How to Make Your Brain More Creative Can you make yourself more creative? According to Shelley Carson, author of the new book Your Creative Brain: Seven Steps to Maximize Imagination, Productivity, and Innovation in Your Life, you can. In a recent conversation with the Boston Globe, Carson, who has a PhD in psychology from Harvard University and teaches at Harvard Extension School, noted these three things: “In the business world, creativity is now the number-one quality that head hunters are looking for in top-level chief executives. It’s possible, she says, for creativity-challenged people to use “biofeedback programs and other types of cognitive behavioral research” to change brain activation patterns to “mimic the brain activation of highly creative people.” “What we have found in recent years in the neuroscience of creativity is that highly creative people tend to activate certain neural patterns in their brain when they are solving a creative problem or doing creative work,” she told the Globe.
Programme pour la compétitivité des entreprises et les PME (COSME) 2014-2020 - Commission européenne Additional tools What is COSME? COSME is the EU programme for the Competitiveness of Enterprises and Small and Medium-sized Enterprises (SMEs) running from 2014 to 2020 with a planned budget of €2.3bn. Regulation establishing COSME 2014-2020 Programme COSME 2015 Work Programme and financing decision (29 October 2014). COSME 2014 Work Programme 1st Revision and financing decision and financing decision 1st revision (22 July 2014). COSME 2014 Support Measures 1st Revision and financing decision 1st revision (08 August 2014). Third countries' participation in the COSME programme (situation on 03 November 2014) Enterprise Europe Network EASME: The Executive Agency for Small and Medium-sized Enterprises (EASME) has been set-up by the European Commission to manage on its behalf several EU programmes including COSME The Participant Portal: Published calls for tender and calls for proposals related to COSME COSME Loan Guarantee Facility: COSME Equity Facility for Growth:
The Weird Rules of Creativity The Idea in Brief Hire people you don’t like, then promote them when they defy you. Wholeheartedly commit to risky projects. Get your happiest workers arguing. Recipes for disaster? Traditional management practices apply when you need to make money now from tried-and-true products and services—but they don’t foster creativity. To innovate, companies must ignore longstanding management wisdom and adopt downright weird ways. The Idea in Practice To encourage creativity, take these counterintuitive approaches to hiring, managing, and risk-taking: Hiring Recruit people who aren’t blinded by preconceptions, including: mavericks and misfits who drive bosses and coworkers crazy because they reject popular opinion and bull-headedly champion their own ideas. When new hires at a toy company pointed out current products’ flaws, their behavior made senior executives “hate them.” people with seemingly irrelevant skills Example: Managing Encourage people to defy superiors and peers. Risk-Taking Example:
Joseph Schumpeter Austrian political economist (1883–1950) Schumpeter was one of the most influential economists of the early 20th century, and popularized the term "creative destruction", coined by Werner Sombart.[4][5][6] Early life and education[edit] Schumpeter was born in 1883 in Triesch, Habsburg Moravia (now Třešť in the Czech Republic, then part of Austria-Hungary) to German-speaking Catholic parents. Both of his grandmothers were Czech.[7] Schumpeter did not acknowledge his Czech ancestry; he considered himself an ethnic German.[7] His father, who owned a factory, died when Joseph was only four years old.[8] In 1893, Joseph and his mother moved to Vienna.[9] Schumpeter was a loyal supporter of Franz Joseph I of Austria.[7] Schumpeter was educated at the Theresianum, and began his career studying law at the University of Vienna under Eugen von Böhm-Bawerk, an economic theorist of the Austrian School. In 1913–1914, Schumpeter taught at Columbia University as an invited professor. Career[edit]
Managing for Creativity The Idea in Brief Your company’s most important asset? Creative capital: the arsenal of creative thinkers whose ideas turn into valuable products and services. Creative employees pioneer new technologies, birth new industries, and power economic growth. But the process by which they do all this is complex and chaotic. How to manage your firm’s creative capital so it delivers maximum value—increasing efficiency, improving quality, and raising productivity? Help employees do their best work by engaging them intellectually and eliminating distractions. The payoff? The Idea in Practice SAS’s strategies for maximizing creativity: Help Employees Do Their Best Work Creative people excel when you present them with on-the-job challenges. Example: SAS’s developers thrive on intellectual stimulation. But as much as creative people like to feel challenged, they don’t want to have to surmount unnecessary obstacles, so SAS also strives to eliminate hassles off and on the job. Make Managers “Creatives”
