293
CHAPTER 12
COLLABORATIVE INNOVATION
ONLINE: ENTANGLEMENTS OF
THE MAKING OF CONTENT,
SKILLS, AND COMMUNITY ON
A SONGWRITING PLATFORM
Benjamin Schieme , Elke Schüßle
and Ge no G abhe
ABSTRACT
This chap e ad ances ou unde s anding o collabo a i e inno a ion p ocesses
ha span ac oss o ganiza ional bounda ies by p o iding an e hnog aphic
accoun o idea gene a ion dynamics in a membe -ini ia ed online songw i ing
communi y. Applying a science and echnology s udies pe spec i e on p ocesses
“in he making,” he indings o his chap e e eal he gene a i e en angle-
men s o h ee p ocesses o con en -in- he-making, skill-in- he-making, and
communi y-in- he-making ha we e igge ed and main ained o e ime by
empo a y s abiliza ions o p o isional, in e im ou comes. These indings
also elucida e in e e ences be ween hese h ee p ocesses, pa icula ly when
an inc eased ocus on songs as p oduc s unde mines he ongoing collabo a i e
p oduc ion o ideas. Regula in e en ions in he communi y design we e neces-
sa y o simul aneously s imula e he h ee p ocesses and coun e ac in e e ing
endencies ha ei he p io i ized con en p oduc ion, communi y building, o
Managing In e -o ganiza ional Collabo a ions: P ocess Views
Resea ch in he Sociology o O ganiza ions, Volume 64, 293–316
© 2019 by Benjamin Schieme , Elke Schüßle , Ge no G abhe . Published by Eme ald Publishing
Limi ed. This chap e is published unde he C ea i e Commons A ibu ion (CC BY 4.0) licence.
Anyone may ep oduce, dis ibu e, ansla e and c ea e de i a i e wo ks o his chap e ( o bo h
comme cial and non-comme cial pu poses), subjec o ull a ibu ion o he o iginal publica ion and
au ho s. The ull e ms o his licence may be seen a h p://c ea i ecommons.o g/licences/by/4.0/legalcode
ISSN: 0733-558X/doi:10.1108/S0733-558X20190000064018
294 BENJAMIN SCHIEMER ET AL.
skill de elopmen , espec i ely. The au ho s conclude ha i ms seeking o ap
in o online communi ies’ inno a i e po en ial need o app ecia e communi y
and skill de elopmen as c ea i e p ocesses in hei own igh ha ha e o be
os e ed and kep in sync wi h con en p oduc ion.
Keywo ds: Collabo a i e inno a ion; inno a ion as p ocess;
online communi ies; c ea i e con en p oduc ion; music indus y;
digi iza ion
INTRODUCTION
The shi om “closed” o “open” o ms o inno a ion in he 1990s (Chesb ough,
2003; Felin & Zenge , 2014) was p eceded by a ious o ms o in e -o ganiza ional
inno a ion ne wo ks. S a egic alliances and join en u es, o example, we e
o ged by i ms and hei compe i o s, supplie s, and esea ch pa ne s in he
1980s o mobilize knowledge and inancial esou ces as well as o sha e he isks
o inno a ion p ocesses (Dhana aj & Pa khe, 2006; Sydow, Schüßle , & Mülle -
Sei z, 2016). Ra he han in e nal esou ces loca ed in he R&D depa men ,
ex e nal ne wo ks o i ms e ol ed in o he cen al “locus o inno a ion”
(Powell, Kopu , & Smi h-Doe , 1996). Wi h he p oli e a ion o digi al
echnologies, inno a ion p ocesses inc easingly ex ended om closed business-
o-business ela ionships owa d a b oad spec um o in e ac ions be ween
businesses and globally dispe sed use and consume communi ies. To ap in o
he p o e bial “wisdom o c owds” (Su owiecki, 2004), i ms launched online
communi ies (c . on Hippel, 1976, 1978) o de elop p oduc s and se ices join ly
wi h use s and consume s (e.g., Ansa i & Muni , 2010; G abhe & Ibe , 2018;
Pa men ie & Mangema in, 2014). A he same ime, sel -o ganized communi ies
began o p oduce non-p op ie a y knowledge independen o i ms in a eas
as di e se as so wa e de elopmen , a e disease ea men s, o he p oduc ion
o cul u al con en (Benkle , 2006; G abhe & Ibe , 2013). F om an in e -
o ganiza ional ne wo k pe spec i e, hese di e en o ms o online collabo a i e
p oduc ion a o d po en ials o ha ness esou ces ha a e inaccessible h ough
co po a e o ms o p oduc ion.
As a esul , inno a ion p ocesses oday un old in complex ecologies o ela-
ionships among i ms, online and o line communi ies, and digi al pla o ms
(e.g., Boczkowski, Ma assi, & Eugenia Mi chels ein, 2018; G abhe , Melchio ,
Schieme , Schüßle , & Sydow, 2018). Inno a ion in he au omo i e indus y,
o ins ance, in ol es no only s a egic alliances among compe ing o iginal
equipmen manu ac u e s (OEMs), bu also c oss-indus y alliances in ol ing
de elope s o au onomous d i ing echnologies, ide-hailing and open-sou ce
mapping pla o ms, as well as use communi ies. Recen esea ch has signi ican ly
expanded ou knowledge o he a ious ypes o online communi ies and he
modes o i m-communi y ela ions (Dahlande & Magnusson, 2005; Jeppesen &
F ede iksen, 2006; O’Mahony & Bechky, 2008; Po e , 2004) as well as he p o-
cesses o de eloping online communi ies (K au e al., 2012; Ren, K au , & Kiesle ,
2007; Wie z & de Ruy e , 2007). This esea ch has highligh ed ha o ganiza ions
Collabo a i e Inno a ion Online 295
ace he challenge ha he capi aliza ion on knowledge p oduced by hese non-
i m ac o s migh , in ac , unde mine hei inno a i e po en ial by in e e ing wi h
communi y dynamics (e.g., Cohende & Simon, 2015; Wes & Lakhani, 2008).
