Why Do You Think the Industrial Revolution Stimulated So Much Creativity in the Arts?
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Arts catalyst of creative organisations for the fourth industrial revolution
Journal of Open up Innovation: Technology, Market place, and Complication volume 3, Article number:20 (2017) Cite this article
Abstract
Today's digital era challenges organisations non but to follow the technological trajectories, by developing new technological solutions and/or adopting the latest disruptive technology, only most importantly to get creative and resilient organic systems that are open to changes and keen to experiment and innovate continuously. For this reason, organisations need to shape a artistic environment in which technology and inventiveness are fully integrated and intertwined. This can be achieved past integrating the emotional and aesthetic aspects of an arrangement with the technical and rational dimensions distinguishing the technology.
This newspaper argues that, in the context of the so labelled quaternary industrial revolution, successful organisations are those that exert innovative adequacy by becoming techno-human systems developing and melting emotional and rational knowledge. In accordance with this view, managers aslope the deployment of innovative technologies – which defines the techno-based dimensions of an organisation – they accept to nurture an organisational creative surround which reflects and empowers the human-based characteristics. This can be achieved past taking into account the aesthetic dimensions and properties of an organisation and past bringing artistic projects and/or attitudes into the organisation in order to trigger disquisitional and creative thinking. The instrumental employ of the arts as a management innovation for the creation of an organisational context which nurtures human potential and artistic thinking is illustrated through the analysis of some of the key arts based initiatives put in place by Elica, an Italian globe leader company in the design and production of kitchen hoods.
Introduction
Dissimilar interchangeable labels have been coined and used to describe the innovations of today's new socioeconomic era, such as Digital Age, the Fourth Industrial Revolution, the Internet of Things/Everything, or the Industrial Internet. In item, in the last years, the notion of the Fourth Industrial Revolution has been proposed by the Globe Economic Forum to sign the drastic and accelerated development of technologies and their bear on on lodge at big. Information technology is argued that the development of digital and intelligent technologies in conjunction with biology and their combination and application to the concrete world defines a new industrial revolution. New technology-enabled platforms capable of combining both demand and supply are already disrupting existing industries and shaping new business organisation landscapes such as the "sharing" or "on need" economy (Schwab, 2016). Two principal drivers of this revolution can be recognised, on the one hand, the development of industries from the pre- to the post- Fordism era, and on the other hand, the development of internet and the connected 'digital world', i.eastward. all applications and infrastructures related to the Spider web. To denote the implications of these two paths of innovation on the transformation of global industry and daily life, Full general Electric uses the notion of Industrial Internet, i.e. the combination of the physical world and internet (Evans and Annunziata, 2012). The manifestations of this combination defines the technology landscape which includes a number of cardinal dimensions ever evolving, such as: Connectivity; Big Data; Automatization; Intelligent Agents, Robotics; Machine Learning; Artificial Intelligence; Blokchain; Sensors; Virtuality; 3D printing; and Augmented reality. These technologies and their convergence, integration and development have the digital dimension as common denominator and overall represent the key technological pillars characterising today's Digital Age.
Independently from the adopted ontology and terminology the Digital Age, or Fourth Industrial Revolution represents a shift of prototype with a new moving ridge of innovations characterized by the digitization of business, society and our lives. These innovations will increasingly transform how organisations and institutions do their businesses, operate their productions, and impact on social club and make their ecological footprint besides as how people alive their lives. These innovations entail the evolution, deployment and exploitation of technologies, but their initiation and growth are strongly affected past the creative characteristics of organisations. Indeed, at the centre of the creation and growth of whatever technological solution there is e'er the aspirations, curiosity, creativity, competence and passion of people who have imagined, prototyped and tested a engineering. Therefore, the agreement of what drives the Digital Age has to take into account the human being-based dimensions and characteristics equally much as the technological ones, and in add-on has to consider the biological components that define the ecology of life. This ways that the 4th Industrial Revolution is primarily concerned about the integration of Technology, Humanity and Biological science. This, in other words, means that the key characteristic of the Digital Age is the shaping of Techno-Human being Intelligent Systems, i.e. systems that integrate technological and human characteristics and are organic and living in nature, and so that they are capable of dynamically learning and evolving in relation both to the context in which they operate and to the issues/challenges they have to face. This view of the Techno-Human Intelligent Systems acknowledges the centrality of people as much as of the technology. As evocatively formulated by General Electric, the new wave of innovations is almost "machine + minds", i.e. the relationships betwixt technologies and people to support intellectual activities that tin exploit the computational chapters of machines.
