Divide and create. A commoning approach to business modeling

Journal of Open Innovation: Technology, Market, and Complexity

Purpose: This paper introduces and analyses the Business Model Prism (BMP) for the arts and cultural organizations as multidimensional framework to map the "as is" structure and the logic of their business model as well as to drive the design of innovation initiatives, i.e. the "as should be" business model. The framework can be used both for descriptive and normative purposes and comprises seven facets organized and represented with a tri-dimensional prism which defines the key business components of arts and cultural organisations. Design/methodology/approach: The research design and methodology are based on a literature review on the themes of business models and business models innovation with a focus on the characteristics and features of the arts and cultural organisations. This paper has a conceptual nature and it is based on a literature review. This includes also a desk research investigation of some key examples of arts and cultural organisations that have adopted innovations to transform the way how they work and deliver value to audience. The development of the novel framework builds the foundation for applying operatively and testing it in arts and cultural organisations and supports them in mapping and transforming effectively their business model. Originality/value: Traditionally great attention the studies on business model innovation have been focused on businesses and public organisations, while rather limited attention has been paid to the investigation of how arts and cultural organisations can develop and manage their business models. Most of the attempts in this direction are aimed at contextualising, in the cultural sector, frameworks that have been devised for the business sector. Although acknowledging the relevance of these contributions, they present weaknesses related to the capacity to take into account the specific characteristics and features of the arts and cultural organisations. The originality and the value of this paper resides, then, in the attempt to fill this gap, providing a new and industry-specific framework able to effectively support the management and the innovation of the business models in the arts and cultural sector.

2002

this paper is the spontaneous empirical observation that the creative industries in general are gaining importance on both an organizational and an economic level. It is no coincidence that the creative industries recently have received attention in organisational studies (see for example the theme issues of Organisational Science, 1998) as well as among economists (Caves 20001). A few social scientists try to give explanations to the configuration and functions of the dynamics of the organization and innovation related to production and the products of these industries (Vogel 1998, Andersen & Miles 1999). Alone the empirical observation that Americans spend at least 60 billion hours and over $60 billions on legal forms of entertainment each year is remarkable (Vogel 1998), and seems to call for further analysis of both the single sectors making up this industry segment as well as some of the features of the firms involved. However, the relative modest considerations from organizati...

Drastic cuts in government budgets will force cultural organizations to reconsider their position by initiating internal discussions on how to avert the risk of these cuts. In order to avoid gradual withering of their proposition, cultural organizations will increasingly search for new organizational constellations with new business models. Converting the cultural organization into a hybrid organization combining cultural as well as business values, is one of the options and a major challenge. There seems to be pressure on preserving the cultural values that belong to the artistic core. This paper investigates the application of the IDER-model, that combines design thinking and design related implementation theories that take the potential conflicting value systems into account as well as a focus on the subsequent realization of associated organizational changes. An additional challenge is to realize the new structure in a way that it stays flexible as were it of a prototypical nature. Based on this theoretical discussion the paper proposes an agenda for future research to generalise our findings. The model explicated in the paper relates to the fundamental choices underlying the adaption to external changes through hybridization.

Quaderno DEM, 2019

The topic of cultural and creative industries has been strongly debated by economics and business scholars over the last two decades. At the same time, the Business Model tool was developed. Assuming that both of the topics have created enormous debates among scholars and practitioners, the definition of cultural industries is shifting to the wider definition of creative industries. Such extension is meant to comprehend all of those industries and all of those sectors that are including dynamics of generation and exploitation of intellectual property. Such approach led to the embracing of a wide range of industries that were rarely associated to the cultural and creative domains in the past. Furthermore, the Business model has shifted from being an architecture specifically designed to serve the e-business, to a flexible yet hard to define “good-for-all” method to better understand and/or improve any kind of business. Surprisingly, studies on the Business model specifically applied to the Creative industries appeared to be fragmented. The present study aimed to briefly review the Business Models literature applied to the Creative industries, in order to measure how much the tool has been studied within the CCIs and through which lens and objectives. Additional goals have been the analysis of the subsectors within the creative industries that had already been treated from scholars prior, highlighting the ones that should be analyzed further in the future.

Information, Communication & Society, 2017

2013

Records sale in music industry is facing a decline in many countries. Actors in this industry from developed and developing countries often innovate some business models to survive. The innovation was conducted by finding new actors and their role, finding a new revenue stream, and finding a new marketing and distribution strategy. They are increasing their focus in business model innovation because of its value creation, value captures potential and also become other option or as an addition to process or product innovation. Many literature reviews has been conducted in terms of business model innovation research in the music industry. However, less review conducted in a structured method. This paper provides structured method of literature review in 4 steps; selection of time horizon and database, paper selection, paper classification, and pattern analysis after classification of articles. The literature review is aim at observing the state of the art and finding the research gap ...

Zenodo (CERN European Organization for Nuclear Research), 2022

Version history table Version Date Modification reason Modifier(s) v.01 13.10.2021 The first draft circulated and revised within UTARTU Eneli Kindsiko (UTARTU), Ragne Kõuts-Klemm (UTARTU), Helen Eenmaa (UTARTU), Ingmar Pastak (UTARTU) v.02 20.04.2022 The second draft circulated and revised within UTARTU Helen Eenmaa (UTARTU) v.03 23.05.2022 Preliminary draft sent to peerreviewers Bartolomeo Meletti (UoG) v.04 10.06.2022 The third draft circulated and revised within UTARTU in response to comments from peer-reviewers Eneli Kindsiko (UTARTU), Ragne Kõuts-Klemm (UTARTU) v.05 16.06.2022 Full draft sent to peer-reviewers Helen Eenmaa (UTARTU) Legal Disclaimer The information in this document is provided "as is", and no guarantee or warranty is given that the information is fit for any particular purpose. The above referenced consortium members shall have no liability for damages of any kind including without limitation direct, special, indirect, or consequential damages that may result from the use of these materials subject to any liability which is mandatory due to applicable law.

This essay explores how management of creative organisations can communicate a flat organisational structure with emphasis on co- leadership and division of responsibility. Through a comparison of the language used in ordinary businesses with that of artistic organisations (especially theatres and symphonies), the essay suggests that by implementing the ‘artistic’ language into ordinary businesses, organisations can underpin a creative working culture and to a larger extend communicate the flat organisational structure that help organisations fulfil their potential in the creative economy.

Much has been written about the disruptive effect of digital technologies on the music industries since the emergence of the peer-to-peer file-sharing network Napster in 1999. This literature review takes as its starting point that the challenge facing the music industries – an example of what Christensen and Raynor (2003) call ‘disruptive innovation’ – is primarily one of business models, rather than technology. In reviewing the literature on collaborative, co-operative and collective business models, I aim to identify and define key terms; to cite the various collective, co-operative and collaborative models in the music industries that have been cited by journalists; to analyse their underlying business models as far as possible; and to define the parameters of future research. Although it is only in its early stages, I identify Imogen Heap’s Mycelia – a new collaborative model that, with its pioneering use of blockchain technology, represents a new economic model – as perhaps the most promising possibility for the future.