The pe inen li e a u e has mainly ocused on (1) he social dynamics o
online communi ies unde pinning he p oduc ion o con en (e.g., Ga ud, Jain, &
Tue sche , 2008; G abhe & Ibe , 2013; Ja enpaa & Lang, 2011; Wes &
O’Mahony, 2008); (2) he p ac ices o knowledge sha ing and ad ancing skills
in online communi ies (e.g., Cha band & Na imipou , 2016; Fa aj, Ja enpaa, &
Majch zak, 2011; Fa aj, Kuda a alli, & Wasko, 2015; Hwang, Singh, & A go e,
2015); and, inally, (3) he p ocesses o communi y building, e olu ion and go -
e nance (e.g., Aal onen & Lanza a, 2015; Dahlande , F ede iksen, & Rullani,
2008; O’Mahony & Fe a o, 2007; P eece & Maloney-K ichma , 2005). While
ex an s udies highligh ha all h ee dimensions o online social p oduc ion
a e highly dynamic and in e linked in gene a ing inno a ion (e.g., Aal onen &
Lanza a, 2015; Ga ud e al., 2008), he mul i old in e dependencies be ween
dynamics o con en p oduc ion, skill o ma ion, and communi y building o e
ime ha e so a a ely been examined in a sys ema ic ashion.
In his chap e , we s udy online communi y dynamics in he con ex o he music
indus y, which is widely ega ded as an exempla y case o unde s anding he
implica ions o he digi iza ion o c ea i e con en p oduc ion (e.g., Dobusch &
Schüßle , 2014). The music indus y has unde gone a numbe o p o ound
changes induced by new “ echnological assemblages” (Leyshon, 2014, p. 10)
such as by he encoding o new so wa e o ma s like MP3, he eme gence o
in e ne dis ibu ion sys ems as well as new digi ized ools o music p oduc ion.
Since he la e wen ie h cen u y, music p oduc ion has inc easingly been eed
om he socio-spa ial cons ain s and inancial bu den o adi ional s udio
p oduc ion. Concu en ly, p eca ious wo k condi ions shi ed music p oduc ion
in o he ealm o p i a e ep oduc ion (Wa son, 2016). The his o ically dominan
h ee majo labels had o o ei hei monopoly in music p oduc ion and dis-
ibu ion (Leyshon, 2014). In sum, he adi ional e ical music indus y alue
chain has been ans o med in o a complex he e a chic ecology o i ms, eelance
musicians, online p oduc ion, and dis ibu ion pla o ms as well as local scenes
and online communi ies engaging in c ea i e con en p oduc ion.
In o de o sc u inize collabo a i e inno a ion dynamics in his un olding new
ecology, we p o ide an in-dep h case s udy o he membe -ini ia ed and go e ned
online communi y “Feb ua y Album W i ing Mon h” ( awm.o g). The key aim
o FAWM is o collabo a i ely p oduce 14 songs wi hin he empo al cons ain
o a single mon h (in each yea o i s exis ence). By 2013, FAWM had mo e han
7,000 membe s om 30 coun ies (see awm.o g; Se les & Dow, 2013); in sub-
sequen yea s, FAWM only displayed he numbe o cu en ly ac i e membe s
ha luc ua ed be ween 2,300 and 2,500 ac i e membe s each yea . The commu-
ni y is no commi ed o comple e eco ded e sions o inalized songs, bu a he
o w i ing and eco ding “song ske ches” ha may o may no be comme cially
p oduced la e on. Simila o o he online communi ies such as Wikipedia and
Linux, he con en a FAWM is collec i ely p oduced in a cumula i e and open-
ended p ocess (e.g., Ga ud e al., 2008). In dis inc con as o Wikipedia and
Linux, howe e , collabo a i e dynamics wi hin FAWM a e explici ly empo ally
296 BENJAMIN SCHIEMER ET AL.
limi ed o he single mon h o Feb ua y. Despi e his ins i u ionalized e mina-
ion each yea , membe s e e o FAWM as an “online idea gene a o ” o w i e
songs o subsequen de elopmen . FAWM, hen, epi omizes an ins uc i e
hyb id case o a empo ally b acke ed collabo a i e e o ha induces open-
ended gene a i e p ocesses.
Ou analysis elucida es ha h ee pa allel, igh ly in e wo en p ocesses un old
simul aneously on FAWM: (1) he p oduc ion o songs which we, alluding o
La ou ’s (1987) idea o science-in- he-making as a messy and ongoing p ocess,
call con en -in- he-making; (2) he de elopmen o musical and echnical knowl-
edge and espec i e skills o which we e e as skill-in- he-making; and (3) he
p oduc ion o a sense o belonging, social cohe ence, and iendship, which we
e m communi y-in- he-making. Ou analysis demons a es ha hese h ee p o-
cesses do no necessa ily suppo each o he in gene a ing inno a ion in a smoo h
ashion. Ins ead, he e y dynamics ha induce inno a ion in one p ocess migh
unde mine gene a ion in ano he when, o example, he a ing o a song induces
a compe i i e momen um ha comp omises he u he e olu ion o he commu-
ni y buil on an egali a ian and collabo a i e e hos.
