The Creative Capabilities of Open Organizations E-Book
142,99 €
Mehr erfahren.
- Herausgeber: John Wiley & Sons
- Kategorie: Fachliteratur
- Sprache: Englisch
Creativity has become a major issue for organizations and their managers alike. While it is acknowledged that creative capability exists within organizations, we tend to focus solely on what fosters it, thus neglecting creativity in contexts of openness.
With the help of numerous case studies from open organizations, The Creative Capabilities of Open Organizations analyzes the way in which creative capabilities are developed. The book puts into perspective the abundant but solid literature on the creative capability of particularly exciting and instructive industries, such as the outdoor sports industry, the music industry, and the video game industry. It holistically treats openness, going beyond a purely external view by analyzing cases illustrating intra-organizational openness.
Sie lesen das E-Book in den Legimi-Apps auf:
Seitenzahl: 350
Veröffentlichungsjahr: 2024
Ähnliche
Table of Contents
Cover
Table of Contents
Title Page
Copyright page
Foreword
Author Biographies
Introduction
1 Managing Openness with Multisided Platforms
1.1. Multisided platforms
1.2. Strategy of openness
1.3. Control tools and mechanisms
1.4. Effect on user and company creativity
1.5. Conclusion
1.6. References
2 Capabilities to Benefit from Crowdsourcing for Innovation
2.1. Crowdsourcing (CS) of creative activities: a form of crowdsourcing for innovation
2.2. Benefits and difficulties that question organizational boundaries
2.3. Capacities to benefit from CS for creative activities
2.4. Conclusion
2.5. References
3 The Role of Creative Capabilities in Opening up the Business Model Innovation Process
3.1. The business model (BM) innovation process and dynamics of openness
3.2. Understanding the dynamic of openness in the BM innovation process through the lens of organizational creative capability (OCC)
3.3. The Ankama case: an atypical OCC model to organize a dynamic of internal and external openness in the BM innovation process
3.4. The Airbnb case: a digital OCC co-production model to organize the openness of the BM’s innovation process
3.5. Differing perspectives on Ankama and Airbnb’s OCC models: What lessons can be learned?
3.6. Conclusion
3.7. References
4 The Liberated Company: Openness, a Complementary Dimension to Explore Creative Capabilities
4.1. The liberated company: a fertile ground for creativity?
4.2. The liberated company and creativity: openness, a new dimension to explore
4.3. The multidimensional model of the creative capabilities of the liberated company
4.4. Conclusion
4.5. References
5 The Third Place to Develop Creative Capabilities
5.1. The genealogy of the concept of “third places”
5.2. Creating a third place rather than being a third place
5.3. Defining the third place through territorial and emotional anchoring
5.4. Sceaux Smart, community and territory before place
5.5. The creative capabilities of a third place: a multidimensional web
5.6. The regulation of third places: between authority, legitimacy and creative empowerment
5.7. Third places to strengthen individual creative capabilities
5.8. Third places to strengthen organizational creative capabilities
5.9. Third places to strengthen creative civic and political capabilities
5.10. An image to summarize
5.11. Conclusion
5.12. References
6 Large-Scale Research Infrastructures and the Pharmaceutical Industry: Partnerships and Creative Capabilities
6.1. Introduction
6.2. Collaboration and creativity in scientific practice
6.3. The case of a partnership around a large database
6.4. Discussion: the impact on creative capabilities
6.5. Conclusion
6.6. References
6 The Recording Industry: Relying on Openness to Enrich Musical Creativity
7.1. Creative capabilities and artistic creation
7.2. Creative capabilities and production
7.3. Creative capabilities and distribution
7.4. Conclusion
7.5. References
8 Innovating with an Online Community: The Yoomaneo and EDF Pulse and You Cases
8.1. Context and description of Yoomaneo and EDF Pulse and You
8.2. Managing an online innovation community (OIC): organization, communication and platform building
8.3. OIC members
8.4. The benefits of OIC for companies and participants
8.5. The issues and challenges of OICs
8.6. Conclusion
8.7. References
Conclusion
List of Authors
Index
Other titles from iSTE in Innovation, Entrepreneurship and Management
End User License Agreement
List of Tables
Chapter 2
Table 2.1. Benefits of creative CS activities
Table 2.2. Difficulties linked with creative CS activities
Table 2.3. Creative abilities CS and organizational boundaries (source: Pénin ...
Chapter 3
Table 3.1. Generic phases in the innovation process of BMs (source: Wirtz and ...
Table 3.2. OCC dimensions (source: Sheet (2022))
Table 3.3. Ankama’s creative capability model
Table 3.4. The role of the platform in Airbnb’s creative capability model...
