What can managers do for creativity? : brokering creativity in the creative industries

'Creativity' has become a fashionable term in the contemporary managerial and political lexicon, signalling generalised approval in education, business and the arts. In Britain, 'creative industries' has replaced 'cultural industries' as the umbrella term for artistic and cultural production and distribution, and 'creativity' has been incorporated into the national tourism brand . In business, managers and academics use 'creativity' to indicate an organisation's capacity for innovation, flexibility and autonomy; these 'creative' values are seen to have replaced operational efficiency and strategic planning as the primary source of 'competitive advantage' in business. In education, creativity has spread beyond its original context of arts based subjects and is used to refer to a generalised ability to solve problems and generate new concepts across the entire curriculum. The term creativity has become so all-embracing as to lose any clearly defined meaning and value. Ask any organisation, industry or individual whether they would ever admit to being 'uncreative' and the corruption of meaning is only too apparent. It seems that we are all creative now. Creativity has become both the language and currency of today's knowledge economy

Digital transformation in the arts : a case study

This paper considers the interaction between digital technology and cultural organisations and the challenges and opportunities this presents for practice and for policy. The paper is based on one of eight 'digital R&D' projects supported by NESTA, Arts Council England and the AHRC, designed to analyse the effects of digital innovation in UK arts organisations. The paper focuses on a series of residencies in three UK arts organisations. The research aims to identify the cultural conditions which support or prevent short-term digital innovation becoming 'embedded' in the ongoing practice of a cultural organisation. The paper considers differing practices, attitudes and expectations between creative technologists and arts organisations. These differing 'cultures of innovation' may help us to understand why digital innovations often fail to move beyond temporary and pragmatic problem-solving towards more challenging, transformational effects on organisational strategy and culture

Uncreativity : the shadow side of creativity

This paper argues that our fascination with creativity is distracting and potentially destructive, resulting in a tendency to discard projects and people before they achieve their potential. ‘Uncreativity’ is used to recognise the importance of continuity over change, the contribution of intermediaries and administrators to creative processes and the possibility of reconfiguring and refining existing ideas rather than inventing new ones. The paper argues that the ‘discourse’ of creativity prioritises novelty over value. This leads to an unsustainable emphasis on new ideas and initiatives in organisations. For individuals, it encourages an overemphasis on individual talent and relentless self-belief. This partial understanding of creative processes results in unrealistic expectations and self-destructive and self-exploiting behaviours. Uncreativity is proposed as a necessary element in creative processes for both organisations and individuals. Cultural policy and cultural management need to acknowledge the important contribution of these uncreative elements as well as simply endorsing ‘creativity’

Contemporary Chinese Pulse Diagnosis: A Modern Interpretation of an Ancient and Traditional Method

AbstractContemporary Chinese pulse diagnosis™ (CCPD) is a system of pulse diagnosis utilized by Dr. John He Feng Shen, OMD, and documented by Dr. Leon Hammer, MD, in the book Chinese Pulse Diagnosis, A Contemporary Approach. It is the traditional method of the Ding medical lineage from the Shanghai region and dates to the 15th century in Chinese language texts. The fundamentals of this system are, however, much older and can be directly traced to the Neijing Suwen. Having been passed from the last direct inheritor of Ding knowledge (Dr. Shen) to modern practitioners of Chinese medicine by way of Dr. Hammer and his students, it represents an important system of advanced diagnosis. Although modern diagnostic technology provides very sophisticated diagnoses, for these instruments to be effective, the disease process must already have a physical manifestation. CCPD, on the other hand, provides the earliest warnings of physiological processes, which if left unchecked may result in the subsequent appearance of a disease. This article describes the derivation and the principles of this system of pulse diagnosis and explores its successful integration into the modern practice of Chinese medicine

Toward a New Understanding of Creative Dynamics: From One-Size-Fits-All Models to Multiple and Dynamic Forms of Creativity

This article proposes an alternative to a managerial best practice approach to creativity based on the notion of creativity as a singular concept. Our alternative draws on three fundamental ideas that are emerging in different pockets of the creativity literature in a way that can be readily conceptualized and applied in practice. The first idea is that creativity is really about creativities , or a cluster of different and discrete qualities that can be combined to suit the context in which they operate. The second is that creativity is not static: it is about creativitying , or the action and the practice of combining these creativities, which evolve over time. The third is that being creative in organizations is not an individual act: rather, it is the multiple activities of groups as they go about creativitying

