Category Archives: Creativity
Iceland and the increasing influence of the creative industries
After the crisis in 2009, the icelandic women have taken the gears fo the economy.An interesting article in El País, explains the swift between masculine sector (as the aluminium) to more feminine sector (as the creative industries).
Los hombres se centran en cosas como la industria del aluminio. Nosotras hablamos de los sectores creativos. Hemos llegado a la conclusión de que las artes —en especial la música y la literatura— aportan tanto dinero al país como la extracción de aluminio. No creo que a los hombres se les hubiera ocurrido ni pensarlo”. Un dato que asombra en Islandia es que un país de 320.000 habitantes posea tal abundancia de talento artístico, sobre todo en la música, donde, aparte de una ópera nacional y una orquesta sinfónica nacional, existen numerosos grupos contemporáneos que producen todo tipo de cosas, desde la globalmente aclamada Björk hasta el trabajo experimental y esotérico de Kria Brekkan, que ha triunfado en Nueva York […]
Source: El País (11-03-2012)
This is really good branding for a city
More info at MIT webpage
Linking the creative milieu and the creative economy
This is a prezi presentation that I prepared for a course. I present a theoretical framework linking creative ciy and creative economy.
30 – Managing creative projects: An empirical synthesis of activities. (Simon, 2006)
Comments on the article:
Simon, L. (2006). “Managing creative projects: An empirical synthesis of activities.” International Journal of Project Management 24(2): 116-126.
The ‘creative class’, has been a subject of theorization in the last years (Florida, 2002). The literature about creative economy and the creative industries have stressed on the increasing importance of creativity and creative workers in the future economy but few articles have studied in depth what do the creative workers actually do. In this sense, the article by Laurent Simon does a good starting exercise to identify the activities that project managers do to manage creative teams.
Theorization is based on an exercise of abstraction and generalization but it is not always based on a ground theory. After years of theorization about management, Mintzberg studied what managers really did in their working time (“The Nature of Managerial Work”, 1973). This anthropological study gave a new view on the managers’ job, time management and managerial practices.
In the same way, Simon has done an anthropological study in project teams in creative industries. He spent 60 weeks (more than a year!) at Ubisoft Montreal for his PhD thesis. This long stay gives credibility to his qualitative research.
His article is a good exercise of a grounded theory and a base for further research in the field.
Nevertheless, there are some points that can be questioned:
A multiple case is a good way of contrasting results and a way of validating the findings. However, the four selected cases are quite different among them (from pure creations from scratch to adaptations) and the depth of the study is very unequal. One to three weeks of observation (or only interviews), might not be sufficient to emerge a ground theory. If the author has based his article on the Ubisoft (video-game) case and then has tried to contrast his findings with the other three cases, this fact should have been explained in his research method.
The “activities” of the creative project managers:
Simon identifies four groups of activities according to the above overview: the project manager (PM) as a sense-maker, a web-weaver, a flow-balancer and a game-master.
Each group of activities could be related a managerial literature:
a) Sense-making – related authors : Weick, Senge
b) Web-weaver – related authors : Hargadon (manager as a knowledge broker)
c) Flow-Balancer- related authors : Csikszentmihalyi
d) Game-starter- related authors : Amabile (incentives)
In his analysis however, some concepts are not well-defined and boundaries are rather blurry. Some quotes that the author uses to justify a group of activities can easily used to justify another group of activities. For instance, Simon writes “… the PM has to develop a macro/micro understanding of the project based on his/her formal and informal, more personal knowledge of the team-members” to justify that the project manager the subgroup “translates the project into vision, goals, objectives, activities and tasks” in the sense-maker group of activities. This point is not develop in a taylorian-fayolian approach of setting a work breakdown structure (WBS) for the team members but to reinterpret the project goals in an individual way for each member. This point is then redundant with the point “Aims at intrinsic motivation” included in the Flow-Balancer set of activities. It is also curious to see that Simon doesn’t identify any activity related to the traditional PM tasks as defined by Fayol.
These unclearly defined boundaries of the sets and subsets of activities take out some credibility to the base of the identification of the groups of activities. Several times in the article, the reader has the impression of some concepts and activities are already been explained.
Summing up, Simon does a first approach to a missing side of the project management research to try to identify the real activities of a PM and gives some very interesting insights about how creativity is managed within a group. It is a good and brave start but more research would be needed to confirm Simon’s proposal.
I teach Project Management at HEC Montreal (in the “Certificats”) and the general approach in Project Management courses is to use the PMI’s PMBOK as a reference. The PMBOK is a set of best practices (at least is what the members of the PMI say) but sometimes it seems more the desired practices rather than the real practices. In this context, Simon’s approach is a rather original in the PM research literature.
Laurent Simon is a professor at HEC Montreal.
Disclosure: Laurent Simon is a member of my PhD committee
MosaiC – catalyst for the creative potential
We are MosaiC. from Francis Gosselin on Vimeo.
Last May I joined MosaiC. MosaiC defines itself as a “catalyst for the creative potential“. It is hard to understand what it is explanied in this way. Watch the video to have a better idea of what is MosaiC about.
The footage from the video corresponds to some shootings from the Summer School of Creativity held in Montréal and Barcelona in July 2011. I had the great chance to participate to this event.