Knowledge Creation as a Square Dance on the Hilbert Cube

This paper presents a micro-model of knowledge creation and transfer in a small group of people. Our model incorporates two key aspects of the cooperative process of knowledge creation: (i) heterogeneity of people in their state of knowledge is essential for successful cooperation in the joint creation of new ideas, while (ii) the very process of cooperative knowledge creation a¤ects the heterogeneity of people through the accumulation of knowledge in common. The model features myopic agents in a pure externality model of interaction. In the two person case, we show that the equilibrium process tends to result in the accumulation of too much knowledge in common compared to the most productive state. Unlike the two-person case, in the four person case we show that the equilibrium process of knowledge creation may converge to the most productive state. Equilibrium paths are found analytically, and they are a discontinuous function of initial heterogeneity.

Innovating global value chains : creation of the netbook market by Taiwanese firms

This paper explores the process of creation of the netbook market by Taiwanese firms as an example of a disruptive innovation by latecomer firms. As an analytical framework, I employ the global value chain perspective to capture the dynamics of vertical inter-firm relationships that drive some firms in the chain to change the status quo of the industry. I then divide the process of the emergence of the netbook market into three consecutive stages, i.e. (1) the launch of the first-generation netbook by a Taiwanese firm named ASUSTeK, (2) the response of the two powerful platform leaders of the industry, Intel and Microsoft Intel, to ASUSTeK’s innovation, and (3) the market entry by another powerful Taiwanese firm, Acer, and explain how Taiwanese firms broke the Intel-centric market and tapped into the market-creating innovation opportunities that had been suppressed by the two powerful platform leaders. I also show that the creation of the netbook industry was an evolutionary process in which a series of responses by different industry players led to changes in the status quo of the industry.

Understanding the main drivers of value creation in an open innovation program

Innovation has been identified as the single most relevant element in fuelling corporations’ competitive advantage and ultimate value creation. Corporations no longer rely on a single, linear structure of innovation; the new paradigm of open innovation opens up new possibilities of organizing innovation within the ecosystem, thus giving rise to new drivers for value creation. These value drivers have an impact on the strategic position of the firm and have the ability to create superior financial performance. In this paper we explore the close relationship between open innovation and value creation and propose a framework to analyze this process as well as the most critical elements involved.

A study on the lateralization of the effect of musical imagery on spontaneous otoacoustic emissions

It has been suggested that different pathways through the brain are followed depending on the type of information that is being processed. Although it is now known that there is a continuous exchange of information through both hemispheres, language is considered to be processed by the left hemisphere, where Broca?s and Wernicke?s areas are located. On the other hand, music is thought to be processed mainly by the right hemisphere. According to Sininger Y.S. & Cone- Wesson, B. (2004), there is a similar but contralateral specialization of the human ears; due to the fact that auditory pathways cross-over at the brainstem. A previous study showed an effect of musical imagery on spontaneous otoacoustic emissions (SOAEs) (Perez-Acosta and Ramos-Amezquita, 2006), providing evidence of an efferent influence from the auditory cortex on the basilar membrane. Based on these results, the present work is a comparative study between left and right ears of a population of eight musicians that presented SOAEs. A familiar musical tune was chosen, and the subjects were trained in the task of evoking it after having heard it. Samples of ear-canal signals were obtained and processed in order to extract frequency and amplitude data on the SOAEs. This procedure was carried out before, during and after the musical image creation task. Results were then analyzed to compare the difference between SOAE responses of left and right ears. A clear asymmetrical SOAEs response to musical imagery tasks between left and right ears was obtained. Significant changes of SOAE amplitude related to musical imagery tasks were only observed on the right ear of the subjects. These results may suggest a predominant left hemisphere activity related to a melodic image creation task.