Théorie du management par les ressources La théorie du management par les ressources (ou Resource based View Theory)[1] est une approche qui est apparue au milieu des années 1980 dans la gestion stratégique des entreprises grâce à des auteurs comme Birger Wernerfelt, Richard Rumelt[2] et Jay B. Barney. Cette analyse est fondée sur les travaux initiaux d'Edith Penrose et de la théorie de l'organisation industrielle de l'école de Chicago (Yale Brozen, Harold Demsetz, Sam Peltzman). Présentation de la théorie du management par les ressources Selon la théorie du management par les ressources, le "développement de la'firme ne dépend pas seulement de son positionnement externe et du jeu des forces auquel elle est soumise, mais qu'une bonne part de son succès dépend aussi des ressources qu'elle a à sa disposition et qu'elle mobilise à sa façon au service de son offre pour ses clients"[3]. La notion d'équilibre économique, en particulier sous la forme d'équilibre concurrentiel, est une concept central dans cette approche. Annexes
The Three Threats to Creativity - Teresa Amabile - HBS Faculty by Teresa Amabile | 2:49 PM November 15, 2010 Creativity is under threat. It happens whenever and wherever there’s a squeeze on the ingredients of creativity, and it’s happening in many businesses today. According to the Labor Department’s most recent stats, productivity is up. But stretching fewer employees to cover ever more work in our job-starved recovery is no way to run the future. A recent story about the 40th anniversary of Xerox PARC stirred my memories of how the creativity ingredients overflowed at that place, in that time. What made PARC so different from organizations where creativity falters? 1. 2. PARC was ahead of its time, but it was no anomaly. Forty years after the birth of PARC, have workplaces gotten any better at fostering that sort of brilliance? Teresa Amabile is Edsel Bryant Ford Professor of Business Administration at Harvard Business School.
Programme pour l'innovation et l'esprit d'entreprise (PIE) - Commission européenne Le PIE, l'un des programmes spécifiques mis en place dans le cadre du CIP, entend soutenir l'innovation et les petites et moyennes entreprises (PME) dans l'UE, en se concentrant sur : Un accès au crédit pour les PME facilité par les « instruments financiers du CIP » destinés à soutenir les PME à différentes étapes de leur développement et à appuyer les investissements dans le domaine du développement technologique, de l'innovation et de l'éco-innovation, du transfert de technologies et de l'activité transfrontalière des activités des entreprises. Des services aux entreprises : le « Enterprise Europe Network». Les centres d'entreprise et d'innovation dans toute l'UE et au-delà offrent aux entreprises un éventail de services de qualité gratuits pour les aider à devenir plus compétitives.
Early Prototypes Can Hurt a Team's Creativity In product development, a popular tool is the quick-and-dirty prototype. Because simple prototypes make the abstract concrete, they can guide innovators’ conversations and focus their attention, helping them to move forward. But many companies rapidly follow them with polished prototypes—and the trouble begins. Research I’ve conducted in the auto industry shows that when people see a detailed prototype, something odd happens: They concentrate on the prototype’s form and function, forgetting to attend to any remaining ambiguities about the problem the product is meant to solve or the obstacles in the way. Instead of clarifying the path ahead, the prototype puts a halt to useful brainstorming. This occurs because when a complex technological product is under development, the groups involved often try to proceed in unison without realizing that they don’t agree about what prompted the project in the first place or what is blocking its completion. How can organizations avoid this pitfall?
Consommation collaborative Un article de Wikipédia, l'encyclopédie libre. La consommation collaborative désigne un modèle économique où l'usage prédomine sur la propriété : l'usage d'un bien, service, privilège, peut être augmenté par le partage, l'échange, le troc, la vente ou la location de celui-ci. Cette optimisation de l'usage est une réaction à la sous-utilisation classique supposée des : biens ;services ;privilèges ; principalement permise par l'échange d'information via Internet et à l'essor, dans un cadre légal, sécurisé, dans la transparence, de cette tendance depuis les années 2000 est donc fortement lié à l'essor des échanges en ligne ; des immenses places de marché, publiques, telles qu'eBay, aux secteurs émergeant de : La consommation collaborative bouscule les anciens modèles économiques en changeant non pas ce que les gens consomment mais la manière dont ils le consomment[1]. Origines[modifier | modifier le code] Le terme avait été introduit par Ray Algar dans la revue Leisure Report d'avril 2007.