Table 3.5. Differences between the Ankama and Airbnb cases
Chapter 6
Table 6.1. Interview overview
Table 6.2. Stages of an LSRI partnership
Chapter 8
Table 8.1. Features of the OIC platform
Table 8.5. Summary of the findings of this chapter
List of Illustrations
Chapter 2
Figure 2.1. CS for innovation.
Chapter 3
Figure 3.1. Dynamics of openness in the BM innovation process
Figure 3.2. OCC and the dynamic of openness in the BM innovation process
Chapter 4
Figure 4.1. Towards an integrative and multidimensional model of the creative ...
Chapter 5
Figure 5.1. Event poster and picture of this world café
1
Figure 5.2. The logo designed by Tatienne to create an image for the event
2
Chapter 7
Figure 7.1. Poster for a weekend of concerts and record sales (La Salle Gueule...
Figure 7.2. Box “MOONREICH. Pillars of Detest” (LADLO 2015)
Chapter 8
Figure 8.1. Yoomaneo’s community dashboard
Figure 8.2. A project on EDF Pulse and You
Figure 8.3. Various CM actions carried out for OIC
Figure 8.4. Actions of the various players on OIC
Figure 8.5. Example of an extract of Yoomaneo project results
Figure 8.6. Example of an extract of EDF Pulse and You project results
Guide
Cover
Table of Contents
Title Page
Copyright Page
Foreword
Author Biographies
Introduction
Begin Reading
Conclusion
List of Authors
Index
Other titles from iSTE in Innovation, Entrepreneurship and Management
End User License Agreement
Pages
iii
iv
ix
x
xi
xii
xiii
xiv
xv
xvii
xviii
xix
xx
xxi
xxii
xxiii
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
Organizational Creativity Set
coordinated byGuy Parmentier
Volume 2
The Creative Capabilities of Open Organizations
Edited by
Émilie Ruiz
First published 2024 in Great Britain and the United States by ISTE Ltd and John Wiley & Sons, Inc.
Apart from any fair dealing for the purposes of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act 1988, this publication may only be reproduced, stored or transmitted, in any form or by any means, with the prior permission in writing of the publishers, or in the case of reprographic reproduction in accordance with the terms and licenses issued by the CLA. Enquiries concerning reproduction outside these terms should be sent to the publishers at the undermentioned address:
ISTE Ltd27-37 St George’s RoadLondon SW19 4EUUK
www.iste.co.uk
John Wiley & Sons, Inc.111 River StreetHoboken, NJ 07030USA
www.wiley.com
© ISTE Ltd 2024The rights of Émilie Ruiz to be identified as the author of this work have been asserted by her in accordance with the Copyright, Designs and Patents Act 1988.
Any opinions, findings, and conclusions or recommendations expressed in this material are those of the author(s), contributor(s) or editor(s) and do not necessarily reflect the views of ISTE Group.
Library of Congress Control Number: 2023948024
British Library Cataloguing-in-Publication DataA CIP record for this book is available from the British LibraryISBN 978-1-78630-838-2
Foreword
Creative ideas constitute the starting point of any innovation process (Amabile 1997). For many organizations today, it has become imperative to collect a large amount of ideas in order to feed their innovation processes as well as to enable the further development and implementation of valuable ideas. With the shift towards open innovation models, organizations increasingly rely on a wider variety of internal and external sources to access diverse inputs for innovation (Chesbrough 2003). In particular, advances in digital technologies have opened up possibilities for companies to involve external actors (such as customers, universities and suppliers) in their innovation activities. At the same time, these technologies provide opportunities to open up the innovation process internally by involving employees working in different locations, functions and hierarchical levels in the generation, development and implementation of ideas (Beretta et al. 2018). As such, innovation is increasingly seen as a collaborative endeavor that involves a wider variety of actors within and outside organizational boundaries in the different phases of the innovation process.
As we experience a shift towards more open and collaborative forms of innovation, understanding how companies can foster and manage all these creative efforts and resources becomes imperative. In fact, it is emphasized in the innovation literature that companies need to develop creative capabilities – that is, “the ability, using processes and routines, to generate, select, and integrate new, appropriate, useful, and feasible ideas and solutions to improve, change, and renew the organization’s processes and productions as well as the organization itself” (Parmentier et al. 2017, p. 16). Nevertheless, we still know very little about how these creative capabilities can be developed, fostered and managed in open innovation contexts. As the different chapters in this book highlight, research on creative capabilities has so far developed in parallel and without a clear connection with research on open and distributed forms of innovation.
