MGT567 Being a Creative Group


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  • Charles Batcheldor was an English machinist. John Kruesi was a Swiss clockmaker. Ludwig Boehm was a German glassblower. Francis Upton was a Princeton-trained mathematician.They were drawn to the then-isolated New Jersey hamlet of Menlo Park by the magnetic force of Thomas Edison's genius. But it was Edison's unique ability to tap into their skills that turned his half-formed visions into an astonishing stream of workable products. "He was never the lone inventor," says Bill Pretzer, a curator of the Edison collection at the Henry Ford Museum."Edison himself flits about, first to one bench, then to another, examining here, instructing there," wrote the New York Herald. A sketch handed to Kruesi unexpectedly yielded the phonograph. The work was "strenuous but joyous," one lab hand wrote. The boss got as dirty as his workmen. And there was the day when the team rode Edison's miniature locomotive to a nearby fishing hole."The strangest thing to me is the $12 that I get each Saturday," Upton wrote his father, "for my labor does not seem like work but like study."It was Upton who bought the instruments that led to a breakthrough insight on electric lighting. It was Batcheldor's nimble hands that threaded a carbon filament into a bulb that Boehm evacuated to a millionth of an atmosphere. And on Oct. 22, 1879, when the bulb finished a 14-hour burn, the darkness filled with the cheers of five men and four nationalities. -- Jerry Useem
  • The place became such a legend, they trademarked the name - and even a skunk. Founded in 1943, Lockheed's Skunk Works built a series of remarkable aircraft, including the F-104 Starfighter and the U-2 and SR-71 spy planes. In the process, it created an icon that many a company has attempted to imitate.How did Lockheed do it? A tyrant as well as a huge talent, aeronautical genius Kelly Johnson insisted on working with a bare-bones staff who were devoted to the work. He put the designers right next to the metalworkers so they didn't draft anything unbuildable. And he kept the number of visitors, even from the CIA and the Air Force, to a minimum. Left alone, the Skunks Works team pushed aeronautics forward at warp speed. -- Stuart F. Brown
  • MGT567 Being a Creative Group

    1. 1. Module 3David A. JarvisSalve Regina UniversityMGT567 Creative Problem SolvingOctober 6-7, 20-21 2012
    2. 2.  The myth of the “lone genius” Individuals tends to get caught up with their ideas – and can’t adapt Teams can provide greater momentum Teams can focus on multiple projects concurrently
    3. 3. What do they all share in common?
    4. 4. 1. Foster creative friction2. Protect against groupthink3. Provide more opportunitySOURCE: Managing Creativity and Innovation, HBR
    5. 5. beginner’s mind experience freedom discipline play professionalism improvisation planningSOURCE: Managing Creativity and Innovation, HBR
    6. 6. • Improves the number of ideas Functional • Could create information overload diversity • May create difficulties solving problems • Foster candid debate Social • Sense of belonging to the team – cohesion “superordinate identity” • Needed to encourage and support theManagement processinvolvement • Provide organizational resources • Monitoring increasing motivation SOURCE: How to Kill a Team’s Creativity, HBR
    7. 7.  Should have a clear goal A strong purpose, personality and passion Need a serious deadline Dedicated to achieving an end result Empowered to connect Irreverent and nonhierarchical Well rounded and respectful of diversity“Groups shouldn’t be the result of inertia”SOURCE: The Art of Innovation
    8. 8.  Intellectual perspectives that complement – but don’t duplicate A balance of expertise and personal characteristics People who can work across functional boundaries Look for skills that the team lacks Explore non-traditional hiring channels Add a customer or outside professional to the group SOURCE: Managing Creativity and Innovation, HBR