Evolución de los sistemas técnicos de reproducción musical

Con el fin de analizar la caracterización del proceso de evolución de los sistemas técnicos de reproducción musical se han planteado dos vías principales de análisis: en primer lugar, el estudio de las características técnicas de cuatro sistemas de reproducción que se han considerado representativos de dicho avance (sistemas basados en disco de vinilo, casete compacto, disco compacto y formato de codificación perceptual) y, en segundo lugar, el funcionamiento de dichos sistemas dentro del concepto que se ha denominado como cadena de transmisión de información de tipo musical. A través de la evaluación del grado de evolución de cada sistema y de su posterior comparación se procederá a realizar dicha caracterización. Para ello se tendrán en cuenta factores objetivos como, por ejemplo, la calidad de la señal de audio pero también cualitativos como, por ejemplo, la portabilidad que pueda proporcionar un tipo de sistema u otro. Por otra parte, se plantea un segundo objetivo que es actualizar la definición de reproductor, si así se desprende de los análisis, con la aparición de reproductores basados en codificación perceptual. ABSTRACT. In order to analyze the characterization of the process of evolution of technical systems of music playback considered two main ways of analysis: first, the study of the technical characteristics of four playback systems that have been considered representative of the advance (based on vinyl, compact cassette, compact disc and perceptual formats coding systems) and, second, the operation of these systems within the concept that has been called chain of information transmission of music. Through the evaluation of the degree of development of each system and its subsequent comparison will proceed to make such characterization. For this objective kept in mind factors such as the quality of the audio signal but also qualitative, for example, portability that can provide a particular device type will be considered. Moreover, a second objective is to update the definition of the player, if it is apparent from the analysis, with the appearance of players based on perceptual coding arises.

La memoria en el proceso creativo de Juan Muñoz = Memory in the creative process of Juan Muñoz

Esta tesis integra un estudio reflexivo sobre la relación de dependencia entre la creación y la memoria a través del análisis de la última obra del escultor Juan Muñoz: Double Bind (Tate Modern, Londres, 2001). Desde esta posición es obligado replantear el análisis de la obra, lo que hace necesario su estudio cubriendo el mayor espectro posible de información accesible más allá de la obra en sí, para aproximarse a la convergencia entre memoria y creación. La perspectiva de análisis propuesta abre camino a nuevas consideraciones so¬bre la relevancia del conocimiento en el desarrollo del proceso creativo. Este análisis no debe tan sólo suponer una aportación al conocimiento del trabajo de Juan Muñoz. Debe también desprenderse de él la innegable participación y necesaria lectura del pasado en el presente. La amnesia de los tiempos pasados impide completar el atlas de imágenes en las que se apoya la creación impidiendo el conocimiento del origen de las fuentes de inspi¬ración y las bases de la creación de una determinada obra. Este hecho limita y distorsiona sus posibles interpretaciones. Pretendo un acercamiento al entendimiento de la forma de mirar y de crear a través del tiempo que es memoria. La memoria tiene un cometido de crucial importancia para la actividad mental y juega un papel fundamental en la conducta y en la creación. La obra es el resultado de la búsqueda de una idea que exprese algo que el creador no puede ex¬presar de otra manera. Es la necesidad de expresar las ideas mediante un lenguaje que se desarrolla en el tiempo y en el espacio, reflejo del ser que responde al pensamiento. Es una forma