Creative management and creative management in the newest creatine formation

Creative management and creative management in the newest creatine formation

Annotation. The article defines the qualitatively distinctive features of a new socio-cultural creatine formation. The content of such concepts as creative economy, creative industries, creative city and creative class is revealed. The concepts of creative management and creativity management are clarified and defined. Creative management is regarded as a qualitatively highest type of management, based on the realization of the creative vision and creative position of the manager.
Key words: creatology formation, creatogenic society, creative economy, creative management, creativity management

Characteristic features of the modern world are the globalization of all socio-economic and socio-political processes, the transformation of value systems and landmarks, increasing the degree of congestion and satiety of the information space, the rapid development of the latest communication systems and the Internet.
In turn, the economic situation is characterized by the uncertainty of market trends, hypercompetition, the change of economic development leaders, the growing needs of consumers and employees, the pluralism of economic forms, models and management methods.
The dynamism and complexity of all modern processes, the unexpectedness and unpredictability of changes, lead to an increase in crisis phenomena, the growth of novelty and unpredictability of diverse problems and conflicts.
Today, there is a change in the epochs of world sociocultural and economic development, which is necessarily accompanied by large-scale cataclysms, extremization of political life, the emergence of a global threat of terrorism.
At the same time, the cause of modern cataclysms, as well as global and local crises and diverse conflicts, is not only not in any particular conflict time, but often in the lack of understanding of the specifics of new realities, in the unreadiness of the political establishment and top management of leading countries to respond to complex , unexpected challenges of the time, in the absence of the managers of creative vision and qualitatively new, creative models, styles and methods of management.
According to the researchers of the leading Japanese analytical center, the Nomura Institute (Nomura Research Institute), the agricultural, industrial, and information age is now replacing the new era of creativity [1]. At the same time, it can be argued that the distinctive feature of the present is the imposition, the joint existence of several epochs, which are combined and holographically invested in a qualitatively new creatological or cultural-creative epoch .
So today the process of forming a postindustrial or information society continues, in which development and success are determined not by material resources, but by possession of the greatest amount of valuable information and the ability to process it quickly. At the same time, in the world economy, such factors and criteria for the functioning of past formations as food, natural and human resources, which determine the qualitatively new nature of economic and social relations, are gaining weight again.
Thus, not only the struggle for information, but also the war for fresh water and talents are beginning to determine new trends in world development.
The problem of the emergence and formation of a new creative era became the subject of reflection and research in the second half of the twentieth century. So T. Munro (1963) identified the main characteristics of the creative era, which included: a) the presence of brilliant personalities; b) the conditions and means for transforming their free energy into artifacts; c) institutions that are ready to give them vocational training; d) other people able to appreciate and recognize the achievements of creators [2].
The term “creature society” (creativogenic society), which was understood as a certain formation, activating the creativity of all its members, was introduced and described by S. Arieti (1976). At the same time, the author identified nine sociocultural factors of the creature society, among which we can highlight: the availability of cultural means and resources, openness to various cultural stimuli, the desire of members of society for high achievements; free access to cultural facilities, freedom of thought and action; sensitivity to different and even contrasting cultural stimuli; tolerance for different opinions; interaction of significant personalities, stimulation with the help of awards and promotions [3]. The analysis and study of the features of creature epochs, as well as the main factors causing geniuses and creative personalities, was carried out in the works of J. Gowan, M. Olson (1979) [4], D. Simonton (1994) [5], M. Chikzentmimii (1996) [ 6], K. Seltzer, T. Bentley (1999) [7], S.L. Markov (1999) [8].
Today we can talk about the formation and approval of a new “creatine formation” , a special cultural and creative space, which accommodates such relatively independent spheres and autonomous worlds as a creature society, creative economy, total art and a universal creative personality.
The essence of the creatological formation is determined by the fact that it is creativity that is its generative center, the sense-determining core, the sequencing principle, the highest criterion and goal.
