Competing Institutional Logics in the Biopharmaceutical Industry: The Move away from the Small Molecules Therapies Model in the Post‐Genomic Era

The concept of institutional logics has been introduced as the totality of beliefs and assumptions guiding actors in a specific institutional field. While an institutional logic provides actors with guidance for action and an integrated worldview, it is possible for two or more institutional logics to coexist, even over longer periods of time. This study demonstrates how actors in the biopharmaceutical industry are conceiving of a shift from the incumbent small molecules/one target model for new drug development, predominant in the pharmaceutical industry during the post‐World War period, to a more complex model where both genomic and post‐genomic research methods and new forms of in silico biocomputation methods are constituting a new drug development regime where biological entities such as stem cells, biologics (larger molecules such as vaccines) and antibodies play a role in the new therapies. The study concludes (1) that institutional logics are never devoid of struggle and controversy and must be understood as outcomes of complex social processes, and (2) that linear periodizations of the life sciences into, for example, ‘traditional’, ‘genomic’ and ‘post‐genomic’ eras impose an overly simplistic image of how new drug development is organized and technologically embedded in the contemporary period.     

Where the Art is: Defining and Managing Creativity in New Media SMEs

This paper examines the definition and management of creativity in the ‘creative industries’. Initially the paper sets out the economic and cultural context for the emergence of the creative industries, before going on to argue that there are gaps in our understanding of the role of creativity and particularly the management of creativity within these industries. Based on research undertaken with new media SMEs in the North West of England, the paper then explores the ways in which creativity is defined and managed within this sub–sector. It is shown that the meanings attached to creativity are variable and contested and that the precise definition and management of creativity is strongly determined by the internal workplace culture, and the external social and economic conditions within which firms operate. It is further suggested that while creativity is often seen as a ‘must have’ attribute for new media firms it may also, conversely, be considered a barrier to commercial success. The paper concludes that if we are to understand work and production in the creative industries, and offer institutional support for firms to develop and sustain creativity for competitive advantage, it may be necessary to develop a more detailed understanding of the role of creativity and creative management as both a general and specific, socially embedded process.     

Decentring the Creative Self: How Others Make Creativity Possible in Creative Professional Fields

Since its inception, the psychology of creativity has been concerned primarily with the study of individual creators. In contrast, this research is dedicated to an exploration of (a) who has a significant impact on a creative professional's activity and (b) what the contribution is that others make to creative outcomes. The research included interviews with 60 professionals working in science and creative industries in France. The following categories of others emerged: family and friends, peers and students, clients and funders, critics and gatekeepers, and the general public – and they were related to themes depicting the interaction between these different others and the creator. Findings reveal both similarities and differences across the five domains in terms of the specific contribution of others to the creative process. Social interactions play a key formative, regulatory, motivational and informational role in relation to creative work. From ‘internalized’ to ‘distant’, other people are an integral part of the equation of creativity calling for a de‐centring of the creative self and its re‐centring in a social space of actions and interactions.     

Lifestyle Meets Market: Bohemian Entrepreneurs in Creative Industries

By linking lifestyle studies with creative industries research, this article opens a new perspective on creativity and innovation management. We argue that artists in the creative industries have to bridge the gap between artistic work and the economic need for self‐management, and that a bohemian lifestyle essentially supports them in doing so. The bohemian lifestyle, which is characterized by a devotion to art for art’s sake, is an essential source for work motivation of artists and an increasing number of other creative workers. The article draws upon an empirical study into artistic work and employment in German theatres. Enacting a bohemian lifestyle enables actors as ‘bohemian entrepreneurs’ to integrate intensive self‐management and self‐marketing as well as subordination of private life to work into their artistic work life. Analysing the link between lifestyle and creative work is crucial for understanding the way in which creative workers become artists and, at the same time, entrepreneurs of their creative talent.     

Entrepreneurs’ Intentions and Partnership Towards Innovation: Evidence from the Japanese Film Industry

Many scholars have researched in the field of entrepreneurship and innovation; nevertheless, little attention has been given to a causal relationship between these two concepts; entrepreneurial intention and innovation. In the conventional view, a single outstanding entrepreneur has an intention to induce innovation, and connects market opportunities and resources. However, this view cannot fully explain the situation of entrepreneurial activities led by a team. This article presents a new research framework in entrepreneurship research. First, an entrepreneur can have a relational intention that leads to constructing a partnership. Second, such a partnership, not an individual entrepreneur, has an emerged innovative intention that leads to carrying out innovation in order to establish the competitive advantage. Adopting this framework, we examine cases in the Japanese film industry and clarifying the relational development between entrepreneur’s intention and innovation. From this study a new theoretical foundation on the dynamics of entrepreneurial intentions and outcomes in creative industries arises, and it unpacks the initial stage of innovation where organizations are newly created by employing micro viewpoints such as individuals and partnerships.     