    9. 9. Mission or purpose Overcoming Shared Challenge adversity experience Sense of Composition Right mix Co-located belongingQualities Passionate Irreverent Empowered Connected Trust Perform Meet Give Share Fundamentals SOURCE: The Art of Innovation
    10. 10. The visionary The troubleshooter The iconoclast The pulse taker The craftsman The technologistThe entrepreneur The cross-skilledSOURCE: The Art of Innovation
    11. 11. Respect Commitment to active listening Right to disagree Obligation to challenge assumptions Opportunity to speak Conflicting views help us learn Ideas and assumptions can be Calculated risk is good attacked, individuals can notFailures should be acknowledged and Playful attitudes are welcome learned from Success is celebrated as a group SOURCE: Managing Creativity and Innovation, HBR
    12. 12. Step 1 Step 2 Step 3 Facilitate the Move towardsCreate a climate discussion closure• People need to be • Acknowledge the • Discuss what can be willing to discuss issue done different issues • Refer to the rules • Make concrete• Freely point out the • Encourage suggestions for “elephant in the conversation improvement room” • Keep it impersonal • Bring in a facilitator? SOURCE: Managing Creativity and Innovation, HBR
    13. 13. …on an expedition …on a mission …on autopilot …on a treadmillSOURCE: Managing Creativity and Innovation, HBR
    14. 14. Time pressure Likelihood of creative thinking • Can focus on one activity • Oriented towards generating because they are protected ideas rather than identifying • Doing important work, problems positively challenged High • Collaborate more with one • Equally oriented between person than a group generating ideas and identifying problems • Receive little encouragement • Feel distracted from management • Involved with many different • More group meetings and activities discussions • Don’t feel the work is important Low • Engagement is less • Feel more pressed for time collaborative overall than if they were on a mission Low HighSOURCE: Managing Creativity and Innovation, HBR
    15. 15. BOOKS Arthur, Cropley. Creativity in Education and Learning. Routledge, 2001. ISBN-10: 0749434473 Kelley, Tom, Jonathan Littman, and Tom Peters. The Art of Innovation: Lessons in Creativity from IDEO, Americas Leading Design Firm. Crown Business, 2001. ISBN-10: 0385499841 Lehrer, Jonah. Imagine: How Creativity Works. Houghton Mifflin Harcourt, 2012. Leonard-Barton, Dorothy and Walter C. Swap. When Sparks Fly: Harnessing the Power of Group Creativity. Harvard Business Review Press, 2005. ISBN-10: 1591397936 Managing Creativity and Innovation (Harvard Business Essentials). Harvard Business Review Press, 2003. ISBN-10: 1591391121 Puccio, Gerald, Marie Mance and Mary C. Murdock. Creative Leadership - Skills That Drive Change. 2nd ed. Sage Publications, 2011. ISBN-10: 1412977576 Treffinger, Donald, Scott Isaksen, and Brian Stead-Doval. Creative Problem Solving: An Introduction. 4th ed. Prufrock Press, 2006. ISBN-10: 1593631871ARTICLES “Developing Creative and Critical Thinkers”, Col. Charles D. Allen, U.S. Army, Ret. and Col. Stephen J. Gerras, Ph.D., U.S. Army, Ret., Military Review, Nov-Dec 2009 “Sparking creativity in teams: An executive’s guide”, Marla M. Capozzi, Renée Dye, and Amy Howe, McKinsey Quarterly, April 2011 “How Pixar Fosters Collective Creativity”, Ed Catmull, Harvard Business Review, Sept 2008 “Inside Cisco’s Search for the Next Big Idea”, Guido Joret, Harvard Business Review, Sept 2009 “How to Kill Creativity”, Teresa M. Amabile, Harvard Business Review, Sept-Oct 1998 “Cultivating organizational creativity in an age of complexity” (IBM study, 2011) “Defining Systematic Creativity” (LEGO Learning Institute, 2009) “Accelerate!”, John P. Kotter, Harvard Business Review, Nov 2012 “What Doesnt Motivate Creativity Can Kill It”, Teresa Amabile and Steve Kramer, Harvard Business Review Blog Network, April 25, 2012 “KIDS Vision: Imagining Possible Futures for Technology”, Latitude Studios