A valuable contribution of this collective work is thus to investigate the role of openness in the development of creative capabilities. The different chapters of the book provide an in-depth understanding of creative capabilities based on the investigation of different types of open settings. These, for instance, relate to the use of open innovation places (see Chapter 6 by Nuria Moratal), third places (see Chapter 5 by Aurore Dandoy) or crowdsourcing platforms (see Chapter 2 by Émilie Ruiz) for the generation and development of ideas. As these different creative arrangements are increasingly used by companies, understanding how they can contribute to fostering the development of creative capabilities is crucial. Furthermore, this book also investigates the use of digital platforms to involve users in creative activities (see Chapter 8 by Zoé Masson and Guy Parmentier), as well as opportunities for companies to open up their business models (see Chapter 3 by Romain Gandia) and co-create with other actors in broader innovation ecosystems (see Chapter 7 by Margaux Vales). Overall, by investigating these different types of openness, this book offers the opportunity to understand underlying mechanisms related to the development of creative capabilities and generates insights into how to overcome the typical challenges related to companies’ involvement in open and collaborative forms of innovation.
While open innovation research typically focuses on the involvement of external actors in firms’ innovation processes, it is highlighted in the broader innovation literature that employees also constitute an important source of innovation (Kesting and Ulhøj 2010). A key contribution of this book is to shed more light on the benefits of involving the wider crowd of employees in creative activities. In fact, recent studies point to the importance for companies to expand their search for ideas within their organizational boundaries, as all employees possess relevant expertise and localized knowledge to contribute to the innovation process (Beretta et al. 2018). Thus, openness can also be conceptualized in terms of crossing internal organizational boundaries, as discussed in Chapter 4 by Sandra Dubouloz and Caroline Mattelin-Pierrard. The study illustrates how involving the wider crowd of employees in innovation through online platforms makes it possible to foster interactions across functions, overcome traditional organizational silos, and favor meaningful collaborations among diverse employees. Ericsson represents a successful example of this: the company has been using an online crowdsourcing platform since 2008 to manage employees’ ideas coming from all parts of the organization and has set up a specific process to ensure the continuous generation, development and actual realization of relevant ideas (Beretta et al. 2018). There are thus several opportunities for future research to investigate employees’ involvement in innovation activities.
Opening up the innovation process to internal and external actors also creates challenges for organizations. This especially relates to the complexity of managing the whole innovation process, from idea generation to idea implementation. As highlighted by Van de Ven (1986), the generation of ideas is of little use without their actual realization. The development of creative capabilities in open innovation contexts thus requires firms to think about how the different ideas gathered from external and internal actors can be properly managed and developed into innovations. Managing this process is challenging. For instance, especially when involving external actors, recent studies have pointed out issues related to the integration of external ideas and related negative attitudes of employees toward collaborating with external actors (Ruiz and Beretta 2021). In fact, it is easier for companies to integrate employees’ internal ideas rather than external ones, as internal ideas are strategically more aligned with firms’ strategies and objectives (Ruiz and Beretta 2021). This book provides the opportunity to study how creative capabilities can be developed and managed despite these challenges highlighted in the literature.
Overall, by analyzing in depth the development of creative capabilities in the context of openness, this book makes a valuable contribution to the theory and practice of organizations, and provides important reflections on the value of involving internal and external actors in the generation, development and implementation of creative ideas. By doing so, it opens up relevant avenues for future research at the intersection of creative capabilities and open and distributed models of innovation.
Michela BERETTA
Associate Professor at Aarhus UniversityOctober 2023
References
Amabile, T.M. (1997). Motivating creativity in organizations: On doing what you love and loving what you do.
California Management Review
, 40(1), 39–58.
Beretta, M., Björk, J., Magnusson, M. (2018). Moderating ideation in web‐enabled ideation systems.
Journal of Product Innovation Management
, 35(3), 389–409.
Chesbrough, H.W. (2003).
Open Innovation: The New Imperative for Creating and Profiting from Technology
. Harvard Business School Press, Boston, MA.
Kesting, P. and Ulhøi, J.P. (2010). Employee‐driven innovation: Extending the license to foster innovation.
Management Decision
, 48(1), 65–84.
Parmentier, G., Szostak, B., Rüling, C.C. (2017). Introduction au dossier thématique. Créativité organisationnelle: quels enjeux en management stratégique dans un contexte mondialisé ?
Management international/International Management/Gestiòn Internacional
, 22(1), 12–18.
Ruiz, É. and Beretta, M. (2021). Managing internal and external crowdsourcing: An investigation of emerging challenges in the context of a less experienced firm.
