“Unsung” business strategy: Exploring crowd sourcing practices among Malaysian SMEs

The emerging of Internet of Things (IoTs) and changing global environment lead the demand for every organization to change and sustain their business. Due to this forces, the organization has no choice and forced to adapt with new Information and Communication Technology (ICT) or Technology Web 2.0 such as social media in order to strengthen their business strategy and for the business survival. Based on previous literature reviews, numerous strategies adopted by the organization as the mechanism to improve and sustain in their business performance. Amongst the business strategies are Lean Manufacturing (AlManei, Salonitis & Zu, 2017); Total Quality Management (TQM) (Sahoo & Yadav, 2018); Cloud Computing (Hassan, 2017); New Product Development (Abu, Mansor & Nasir, 2017); Human Capital (Muda & Che Abdul Rahman, 2016); Kaizen (Maarof & Mahmud, 2016) and many more. Nevertheless, the recent “unsung” business strategy or a new business strategy not being realize among the business owners is known as crowd sourcing practices. The phenomenon of crowd sourcing describes a new form of outsourcing tasks or value creation activities and function by tapping from external parties such as an individual, group, freelancer or any undefined group of people or crowds that are possessed heterogeneous of backgrounds, skill and knowledge, intelligence ideas to perform the organization tasks (Durward & Blohm, 2017). Crowd sourcing practices was introduced by Jeff Howe (2006) in the Wired Magazine articles. It refers to new phenomenon and as open business model in order to obtain diverse web-based solution from unknown individual or group of people to earn money by completing the projects or tasks (Howe, 2006; Liu et al., 2016)

Living Innovation Laboratory Model Design and Implementation

Living Innovation Laboratory (LIL) is an open and recyclable way for multidisciplinary researchers to remote control resources and co-develop user centered projects. In the past few years, there were several papers about LIL published and trying to discuss and define the model and architecture of LIL. People all acknowledge about the three characteristics of LIL: user centered, co-creation, and context aware, which make it distinguished from test platform and other innovation approaches. Its existing model consists of five phases: initialization, preparation, formation, development, and evaluation. Goal Net is a goal-oriented methodology to formularize a progress. In this thesis, Goal Net is adopted to subtract a detailed and systemic methodology for LIL. LIL Goal Net Model breaks the five phases of LIL into more detailed steps. Big data, crowd sourcing, crowd funding and crowd testing take place in suitable steps to realize UUI, MCC and PCA throughout the innovation process in LIL 2.0. It would become a guideline for any company or organization to develop a project in the form of an LIL 2.0 project. To prove the feasibility of LIL Goal Net Model, it was applied to two real cases. One project is a Kinect game and the other one is an Internet product. They were both transformed to LIL 2.0 successfully, based on LIL goal net based methodology. The two projects were evaluated by phenomenography, which was a qualitative research method to study human experiences and their relations in hope of finding the better way to improve human experiences. Through phenomenographic study, the positive evaluation results showed that the new generation of LIL had more advantages in terms of effectiveness and efficiency.Comment: This is a book draf

A New Consumerism: The influence of social technologies on product design

Social media has enabled a new style of consumerism. Consumers are no longer passive recipients; instead they are assuming active and participatory roles in product design and production, facilitated by interaction and collaboration in virtual communities. This new participatory culture is blurring the boundaries between the specific roles of designer, consumer and producer, creating entrepreneurial opportunities for designers, and empowering consumers to influence product strategies. Evolving designer-consumer interactions are enabling an enhanced model of co-production, through a value-adding social exchange that is driving changes in consumer behaviour and influencing both product strategies and design practice. The consumer is now a knowledgeable participant, or prosumer, who can contribute to user–centered research through crowd sourcing, collaborate and co-create through open-source or open-innovation platforms, assist creative endeavors by pledging venture capital through crowd funding and advocate the product in blogs and forums. Social media- enabled product implementation strategies working in conjunction with digital production technologies (e.g. additive manufacture), enable consumer-directed adaptive customisation, product personalisation, and self-production, with once passive consumers becoming product produsers. Not only is social media driving unprecedented consumer engagement and significant behavioural change, it is emerging as a major enabler of design entrepreneurship, creating new collaborative opportunities. Innovative processes in design practice are emerging, such as the provision of digital artifacts and customisable product frameworks, rather than standardised manufactured solutions. This paper examines the influence of social media-enabled product strategies on the methodology of the next generation of product designers, and discusses the need for an educational response

Online Media: Scopes and Challenges in New Paradigm Shifts of Production Methodologies

With the new paradigm shifts in the film industry and online video content, cheap digital technology and the democratisation of the filmmaking process, filmmakers now can connect to an ‘expert’ global, niche audience with more immediacy through the internet;engaging virtual communities, utilising crowd funding support and fan-building initiatives through a variety of social media landscapes. Key themes: Purpose and prospective readers: academics and practicing scholars of new media and digital interfaces. Significance of contribution: Case study measures and outcomes of emerging production practices. Practicality and usefulness of my work: paradigm shifts in new media and production methodologies are shifting cultural mindsets and artistic practices while engaging with participatory audiences online. Implications of study and future areas of work: the implications of the work are necessary to determine methodology practices, and emerging fields of digital humanities works. Future areas are as follows: Narrative Fiction and Documentary Film; Performance; Social Media; Emerging online arts practices and how the artist works in an online, participatory environment; Online/Distance learning particularly as experienced through communications and performative practices; Digital technology and new media methodologies and communications practices.Peer reviewedSubmitted Versio

Getting In On the Act: How Arts Groups are Creating Opportunities for Active Participation

Arts participation is being redefined as people increasingly choose to engage with art in new, more active and expressive ways. This movement carries profound implications, and fresh opportunities, for the nonprofit arts sector.We are in the midst of a seismic shift in cultural production, moving from a "sit-back-and-be-told culture" to a "making-and-doing-culture." Active or participatory arts practices are emerging from the fringes of the Western cultural tradition to capture the collective imagination. Many forces have conspired to lead us to this point. The sustained economic downturn that began in 2008, rising ticket prices, the pervasiveness of social media, the roliferation of digital content and rising expectations for self-guided, on-demand, customized experiences have all contributed to a cultural environment primed for active arts practice. This shift calls for a new equilibrium in the arts ecology and a new generation of arts leaders ready to accept, integrate and celebrate all forms of cultural practice. This is, perhaps, the defining challenge of our time for artists, arts organizations and their supporters -- to embrace a more holistic view of the cultural ecology and identify new possibilities for Americans to engage with the arts.How can arts institutions adapt to this new environment?Is participatory practice contradictory to, or complementary to, a business model that relies on professional production and consumption?How can arts organizations enter this new territory without compromising their values r artistic ideals?This report aims to illuminate a growing body of practice around participatory engagement (with various illustrative case studies profiled at the end) and dispel some of the anxiety surrounding this sphere of activity