A distinctive feature and essential criterion of the creatine formation is the recognition and production of novelty, the ability to productively solve complex problems, generate new discoveries and ideas, and resolutely implement them in practice.
In this formation, the key factor for development is no longer information, but methods, methods and techniques of its creation and, most importantly, talents and creative personalities that generate new ideas and solutions. At the same time, it is creativity that acquires the status of the essential criterion, the driving force and the objective function of socio-economic and socio-cultural development. At the same time, it is important to emphasize that in the creatological formation, creativity is viewed not only as a condition and a means, as a key factor or resource, but also as the ultimate goal of the development of society, organizations and the individual.
At the same time, in the creatological formation, the functions of production, business, and management change drastically. So, the most profitable product is not material products, but original ideas, artifacts, unique intellectual and cultural creations, software, works of a new total, permeating all types and fields of activity, culture.
In turn, the main goal of management is to attract, concentrate, stimulate and develop talents, create a stimulating cultural and creative environment, organize innovation, and its new models are such qualitatively new forms of management as creative management and creativity management.
In the works of T. Munro, S. Arieti, J. Gowan, M. Olson, D. Simonton, M. Chiksentmihaii, S.L. Markov [3–8] described the key factors and characteristics of the creature society.
At the same time, it is advisable to single out the main qualitatively-defining characteristics of a more fundamental creatological formation , which includes a creatogenic society as its important component:
1. Approval of creativity as an independent, highest value, recognition of the high prestige of creative activity,
a) Unconditional priorities for the development of the creative potential of society, organizations, groups and individuals.
b) Recognition of a creative, talented person who creates material and spiritual values ​​as the highest wealth of society and organizations.
2. Priority and high level of cultural development.
a) Rich and diverse cultural and stimulus environment. Pluralism and variability of cultural currents and opinions.
b) The presence of a variety of creative artifacts, masterpieces, cultural role models.
c) Free access of all members of society to the resources and means of culture.
d) Presence of conditions for dialogue with outstanding, talented personalities.
e) Creating and promoting the existence of cultural, creative centers, concentrating intelligence and talents, uniting bright creative personalities, innovators, enthusiasts and specialists of various specialties.
3. Democratic and humanistic society.
but). Tolerance and tolerance to everything else.
b) Freedom of action, choice and opinion, freedom of movement and the possibility of free choice of place of residence.
at). Social stability, high quality of life, the presence of a competent elite, highly qualified specialists, charismatic leaders with creative vision.
d) High level of personal, social and financial-economic security.
4. Development and formation of a creative economy, creative and cultural industries.
a) State provision of the rule of law, economic freedom, favorable business climate.
b) State and public support of creative industries and high-tech, high-tech industries, creative entrepreneurship, innovation and venture business.
c) Creating and promoting the existence of “creative clusters”, “innovation incubators”, “technopolises”, “technoparks”, ensuring close interaction between the government, local authorities, business, universities and foundations.
d) Encouraging inventive creativity, creating a transparent and simple system for transferring ideas, ensuring the rapid implementation of inventions and discoveries, as well as the direct contribution of individual creative achievements to the socio-economic development of society.
5. Systematically organized, high-quality education and effective science, generously funded by funds and the state.
a) Free, without discrimination, equal access for all to education.
b) Developed a system of family and pre-school education, secondary and higher education, aimed at the development of the creative potential of the individual.
c) Availability of creative teachers, mentors, coaches, experts and consultants, trainers for the development of creativity.
d) Completeness, objectivity and availability of information, developed infrastructure for the dissemination of knowledge.
e) Creating and promoting the existence of scientific and practical centers aimed at developing and implementing programs for the development of creativity and innovation, for awakening, enhancing creativity, self-expression and the creation of intellectual and artistic values.
6. Creating a strategy and a system of generous and immediate rewarding of inventions, scientific and artistic creativity, the presence of programs of rewards and rewards, the use of a wide range of material and moral incentives.
In a number of works by contemporary researchers, the concretization, the “spatial organization” and the institutionalization of the creatological formation are proposed, the conditions, forms and specificity of the manifestation of its components in real socio-economic practices are revealed.