Technovation
, 106, 102290.
Van de Ven, A. H. (1986). Central problems in the management of innovation.
Management Science
, 32(5), 590–607.
Author Biographies
Aurore Dandoy opted for a very varied career after defending her thesis on “Legitimization practices and the emergence of a field: the case of coworking from Paris” in 2019: consultant and lecturer at PSL Paris Dauphine University and several institutions, writer, bibliotherapist and owner of a literary café Le Champ des possibles, in Annecy. This diversity of professions has enabled her to pursue the main element that has always fascinated her: books and unusual encounters.
Sandra Dubouloz is an associate professor of management sciences at the Université Savoie Mont Blanc (Annecy) and a permanent researcher at the Institute for Research in Management and Economics, IREGE. Her research primarily focuses on managerial and organizational innovations, their antecedents, their complementary relationships with other types of innovation and their effects on overall organizational performance. Open innovation and innovation communities represent her second line of research. She has published in national and international academic journals such as European Management Journal, California Management Journal, Annals of Operations Research, Journal of Innovation Economics and Management, Management International, Revue Française de Gestion, @GRH and Finance Contrôle Stratégie.
Romain Gandia is an associate professor at Université Savoie Mont Blanc and a permanent researcher in the IREGE laboratory. His research mainly focuses on business models and organizational models of innovative companies in the creative and digital industries. He has published in national and international academic journals such as Journal of Small Business Management, European Management Journal, Management International, Strategic Change, Journal of Business Strategy, European Business Review, Creativity and Innovation Management and Journal of Business Models. Since 2021, he has been the co-director of a research chair on open innovation and 4.0 management in the digital age (IOPEN chair).
Zoé Masson is a CIFRE doctoral student at the CERAG laboratory, Université Grenoble Alpes and Ixiade company. Her main field of study is online innovation communities, which she examines on a daily basis, from both the theoretical perspective of a researcher and the practical viewpoint of a community manager. At Ixiade, she is responsible for running the Yoomaneo online innovation community (CIL).
Caroline Mattelin-Pierrard is an associate professor of management sciences at the Université Paris 1 Panthéon-Sorbonne and the PRISM (Pôle de recherches interdisciplinaires en sciences du management). Her research focuses on managerial innovations. She is interested in new organizational forms, in particular the liberated company, and approaches managerial innovation from the angle of responsible management (from its background to its effects). Her research is published in journals such as M@n@gement, Management International or Revue Française de Gestion.
Nuria Moratal is an associate professor at Nantes Université. She teaches at the IAE de Nantes and is a member of the Digital and Organizational Transformation (NTO) axis of the Laboratoire en économie et management Nantes-Atlantique (LEMNA). She is also a research associate at the Bureau d’économie théorique et appliquée (BETA) at the University of Strasbourg. She is interested in innovation management, with a particular focus on creativity, social innovation, co-creation and entrepreneurial ecosystems. Her areas of expertise include the digital, energy and pharmaceutical industries. Her research is published in scientific journals such as Energy Policy.
Guy Parmentier is a full professor at Université Grenoble Alpes and a researcher at CERAG. His research focuses on the management of innovation and creativity. He coordinated the collective publications The Creative Capabilities of Organizations (ISTE/Wiley), The practical guide to communities (Éditions d’innovation) and co-authored Stratégies et business models à l’ère digitale (DeBoeck Supérieur). His work has also been published in journals such as Technological Forecasting and Social Change, Creativity and Innovation Management, European Management Journal, Management International, etc. He also managed the Galiléa video game production studio in Grenoble and Montreal for eight years.
Émilie Ruiz is an associate professor of innovation management at Université Savoie Mont Blanc (France) and a member of the Institut de recherche en gestion et économie (IREGE). Her research, published in journals such as Revue française de gestion, Management International, R&D Management, Technovation and European Management Journal, deals with open innovation, in particular innovation with innovation communities, organizational creativity and the cultural and creative industries.
Margaux Vales is a postdoctoral researcher at the Université de Haute-Alsace and the CREGO laboratory. With a master’s degree in tourism and cultural management, she is interested in studying transformations in the cultural and creative industries. Her work in the field of strategy focuses on the links between innovation, the adoption of change and performance. Her thesis, entitled “Les réponses négatives à l’innovation stratégique, le cas des labels de musique face au streaming” (“Negative responses to strategic innovation: the case of music labels facing streaming”), revealed behaviors of inaction and organizational indifference.
