Pienen matkailuyrityksen yrittäjän taival : Oppiminen yrittäjyysprosessissa

Tämä tutkimus liittyy keskusteluun yrittäjyydestä, strategisesta prosessista ja kasvunmerkityksestä pienissä yrityksissä ja edelleen keskusteluun yrittäjästä oppijana, tilaisuuteen tarttujana ja toisaalta elämäntapaansa vaalivana yksilönä. Yrittäjän oppiminen on liitettävissä keskusteluun oppimisesta organisaatioissa, mikä tässä ymmärretään yrittäjän, yksilön oppimisena ja mahdollisuutena innovointiin ja uusiutumiseen yrittäjyysprosessissa. Tutkimuksen tavoitteena on etsiä yrittäjän oppimisen tapoja ja tuotoksia, roolia ja merkitystä strategisessa liiketoimintaprosessissa, jossa yrittäjän arvot ja pienen matkailu- ja perheyrityksen kulttuuri ohjaavat yrittäjän toimintatapaa. Edelleen tavoitteena on hahmottaa yrittäjän oppimisen ja kompetenssin ilmenemistä muutoksissa ja sidosryhmäsuhteissa. Työn lähestymistapa on hermeneuttinen. Yrittäjää lähestytään kokonaisvaltaisena yksilönä näkökulmasta, jossa yrittäjyyden prosessi ymmärretään inhimillisenä ja luovana toimintana sekä jatkuvana muutoksena. Yrittäjä nähdään oman prosessinsa määrittäjänä ja parhaana asiantuntijana. Empiirinen aineisto on laadullista. Vanhatyrittäjähaastatteluin vuosina 1998 - 99 kerätyt aineistot tarjosivat kokeilumahdollisuuden aineiston analysoinnin aloittamiseksi. Aineistojen kapean näkökulmanlaajentamiseksi kerättiin lisäaineisto neljältä yrittäjältä keskusteluin vuonna2003. Tämä Itä-Suomessa matkailualan yrittäjiltä kerätty uusi aineisto muodostaa tämän tutkimuksen keskeisen aineiston. Yrittäjyyden aiemmasta tutkimuksesta nousseet näkökulmat ovat suunnanneet tämän työn empiirisen aineiston tarkastelua. Tarkastelun kohteena ovat yrittäjä oppijana yrittäjyysprosessissaan ja yrittäjähistoriansa taitekohdissa sekä oppimisen näkyminen yrittäjän arvomaailmassa, matkailuyrityksen kulttuurissa ja sidosryhmäyhteistyössä. Tutkimuksen tulokset osoittavat, että yrittäjille jatkuva muutos on arkipäiväistä työtä. Yrittäjät hallitsevat omaa oppimis- ja yrittäjyysprosessiaan. He asettavat itse tavoitteensa liiketoiminnan suhteen, ymmärtävät liiketaloudellisia realiteetteja riittävästi; erityisesti riskien hallinta on ominaista yrittäjille. Yritysten menestystä osoittaa se, että niissä on pystytty kasvattamaan toimintaa määrällisten mittareiden puitteissa tai ainakin yrittäjän omiin tavoitteisiin on päästy. Yrittäjien oppimis- ja uusiutumiskykyä todistaa yritysten olemassaolo sinänsä ja jatkuva olemassaolon kamppailu vaikuttamalla sidosryhmiin. Vaikka näitä yrittäjiä ei anglosaksisen, schumpeterilaisen määrittelytavan mukaan voida määritellä käsitteellä 'entrepreneur', voidaan kuitenkin väittää, että heidät voidaan ymmärtää 'yrittäjyys' yrittäjiksi - rohkeiksi, uteliaiksi, itsenäisiksi, oppiviksi ja jatkuvasti uusiutuviksi yksilöiksi, jotka luovat jatkuvasti uutta arvoa yritystoiminnallaan. Oppiminen ilmenee prosessissa niin, että yrittäjät hakevat uutta tietoa sosiaalisesta suhdeverkostostaan, asiakkaiden käyttäytymisestä ja reaktioista sekä havainnoivatympäristöään tarkasti tehden vertailuja oman yrityksenä näkökulmasta alan muihin yrityksiin ja toimivat yhteistyössä muiden yrittäjien kanssa. He kyseenalaistavat omaa ja yrityksensä toimintaa, laativat suunnitelmia yrityksen laajentamiseksi tai toimintojen lisäämiseksi, mutta myös toiminnoista luopumiseksi. Oppiminenja uusiutuminen näkyvät visioissa, joissa yritystoimintaa varaudutaan muuttamaan siten, että se vastaa kulloisenkin tilanteen vaatimuksia Kuitenkin yrittäjät ovat ymmärrettävissä toimintaa ennakoiviksi, eivät niinkään toimintaa sopeuttaviksi yksilöiksi. Ennakointi voidaan nähdä muutosten työntövoimana, jolloin yrittäjät ovat enemmänkin yritystensä eteenpäin työntäjiä kuin yritystensä vetäjiä. Yrittäjät ovat omissa yrityksissään paras mahdollinen kyvykkyys- ja osaamisresurssi, joka näyttää siirtyvän näissä yrityksissä myös seuraavan sukupolven käyttöön käytännön esimerkkien ja hiljaisen tiedon kautta. Jokaiselle yrittäjälle on muotoutunut oma selviytymisstrategiansa tai toimintamallinsa, jossa on nähtävissä yrittäjän koko yrittäjyyden historian aikana ja yrittäjyysprosessissa tapahtuvan oppimisen muotoutuminen yrittäjän osaamiseksi. Näissä selviytymisstrategioissa on havaittavissa yrittäjän oma arvokäsitys, perheyrityksen kulttuuri, suhtautumistapa ympäristöön ja yrittäjän oma, persoonallinen toimintatapa yrittäjänä.