Model of a creative city. So C. Landry (2000, 2005) proposed the “Creative City” model, which includes a set of conditions, factors and incentives for managing the creative process, as well as a system for stimulating the free realization of the creative potential of groups, organizations and creative individuals [9]. According to C. Landry, the creation and cultivation of an urban environment conducive to creativity lies in the formation of cultural clusters in cities, multifunctional entrepreneurial and cultural spaces, “artist colonies”, and providing offices and workshops to entrepreneurs on preferential terms.
Creative class. R. Florida (2002, 2005) put forward the idea that the post-industrial economy gives rise to a new social group, a community of creative professionals or a “creative class”, which is becoming today an increasingly influential force and acts as the core of modern society, as the main resource and factor of production [10 ]. According to the author, representatives of the “creative class” are educated, talented and tolerant people who have their own value system and are engaged in the production and distribution of new knowledge.
Today, the most developed countries and companies are moving from competition for markets to the struggle for talents, professionals who act as the main resource and factor of production. The strategies of the most successful, creative companies are aimed at finding and concentrating talents who are able to react flexibly to changes and create fundamentally new products and services that are required by the new market situation.
Creative economy. At the end of the twentieth century Ch. Landry and F. Bianchini (1995) argued that "the industries of the twenty-first century will increasingly depend on the generation of knowledge created through creativity and innovation" [11]. According to J. Hawkins (2001) in modern creative economics, creative ideas, patents, copyrights, trademarks and original designs have a decisive influence on the growth and development of the most successful companies in the world [12]. Today, modern researchers come to the conclusion that in the new creative economy, it is creativity, innovation, and the generation of new ideas that are an important corporate capital, the main resource and factor of production.
Since the second half of the twentieth century, the modern global economy has experienced a rapid transformational development from the knowledge economy, through innovative, to the economy of creativity. At the same time, if such terms as knowledge economy, innovation, information and intellectual economy are often used as synonyms, the concept of a creative economy is filled with new content and acquires a number of qualitatively new signs and properties.
So, if the knowledge economy considers education, intellectual products and knowledge as the most important productive assets and resources, and the innovation focuses on the ways of using and realizing this knowledge, then the creative economy, first of all, is based on the conditions and factors of generating high quality living ", Intellectual and pragmatic knowledge, breakthrough creative ideas and inventions, on the means of their immediate and effective transformation into highly profitable products, as well as talent x, which create unique ideas, meanings, cultural and material values.
At the same time, it can be argued that the creative economy does not deny the previous forms of development, but naturally includes them as key components of the components.
Creative industries . The essential core of the modern creative economy are the creative industries, which are the decisive factors of economic and socio-cultural development. English researchers define creative industries as "... an activity based on individual creativity, skill or talent, and carries the potential to create added value and jobs through the production and exploitation of intellectual property" [13].
So R.Caves (2000) singled out seven basic properties that distinguish creative industries from being active in other areas of the economy: uncertainty in the demand for a creative product, attitude to work as an art; the need to implement a variety of skills in the production of the product; infinite variety of products; ranking and payment of creators according to their abilities, “time does not matter”, “art is forever”: products are durable and bring permanent profit [14].
According to E.V. Zelentsova (2008), creative industries are a synthetic phenomenon that closely connects culture, economics and social policy, as well as integrating theoretical studies of scientists, the creative search for artists and the commercial efforts of businessmen [15]. Creative industries include a variety of economic activities related to the generation or use of knowledge and information.
Among them, traditionally distinguished advertising, design, fashion, architecture, cinema, music, theater, performing arts, publishing, video games, television and radio. American researchers also include scientific research, Internet technologies, and software manufacturing in creative industries. Creative industries are closely related to traditional cultural industries, which are focused on cultural tourism, museums and libraries, antiques, sports and outdoor activities.
At the same time, creative and cultural industries mutually incorporate each other, and structural and substantive relations between them are holographic in nature.It should be noted that at the initial stage creative industries are a separate sector of the economy, but as they develop they extend to all types of economic activity, saturating them with creative and innovative elements. According to V. Gnedovskiy (2005), there is now a merging and interpenetration of industrial, entrepreneurial and artistic activities, which is caused by the emergence of such “intermediate” fields of activity as fashion, the creation of media products, and the process of saturating entrepreneurial activity with such creative components and as intuition, “figurative” modeling, visualization [16].