Introduction
The increasing interest in creativity, particularly organizational creativity, is no longer in doubt, from both an academic and managerial point of view. Indeed, a good number of special issues of scientific journals have been dedicated to this subject in recent years (DeFillippi et al. 2007; Parmentier et al. 2017; Hjorth et al. 2018), and the research agenda is keeping pace. From the perspective of organizations, creativity is, according to the Observatoire de la créativité (2020), one of the most potent drivers of employee commitment and innovation. Furthermore, an increasing number of creativity programs are emerging and firmly establishing themselves within organizations. We can look at the example of participative innovation programs implemented by companies of various sizes and sectors, whether open (Lego Ideas, Brandstorm L’Oréal, etc.) or restricted to company employees (Léonard (SNCF), Créativ’Café (Schmidt Groupe), etc.). Whether studied or implemented at an individual, collective or organizational level (Amabile 1988), creativity has much to teach us. For instance, we understand how to define organizational creativity and distinguish different levels of analysis (Woodman et al. 1993), what factors encourage its emergence (Andriopoulos 2001; Isaksen and Ekvall 2007) or even that a link with innovation exists (Amabile et al. 1996; Sarooghi et al. 2015). A relatively unexplored topic, however, is creative capabilities.
Defined as “the ability, using processes and routines, to generate, select, and integrate new, suitable, useful, and feasible ideas and solutions to improve, change, and renew the organization’s processes and productions, as well as the organization itself” (Parmentier et al. 2017, p. 16), creative capability has its roots in the work of Napier and Nilsson (2006), who regard creativity in terms of dynamic capabilities (Teece 1997).
Sheet (2022) more precisely describes the five dimensions that allow for the development of such capabilities: 1) internal socialization of ideas, 2) creative equipment, 3) external openness, 4) organizational agility and 5) idea management. Nevertheless, despite the interest surrounding creative capabilities from both academic and managerial perspectives, knowledge on the subject remains relatively scarce. It is in this context that this book is written, as well as the research project supported by the Agence nationale de la recherche (ANR) (organizational creative capabilities, OCC). Although the literature and knowledge on creative capabilities remain limited, many works nevertheless enable the study of processes and routines that shape this creative capability (Napier and Nilsson 2006) to understand the way in which it is constructed (Parmentier and Szostak 2016; Merindol and Versailles 2017) or to study it in diverse organizational contexts, such as entrepreneurship (Lerch et al. 2015) or SMEs (Lavoie et al. 2019). If there is one aspect of creative capabilities that is still largely understudied, it is the way in which it develops in a context of openness.
In management sciences, openness often takes shape in the form of open innovation. Introduced by Henry Chesbrough in 2003, for an organization, open innovation consists of relying on knowledge inputs and outputs to accelerate internal innovation for external use (Chesbrough 2003). The literature on open innovation has expanded considerably in recent years, as evidenced by the increasing number of special issues of academic journals on the subject, as well as the proliferation of management systems such as crowdsourcing platforms, innovation with user communities and idea competitions, among others.
Many topics have been examined through the lens of open innovation: collaborations between large companies and SMEs (Usman et al. 2018), the antecedents of open innovation (Kim et al. 2015), open business models (Foss and Saebi 2017), open third places for innovation (Capdevila 2016), etc. However, as mentioned earlier, creative capabilities have been studied very little in the context of openness, even though many current creative approaches involve some degree of openness.
Merindol and Versailles (2017) have begun to explore this question by studying the development of “highly” creative capabilities in a context of openness, specifically within open innovation laboratories. According to the authors, openness contributes to the development of such capabilities by providing access to resources that are not available within the company (external resources) and allowing for a freedom of exploration (in the case studied by the authors, within a limited space). However, while the broader literature suggests that open innovation schemes do indeed foster creativity (Ruiz et al. 2017; Aubouin and Capdevila 2019), many studies also highlight that fostering creativity through open innovation is often challenged by numerous obstacles, such as difficulties in integrating external knowledge, complex coordination, etc. (Yström et al. 2010; Ruiz et al. 2020).
The aim of this book is therefore to take a closer look at the development of creative capabilities in the context of openness. Our goal is to understand how such skills can develop in this context, despite the obstacles identified in the existing literature. Additionally, we aim to connect the concept of creative capabilities to various research subjects, which themselves reflect managerial strategies implemented by organizations in relation to openness and open innovation. Through the chapters and cases presented in this book, we hope to contribute to the advancement of knowledge on the topic of creative capabilities. Our intention is also to provide guidance and consolidate thinking for researchers engaged in the study of creative capabilities, creativity in general, and for those seeking examples and cases to efficiently implement schemes based on creative capabilities. Building on the first book coordinated by Guy Parmentier in this series, this book is part of the ANR OCC project, which brings together a dozen expert researchers who are deeply passionate about this subject. In this second volume on the topic of openness, we have also expanded our collaboration to include research colleagues who are investigating contemporary openness topics, which they have found relevant to connect with creative capabilities. This expansion is akin to exploring previously uncharted research avenues.
