Creative Capabilities of Open Organizations

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.

• Foreword ixMichela BERETTAAuthor Biographies xiiiIntroduction xviiÉmilie RUIZChapter 1. Managing Openness with Multisided Platforms 1Guy PARMENTIER1.1. Multisided platforms 21.2. Strategy of openness 41.3. Control tools and mechanisms 71.4. Effect on user and company creativity 91.5. Conclusion 121.6. References 14Chapter 2. Capabilities to Benefit from Crowdsourcing for Innovation 17Émilie RUIZ2.1. Crowdsourcing (CS) of creative activities: a form of crowdsourcing for innovation 192.2. Benefits and difficulties that question organizational boundaries 212.3. Capacities to benefit from CS for creative activities 262.4. Conclusion 312.5. References 32Chapter 3. The Role of Creative Capabilities in Opening up the Business Model Innovation Process 37Romain GANDIA3.1. The business model (BM) innovation process and dynamics of openness 393.2. Understanding the dynamic of openness in the BM innovation process through the lens of organizational creative capability (OCC) 433.3. The Ankama case: an atypical OCC model to organize a dynamic of internal and external openness in the BM innovation process 473.4. The Airbnb case: a digital OCC co-production model to organize the openness of the BM’s innovation process 513.5. Differing perspectives on Ankama and Airbnb’s OCC models: What lessons can be learned? 553.6. Conclusion 583.7. References 59Chapter 4. The Liberated Company: Openness, a Complementary Dimension to Explore Creative Capabilities 65Sandra DUBOULOZ and Caroline MATTELIN-PIERRARD4.1. The liberated company: a fertile ground for creativity? 674.2. The liberated company and creativity: openness, a new dimension to explore 734.3. The multidimensional model of the creative capabilities of the liberated company 824.4. Conclusion 854.5. References 85Chapter 5. The Third Place to Develop Creative Capabilities 91Aurore DANDOY5.1. The genealogy of the concept of "third places" 915.2. Creating a third place rather than being a third place 935.3. Defining the third place through territorial and emotional anchoring 945.4. Sceaux Smart, community and territory before place 955.5. The creative capabilities of a third place: a multidimensional web 985.6. The regulation of third places: between authority, legitimacy and creative empowerment 1005.7. Third places to strengthen individual creative capabilities 1015.8. Third places to strengthen organizational creative capabilities 1025.9. Third places to strengthen creative civic and political capabilities 1045.10. An image to summarize 1055.11. Conclusion 1065.12. References 107Chapter 6. Large-Scale Research Infrastructures and the Pharmaceutical Industry: Partnerships and Creative Capabilities 111Nuria MORATAL6.1. Introduction 1116.2. Collaboration and creativity in scientific practice 1136.3. The case of a partnership around a large database 1146.4. Discussion: the impact on creative capabilities 1246.5. Conclusion 1296.6. References 129Chapter 7. The Recording Industry: Relying on Openness to Enrich Musical Creativity 133Margaux VALES7.1. Creative capabilities and artistic creation 1357.2. Creative capabilities and production 1407.3. Creative capabilities and distribution 1467.4. Conclusion 1497.5. References 151Chapter 8. Innovating with an Online Community: The Yoomaneo and EDF Pulse and You Cases 153Zoé MASSON and Guy PARMENTIER8.1. Context and description of Yoomaneo and EDF Pulse and You 1558.2. Managing an online innovation community (OIC): organization, communication and platform building 1628.3. OIC members 1688.4. The benefits of OIC for companies and participants 1698.5. The issues and challenges of OICs 1788.6. Conclusion 1818.7. References 184Conclusion 185Émilie RUIZList of Authors 193Index 195