Творческое управление и его виды. Отличительными признаками современных успешных организаций являются динамичность развития, открытость миру, чувствительность и гибкая реакция на изменения, направленность на инновации, а также творческий подход к менеджменту. Ведущие компании мира все больше осознают, что ответом на стремительность всех социально-экономических процессов, неожиданность и непредсказуемость изменений является внедрение творческих, гибких стратегий и нестандартных методов производства и управления, а также принятие смелых, эффективных и интуитивных решений, которые способны осуществлять творческие менеджеры нового типа.
Сегодня можно говорить о зарождении и формировании новой парадигмы управления, основными конституирующим принципами которой являются творчество, инновации, рост роли социокультурных и морально-этических детерминант, а также концентрация, развитие и самореализация творческих личностей, которые выступают важнейшим ресурсом производительности и совершенствования деятельности любой организации. Представления о творческом менеджменте, как самостоятельном направлении управленческой деятельности начали складываться в недрах теории инновационного менеджмента, в частности в работах Р. Кантера (1985, 1989) [17]. Кроме этого Т. Питерс и Р.Уотерменом [18], Т. Питерс (1988, 1992) [19] и открыли такие новые измерения и направления эффективного менеджмента, как конструктивная трансформация хаоса, творческая свобода, искусство построения идеальной, совершенной компании, создание стимулирующего творчество климата, наполнение поведения сотрудников смыслами и предоставления им права на свободную самореализацию. О творчестве как ключевом факторе успешного управления, лидерства, организационной культуры и развития писали в своих работах Т. Amabile (1988), P. Senge (1990), RW Woodman, JE Sawyer, RW Griffin (1993), J. Kao, (1996); CM Ford, DA Gioia (1996) [20 - 24].
В современной теории креативного менеджмента упор делается на оптимизации функций управления, на активизацию инновационной деятельности, пробуждение и развитие творческого потенциала сотрудников, а сама управленческая деятельность сравнивается с высшим уровнем мастерства и творческого проявления человека, реализующихся с помощью таких обобщенных механизмов творчества как интуиция, воображение и фантазия (J. Henry, 2001; П.Ф.Друкер, 2004; Дж.Миклтуейт, А.Вулдридж, 2004; Т. Питерс, 2007) [25 -28].
Luc de Brabandere (2005) различает процессы инновации и творчества, считая, что если первые относятся к внешним организационным изменениям и трансформациям, то настоящее творчество связано с глубинными процессами развития личности и с изменением самого восприятия внешней реальности [29]. В работах К. Кирсанова (1995), Г.И. Ванюрихина (2001), И.Л. Викентьева (2003), Н.П. Петровой (2004) раскрывается специфика, содержание и характерные особенности творческого, креативного и эвристического менеджмента, исследуются основные функции творческого управления и методы активизации творческой активности менеджеров и сотрудников организации [30 -33]. В современной научной литературе, посвященной проблеме творческого управления широко употребляются понятия творческого менеджмента (creative management), менеджмента креативности (сreativity management), эвристического менеджмента, инновационного менеджмента, менеджмента знаний, менеджмента идей, менеджмента изменений и менеджмента талантов. Часто эти понятия используются как синонимы, хотя каждый из них имеет свой объект управлении и отличается уровнем обобщенности.
F. Xu and T. Rickards (2007) believe that “Creative management is a study and management practice built on theories of creative processes and their application at an individual, group, organizational, and cultural level” [34]. G.I.Vanyurikhin, understands creative management as effective management of structures, processes and resources to achieve specified goals using non-standard approaches. At the same time, the author emphasizes that creative management is associated with the creation of innovations, and innovative - with its introduction as a finished product [30]. In turn, K. Kirsanov believes that creative management, in contrast to the heuristic, first of all covers the problems of “personnel management” and the team [31]. G.V. Бережнов непосредственно связывает креативный менеджмент с креативной деятельностью, которую он понимает как универсальную характеристику предприятия и системную творческую активность, проявляющуюся в управлении, производстве, дизайне, маркетинге и рекламе [35]. В связи с существованием в современной литературе различных определений общей творческой управленческой активности, сегодня назрела необходимость различить на первый взгляд «синонимические» понятия, определить качественное своеобразие каждого вида творческого менеджмента и выявить содержательные и структурные соотношения между ними.