Wi h ou analysis, we seek o ad ance ex an knowledge in wo ega ds. Fi s ,
building on Ga ud e al.’s (2008) no ion o “incomple e by design,” we empi ically
subs an ia e he asse ion ha inno a ion in online communi ies canno be
educed o a single p oduc o p ocess, bu is mo e app op ia ely concep ualized
as an ongoing p oduc ion o mul iple in e im ou comes h ough h ee en angled
p ocesses. We demons a e ha he commi men o communi y membe s o hese
p ocesses is no assu ed by he p ospec o bene i ing om inal p oduc s, bu
by p oducing empo a y s abiliza ions o p o isional in e im ou comes ha call
o u he engagemen o communi y membe s. Second, we e eal he c ucial
impo ance o ongoing adjus men s o ein o cing s uc u es (c . Ha gadon &
Bechky, 2008) ha incen i ize he simul aneous p oduc ion o con en , skills
and communi y o cope wi h he in e e ing dynamics o communi y g ow h,
p o essionaliza ion, and in e nal compe i ion, hus speci ying such s uc u es o
an online con ex .
COLLABORATIVE INNOVATION IN
ONLINE COMMUNITIES
Ra he han he exp ession o an a cane genius, inno a ion is inc easingly con-
cei ed as a collec i e and collabo a i e endea o . As al eady diagnosed in he
1990s, communi ies o p ac ice bo h wi hin and ac oss i ms had u ned in o
c i ical a enas o he collabo a i e p oduc ion o knowledge (B own & Duguid,
1991). Wi h he ad en o he no el socio- echnical a o dances o he so-called
web 2.0, collabo a ion o inno a ion u he shi ed in o he ealm o geog aphi-
cally dispe sed online communi ies ha c ys allize ei he a ound speci ic p oduc s
o b ands o a e o med bo om-up independen ly o he co po a e sec o (Fa aj
e al., 2011; De Souza & P eece, 2004). Ou ocus he e is on he la e ype o
independen communi ies ha a e nei he i m-hos ed no i m- ela ed, bu s ill
Collabo a i e Inno a ion Online 297
cons i u e an impo an elemen in he complex online and o line ecology o
inno a ion in sec o s such as he music indus y. In con as o communi ies o
p ac ice ha e ol e a ound a sha ed passion o in e es and ha a e go e ned by
a se o alues and no ms, such online communi ies ypically sha e a “common
subjec ma e o wo k” (Gläse , 2001, p. 7; Schieme , 2018), as exempli ied by
scien i ic communi ies o open-sou ce communi ies like Linux.
Con en -p oducing communi ies ypically e ol e and mo ph o e ime by
shi ing om con en p oduc ion o knowledge sha ing o by b oadening hei
ocus by explici ly pu suing bo h goals simul aneously (e.g., Aal onen & Lanza a,
2015; Faya d & DeSanc is, 2005). To accoun o hese dynamics mo e sys ema i-
cally, Fa aj e al. (2011, p. 1235) ad oca ed o e ocus esea ch om he s uc u al
mechanisms o communi y go e nance o communi y membe s’ mo i a ions
owa d he dynamic “ low and connec ion o ideas o e ime” and he “eme gen
p ope ies o collabo a ion.” F om such a dynamic pe spec i e, echnology does
no de e mine communi y go e nance, bu a he “c ea es he condi ions in which
new kinds o go e nance capabili ies can eme ge” (Aal onen & Lanza a, 2015,
p. 1667). These ongoing ans o ma ions o communi ies una oidably engende
challenges such as membe ship g ow h (e.g., Aal onen & Lanza a, 2015; Wes &
O’Mahony, 2008) o agmen a ion (e.g., Ga ud e al., 2008) ha , in u n, migh
be con e ed in o a c ea i e momen um when, o example, g ow h is used as an
oppo uni y o enego ia e and econ igu e he oles, bounda ies, o design o he
communi y.
Exempli ied by he cases o Wikipedia and Linux, Ga ud e al. (2008) concep-
ualize he inhe en and sys emic “incomple eness” o socio- echnical ea u es as
well as o he collabo a i ely p oduced con en as he key gene a i e a ibu es o
open-sou ce communi ies. In bo h communi ies, each design change can be seen
as a o m o empo a y s abiliza ion (sedimen ed in a e sion a a pa icula poin
in ime) and, a he same ime, a eques o u u e ac i i y ( o e ise and upda e a
pa icula e sion). This a gumen esona es wi h he idea ha in o ma ion ech-
nology, a he han engende ing inalized esul s, pe pe ua es he p o isional and
ansien s a e o “pe manen ly be a” (Ne & S a k, 2004). Rela edly, he p oces-
sual iew o Ba e , Obo n, and O likowski (2016) e eals how online communi-
ies simul aneously p oduce inancial, epis emic, and epu a ional capi al h ough
socio- echnical en anglemen s o digi al in as uc u es and agency in which
ensions and ic ions induce c ea i e ac ion (S a k, 2009). Mos impo an ly,
as hese s udies con incingly e eal, he socio- echnical ea u es o communi y
design a e bo h p ocess and ou come: any design ou come is an in e media e s ep
in an ongoing jou ney igge ing u he p ocesses o communi y edesign and
collabo a i e engagemen . Lea ning in online communi ies, hen,
comes in o he pic u e bo h as a p ocess by which knowledge is encoded in ou ines exp essing
collec i e go e nance capabili ies and as an ou come made possible by he e ol ing go e nance
amewo k. (Aal onen & Lanza a, 2015, p. 1666)
Mo ing beyond issues o communi y go e nance, Cha band and Na imipou
(2016) iden i y ac o s ha sus ain he knowledge sha ing p ocess in online
en i onmen s such as, o example, membe ship based on sel -selec ion, no ms

