Emergent multimedia clusters in the Lille, Lyon and Marseille metropolitan areas

The spatial, organizational and institutional proximity plays an important part in the geography of economic development (Boschma, 2005). It is therefore important to see what kinds of networks are being developed within the multimédia sector between the different actors of the Triple Helix (Etzkowitz and Leydersdorff, 1997): firms, training and R&D facilities, and public authorities. We will take for the example three French metropolitan areas: Lille, Lyon and Marseille. The dynamism of the social networks is supported by the development of a collective governance which associates public and private actors (Maillat and Kébir, 1999). So, initiatives have launched to facilitate strategic governance of emergent regional multimédia clusters. Three forms of governance (Tremblay and Rousseau, 2005) can be distinguished: public (Pole Images Nord-Pas-de-Calais in Lille), private (Imaginove in Lyon) and public-private partnership (Pole Sud Image in Marseille). These contrasted situations result from internal conflicts in the different industries of the multimedia sector. These structures have launched several similar actions in order to the constitution of social networks. Principles are inspired by the Competitivness Clusters and Michael Porter’s theories (2000). We can summarize them in the following way: - Interprofessional meetings, - Pooling of the human resources of the companies from the cluster, - Training programme for employees and executives, - Calls for collaborative projects which associate industrial and academic partners, - Support to firms willing to try out innovative business approaches, - Support programme for companies seeking to compete internationally. But, collaboration between different firms was generally low or nonexistent in spite of several regional projects (Einright, 1996). Collaborations are still very recent, rarely include a cross-media approach and hesitate to develop partnerships with research units. Similarly, the three metropolitan areas suffer from the poor adaptation of the regional training offer, which is far too rich and diverse compared to the actual capacities of the regional moving picture economy. Companies, mainly SMEs, cannot hire many people and they hesitate to embark on international missions.

Creativity in the Lille metropolitan area : the example of the image sector

In France, the Paris region is the traditional centre for decision-making and creative functions. Unsurprisingly, it concentrates most cultural industries – cinema, multimedia, TV, etc. The aim of this paper is to study how other French cities, and more specifically regional medium-sized cities, can develop this type of activities. We will take the example of the multimedia industry in the Lille metropolitan area. Ann-Lee Saxenian (1994) has shown the importance of regional culture and heritage in the constitution of an economic trajectory. The pre-existence of links between film production, media or microelectronic industries, and of an intense cultural life can support the emergence of essential know-how for the development of an image sector (Sträter, 2000). Lille isn’t a traditional filming area and the weak presence of the television media didn’t facilitate the emergence of large regional production groups. But, the decline of textile factories has allowed the development of new activities, as mail-order selling, which have used multimedia and image technologies since the 1980s. Moreover, Lille metropolitan area has a broad training offering in the technical and creative fields which can have significant repercussions for the constitution of a creative class (Florida, 2002). But the emergence of start-up has been very limited since the 1990s and 2000s. In 2009, the Lille metropolitan area counts only 350 firms in the image sector and has not a critical mass. Cognitive diversity generated by a social group stimulates creative individual potential (Miliken, Bartel and Kurtzberg, 2003). This explains the choice made by public authorities to locate audiovisual and multimedia firms in three media districts, which accommodates schools, research centres, publics authorities and firms (thanks to free tax zones, cheap facilities and incubators) according to the Triple Helix principles (Etzkowitz and Leydersdorff, 1997). That projects aim to retain young graduates by offering an environment enable to developing their careers. But the national project for extending the Plaine Saint-Denis audiovisual cluster, located north of Paris, is likely to deter the settlement of firms in Lille, because of the weakness of both the sector and the networks.

Industrie du jeu vidéo et construction de clusters innovants

Dans les aires métropolitaines de Lille, Lyon et Marseille, l’industrie du jeu vidéo n’était quasiment pas structurée. Les entreprises ne se connaissaient pas et ne collaboraient pas entre elles. À la fin des années 2000, trois associations professionnelles transmédia regroupant entreprises, écoles, centres de recherche et institutions publiques ont été lancées : Imaginove à Lyon, Pictanovo à Lille et le Pôle Régional de l’Image, du Multimédia et de l’Internet (PRIMI) à Marseille. Ces structures ont développé des actions d’animation et de médiation incitant aux collaborations entre les acteurs du jeu vidéo : création de plates-formes emploi/formation, lancement d’appels à projets collaboratifs, accompagnement au développement international des entreprises. Les premiers résultats montrent que les entreprises productrices de contenus vidéoludiques coopèrent activement avec les écoles et les laboratoires de recherche, principalement à l’échelle locale et régionale.In the Lille, Lyon and Marseille metropolitan areas, the video games industry isn’t really structured. Collaborations between firms are nonexistent. To improve this problematic situation, three cross-media professional associations have been created in the end of the 2000s : Imaginove in Lyon, Pictanovo in Lille and the Regional Image, Multimedia and Internet Cluster (PRIMI) in Marseille. These associations that aim at launching a cluster dynamic have developed several actions for animation and mediation : employment/training websites, calls for collaborative projects, international development missions. The first results show networks and collaborations between video games firms, schools, research centres and public authorities, primarily at the local and regional level

