Organized Creativity Blog

Practices for Inducing and Coping with Uncertainty

8th Vienna Music Business Research Days: “Unchaining the Digital Music Business”

from l.t.r.: Peter Tschmuck, Elke Schüßler, Benjamin Schiemer, Carsten Winter

On September 12th the closed workshop for young scholars took place. Interesting papers from around the world (South Africa, Barbados, Canada, Germany!) showed insights on music festivals, on blockchain technology, on carribean collecting societies and also on virtual worlds (www.fawm.org) of music collaboration (Organized Creativity’s doctoral researcher Benjamin Schiemer).

We are happy to inform you that The Young Scholars Award  went to Benjamin Schiemer for his paper “ Virtual Songwriting: Fostering Creative Processes through “Challenge” and “Collaboration” ! The paper very interestingly unfolds the creative processes on a music plattform between incompleteness and closure.

OC-Project I.2 “Organizing Temporary Copresence to Induce and Cope with Uncertainty in Creative Processes“ of the Research Unit „Organized Creativity“ Presents First Research Findings at Three International Conferences

OC-Project I.2 “Organizing Temporary Copresence to Induce and Cope with Uncertainty in Creative Processes“ of the Research Unit „Organized Creativity“ Presents First Research Findings at Three International Conferences

Benjamin Schiemer, Linz, April 24, 2017

1. The presentation “The Messy Socio-spatial Trajectories of Knowledge – Tracing Creative Projects in Pharma and Music”  was already held by Alice Melchior at  the American Association of Geographers‚ (AAG) Annual Meeting (April 5-9) in Boston.  

The focus of this talk was on three important aspects of knowledge production: scales, physical copresence and virtual copresence. Based on preliminary findings from the music and pharmaceutical field, the presentation took issue with the prevailing binary physical perception of copresence (i.e. actors are copresent or absent). By elucidating the social construction of different dimension of copresence and the increasing hybridization of online copresence and offline absence the presentation advanced a more nuanced and conceptually richer understanding of the notion of copresence. 

2. Two papers will be presented at the 33rd EGOS Colloquium „The Good Organization: Aspirations, Interventions, Struggles“, Copenhagen Business School (CBS), Denmark, July 6–8, 2017:

a) “Being There: The Social Construction of (Physical and Virtual) Copresence” by Gernot Grabher, Alice Melchior, Benjamin Schiemer, Elke Schüßler and Jörg Sydow at Sub-theme No. 35: “Organizing Space and Spacing within Temporal Contexts”.

b) “Virtual Songwriting: Fostering Creative Processes through ‘Challenge’ and ‘Collaboration’” by Benjamin Schiemer, Elke Schüßler, and Jörg Sydow at Sub-theme No. 03: “New Frontiers for the Creative Industries: Digitization, Mediation and Valuation”. 

3. One paper entitled “Music Collectives in Vienna’s Jazzscene: Organizing and Perceiving Copresence to Make Music and Navigate Uncertainty” by Gernot Grabher, Benjamin Schiemer and Elke Schüßler will be presented at the international interdisciplinary conference on musical creativity, economy and labour “The Place of Music”, Centre for Research in Communication and Culture, Loughborough University, England, June 28-29, 2017.

Another paper for the Vienna Music Business Research Days “Unchaining the Digital Music Business”, Vienna, Austria, September 12-14, 2017, by Benjamin Schiemer is still under review. 

Scholars from economic geography, management studies and organizational sociology participate in the interdisciplinary DFG Research Unit “Organized Creativity” that started working in Summer 2016. The Research Unit is coordinated by Jörg Sydow, School of Business & Economics, Freie Universität Berlin. For more information visit Organized Creativity or sign up as a follower on Research Gate.

Invitation: Creativity Conference at University Duisburg-Essen: „Von der Künstlerkritik zur Kritk an der Keativität“, October 12-14, 2017

Invitation: Creativity Conference at University Duisburg-Essen: „Von der Künstlerkritik zur Kritk an der Keativität“, October 12-14, 2017

Berlin/Innsbruck/Duisburg-Essen, April 7, 2017

Date: October 12-14, 2017

Call for Papers: May 31, 2017

Place: Kulturwissenschaftliches Institut Essen (KWI), Goethestraße 31, 45128 Essen

The conference aims to bring together interdisciplinary perspectives on the topics of creativity and projectification as they have recently been considered a paradigm determining life and work in “new capitalism“. Taking processes of subjectification in research and activism as a starting point, the conference invites approaches from various disciplines and methodological backgrounds as well as application-oriented criticism (e.g. by organisations, initiatives or in form of activist and artistic positions).

For more information click here.