298 BENJAMIN SCHIEMER ET AL.
o ecip oci y, non-compe i i e en i onmen s and he asynch onici y o in e -
ac ion (see also G abhe & Ibe , 2013). In a simila ein, Fa aj, on K ogh,
Mon ei o, and Lakhani (2016, p. 669) s ess he “en iched” a he han de icien
sociali y o online communi ies ha “p o ide a gene a i e landscape o sus ain
collabo a i e ela ions on a hi he o unknown scale.” While knowledge sha ing
in he espec i e li e a u e is o en pe cei ed as a p ac ice sepa a e om com-
muni y building and con en p oduc ion, Fa aj e al. (2016, p. 678) allude o
“ alue-gene a ing knowledge lows” ha co-cons i u e he s abili y and design
o online communi ies. F om his pe spec i e, con en p oduc ion, knowledge
sha ing, and communi y building a e in ac inex icably in e wo en and mu u-
ally cons i u i e. Howe e , wha emains un esol ed o da e is how his mu ual
cons i u ion un olds and is enac ed o e ime.
To add ess his ques ion, we shi om a a iance-on ology ha iews inno a-
ion as an ou come owa d a p ocess-on ology ha iews inno a ion as an ongo-
ing ac i i y (Fo wengel, Schüßle , & Sydow, 2017; Van de Ven, Polley, Ga ud, &
Venka a aman, 1999). This shi implies o zoom in on he messy, non-linea p o-
cesses o inno a ing ha pe o ma i ely cons i u e online communi ies ins ead
o pe cei ing online communi ies as ixed en i ies ha need o be designed in a
pa icula ashion o gene a e inno a ion (Ga ud, Gehman, Kuma aswamy, &
Tue sche , 2016; Ga ud, Tue sche , & Van de Ven, 2013; Schieme , 2018). The
s udy o c ea i e p oblem-sol ing in consul ing i ms by Ha gadon and Bechky
(2006) p o ides an ins uc i e illus a ion o his pa icula pe spec i e. Collec i e
c ea i i y occu s in lee ing momen s in ime ha a e igge ed by ou ypes o
in e dependen ac i i ies: (1) “help-seeking,” he ac i e sea ch o assis ance
in a p oblema ic si ua ion; (2) “help-gi ing,” he esponse o such an inqui y;
(3) “ e lec i e e aming,” he collec i e c ea ion o a possibly mo e app op ia e
o mula ion o he sea ch ques ion; and (4) “ ein o cing,” ac i i ies ha suppo
indi iduals in help-seeking, help-gi ing, and collec i e e aming (Ha gadon &
Bechky, 2006). While his pe spec i e, de eloped la gely h ough he wo k o
he Minneso a Inno a ion Resea ch P og amme a ound And ew Van de Ven, is
al eady well es ablished in inno a ion esea ch in mo e adi ional con ex s, i has
ha dly been employed empi ically in he s udy o online communi ies. An impo -
an excep ion is he his o ical accoun o Wikipedia by Aal onen and Lanza a
(2015), who heo ize communi y go e nance as a collec i e capabili y es ing
upon mul iple, dynamically e ol ing ou ines.
Ou aim in his chap e is o apply his p ocessual lens o empi ically s udy
collabo a i e inno a ion p ocesses online. We d aw on La ou ’s (1987) concep
o “science-in- he-making” ( ha he jux aposes o “ eady-made-science”) o con-
side con en p oduc ion, skill de elopmen , and communi y building as deeply
en wined and messy p ocesses “in- he-making.” Mo e speci ically, we add ess he
ollowing esea ch ques ions: how do dynamics o con en -in- he-making, skill-
in- he-making, and communi y-in- he-making in e ac o p oduce momen s o
collabo a i e inno a ion in a membe -ini ia ed online communi y? Wha is he
ole o online communi y design in p o iding ein o cing s uc u es o collabo a-
i e inno a ion o e ime?
Collabo a i e Inno a ion Online 299
METHODOLOGY
Case Se ing
In Feb ua y each yea , FAWM p o ides an online space o p o essional, semi-
p o essional, and ama eu musicians o collabo a e in hei songw i ing p ocess.
Bu Se les, a so wa e enginee , compu e scien is , and singe –songw i e
launched FAWM in he Uni ed S a es in 2004, inspi ed by he websi e nanow-
imo.o g (Na ional No el W i ing Mon h, wi h mo e han 200,000 membe s)
whe e no elis s join he collec i e goal in he mon h o No embe o w i ing a
no el. Bu ke and Se les (2011) desc ibe hese kinds o communi ies as “Online
Goal Se ing G oups,” whe e ama eu s and p o essionals alike join o he s in
commi ing o a challenging goal.
Be ween 2009 and 2013, FAWM membe s pos ed 39,301 songs o he si e.