Les équipements culturels de la vallée de l’Emscher (Ruhr, Allemagne) : de la régénération urbaine au développement d’une économie culturelle et créative

D’un point de vue économique, social et environnemental, la vallée de l’Emscher est à la fin des années 1980 le secteur le plus sinistré de la Ruhr. Pour assurer la reconversion et renverser l’image négative du territoire, le Land de Rhénanie du Nord-Westphalie a notamment misé sur la culture en lançant une exposition internationale d’architecture. Créés sur d’anciennes friches industrielles, les équipements culturels ont développé une architecture iconique et se sont inscrits dans le cadre de vastes programmes de régénération urbaine. Toutefois, les retombées territoriales de ces nouveaux équipements culturels sont limitées. S’ils contribuent fortement à stimuler l’économie touristique régionale, ils demeurent financièrement déficitaires, ce qui pousse le Land de Rhénanie du Nord-Westphalie à diversifier leurs activités, notamment par le développement d’expositions temporaires, de festivals ou la mise en place d’une stratégie en direction des industries créatives.From an economic, social and environmental point of view, the Emscher Valley was at the end of the 1980s the more sinister area of the Ruhr. To ensure conversion and improve the negative image of the territory, the Land of North Rhine-Westphalia has used launched an international architecture exhibition. Created on former industrial wastelands, cultural facilities have developed an iconic architecture within the framework of urban regeneration programs. However, the territorial impact of these new cultural facilities is limited. If they strongly contribute to boost regional tourism economy, they are structurally in deficit. The Land of North Rhine-Westphalia must diversify their activities with the development of temporary exhibitions, festivals or the launch of a strategy into the creative industries

Pôles transmédia, actions d’intermédiation et construction de liens au sein de l’industrie du multimédia des aires métropolitaines de Lille, Lyon et Marseille

Dans les aires métropolitaines de Lille, de Lyon et de Marseille, l’industrie du multimédia n’est quasiment pas structurée. Les entreprises ne se connaissent pas et ne collaborent pas entre elles. À la fin des années 2000, trois associations professionnelles transmédia regroupant entreprises, écoles, centres de recherche et institutions publiques, ont été lancées: Imaginove à Lyon, le Pôle Images Nord-Pas de Calais à Lille et le Pôle Régional de l’Image, du Multimédia et de l’Internet (PRIMI) à Marseille. Ces structures ont développé des actions d’animation et de médiation incitant aux collaborations, telles que la création de plates-formes emploi/formation, l’accompagnement au développement international des entreprises ou le lancement d’appels à projets collaboratifs. Les premiers résultats montrent que les entreprises commencent à coopérer avec les écoles et les laboratoires de recherche, principalement à l’échelle locale et régionale, témoignant de l’émergence de clusters du multimédia.In the Lille, Lyon and Marseille metropolitan areas, the multimedia industry isn’t really structured. Collaborations between firms are nonexistant. To improve this problematic situation, three crossmedia professional associations have been created in the end of the 2000s: Imaginove in Lyon, the Nord-Pas de Calais Images Cluster in Lille and the Regional Image, Multimedia and Internet Cluster (PRIMI) in Marseille. These associations that aim at launching a cluster dynamic, have developed several actions for animation and mediation: employment/training websites, international development missions, calls for collaborative projects. The first results show emergent collaborations between firms, schools, research centres and public authorities, primarily at the local and regional level. In the Lille, Lyon and Marseille metropolitan areas, multimedia clusters can thus be considered emergent

Patrimonialisation et greffes culturelles sur des friches issues de l’industrie minière