Communication and Context: Collective Tacit Knowledge and Practice in Japan’s Workplace ba

In contrast to Schumpeter’s “perennial gale of creative destruction” (Schumpeter 1976: 84), government–coordinated economic development in post–1945 Japan has owed more to informal (but binding) “rules of the game” (North 1990) that situate working, learning and innovation within the spaces delineated by tightly bounded company–as–family workplace organisations or ‘ba’ (which roughly means ‘place’ or ‘interaction field’). Horizontal keiretsu groupings, together with fixed trading–patterns in supply and distribution chains, continue to support an interlocking ‘steady state’ economic structure in which new technologies tend to emerge from existing organisations. Shared experience within workplace ba generates tacit knowledge that is held in common by colleagues and retained as a potent tool for shaping future practice. It plays a vital role in facilitating ‘friction free’ communication amongst insiders, who can act as a group to ostracise and retaliate against agents who break their code. Long–term obligations link salaried male employees to their workplace ba. Consequently, autonomous boundary–spanning communities of practice, together with industry–university collaboration and other transient associations with outsiders, lack legitimacy. Cook and Brown’s (1999) pluralist epistemology is used to compare Western interpretations of Mode 1 and Mode 2 knowledge (Gibbons et al 1994) with the privileged role that Japan’s workplace ba accord to insider collective–tacit knowledge, which we tentatively call ‘Mode 3’ knowledge.     

Do cultural and creative entrepreneurs make affectively driven decisions? Not when they evaluate their opportunities

Our research studies the influence of positive affect on entrepreneurs' evaluations of opportunities (i.e. novelty assessments and entrepreneurial selection) as well as how this influence may be different for entrepreneurs belonging to cultural and creative industries. Drawing on arguments on the role of affect in cognition and considering the particular situational and individual-level factors of entrepreneurship in cultural and creative industries, we hypothesize that positive affect influences entrepreneurs' opportunity evaluation. We also hypothesize that this effect of positive affect is barely present for cultural and creative entrepreneurs. We test our hypotheses in a sample of nascent entrepreneurs who took part in entrepreneurship training programmes in six incubators in Spain, who we asked to evaluate their own opportunity. Our results show that positive affect positively impacts the perceived novelty and entrepreneurial selection of non-creative entrepreneurs though this impact is limited for cultural and creative entrepreneurs.     

Exploratory Study of Organizational Creativity in Creative Organizations

The creative industries represent an important and growing sector of the UK economy. This paper explores organizational creativity in firms within the creative industries. A questionnaire based on both Amabile's ‘Organizational Creativity’ model and Ekvall's ‘Creative Climate’ model was completed in ten firms in different sectors of the creative industries. Follow‐up interviews with five firms were also conducted, to compare the outputs from each model as well as the variation in responses from firms in different sectors. The results indicate that both models of organizational creativity are complementary, although not necessarily fully applicable in the creative industries. Specific differences between firms in the graphic design/branding sector and firms in product design were also observed.     

Linking information systems and entrepreneurship: A review and agenda for IT‐associated and digital entrepreneurship research

More than 50 years ago, information technology (IT) began to change society, the economy, and industries worldwide. This change has included waves of technological disruption that have been exploited by entrepreneurial actors who seize the associated new opportunities. Research on related phenomena is spread across different disciplines. Recently, there have been calls for further research on the marriage of information systems (IS) and entrepreneurship. We review 292 articles in the IS, entrepreneurship, and general and strategic management literature to create an overview of the IT‐associated entrepreneurship research landscape. On the basis of that review, we elaborate on the different roles that IT can assume to support entrepreneurial operations and value creation in these settings. Our findings suggest that IT plays four major roles in entrepreneurial operations: as a facilitator, making the operations of start‐ups easier; as a mediator for new ventures' operations; as an outcome of entrepreneurial operations; and as a ubiquity, becoming the business model itself. Leveraging these roles of IT, we develop a set of definitions to clear up definition uncertainties surrounding IT‐associated new ventures such as digital start‐ups and digital business models. We also outline a research agenda for IT‐associated entrepreneurship research based on identified roles, types, and gaps.     

Reality bites: Managing identity ambiguity in an advertising agency

Creative industries provide a challenging environment for management, especially given the ambiguities inherent in these environments and the need to balance creative work with mundane, yet supportive practices of organizations. Within these environments there are a large number of individuals with high identity needs such as the Creatives, and management must thus balance the needs of these Creatives with those of other organizational actors, including those responsible for allegedly ‘non‐creative’ processes. This paper examines an Australian advertising agency and demonstrates how individuals and groups within the organization handle ambiguities and tensions inherent to their work. The case study shows how management provides structures and support in order to allow for heedful interactions between two oppositional dimensions of the environment. Therefore managerial action and instituted processes serve to strike a balance between the creative and non‐creative work and to guide individuals and groups towards meaningful outcomes.     