Creative management can be defined as an interconnected system of creative methods, decisions and actions aimed at achieving or maintaining an optimal level of functioning and development of an organization, increasing its competitiveness and efficiency. Creative management, as the highest quality and the art of management, is the realization of a holistic creative approach to business, to employees, to the entire system of business activity. This type of management activity is implemented as a consistent process of making effective decisions, as prevention and productive resolution of conflicts, as an original, non-standard, beautiful, simple and elegant, as well as extremely constructive and effective solution of diverse practical problems.
In addition, creative management is more likely the realization of a creative position and the embodiment of the manager's creative vision, manifested in filling with creative elements, processes and mechanisms of the entire holistic management system, namely its principles, models, styles and basic functions. At the same time, such classical management functions as planning, organization, management and control are saturated with new creative elements and are realized in real practical activities with the help of universal mechanisms of creativity. At the same time, the implementation of creative management functions is distinguished by an arbitrary order and even by the simultaneity and synergy of their implementation, and such universal cross-cutting functions as well as problem solving and decision making, as well as coordinationbalancing and harmonization of all systems, resources and leading processes of the organization.
Креативный менеджмент (творческое управление) в отличие от менеджмента креативностью (управления творчеством) не включает в себя такие отдельные, тесно связаны с творчеством, виды менеджмента как управление знаниями, управление талантами и инновационный менеджмент, но наполняет их новым качеством и выступает как их центральный, ядерный и ключевой компонент. Мало того, креативный менеджмент, будучи не отдельным видом, но высшим качественным определением универсального управленческого процесса, может наполнять творческими элементами и тем самым радикально повышать эффективность стратегического, ситуационного, проектного, кадрового и других видов менеджмента.

Managing creativity (creativity management) or the management of creativity. The complexity and universality of the manifestation of creativity in management, organizational and production processes, the awareness and use of creative potential as a key factor for success and a decisive competitive advantage require a systematic approach to its activation, development and implementation in practice. Creativity and related changes, - considers Dubina I.N. (2003) should be manageable, and creativity management itself should be one of the main elements of the modern management paradigm. At the same time, management of creativity is a system of actions aimed at studying the methods of development, management and use of creative activity and its results in production and business processes [36].
Управление творчеством зародилось в недрах инновационного менеджмента и часто отождествлялось с ним. Так Gaspersz JBR (2002) понимал процесс управления идеями как совокупность действий, которые предпринимает организация, для того чтобы понять, оценить и поощрить идеи и внедрить их в производство. С. Hellstrom and Т. Hellstrom (2002) предположили, что процесс управления идеями и творчеством не носит однолинейный характер, а глубоко встроен в управленческую деятельность и включает спонтанные, творческие процессы, генерирующие идеи на всех этапах управления [37].
При этом такие авторы как C. Van Dijk, J. Van den Ende (2002); AS Georgdottir, I. Getz, (2004) отмечали некоторую противоречивость и парадоксальность связи между терминами «управление» и «творчество», подчеркивая свободный и спонтанный характер творческих процессов [38; 39].
В современной теории управления творчеством утверждается мнение о необходимости гармонизации управленческих воздействий и индивидуального творчества. Так H. Berendes, FK Boersma и M.Weggeman (2003) показали, что организация может получить выгоду от процесса создания знаний, только тогда, когда индивидуальные действия и процесс генерации идей встроены в организационные процедуры и скоординированы с управленческими действиями [40]. В свою очередь HJ Bakker, FK Boersma и S. Oreel (2006) предложили модель управления творчеством (идеями), основанную на взаимодействии процессов создания и управления идеями внутри специально созданной креативной среды, контекста или творческого климата [41].
Creativity management is the management of creative processes occurring at the level of creative industries, organizations, teams, managers and employees. At the same time, a systematic approach to the consideration of the manifestation of creative activity in all spheres and stages of the organization’s functioning makes it possible to single out a number of separate types of management that fit into a single creative management system. Knowledge management, heuristic management, innovation management, change management and talent management can be distinguished as relatively independent types of managerial activity directly related to creativity.