The successful organisations of the Digital Historic period will be those recognising that equally much equally they will get more technologically avant-garde, the people will still be at the heart of organisational life and really the most human distinguishing factors will get fifty-fifty more fundamental for the creation and deliver of value. Indeed, the organisations' innovation dynamics and value creation mechanisms are affected by the logical and rational components too as by the emotional and creative dimensions, e.g. empathy, intrinsic motivation, curiosity and imagination. The appointment of these emotional and creative aspects is what distinguish people's contribution from technologies and, ultimately, information technology what an organisation turns into technological solutions, products and services that embed value for club.
The success of digital companies such as, for example, Google cannot be explained without taking in account the deep human nature of these organisations that are continuously able to generate confusing innovations by sustaining themselves as artistic organisations. Google has created a capacity for modify and innovation past shaping organisational contexts in which creativity could flourish. Employees are given fourth dimension and space to cultivate and express their creativity so that they can exist encouraged to continuously search for new solutions to emergent and potential business problems. Bully attending has been paid to the aesthetic backdrop of the workplace so that it can inspire and energise employees' creativity. The workplace is enriched with playground areas (equipped with bar football and table tennis tables), and services for employees including free meals during the day, coffee corners, gym, spa, meditation and resting areas, and rooms where people tin play music. All these solutions are aimed at managing the organisational artful dimensions and properties in a style that human being senses can be stimulated creating positive employees' experiences which in turn may certainly influence their emotive states and bulldoze the enhancement of the existing technological platform as well as the prototype and development of new solutions.
The aim of this paper is to explore how in today'south Digital Historic period organisations can shape and nurture a creative environment in which change is a 'state of listen' and employees take the capability to be imaginative and engaged to encompass transformation, continuously accepting and searching for new valuable solutions. The Fourth Industrial revolutions calls for organisations to be non just technologically advanced simply very chiefly able to develop a capacity to respond creatively to discontinuous changes and accordingly to be more and more than flexible, active, intuitive, imaginative and resilient. Shaping a creative environment organisations enable people to discover and express their potential then that by using their full cognitive capabilities they can find novel valuable solutions to problems and challenges. The development of a creative environment is based on the idea that an organisational system is a living organism whose capacity for beingness intuitive, imaginative, resilient, creative and adjustable, is based on its human-based nature (Hamel, 2000, 2007, 2009; Schiuma, 2011). In fact, the ability of an arrangement to be intuitive and imaginative is tied to the employees' willingness and ability to exercise their creativity and imagination in daily work activities equally well as the flexibility and resilience of an organisation is strongly affected by the employees' capacity to tackle stress, anxiety or fear of failure.
The focus of this newspaper is on the investigation of how organisations can shape artistic environments by adopting the arts as a goad for creativity and innovation. Acknowledging the techno-homo nature of the organisations in the digital age, it is argued that the arts can be deployed equally a managerial ways to shape organisations' artistic environments. Insights nearly how to deploy the arts as a driver for shaping creative organisations are gathered from the analysis of the case example of Elica: an Italian company world leader in the design and product of kitchen hoods. Despite technological nature of Elica's products and services, the company is continuously developing an organisational creative environment capable of sparking, fostering and developing human potential and artistic thinking past using the arts as a catalyst.
Distinguishing the human-based nature of organisations in the digital age
In the new Digital Age, organisational success will non solely depend upon the ability to prefer, develop and exploit technologies. Successful organisations demand to distinguish the human-based nature of their organisational life and components (Adler, 2010). Indeed, in the Quaternary Industrial Revolution, organisations will be increasingly challenged to develop a capacity for change and innovation. The footstep of modify and the disruptive nature of innovations will require that organisations become more and more agile, intuitive, imaginative, and open to change. This can exist achieved only past developing the human being-based dimensions of an organisation. Therefore, the Fourth Industrial Revolution it is non merely about embracing new disruptive digital-based technologies and learning machines, but information technology is as well about shaping organisational environments that permit people express their real potentials and be in touch with their positive emotions.
