The creative capabilities of open organizations / edited by Emilie Ruiz.

Table of Contents
Foreword ix
Michela BERETTA

Author Biographies xiii

Introduction xvii
Émilie RUIZ

Chapter 1. Managing Openness with Multisided Platforms 1
Guy PARMENTIER

1.1. Multisided platforms 2

1.2. Strategy of openness 4

1.3. Control tools and mechanisms 7

1.4. Effect on user and company creativity 9

1.5. Conclusion 12

1.6. References 14

Chapter 2. Capabilities to Benefit from Crowdsourcing for Innovation 17
Émilie RUIZ

2.1. Crowdsourcing (CS) of creative activities: a form of crowdsourcing for innovation 19

2.2. Benefits and difficulties that question organizational boundaries 21

2.3. Capacities to benefit from CS for creative activities 26

2.4. Conclusion 31

2.5. References 32

Chapter 3. The Role of Creative Capabilities in Opening up the Business Model Innovation Process 37
Romain GANDIA

3.1. The business model (BM) innovation process and dynamics of openness 39

3.2. Understanding the dynamic of openness in the BM innovation process through the lens of organizational creative capability (OCC) 43

3.3. The Ankama case: an atypical OCC model to organize a dynamic of internal and external openness in the BM innovation process 47

3.4. The Airbnb case: a digital OCC co-production model to organize the openness of the BM’s innovation process 51

3.5. Differing perspectives on Ankama and Airbnb’s OCC models: What lessons can be learned? 55

3.6. Conclusion 58

3.7. References 59

Chapter 4. The Liberated Company: Openness, a Complementary Dimension to Explore Creative Capabilities 65
Sandra DUBOULOZ and Caroline MATTELIN-PIERRARD

4.1. The liberated company: a fertile ground for creativity? 67

4.2. The liberated company and creativity: openness, a new dimension to explore 73

4.3. The multidimensional model of the creative capabilities of the liberated company 82

4.4. Conclusion 85

4.5. References 85

Chapter 5. The Third Place to Develop Creative Capabilities 91
Aurore DANDOY

5.1. The genealogy of the concept of "third places" 91

5.2. Creating a third place rather than being a third place 93

5.3. Defining the third place through territorial and emotional anchoring 94

5.4. Sceaux Smart, community and territory before place 95

5.5. The creative capabilities of a third place: a multidimensional web 98

5.6. The regulation of third places: between authority, legitimacy and creative empowerment 100

5.7. Third places to strengthen individual creative capabilities 101

5.8. Third places to strengthen organizational creative capabilities 102

5.9. Third places to strengthen creative civic and political capabilities 104

5.10. An image to summarize 105

5.11. Conclusion 106

5.12. References 107

Chapter 6. Large-Scale Research Infrastructures and the Pharmaceutical Industry: Partnerships and Creative Capabilities 111
Nuria MORATAL

6.1. Introduction 111

6.2. Collaboration and creativity in scientific practice 113

6.3. The case of a partnership around a large database 114

6.4. Discussion: the impact on creative capabilities 124

6.5. Conclusion 129

6.6. References 129

Chapter 7. The Recording Industry: Relying on Openness to Enrich Musical Creativity 133
Margaux VALES

7.1. Creative capabilities and artistic creation 135

7.2. Creative capabilities and production 140

7.3. Creative capabilities and distribution 146

7.4. Conclusion 149

7.5. References 151

Chapter 8. Innovating with an Online Community: The Yoomaneo and EDF Pulse and You Cases 153
Zoé MASSON and Guy PARMENTIER

8.1. Context and description of Yoomaneo and EDF Pulse and You 155

8.2. Managing an online innovation community (OIC): organization, communication and platform building 162

8.3. OIC members 168

8.4. The benefits of OIC for companies and participants 169

8.5. The issues and challenges of OICs 178

8.6. Conclusion 181

8.7. References 184

Conclusion 185
Émilie RUIZ

List of Authors 193

Index 195

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.

About the Author
Émilie Ruiz is an Associate Professor in Innovation Management at the Université Savoie Mont Blanc and a member of IREGE (France). Her research focuses on open innovation, particularly on communities of innovation and creativity.