1. Knowledge management is a system of management procedures and actions that create, accumulate, maintain, distribute and use the basic elements of intellectual capital, as well as the most valuable information that is necessary for the successful implementation of the organization’s goals. At the same time, special importance is attached to the system of key areas of competence, by which they mean a certain system of the most effective skills and technologies. Important elements of knowledge management is the process of creating and using knowledge in making decisions, as well as their implementation in new products and services. At the same time, the movement, exchange and distribution of living knowledge, in themselves, generate new, unique and useful knowledge.
2. Heuristic management (from the Greek. Heuristro - “I seek, discover”) is the management of the process of creativity and productive thinking, proceeding at the individual level. It includes both the activation and regulation of employees' creativity and the self-activation of creative processes using various heuristic methods. At the same time, the most important goal of heuristic management is the formation of the universal creative vision of the leading employees, which harmoniously integrates such well-known heuristic methods as individual brainstorming, synectics, the method of heuristic questions, TRIZ, the method of associations and analogies. According to K.A. Kirsanov, creative management is associated with individual goal-setting and management of the person’s activities as a decisive participant in the creation of an intellectual product. This type of activity, the author believes, is more related to “personal management” and “self-management” [32].
3. Innovation management is understood as a system for managing innovation processes through an interconnected set of actions aimed at finding and developing unique, productive ideas, organizing the innovation process and introducing new products, goods, services and technologies, including management ones. Thus, if the heuristic management is aimed at enhancing the ways and methods of creating new ideas and knowledge, innovative - developing new products on this basis and introducing them, managing creativity to unite and organize all types, levels and stages of creativity, then creative management as their core meaning-making, qualitatively supreme activity that permeates all types of management activities and is implemented using new methods, creative techniques and mechanisms
4. Change management (Change managemen) is a set of methods, procedures and techniques used to effectively, the transition of individuals, groups and organizations from the current state to the desired future state. Its main goal is to optimize the transition process, assist employees in voluntarily accepting changes, minimize their negative effects and maximize their constructive, creative potential (D. Anderson, LA Anderson, 2001; I. Adizes, 2010) [42, 43].

5. Talent management is the process of attracting, selecting, stimulating and developing creative employees who are the main capital of a company. This type of management is based on the conviction that those companies that are actively seeking and attracting the most talented employees, who purposefully develop their creative potential and promote their free self-realization, win on the market. So Ed. Michaels, H. Handfield-Jones and E. Ekselrod believe that the basis of high-quality talent management is the adoption of talent installation by top management. In addition, this process includes the creation of conditions that attract and help retain talented people, as well as the selection of employees with high potential and ensuring the process of continuous staff development, including through coaching [44].

In addition, at present, the problem of enhancing the creative potential of the entire staff of the organization, both top and middle management and ordinary employees, is becoming extremely topical. Currently, in the practice of managing creativity, a number of effective methods of stimulating creative activity and creative solutions to problems are actively used. At the same time, today there is a need to develop a systematic, holistic method of enhancing the creative potential of the individual. As such a universal way of activating creativity, there can be a method of forming a creative vision of a person, which is based on a creative dialogue between a person and the world. This method can be considered as a universal method of enhancing creativity, as a form of creative training, as well as a method of effectively solving the most complex, unexpected and fundamentally new problems.

findings
In the modern world, a qualitatively new creatological formation is formed and asserted at a rapid pace, with the formation of a young sibling core, an organizing principle, the essential criterion and the highest goal of which is creativity. The creatine formation is an integral fundamental education, a special cultural and creative space, which includes such relatively independent spheres and autonomous worlds as a creature society, a creative economy, total art and a universal creative personality.
Today, the most successful organizations are those companies that recognize creativity as their most important resource and capital, which form a creative organizational culture that stimulates creativity, which are aimed at creating, accumulating and spreading unique ideas, effective knowledge and intellectual capital that stimulate inventive creativity and successfully organize the process of creating and implementing an innovative product, and also recognize creative employees as their main value, created conditions for their learning, development and self-realization.
At the same time, it is creative management and creativity management that is the most effective way for organizations to function in difficult modern conditions. It is high-quality, rational-intuitive creative management that provides them with a unique competitive advantage and contributes to their survival and development. Today, the fact that effective management can be presented as a process of creative problem-solving and making productive management decisions, and creativity itself can be the conceptual basis that can integrate all existing models into a universal, effective modern management style. At the same time, it is an integral creative person, who acts as a source for creating new original ideas, hypotheses and means of solving complex life problems, is not only an important resource, competitive advantage and success factor for the company, but also its real wealth and the highest goal of development.

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