This book comprises eight chapters, each of which delves into one or more dimensions of capabilities highlighted by Sheet (2022). Our objective is to analyze what promotes the development of creative capabilities and to illustrate these dimensions across various contexts of openness.
Chapter 1, written by Guy Parmentier, addresses the contribution of multisided platforms to the creative capabilities of organizations. The author describes how these platforms operate, the role of openness, and its impact on creativity and the development of creative capabilities. One of the key contributions of this chapter, apart from the study of multisided platforms, lies in Guy Parmentier’s border approach, which illustrates many dimensions of creative capabilities.
Chapter 2 illustrates the connection between creative capabilities and openness using the example of crowdsourcing. Recognized as one of the major open innovation schemes, crowdsourcing enables organizations to become more creative. To achieve this, the literature has already emphasized the importance of developing absorption skills, but has never linked them to creative capabilities. Émilie Ruiz proposes to do so using the example of the Raidlight company.
Chapter 3 delves deeper into the concept of open business models. Romain Gandia demonstrates how organizational creative capabilities influence business models in various ways. Going beyond the so-called mechanical approach to these capabilities, the author highlights the significance of their agility, contextuality, dynamism and openness. On the one hand, the Ankama company example emphasizes the crucial issue of internal agile organization and the application of creative capability in a longitudinal business model perspective. On the other hand, the Airbnb case serves as a testament to the co-production of creative capabilities in the context of a digital platform business model.
Chapter 4 is unique in that it explores an internal openness mechanism: the liberated company. To this end, Sandra Dubouloz and Caroline Mattelin-Pierrard present a chapter identifying how an organization’s internal openness (such as the opening of internal boundaries, breaking down organizational silos and fostering open-mindedness among managers and employees) can promote creativity and creative capabilities. They base their analysis on the case of the Nicomatic company.
Chapter 5 examines one of the primary aspects of openness: the third place. By presenting cases of several open third places, Aurore Dandoy explores the role of physical spaces in the development of creative capabilities. This chapter extends the existing literature on places, third places and creativity by suggesting that these spaces not only encourage creativity but also demonstrate, through a multi-level analysis, that third places facilitate the development of individual and organizational creative capabilities.
Chapter 6 focuses on a relevant sector: scientific research. Nuria Moratal’s study of a very large research infrastructure (TGIR) aims to emphasize the importance of creative capabilities in open innovation strategies within the scientific community. Specifically, this chapter examines how openness, through collaboration between a TGIR and several pharmaceutical laboratories, cultivates creative capabilities and ultimately fosters greater creativity in science.
Chapter 7 investigates creative capabilities within the heart of a cultural and creative industry: the music industry. By studying a musical ecosystem composed of several labels, Margaux Vales reveals the dynamics between openness and creative capabilities through her dimension of openness. She particularly emphasizes that openness is fundamental to creativity and describes how open mechanisms contribute to the vibrancy of the music industry.
Finally, Chapter 8 focuses on a major subject in open innovation: digital platforms for innovating with online communities. Extensively studied in the context of open innovation, digital platforms are crucial support systems for existing creativity systems, particularly with users. In this chapter, Zoé Masson and Guy Parmentier present two online innovation communities led by companies: EDF Pulse and You and Yoomaneo. These cases were selected by the authors because they consistently attract users who actively engage in suggested activities, generating valuable insights, knowledge and ideas that can enhance the innovation processes of their managing or customer companies. In addition to identifying key success factors for effectively leading an online innovation community, the authors highlight the optimal characteristics of these platforms for managing online communities.
The conclusion provides a summary of the book’s insights and raises the question of the role that idea selection plays in the development of creative capabilities.
References
Amabile, T.M. (1988). A model of creativity and innovation in organizations.
Research in Organizational Behavior
, 10(1), 123–167.
Amabile, T.M., Conti, R., Coon, H., Lazenby, J., Herron, M. (1996). Assessing the work environment for creativity.
Academy of Management Journal
, 39(5), 1154–1184.
Andriopoulos, C. (2001). Determinants of organisational creativity: A literature review.
Management Decision
, 39(10), 834–841.
Aubouin, N. and Capdevila, I. (2019). La gestion des communautés de connaissances au sein des espaces de créativité et innovation: une variété de logiques de collaboration.
