Online Creativity Research Articles

Managing online creativity for improving innovation performance

PurposeBuilding on the socio-cultural theory and the climate literature, the purpose of this paper is to examine: how to effectively manage computer-mediated platforms to improve innovation performance, and which types of computer-mediated platforms firms should be more involved with.Design/methodology/approachThe multivariate mediated regression method and relative effect analysis were employed to test the model.FindingsAnalyses reveal that online creative climate mediates the effects of the perceived innovation policy on both novelty and meaningfulness of creative behaviors. In addition, online creative climate is positively related to both radical and incremental innovation performance. Further, the relative performance results of the four types of computer-mediated platforms are found to be unequal.Practical implicationsThe results suggest to managers that establishing creative climates in computer-mediated platforms is a promising approach to improve firms’ innovation performance. The results further indicate that managers should acknowledge the advantages and limitations of each type of computer-mediated platform in order to increase innovation performance. Otherwise, firms may misallocate resources and investment efforts in computer-mediated platforms.Originality/valueBy categorizing computer-mediated platforms into four types, this study provides the first synthesis of personal interactions that occur in computer-mediated environments. This study presents the first empirical assessment of how creative climate can be used as a facilitator for improving innovation performance and which type of computer-mediated platforms is more appropriate for radical or incremental innovations.

The effect of on-line creativity class on promotion of creative personality and self-concept

The effect of on-line creativity class on promotion of creative personality and self-concept

YouTube, multichannel networks and the accelerated evolution of the new screen ecology

In attempting to break with a ‘fall from grace’ narrative that may structure analysis of the rapid professionalization and monetization of previously amateur online video content on the main global platform, YouTube, this article outlines histories of key institutions in the new screen ecology as outcomes of the increased interpenetration of very different, often clashing industry cultures. Google/YouTube, Apple’s iTunes, Netflix, Amazon, Yahoo! and Facebook (‘NoCal’) are largely Internet ‘pure-play’ companies, whilst Hollywood’s incumbents (‘SoCal’) practice time-honoured mass media and premium content strategies. The ‘history of the present’ of the new screen ecology is the history of the clash of these cultures. The less than 10-year history of Google’s YouTube can be written as a history of Google seeking to come to terms with the conditions of possibility for entertainment, content and talent development from its base as an IT company dedicated to scale, automation, permanent beta, rapid prototyping and iteration. These efforts reflect both continuities and contestations with traditional media models, particularly business models. As emerging intermediaries in the middle of the convergent space between NoCal and SoCal, multichannel networks’ (MCNs’) placement sees them needing to innovate on both the NoCal and SoCal side. On the former side, MCNs are attempting to provide value-added services superior to basic YouTube analytics, with programmatics and pioneering attempts at management of scale and volume. On the latter side, they are managing a quite different class of entry- to mid-level talent, who bring successful audience development and clear ideas about the roots of their success with them. The new screen ecology is a space of unimagined scale and scope of flourishing online creativity and culture, which is at the same time turbulent and precarious for creators and MCNs alike.

Knowledge issues in the global innovation index: Assessment of the state of Saudi Arabia versus countries with distinct development

This paper is concerned with exploring the state of Saudi Arabia with regards to the main knowledge issues of the global innovation index (GII), in order to direct its future knowledge development. For this purpose, the paper follows a method of three main steps. In the first, it organizes GII knowledge issues into a framework of five integrated layers: People’s layer, which is concerned with education and research; technical tools’ layer, which is associated with the Information and Communication Technology; knowledge-in-business layer, which is related to knowledge workers, innovation linkages, and knowledge absorption; knowledge and technology output layer, which is concerned with knowledge creation, impact and diffusion; and finally creativity output layer, which is associated with creative intangibles, goods and services and online creativity. In the second step it investigates these layers for Saudi Arabia relative to four other countries: Brazil and Russia, which are the first two of the distinguished BRIC countries; and Malaysia and South Korea, which are Asian countries that enjoy distinct development drive. The final step discusses the outcome of the investigations and emphasizes future knowledge development requirements for Saudi Arabia.

The importance of interface complexity and entropy for online information sharing

In this paper, we describe two experiments that show the powerful influence of interface complexity and entropy on online information-sharing behaviour. One hundred and thirty-four participants were asked to do a creativity test and answer six open questions against three different screen backgrounds of increasing complexity. Our data show that, as an interface becomes more complex and has more entropy users refer less to themselves and show less information-sharing breadth. However, their verbal creativity and information-sharing depth do not suffer in the same way. Instead, an inverse U-shaped relationship between interface complexity and creativity as well as information-sharing depth can be observed: users become more creative and thoughtful until a certain tipping point of interface complexity is reached. At that point, creativity and thinking suffer, leading to significantly less disclosure. This result challenges the general HCI assumption that simplicity is always best for computers’ interface design, as users’ creativity and information-sharing depth initially increases with more interface complexity. Our results suggest that the Yerkes–Dodson Law may be a key theory underlying online creativity and depth of online disclosures.

Locating the Online: Creativity and User-Created Content in Seoul

As one location boasting high broadband speeds, infrastructure, strong techno-nationalist policy and some of the early examples of so-called ‘digital natives’, South Korea has been seen as the model for the future of online culture. However, beyond these images of techno-fantasies is a technoculture that is marred by an increasing ambivalence towards online media. Specifically through user-created content (UCC), researchers can gain insight into some of the paradoxes emerging around online creativity, community and politics. Drawing on fieldwork conducted between 2009 and 2011, this article considers what UCC means in Korea and how this reflects the particularities of Korea's technoculture.