de experiencia donde subyacen las sendas del pasado y donde se plantea el futuro. Sólo el creador accede a la obra desde dentro, el observador llega a ella desde el exterior y mediante su propia subjetividad. Las obras son formas de experiencia de sus autores, comunicar el mensaje de dicha experiencia supone por tanto interpretar. Persiguiendo la necesidad de saber y entender, pretender explicar el sentido de una cosa implica una apreciación intencionada asociada al entendimiento del intérprete. Las obras son produc¬tos que portan un mensaje y que contienen en su estructura las trazas del tiempo vivido por su creador. Si se quiere adquirir un acercamiento que represente la posición de un autor, será necesario no solo mirar a través de ella, si no introducirse en el contexto de su historia. Mirar hacia atrás, hacia la profundidad del presente para tener conciencia del pensamiento presente y futuro. Recorrer de este modo la instalación Double Bind de Juan Muñoz proporciona una síntesis de sus preocupaciones e intereses a la vez que aporta un conocimiento no necesariamente inmediato, pero relevante y trascendente de la obra, su creador y la historia. ABSTRACT This thesis comprises a reflective study of the dependence relationship between creation and memory through the analysis of the latest work by the sculptor Juan Muñoz: Double Bind (Tate Modern, London, 2001). From this position, it is mandatory to rethink the analysis of the work, making it necessary to cover the widest possible range of information available beyond the work itself, in order to obtain a closer view of the convergence between memory and creation. The proposed analytical approach opens up new considerations on the relevance of knowledge during the development of the creative process. This analysis should not only make a contribution to the knowledge of the work of Juan Muñoz. It should also infer the undeniable involvement and the necessary reading of the past in the present. Amnesia regarding past makes it impossible to complete the atlas of images on which the creation is based, blocking knowledge of the origin of the sources of inspiration and the basis for the creation of a specific work. This fact limits and distorts its possible interpretations. My intention is an approach to how to understand memory as the way of looking and creating over time. Memory has a crucial role to mental activity and plays a key role in behaviour and creation. The work is the result of finding an idea that expresses something that the creator can not express otherwise. It is the need to express ideas by means of a language that develops throughout time and space, a reflection of the being that responds to the thought. It is a way of experience underlying the paths of the past and where the future is set out. Only the creator can access the work from the inside. The observer sees it from the outside and in accordance with his/her own subjectivity. The works form a part of the experience of their authors, thus implying the interpretation of the message of their experience being passed on. The pursuit of knowledge and understanding, and trying to explain the meaning of something implies a deliberate appreciation associated with the understanding of the interpreter. The works are products bearing a message and containing in their structure traces of the time lived by their creator. If one wants to come close to what the author’s posture represents, it will not only be necessary to penetrate it, but also to introduce oneself into the context of its history. Take a look back, towards the depth of the present in order to become aware of present and future thinking. To go across the installation of Double Bind by Juan Muñoz in this way offers a synthesis of his concerns and interests while also providing a not necessarily immediate knowledge, but one which is relevant and important to the work, its creator and history.

