On the innovation capacity of technologyrelated knowledge-intensive business services. A case study of the technology and engineering consulting (TEC) sector in Singapore

Even though the research on innovation in services has expanded remarkably especially during the past two decades, there is still a need to increase understanding on the special characteristics of service innovation. In addition to studying innovation in service companies and industries, research has also recently focused more on services in innovation, as especially the significance of so-called knowledge intensive business services (KIBS) for the competitive edge of their clients, othercompanies, regions and even nations has been proved in several previous studies. This study focuses on studying technology-based KIBS firms, and technology andengineering consulting (TEC) sector in particular. These firms have multiple roles in innovation systems, and thus, there is also a need for in-depth studies that increase knowledge about the types and dimensions of service innovations as well as underlying mechanisms and procedures which make the innovations successful. The main aim of this study is to generate new knowledge in the fragmented research field of service innovation management by recognizing the different typesof innovations in TEC services and some of the enablers of and barriers to innovation capacity in the field, especially from the knowledge management perspective. The study also aims to shed light on some of the existing routines and new constructions needed for enhancing service innovation and knowledge processing activities in KIBS companies of the TEC sector. The main samples of data in this research include literature reviews and public data sources, and a qualitative research approach with exploratory case studies conducted with the help of the interviews at technology consulting companies in Singapore in 2006. These complement the qualitative interview data gathered previously in Finland during a larger research project in the years 2004-2005. The data is also supplemented by a survey conducted in Singapore. The respondents for the survey by Tan (2007) were technology consulting companies who operate in the Singapore region. The purpose ofthe quantitative part of the study was to validate and further examine specificaspects such as the influence of knowledge management activities on innovativeness and different types of service innovations, in which the technology consultancies are involved. Singapore is known as a South-east Asian knowledge hub and is thus a significant research area where several multinational knowledge-intensive service firms operate. Typically, the service innovations identified in the studied TEC firms were formed by several dimensions of innovations. In addition to technological aspects, innovations were, for instance, related to new client interfaces and service delivery processes. The main enablers of and barriers to innovation seem to be partly similar in Singaporean firms as compared to the earlier study of Finnish TEC firms. Empirical studies also brought forth the significance of various sources of knowledge and knowledge processing activities as themain driving forces of service innovation in technology-related KIBS firms. A framework was also developed to study the effect of knowledge processing capabilities as well as some moderators on the innovativeness of TEC firms. Especially efficient knowledge acquisition and environmental dynamism seem to influence the innovativeness of TEC firms positively. The results of the study also contributeto the present service innovation literature by focusing more on 'innovation within KIBs' rather than 'innovation through KIBS', which has been the typical viewpoint stressed in the previous literature. Additionally, the study provides several possibilities for further research.

Matka serkamolaiseen teatteriin : kohti sanatonta kerrontaa

A travelogue to serkamoan theater deals, just like its name implies, with the molding process of one theater opinion. It has been influenced by both Aristotle's poetry and Bertold Brecht's epic theater. Side by side with theater goes dance, whose development the thesis also considers briefly. Of today's theater makers, Päivi Ketonen (playback theater), Juha Hurme and Nigel Charnock (dance theater) have had a definitive impact on the Serkamoan theater view. Their relation to theater and dance is clarified in the interviews conducted by the writer, which can be found in their entirety among the appendices of this thesis. Serkamoan theater has also been influenced by the writer's studies in Portuguese theater school in 2004. In Portugal the writer had a chance to work a theater piece in a new cultural environment where, for example, a novel and paintings were used as inspiration. The strongest legacy from Portugal however was the desire to do theater that can be understood without words. Serkamoan theater considers the combinations of theater and dance in performing arts, agreeing with, among others, Pina Bausch's footsteps. Serkamoan theater ladles its inspiration from theater, dance, human being, human body and movement. It is theater that cannot be understood through intellect but through the heart.

Sanoin kuvaamaton : teatterintekijän pohdintoja intuitiosta

This thesis examines the concept of intuition from different aspects. The basis for this thesis has been the author`s experience about education as a supportive process for intuitive thinking. It studies what taking advantage of intuition means for the author of this thesis and how intuition can be defined as a concept. This thesis shows what intuition means both from the performer`s and the director`s point of view. The author attemps to explain how these two areas of her professional identity either support or prevent intuitive creativity from emerging successfully. The intuition of a performer is examined through playback theatre and the insight associated with playback theatre. Regarding the work of a director, the author describes the making of a walking tour performance called "Sama maa" (2006) that she directed. The author attempted to fully utelize her intuitive creativity while planning the performance. The intuitive choices of the author were the basis for planning and carrying out the performance. This thesis studies a concept that is very challenging to explain in words. There is not a lot of literature about concept of intuition with respect to theater. The author of the thesis has ended up thinging about guestion that is very important to her, a guestion about relationship between controlled and authentic mental processing. The author also engourages others to think about the meaning of intuition and insight to themselves as a part of a daily life and as a part of the artistic creativity.

