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The aim of this study is to examine the impact of the fit between product-service strategy and sensing capability on novelty, and the potential moderating impact of contextual factors (i.e. technological and market turbulence) on novelty.

In line with the aim of the study, a quantitative approach is adopted and a multi-item scale survey is designed to collect primary data. Using a mixed mode survey, a total number of 491 questionnaires are collected from a sample of UK-based telecommunications firms. Multiple regression is used to test the hypotheses and predict the outcomes.

The results support the positive contribution of a contingency approach to the study of the impact of the fit between product-service strategy and sensing dynamic capability on novelty. The results also partially confirm the reinforcing impact of technological and market turbulence on novelty.

This study extends research on product-service strategy and sensing capability by adopting a contingency view, which intends to serve two purposes: to complement the existing reductionistic explanations and to explore how the relationship between product-service strategy and sensing capability could create novelty as well as the degree to which this relationship could be moderated in light of the external contextual factors.

In social theory, emergence is the process of novelty (1) creation, (2) growth, and (3) formation into a recognizable social object, process, or structure. Emergence is recognized as important for the existence of novel features of society such as new organizations, new practices, or new relations between actors. In this introduction to the volume on emergence, we introduce a framework for examining emergence processes and theories that have been applied or can be applied to each of the three stages. We also review each volume chapter and discuss their relation to each other. Finally, we make suggestions on the future of research on social emergence processes.

This study explores the yet understudied productive aspects of uncertainty in the organization of creative collaboration and scrutinizes the practices that allow participants to fruitfully use it as a resource for the creation of novelty. In contrast to former conceptualizations of uncertainty as a quantity to be reduced through organizing, we apply a qualitative heuristic where uncertainty may shift different dimensions regarding participation (who?), procedure (how?) and content (what?). Based on eight creativity biographies in two creative fields, music production and pharmaceutical development, encompassing 36 semi-structured qualitative interviews, we identify embracing, ignoring, and fixing uncertainty as three distinct, yet interrelated practices to engage with uncertainty and thereby enable the emergence of valuable novelty in interaction. We further discover that the participants shift these practices between the different dimensions of uncertainty during the process of creative collaboration. Moreover, we argue that these shifts are necessary to maintain creativity in collaborative processes. Thereupon, we contribute insights to the so far enigmatic notion of organizing for collaborative creativity.

This volume brings together empirical and conceptual papers that investigate the challenges of organizing creativity in the innovation journey in and across different empirical contexts. Seen as the basis for innovating new products, processes or services, organizing creativity is studied as intentional efforts that occur in teams, organizations, and fields. What creativity is, how it is defined, negotiated and recognized is hereby co-constructed with different audiences and in different economic and societal spheres. The papers in this volume extend our understanding of these contextualized social dynamics of organizing creativity in four directions. The first direction sheds light on the temporal dynamics of organizing creativity in artistic fields. The second direction compares creative processes in arts and science, thereby examining tensions and uncertainties in the creative process unfolding in two distinctive contexts of creativity. The third direction examines identity struggles of creative agents in organizations with clashing roles, professional norms, and ambiguities in creativity assessment. The fourth and final direction unravels the communicative journey of ideas from pitching to feedback, revealing how ideas are challenged, enriched, and acquire meaning in communicative interaction. Overall, the papers in this volume contribute to a situated view of creative processes in innovation which goes beyond questions of idea generation to account for dynamics of idea development, judgment, and dissemination which involve identity struggles, evaluation, and communication – processes which are at the heart of organizing for innovation.

This study aims to propose a conceptual framework to capture the essence of memorable experiences.

A conceptual framework based on the service marketing and tourism literature is proposed to understand how memorable experiences are co-created. A particular context is presented to test the hypotheses using structural equation modelling. The quantitative findings are further explained using qualitative data.

The findings show that co-creation, novelty, theming and storytelling serve as antecedents of entertainment, education, escapism and esthetics, consequently resulting in positive memorable experiences.

This study aids researchers and managers in understanding and co-creating memorable customer experiences.

The metaphor of the journey may help to rethink business models by implementing practices suggested by both marketing and tourism research.