In 2017, when he i s au ho joined he communi y, 2,338 membe s pos ed
11,168 songs on he si e, 963 o which ha e been documen ed collabo a ions
(see awm.o g). The i e co e ac i i ies on FAWM a e (1) uploading song ske ches
eco ded om de ices anging om cell phones o sophis ica ed home s udios;
(2) mo i a ing o he membe s wi h commen s on hei song ske ches and gi ing
cons uc i e eedback; (3) collabo a ing di ec ly wi h o he s on a speci ic song;
(4) keeping ack o he o e all p og ess; and (5) pa icipa ing in o um discus-
sions. When he ins i u ionalized deadline app oaches a he end o Feb ua y, he
mode a o s close he op ion o upload mo e songs. The op ion o commen on
songs and o pos o um h eads, howe e , emains a ailable h oughou he ol-
lowing yea un il app oxima ely he end o Decembe , when Se les emo es he
en i e con en om he websi e o subsequen ly ins iga e he nex FAWM cycle
on a “ abula asa.”
Resea ch Design: Online E hnog aphy
A b oad ange o me hodological s a egies anging om ne nog aphy (Kozine s,
2015) o e mul isi ed e hnog aphy (Ma cus, 1995) o e lexi e e hnog aphy (Da ies,
2012) a e a ailable o an e hnog aphic engagemen wi h online communi ies. Ou
empi ical analysis o FAWM is based on a c oss-pla o m and mul isi ed online
e hnog aphy ha es ing da a om an ecology o websi es such as Soundcloud,
Bandcamp, Facebook, and YouTube, and, o cou se, FAWM. These si es we e
selec ed by ollowing ou going links om he FAWM websi e ei he in he desc ip-
ions o he use p o iles o in o um discussions. Since ac i i ies on FAWM a e
no only limi ed o ex pos s (e.g., o um discussions), bu also include lis ening,
eco ding, uploading, and collabo a ing on audio ma e ial, he ac i e pa icipa ion
o he i s au ho in a e lec i e, au o-e hnog aphic ashion (Pink e al., 2015) was
ins umen al in collec ing a pa icula ly ich se o da a.
In line wi h a p ocessual pe spec i e, we s udy inno a ion a FAWM om he
analy ical angle o “e en s” (Langley, 1999) ha ma k c i ical u ning poin s o
he momen s in which he a ious inno a ion dynamics in e ac (Langley, 2009).
In o de o add ess ou esea ch ques ions, we a e cen e ed on e en s on wo
di e en ime scales. Fi s , we zoom in on e en s on a small-scale, ha is, on he
300 BENJAMIN SCHIEMER ET AL.
conc e e collabo a i e dynamics un olding in he cou se o wo single FAWM
mon hs. Second, we s udy c i ical momen s o communi y edesign in he cou se
o FAWM’s en i e his o y ( om he beginning in 2004–2018).
Da a Collec ion
We collec ed in-dep h da a in wo successi e FAWM cycles in Feb ua y 2017
and Feb ua y 2018. In addi ion o obse a ions, he i s au ho , who is a semi-
p o essional musician, joined he communi y wice as a musician playing he gui-
a and he Indian si a , and collabo a i ely p oduced se en song ske ches in he
i s cycle and ano he i e in he second. Fu he mo e, he i s au ho conduc ed
12 in-dep h in e iews wi h membe s and mode a o s ia Skype and wo explo a-
i e in e iews wi h pa icipa ing membe s o he 2016 challenge. The in e iew
pa ne s we e sampled acco ding o di e en deg ees o communi y in ol emen .
Th ough his sampling me hod, ou analysis is no limi ed o he dynamics un old-
ing in he mos ac i e communi y segmen , bu in ac co e s he en i e commu-
ni y. “No ices” o FAWM ypically ac as lu ke s who only passi ely obse e, and
who only ha e a passing in e es ; “mingle s” a e socialize s who main ain s ong
pe sonal ies bu a e only supe icially in e es ed in p oducing songs hemsel es;
“de o ees” a e p ima ily in e es ed in p oducing songs and de eloping hei pe -
sonal skills, a he han main aining social ies wi h he communi y; inally, only
he ca ego y o “inside s” is d i en by mul iple mo i a ions, bu depend on he
o he esponses and eac ions om he o he ca ego ies o isibili y and col-
labo a ion. The i s au ho was able o co e each o hese ca ego ies, which we e
de eloped by Kozine s (2015), wi h a leas one in e iew and o in e iew wo
membe s in bo h s udied FAWM cycles o moni o he de elopmen o commu-
ni y de elopmen o e ime (e.g., no ices mo phing in o mo e ac i e membe s).
In o de o ack ac i i ies ha shi om he online o he o line ealm, he i s
au ho conduc ed wo ace- o- ace in e iews wi h local FAWM membe s and
joined a jam session ha was eco ded an uploaded on FAWM.
A chi al da a om o um pos s om 2017 and 2016, ield no es om obse -
ing ongoing in e ac ions, and so-called “elici ed da a” (Kozine s, 2015) co-c ea ed
in in e ac ion wi h membe s and documen ed in he o m o ansac ion p o o-
cols ( eaching om sho in e ac ions on he pla o m o e daily cha con e sa-
ions o email con e sa ions up o all ou weeks o Feb ua y) we e addi ionally
collec ed. Fo he pe iod ha p eceded ou pa icipa ion in 2017, we used web.
a chi e.o g o access olde e sions by sc eensho s o he websi e om 2004 o
2016 o gain access o he de elopmen o he design and he numbe o membe s
and o a chi ed ac i i ies (see Table 12.1).