Innovations
, 1, 105–134.
Capdevila, I. (2016). A typology spaces of open innovation based on different modes of innovation and motivations for participation.
Gestion 2000
, 33(4), 93–115.
Chesbrough, H.W. (2003).
Open Innovation: The New Imperative for Creating and Profiting from Technology
. Harvard Business School Press, Boston, MA.
DeFillippi, R., Grabher, G., Jones, C. (2007). Introduction to paradoxes of creativity: Managerial and organizational challenges in the cultural economy.
Journal of Organizational Behavior: The International Journal of Industrial, Occupational and Organizational Psychology and Behavior
, 28(5), 511–521.
Foss, N.J. and Saebi, T. (2017). Fifteen years of research on business model innovation: How far have we come, and where should we go?
Journal of Management
, 43(1), 200–227.
Hjorth, D., Strati, A., Drakopoulou Dodd, S., Weik, E. (2018). Organizational creativity, play and entrepreneurship: Introduction and framing.
Organization Studies
, 39(2/3), 155–168.
Isaksen, S.G. and Ekvall, G. (2007).
Assessing Your Context for Change: A Technical Manual for the SOQ
. Orchard Park, New York.
Kim, N., Kim, D.J., Lee, S. (2015). Antecedents of open innovation at the project level: Empirical analysis of Korean firms.
R&D Management
, 45(5), 411–439.
Lavoie, C., Tremblay, M., Abdul-Nour, G. (2019). PME manufacturières créatives: le rôle des propriétaires-dirigeants.
Revue internationale PME
, 32(3/4), 207–230.
Lerch, C., Thai, M.T.T., Puhakka, V., Burger-Helmchen, T. (2015). La créativité entrepreneuriale: le sens pratique pour concrétiser les idées originales.
Innovations
, 3, 5–11.
Merindol, V. and Versailles, D. (2017). Développer des capacités hautement créatives dans les entreprises: le cas des laboratoires d’innovation ouverte.
Management International
, 22(1), 58–72.
Napier, N.K. and Nilsson, M. (2006). The development of creative capabilities in and out of creative organizations: Three case studies.
Creativity and Innovation Management
, 15(3), 268–278.
Parmentier, G. and Szostak, B. (2016). How to build the creative capabilities of an organization.
EGOS Colloquium (European Group for Organizational Studies)
, Italy.
Parmentier, G., Szostak, B., Rüling, C.C. (2017). Introduction au dossier thématique. Créativité organisationnelle: quels enjeux en management stratégique dans un contexte mondialisé ?
Management international/International Management/Gestiòn Internacional
, 22(1), 12–18.
Ruiz, É., Brion, S., Parmentier, G. (2017). Les barrières à la mise en œuvre du crowdsourcing pour innover.
Revue française de gestion
, 43(263), 121–140.
Ruiz, É., Brion, S., Parmentier, G. (2020). From knowledge capture to knowledge integration, the key role of integrative actions in crowdsourcing for innovation. In
Managing Digital Open Innovation
, Barlatier, P.J (ed.). EDHEC, Paris, 325–352.
Sarooghi, H., Libaers, D., Burkemper, A. (2015). Examining the relationship between creativity and innovation: A meta-analysis of organizational, cultural, and environmental factors.
Journal of Business Venturing
, 30(5), 714–731.
Sheet, Z. (2022). La capacité créative organisationnelle: création et validation d’une échelle de mesure multidimensionnelle. PhD Thesis, Université Grenoble Alpes, Grenoble.
Teece, D.J., Pisano, G., Shuen, A. (1997). Dynamic capabilities and strategic management.
Strategic Management Journal
, 18(7), 509–533.
Usman, M., Roijakkers, N., Vanhaverbeke, W., Frattini, F. (2018). A systematic review of the literature on open innovation in SMEs.
Researching Open Innovation in SMEs
, 3–35.
Woodman, R.W., Sawyer, J.E., Griffin, R.W. (1993). Toward a theory of organizational creativity.
Academy of Management Review
, 18(2), 293–321.
Yström, A., Ollila, S., Fredberg, T., Elmquist, M. (2010). Communities of practice for open innovation: Enabling organizational creativity.
Proceedings of the 7th International Conference on Intellectual Capital, Knowledge Management and Organizational Learning
, 524–530.
Note
Introduction written by Émilie RUIZ.