Processes of novelty generation and adoption have received much more attention than novelty evaluation. This paper explores the internal processes enacted by organizations to recognize and assess novel ideas for further implementation by focusing on the role that artifacts play in identifying the creative potential of an idea versus another one. Our empirical study focuses on the evaluation of novelty in the form of new experiences and builds on the analysis of two highly creative organizations, elBulli restaurant, led by chef Ferran Adrià, and the Italian Drama Academy Nico Pepe. We find that organizations implement three distinct processes to evaluate the novelty of ideas: analyzing, structuring, and formalizing. In these processes, artifacts play a key role in making novel ideas tangible by anticipating audiences’ reactions, integrating the novelty generated into an organizational corpus of knowledge, and consolidating novel ideas for future applications. Our results show that these processes take place iteratively in all phases of the idea’s journey, increasingly leading to the collective identification and assessment of novelty.

In this paper, we bridge the gap between imitation and creativity, as we examine whether and how it is possible to succeed in imitation, understood here as the intentional creation of alikeness and, at the same time, the production of something novel and valuable. By distinguishing processes of copying, echoing, and eluding, we scrutinize how different imitation processes intended to create alikeness lead to the emergence of novelty. Using empirical data from two distinct empirical fields, music and pharmaceuticals, we discuss if and how these processes may even lead to emulation and thus the emergence of novelty superseding the imitated original. We find that novelty emerges during processes of imitation from the interplay of a guiding structure obtained from existing originals and the performative variation embedded in processes of imitation. We thereby identify performance enactment, translations between an imitated core and surrounding opportunities as well as the generative effects of intellectual property regulation as key ingredients to foster emulative novelty.

The purpose of this study is to examine the mediating role of novelty ecosystem in the relationship between prior knowledge and social entrepreneurial venture creation (SEVC) among community-based organizations (CBOs) in Uganda.

The study is cross sectional and quantitative. Data were collected from CBO owner-managers. Mean, standard deviations, correlations and structural equation modeling were conducted to check the relationships among variables.

Results show that both prior knowledge and novelty ecosystem are significantly associated with SEVC. Results further indicate that novelty ecosystem partially mediates the relationship between prior knowledge and SEVC.

The design was cross sectional in nature, thus limiting monitoring changes in knowledge and its effect on SEVC. The results should be interpreted as they are because there could be some endogeneity biases, which were not detected like measurement errors and failure to identify appropriate instruments.

This study provides an initial empirical evidence on the relationship between prior knowledge, novelty ecosystem and SEVC using evidence from a developing African country – Uganda. Mostly, this provides an initial evidence of the mediation role of novelty ecosystem in the relationship between prior knowledge and SEVC.

In this chapter we examine how the small scale agro-industries located in Southern Brazil, specifically in the North of the State of Rio Grande do Sul, started to deal with changes in their production processes, how they created and adapted technologies, and devised new products. Among the main outcomes of the study we highlight the novelties observed during the field research, especially regarding the family situation and the agro-manufacturing activities, in which we observed (i) a relative raise in autonomy; (ii) improvement in both the income level and the quality of life of household members; (iii) creation of new nested markets and marketing channels; (iv) development of more environmentally sustainable products; (v) improvement of the value added to food products; and (vi) development of new interfaces between families and other social actors.

The new age of entrepreneurs recognizes crowdfunding as an innovative and effective means of obtaining funding from backers. However, attracting backers is challenging and related scholarly knowledge lacking. Therefore, this study investigates the diverse factors influencing backer funding intention in reward-based crowdfunding.

This study conducted an online survey of 401 registered backers from two reward-based crowdfunding platforms in Taiwan. Data were analyzed using covariance-based structural equation modeling.

Results show that entrepreneur activeness has a negative effect on perceived risk but positively, while entrepreneur activeness and platform interactivity have a positive effect on backer engagement and backer value creation. Although it had no significant impact on backer engagement, project novelty positively influenced backer value creation. Perceived risk had no influence on either backer engagement or backer value creation. Backer engagement positively influenced backer value creation and backer funding intention, with the former having a positive impact on the latter.

This study provides a multi-perceptual lens by proposing an integration of diverse factors such as entrepreneurial- (entrepreneur activeness), project- (project novelty and perceived risk) and platform-related characteristics (platform interactivity) as antecedents to backer funding intention. By integrating a service-dominant logic perspective into the stimulus-organism-response model, this study highlights the essence of value creation by perceiving backers as value co-creators.