Da a Analysis
Ou da a analysis p oceeded in se e al s eps. Based on an ini ial e iew o he
li e a u e and ou explo a o y in e iews, we ollowed he p oduc ion o a
song h ough a single FAWM cycle. The coding o he ini ial da ase wi h he
quali a i e da a analysis so wa e NVi o aimed a ca ego izing he highly dis-
ibu ed in e ac ions be ween membe s on FAWM on he one hand, and ela ed
Collabo a i e Inno a ion Online 301
Table 12.1. Da a Collec ion om Feb ua y 2017 o Feb ua y 2018.
Da a Type 200 Hou s o Obse a ion 14 In e iews Ac i e
Pa icipa ion
Access Via Tex ual Visual Audio- isual Audio In e iew T an-
sc ip s
In e ac ion
P o ocols
Online FAWM, Facebook,
Soundcloud,
Skype, Email,
Cha
Fo um pos s,
Commen s,
Bulle in boa d,
P o iles
Pho os (p o ile
pic u es,
equipmen ,
s udio acili ies),
Sc eensho s
om olde
e sions
YouTube ideos Song eco dings 11 In e iews 32 In e ac ion
p o ocols
O line Face- o- ace 3 In e iews O line jam
session
308 BENJAMIN SCHIEMER ET AL.
“FAWM Guidelines and E ique e,” implemen ed in 2012, u he unde lined he
collabo a i e e hos o he communi y (Weba chi e FAWM Sc eensho , 2012):
[…] Keep he ocus on c ea i i y and p oduc i i y. E e yone will be easonable. E e yone
expec s e e yone else o be easonable. Do no be o ended i someone sugges s you a e no
being easonable.
Only om 2013 onwa d songs could be agged as “collabo a i e” wi h o he
membe s. This agging p o ided isibili y o documen ed collabo a ions ha
soon became a aluable ou come a FAWM ha suppo ed bo h he p ocess o
con en -in- he-making and communi y-in- he-making.
P o essionaliza ion in he p oduc ion o songs u ned ou o be a second d i e
o in e e ences besides g ow h o membe ship. P o essionaliza ion, in ac , was
in ensely deba ed in he o ums and among he adminis a o s, leading o se e al
eadjus men s in he websi e’s design as well.
In 2009, a “Wiki” eplaced he p e ious blog o u he enable he p ocess o
skill-in- he-making (Weba chi e FAWM Sc eensho , 2009):
In p e ious FAWM e en s, he communi y ha e (sic) gene a ed a weal h o in o ma ion abou
songw i ing, demo eco ding echniques, CD p oduc ion and p omo ion, e c. Fo he six h
annual FAWM in 2009, we decided o launch a Wiki so ha some o his knowledge can be
consolida ed in one place o e e ence o all.
Easy access o knowledge on p oducing high-quali y eco dings inc easingly
s a ed o in e e e wi h he con en -in- he-making p ocess wi hin a communi y
ha was explici ly dedica ed o low ba ie s o en y. This linge ing con lic was
discussed in he o ums, indica ing he e lexi i y o he FAWM communi y ha
aimed a down-playing he ela i e impo ance o he eco ding quali y. The Wiki
was e en ually ans o med in o he FAQ sec ion.
The hi d d i e o in e e ences among he a ious in- he-making p ocesses,
compe i ion, esul ed in a emp s o cu b espec i e dynamics wi hin he
communi y: “FAWM is no a compe i ion. A is no a compe i ion” (In e iew
mode a o E.). Consequen ly, any a ing ea u es such as a “like bu on,” o
example, we e eschewed, e en hough he communi y epea edly ques ioned his
decision. Likewise, anking mechanisms ha would allow conclusions abou o
he quali y o popula i y o a song, such as he numbe o ecei ed commen s,
we e delibe a ely a oided. Ins ead, new ea u es in eg a ed in o he websi e we e
gea ed owa d coun ing con en p oduc ion as well as communi y-building
ac i i ies, and subsequen ly publishing he numbe s in he o um (in e ms o he
numbe o published songs, commen s, Zong-bus ing, e c.).
Mode a o E. explains hese decisions in he ollowing quo e:
Some o he hings ha people ask o and ha we’ e deba ed back and o h we e he “Like-
Bu on” om Facebook … o some way o ack how many imes a gi en song has been played.
We’ e had ce ain ea u es like ha e en in p e ious conside a ions, bu hese d opped ou …
because wha ends up happening: he e is a na u al compe i i eness ha people ha e. People
wan look a hings as a popula i y con es , bu FAWM is ha d enough … he one hing ha
always seems o come up a FAWM almos e e y yea is … well: “does he mos numbe o
commen s mean i is he bes song?” Ac ually no! I is comple ely un ela ed!

Collabo a i e Inno a ion Online 309
E en hough some o he membe s o he communi y asked o a a ing sys-
em, Se les and he mode a o s delibe a ely e used o in eg a e a song- a ing
mechanism. Rankings we e once implemen ed, and membe s could display songs
in o de o ecei ed commen s, bu subsequen ly hese ankings we e abandoned.
