An empirical study of the influence of different organisation cultures on e-commerce adoption maturity

Drawing on Cameron and Quinn’s organisational cultures typology that defines four types of organisational culture (i.e., clan, adhocracy, market, and hierarchy), and Daniel et al.’s four-stage model of e-commerce adoption, this paper empirically examines the influence of different organisational cultures on e-commerce adoption maturity in small and medium-sized enterprises (SMEs) in Sri Lanka. The result indicates a positive correlation between adhocracy culture and e-commerce adoption. However, those firms with hierarchy cultural characteristics indicate a negative correlation in relation to e-commerce adoption. The organisational culture differences explain these issues.

China in a book: Victorian representations of the 'celestial kingdom' in William Dalton’s 'The wolf boy of China'

Despite the wealth of material related to China in Victorian and Edwardian children’s literature, relatively few scholarly works have been published on the subject. Critics who have discussed the topic have tended to emphasize the negative discourse and stereotypical images of the Chinese in late nineteenth-century children’s literature. I use the case of William Dalton’s The Wolf Boy of China (1857), one of the earliest full-length Victorian children’s novels set in China, to complicate previous generalizations about negative representations of China and the Chinese and to highlight the unpredictable nature of child readers’ reactions to a text. First, in order to trace the complicated process of how information about the country was disseminated, edited, framed, and translated before reaching Victorian and Edwardian readers, I analyse how Dalton wove fragments from his reading of a large archive of texts on China into his novel.
Although Dalton may have preserved and transmitted some ‘factual’ information about China from his sources, he also transformed material that he read in innovative ways. These are reflected in the more subversive and radical parts of the novel, which are discussed in the second part of the essay. In the final section, I provide examples of historical readers of The Wolf Boy of China to challenge the notion that children passively accept the imperialist messages in books of empire.

Sir Walter Scott in the western district, 1836-1851

A survey of 30 early settlement squatters in Victoria, using their letters, diaries and memoirs to compile a regional history of colonial readers. The resulting reader-responses support the emerging interpretations of Affective Reading, rather than more conventional strategies of literary criticism (New Historicism and Discourse Analysis).

Pre-choreographic elements: Scott deLahunta in conversation with Bertha Bermúdez

‘Pre-Choreographic Elements’ is a research project that evolved from the interdisciplinary project (Capturing) Intention initiated by dance company Emio Greco | PC and the Art and Development Research Group of the Amsterdam School of the Arts in 2005 (see article by Bermúdez in this issue, pp. 61–81.). ‘Pre-Choreographic Elements’ refers to the ‘pre-phase of choreography, where the content is being created, shaped and tested but not yet part of the selection and ordering process choreography implies’. In this dialogue, deLahunta talks to Bermúdez about the current state of this research.

Anne Scott Wilson : Video & photography exhibition

Solo Exhibition, Framed Photograhs and Video installations as part of the 'Head On Photography Festival'

Anne Scott Wilson : Insideout #2 exhibition

Solo Exhibition with catalogue essay by Elizabeth Day, video installation; inkjet prints; paintings

'Scott's aired a couple of things' : back to back theatre rehearse Ganesh versus the third Reich

 This chapter tracks the creation of Back to Back Theatre’s 2011 performance, Ganesh Versus the Third Reich, based on first-hand observation of the final stages in devising and refining the work. Ganesh traces two parallel narrative strands – that of an imagined journey of the Hindu God into the dark heart of Nazi Germany to reclaim the sacred Hindu symbol of the swastika, and the narrative which constantly threatens to engulf the Ganesh story – the fraught relations between a group of disabled artists and their non-disabled director as they negotiate the process of making the work.

The focus of this chapter is the development of a single scene from the performance work, Ganesh Versus the Third Reich, tracing it’s evolution through periods of creative development and rehearsal. The stark contrast between the working practices observed on the studio floor and the brutally knowing and parodic representation of power relations in rehearsal seen in the performance work testifies to the peculiar and productive self-reflexivity that generates the work of Back To Back Theatre. An account and analysis of both real and fictional rehearsals reveal how Back to Back’s creative processes position members of the ensemble “perceived to have intellectual disabilities” as entirely legitimate professional artists, while claiming the authority of ‘outsider artists’ to challenge perceptions and representations of disability.

Motion Bank : Phase One

 Motion Bank Phase One (2010-2013) was a four-year international and interdisciplinary research project of The Forsythe Company providing a broad context for research into choreographic practice. The main focus was on the creation of on-line digital scores in collaboration with guest choreographers, to be made publicly available via this website. For Phase One, the guest choreographers were Deborah Hay, Jonathan Burrows & Matteo Fargion, Bebe Miller and Thomas Hauert. Teams from the Motion Bank Score Partners worked with these artists to make their diverse choreographic approaches accessible in new ways through the digital medium with the results published here: http://scores.motionbank.org/. Alongside this core research, Motion Bank Education Partners and an International Education Workgroup researched ways to integrate the new on-line digital scores and related choreographic resources produced by other artists into their academic programs. Accompanying the Motion Bank education research was an interdisciplinary initiative titled Dance Engaging Science aiming to stimulate new forms of collaborative research involving dance practice. Motion Bank public events offered at The Frankfurt Lab included performances and talks with the guest choreographers as well as a series of Motion Bank Workshops with internationally recognized practitioners from different fields. An extensive series of reports and documentation on all Motion Bank activities and results are available on-line at http://motionbank.org.

Motion Bank Score Partners:
- Advanced Computing Center for the Arts and Design and Department of Dance at The Ohio State University
- Fraunhofer Institute for Computer Graphics Research IGD
- Hochschule Darmstadt - University of applied sciences
- Hochschule für Gestaltung (HFG) Offenbach.

Motion Bank Education Partners:
- Frankfurt University of Music and Performing Arts
- Palucca Hochschule für Tanz Dresden

Synchronous Objects for One Flat Thing, reproduced

Synchronous Objects is a website where a visitor/ reader can investigate the interlocking systems of organisation in the choreography of William Forsythe's dance One Flat Thing, reproduced (2000). These systems were quantified through the collection of data and transformed into a series of objects - synchronous objects - that work in harmony to explore these choreographic structures, reveal their patterns and re-imagine what they might look like. The goal of the project was to create a learning platform to engage a broad public in this exploration of choreography, to explore cross-disciplinary research and to stimulate creative discovery for specialists and non-specialists alike.