Celebrating Creative Consciousness: Insights Into Oscar Wilde’s Aesthetics

Tutkielmani valottaa irlantilaisen kirjailijan Oscar Wilden (1854-1900) vähemmän tunnettua työtä ja ajattelua taidekriitikkona fin de sièclen ja modernismin välisen siirtymävaiheen estetiikassa. Wilden voidaan sanoa olleen edellä aikaansa estetiikkakäsityksensä suhteen: Hän käsittelee taidekritiikissään teemoja, jotka tulivat keskeisiksi modernismin ja postmodernismin myötä – esimerkiksi kielen pettävyyttä, sellaisten käsitteiden kuin ’todellisuus’, ’luonto’ tai ’yhteiskunta’ sattumanvaraisuutta sekä yhteisön ja yksilön identiteettien fragmentoitumista. Wilde myös kyseenalaistaa – paradoksien, kielellisten nokkeluuksien ja ironian avulla – monia länsimaisessa filosofiassa ’normatiivisina’ pidettyjä arvoja, kuten totuuteen pyrkimisen. Lisäksi hän haastaa taiteenkritiikin akateemisen tradition hylkäämällä sellaiset sen hyveinä pitämät piirteet kuin johdonmukaisuus ja ristiriidattomuus. Tarkastelen Wilden estetiikkakäsitystä pääasiassa esseekokoelman Intentions (1891), etenkin esseen Valehtelun rappio, sekä De Profundis –teoksen (1905) kautta. Tekstejä analysoimalla ja vertaamalla osoitan miten 1890-luvun alkupuolen ja vankilatuomiotaan istuvan Wilden estetiikkakäsitys muuttui ja kehittyi. Wilden kohdalla on syytä puhua taidefilosofiasta taiteenteorian sijaan. Hänen kriittiset esseensä eivät tähtää ’harmonisen’ kokonaisuuden luomiseen tai pragmaattis-loogisen mallin rakentamiseen taiteen ymmärtämiseksi vaan tulvivat ironiaa ja ristiriitaisuuksia. Wildella taideteoksen tarkasteluun liittyy aina eettisiä, ontologisia ja metafyysisiä kysymyksiä, jotka syventävät mutta myös monimutkaistavat esteettistä kokemusta. Keskeinen teema Wildelle onkin taiteen ja elämän vastakkainasettelu sekä niiden välisen yhteyden tunnistaminen ja tunnustaminen: taide on sekä autonomista että subjektiivista. Tämä paradoksi kulminoituu esteettisessä kokemuksessa. Wildelle luomistyö ja vastaanottajan elämys ovat tiedostamattomia prosesseja – tietoista luovuutta ei ole. Esteettinen kuitenkin voidaan yhdistää tietoisuuteen, mutta se edellyttää että myös tietoisuuden on oltava luovaa. Siksipä lähestyäkseen taidetta kritiikin on tultava enemmän taiteen kaltaiseksi – epänormatiiviseksi ja epäloogiseksi. Tässä prosessissa paradokseilla on merkittävä tehtävä: ne muistuttavat siitä, että puhuttaessa taiteesta ei ole oikeita vastauksia, on vain hyviä kysymyksiä.