1Managing Openness with Multisided Platforms
In the past 20 years, digital technologies have transformed our society, our economy and our everyday lives. Translating a complicated text from English to French, tracking an online order with your cell phone or even renting your apartment out to a stranger have become commonplace actions. Digital technologies have thus played a decisive role in the emergence of numerous innovations. Leading companies such as Amazon, Google, Netflix and Airbnb have redefined the economic landscape and transformed our relationship with time, space and information. The industrial world is also experiencing significant transformations with the development of connected objects and Big Data resulting in the arrival of what we call Industry 4.0 and changing business practices, work habits and corporate culture.
These technologies have also encouraged the emergence of multisided platforms, complex digital environments that are at the heart of the business models of digital leaders including Google, Blablacar or Airbnb. Multisided platforms rely on digital technologies to connect complementary users who add value to each other. These platforms can open up the limits of an organization to collect new ideas, get users to contribute to the production of services or even take on partners in the development of innovation. Platforms are thus a strong tool for openness that can contribute to an organization’s creative capabilities thanks to the creativity of users and partners. Openness is also one of the mechanisms that help platforms to function and develop. Corporate boundaries, design processes and production must be opened up to benefit from the input of contributors on all sides accommodated by these platforms. Openness is therefore at the heart of how multisided platforms function. Therefore, to understand the contribution of multisided platforms to the creative capabilities of organizations, in this chapter, we will address their working principle, the role of openness and the consequences of openness on creativity.
1.1. Multisided platforms
A platform is a digital socio-technical environment that enables services, exchanges and transactions. Before the arrival of digital technologies, platforms already existed as a physical place, a place that integrates tools to provide a service to one or more categories of users. For example, a store can be seen as a sales platform that can offer a range of products to potential buyers thanks to shelves, advisors and cash registers. A nightclub is also a sort of dating platform, in the sense that its music, drinks and a dance floor help to bring people together.
Likewise, the term logistics platform is also used to describe the place where orders are received, stored and sent. Not all of these platforms need digital technologies to work, even if these technologies have significantly transformed them, with the use of robots in warehouses for assembly and shipping of orders, for instance. However, among the many forms of platforms that exist, digital technologies have facilitated the emergence of a new type, the multisided platform, found at the heart of many companies developing digital services. A multisided platform is a digital socio-technical environment in which products and services are provided to complementary groups of users who bring each other value (Hagiu 2014; Parmentier and Gandia 2017, 2022). Such a platform delivers a service and facilitates interactions and transactions between groups of users. The side represents a group of users with similar needs, activities and sometimes behaviors.
The multisided platform incorporates technological, economic and social dimensions. From a technological point of view, the platform is a modular system made up of technological components (Internet, servers, algorithms and AI, cell phones, connected objects, WiFi, etc.) and interfaces that enable network effects, economies of scale and facilitate innovation (Gawer 2014). Digital technologies have facilitated the emergence of such platforms through their accessibility, networking capabilities and low cost of content replication. From an economic point of view, multisided platforms stem from the idea of two-sided markets, that is, markets that interact through a platform. For example, the bank card service is supported by a platform that links together the banking market with commercial markets. When the platform connects several different markets, it is a multisided platform. There are two configurations of a multisided platform: one that connects groups of complementary users in a single market and one that connects complementary users in several markets (Parmentier and Gandia 2016). For example, the Airbnb service brings together travelers and renters in the tourism market, while the bank card connects buyers and sellers to their banks in numerous markets. A multisided platform also has a social dimension, since it organizes and regulates the relationships between users from different sides according to the objectives, norms and values of the platform.
However, what fundamentally characterizes these platforms are network effects. Network effects are a type of network externality. An externality is present when the activity of one economic agent influences the activity of another without actually having any direct economic interaction. For example, when a beekeeper installs their hives next to an arboriculturist, they positively influence the latter’s economic activity, as their bees will probably have a positive effect on fruit production. No transaction has taken place between the beekeeper and the arboriculturist, and yet the former has a positive impact on the economic activity of the latter.
In contrast, if a polluting industry settles next to an arboriculturist, their fruit production may suffer. Network effects happen when this externality acts via a network. This is especially the case when the value of a technology or offer depends on the number of users. For example, in a telephone network, the more network users there are, the more interesting the network will become, given the user will potentially be able to contact more people. The network effect is direct when a group of users acts directly on the same group of users (mass effect, effect of reputation, effect of learning). In this case, the more service users there are, the more visible and reassuring the service is, and the more information there is available to facilitate the use of the service. It is indirect when one group of users acts on another group of users, typically in the case of the Google service, where the number and quality of data left by users determine the value of the service for advertisers (complementarity of offers, effect of reputation, effect of learning, etc.). They can be crossed when user groups influence one another, as in the case