Lecture Announcement: OC-Project „Regulatory Uncertainty“ will present first research findings at international conferences

The Organized Creativity Project I.4 „Organizing Creativity under Regulatory Uncertainty: Challenges of Intellectual Property“ will be represented at two international conferences:

Berlin/Innsbruck/Duisburg-Essen, April 6, 2017

1. with Lectures at 29th Society for the Advancement of Socio-Economics (SASE) Annual Meeting, Université Claude Bernard Lyon 1 – Campus Rockefeller, Lyon, France, June 29 – July 1, 2017

a) by Katharina Zangerle, Title: Dealing with Regulatory Uncertainty through Categorization and Justification – the Case of Viagra Patent Litigation

b) by Konstantin Hondros, Title: Justifying Intellectual Property – Analyzing Court Cases of the Music Business

2. with Lecture at 33rd EGOS Colloquium „The Good Organization: Aspirations, Interventions, Struggles“, Copenhagen Business School (CBS), Denmark, July 6–8, 2017, by

Leonhard Dobusch, Konstantin Hondros, Sigrid Quack, Katharina Zangerle: Competition, Cooperation and Creativity: The Role of Intellectual Property in Arts and Science

 

Scholars from economic geography, management studies and organizational sociology participate in the interdisciplinary DFG Research Unit “Organized Creativity” that started working in Summer 2016. The Research Unit is coordinated by Jörg Sydow, School of Business & Economics, Freie Universität Berlin. For more information visit Organized Creativity Homepage or sign up as a follower on Research Gate

Lecture Announcement: OC-Project „Secrecy“ will present first research findings at international conferences

The Organized Creativity Project I.3 „Secrecy as Organizing Uncertainty in Creative Processes“ will be represented at two international conferences:

Berlin/Frankfurt O., March 29, 2017

1. with Keynote-Lecture by Prof. Jana Costas, Ph.D. (European University Viadrina, Germany) at 9th Annual Global Advances in Business and Communication Conference, University of Antwerp, Mai 22–24, 2017. Title: „Secrecy at Work: The Hidden Architecture of Organizational Life

2. with own Stream at 33rd EGOS Colloquium „The Good Organization: Aspirations, Interventions, Struggles“, Copenhagen Business School (CBS), Denmark, July 6–8, 2017:

Stream No. 62: „Secrecy, Secrets and Organizations„, Convenor: Prof. Jana Costas, Ph.D. (European University Viadrina, Germany)

Lecture by Dr. Birke Otto (European University Viadrina, Germany): „Secrecy and Creativity: The Potential of Discretionary Spaces in Science-based Innovation

 

Scholars from economic geography, management studies and organizational sociology participate in the interdisciplinary DFG Research Unit “Organized Creativity” that started working in Summer 2016. The Research Unit is coordinated by Jörg Sydow, School of Business & Economics, Freie Universität Berlin. For more information visit Organized Creativity homepage or sign up as a follower on Research Gate

How is Creativity Governed? An Illustration from the Music Industry

How is Creativity Governed? An Illustration from the Music Industry

Gregory Jackson/Tobias Theel, Berlin, March 23, 2017

How is creative collaboration in the music industry governed? Creativity is not merely an individual process of a lone genius, but often an outcome of socially embedded collaboration (e.g. Sawyer 2007; 2012). Yet the idea of organizing a creative process with all its inherent unpredictability seems paradoxical, if not impossible. In effort to understand how creative collaboration is organized, theories of governance may help us compare different ways of coordinating collective effects to achieve specific objectives (Benz et al. 2007; Jessop/Ngai-Ling 2006) and better understand their consequences for creativity. Den ganzen Beitrag lesen »

First Conference Presentations and Publications

First Conference Presentations and Publications

Berlin, March 10, 2017

Four papers with first results from our joint research have been accepted for presentation at leading international conferences such as those of the American Association of Geographers (AAG) in Boston, USA, and the European Groups of Organization Studies (EGOS) in Copenhagen, Denmark.  A paper on “Studying organizational creativity as process: Fluidity or duality?” by Johann Fortwengel (now King’s College London), Elke Schüßler (JKU Linz) and Jörg Sydow (FU Berlin) has just been officially published in Creativity and Innovation Management  (26 (1) 2017, pp. 5-16), another one by Günther Ortmann (Universität Witten/Herdecke) and Jörg Sydow (FU Berlin) on “Dancing in chains: Creative practices in/of organizations” just been accepted for publication in Organization Studies, the leading European journal in this field, later this year.

Scholars from economic geography, management studies and organizational sociology participate in the interdisciplinary DFG Research Unit “Organized Creativity” that started working in Summer 2016. The Research Unit is coordinated by Jörg Sydow, School of Business & Economics, Freie Universität Berlin.