Estudio acústico y electroacústico para la realización de un musical en el teatro Rialto de Madrid

El propósito de este Proyecto Fin de Carrera es el estudio acústico y electroacústico de la realización del musical “Hoy no me puedo levantar” en el Teatro Rialto de Madrid en 2005. En primer lugar, se realiza una breve introducción histórica, citando sus remodelaciones y comentando la situación actual del recinto. Posteriormente, es analizado el equipo de sonido empleado en el espectáculo a partir de cada uno de los distintos controles de sonido: FOH (Front of Hause), monitores y microfonía inalámbrica. De cada uno de ellos se explican sus principales funciones y los sistemas que los conforman. También se describe la utilización de las cabinas insonorizadas. A continuación, se detallan los sistemas electroacústicos (empleados en el diseño) de la sonorización de dicho musical, que se consideran divididos en las siguientes partes: sistema principal, refuerzos y retardos, efectos y monitores. Además, se detalla el software RMS (Remote Monitoring System), que aporta información del funcionamiento de estos sistemas en tiempo real. Seguidamente, se exponen el equipo, procedimiento y resultados de la medida in situ en el Teatro, aplicando la Norma UNE-EN ISO 3382-2/2008 para obtener el tiempo de reverberación y ruido de fondo. Con el objeto de inicializar la simulación por ordenador, primero se exportan los planos originales de AutoCAD a EASE 4.4, donde se finaliza el proceso de modelar el recinto. Posteriormente, se asignan materiales, áreas de audiencia, puntos de escucha y se ubican los sistemas electroacústicos. Se afina el tiempo de reverberación obtenido en la medida in situ mediante materiales de la base de datos del propio software. También se ajustan los sistemas electroacústicos en el recinto para obtener la ecualización empleada y los niveles de presión sonora directo y total para distintas frecuencias. Una vez finalizados los pasos anteriores, se procede a realizar estudios psicoacústicos para comprobar posibles ecos y el efecto precedencia (empleando retardos electrónicos o delays). Finalmente, se realizan estudios de inteligibilidad, en los que se justifica la Claridad de Voz (C50) y Claridad Musical (C80); el Índice de inteligibilidad del habla (SII), la Pérdida de articulación de consonantes (Alcons) y el Índice de transmisión del habla (STI). Por último se expone el presupuesto del proyecto y del alquiler del equipo de sonido del musical y se exponen las conclusiones del Proyecto Final de Carrera. ABSTRACT. The purpose of this Final Degree Project is the acoustic and electro-acoustic study of the musical “Hoy No Me Puedo Levantar” at Teatro Rialto in 2005 (Madrid, Spain). First of all, a brief review of its history is made, quoting its refurbishments and discussing the current situation of this enclosure. Later, the sound equipment of the show is analyzed through every different sound controls: FOH (Front Of House), monitors and wireless microphones. There is also an explanation about their principal functions and systems, as well as a description of the soundproof cabins. Then, the electro-acoustic systems are detailed and divided in the following parts: main system, boosters and delays, effects and monitors. The RMS software (Remote Monitoring System) is described too, since it gives relevant information of the systems operations in real time. Afterwards, equipment, procedures and results of the measurements are exposed, applying the UNE-EN ISO 3382-2/2008 regulation in order to obtain the reverberation time and background noise of the theatre. With the purpose of initialize the computer simulation, original plans are exported from AutoCad to EASE 4.4., where its modeling process is ended. Materials, audience areas, hearing points and electro-acoustic locations are assigned below. At the same time, reverberation time is tuned up using database materials of the software itself. Also, electro-acoustic systems of the enclosure are adjusted to get the equalization and pressure sound levels of the different frequencies. Once previous steps are finished, psycho-acoustic studies are made to check possible echoes and the precedence effect - using electronic delays -. Finally, intelligibility studies are detailed, where the Voice and Musical Clarities are justified: The Speech Intelligibility Index, the Loss of Consonants Articulation and the Talk Transmission Index. This Final Degree Project ends describing the budget and rent of the sound equipment and the final conclusions.

Teaching-learning process of historical heritage: a Journey as a beginning, path and end

The implantation of new university degrees within the European Higher Education Area implies the need of innovative methodologies in teaching and learning to improve the skills and competencies of students and to answer the growing needs that society continuously demands to heritage management experts. The present work shows an application of the teaching methodology proposed during the international workshop entitled “I International Planning Preservation Workshop. Learning from Al Andalus”, which included the participation of the University of Alicante and Granada, Università Politecnico di Milano and Hunter College City University of New York; where we tried to dissolve traditional boundaries derived of interuniversity cooperation programs. The main objective of the workshop was to discuss and debate the role of urban Historical Centers within the Global Heritage by the integrated work through multidisciplinary teams and the creation of a permanent international working group between these universities to both teach and research. The methodology of this workshop was very participatory and considered the idea of a new learning process generated by "a journey experience." A trip from global to local (from the big city to the small village) but also a trip from the local (historical) part of a big city to the global dimension of contemporary historical villages identified by the students through a system of exhibition panels in affinity groups, specific projects proposed by lecturers and teachers or the generation of publications in various areas (texts, photographs, videos, etc.). So, the participation of the students in this multidisciplinary meeting has enhanced their capacity for self-criticism in several disciplines and has promoted their ability to perform learning and research strategies in an autonomous way. As a result, it has been established a permanent international work structure for the development of projects of the Historical City. This relationship has generated the publication of several books whose contents have reflected the conclusions developed in the workshop and several teaching proposals shared between those institutions. All these aspects have generated a new way of understanding the teaching process through a journey, in order to study the representative role of university in the historical heritage and to make students (from planning, heritage management, architecture, geography, sociology, history or engineering areas) be compromised on searching strategies for sustainable development in the Contemporary City.

