Umetniško ustvarjanje kot vir za ustvarjalno in inovativno sistemsko vedenje v organizaciji

Bernard, Nataša

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Title:	Umetniško ustvarjanje kot vir za ustvarjalno in inovativno sistemsko vedenje v organizaciji
Authors:	ID Bernard, Nataša (Author) ID Mulej, Matjaž (Mentor) More about this mentor... ID Šarotar Žižek, Simona (Comentor)
Files:	MAG_Bernard_Natasa_2016.pdf (1,82 MB) MD5: B31ED673FEA79A337D4D2AE2ABDE991E
Language:	Slovenian
Work type:	Master's thesis
Typology:	2.09 - Master's Thesis
Organization:	EPF - Faculty of Business and Economics
Abstract:	Del človeštva spoznava, da se je potrebno vrniti k celostnemu in ustvarjalnemu človeku, ki je sposoben čustvovati, obstajati, se izražati, sodelovati, soustvarjati – v vsej svoji različnosti. Mnoga podjetja so se zato v 21. stoletju obrnila tudi k umetnosti. Umetnost ima namreč moč spodbujati ustvarjalnost, ki je podlaga za inovativnost, spodbuja medsebojno ustvarjalno sodelovanje in nagovarja človeški potencial v celoti - srce, telo, razum in duha. Kljub strinjanju strokovnjakov, da je ustvarjalnost koristna in nujno potrebna za družbeni napredek in da brez inovacij dolgoročen obstoj podjetij ni možen, smo v praksi še šibki. Vsako podjetje na svoj način išče odgovore in rešitve. V zadnjih letih napredna podjetja, predvsem v tujini, pomoč iščejo tudi pri umetnikih in umetniških organizacijah. Primeri so pokazali, da so bili ti cilji doseženi, a je povezava med umetniškimi intervencijami in inovacijami redko neposredna in očitna. Obenem je na voljo malo teorije in empiričnih študij, na katerih bi temeljila strategija za raziskovanje in vrednotenje vplivov umetniških intervencij na ustvarjalnost in inovativnost. V majhnem, slovenskem podjetju X smo z enajstimi udeleženci v obdobju enega leta izvedli raziskavo s tremi različnimi umetniškimi intervencijami s tremi različnimi umetniki. Ker smo poskušali priti do čim celovitejše slike doživljanja umetniških intervencij v izbranem podjetju oziroma do čim celovitejše analize njihovih vplivov na proučevane konstrukte (percepcija lastne ustvarjalnosti, ustvarjalna samoučinkovitost, samospoštovanje, razpoloženjska in čustvena stanja, klima za psihološko varnost), smo uporabili kombinacijo kvantitativnih in kvalitativnih raziskovalnih metod. Ugotovili smo, da kvantitativni del raziskave kaže, da v proučevanem obdobju ni prišlo do statistično značilnih razlik med merjenji konstruktov, ki bi kazale na učinkovitost umetniških intervencij v izbranem podjetju (nakazovala se je le smer povišanja ali znižanja). O toliko večji podpori umetniškim intervencijam v izbranem podjetju pa govori kvalitativni del. Nekateri udeleženci raziskave so pol leta po intervencijah zaznali spremembe pri svojem delu in v delo začeli vnašati spremembe v smeri večje ustvarjalnosti. Nekateri so ugotovili, da so npr. bolj ustvarjalni, kot so pričakovali, da so pri delu manj pasivni in rutinerski ter bolj spontani, da so ob izdelkih, ki so nastali na intervencijah, odkrili lasten, še neizkoriščen ustvarjalni potencial in da lahko tudi na do sedaj nepoznanih področjih pokažejo ustvarjalnost. Nekateri udeleženci so občutili spremembe pri doživljanju samih sebe, zlasti pa so po intervencijah veliko bolj zaznavali in izražali različna razpoloženjska in čustvena stanja. Predvsem so po intervencijah začeli drugače doživljati svoj tim. Na intervencijah so imeli udeleženci priložnost spoznati sposobnosti sodelavcev, njihovo ustvarjalnost, odprtost, sproščenost in pripravljenost za sodelovanje. Povezanost in sodelovanje znotraj tima se je zato povečalo in pri večini se je doživljanje psihološke varnosti v podjetju okrepilo. Na podlagi izkustva so se okrepila tudi spoznanja o sinergičnih učinkih medsebojnega povezovanja in sodelovanja, kjer udeleženci raziskave po intervencijah vidijo največji in še neizkoriščen potencial. Umetniške intervencije so spodbudile razmišljanje o pomenu ustvarjalnosti in inovativnosti za posameznika in podjetje ter željo in ideje za nadaljnje aktivnejše razvijanje tega področja. Ugotovili smo, da uvajanje sprememb na področju vedenja pogosto zahteva napor in čas. Zato bi morali pri merjenju vplivov umetniških intervencij več pozornosti nameniti dolgoročnim izidom. Obenem bi bilo potrebno povečati intenziteto izpostavljenosti posameznika različnim umetniškim intervencijam skozi daljše časovno obdobje. Več pozornosti pa bi bilo potrebno nameniti tudi uporabni vrednosti umetniških intervencij.
Keywords:	ustvarjalnost, umetniške intervencije, psihološka varnost, samospoštovanje, čustva, kombinacija kvalitativnih in kvantitativnih metod
Place of publishing:	Maribor
Publisher:	[N. Bernard]
Year of publishing:	2016
PID:	20.500.12556/DKUM-58340
UDC:	331.1
COBISS.SI-ID:	12387356
NUK URN:	URN:SI:UM:DK:WEUGSNLQ
Publication date in DKUM:	06.07.2016
Views:	1485
Downloads:	226
Metadata:
Categories:	EPF
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Secondary language