Intercultural bridges in teenagers' theatrical events : performing self and constructing cultural identity through a creative drama process

The overriding aim of this drama educational case study is to deepen the understanding of meaning making in a creative intercultural youth theatre process and to examine it in the context of the 10th European Children's TheatreEncounter. The research task is to give a theoretical description of some key features of a creative drama process as the basis for theory about meaning makingin physical theatre. The first task is to illuminate the culture-historical connections of the multilayered practice of the EDERED-association. The second taskis to analyse and interpret theatrical meaning making. The ethnographical research site is regarded as a theatrical event. The analysis of the theatrical eventis divided into four segments: cultural contexts, contextual theatricality, theatrical playing and playing culture. These segments are connected with four research questions: What are the cultural contexts of a creative drama process? How can the organisation of the Encounter, genres, aesthetic codes and perception ofcodes be seen to influence the lived experiences of the participants? What are some of the key phases and characteristics in a creative practice? What kind of cultural learning can be interpreted from the performance texts? The interpretative question concerns identity and community (re)construction. How are the categories, `community´ and `child´ constructed in the Encounter culture? In this drama educational case study the research material (transcribed interviews, coded questionnaire answers, participant drawings, videotaped process text and performance texts) are examined in a multi-method analysis in the meta-theoretical framework of Dewey's naturalistic pragmatism. A three-dimensional research interest through a combination of lived experiences, social contexts and cultural-aesthetical practices compared with drama-educational practices required the methodological project of cultural studies. Furthermore, the critical interpretation of cultural texts is divided into three levels of analyses which are called description, structural analysis and theoretical interpretation. Dialogic validity (truthfulness, self-reflexivity and polyvocality) is combined with contextual validity (sensitivity to social context and awareness of historicity) and with deconstructive validity (awareness of the social discourses). My research suggests that itis possible, by means of physical theatre, to construct symbolic worlds where questions about intercultural identity and multilingual community are examined and where provisional answers are constructed in social interaction.

Public-Private Partnerships: Managing organizational change for acquiring value creative capabilities

The objective of the dissertation is to examine organizational responses of public actors to customer requirements which drive the transformation of value networks and promote public-private partnership in the electricity distribution industry and elderly care sectors. The research bridges the concept of offering to value networks where capabilities can be acquired for novel product concepts. The research contributes to recent literature, re-examining theories on interactions of customer requirements and supply management. A critical realist case study approach is applied to this abductive the research which directs to describe causalities in the analyzed phenomena. The presented evidence is based on three sources, which are in-depth interviews, archival analysis and the Delphi method. Service provision requires awareness on technology and functionalities of offering. Moreover, service provision includes interactions of multiple partners, which suggests the importance of the co-operative orientation of actors. According to the findings,portfolio management has a key role when intelligent solutions are implemented in public service provision because its concepts involve a variety of resources from multiple suppliers. However, emergent networks are not functional if they lack leaders who have access to the customer interface, have power to steer networks and a capability to build offerings. Public procurement policies were recognized to focus on a narrow scope in which price is a key factor in decisions. In the future, the public sector has to implement technology strategies and portfolio management, which mean longterm platform development and commitment to partnerships. On the other hand, the service providers should also be more aware of offerings into which their products will be integrated in the future. This requires making the customer’s voice in product development and co-operation in order to increase the interconnectivity of products.

