{"word_count": 331, "character_count": 2390}
Tobias Theel &#38; Lukas Vogelgsang (2019) Organized Creativity Discussion Paper No. 19/3Abstract. Hierarchy is usually seen as the antithesis to creativity: a functional, yet un-creative mode of collaboration, which enables flow over friction. In this paper, we challenge this assumption while simultaneously problematizing the implicit idea of recent organizational creativity concepts that a singular static governance arrangement can provide ongoing optimal conditions for creative processes. Based on eight creativity biographies encompassing 36 semi-structured qualitative interviews in both arts and sciences, we describe collaborative creativity as carried out “in the shadow of hierarchy” – embedded in and enabled by hierarchical structures. In particular, we show that hierarchical governance can be leveraged for collective creativity when it is combined with other governance modes and fades in and out over the course of the creative process – thus enabling collaborators to rely on the benefits of hierarchy without being permanently exposed to it. However, we found that actors in arts and sciences have different ways of implementing hierarchical governance by either having a symbiotic (music) or an evasive (pharma) relationship to it. Our paper contributes to the literature on organizing collaborative creativity by addressing the neglected role of hierarchy and refining the theoretical concept of governance as a fluid and ongoing social process of overlaps, shifts, and recombination. Thus, we establish a process perspective on the governance of creativity.Keywords: governance, coordination, creativity, collaboration, processExcerpt. “MarketMechanisms  of market governance rely on spontaneous forces of order that are  directed by the relationship between supply and demand and result in the  formation of market prices (Hayek, 1969;  Smith, 1776). Stable market coordination is typically enabled by and  embedded in institutional and cultural contexts such as free market  access, proprietary rights or local conventions (Aspers &#38; Beckert,  2017; Diaz-Bone, 2011; Polanyi, 1978). Market forces  are particularly evident in the creative industries, that have  experienced large-scale outsourcing of tasks and rely on short-term  commissioned work and freelancers (Hracs, 2015; Lorenzen &#38;  Frederiksen, 2005; Sydow &#38; Windeler, 2004).”p. 4Download link