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Despite the importance of brokers in creative projects, limited attention has been devoted to the micro-interactions by which brokers induce others’ collaboration while simultaneously retaining some control over creative production. Building on an interactionist perspective, we develop the concept of brokerage style – i.e., a recognizable pattern in the ways in which a broker interacts with others. By using different brokerage styles in different phases of a creative project, brokers can orient the social interactions among project participants, “charging” those interactions with different types of emotional energy and mutual attention, eventually inducing collective collaboration and limiting participants’ expectations of control. We illustrate our interactionist model of brokerage styles with examples from the music and TV industries.

Many industries are increasingly affected by or even invite the participation of external stakeholders in the innovation process. The concepts of open innovation use the ideas of external stakeholders to foster innovation and make the firms more competitive. However, little research has considered whether evaluations from external stakeholders also serve as a source for open innovation and, and if so, in which way they are integrated into the innovation process. Thus, the purpose of this paper is to explore how external evaluations influence the innovation process in the creative industries.

The authors conducted an explorative qualitative study using a mixture of an inductive and deductive research design. The authors interviewed 14 artists in order to understand how external evaluations are integrated in the innovation process.

The paper formulates propositions on factors that influence whether and how external evaluations are a resource for the innovation process in micro-firms. The factors are the situation of the individual that is evaluated, the external evaluator’s credibility, the content of the evaluation, and the potential impact of the evaluation on the individual evaluated.

This paper provides exploratory insights into a so far neglected source of open innovation and its external evaluations in micro-firms in the creative industries.

This paper aims to explore the university as a nexus of socially innovative support and engagement with micro- and small-sized (mSME) creative businesses in rural and semi-rural regions. This paper argues that universities can play a socially innovative role in and around their regions.

The authors used an action research approach to shape university-led interventions for creative mSMEs in a predominantly rural/semi-rural deprived area in the North East of England. A series of additional interviews were conducted with a sample to further explore issues raised during the action research phase.

The research found that the university is seen by these mSMEs as a trusted source of socially innovative support, though the expectation is for long-term and meaningful interventions that facilitate impactful change. University-based knowledge exchange and innovation can be oriented toward these tiny businesses for mutual benefit and as an enabler of societal change in a transitional economy.

As this study focused on a small, geographically similar cohort of creative mSMEs, the further application of these findings may be limited in dissimilar settings. More research is encouraged to further explore and test the conceptual points this paper raises.

This paper contributes to the social innovation field and creative economies policy research by presenting how a university can enable and shape authentic forms of engagement and impact in the mSME creative economy across the rural/semi-urban landscape.

The purpose of this paper is to provide an insight into the goals and values of craft practitioners in Ireland, and assesses the validity of the business support provided to Dublin based craft practitioners. This research aimed to identify entrepreneurial traits in craft businesses and to challenge the objectives of public business support programs. This research enquires into what support practitioners have participated in and the perceived relevance to their professional needs and goals. Indeed, does demand or policy shape business support programs for craft in Dublin?

This paper is based on a mix of quantitative and qualitative research using surveys and interviews.

The research provides new insights into the goals and values of craft practitioners in Ireland. It identifies discrepancies between the needs of these businesses and the support programs available in Dublin. This study also highlighted three profiles of craft practitioners with distinct goals and values: the hobbyist, the artisan and the entrepreneur.

This study was limited to members registered with the Craft Council of Ireland in Dublin. It therefore excluded any professional craft business non-registered with the agency.

This paper provides valuable insights on craft practitioners goals and values and offers useful recommendation on business support for craft micro-businesses in Ireland.

This paper offers empirical data entirely new for Ireland and highlights the similarities between craft businesses and other micro-businesses, questioning business support rationale for the whole of this sector.

The purpose of this paper is to identify the needs and receptiveness of the creative industry sectors, in particular small and micro businesses, in respect of the adoption and development of degree apprenticeships. In addition, the paper aims to identify employers' barriers to entry into such programmes.

Due to the lack of knowledge of degree apprenticeships, an ‘explain and respond’ method was adopted, where a comprehensive explanation of degree apprenticeships and the process for delivery was given to respondents. This enabled them to ask questions and give informed and knowledgeable response to interview questions.

Participants in this research were generally positive about the integration and adoption of degree apprenticeships into their businesses. However, they suggest that the rigid procedure set by the Institute for Apprenticeships makes embarking on the process of developing standards and adopting degree apprenticeships difficult, time-consuming and impracticable for businesses of their size and in these sectors. This has implications for addressing skills shortages and diversity that stands to endanger the continued success of the creative industries.