The Virtual Interactive Relationship Between BIM Project Teams: Effective Communication to aid Collaboration in the Design Process

Building Information Modelling (BIM) provides a shared source of information about a built asset, which creates a collaborative virtual environment for project teams. Literature suggests that to collaborate efficiently, the relationship between the project team is based on sympathy, obligation, trust and rapport. Communication increases in importance when working collaboratively but effective communication can only be achieved when the stakeholders are willing to act, react, listen and share information. Case study research and interviews with Architecture, Engineering and Construction (AEC) industry experts suggest that synchronous face-to-face communication is project teams’ preferred method, allowing teams to socialise and build rapport, accelerating the creation of trust between the stakeholders. However, virtual unified communication platforms are a close second-preferred option for communication between the teams. Effective methods for virtual communication in professional practice, such as virtual collaboration environments (CVE), that build trust and achieve similar spontaneous responses as face-to-face communication, are necessary to face the global challenges and can be achieved with the right people, processes and technology. This research paper investigates current industry methods for virtual communication within BIM projects and explores the suitability of avatar interaction in a collaborative virtual environment as an alternative to face-to-face communication to enhance collaboration between design teams’ professional practice on a project. Hence, this paper presents comparisons between the effectiveness of these communication methods within construction design teams with results of further experiments conducted to test recommendations for more efficient methods for virtual communication to add value in the workplace between design teams.

Fashions and fads in finance: contingent emulation and the political economy of sovereign wealth fund creation. IHS Political Science Series No. 131, July 2012

Sovereign wealth funds (SWFs), government-owned or managed investment vehicles, have proliferated at a remarkable rate over the past decade, even as political controversy has surrounded them. Why? The extant literature depicts the process of SWF creation as driven by functional imperatives associated with “excess” revenue and reserves accumulated from commodity booms and large current account surpluses. I argue that SWF creation also reflects in large part a process of contingent emulation in which first this policy has been constructed as appropriate for countries with given characteristics, and then when countries took on these characteristics, they followed their peers. Put simply, fashions and fads in finance matter for policy diffusion. I assess this argument using a new dataset on SWF creation that covers nearly 80 countries from 1984 to 2007. The results suggest peer-based contingent emulation has been a crucial factor shaping the decision of many countries to create a SWF, especially among fuel exporters. An earlier version of this paper was presented at the annual meeting of the American Political Science Association, Washington, DC, 2 – 5 September 2010. The author would like to thank Eric Neumayer for his many suggestions and comments on previous versions of the manuscript. The author would also like to thank Zachary Elkins for sharing data. Finally, the author would like to acknowledge the research assistance of Natali Bulamacioglu and Christopher Gandrud.

Bologna Process Bucharest Ministerial Conference Takes Place amid Political Crisis in Romania. EUMA Papers Series Vol. 12, No. 5, May 2012

During the last week in April the Ministers responsible for higher education from 47 countries convened in Bucharest, Romania for the Ministerial Conference of the Bologna Process. On April 26 and 27, 2012 the venue for the meeting was the Palace of the Parliament, which was constructed by the dictator Nicolae Ceauşescu in 1984 and completed the year before his death by execution on Christmas Day 1989. One of the largest civilian buildings in the world was location for the first ministerial conference to take place since the European Higher Education Area (EHEA) became effective in 2010. Originally the creation of the EHEA was envisaged by the Bologna Process Declaration in 1999 which had representatives from 29 countries as signatories. This essay will describe the proceedings of the Ministerial Conference, report on the negotiations among delegates in parallel sessions and plenary sessions, discuss the thematic sessions with emphasis on “Global academic mobility: Incentives and barriers, balances and imbalances” and review the adoption of the Bucharest Communiqué and the Bologna Policy Forum Statement.