In the Digital Age information technology volition be cardinal to accept into account that organisations' functions and existence is characterised and based on vital phenomena. These include, at the aforementioned time, the technological dimensions and the emotive and inner dimensions of human-based characteristics. These two dimensions are inseparable unless an organization is made into a 'auto-like system', removing the human presence. This means that technology and humanity have to exist seen every bit 2 intertwined pillars of development and continuously put in conversation.
In order, to acknowledge and signal out the dual and inseparable twofold technological and human-based nature of organisations in the digital age, the view of the organisation equally a techno-human organisation is introduced. This view considers organisations as living organisms (Burns and Stolker, 1961) and stresses that organisational behaviours are strongly afflicted by aesthetics and emotions in organisations (Fineman, 1985; Frost et al., 1985; Linstead and Höpfl, 2000; Mintzberg, 1985; Strati, 1992; 2000a; Turner, 1990). Accordingly, the technological and rational-based knowledge assets every bit well as the organisational aesthetic and emotive features accept to exist managed by organisations in order to sustain success and achieve excellence (Strati, 1992, 2000a; Taylor and Hansen, 2005). Indeed, emotions play a cardinal function in explaining the quality of the organisational value creation capacity. They act equally enablers and/or barriers towards business models and processes innovation, having the capacity to moralise and demoralise, mobilise and immobilise organisational energies (Frank, 1988). In particular, emotions affect the engagement of people to requite the all-time of themselves too as to exercise their curiosity and inventiveness in gild to see new possible and valuable solutions. Co-ordinate to Dick Richards (1995) "engagement occurs when [people] experience a deep sense of caring about the work, a sense that what [they] are doing is worthwhile in and for itself." (p. 31). The creation of this 'sense of caring' requires that organisations address people's emotions (Richards, 1995). They bear upon people's behaviours also as human activity as a catalyst for the evolution of business concern functioning drivers, such as satisfaction, enthusiasm, flexibility, loyalty, creativity, change and innovation propensity, identity, diversity, civilization, risk taking, and so on (Flam, 1993; Schiuma, 2009, 2011). They assist to explain the organisation's chapters of being adaptable, resilient and innovative.
In the new digital age where the computational power of machines volition enable college efficiency and control, emotions play an important part in explaining the level of people's date which in turns impact the employees' capacity of being creative and innovative. This means that the digitisation process of organisations and economy will be coupled by an increasing acknowledgement that emotions and other soft dimensions such people'south energy, experiences and ideals stand for an of import source for organisational functioning.
In guild to enable people to observe and express their artistic potentials and existence engaged organisations can shape their organisational context into a creative environs. A artistic surroundings aims 'to shape a space and time' in which people tin be engaged with their emotions, exert creative thinking and deploy their energy in order to make an bear on on organisational value creation dynamics. The creation of an organisational creative environment is based on the idea that engineering and humanity can exist synergistically integrated. It represents a platform in which the rational and emotive elements of an system are fused and nurtured past each other although they accept a very dissimilar role. The emotive dimension involves touching people'due south feelings and moods, and making sure they are in touch with and present to themselves. Conversely, the rational dimension refers to the technologies, rational knowledge, and ready of rules and procedures that define how activities have to be carried out.
The primal scope of a creative environs is to spur the total date of human potential and virtually chiefly to avert 'silos thinking', such as overspecialisation, and/or a paralysis of critical and artistic thinking among employees. At the basis of the creation of a creative surround resides the recognition that organisations take a living nature and that at the heart of their value creation mechanisms there are people.
On the basis of the to a higher place assumptions in the next session it is discussed how organisations can shape artistic environments by managing their artful dimensions.
