![]() banners, pop-ups or other distracting noise. No "click me," "tweet me, "share me,” "like me." No advertising. Behind all this there is the certainty that we can do better than the fast, distracted web we know today, where the prevailing business model is: "you make money only if you manage to distract your readers from the contents of your own site." With divisare we want to offer the possibility, instead, of perceiving content without distractions. A long, patient job of cataloguing, done by hand: image after image, project after project, post after post. Every Collection in our Atlas tells a particular story, conveys a specific viewpoint from which to observe the last 20 years of contemporary architecture. Our model was the bookcase, on whose shelves we have gathered and continue to collect hundreds and hundreds of publications by theme. So we began to build divisare not vertically, but horizontally. This item may be available elsewhere in EconPapers: Search for items with the same title.May be because we wanted to distinguish divisare from the web that is condemned to a sort of vertical communication, always with the newest architecture at the top of the page, as the "cover story," "the focus."Ĭontent that was destined, just like the oh-so-new architecture that had just preceded it a few hours earlier, to rapidly slide down, day after day, lower and lower, in a vertical plunge towards the scrapheap of page 2. References: View references in EconPapers View complete reference list from CitEcĬitations: View citations in EconPapers (6) Track citations by RSS feedįull text for ScienceDirect subscribers only Keywords: Cultural and creative industries Business model innovation Resources Gaming (search for similar items in EconPapers) Findings and implications are then discussed. Finally, in the maturity phase, firms dedicate resources to innovate their product portfolios by providing platforms that support the development and testing of new creative ideas and solutions. Second, in the development phase, BMI is used to leverage new distribution paradigms. First, in the ramp-up phase of their life-cycle, CCFs organize their resource architecture to build a strong and recognized reputation. Three main results emerge from this study. ![]() ![]() This paper builds on an in-depth historical study of three leading firms operating in the mobile gaming industry, namely Rovio, Zynga and King Digital Entertainment. In this paper, this issue is analysed by using the concept of BMI, which sheds light on how the reconfiguration of the activity system through which a CCF creates, delivers and captures value enables the exploitation of entrepreneurial opportunities over time. However, there has been relatively limited scholarly interest into the specific conditions and processes that enabled CCFs to overcome these liabilities, and in particular into the identification of the business models they have adopted along their life-cycle. Despite the role that creative and cultural and creative firms (CCFs) have in the economic development of industrialised countries, they tend to remain small and often fail due to industry-specific constraints and tensions, such as the lack of managerial capabilities and complexity in nurturing value chain relationships. This paper contains an exploratory analysis of the business model innovations (BMIs) that firms in cultural and creative industries (CCIs) undertake along their life-cycle. Business model innovation in cultural and creative industries: Insights from three leading mobile gaming firms ![]()
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