The orchestra of ideas: Using music to enhance the ‘fuzzy front end’ phase of product innovation

Abstract

Link to publication on Research at Birmingham portal General rightsUnless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law.• Users may freely distribute the URL that is used to identify this publication.• Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research.• User may use extracts from the document in line with the concept of 'fair dealing' under the Copyright, Designs and Patents Act 1988 (?) • Users may not further distribute the material nor use it for the purposes of commercial gain.Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document.When citing, please reference the published version. Take down policyWhile the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive.

The role of temporal coordination for the fuzzy front-end of innovation in virtual teams

“…contribute to FFE quality and front-end success (Bertels, Kleinschmidt, & Koen, 2011), addresses the impact of task execution proficiency and decision criteria on following FFE activities and product development success (Khurana & Rosenthal, 1998;Verworn et al, 2008); investigates the role of technical uncertainty during the front-end phases (Spieth & Joackim, 2017;Verworn et al, 2008); and advises on how the early stages of radical and incremental innovations should be differently managed (Salomo, collaboration and coordination practices within the FFE (Takey & Carvalho, 2016); how ideas can be created, selected and successfully implemented (Kock et al, 2015); and o top a age e t s participation in the FFE (Globocnik & Salomo, 2015 (Tran et al, 2018).…”

“…Hence, we argue that VTs with a short lifespan and limited potential for relationship building require different coordination practices to meet the same innovation objectives as permanent VTs, or temporary ones with a longer lifespan. Though the challenging nature of the FFE has been recognized in the innovation field (Christiansen & Gasparin, 2016;Spieth & Joachim, 2017;Tran, The Role of Temporal Coordination for the Fuzzy Front-End of Innovation in Virtual Teams 4 Following from the above, our research question is: How does the temporary character of VTs influence the coordination of the FFE activities in the VT context?…”

“…Goulding, & Shiu, 2018), scarce evidence exists around the temporary character of VTs in relation to the FFE or the innovation literature more generally.…”

Analysis of front end dynamic in the value co-creation with multiple stakeholders

“…It is important to highlight that a network starts to emerge in the initial stages of a project (front end) Morris (2013), Artto et al (2016) and Vagn et al (2018). This phase is primarily important in making sense of the stakeholders needs and in specifying the benefits and values the programs are intended to offer (Liu et al, 2019), and it requires solid and entrepreneurial actions (Morris, 2013;Keeys and Huemann, 2017) for the success of product innovation (Tran et al, 2018). Thus, the initial stage of projects is gaining more and more attention in the research literature (Matinheikki et al, 2016), and companies (Vagn et al, 2018).…”

The Artist as Innovation Muse: Findings from a Residence Program in the Fuzzy Front End

“…The arts as such have become a metaphor for organizational processes (Weick 1998;Cornelissen 2004) and the artistic process has served as a blueprint for agile methodologies (Austin and Devin 2003). Whereas the essence of choreographic practice was linked to radical innovation (Bozic and Olsson 2013), the sequence of events in the front end of innovation was captured musically in the composition process (Tran et al 2018). The artistic mindset is esteemed for disruptive ideas as well as non-analytical, intuitive and embodied paths to knowledge (Kuiper 2012;Jacobs 2018;Sandberg 2019), which-in an analogy to Design Thinking-has been roughly conceptualized as Art Thinking (Whitaker 2016;Jacobs 2018;Robbins 2018) and as such been associated with product development (Nobeoka and Kimura 2016) and systems engineering (Shima et al 2019).…”