1,721,176 research outputs found
Séminaire de terrain à Nantes / vidéo de l'intervention de Patrick Cohendet
No full textLe 21 novembre, Patrick Cohendet a été l'invité du séminaire RELIGN, qui s'est joint au programme du séminaire de terrain de SCAENA à Nantes, et a présenté les dynamiques des écosystèmes d'innovation. L'enregistrement vidéo est disponible ci-dessous. Dans son intervention, Patrick Cohendet présente l'angle théorique par lequel on aborde la créativité dans un territoire, en rappelant les grandes théories et origines de la notion d'écosystème. Il présente ensuite sa théorie de l'écosystème ..
L'aprés-taylorisme, Ouvrage coordonné par Patrick Cohendet, Michel Hollard, Thomas Malsch et Pierre Veltz
No full textMeunier Françoise. L'aprés-taylorisme, Ouvrage coordonné par Patrick Cohendet, Michel Hollard, Thomas Malsch et Pierre Veltz. In: Formation Emploi. N.27-28, 1989. Numéro spécial. L'enseignement technique et professionnel, repères dans l'histoire (1830-1960) p. 200
Patrick Cohendet, Michel Hollard, Thomas Malsch, L'après-taylorisme, Paris, Économica, 1988
No full textBaudry de Vaux Marie, Ceccaldi Sylviane, de Lassus Isabelle, Crine Grégory, Tissot Françoise. Patrick Cohendet, Michel Hollard, Thomas Malsch, L'après-taylorisme, Paris, Économica, 1988. In: Formation Emploi. N.76, 2001. Numéro spécial : 30 ans d'analyses des relations entre travail, emploi et formation. p. 121
Émergence, formation et dynamique des réseaux. Modèles de la morphogenèse
No full textCohendet Patrick, Kirman Alan, Zimmermann Jean-Benoît. Émergence, formation et dynamique des réseaux. Modèles de la morphogenèse. In: Revue d'économie industrielle, vol. 103, 2e et 3e trimestre 2003. La morphogénèse des réseaux, sous la direction de Patrick Cohendet, Alan Kirman et Jean-Benoît Zimmermann. pp. 15-42
Recherche industrielle et processus d'innovation : le rôle structurant des pratiques de recherche
No full textPatrick Cohendet
Industrial research and innovation : the formative role of research practices
Taking issue with the linear model that links basic research, industrial research and innovation leads to reworking conceptions of technology, of actors' roles and of the organization of firms and research. Emphasis is laid on two aspects of this renewed conception of industrial research : its dependence on the context and its formative role for firms. This serves to review theoretical debates about vertical integration and to reconsider the forms of relations between internal industrial research and basic research.L'auteur dresse un état de l'art sur la question. Il montre comment la mise en cause du modèle linéaire liant recherche de base, recherche industrielle et innovation remet en chantier la conception de la technologie, du rôle des acteurs, des modes d'organisation des firmes et de la recherche. L'auteur insiste particulièrement sur deux aspects du renouvellement de la vision de la recherche industrielle : sa dépendance au contexte, son caractère structurant pour la firme. Cela lui permet, en particulier, de reconsidérer les débats théoriques sur l'intégration verticale, tout comme la question des formes de relation entre recherche industrielle interne et recherche de base ou recherche industrielle externe.Cohendet Patrick. Recherche industrielle et processus d'innovation : le rôle structurant des pratiques de recherche. In: Sociologie du travail, 38ᵉ année n°3, Juillet-septembre 1996. Recherche scientifique, innovation technique et politiques publiques. pp. 365-376
Issue 7) 5 Mihaly Csikszentmihalyi Professor of Psychology and Management
No full textIntroduction Managing creativity in order to accelerate and improve innovation is the key management challenge that will be faced by companies in the coming years, and this challenge will be faced in an environment of ever-increasing complexity. These were the main findings of a recent face-to-face survey of 1500 CEOs, general managers, and senior public sector leaders around the globe Business leaders across 16 sectors recognize creativity and innovation as their major challenges, and yet, they admit that they are not fully prepared to meet this challenge, as discovered in a recent survey of business trends and challenges by Strategy& (Rothfeder, 2015). The surveyed leaders identified three paths to explore in preparation for the upcoming evolution of business and markets: operational flexibility, two-way relationships with customers, and a greater focus on the medium-term future needs of customers. If social technologies, (big) data management, and analysis are going to play an important role in these transformations, then management -structure, processes, culture, and leadership -still has an essential role to play in setting up the right context for innovation to thrive. The articles contributed to this special issue include many examples of actual drastic changes made by organizations attempting to cope with creative challenges. Managing creativity is a challenge for all the different functions of the enterprise and leads us to reconsider traditional ways of managing marketing, human resources, logistics, accounting, and finance, as well as strategy and planning. As a result, creative orManaging creativity for innovation is a key challenge in today's economy; therefore, the management of ideas will play in increasing role in driving the growth and resilience of organizations. Rather than simple inspired insights, ideas have to be addressed as complex socio-cognitive processes, to be organized and managed. To benefit from the full value of new ideas, management must constantly balance the formal and the informal, the logic of creation and the logic of production, and must learn to