Examining knowledge contribution from the perspective of an online identity in blogging communities

Knowledge contribution is one of the essential factors behind the success of blogging communities (BCs). This research studies knowledge contribution behavior in a BC from the perspective of knowledge contributors and their characteristics using the lens of social identity theory. Social identity theory asserts that individuals are fundamentally motivated to present or communicate their identities in everyday social life through behavior. A similar line of reasoning can be used to argue that members of a BC would also be motivated to communicate their online identities through their behavior, that is, through knowledge contribution in the BC. Specifically, this study conceptualized the online identity and examined the effects of its personal (online kindness, online social skills, and online creativity) and social aspects (BC involvement) on knowledge contribution. The data was collected using an online survey from the members of Cyworld, a popular BC in South Korea and a few other countries (members from South Korea were included in this study). The results indicate that both the personal and social aspects of online identity and their interactions significantly influenced knowledge contribution. Based on the findings, this study offers suggestions to organizers of BCs to enhance the knowledge contribution from their members.

The influence of positive affect on jumping to conclusions in delusional thinking

This study examined relationships between positive affect and jumping to conclusions (JTC) in delusional thinking. One hundred and eighty-nine non-clinical participants entered an internet experiment and were randomized into one of two conditions. Those in a positive condition performed online creativity tasks and received bogus positive feedback as part of a positive affect induction procedure, whilst a neutral condition received neutral feedback. Both groups were subsequently assessed on a survey task for changes in JTC. In line with hypotheses, participants in the positive condition requested significantly more survey comments before drawing conclusions than those in the neutral condition. Results suggest that increases in positive affect may be linked with a tendency to gather more information before making decisions (i.e. a reduction in JTC). The influence of positive affect on reasoning biases in social environments is discussed.

Privacy Polls v. Real-World Trade-Offs

A recent telephone poll conducted by professors at Berkeley and the University of Pennsylvania concluded, “Contrary to what many marketers claim, most adult Americans (66%) do not want marketers to tailor advertisements to their interest.” What does this tell us about whether, and how, government should further regulate online advertising? Precious little: Not only does this poll overstate the costs of targeted advertising, understate its benefits, and ignore the tools available to users to address their privacy concerns but, like any opinion poll, this one tells us more about the psychology of decision-making under the artificial uncertainty of polls than about the choices users would actually make in the real worldWhatever Americans tell pollsters about “tailored” ads, they also complain about irrelevant ads: A previous poll found that 72% of consumers “find online advertising intrusive and annoying when the products and services being advertised are not relevant to [their] wants and needs. Meanwhile, users in the real world were two to eleven times more likely to click on highly-tailored ads. Users clearly “vote with their clicks” for ads they find relevant - i.e., they vote for “tailoring.”Advertising is indispensable to the future of online media, but it is also currently inadequate to sustain “Free” culture. The advocates of regulation pay lip service to the importance of advertising in funding online content and services but don’t seem to understand that this quid pro quo is a fragile one: Tipping the balance, even slightly, could have major consequences for continued online creativity and innovation.We need a behavioral economics experiment, not just another poll. If we really want to know how much subjective value consumers place on a particular aspect of their privacy, we must look to the preferences they reveal in the process of making real choices.

Exploration of the effectiveness of online creativity instruction as a general college course

Exploration of the effectiveness of online creativity instruction as a general college course

Exploration of the effectiveness of online creativity instruction as a general college course

Exploration of the effectiveness of online creativity instruction as a general college course

Diagnosing the creativity of designers: individual feedback within mass higher education

The development of mass higher education has forced design educators to reflect on the teaching methods in use. Previous investigations have explored web-based technologies as a means to compensate for increased student numbers within the established traditions of design education. In extending such research this paper explores the application of online creativity diagnostics to deliver individual feedback and guidance. A web-based diagnostic tool built upon Amabile's Componential Model of Creativity was developed through which a series of questions pertinent to domain-relevant skills, creativity-relevant processes and task motivation were presented. Diagnostic feedback was available via a personalised online report. After receiving diagnostic feedback, paired sample t-test results suggested that design students can benefit from the use of creativity diagnostics, particularly as a means of raising self-awareness regarding skills relevant to their creative development. Moreover, this diagnostic process has the potential to occur within a mass higher educational context.

Creativity.com: Aladdin’s Cave or Pandora’s Box?

Today, creativity has moved beyond its traditional home in the rhetoric of the philosopher and the exploits of the artist to form an integral part of both the theory and practice of a myriad of disciplines. Health professionals (Dossey; Kirklin & Meakin; Meites, Bein & Shafer; Rees; Satalof), scientists (Bohn 1-3, 13-15; Culross), educators (Guilford; Sawyer; Sternberg & Williams; Wilks) and those involved in the corporate world (Forbes & Domm; Mauzy & Harriman; Robinson & Stern) all consider creativity to be a fundamental criterion by which they measure and achieve their successes. 2 In this way, however, creativity has become something of an over-burdened signifier. Now the market is flooded with highly idealised and ever expanding models for understanding and transmitting creativity, in which the medium (transmission) strives to outdo the message (creativity itself). We are not attempting here to arbitrate between these various models with a view to providing a rank order of creativity. Instead, we want to focus on and explore the ways in which recent technological developments, primarily the internet, have been, and might be, used to transmit and facilitate new directions and expressions of creativity and the creative process itself. 3