Towards a semiotic approach to practice-oriented knowledge transfer

With the rapid growth of information and technology, knowledge is a valuable asset in organisation which has become significant as a strategic resource. Many studies have focused on managing knowledge in organisations. In particular, knowledge transfer has become a significant issue concerned with the movement of knowledge across organisational boundaries. It enables the exploitation and application of existing knowledge for other organisations, reducing the time of creating knowledge, and minimising the cost of organisational learning. One way to capture knowledge in a transferrable form is through practice. In this paper, we discuss how organisations can transfer knowledge through practice effectively and propose a model for a semiotic approach to practice-oriented knowledge transfer. In this model, practice is treated as a sign that represents knowledge, and its localisation is analysed as a semiotic process.

Semiotic approach to a practice-oriented knowledge transfer

Knowledge is a valuable asset in organisations that has become significant as a strategic resource in the information age. Many studies have focused on managing knowledge in organisations. In particular, knowledge transfer has become a significant issue concerned with the movement of knowledge across organisational boundaries. One way to capture knowledge in a transferrable form is through practice. In this paper, we discuss how organisations can transfer knowledge through practice effectively and propose a model for a semiotic approach to practice-oriented knowledge transfer. In this model, practice is treated as a sign that represents knowledge, and its localisation is analysed as a semiotic process.

Evaluation and revision of inferential comprehension in narrative texts: an eye movement study

We investigated the processes of how adult readers evaluate and revise their situation model during reading by monitoring their eye movements as they read narrative texts and subsequent critical sentences. In each narrative text, a short introduction primed a knowledge-based inference, followed by a target concept that was either expected (e.g., “oven”) or unexpected (e.g., “grill”) in relation to the inferred concept. Eye movements showed that readers detected a mismatch between the new unexpected information and their prior interpretation, confirming their ability to evaluate inferential information. Just below the narrative text, a critical sentence included a target word that was either congruent (e.g., “roasted”) or incongruent (e.g., “barbecued”) with the expected but not the unexpected concept. Readers spent less time reading the congruent than the incongruent target word, reflecting the facilitation of prior information. In addition, when the unexpected (but not expected) concept had been presented, participants with lower verbal (but not visuospatial) working memory span exhibited longer reading times and made more regressions (from the critical sentence to previous information) on encountering congruent information, indicating difficulty in inhibiting their initial incorrect interpretation and revising their situation model

Rotational aesthetics: Michael Bay and contemporary cinema’s machine movement

Digital imaging technologies enable a mastery of the visual that in recent mainstream cinema frequently manifests as certain kinds of spatial reach, orientation and motion. In such a context Michael Bay’s Transformers franchise can be framed as a digital re-tooling of a familiar fantasy of vehicular propulsion, US car culture writ large in digitally crafted spectacles of diegetic speed, the vehicular chase film ‘2.0’. Movement is central to these films, calling up Scott Bukatman’s observation that in spectacular visual media ‘movement has become more than a tool of bodily knowledge; it has become an end in itself’ (2003: 125). Not all movements and not all instances of vehicular propulsion are the same however. How might we evaluate what is at stake in a film’s assertion of movement as an end in itself, and the form that assertion takes, its articulations of diegetic velocity, corporeality, and spatial penetration? Deploying an attentiveness towards the specificity of aesthetic detail and affective impact in Bay’s delineation of movement, this essay suggests that the franchise poses questions about the relationship of human movement to machine movement that exceed their narrative basis. Identifying a persistent rotational trope in the franchise that in its audio-visual articulation combines oddly anachronistic elements (evoking the mechanical rather than the digital), the article argues that the films prioritise certain fantasies of transformation and spatial penetration, and certain modes of corporeality, as one response to contemporary debates about digital technologisation, sustainable energy, and cinematic spectacle. In this way the franchise also represents a particular moment in a more widely discernible preoccupation in contemporary cinema with what we might call a ‘rotational aesthetics’ of action, a machine movement made possible by the digital, but which invokes earlier histories and fantasies of animation, propulsion, mechanization and mechanization to particular ends.