Individual motivation among entrepreneurs in the creative and cultural industries: A self‐determination perspective

We aim to shed light on the deep mechanisms that keep individual entrepreneurs in the creative and cultural industries motivated in this insecure and fast‐paced environment. We collect data through a survey of entrepreneurs working in the Dutch creative and cultural industries (CCI) and examine what motivates these professionals to work in an environment characterized by tough competition. Specifically, we analyse our respondents' self‐perceived (creative and entrepreneurial) competences and needs (for autonomy and relatedness) in relation to their motivation to execute creative work. We suggest a reading of our results through the lens of self‐determination theory. Our results show that the need for competence is a consistent predictor of an individual's motivation to work in the CCI. Furthermore, we find that although intrinsic motivation is very high among entrepreneurs working in the creative and cultural industries, those who have a relatively high esteem of their creative capabilities do expect external rewards as well. Our study suggests the existence of a trade‐off between autonomy and commercial viability rather than one between intrinsic and extrinsic motivations.     

The Development of Creative Capabilities in and out of Creative Organizations: Three Case Studies

This paper describes and analyses how creative organizations develop and use routines and processes to strengthen their creative capabilities. Using an exploratory framework based in resource‐based theory and creativity literature, it focuses on the role of the creative entrepreneur as a key component for organizations developing creative capabilities. The creative entrepreneur or agent builds collaboration, exploits knowledge and enhances relationships in and out of an organization. Drawing on three in‐depth case studies from different sectors (theatre, sports and software), the article expands the idea of creative capabilities to encompass routines and processes in organizations in industries generally not considered ‘creative’. Furthermore, it outlines how the creative entrepreneur is instrumental in developing and using the creative routines so that they form creative capabilities. Based on the analysis, the article discusses creative capabilities, collaboration in the process, and the creative entrepreneur’s role in developing and using them.     

The Early Bird Gets the Worm,But the Second Mouse Gets the Cheese: Non‐Technological Innovation in Creative Industries

In the context of economic turmoil, firms in the creative industries (CIs) must make fast decisions as to when to break through with innovations. This paper discusses non‐technological, organizational innovation of early‐adopters, first movers and early followers in order to overcome persistent economic decline, and the implication of different strategies for innovation success. The strategic principle of the pioneer's advantage rests on pre‐emption – the premise that ‘the early bird gets the worm’ and this often applies to business model innovation (BMI). ‘But the second mouse gets the cheese’ points at early followers who may have a more systematic, strategic approach towards innovation. Greater understanding of the advantages of each strategic approach and their significance for innovation performance is critical for CIs where unpredictability and the accelerating pace of change pervade the decisions concerning innovation. Drawing on five exemplary cases of archaeological firms in Spain, this paper explores different innovation process dynamics. The study develops a contingency model where pioneers who challenge their current business model, may be outperformed by early followers who incorporate complementary management innovation (MI) initiatives into the BMI.     

Art,Work and Art Work

This paper introduces a novel method for investigating the interfaces between art work and managerial work in the creative industries. The method, which we are calling dispraxis, seeks to transcend the traditional divisions between the academic world and the world of practice. This particular dispraxis is a structured, iterative dialogue between an academic, a manager, and an artist on the themes identified in the call for papers. In this dispraxis the following four themes were elicited. The first theme centred on the explosion of management discourse into the creative industries. The second theme explored the difference between the creative industries and ‘normal’ business and introduced the metaphor of chelation to describe the primary need to manage and protect safe spaces for creativity to happen. The third theme was money and this theme explored how art is valued and funded, especially in a postmodern world where the notion of authenticity and Taste have been problematised. The fourth theme discussed how art is routinely identified as the highest expression of human achievement and yet is largely ignored in commercial discourse. One explanation for this is to consider artistic work as part of the abject. The metaphor of origami is used to gather together the various themes explored in the dispraxis.     