Kaksoiselämäni teatteritaiteen palveluksessa : ammatti-identiteettini rakennuselementit

In my thesis I discuss the elements of my professional identity from the perspective of an actor, a director and a team. What are acting and directing to me? What are the problems in the symbiosis of acting and directing? What are the difficulties in acting and directing and how important are the issues related to responsibility, power, trust and confidence in my work? I also discuss the consept of self-confidence. Behind all of this, there is also the thought of my ancestry and its dualism, how my roots from my father's and mother's side are struggling against each other or supporting each other, and how they affect my professional identity. The basic idea in the present thesis is the perspective of the traditional theatre and a professional team. Also the childhood influence on my professional identity is being considered. Education is discussed at the end. Moreover, a discussion on the kind of future theatre maker I want to be considered as, is included. I also try to handle all these topics through Harri Virtanen's Kiinteistövälittäjä vastoin tahtoaan (2005), which I directed, and my latest role in Arto Paasilinna's and Kristian Smeds' Jäniksen vuosi (2006). The conclusion of the present thesis is that it is very important for me to be a member of different communities, in which I can express my professional identity. My professional identity is formed by many elements that support each other. Such elements in their own right form an inticate relationship, which at the end, makes me what I am. In conclusion, I am a theatre maker, who in an alternative field of theater has opportunities to form the professional identity, as different situations and projects require.

Niin metsä vastaa : työtapoja koreografian ja tanssiteatterin tekemiseen

Käsittelen työssäni sitä, miten tanssitaustaisena teatteri-ilmaisun ohjaajana toimin koreografina ja tanssiteatterin tekijänä. Pyrin kartoittamaan taiteellisen työni, tanssiteatteriteoksen Niin metsä vastaa, valossa minkälaisen synteesin nuoruusvuosien laajat tanssiopintoni ja nyt päättyvät esittävän taiteen opintoni ovat muodostaneet. Pohdin paikkaani nykyisellä ammattitanssin kentällä verraten omia työtapojani ja ajatuksiani muutamaan nykykoreografiin sekä kahteen tanssin väitöskirjaan. Lähestyn työssä tanssiteatterin tekemistä tanssin ja liikkeen suunnasta, koska se on omin ja vahvin taitoalueeni. Oman teokseni syntyprosessia ja lopputulosta tarkastelemalla olen hahmottanut viisi löytämääni työtapaa tanssiteatterin tekemiseen. Selkeästi koreografian tekemiseen rajautuva väline on oman liikkeen hakeminen. Oman tarinan etsiminen liittyy vastaavasti teoksen käsikirjoituksen ja dramaturgian rakentumiseen. En tiedä -asenne, yhteistyö ja tiladramaturginen ajattelu ovat laajempia, yleisesti näyttämöteoksen tekemiseen liittyviä työtapoja. Useat näistä työtavoista ovat saaneet kimmokkeensa esittävän taiteen opinnoistani Stadiassa. Käyttämieni työtapojen kautta olen oppinut paljon itsestäni niin yksityisenä ihmisenä kuin taiteilijanakin. Toivon voivani jatkaa löytämieni työtapojen ja oman maailmani tutkimista ja syventämistä tulevissa töissäni. Näen itseni tasavertaisena, omanlaisenani taiteilijana muiden tanssin ammattilaisten joukossa. Koen vahvuuksinani monipuoliset työkalut tanssin ja teatterin yhdistämiseen sekä kyvyn ja halun hahmottaa asioita monista näkökulmista. Tanssiteatterin tekijänä totean työskentelyni määrittyvän ja etenevän pitkälti teoksen mukaan eli kovin kiinteitä rakenteita en voi työtavoissani sanoa vielä olevan, enkä sitä toivokaan. Rajattomuus on tanssiteatterini voima.

Varaosatoiminnan logistiikka puulevyteollisuuden koneita toimittavassa yrityksessä

Tämän diplomityön tavoitteena oli kartoittaa Raute Woodin varaosien tilaus-toimitusprosessin ongelmia, sekä tarkastella logistiikan keinoja paremman kannattavuuden ja asiakastyytyväisyyden tason saavuttamiseksi. Avainasemassa olivat nopeampi reagoimisaika asiakkaan tarpeisiin ja ajallaan tapahtuva toimitus. Kannattavuutta haettiin varaosien varastoinnin kehittämisellä. Työssä on käsitelty kolmen toimipisteen, Suomen, Kanadan ja Singaporen, toimintoja. Työ aloitettiin nykyisen toiminnan analysoimisella ja ongelmien paikantamisella. Tärkeässä osassa ongelmien paikantamisessa olivat eri yksiköissä tehdyt henkilöstöjen haastattelut ja kirjeenvaihto heidän kanssaan. Ongelmien analysointi- ja ratkaisukeinoja haettaessa hyödynnettiin asiaankuuluvaa kirjallisuutta. Nykyisestä tilaus-toimitusprosessista löytyy selvää kehityspotentiaalia. Varaosien varastointi ja pitkät läpimenoajat koko tilaus-toimitusketjussa osoittautuivat suurimmiksi ongelmakohdiksi. Varaosavaraston tilaa analysoitiin ABC-analyysin avulla, joka paljasti suuren määrän täysin käyttämättömiä nimikkeitä. Työssä esiteltiin ABC-analyysin rinnalle toinen varaosien luokittelumenetelmä, kriittisyysluokittelu, ja jatkotoimenpiteenä esitetäänkin luokituksen toteuttamista ja hyväksikäyttöä. Pitkille läpimenoajoille esitettiin keinoina osien valmistusprosessin kehittämistä ja tiiviimmän yhteistyön aloittamista

The Pleasure Dome of Kubla Khan

Äänitetty: 28.10.1954, Rochester, Eastman Theater.

Poem for Orchestra : La bonne chanson

Soitinnus: Ork.

Bacchanale, Op. 6, No. 3

Soitinnus: Ork.

Memories of My Childhood

Soitinnus: Ork.