For more information visit http://www.wiwiss.fu-berlin.de/forschung/organized-creativity/ or sign up as a follower on Research Gate https://www.researchgate.net/project/Organized-Creativity-Practices-for-Inducing-and-Coping-with-Uncertainty

Follow Organized Creativity on ResearchGate

Organized Creativity on ResearchGate

Berlin, Mar 6, 2017

Creativity is widely understood as the generation of novel and valuable ideas. Drawing on empirical comparisons of an arts-based and a science-based field, both of which are in turmoil because of disruptive economic, technological and regulatory changes, this research unit seeks to contribute to the development of a multi-disciplinary theory of organized creativity. The aim is to go beyond individual- and group-centered theories that presently dominate creativity research, education, and training, by providing a better understanding of the conditions under which creativity can be socially organized. The very notion of organized creativity evokes immediate tension: creative processes are inherently uncertain and elude intentional organization, but nonetheless unfold typically among networks of actors embedded in different temporal-spatial contexts which necessitate at least some degree of organization. The basic premise of the proposed research unit is that creative processes involve social structures and practices for shaping degrees of uncertainty as a central “ingredient” of creativity. More specifically, we submit that certain practices of organizing creativity involve attempts to foster, channel, and control creative endeavors by inducing, reducing, tolerating, amplifying, or coping with uncertainty.

See: https://www.researchgate.net/project/Organized-Creativity

Organized Creativity Meets Innovation Society

Organized Creativity Meets Innovation Society

Jörg Sydow/Arnold Windeler, Berlin, Feb 22, 2017

 

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Invited by Arnold Windeler, Institute of Sociology at TU Berlin, the FU-based Research Unit “Organized Creativity” met with the Research Training Group “Innovation Society Today” led by him together with Ingo Schulze-Schaeffer from the same institute. After short presentations of the research agenda of the Research Unit by Jörg Sydow, Spokesperson of the Unit, and one selected project by Gregory Jackson, also from the School of Business & Economics at FU Berlin, we debated several issues. In particular, we focused on the notion of creativity and its relationship with innovation, and on suitable methods to study creative processes in and among organizations. After the presentation of the research agenda of the Research Training Group by Arnold Windeler, commonalities and differences between these two formats of research sponsoring by the German Research Foundation became clear. With regard to conceptual issues, we discussed the notion of innovation fields, which is central for the second phase of research at the TU-based Research Training Group. At the end of the workshop, we agreed upon joint activities, including joint method training, the coordination of a lecture series and blogging activities, like this one.

Wie werden Ideen kreativ? Praktiken der Wertbestimmung in der Pharmabranche

Wie werden Ideen kreativ? Praktiken der Wertbestimmung in der Pharmabranche

Von Alice Melchior, Hamburg/Berlin, 25 Januar 2017

Thematischer Hintergrund

In der Pharmabranche spielen kreative Ideen und Innovationen eine herausragende Rolle, da nur so pharmazeutische Fortschritte erzielt werden können. 2013 belegte die forschende Pharmaindustrie den ersten Platz der forschungsintensivsten Industriezweige, gefolgt von Elektronik, Optik und Automobilbau (Fischer/ Breitenbach, 2013). Etwa 21% der Beschäftigten in Pharmaunternehmen arbeiten im Bereich der Forschung und Entwicklung (ebd.). Demnach ist die Pharmabranche eine sehr wissens- und forschungsintensive Branche, in der Innovationen ein fester Bestandteil sind.

Zunehmende Entwicklungskosten und -zeiten für neue Wirkstoffe bei abnehmender Erfolgsquote (ebd.), stellen die Branche vor neue Herausforderungen. Durch eine Umstellung ihrer Strategien versuchen Pharmaunternehmen auf die neuen Herausforderungen zu reagieren. Folgt man den Beschreibungen von Fischer/ Breitenbach (2013) gibt es eine Entwicklung von der Pharma 1.0 (Blockbuster-Modell; reines Streben nach Umsatzwachstum) über Pharma 2.0 (heutiges Modell; Ausweitung des Markt- und Produktportfolios) hin zu einem Modell von Pharma 3.0 (zukünftiges Modell). Die Unterschiede zwischen dem heutigen (Pharma 2.0) und dem zukünftigen Geschäftsmodell (Pharma 3.0) liegen vor allem in seiner Ausrichtung der Produktion, der Art der Innovationen sowie im Ursprung des Wachstums (s. Tab.: 1). Steht im Modell der Pharma 2.0 noch das Produkt an sich im Fokus der Wertschöpfung, ändert sich dies hin zu individuellen Patientenlösungen. Gleichzeitig verschieb sich die Basis des Wachstums von der reinen Akquisition hin zu innovativen Partnerschaften. Somit sind neben den etablierten Kollaborationsarten vor allem auch Innovationen in den praktizierten Geschäftsmodellen für die Pharma 3.0 erforderlich (ebd.; Pharmaceutical Commerce, 2011 und Kumli, 2010).

Pharma 2.0 Pharma 3.0
Herstellungsprozess Produktorientiert Kundenorientiert
Innovation Produktinnovation Innovation des Geschäftsmodells
Wachstum Akquisition Innovative Partnerschaften

Tabelle 1: Vergleich von Pharma 2.0 und Pharma 3. 0

Eigene Darstellung; angelehnt an Fischer/ Breitenbach, 2013, 322

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