couple idea-generation processes and innovation processes through renewed knowledge management practices. In this introduction to the Technology Innovation Management Review's special issue on Creativity in Innovation, the guest editors highlight the need to manage: i) ideation processes to foster creativity, ii) the tension that exists between the logic of creation and production; and iii) disruptive innovation to transform a traditional industry. Today… corporations spend Introduction to the Special Issue on Creativity in Innovation Patrick Cohendet and Laurent Simon ganizations expect to make deeper internal changes in their operations, and to experiment with drastic, sometimes disruptive evolutions of their business model to realize their strategies. To succeed, they take more calculated risks, find new ideas, and keep innovating in how they lead and communicate internally and externally. Thus, embodying creative leadership, reinventing customer relationships, engaging customers as individuals and communities, building operational dexterity, empowering employees, amplifying innovation through partnerships, and unlocking a sense of community within the organization, are some of the emerging priorities put forward to transform existing organizations into creative and resilient businesses. Not least among these characteristics are the paradoxes and tensions underlying the creation, production, marketing, and distribution of creative products. These tensions are particularly strong in specific industries, such as in the luxury goods industry, as Roberts and Armitage (2015) emphasize in their article in this issue. Because of the volatile and dynamic nature of the environment, firms must navigate through contradictory requirements and develop organizational solutions and innovative practices to survive and prosper In this special issue, we focus on some of these new perspectives followed by innovative organizations to cope with creative challenge. In particular, we focus on how to manage: i) ideation processes to foster creativity, ii) the tension that exists between the logic of creation and production; and iii) disruptive innovation to transform a traditional industry. Managing Ideation Processes to Foster Creativity As "new and useful combinations" Our own systematic studies of creative processes in different fields, times, and settings, from Cubism with Picasso, to Cirque du Soleil with Guy Laliberté and his creative team -as detailed by Introduction to the Special Issue on Creativity in Innovation Patrick Cohendet and Laurent Simon ation in the symbolic dimension is completed by a systematic, more concrete effort to define the ways the idea is going to be used and exploited; its "grammar of use" is laid out in the codebook At the next step, when an idea reaches a sufficient degree of maturity -and there is an understanding of its possible functioning and potential value -the question at stake is its execution. Executing an idea supposes to organize its "landing" in pre-existing structures and processes. Formally, this signals the actual beginning of the innovation process itself, as defined, for instance, by Schumpeter himself (1939, 1942). Hierarchy has a fundamental role to play in giving the "green light" to an idea when it reaches a certain level of ripeness. Officially endorsing and idea and starting a formal innovation process means keeping up with the enrichment, concretization, and valuation of the idea. The idea will benefit from internal and as well as external contributions, consciously channelled, managed, evaluated, and selected by management. Differing from the vision and metaphor of the innovation "funnel", ideas should not be considered only as quasi-material inputs to feed the innovation process. The evolution and actualization of ideas is the innovation process. In this regard, many innovative projects have encountered difficulty -when taking a sequential perspective -in recognizing, evaluating, transferring, and exploiting the new pieces of knowledge generated from the process. Generally, these insights are at worst forgotten, or at best, recaptured in complex intellectual property models, to be eventually franchised to external actors. Focusing on the idea generation, conversion, and execution process allows emphasis not only on the expected outputs (i.e., the deliverables and their exploitation/valuation model), but also on the outcomes (i.e., the potentially useful knowledge produced from the exploration/experimentation process itself). Hargadon and Sutton (1999), for instance, in analyzing the specific internal functioning of IDEO, the world renowned design firm, insisted on the contribution of those "secondary" ideas to the sparking and fuelling of new innovative initiatives and projects. At this stage of the ideation process, we must identify the active units in the idea generation/conversion processes. Generating and converting ideas is essentially a socio-cognitive process and construction Then, a defining and critical phase of translation and seduction begins, where the original "ideators" try to convince others of the newness, relevance, and value of the idea. At the same time, they need to foster reactions, criticisms, challenges, enrichments, and contributions from more and more partners. One of our studies in the video game industry (Cohendet et al., 2011), and many other contributions in the literature, emphasize the active and central role of "knowing communities" in this essential phase of the idea management process. Knowing communities share, challenge, and assemble bits and pieces of knowledge around a common object of interest, be it a practice, an emerging paradigm, or the construction