Manageable creativity

This article notes a perception in mainstream management theory and practice that creativity has shifted from being disruptive or destructive to 'manageable'. This concept of manageable creativity in business is reflected in a similar rhetoric in cultural policy, especially towards the creative industries. The article argues that the idea of 'manageable creativity' can be traced back to a 'heroic' and a 'structural' model of creativity. It is argued that the 'heroic' model of creativity is being subsumed within a 'structural' model which emphasises the systems and infrastructure around individual creativity rather than focusing on raw talent and pure content. Yet this structured approach carries problems of its own, in particular a tendency to overlook the unpredictability of creative processes, people and products. Ironically, it may be that some confusion in our policies towards creativity is inevitable, reflecting the paradoxes and transitions which characterise the creative process

Burkholderia cepacia complex and limited cutaneous vasculitis in patients with cystic fibrosis : a case series

There is a high association of reactive skin presentations, mainly limited cutaneous vasculitis in patients with cystic fibrosis and Burkholderia cepcia complex chronic infection. This may be due to raised levels of circulating inflammatory mediators.Publisher PDFPeer reviewe

Convalescent plasma in patients admitted to hospital with COVID-19 (RECOVERY): a randomised controlled, open-label, platform trial

SummaryBackground Azithromycin has been proposed as a treatment for COVID-19 on the basis of its immunomodulatoryactions. We aimed to evaluate the safety and efficacy of azithromycin in patients admitted to hospital with COVID-19.Methods In this randomised, controlled, open-label, adaptive platform trial (Randomised Evaluation of COVID-19Therapy [RECOVERY]), several possible treatments were compared with usual care in patients admitted to hospitalwith COVID-19 in the UK. The trial is underway at 176 hospitals in the UK. Eligible and consenting patients wererandomly allocated to either usual standard of care alone or usual standard of care plus azithromycin 500 mg once perday by mouth or intravenously for 10 days or until discharge (or allocation to one of the other RECOVERY treatmentgroups). Patients were assigned via web-based simple (unstratified) randomisation with allocation concealment andwere twice as likely to be randomly assigned to usual care than to any of the active treatment groups. Participants andlocal study staff were not masked to the allocated treatment, but all others involved in the trial were masked to theoutcome data during the trial. The primary outcome was 28-day all-cause mortality, assessed in the intention-to-treatpopulation. The trial is registered with ISRCTN, 50189673, and ClinicalTrials.gov, NCT04381936.Findings Between April 7 and Nov 27, 2020, of 16 442 patients enrolled in the RECOVERY trial, 9433 (57%) wereeligible and 7763 were included in the assessment of azithromycin. The mean age of these study participants was65·3 years (SD 15·7) and approximately a third were women (2944 [38%] of 7763). 2582 patients were randomlyallocated to receive azithromycin and 5181 patients were randomly allocated to usual care alone. Overall,561 (22%) patients allocated to azithromycin and 1162 (22%) patients allocated to usual care died within 28 days(rate ratio 0·97, 95% CI 0·87–1·07; p=0·50). No significant difference was seen in duration of hospital stay (median10 days [IQR 5 to >28] vs 11 days [5 to >28]) or the proportion of patients discharged from hospital alive within 28 days(rate ratio 1·04, 95% CI 0·98–1·10; p=0·19). Among those not on invasive mechanical ventilation at baseline, nosignificant difference was seen in the proportion meeting the composite endpoint of invasive mechanical ventilationor death (risk ratio 0·95, 95% CI 0·87–1·03; p=0·24).Interpretation In patients admitted to hospital with COVID-19, azithromycin did not improve survival or otherprespecified clinical outcomes. Azithromycin use in patients admitted to hospital with COVID-19 should be restrictedto patients in whom there is a clear antimicrobial indication

Identity, creativity and the cultural entrepreneur

This paper discusses the identity of cultural entrepreneurs. Cultural entrepreneurs are by definition required to demonstrate a wide range of skills and aptitudes. The paper argues that the multitasking culture of cultural entrepreneurs is not only a pragmatic necessity but is also an essential component in their creative abilities and identities. Cultural entrepreneurs move between the worlds of art and commerce and their sense of identity is formed in the tensions and contradictions which lie between these two spheres of influence. These implicit contradictions remain a powerful source of motivation and creativity but resurface more problematically in attitudes to business and business growth. This in turn presents challenges for management and policy in the commercial creative sector. Finally it also raises challenges for organisational research in the cultural sector. In order to adapt cultural policy and management to an increasingly entrepreneurial cultural sector, researchers need first to identify the subjective self-perceptions and identity myths of the cultural entrepreneur