Minimal Structures: From Jazz Improvisation to Product Innovation

By Ken Kamoche, Miguel Pina e Cunha. 2001

384 citations recorded by the source corpus.

Subfields: Experimental and Cognitive Psychology, Mechanical Engineering, Organizational Behavior and Human Resource Management

View Paper: https://www.semanticscholar.org/paper/649464c46bab1840d40402f8a2eac476df1505c9

How researchers see this paper

The researchers whose trusted networks rank it highest, strongest advocate first. Every researcher gets a different order.

In Experimental and Cognitive Psychology

1. K. Kyriakopoulos
2. Mary M. Crossan
3. N. Thompson
4. Dusya Vera
5. Miguel Pina e Cunha
6. D. West
7. Keith M. Hmieleski
8. Andrew C. Corbett

In Mechanical Engineering

1. K. Kyriakopoulos
2. N. Thompson
3. Dusya Vera
4. Mary M. Crossan

In Organizational Behavior and Human Resource Management

1. K. Kyriakopoulos
2. Mary M. Crossan
3. Dusya Vera
4. N. Thompson
5. Miguel Pina e Cunha
6. D. West
7. A. Caruana
8. Keith M. Hmieleski

Citations in the corpus

• Improvisation in Product Innovation: The Contingent Role of Market Information Sources and Memory Types (2011, background): “The metaphor of jazz and theatre improvisation has provided vivid images and vocabulary for theorizing emergent action in organizations (e.g. Hatch, 1999; Kamoche & Cunha, 2001; Vera & Crossan, 2004; Weick, 1998).”
• Practitioner and Customer Views of Advertising Creativity: Same Concept, Different Meaning? (2008, background): “Even within organizations, with apparent minimal structures there are boundaries on what is and can be accepted (Kamoche and Cunha 2001).”
• Time and Organizational Improvisation (2005, background): “As in improvisation, organizations strive to achieve integration and temporal symmetry through plans intended to create the minimal commonality necessary for engendering action without prescribing it (Hedberg et al., 1976; Kamoche & Cunha, 2001).”
• Imagination and Creativity in Organizations (2018, background): “Therefore, my work encompasses and clarifies competing notions of ‘creative synthesis’ (Harvey, 2014), ‘recombinations’ (Hargadon & Sutton, 1997), ‘scaffolds’ (Majchrzak, More, & Faraj, 2012) and ‘minimal structures’ (Kamoche & Cunha, 2001).”