Howe e , quan i ied ankings we e implemen ed ega ding membe s’ epu a ion
(“ he mo e commen s he be e ”) wi hin he communi y o sus ain communi y-
in- he-making dynamics, hus shi ing compe i ion a ound con en p oduc ion
and quali y owa d compe i ion a ound ac i e communi y membe ship. E. ecalls
when membe s s a ed o coun he numbe o hei commen s as a way o ack-
ing communi y ac i i ies. This de elopmen esul ed in he “Cen u y Club” o
which membe s we e p omo ed by mode a o s as soon as hei numbe o com-
men s exceeded 100. In 2018, he mos ac i e FAWMe was M. who pos ed o e
700 commen s in 28 days.
In addi ion o esponses o challenges posed by communi y dynamics, Se les,
a schola o compu e enginee ing and human–compu e in e ac ion, himsel
added ea u es on he basis o da a analy ics ools o FAWM a iew imes. One
was a no el song i le gene a o as well as a wo d cloud gene a o o s imula ing
c ea i i y in songw i ing. When he numbe o uncommen ed songs s a ed o ise,
Se les analyzed social ne wo k da a and iden i ied collabo a ion pa e ns in he
communi y (Se les & Dow, 2013). As soon as Se les and his co-au ho ealized
ha he amoun o commen s was a cen al d i e o isibili y and mo i a ion a
FAWM, hey we e keen o mo i a e membe s o gi e commen s. In 2009, Se les
published a sca e plo based on da a om 2008 (Weba chi e FAWM Sc eensho ,
2009) ha e ealed ha gi ing and ecei ing commen s on songs a e posi i ely
co ela ed (wi h a co ela ion coe icien o 0.79). Based on hese indings, he
websi e was edesigned o u he encou age people o commen on o he people’s
songs o s eng hen he communi y. Fu he mo e, Se les and Dow conclude ha
he applica ion o hei analysis could be used o “in elligen ecommenda ions
o membe s in sea ch o good collabo a o s” (p. 25), a ea u e ha has no (ye )
been in eg a ed in o he websi e.
Summa y
The gene a i e dynamics o FAWM a e cons i u ed by he h ee p ocesses con en -
in- he-making, skill-in- he-making, and communi y-in- he-making. Each o
he p ocesses yields a p o isional ou come ha en ices u he engagemen .
In momen s o collabo a i e inno a ion, con en -in- he-making esul s in a
p o isional song ske ch ha in i es eedback and he eby concomi an ly p opels
communi y-in- he-making p ocesses since he isibili y gained h ough commen s
s eng hens he sense o belonging. Recip ocal commen ing and eedback also
leads o newly acqui ed skills and imp o es he o e all eco ding quali y o he
p oduced songs. O e ing speci ic know-how o he communi y, o example, ia
he o ums, u he ad ances communi y building and con en p oduc ion since
a knowledgeable communi y yields mo e po en ial collabo a o s o u he
song p oduc ions. These dynamics a e kep “in sync” by ein o cing s uc u es
310 BENJAMIN SCHIEMER ET AL.
ha p o ide incen i es o engage in communi y building and skill de elopmen
as much as hey c ea e a goal-d i en se ing o p oducing 14 songs in 28 days
(see Fig. 12.1).
Con e sely, FAWM had o g apple wi h in e e ences among he h ee
in- he-making p ocesses. Fi s , g ow h in membe ship and he numbe o
p oduced song ske ches challenged he abili y o membe s o commen on
songs which educed isibili y and ul ima ely unde mined he communi y-
in- he-making p ocess. Second, he inc easing p o essionaliza ion led o an
o e emphasis on p oduc ion quali y and he eby aised, in con lic wi h he
ama eu e hos o he communi y, ba ie s o con en p oduc ion and commu-
ni y building. Thi d, a ing and anking mechanisms as means o compe i i e
commen ing in he communi y-in- he-making p ocess led o an o e emphasis
o skills a he expense o eaching he p oclaimed goal o p oducing a high
quan i y o new ideas. To cope wi h hese dynamics, ein o cing s uc u es
epea edly had o be adjus ed in o de o ge he h ee p ocesses back “in o sync”
(see Fig. 12.2).
Fig. 12.1. In Sync – Complemen a y Rein o cemen s among P ocesses a FAWM.
Collabo a i e Inno a ion Online 311
DISCUSSION AND CONCLUSIONS
Online communi ies ha e e ol ed in o a key a ena o collabo a i e inno a ion
ac oss o ganiza ional bounda ies. The ex an li e a u e on online communi ies
has ela ed hei inno a i e po en ial o pa icula ea u es o online collabo a-
i e p oduc ion (e.g., Ja enpaa & Lang, 2011), pa icula ly o he dynamics o
knowledge and skill de elopmen (e.g., Fa aj e al., 2011) and communi y build-
ing and go e nance (e.g., Dahlande e al., 2008). By p ima ily ocusing on open-
sou ce communi ies, and Wikipedia and Linux in pa icula , esea ch so a has
elabo a ed he ways in which hese communi ies os e ongoing engagemen
(Ga ud e al., 2008) and adjus hei go e nance s uc u e o ensu e he p oduc-
ion o quali y con en in he ace o g owing membe ship (e.g., O’Mahony &
Fe a o, 2007).
This chap e seeks o ad ance ou unde s anding o collabo a i e inno a ion
p ocesses in online communi ies in wo espec s. Fi s , we apply an “inno a ion-
as-p ocess” pe spec i e (e.g., Van de Ven e al., 1999) ha shi s he ocus om
Fig. 12.2. Ou o Sync – In e e ences among P ocesses a FAWM.