Language:	English
Title:	Artistic Creation as a Source of the Creative and Innovative Systemic Behaviour in an Organisation
Abstract:	There is a growing understanding among people that a return to human being is necessary – a return to Man who is comprehensive, creative, man capable of emotionality, existence, expression, cooperation, co-creation – in all our diversity. Therefore, in the 21st century many companies have also turned towards art. Not only due to the need to encourage creativity, which is the foundation of innovation, but also because art addresses and draws on the heart, body, reason, and spirit. Even though many experts agree that creativity is beneficial and necessary for any social progress and that long-term existence of a company is not possible without innovation, humankind is still performing inadequately in practice. Every organisation is looking for answers and solutions in its own way. In the recent few years, advanced organisations – primarily foreign – have been seeking help with artists and art organisations. Cases have shown that these goals were achieved, but the correlation between artistic interventions and innovations is rarely direct and obvious. At the same time, theory is scarce and there are only a handful of empirical studies that would serve as a strategic basis for the study and evaluation of art’s impact on creativity and innovation. Namely, scientific techniques and established work methods in this field do not exist, so the options are practically unlimited. However, with high (creative) freedom, one faces greater risk and uncertainty. In a small Slovenian company X, we conducted a study with eleven participants in a period of one year, with three artistic interventions and three different established artists. As we hoped to get the most comprehensive picture of experiencing artistic interventions in the selected company – or the most comprehensive analysis of their effects on the studied constructs (perceptions of one’s own creativity, creative self-efficacy, self-esteem, moods and emotional states, climate for psychological safety) – we used a combination of quantitative and qualitative research methods. We detected that artistic interventions had no significant effects on measured constructs – quantitative analysis only indicates upward or downward trends; however, the qualitative part lends much greater credence to artistic interventions in the selected company. Half a year after the interventions, some participants felt differences in their work. They began implementing changes in their work towards greater creativity. Some found out that they are, for example, more creative than they expected; that they are less passive, perfunctory and are more spontaneous in their work; that team work motivates them and encourages more active thinking and a search for something new, something different; and that they discovered an untapped creative potential with the products that were made during these interventions. Some participants experienced changes in their self-perception, and, after the interventions, they especially perceived and expressed moods and emotional states. Above all, they began experiencing their team and co-workers differently after interventions, as they had an opportunity to familiarise themselves with their co-worker’s capabilities, their creativity, openness, easiness, and readiness to cooperate. Cohesion and cooperation within the team thus generally improved, and most participants experienced increased levels of psychological safety. Artistic interventions primarily encouraged thinking about the significance of creativity and innovativeness for an individual and the company, and a desire and ideas for a more active development of this area in the future. Above all, this experience strengthened their understanding of synergistic effects of team cohesion and cooperation, which the participants of the study after the intervention consider the greatest and as of yet untapped potential. Most hypotheses were, based on the results of the qualitative part, at least partially confirmed.
Keywords:	creativity, artistic interventions, psychological safety, self-esteem, emotions, combination of qualitative and quantitative methods

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