Recording and reproducing Soundscapes : using and interpreting data in a creative way

http://elo.aalto.fi/fi/studies/elomedia/dataseminar/

Finnish Institutional Innovation Support Policies from Russian Entrepreneurs' Perspective: Establishing Cross-Border Technology Oriented Start-Up Firm

The purpose of this thesis is to study how Russian entrepreneurs perceive Finnish institutional environment and innovation support policies provided in the country, as well as to present a practical example in form of a case study of one technology oriented start-up firm which was established in Finland by Russian entrepreneurs. The empirical research of the thesis is conducted qualitatively in two parts. First part is conducted through online questionnaire with open questions in order to review the perceptions of Russian entrepreneurs in general. Second part is based on personal interviews with case company’s founders with the focus on the process of establishing the company in Finland. In the first part of the empirical research, five Russian start-up firms were contacted, and four responses were received. All of these responses were qualified for further analysis. The findings of the first part of the research reveal that Russian entrepreneurs have rather positive attitudes towards Finnish institutional innovation support policies. However, most of the entrepreneurs stated that they are unlikely to create their presence in Finland. As an outcome of the second part of the research, the process of establishing a case company in Finland is illustrated. In order to be able to establish companies in Finland, Russian entrepreneurs who have a permanent residence outside European Economic Area (EEA) are required to apply for a permission to perform business operations in the country. In addition, the established company must engage in improving the economical stand of the country by creating new work places, raising tax revenues, develop technologies and generate innovations in the country.

Building a creative city brand through an international mega-event : Case: Helsinki World Design Capital 2012

In order to grow, cities are increasingly competing for attention, jobs, investments, visitors, residents and significant events. Cities need to come up with creative solutions to keep up with the competition; they ought to become creative cities. Attracting talented and diverse inhabitants is a key factor in developing a creative city, which on is characterized by openness, tolerance, vibrancy and diversity. Along the need for renewed city images city brand building has become popular. Helsinki is the World Design Capital 2012 (WDC 2012) and this mega-event presents a meaningful opportunity for the city to broadcast itself globally. The purpose of this study is to evaluate how Helsinki brands itself as a creative city through an international mega-event. The sub-aims are to: 1) Map the factors behind the creative city and their relation to the city of Helsinki, 2) Describe the city branding process, 3) Evaluate the role of the Helsinki World Design Capital 2012 mega-event in Helsinki’s creative city brand building. First, the theory discusses the concept of the creative city that has gained growing attention during the past decade. Then, the city branding process is described and the benefits of hosting a mega-event are presented. Finally, co-branding a city and a mega-event in order to generate maximum benefit from the mega-event, is reviewed. This is a qualitative research for which data was collected through three face-to-face interviews, the World Design Capital 2012 bid, Helsinki’s economic development strategy, a consulting firm’s research report on the case city and web-pages. The research reveals that Helsinki has shown interest in the creative city discussion. The terminology around the concept is however approached carefully. Helsinki fits many of the creative city characteristics and recognizes its flaws for which improvement strategies have been planned. Bottlenecks keeping the city from promoting a more open mind were mainly revealed in its organizational structures. Helsinki has no official brand strategy; nonetheless pressure to develop one is present. The World Design Capital 2012 mega-event is seen as a meaningful stepping board to strengthen Helsinki’s identity and image, and start thinking about a city brand. The brand strategies of the mega-event support the values and virtues of the city itself, which enables benefits of co-branding introduces in the theory part. Helsinki has no official brand and doesn’t call itself a creative city, however this study shows signs of the city taking steps towards building a creative city brand with the help of the Helsinki World Design Capital 2012 mega-event.

Creative brand launch in phamaceutical over-the-counter markets – case Burana

The purpose of this study is to examine how a launch of a pharmaceutical over-the-counter sold (OTC) brand can be done by using creative solutions and thus affecting the product life cycle. The study is inspired by a phenomenon called Burana. The Burana brand has been a market leader of OTC painkillers in Finland for the past 27 years. The aim of this study is to “solve the mystery” behind Burana brand’s success by focusing on the launch phase of Burana as an OTC medicine. Farmos Group Ltd (the owner of the brand in 1980´s) had not originally invented the product in question – ibuprofen – and the product had already reached it´s maturity phase, if not even decline from the product life cycle aspect when this phenomenon takes place. This has made the marketing choices, the product launch phase as well as the product management even more interesting from the company point of view as well as from a learning point of view. The methodology in this study is qualitative with a descriptive research strategy, while the study is conducted as a longitudinal single-case study. The methods used in this study have been collecting, analyzing and interpreting the data, which is based on the interviewees’ comments and observed behavior. According to the study, the successful launch phase helped in setting the product one step ahead of the competitors and thus aided the brand leadership and prolonged the product life cycle. Another notable aspect that became clear from the interviews and the documentary of Burana´s launch phase was the innovative idea of involving the people of the distribution chain into the product launch through education. As this study has pointed out, it is not enough to for a company to build an innovative team of employees, but also to offer them an involved and encouraging management. According to the interviews, the support from the company management gave the marketing team the encouragement to be innovative. It can be thus stated that the management of a company has an essential role in fostering the creativity within the company.