Little research has been conducted into the viability of degree apprenticeships for creative industries, particularly non-levy paying small and micro businesses.

Though certain characteristics of micro-firms affect the likelihood of their participation in external relationships, how cooperation in craft enterprises differs from low and high-tech enterprises has not been investigated yet. Therefore, this study aims to fill the above gap in the literature.

This study adopts a descriptive approach by extensively reviewing relevant literature to explore the unique characteristics and nature of micro-firm's co-operative behavior. The theoretical approach of this research is grounded in resource-based view and dynamic capabilities theories.

This study finds that handicraft micro-firms possess special and unique characteristics that differentiate them from low- and high-tech firms. Further, handicraft micro-firms' co-operative behavior also differs from other firms in terms of cooperation motives, breadth, depth and factors that inhibit or promote cooperation. Additionally, in small handicraft firms, the co-operation is more informal, personal and through social networks, whereas in the corporate sector, it is more formal, direct and through supply chains. This study also argues that contrary to handicraft and low-tech firms, high-tech firms are more likely to cooperate with external partners and invest heavily in R&D for new product development (often radical in nature).

This study enriches our understanding of handicraft micro-firms' special and unique characteristics that differentiate them from low- and high-tech micro-firms. This research also provides in-depth knowledge to understand the handicraft micro-firms’ co-operative behavior and how it differs from low- and high-tech firms.

This study aims at narrowing a high level of fragmentation in the knowledge on the topic of team creativity (TC) that plays a fundamental role in enhancing an organization's delivery systems and market position by mapping available knowledge within a proposed framework. Although there is a wealth of knowledge on the topic, this fragmentation as revealed by past research limits the comprehensive understanding of the subject.

A literature review was used to gather evidence about the key concepts in the fields of management, organization and innovation. This evidence is mapped against the backdrop of a complex adaptive perspective, as creativity is perceived as the product of micro-social units within the context of macro-social systems.

The great number of concepts found in literature are organized into a framework that distinguishes relevant inputs that can affect team functioning; relevant mediators for TC; and TC outcomes. The framework is reviewed and discussed within the context of the social systems in which the team is embedded.

TC is one of the most fertile research streams within the research field of innovation, and yet it suffers from a fragmentation that limits a deeper level of understanding and the advancement of actionable knowledge from taking place. An integrative theoretical perspective of micro- and macro-social systems gives researchers new insights into the interconnection between the numerous findings already found in the literature and gives a clear direction for future research.

Entrepreneurial opportunity (EO) identification pertains to the core processes of entrepreneurship and innovation. The initial phase of this process starts with individual cognition, which is why cognition has been established as a critical theoretical perspective.

Knowledge and new information have been confirmed as essential cognitive impact factors. However, it is not understood well, how individuals apply those factors and how they actually identify innovative and economically viable EOs. To address the limitations of current research, this chapter investigates the current literature on underlying cognitive processes of opportunity identification.

The literature analysis demonstrates that there is not a single cognitive process but rather a magnitude of different micro-mechanisms that are necessary for the successful identification of EOs. The findings are grouped to four categories of cognitive processes and entail their micro-mechanisms: pattern recognition, information processing, and creative thinking. Furthermore, the analysis reveals that those micro-mechanisms have seldom been related to each other within the scope of opportunity identification. This chapter closes this gap by discussing and contrasting and the different process categories and respective micro-mechanisms and suggests an integrative theory development and avenues for future research.

The purpose of the paper is to examine whether the standard support service intervention model of providing training programmes to stimulate business growth is an effective economic regeneration model in the case of small creative industry firms.

A survey of small creative firms was implemented in the south west UK. The aim of the survey was to gain owner/manager views about participation in training.

The results reveal the majority of firms are interested in a lifestyle based on fulfilling creative aspirations. Very few respondents exhibit any interest in participating in training schemes aimed at enhancing business performance.

The limitations of the research are that it only relates to creative industry firms and was restricted to a single geographic area and only generated data from micro‐enterprises. The implications of these findings are discussed in relation to whether regional development agency policies in rural areas should primarily be directed towards supporting industry‐led expansion of existing creative industry small firm clusters.

The results provide useful guidance in relation to avoiding public sector expenditure on support schemes that are unlikely to stimulate significant economic growth in the small business sector. Additionally a more cost effective approach to stimulating growth in small creative firms outside of metro‐city areas is presented

Previous researchers have raised questions about the benefits of offering business training to small firms. This study provides additional knowledge in relation to this issue. More importantly, however, the study offers conclusions about the possible need for support agencies to radically revise their current strategies in relation to stimulating growth and new job creation in the creative industry sector.