312 BENJAMIN SCHIEMER ET AL.
pe cei ing online communi ies as p e-gi en o ganiza ional en i ies owa d s udy-
ing he p ocesses and ac i i ies ha engende communi ies “in- he-making”
(La ou , 1987). This p ocess pe spec i e is ins umen al o e eal he messy en an-
glemen s o con en -in- he-making, skill-in- he-making, and communi y-in- he-
making as pa allel. F om his pe spec i e, a sense o belonging o a communi y,
in p e ious li e a u e desc ibed as a s abilized eeling (McMillan & Cha is, 1986),
i sel becomes an inno a i e ou come o a communi y ha needs o be con inuously
( e-)p oduced. Second, ou empi ical accoun o an online communi y dedica ed o
he p oduc ion o c ea i e con en elucida es he impo an ole played by ein o c-
ing s uc u es o s imula ing each o hese p ocesses as a basis o momen s o
collabo a i e inno a ion, as well as he need o adjus hese ein o cing s uc u es o
eme ging challenges posed by communi y de elopmen o e ime.
Ou indings indica e ha he h ee in e ela ed p ocesses o con en -in- he-
making, skill-in- he-making, and communi y-in- he-making a e igge ed and
main ained by empo a y s abiliza ions o p o isional, in e im ou comes. A song
ha is agged as incomple e, o example, in i es commen s and ad ice om o he
communi y membe s. The empo a y ma ke “incomple e,” hen, p omp s ac i i-
ies ha esona e wi h he gene a i e p ac ices o help-seeking, help-gi ing, collec-
i e e aming, and ein o cing iden i ied by Ha gadon and Bechky (2006). In he
“pe manen ly be a”-con ex o an online communi y (Ne & S a k, 2006), hese
ac i i ies do no necessa ily esul in a inal “cumula i e syn hesis” (c . Ga ud
e al., 2016) bu a he sus ain he collabo a i e momen um o p oducing con en ,
enhancing skills, and de eloping he communi y o e ime. The h ee gene a i e
p ocesses a e, he e o e, open-ended, only empo a ily b acke ed by he mon h o
Feb ua y. While his empo al b acke ing i sel cons i u es a kind o ein o cing
s uc u e ha enables heigh ened ac i i y along se e al dimensions, addi ional
ein o cing s uc u es we e needed o s imula e he simul aneous p oduc ion o
con en , skills, and communi y. While ou use o he wo d “synch oniza ion” in
his ega d does no imply a s ic o m o empo al alignmen o he h ee p o-
cesses, which in he ligh o he o en asynch onous na u e o i ual in e ac ions
does no seem adequa e o e en desi able, i s ill implies he complemen a i y o
he h ee p ocesses ha depend on and eed in o each o he and need o be gi en
equal weigh in communi y design.
The p esen s udy also elucida es in e e ences be ween he h ee in e ela ed
p ocess o con en -in- he-making, skill-in- he-making, and communi y-in- he-
making. Fi s , hese in e e ences we e caused by he g ow h o he communi y.
While he gene a i e po en ial o he communi y os e ed a g ow h in membe -
ship, his g ow h in u n ipped he balance o he h ee p ocesses in a o o
con en p oduc ion. Second, in e e ences among he p ocesses o con en -in-
he-making, skill-in- he-making, and communi y-in- he-making we e caused by
g owing expe ise esul ing in a highe en y ba ie o new membe s. And hi d,
quin essen ial p ac ices such as agging, a ing, o commen ing induced a g ow-
ing ocus on songs as inal p oduc s and, h ough his e y dynamic, unde mined
he collabo a i e p oduc ion o ideas. Subsequen in e en ions in he in e ace
design aimed a sus aining he collabo a i e e hos o he communi y by shi ing
compe i ion a ound con en o compe i ion a ound communi y engagemen (see
Collabo a i e Inno a ion Online 313
also Gulb andson & Jus , 2011) and, he eby, p o iding ein o cing s uc u es o
ensu ing an equal balance o all h ee p ocesses so ha hey can eed in o each o he .
The “in- he-making” pe spec i e on online communi ies ad anced in he
p esen chap e aises u he ques ions conce ning collabo a i e inno a ion
p ocesses ha span ac oss o ganiza ional bounda ies. Fi s , as he case o
FAWM has shown, membe -ini ia ed online communi ies can be impo an si es
o he de elopmen o con en , skills, and communi y ha migh be p one o
comme cial exploi a ion la e on. Ye , i ms’ a emp s o ap in o hese kinds
o communi ies and s a egically o ches a e hem migh induce compe i i e
dynamics ha unde mine he e y gene a i e dynamics o con en p oduc ion,
skill de elopmen , and communi y building he i m seems o bene i om.
Second, u he esea ch seems equi ed o e eal and concep ualize he complex
in e play o he b oad spec um o online communi ies and pla o ms ha a e
mobilized in dispe sed collabo a i e online se ings. Ou indings indica e, o
example, ha FAWM is used o he collabo a i e p oduc ion o song ske ches
ha , in la e s ages, a e p omo ed as polished songs on pla o ms such as
Facebook o Soundcloud. Collabo a i e dynamics, hen, no only un old in he
“di ision o labo ” be ween online communi ies ( o idea gene a ion) and i ms
( o idea exploi a ion; e.g., Cohende & Simon, 2015), bu also in complex online
ecologies (e.g., Boczkowski e al., 2018); i is hese ecologies o inno a ion ha
dese e u he academic a en ion.
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