The cultural and creative industries (CCIs) are significant for their value generation, including profits, innovation, and employment. Among these, the music industry and more precisely the live music remains under-studied, even though it is crucial for artists' income and post-pandemic recovery. Live music is mainly structured by festivals that act as socio-technical spaces, fostering innovation and interactions between stakeholders inside spatial and temporal boundaries. Festivals contribute to the creative industries by structuring resource transactions, symbolic capital and social dynamics. But beyond economic contributions, festivals' survival and growth depend on the structuring of a social impact, which remains little studied. To address this, we rely on a longitudinal case study of a major French extreme music festival: the Hellfest Open Air. Using primary and secondary data, including 128 interviews and more than 15 years of observation, we show how the structuration of the festival’ boundaries shape the social impact and how it is int intertwined with the economic over the time. This research enhances the understanding of festivals' roles in creative industries and the complexities of analyzing social impact over time. Overall, we contribute to the CCIs and boundary work literatures and provide recommendations to festival organizers.
Digitalization of the news market has profoundly affected the news photo sector, leading to economic challenges and a shift towards quantity over quality. Then, the rise of digital journalism, coupled with the COVID-19 pandemic, has further strained the media market. Photo prices have plummeted, driving professional photographers into economic and social hardship. To face this crisis, industry leaders have launched an ambitious innovation project: Pix.T, a blockchain-based solution to trace photos by photojournalists and restore their value. But this project requires a business model innovation to overcome the limits of the traditional photojournalism model, involving a high degree of collaboration and experimentation. Our research explores this particular and little-studied moment of experimentation, focusing on the cognitive aspects largely ignored by the literature. It addresses the question of how to organize the experimentation process in a collaborative and cognitive construction of business model innovation. Primary data, including interviews and a two-year action research, were collected, supplemented by essential secondary data. Three key findings emerged: the experimentation of a business model innovation involves two interlinked stages, individual actors face cognitive barriers during experimentation, and openness facilitates the process through shared spaces or common practices.