Shaping creative environments by managing organisational aesthetic dimensions
In shaping a creative environment, the key challenge for managers is how to practically handle the emotive characteristics and elements of an arrangement and so that they tin be integrated with engineering and the other technical and rational-based noesis characterising of the arrangement'south processes. For this purpose, acknowledging the techno-human nature of an organisation, a powerful approach the management of the aesthetic characteristics of an system. Indeed, the organisational capacity of treatment emotions and other cardinal soft human being-based value drivers, such as experiences, energy, engagement and ethics, can exist built by focusing and managing the organisational aesthetic dimensions. In fact, aesthetics and emotions are two dimensions which are closely intertwined. Aesthetics generate feelings and feelings touch aesthetics. Aesthetics can exist used to mobilise and manage emotions within and effectually organisations, and emotions can be put in identify to ameliorate tune organisational aesthetic characteristics. The management of aesthetic dimensions within organisations equals to affect how people make sense of their outer and inner reality by using their senses. The management actions can be focused on the aesthetic experiences and/or properties of an organisation. Organisational artful experiences refer to the quality of employees' experiences inside the arrangement, including their well-beingness, the quality of their daily work activities and the engagement level in what they do. This thought tin can be further extended to include all possible organisations' stakeholders; in which case the management of organisational experience corresponds to how stakeholders perceive the organisation and its products/services and activities. On the other hand, organisational aesthetic backdrop characterise the aesthetic qualities of the organisation every bit a whole. This involves the chapters of the organisation's tangible and intangible infrastructure (from equipment and workplace to culture and climate) to touch on people's (stakeholders') experiences. For this reason, organisations are increasingly paying attention to the integration of interior design and playfulness in workplaces and are paying smashing attending to the creation of an organisational temper in which employees could be happy, inspired and energised. Withal, the recognition of the role and relevance of the aesthetic dimensions of an organisation requires the definition of approaches and tools to handle the creation, development, and impact of the organisational artful experiences and backdrop. For this reason, the knowledge domain of the arts tin exist approached and instrumentally used. In fact, the ability of the arts is the capacity to define and shape aesthetic properties and experiences. Accordingly, the arts from an instrumental bespeak of view tin be considered as aesthetic technologies, i.due east. fine art forms and/or artistry that are instrumentally used in order to deal with or solve a business/organisational result. This means that from a applied bespeak of view in order to manage organisational aesthetic dimensions artistic projects and practices tin can be adopted by organisations. Through the arts it is possible to foster people'southward aesthetic experiences and manipulate the aesthetic properties of an organisation'due south infrastructure. This, in turn, supports managers in treatment the organisation's emotive, energetic, ethical, and experiential features and to integrate these dimensions with the organisations' rational-based assets and engineering science grounding the working mechanisms of business processes.
Arts as a catalyst for the evolution of organisational artistic environments
The value of the arts has been explored from unlike point of view and information technology is a subject field of fence, specially, in the public discourse when to assess the investments for the arts and the cultural and artistic sector. Indeed, the arts accept a value of twofold nature. On the one hand, they take an intrinsic value which justifies the arts for the sake of arts because their role for expressing and defining humanity. On the other hand, the arts have a utilitarian value in which case their value is divers by the specific use of the arts in relation to some specific purposes. Both perspectives are important when analysing the role of the arts every bit a management means of the aesthetics characteristics of XXI century organisations (Schiuma, 2011). However, the utilitarian point of view explains the instrumental utilise of the arts as a vehicle that tin inspire managers to develop management innovation, frame new organisational and business models, and draw on new approaches and instruments to tackle continuously emergent business concern challenges (Schiuma, 2011). In other words, the arts represent a noesis domain which tin be used to transform organisations and make them more suited to cope with the business challenges of the digital age (Adler, 2006; Austin and Devin, 2003; Darsø, 2004; Nissley, 2010; Schiuma, 2009; Taylor and Ladkin, 2009).
The arts have the power of influencing and creating organisational artful backdrop and experiences (Strati, 2000a, 2000b). They tin be adopted as an musical instrument to develop people and/or to change the organisation's infrastructure both tangibly and intangibly. Addressing people development problems, the arts can be deployed as a means to create artful experiences that can affect employees' emotive, experiential, energetic and upstanding dimensions with an impact on their level of engagement to the organisation's activities and life. On the other hand, the arts can be used as a tool for developing the organisation's infrastructure. They can be applied with the scope of affecting the aesthetic backdrop of the tangible and/or intangible components of an organisation. And so, the arts can be deployed for designing and enriching workplaces, for communicating civilization, identity and image of the organisation, for emotional-driven pattern of facilities, equipments and products, and for creating impactful pregnant that can influence individual and collective behaviours likewise every bit acting as drivers for personal development.
From a practical and operational standpoint, the managerial implementation of the arts is carried out past means of Arts-based Initiatives (ABIs) (Schiuma, 2009, 2011). An ABI is the planned managerial use of any fine art form or combination of art forms to address management challenges and business organization problems with the aim of developing employees and organisational infrastructure that positively touch the visitor's value creation capacity. The underlying assumption is that the adoption of ABIs is fundamentally aimed at humanising organisations, past harnessing the emotional and experiential dynamics characterising organisational life and business activities.