À partir de la confrontation des expériences menées dans les bassins charbonniers du Nord-Pas de Calais et de la Ruhr, l’objectif de cet article est d’analyser les modalités de la transformation des infrastructures minières en lieux culturels. Si dans la Ruhr les populations et les villes se sont très rapidement réappropriées ces anciens « phares » de l’économie régionale, les collectivités territoriales de l’ex-bassin minier du Nord-Pas de Calais ont en revanche largement détruit leurs friches industrielles. Toutefois, un changement dans la perception du patrimoine industriel s’est effectué à partir de la fin des années 1980. Diverses mesures ont favorisé la réhabilitation et la patrimonialisation de ces friches minières dans le cadre de vastes périmètres de régénération urbaine. Ces infrastructures abritent désormais des équipements culturels, des activités créatives et, le cas échéant, des festivals.From the confrontation of the experiences implemented in the Nord-Pas de Calais and the Ruhr coalfields, the aim of this paper is to analyze the transformation of coal pits in cultural places. In the Ruhr area, populations and cities themselves re-appropriated very quickly these old "flagships" of the regional economy. In the Nord-Pas de Calais, public authorities have rather dismantle the derelict lands. However, political philosophy has changed since the end of the 1980s, making possible the cultural regeneration of some wastelands inherited from mining industry throughout new cultural facilities, creative industries and festivals

Pérenniser l’événementiel culturel dans la métropole lilloise après la Capitale européenne de la culture

Le succès de Lille 2004 Capitale européenne de la culture a encouragé les organisateurs de l’événement à lancer tous les deux à trois ans un festival culturel thématique appelé Lille 3000. Cette pérennisation de l’événementiel culturel a été rendue possible par la volonté de la mairie de Lille de poursuivre ces opérations, par l’implication financière grandissante du milieu entrepreneurial, et par le recours au bénévolat avec l’appui sur un réseau d’équipements culturels et d’espaces publics complémentaires. Toutefois, le festival Lille 3000 recherche davantage un objectif de développement touristique et de rayonnement artistique de la ville de Lille que de démocratisation culturelle. Si les populations locales participent par le biais d’ateliers thématiques et de parades à l’événement, elles demeurent souvent cantonnées dans des pratiques relevant de la culture populaire.The success of Lille 2004 European capital of culture has encouraged the event organizers to launch every two or three years a thematic cultural festival called Lille 3000. The sustainability of this cultural event has been possible thanks to the wish of the Lille municipality to continue these operations, the increasing financial involvement of national and regional firms, the use of volunteers and a network of complementary cultural facilities and public spaces. However, the Lille 3000 festival aims more at tourism development and Lille artistic influence than at cultural democratization. If local populations are involved in the event through thematic workshops and parades, they remain often cantoned in popular culture practices

The ALICE experiment at the CERN LHC

ALICE (A Large Ion Collider Experiment) is a general-purpose, heavy-ion detector at the CERN LHC which focuses on QCD, the strong-interaction sector of the Standard Model. It is designed to address the physics of strongly interacting matter and the quark-gluon plasma at extreme values of energy density and temperature in nucleus-nucleus collisions. Besides running with Pb ions, the physics programme includes collisions with lighter ions, lower energy running and dedicated proton-nucleus runs. ALICE will also take data with proton beams at the top LHC energy to collect reference data for the heavy-ion programme and to address several QCD topics for which ALICE is complementary to the other LHC detectors. The ALICE detector has been built by a collaboration including currently over 1000 physicists and engineers from 105 Institutes in 30 countries. Its overall dimensions are 161626 m3 with a total weight of approximately 10 000 t. The experiment consists of 18 different detector systems each with its own specific technology choice and design constraints, driven both by the physics requirements and the experimental conditions expected at LHC. The most stringent design constraint is to cope with the extreme particle multiplicity anticipated in central Pb-Pb collisions. The different subsystems were optimized to provide high-momentum resolution as well as excellent Particle Identification (PID) over a broad range in momentum, up to the highest multiplicities predicted for LHC. This will allow for comprehensive studies of hadrons, electrons, muons, and photons produced in the collision of heavy nuclei. Most detector systems are scheduled to be installed and ready for data taking by mid-2008 when the LHC is scheduled to start operation, with the exception of parts of the Photon Spectrometer (PHOS), Transition Radiation Detector (TRD) and Electro Magnetic Calorimeter (EMCal). These detectors will be completed for the high-luminosity ion run expected in 2010. This paper describes in detail the detector components as installed for the first data taking in the summer of 2008

Les politiques culturelles à Roubaix, à la croisée de l'urbain et du social.

Notes de rechercheye

Chapitre 4. Le secteur de l’image en mouvement dans l’aire métropolitaine de Lille : construction de ressources, projets urbains et réseaux

Introduction Le secteur de l’image en mouvement est constitué de deux principales filières : le cinéma et la télévision, d’une part ; l’édition et le développement de jeux vidéo, d’autre part. La production cinématographique et télévisuelle se divise elle-même en trois principaux segments, qui sont l’écriture et la production, le tournage et la post-production, la distribution et la télédiffusion (figure 1). L’édition et le développement de jeux vidéo visent à produire des loisirs numériques ..