Introduction to paradoxes of creativity: managerial and organizational challenges in the cultural economy
By R. DeFillippi, Gernot Grabher, Candace Jones. 2007
363 citations recorded by the source corpus.
Subfields: Experimental and Cognitive Psychology, Organizational Behavior and Human Resource Management, Urban Studies
View Paper: https://www.semanticscholar.org/paper/98fc1a60dc9fb61b1bc62e74eee53614154ffb16
How researchers see this paper
The researchers whose trusted networks rank it highest, strongest advocate first. Every researcher gets a different order.
In Experimental and Cognitive Psychology
In Organizational Behavior and Human Resource Management
- Linda Argote
- Rekha Karambayya
- Ella Miron-Spektor
- Francesca Gino
- Candace Jones
- Silviya Svejenova
- W. Reid
- B. Townley
In Urban Studies
- Rekha Karambayya
- Linda Argote
- Candace Jones
- Silviya Svejenova
- W. Reid
- B. Townley
- Fabrizio Perretti
- Hiro Izushi
Citations in the corpus
- Impact of dual executive leadership dynamics in creative organizations (2009, background): “Others have followed suit, building on individual versus artistic systems or collective identity (DeFillippi et al., 2007; Jones et al., 2006).”
- Cultural Industries: Product–Market Characteristics, Management Challenges and Industry Dynamics (2015, neutral): “The unique management challenges in cultural industries follow from the relentless creation of new genres, formats and products (DeFillippi et al. 2007), virtually unlimited aesthetic choices (Thompson et al.”
- Paradoxical frames and creative sparks: Enhancing individual creativity through conflict and integration (2011, background): “In general, paradoxical frames encourage ‘‘paradoxical inquiry,’’ in which a problem is identified, its contradictory elements and their links are revealed and explored, and alternative solutions are found and tested (DeFillippi et al., 2007; Luscher & Lewis, 2008).”
- Misfits, Mavericks and Mainstreams: Drivers of Innovation in the Creative Industries (2011, background): “…and an organizing activity, which takes on different collaborative forms, such as collaborative circles (Farrell, 2001), projects (DeFillippi, 2015; DeFillippi et al., 2007), art worlds (Becker, 1982) and movements (Byrkjeflot, Strandgaard Pedeersen, & Svejenova, 2013; Crane, 1987; Rao, Monin, &…”