The ABIs stand for approaches and tools that instrumentally use the arts aim to create or to bear upon organisation's aesthetic dimensions. In this view, ABIs can be used specifically adopted as instruments to shape creative environments that acting as catalysers and amplifiers of man emotive abilities can foster the development of organisation'south adjustability and continuous innovation. By adopting ABIs, organisations can employ and exploit the aesthetic properties and experiences associated to an artistic production and/or to an artistic process in order to create a frame of references which promote the connection of employees' technical and emotive knowledge.
Therefore, the deployment of the arts can enable organisations to shape a creative environment which tin spark and back up the integration and conversation between emotive and rational dimensions of an arrangement.
In shaping creative environments, the arts can fundamentally play a twofold office. On one hand, they tin can act as a learning platform (Darsø, 2004). On the other hand, they tin represent a device or vector to influence organisational artful dimensions (Schiuma, 2009). The perspective recognising ABIs as a learning platform considers the arts as an instrument to back up individual and organisational learning mechanisms both by transferring artistic skills, which are useful in the business context, and/or by shaping an experiential organisational atmosphere which can appoint people with their emotions. The use of the arts as a learning platform is fundamentally aimed at developing homo capital. This transformation is mainly based on the learning processes taking place both at the private and at group level that nurture the development of employees. It may likewise have a positive impact on the internal and external organisational relationship dynamics too as on the development of organisational and business models valuing emergent coordination, distributed wisdom, full engagement of people and distributed dominance. In particular, arts-based methods are particularly useful to spark reflections on the leadership way and culture characterising an system. ABIs tin be applied to develop and enhance leadership skills not simply at top direction level but across the entire organisation. This is especially useful in those contexts in which there is a need for distributed leadership. Using arts-based methods employees can understand the meaning and the characteristics of leading and how to share this task with others. For example, using theatre applied methods people can be fostered to reflect on their values, on how they interact with others, on the challenges of directing a grouping and sharing the responsibilities and the trust among the grouping'due south members.
The apply of the arts as a device and vector is mainly related to the employ of ABIs to embed aesthetic properties into tangible and intangible organisational infrastructure and products. So, for example, the arts tin can be used every bit a fashion to shape workplaces that can be inspiring. Offices tin exist artistically designed and beautified in social club to spark and energise people. Simply the use of the arts can exist also focused on managing the intangible elements of the organisational capital such as, for instance, culture, values, identity and image. These dimensions can be fabricated visible, more understandable and emotive through the use of artworks that symbolise them. For instance, the use of sculptures or visual arts can be deployed to correspond metaphorically the identity of the company and its fundamental values.
The adoption of the arts either as a learning platform or as a device, allows shaping artistic environments; by creating a frame of references in which rational organisational characteristics that are ingrained in the working mechanisms of today's organisations are put in conversation and integrated with the emotive features.
In the side by side section the case instance of Elica, a world leading Italian company in the production of kitchen hoods, is presented. Elica despite being an avant-garde technology-based organisations, is systematically using the arts as a managerial instrument to support the development of the organisation equally a human-centred living organism also as a ways to foster creative processes and maintain an organisational artistic environment.
The instance of Elica: Insights on the utilise of arts to shape a creative environment
Elica is world leader technology visitor specialised in the design, production and commercialisation of kitchen hoods and also design, manufacture and sell motors for central heating boilers for domestic apply. Information technology has a market share of 17% in the earth and 43% in Europe. With over 2,300 employees and an annual output of well-nigh 16 million units of kitchen hoods and motors, the Elica Grouping has ten plants: five are in Italy, i is in Poland, one in United mexican states, one in Germany, one in India and one in China.
The primal competitive value drivers of Elica's products are: the integration of high technological quality with a design driven innovation capability, and the aesthetical dimensions combined with high functional quality.
Elica has achieved a world leading competitive position by revolutionising the traditional mature sector of the kitchen hoods. In item, the company has changed the traditional paradigm of the kitchen cooker hood transforming it from a simple accessory and household appliance into a design object. Elica'due south products are associated with an image of unique objects, with unusual shapes and incorporating innovative technologies. They combine meticulous treat the blueprint, for the quality of material and for cutting edge engineering, which is also the event of the partnerships created with earth leading technology-based companies such as Artemide, in the lighting sector, and Whirlpool, in green and smart technologies.
