriel Bouhid Barradas

doi:10.1186/s40552-016-0032-5

Vinícius Carvalho Cardoso, Gabriel Bouhid Barradas

Open Access

https://doi.org/10.1186/s40552-016-0032-5

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Abstract

In recent years, humanity has entered a new factory period, an age of electronic devices. The gadget-man working set and the mobility and abstract learning required by such gadgets leads Flusser (Mundo Codificado, 1st edn. Cosac Naify, Sao Paulo, 2007) to pose the question: what will factories be like in the future? We believe that this factory will be a place of creation and learning. As well as the mass production by machines allowed the widespread of various products and food, these electronic devices will free people for creative activities and mobility. Production Engineering must adapt and anticipate this new manufacturing paradigm, working on gradual adaptation of existing organizations and on the development of new organizations for this gadgets age. It is the production engineer role to study ways to better manage and organize factories and productive environments with a focus on creativity. In this paper, we present the theoretical foundations for Organizational Creativity—fundamental structure of the entertainment industries—under a standpoint of Production Engineering, highlighting the relationships that can open paths for the Production Engineering entry into these future factories. We hope to arouse interest of researchers and students alike for this field of knowledge that is each time harder to remain ignored in our society. We also hope to show entertainment industry members how the harmonization with Production Engineering tools may add to their job.

Highlights

In the second period—Tools—the man uses tools for the transformation of the natural world into the cultural world. During this period the man surrounds himself by tools, alienating himself from the world, getting protected from nature, but at the same being imprisoned by the culture he creates, becoming part of the cultural world
The machine becomes constant, absorbing raw materials and turning them into cultural products, Cardoso and Barradas Braz J Sci Technol (2016) 3:20 while the man becomes the replaceable variable—if man “breaks”, he is replaced. With this further step towards man’s alienation, the factory adopts fixed positioning, housing machines, as is still common today. It is in this industrial context that Production Engineering blooms, studying the organization and solutions for problems occurring in Machine Era factories
Amabile and Gryskiewicz (1989) developed a tool, work environment inventory (WEI), in order to identify and measure environmental factors that impact on creativity

Summary

Background

Flusser (2007) argues that by studying the history of factories one can understand the history of humanity, involving the lives, thoughts, actions and sufferings of the people. Amabile and Gryskiewicz (1989) developed a tool, work environment inventory (WEI), in order to identify and measure environmental factors that impact on creativity This tool was evolved to the KEYS model which measures in ten dimensions the management practices, organizational motivation, resources and results (Amabile et al 1995; Amabile 2010): freedom (i.e., sense of control, decision of what work to do and how to do it); work challenge (i.e., feeling of working in challenging and important tasks); encouragement of management (i.e., a boss who is a good example, which encourage the group, demonstrate confidence in the group, set appropriate goals and values individual contributions); support for the working group (i.e., group with varied skills, good communication, openness to ideas, intra-group constructive challenges, commitment to work, trust and mutual help); organizational encouragement (i.e., culture with righteous judgment of ideas, rewards and recognition for creative work, incentive mechanisms to develop new ideas and a shared vision); lack of organizational impediments (i.e., not prevent creativity by internal political problems or too harsh criticism of new ideas, destructive internal competition, very high risk aversion and encouraging the status quo); have sufficient resources (i.e., access to the appropriate resources, including funds, materials, facilities, and information); realistic workload pressure (i.e., no extreme time pressure, unrealistic expectation of productivity, and distractions).

Methods engineering

Findings

Introduction to economics