Innovation Theory, Aesthetics, and Science of the Artificial After Herbert Simon
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Innovation Theory, Aesthetics, and Science of the Artificial After Herbert Simon Helge Godoe
Received: 28 December 2010 / Accepted: 22 June 2011 / Published online: 28 July 2011 # Springer Science+Business Media, LLC 2011
Abstract In innovation, the role of aesthetics is important, possibly paramount, but this factor is not reflected in mainstream innovation theory and research. The paper suggests that aesthetics, supported by serendipity, imagination, and creativity constitute the core, i.e., the “soul” of innovation, and that these factors fuel the dynamics of innovation. These factors are set within a framework, a type of conceptual “iron triangle” or trinity of innovation consisting of: diffusion, entrepreneurship, and novelty. Within this, the novelty, this “something” new becomes an innovation because of diffusion, but the diffusion of the innovation is critically dependent on actors with an agency of promoting innovation, i.e., diffusion is pushed by entrepreneurship. Aesthetics fuels this dynamic together with factors related to serendipity, imagination, and creativity. The challenge of incorporating aesthetics and its associates in innovation theory may become feasible by adoption and further development of Herbert Simon's theory of the science of the artificial. The article suggests how this could be done; basically by redefining Simon's notion of the role of the “utility function” in optimization as one that is ruled by aesthetics. Keywords Aesthetics . Innovation . Innovation theory . Science of the artificial . Herbert Simon
Introduction The role of aesthetics is important, possibly paramount, in innovation, but this factor is not reflected in mainstream innovation theory and research. The paper suggests H. Godoe NIFU—Nordic Institute for Studies in Innovation, Research and Education, PO Box 5183, Majorstuen, 0302 Oslo, Norway H. Godoe (*) UNIK—University Graduate Center/University of Oslo, PO Box 70, 2027 Kjeller, Norway e-mail: [email protected]
J Knowl Econ (2012) 3:372–388
373
that aesthetics, supported by serendipity, imagination, and creativity constitute the core, i.e., the “soul” of innovation, and that these factors fuel the dynamics of innovation. Archeological evidence suggests that ever since human beings (not just Homo sapiens, but even Neanderthals, cf. [4]) started making tools and artifacts, decorations and patterns (abstractions), shaping and styling, symbolism and use of colors have been integral parts of their design, to the extent that embedded aesthetic codes may be interpreted as having a primary status: making artifacts (utility) may be seen as a pretext for a fundamental aesthetic agency. This aesthetic agency's role in innovation is not well understood and researched although modern society may be seen as being ruled by various aesthetic orders and hegemonies, as evident in fashion, architecture or the lure of holding an iPhone in your hands, to mention a few examples. The challenge of incorporating aesthetics and its associates in innovation theory may become feasible by ado
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