The fundamental idea backside Elica's products is that they have to represent sources of inspiration and wellbeing, beautiful to await at and capable of providing the highest technological performance in order to come across customers' wants and needs. In other words, they are interpreted every bit an of import component of the living firm. In this perspective Elica's products are designed and produced on the ground of high technological and aesthetic features making sure they embed intangible value and generate positive experiences for customers. In order to come across this challenge, Elica has understood that the development of products that tin can accept a positive impact on people, outset and foremost is driven by an organisation which deeply embeds the features and potential of human nature. Consequently, they take adult a potent awareness nigh the relevance of being and operating every bit a human-centred living organism, paying nifty attending to managing organisational aesthetic dimensions and handling emotive features.
Elica attributes a fundamental axis to people whose technical and emotive competences are considered the engine of competitive success. Equally stated by the Deborah Carè, Elica Grouping Brand Marketing Manager, the notion of promoting creativity is fundamentally interpreted past the organisation as the capacity of coping with the run a risk of the 'paralysis of thinking'. For Elica, information technology is essential that employees do not carry out their activities in a mechanistic way without too much questioning about it. Elica strongly believes that it is fundamental to foster the development of a creative surroundings which encourages people to think and to appoint in what they do. This is considered essential in order to foster an organisational surroundings capable ultimately of developing and producing products that combine and embed high applied science and emotive/aesthetical features. For this reason, they accept integrated in the management organisation the use of the arts as a managerial musical instrument to back up the evolution of employees' adjustability to changes and their innovation-oriented behaviour.
Elica interprets the arts as a powerful means to button the organisation beyond the traditional business concern model and break conventional paradigms that take characterised the visitor in the past when it was only focused on producing standard appliance hoods.
Elica is using the arts as a strategic managerial instrument to nurture an organisation's behaviour towards imagination, innovation behaviour, problem solving oriented capability, and creativity. Some of the main organisational issues addressed through the arts are: communication of the company's philosophy, development of productive and wellbeing-oriented workplaces, strengthening of ties with clients and more than by and large with guild and territory, employees' development, promotion and advice of organisational image and reputation, enhancement of product evolution capacity.
From an operational point of view, Elica has launched different ABIs to shape a creative environment. In particular, identifying people and workplaces as 2 fundamental dimensions of the artistic surround they have developed 2 specific arts-based programs equally follows: the plan named "Lifestyle" and the programme named "Due east-straordinario".
The Elica's program "Lifestyle" aims to shape workplaces that secure wellbeing and productivity every bit well as create an atmosphere which spurs inventiveness and positive emotions so that new ideas tin converge and be created. According to Elica the workplaces have to be a kind of 'open porthole' on a unlike concept of beingness, of living and acting; so they have to exist places for meeting and renovating the heed. The cosmos of engaging workplaces is accomplished by adopting the arts as an instrument to shape the artful properties of facilities and arrangement'southward culture, values, identity and more generally climate. Offices are artistically designed and host exhibitions both of artworks from public and private contemporary art collections, and of artistic artefacts created past employees with the support and facilitation of artists. Among the unlike Lifestyle's initiatives, information technology is worth mentioning Elica Contemporary which has is based on the thought that artworks together with the visitor's products are exhibited in dissimilar spaces within the company. This has an impact on the aesthetic characteristics of the workplace, on the capacity of communicating the company's identity highlighting its mission of creating products which aspire to be 'artworks for the living house', and on the appointment level of employees fostering their pride in the results of their piece of work activities.
On the other hand, the program E-straordinario is aimed at supporting employees' development. Its purpose is the creation of an aesthetic experiential learning procedure that can engage employees with their emotions. It works on the ground of a ready of conceptual and practical arts-based seminars and workshops in which artists piece of work on a project within the arrangement and with employees. The selected artists brought into the visitor are asked to conceive and conduct out an artwork which tin appoint the company'due south employees intellectually, emotionally and physically. The artist(due south) works with a facilitator in guild to make sure that the insights tin be distilled from the arts-based initiatives. The artists' projects to exist implemented in the arrangement are selected on the basis of unlike criteria, specially: experimentation, contamination of different codes, hands-on participation of employees, quality of contents, capacity of challenging established habits and behaviours, moving employees out of their comfort zone, and the use of the arts as an upstanding model.