A tale of two coalitions – marginalising the users while successfully implementing an enterprise resource planning system

Classic analyses of system implementations view user participation as a key element for successful implementation. However, under some conditions, avoiding user participation offers an alternative route to a successful implementation; this is advisable especially when the user network is weak and aligning user needs with the technological capabilities will take too much resource. To illustrate such situation, we analyse how a successful implementation outcome of an enterprise resource planning (ERP) system emerged in a recently established conglomeration of two previously independent universities. The ERP was used to replace several legacy student administration systems for both political and functional reasons. It was deemed successful by both project consultants and the new university's management while the users were marginalised (‘black boxed’) and left to ‘pick up the pieces’ of an incomplete system using traditional methods such as shadow systems and work‐a‐rounds. Using a process approach and an actor–network theory ‘reading’ of related socio‐technical events, we demonstrate how three networks of actors – management, the project team and the administrative users – collided and influenced the implementation outcome and how the management and project network established the ERP as a reliable ally while at the same time the users – while being enrolled in the network – were betrayed through marginalisation. Our analysis also suggests a useful way to conduct a ‘follow the network’ analysis explaining and accounting for the observed implementation outcome. We illustrate the benefits of using a socio‐technical processual analysis and show how stable actor networks must be constructed during large‐scale information technology change and how different actor groups perceive and influence differently the implementation outcome.     

Cultivating the critical imagination: post-disciplinary pedagogy in a computational design laboratory

ABSTRACT

This article documents and reflects upon a pedagogical project aimed at fostering critical engagements with technology in the context of a graduate research and learning laboratory at the nexus of computer science, design, engineering, and architecture. With the notions of critical technical practice and reflective practice as touchstones, the project links a specific tradition of twentieth century design pedagogy to critical sensibilities drawn from the field of science and technology studies (STS) in a space we call the ‘research studio.’ The methods and examples presented illustrate how this hybrid pedagogical model can cultivate the critical imagination of learners – their ability to place critical and sociohistorical reflection at the centre of creative technology design – and show that the fields of design and STS offer distinct but mutually enriching traditions of learning and research. The article offers insight to educators and researchers across STEM and humanities fields interested in engaging with technologies not merely as subjects but also as vehicles of scholarly and creative inquiry.     

Entrepreneurial Orientation,Social Networks,and Creative Performance: Middle Managers as Corporate Entrepreneurs

Though previous research has highlighted how important it is for middle managers to contribute to corporate entrepreneurship, little work has been done to explore how they produce creative performance by examining the direct, curvilinear and moderating effects of their entrepreneurial orientation and social networks. A total of 337 middle managers conducting marketing, R&D and project management in Taiwan are studied. The results suggest that middle managers' disposition towards proactiveness and innovativeness is positively related to their creative performance, and their internal bonding networks and upper management networks are found to strengthen the effects of entrepreneurial orientation on creative performance. However, middle managers' external bridging networks are found to have an inverted U‐shaped curvilinear relationship with their creative performance, and to weaken the effect of entrepreneurial orientation on creative performance. These findings echo the interactionist perspective of creativity, implying that middle managers should manage their social networks more carefully, as social interaction with network actors may either facilitate or inhibit their creativity at work.     

An Exploratory Study of Entrepreneurial Creativity: Its Antecedents and Mediators in the Context of UAE Firms

In this study, we attempt to advance our understanding of the role of entrepreneurial creativity in the context of firms in the United Arab Emirates (UAE). Through field research accompanied by a review of the related literature, this study identifies crucial antecedents of entrepreneurial creativity. The proposed model combines variables belonging to different contextual factors such as external factors (resource access, resource possession, and alertness to opportunity) and individual factors (creative self‐efficacy, expertise and intrinsic motivation). The model is tested using data from a large‐scale survey of firms in the UAE. We find that expertise and creative self‐efficacy is significantly related to entrepreneurial creativity. The results also reveal that intrinsic motivation and alertness to opportunity are the key mediators between contextual factors and entrepreneurial creativity. The findings of this study present some interesting practical implications to entrepreneurs in order to improve their creative skills.     

Managing Uncertainty in Creative Industries: Lessons from Jerry Springer the Opera

This article considers the impact of uncertainty on entrepreneurial performance in the UK theatre industry. The article identifies and evaluates the major determinants of demand uncertainty –audience composition, critical acclaim and media coverage– whose management is key to entrepreneurial success. An in‐depth historical case study of the controversial production, Jerry Springer the Opera, analyses the evolution of these three distinct sources of uncertainty and illustrates that they should not be treated in isolation since they interact in complex ways which change with time. The case study shows how the entrepreneurs involved used a multi‐staged production process as a strategy to market test their product and to distribute their risks across agents and over time. The article therefore considers what contributed to both the successes and failures of these entrepreneurs as well as highlighting important strategic lessons for managing uncertainty in creative industries.     

创意产业工业遗存建筑表皮界面改造研究——以杭州凤凰·创意国际产业园为例

文章介绍了创意产业的本源,工业遗存建筑及其表皮的概念与创意产业的关系。通过凤凰·创意国际产业园的案例,分析工业遗存建筑为适应创意产业"载体"的需求而进行的建筑表皮改造设计的具体手法,来探讨创意产业这一以"创新"为核心的产业如何与工业遗存建筑这一以"陈旧"为特征的建筑在表皮界面改造领域的共存共生。