*4. Art Thinking, Strong Inner Self and Radical Innovation*

The concept of art hacking espouses the view that "art is not about solving problems but 'finding solutions for questions yet unknown'" [10]. Therein lies a distinction between the popular innovation framework of design thinking and the emerging approach of art thinking, elucidated in more depth by Peter Robbins. In his article, Robbins performs a comprehensive literature review and theoretical analyses of both concepts, put in practice in a revelatory case study of an organization facing an existential crisis. The author shows how design thinking, with its inherent user-centric approach, tends to anchor solutions in a more prosaic and incremental territory; whereas art thinking, by asking new questions, spending more time in the open-ended problem space, staking out bold new possibilities and looking for uncontested space, can lead to more penetrating insights about the future. This, in turn, can create more radical breakthroughs beyond existing markets [16], anticipating the needs of future stakeholders [8]. 

A framework that Beckman, Scott, and Wymore use in their "Collaborative Innovation" course—the "Inner-Other-Outer" modes of attention—can be helpful in understanding the distinction between design thinking and art thinking as well. The framework posits that successful leaders employ three types of focus: 


Along with co-author Céline Verchère, Jeanne Bloch sheds light on the inner self and its dance with other and outer, in their article reflecting on a qualitative experimentation derived from her own art-tech installation that explores climate change mitigation. "The artist who connects sensory experience during creation including technological developments helps the audience connect to their sensory and emotional spheres while interacting with the artwork". Such a connection allows both the creator and the users to experience "often hidden or unspoken issues and to question the meaning of innovations. It opens up a space for dialogue and advances user's environmental consciousness as well as contributing to implementing innovation that transcends the idea of market need and seeks to connect to global needs that integrate human and nature" [17]. 

Quoting German philosopher Ernst Bloch, Bloch and Verchère speak of the "anticipative consciousness", which the creative and imaginative inner self contributes to and converts into actions with energy. Such "anticipative consciousness" was exemplified by Joseph Beuys' art, which anticipated an open, participated, and non-exploitative development approach, founded upon a holistic vision of society and nature. This creative approach became "the essential kernel of today's Open Social Innovation paradigm", and "is now prevailing as the mainstream model to shape innovation, not only in the business landscape but also in the social and environmental domains" [9]. These open social innovation features anticipated by Beuys' artwork "rely upon collaborative organizational structures and behaviors, but 'revolutionary' individuals—the 'social entrepreneurs'—are usually pivoting the change, catalyzing the available energies around the transitional actions", and engaging individuals around a core set of values. 