of a new frame of understanding in a creative field. They act as an active repository of cognitive and practical resources that feeds not only the exploratory capabilities of the firm, but also its exploitation activities. The members of these communities (for instance, the Ubisoft game designers described in Technology Innovation Management Review July 2015 (Volume 5, Issue 7) 8 www.timreview.ca Introduction to the Special Issue on Creativity in Innovation Patrick Cohendet and Laurent Simon Based on the literature on the management of ideas for innovation and our own studies, Introduction to the Special Issue on Creativity in Innovation Patrick Cohendet and Laurent Simon defines the spirit, the orientations, the constraints, and the values and identity of the idea. The codebook provides a "grammar of use" for the idea: it is literally a manual that explains how to use it and benefit from its value. The development of prototypes allows demonstration if the functioning and value of the idea or of some of its specific features. At the third stage, the ideadevelopment process must focus on developing a formal value proposition and business model to provide a convincing business case to the organization. This three-stage process is aligned with Teece's interpretation of the firm dynamic capabilities for innovation (2009), where the first issue for the organization is to generate some relevant insights, then to assess their value and select the most relevant one, and finally to reformat the idea as a formal project that is must be implemented in the pre-existing set of organizational resources and process, thus reconfiguring the organization to allow for the concrete development and actualization of the idea as a new product, service, or process. Managing the Tension between the Logic of Creation and the Logic of Production In a given organization, the traditional representation of the process of innovation is based on the classic sequential principle of the "stage-gate" (Cooper, 1990) ( A major lesson learned from creative industries (Pixar, Google, Ubisoft, Whirlpool, Philips, Siemens, 3M, etc.) is that, contrary to traditional industries (where the process of idea generation and the process of project management tend to be sequential), the process of idea generation and the process of management of innovative projects in creative industries are run in parallel. They mutually feed each other (e.g., Tennant-Snyder & Duarte, 2008). "Exploitation and exploration tend to be unfolded in an organically intricate and complementary way where they constantly fuel each other" Introduction to the Special Issue on Creativity in Innovation Patrick Cohendet and Laurent Simon assures the sustained creativity of the firm. Along this process, ideas are developed, nurtured, enriched, etc. as explained in the above section. These "dual" dynamics of two main processes need subtle coupling and decoupling phases that must be orchestrated by an adequate process of knowledge management In the case of the conception of new artistic and acrobatic performance at Cirque du Soleil, it appears clearly that most efforts are inspired by a convergence on a common artistic vision, and at the same time a constant concern of consolidating multiple constraints of aesthetic value, physical prowess, and risk assessment. The reconciliation of these tensions is only possible through a constant back-and-forth process between the convergence of the innovative process and the divergence of the new ideas originating in the common rich experiences of all the stakeholders. In this regard, mobilizing multiple views and voices on ideas, and staging debates and conflicts, appears as a very efficient way to reach an optimal agreement for the enrichment and concretization of ideas. As the project progresses to- Figure 2. Coupling and decoupling ideation processes and innovation processes Technology Innovation Management Revie
The Elgar Companion to Innovation and Knowledge Creation
Full text linkThis is a draft chapter. The final version is available in [The Elgar Companion to Innovation and Knowledge Creation] edited by [Harald Bathelt, Patrick Cohendet, Sebastian Henn & Laurent Simon], published in 2017, Edward Elgar Publishing Ltd http://dx.doi.org/10.4337/9781782548522
The material cannot be used for any other purpose without further permission of the publisher, and is for private use only.We give an overview of the structure of this volume, highlighting important challenges to and imperfections of innovation research, within what sometimes appears to be a stable, mature field. Each of the subsequent sections corresponds to one of the parts of this edited volume. We begin by discussing the notion and our understanding of innovation, before highlighting the interrelationship between innovation and institutions, and the interdependence of innovation, novelty and creativity. This is followed by three sections that target innovation as a social process: innovation, networking and the role of communities; innovation in permanent spatial settings; and innovation in temporary and virtual settings. The last sections focus on the relationships between innovation, entrepreneurship and market making, and on wider governance and management issues of innovation, followed by some final remarks about the unique characteristics of this edited volume
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Résumés des articles.
No full textRésumés des articles.. In: Revue d'économie industrielle, vol. 103, 2e et 3e trimestre 2003. La morphogénèse des réseaux, sous la direction de Patrick Cohendet, Alan Kirman et Jean-Benoît Zimmermann. pp. 7-14
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