How network position interacts with the relation between creativity and innovation in clustered firms

Several previous studies have investigated different ways to stimulate creativity, since it enhances innovation. However, although creativity can be considered the main input of innovation, it is not enough by itself. In this paper, we study the effects of the cluster on the firm’s levels of creativity and innovation. How does the position of a firm in a cluster affect its outcome of innovation? Is it better to be in a central position or to be isolated? Based on the creativity, innovation and social network analysis literature, a conceptual model has been developed to explain the interaction between creativity and network centrality, and tested in the ceramic industrial cluster in Spain. Empirical findings support interaction effects between creativity and network centrality that moderate the results of innovation. The implication of these results in relation to creativity and innovation theory and practices are discussed.     

Swift Creek paddle designs and the imperative to be unique

ABSTRACT

The emergence of the Swift Creek style tradition represents a shift from two or three simple carved paddle designs to many thousands of unique paddle designs by middle Swift Creek then back to merely a few in late and post Swift Creek times. This explosion in designs is a striking phenomenon, in need of consideration. Increased design diversity implicates a rise in creativity, verging on an imperative to be unique, where none previously existed in this medium. In this paper, we offer a revised model of Swift Creek social dynamics by reference to the new-found creativity of paddle makers situated within the context of ethnographic case studies.     

Creativity,geopolitics and ontological security: satire on Russia and the war in Ukraine

ABSTRACT

Some states create geographical imaginaries that envision the homeland as coherent and good, and the spaces of Others as disordered, dangerous and therefore legitimate objects of violence. Such ‘violent cartographies’ serve not only to justify policy actions, but constitute bordering practices aiming to provide stability, integrity and continuity to the Self, sometimes referred to as ‘ontological security’. This article examines the role of creativity and artistic imagination in challenging dominant geopolitical narratives. It examines satire on the Russian-language internet, which played upon the Russian state’s geopolitical narrative about the war in Ukraine 2014–15. Three themes within this dominant narrative – (1) the imperialist idea of Russia as a modernising force, (2) the gendering of Ukraine as feminine and Europe as homosexual and (3) the idea that the current war was a re-enactment of Russia’s historical battle against fascism – all became the object of fun-making in satire. I argue that satire, by appropriating, repeating but slightly displacing official rhetoric in ways that make it appear ridiculous, may destabilise dominant narratives of ontological security and challenge their strive towards closure. Satire may expose the silences of dominant narratives and undermine the essentialism and binarism upon which they rely, opening up for estrangement and disidentification.     

On the impossibility of invariant repetition: ritual,tradition and creativity among Sri Lankan ritual specialists

This article sets out to explore the strategic creativity that underlies supposedly invariant ritual performance. The ethnographic focus is on a group of Sri Lankan ritual specialists and the way they present the past in terms of mythical, historical and genealogical relationships that give power and legitimacy to their performances of healing rituals in the present. The analysis brings together local notions of “tradition” with ideas of performance and embodiment. The conclusion takes up the idea that, far from being the dead weight of tradition, invariance is a performative illusion of considerable ingenuity and persuasive power. Indeed, it is a fundamental means whereby the authority and power of ritual is maximized in performance.     

Rethinking popular geopolitics in the Falklands/Malvinas sovereignty dispute: Creative diplomacy and citizen statecraft

For more than twenty years popular geopolitics has proven an intriguing and fruitful field of research. It has spurred a lasting interest in everything from movies to stamps as important cultural artefacts that reveal to their audiences the geopolitical visions of their producers. This paper, however, brings into question the ‘popularity’ of popular geopolitics. Using recent examples from the ongoing dispute over the Falkland Islands, we examine the influence of social media and the associated flourishing of ‘citizen statecraft’ which, through its production of geopolitical knowledges, hints at the possibilities of a genuinely popular geopolitics 2.0. We also examine how creative practices, understood in myriad ways in relation to ‘statecraft’, work to unsettle and complicate previously tidy geopolitical categories of the ‘popular’, the ‘formal’, and the ‘practical’. We suggest, by way of conclusion, that ‘citizen statecraft’ may be productive in the flourishing of new modes of international dialogue between communities in dispute.     

Taking the discussion onward

ABSTRACT

This response to the foregoing reviews of The Poetry and Music of Science identifies common themes raised by them, responds to direct questions where this is possible and suggests further avenues of discussion. It focusses in particular on issues of the historical and cultural setting of human creativity, the particular issues raised by poetry, the differences between artistic and scientific imagination, the confusion (and de-confusion) of ‘imagination' and ‘creativity', the social and institutional framings of the sciences and the arts, the question of digital creativity and theological themes. A common emerging idea is that human creativity, whether artistic or scientific, is well-described by neither purely ‘expressive' nor ‘receptive’ actions but by a meeting of both.