@misc{Wels2005,
  author    = {Wels, Volkhard},
  title     = {Zur Vorgeschichte des Begriffs der 'kreativen Phantasie'},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-87200},
  year      = {2005},
  abstract  = {Gegen die g{\"a}ngige Vorstellung von der ‚kreativen Phantasie' als dem sch{\"o}pferischen Verm{\"o}gen des Dichters argumentiert der Aufsatz, dass erst mit der Fr{\"u}hromantik die Phantasie zum kreativen Verm{\"o}gen erkl{\"a}rt wird, davor jedoch die Vernunft als kreatives Verm{\"o}gen galt. In der Fakult{\"a}tenpsychologie des Mittelalters und der Fr{\"u}hen Neuzeit wurde die imaginatio als ein rein passives Vorstellungsverm{\"o}gen der Vernunft nicht entgegengestellt, sondern ihr {\"u}bergeordnet, indem sich die Vernunft der Phantasie als bildgebendem Verfahren bediente. W{\"a}hrend das Ergebnis der Phantasie seit der Fr{\"u}hromantik als {\"a}sthetisches ‚Werk' im emphatischen Sinne gilt, war das Ergebnis der dichtenden Vernunft ein Argument im logischen Sinne, das Prozess der inventio gefunden worden war. Erst Anfang des 18. Jahrhunderts entwickelt sich dann der Begriff der ‚kreativen Phantasie' aus dem rhetorischen Konzept der Anschaulichkeit (evidentia).},
  language  = {de}
}
@phdthesis{Kraft2018,
  author    = {Kraft, Frederik},
  title     = {Be Creative, Now!},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-414009},
  school      = {Universit{\"a}t Potsdam},
  pages     = {VII, 230},
  year      = {2018},
  abstract  = {Purpose - This thesis set out to explore, describe, and evaluate the reality behind the rhetoric of freedom and control in the context of creativity. The overarching subject is concerned with the relationship between creativity, freedom, and control, considering freedom is also seen as an element of control to manage creativity. Design/methodology/approach - In-depth qualitative data gathered from at two innovative start-ups. Two ethnographic studies were conducted. The data are based on participatory observations, interviews, and secondary sources, each of which included a three months field study and a total of 41 interviews from both organizations. Findings - The thesis provides explanations for the practice of freedom and the control of creativity within organizations and expands the existing theory of neo-normative control. The findings indicate that organizations use complex control systems that allow a high degree of freedom that paradoxically leads to more control. Freedom is a cover of control, which in turn leads to creativity. Covert control even results in the responsibility to be creative outside working hours. Practical implications - Organizations, which rely on creativity might use the results of this thesis. Positive workplace control of creativity provides both freedom and structure for creative work. While freedom leads to organizational members being more motivated and committing themselves more strongly to their and the organization's goals, and a specific structure also helps to provide the requirements for creativity. Originality/value - The thesis provides an insight into an approach to workplace control, which has mostly neglected in creativity research and proposes a modified concept of neo-normative control. It serves to provide a further understanding of freedom for creativity and to challenge the liberal claims of new control forms.},
  language  = {en}
}
@phdthesis{Haase2023,
  author    = {Haase, Jennifer},
  title     = {Creative intensive processes},
  doi       = {10.25932/publishup-59388},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-593886},
  school      = {Universit{\"a}t Potsdam},
  pages     = {xiii, 346},
  year      = {2023},
  abstract  = {Creativity - developing something new and useful - is a constant challenge in the working world. Work processes, services, or products must be sensibly adapted to changing times. To be able to analyze and, if necessary, adapt creativity in work processes, a precise understanding of these creative activities is necessary. Process modeling techniques are often used to capture business processes, represent them graphically and analyze them for adaptation possibilities. This has been very limited for creative work. An accurate understanding of creative work is subject to the challenge that, on the one hand, it is usually very complex and iterative. On the other hand, it is at least partially unpredictable as new things emerge. How can the complexity of creative business processes be adequately addressed and simultaneously manageable? This dissertation attempts to answer this question by first developing a precise process understanding of creative work. In an interdisciplinary approach, the literature on the process description of creativity-intensive work is analyzed from the perspective of psychology, organizational studies, and business informatics. In addition, a digital ethnographic study in the context of software development is used to analyze creative work. A model is developed based on which four elementary process components can be analyzed: Intention of the creative activity, Creation to develop the new, Evaluation to assess its meaningfulness, and Planning of the activities arising in the process - in short, the ICEP model. These four process elements are then translated into the Knockledge Modeling Description Language (KMDL), which was developed to capture and represent knowledge-intensive business processes. The modeling extension based on the ICEP model enables creative business processes to be identified and specified without the need for extensive modeling of all process details. The modeling extension proposed here was developed using ethnographic data and then applied to other organizational process contexts. The modeling method was applied to other business contexts and evaluated by external parties as part of two expert studies. The developed ICEP model provides an analytical framework for complex creative work processes. It can be comprehensively integrated into process models by transforming it into a modeling method, thus expanding the understanding of existing creative work in as-is process analyses.},
  language  = {en}
}
@book{GerkenUebernickeldePaula2022,
  author    = {Gerken, Stefanie and Uebernickel, Falk and de Paula, Danielly},
  title     = {Design Thinking: a Global Study on Implementation Practices in Organizations},
  publisher = {Universit{\"a}tsverlag Potsdam},
  address   = {Potsdam},
  isbn      = {978-3-86956-525-5},
  doi       = {10.25932/publishup-53466},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-534668},
  publisher      = {Universit{\"a}t Potsdam},
  pages     = {230},
  year      = {2022},
  abstract  = {These days design thinking is no longer a "new approach". Among practitioners, as well as academics, interest in the topic has gathered pace over the last two decades. However, opinions are divided over the longevity of the phenomenon: whether design thinking is merely "old wine in new bottles," a passing trend, or still evolving as it is being spread to an increasing number of organizations and industries. Despite its growing relevance and the diffusion of design thinking, knowledge on the actual status quo in organizations remains scarce. With a new study, the research team of Prof. Uebernickel and Stefanie Gerken investigates temporal developments and changes in design thinking practices in organizations over the past six years comparing the results of the 2015 "Parts without a whole" study with current practices and future developments. Companies of all sizes and from different parts of the world participated in the survey. The findings from qualitative interviews with experts, i.e., people who have years of knowledge with design thinking, were cross-checked with the results from an exploratory analysis of the survey data. This analysis uncovers significant variances and similarities in how design thinking is interpreted and applied in businesses.},
  language  = {en}
}