The history of innovation is an interpretation around concepts, processes, systems and situations. The future of innovation is an opportunity space where we exist in the present and where we write history. The future of innovation in 2009 can be appreciated via fictional perspectives taken from the convenient dates of 2020 and 2090.
Innovation opportunity space is a knowledge-time-conceptual 'universe' in which imagination, intelligence and information combine. We try to understand and control the conditions which encourage and induce useful combinations of ideas, investments, opportunities and requirements. By 2020 the aspiration to control innovation is abandoned.
In 2020 in our knowledge-intensive societies, innovativeness has replaced productivity as a measure of 'economic' vitality. 'Economic' pressures mainly emphasise significant or tranformative innovation. Cumulative incremental innovation is taken for granted. Research rekindles the criticality and circumstance of apparently random and serendipitious events. Policies try to emulate conditions and increase event probability. A powerful search engine probes the meaning and depth of randomness.
The ethics and philosphy of innovation lead indirectly to the intrinsic appreciation of innovation as an expression of human endeavour and purpose. Art and fiction stimulate and support innovation and form a symbiotic relationship. Innovation inspires art and fiction and between 2020 and 2090 innovation managers and entrepreneurs are gradually superceded by innovation artists. By 2090 the word 'economy' has disappeared from use and we refer to the vitality of innovation and art and happiness in our society without resort to measures and indicators.
2009 innovation types included intangibles such as managerial, organisational, service, 'business model', user-inspired and design-driven innovation. By 2020 the conceptualisation of innovation types and processes was exhausted. A new science and technology of innovation started to emerge. Service science was renamed as value science. By 2090 value science and technology was creating new 'services', 'systems', 'landscapes' 'novels' and 'canvases' as metaphorical expressions of imagination and innovation value. Innovation space is navigated precisely using intellectual and value coordinates. Images of innovation potential (value streetscape) are generated instantaneously from every position and conceptual framework. Innovation fiction media allows workers to plug into a genetically and pschometrically personalised system which allows travel through this streetscape and motivates enthusiastic work and play. Originality workers genuinely believe that they originate and champion their own work.
Children amuse themselves with comedy archives of innovation mythology and mycology. Mycology mushroomed just after 2030 when digital social networking and innovation profiling migrated to organic materials. Spores and viruses replaced RFID tagging and could attach to ideas and knowledge.
Frustration, uncertainty, risk, anxiety and stress are captured in works of art and fiction to make innovation a vivid and unavoidably satisying experience. Work, travel and play in the innovation universe are seamless, inexpensive, environmentally safe, emotional yet perpetual. Expertise, experience, enthusiasm, energy and elaborate explanation are heavily expended in fictionalising the 'future of innovation'. Entertainment innovation theory accepts that there will always be some too late for the future of innovation and some too early for its history.
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