Loovus on midagi, mille puudust on võib-olla selgemini märgata, kui selle olemasolu, sest siis on tegemist justkui normaalsusega. “Mõelge kastist välja” kuulub paljude juhtide retoorika kullafondi. Täpselt ju ei tea, kuid võib-olla on siin tegemist loovuse õhutamisega, kuid … ei ole teada, kas või kuivõrd selline üleskutse loovuse esiletõusuks kasuks või kahjuks tuleb. Siinviidatus tegeleb autor loova keskkonna, atmosfääri jms avalikus sektoris võib-olla harjumatust perspektiivist, kuid näitab veenvalt inimeste ja asjade suhete relatsioonilise perspektiivi kaudu loovuse esiletõusuks olulisi aspekte. Tekst võiks huvi pakkuda kõikidele organisatsioonikujundajatele aga ka kõikidele teistele inimestele, sest demonstreerib loova keskkonna kujundamist ka igapäevaelus kasutatavate põhimõtete kaudu.


This paper joins a recent yet growing movement that embraces a relational ontology (Bradbury & Lichtenstein, 2000) to rethink organizational creativity as a phenomenon existing in-between people and objects (Hjorth, Strati, Weik & Drakopoulou Dodd, 2018). Creativity is simultaneously emergent (Lombardo & Kvålshaugen, 2014), embedded (Glǎveanu, 2014; Ortmann & Sydow, 2017) and distributed (Duff & Sumartojo, 2017). This relational movement calls for creativity studies to pay more even attention to the contingent aspects of creativity, such as affect (Bell & Vachhani, 2020; Sage, Vitry & Dainty, 2020).

Autor täpsustab fookust:

In this paper, I adopt a spatial approach (Beyes & Steyaert, 2012) to tackle the material and affective origins of creativity and its atmospheric constitution. The paper thus relates its focus on creative action to atmospheric theory (Anderson, 2009; Böhme, 1993; McCormack, 2008, 2018) and an analytical attunement to the affective atmospheres of organizational life (Beyes, 2016a; Borch, 2010; Jørgensen & Holt, 2019; Michels, 2015).

Relatsioonilisus ja brikolaaž:

Broadly put, relational studies seek to extend beyond the cognitive and the rational, and this is reflected in the surge in research on the various material agents involved in creative work (see Duff & Sumartojo, 2017 on creative assemblages or Wohl, 2021, on how cognition interacts with materiality in the work of contemporary visual artists). […] There is an increasing emphasis on the sociomateriality of bodies and the experiences of play, of bricolage, of tactics, and, hence, relations (Hjorth et al., 2018).


Atmospheres are spatialized affects; they are ‘affecttransmitted, as well as affect-directed’ (Philippopoulos-Mihalopoulos, 2013, p. 40). They can be described as transpersonal intensities (McCormack, 2008; Stewart, 2007) or envelopments (Anderson, 2009) in which non-sentient and sentient things and their situation are thrown together and mutually encoded (Jørgensen & Holt, 2019; Ratner, 2020). […] Atmospheres – which, etymologically, are spheres of air and mist – are not conceived as free-floating but as something that proceeds from and is created by things, persons, or their constellations (Böhme, 1993; Sloterdijk, 2017).

Asjad on osalised:

Where previous relational work stresses the process of how various agents are involved in generating creative design (Duff & Sumartojo, 2017; Glăveanu, 2014; Hjorth et al., 2018; Islam et al., 2016), my findings reveal how inadequate it is to present the (non-human) actors and the ‘speciesist aspects of creative assemblages’ (Finkel, Jones, Sang & Stoyanova Russell, 2017, p. 286) as unaffected agents.

Tulemust ei saavutata, see saabub!

While indeed affirming the openness of atmospheric formation, my findings remind the organizational scholarship on creativity of the importance of the spatio-temporal context in which creativity emerges rather than being a seemingly weightless creative act.

Kuigi loovuse esiletõusuks tingimuste loomise võimalused varieeruvad, siis on siiski mida …

lm to the next, yet they are predicated on atmospheric elements, the study of which should form a common thread in research on organizational creativity. The material, for instance, might be visual or auditory.

Leclair, M. (2022). The atmospherics of creativity: affective and spatial materiality in a designer’s studio. Organization Studies. https://doi.org/10.1177/01708406221080141