Both programs are based on the fundamental assumption that people have a fundamental role in organisational value cosmos capacity and competitiveness. They are aimed at creating space and time fostering the integration of the organisation's emotive and rational dimensions. By affecting people's aesthetic experiences, the arts stimulate human senses and create processes or contexts in which people's emotions arise and can be combined with rational elements grounded in the organisation's working activities. By blending the emotive reality with the traditional rational working mechanisms, Elica has been able to shape a creative environment which is producing positive impact on people's innovation behaviours and more by and large on visitor innovation capacity.
Although the example case of Elica cannot exist generalised, it offers important insights and implications to identify some critical factors about the relevance of the arts for shaping a creative environment in the new Digital Historic period.
Decision
Today's digital era challenges organisations not merely to follow the technological trajectories, by developing new technological solutions and/or adopting the latest disruptive technology, but most importantly to become creative and resilient organic systems that are open to changes and bang-up to experiment and innovate continuously. The view of the organisation as a techno-human organisation points out that organisations need to integrate the traditional rational-based principles and engineering assets with the emotive features of human being life and understand that emotions play a cardinal role in the organisational life and in the pursuit of concern excellence.
Emotions denote all those factors of human expression that cannot exist reduced to rules/procedures or technological components; rather they demand to be disclosed and channelled for contributing to the organisational value creation mechanisms. On the other hand, engineering science guarantees efficiency and control. Both rationality and emotions, technology and humanity, thing for the success of an organisation and in the new Digital Historic period they need to exist integrated. For this reason, organisations demand to shape a creative surround in which technology and inventiveness are fused and intertwined.
In order to shape a artistic environment, it is suggested that organisations manage their aesthetic dimensions. For this purpose, the use of the arts is proposed as a direction instrument to shape the organisation's aesthetic experiences and properties which in turn can support handling emotive elements in organisational contexts. From a practical point of view the arts tin exist deployed inside organisations to shape creative environments in the form of Arts-based Initiatives (ABIs).
In conclusion, the successful organisations of the Digital Historic period will exist those recognising that as much equally they will get more technologically advanced, the people will still exist at the heart of organisational life and actually the about human distinguishing factors will go fifty-fifty more fundamental for the creation and evangelize of value. The employ of the arts is aimed at making organisations more human, acknowledging the human-based nature of organisations and business, and their role to make organisations intuitive, imaginative, creative and resilient. A creative environment is capable of engaging employees in their daily work activities, of inspiring executives to build igniting visions and energise people, and of making organisations more enlightened of the value propositions delivered to stakeholders. As pointed out by Steve Jobs "Technology solitary is not plenty – it's technology married with liberal arts, married with the humanities, that yields us the outcome that makes our heart sing".
Note
I confirm that I have read SpringerOpen's guidance on competing interests and I take whatsoever competing interests in the manuscript.
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I would like to thank the DGIST Convergence Research Center for Future Automotive Engineering science, for their award to back up the publication of this article as open access material.
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Dr Giovanni Schiuma is Professor of Innovation Management at University of Basilicata (Italia) and Visiting Professor of Arts Based Management at Academy of the Arts London, where he founded and adult as Manager the Innovation Insights Hub. Giovanni is widely recognized equally one of the world's leading experts in strategic knowledge direction, business organization model innovation of arts and cultural organisations, company's value cosmos dynamics and the arts in concern for organisational development and innovation. Giovanni holds a Ph.D. in business management from the Academy of Rome Tor Vergata (Italy) and has authored or co-authored more than 200 publications, including books, articles, research reports and white papers.
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Schiuma, K. Arts catalyst of creative organisations for the fourth industrial revolution. J. open innov. 3, 20 (2017). https://doi.org/x.1186/s40852-017-0072-1
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DOI : https://doi.org/10.1186/s40852-017-0072-one
Keywords
- Fourth Industrial Revolution
- Kitchen Hood
- Creative Surround
- Basic Human Nature
- Aesthetic Dimension
Source: https://jopeninnovation.springeropen.com/articles/10.1186/s40852-017-0072-1
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