Cultural distance and negotiation behavior : Perception of entrepreneurs operating in Turku

This thesis investigates the influence of cultural distance on entrepreneurs’ negotiation behaviour. For this purpose, Turku was chosen as the unit of analysis due to the exponential demographic change experienced during the last two decades that has derived in a more diversified local environment. The research aim set for this study was to identify to what extent entrepreneurs face cultural distance, how cultural distance influences the entrepreneur’s negotiation behaviour and how can it be addressed in order to turn dissimilarities into opportunities. This study presented the relation and apparent dichotomy of cultural distance and global culture, including the component of diversity. The impact of cultural distance in the entrepreneurial mindset and its consequent effect in negotiation behaviour was presented too. Addressing questions about the way individuals perceive, behave and interact allowed the use of interviews for this qualitative research study. In the empirical part of this study it was found that negotiation behaviour differed in terms of how congenial entrepreneurs felt when managing cultural distance, encompassing their performance. It was also acknowledged that after time and effort, some of the personal traits were enhanced while others reduced, allowing for more flexibility and adaptation. Furthermore, depending on the level of trust and shared interests, entrepreneurs determined their attitudinal approach, being adaptive or reactive subject to situational aspects. Additionally, it was found that the acquisition of cultural savvy not necessarily conveyed to more creativity. This experiential learning capability led to the proposition of new ways of behaviour. Likewise, it was proposed that growing cultural intelligence bridge distances, reducing mistrusts and misunderstandings. The capability of building more collaborative relationships allows entrepreneurs to see cultural distance as a cultural perspective instead of as a threat. Therefore it was recommended to focus on proximity rather than distance to better identify and exploit untapped opportunities and better perform when negotiating in whichever cultural conditions.

Balancing creativity and risk intelligence in professional knowledge-intensive business services

The main strengths of professional knowledge-intensive business services (P-KIBS) are knowledge and creativity which needs to be fostered, maintained and supported. The process of managing P-KIBS companies deals with financial, operational and strategic risks. That is why it is reasonable to apply risk management techniques and frameworks in this context. A significant challenge hides in choosing reasonable ways of implementing risk management, which will not limit creative ability in organization, and furthermore will contribute to the process. This choice is related to a risk intelligent approach which becomes a justified way of finding the required balance. On a theoretical level the field of managing both creativity and risk intelligence as a balanced process remains understudied in particular within KIBS industry. For instance, there appears to be a wide range of separate models for innovation and risk management, but very little discussion in terms of trying to find the right balance between them. This study aims to shed light on the importance of well-managed combination of these concepts. The research purpose of the present study is to find out how the balance between creativity and risk intelligence can be managed in P-KIBS. The methodological approach utilized in the study is strictly conceptual without empirical aspects. The research purpose can be achieved through answering the following research supporting questions: 1. What are the characteristics and role of creativity as a component of innovation process in a P-KIBS company? 2. What are the characteristics and role of risk intelligence as an approach towards risk management process implementation in a P-KIBS company? 3. How can risk intelligence and creativity be balanced in P-KIBS? The main theoretical contribution of the study conceals in a proposed creativity and risk intelligence stage process framework. It is designed as an algorithm that can be applied on organizational canvas. It consists of several distinct stages specified by actors involved, their roles and implications. Additional stage-wise description provides detailed tasks for each of the enterprise levels, while combining strategies into one. The insights driven from the framework can be utilized by a vast range of specialists from strategists to risk managers, and from innovation managers to entrepreneurs. Any business that is designing and delivering knowledge service can potentially gain valuable thoughts and expand conceptual understanding from the present report. Risk intelligence in the current study is a unique way of emphasizing the role of creativity in professional knowledge-intensive industry and a worthy technique for making profound decisions towards risks.