Dynamical creation of entanglement by homodyne-mediated feedback

For two two-level atoms coupled to a single Bosonic mode that is driven and heavily damped, the steady state can be entangled by resonantly driving the system [S. Schneider and G. J. Milburn, Phys. Rev. A 65, 042107 (2002)]. We present a scheme to significantly increase the steady-state entanglement by using homodyne-mediated feedback, in which the Bosonic mode is that of an electromagnetic cavity, the output of which is measured and the resulting homodyne photocurrent is used to modulate the field driving the qubits. Such feedback can increase the nonlinear response to both the decoherence process of the two-qubit system and the coherent evolution of individual qubits. We present the properties of the entangled states using the SO(3) Q function.

The effect of elasticity on drop creation in T-shaped microchannels

Polymeric microdrops of low viscosity, elastic fluids have been generated in T-shaped microfluidic devices using a cross-flow shear-induced drop generation process. Dilute (c/c* similar to 0.5) aqueous solutions of polyethylene oxide (PEO) of various molecular weights (3 x 10(5) -2 x 10(6) g/mol) were used as the drop phase fluids whilst silicone oils (5 mPa s

CONSTRUÇÕES IMAGINÁRIAS NO CONTEXTO DE UM FENÔMENO MUSICAL DE MASSA: O CASO DO CANTOR MICHEL TELÓ

Estudo sobre o processo de construção imaginária do público de gênero feminino ao consumir os produtos dos fenômenos musicais de massa, no Brasil. Tendo como base o caso do sucesso do cantor Michel Teló, representante do gênero musical sertanejo universitário, o objetivo é compreender o processo de construção imaginária que permeia a relação do público feminino (fãs) e consumo do gênero musical sertanejo universitário, a partir do discurso do cantor Michel Teló. Para tal, será tomado referencial teórico do campo dos Estudos Culturais em diálogo com estudos sobre imaginário e música de massa. A análise do discurso, de linha francesa, é a metodologia empregada em duas instâncias para se testar as reflexões construídas com a base teórica: a priori, a partir de um processo de observação participante, durante um espetáculo do artista, em que será observada a interação entre fenômeno e público, no momento de execução da sua música Ai, se eu te pego! ; e, doravante, o discurso do músico é analisado, por meio de entrevistas realizadas em programas televisivos. Um questionário aplicado a uma amostra entre o público feminino apreciador do cantor e de suas músicas contribui ainda no aprofundamento da reflexão. Resulta desta pesquisa a compreensão da proeminência do discurso ao conteúdo. Desta maneira, a importância maior se encontra na forma com que o cantor dialoga com seu público, por meio da imagem que ele constrói em torno de si.

Inter-organisational knowledge transfer process model

Knowledge management (KM) is an emerging discipline (Ives, Torrey & Gordon, 1997) and characterised by four processes: generation, codification, transfer, and application (Alavi & Leidner, 2001). Completing the loop, knowledge transfer is regarded as a precursor to knowledge creation (Nonaka & Takeuchi, 1995) and thus forms an essential part of the knowledge management process. The understanding of how knowledge is transferred is very important for explaining the evolution and change in institutions, organisations, technology, and economy. However, knowledge transfer is often found to be laborious, time consuming, complicated, and difficult to understand (Huber, 2001; Szulanski, 2000). It has received negligible systematic attention (Huber, 2001; Szulanski, 2000), thus we know little about it (Huber, 2001). However, some literature, such as Davenport and Prusak (1998) and Shariq (1999), has attempted to address knowledge transfer within an organisation, but studies on inter-organisational knowledge transfer are still much neglected. An emergent view is that it may be beneficial for organisations if more research can be done to help them understand and, thus, to improve their inter-organisational knowledge transfer process. Therefore, this article aims to provide an overview of the inter-organisational knowledge transfer and its related literature and present a proposed inter-organisational knowledge transfer process model based on theoretical and empirical studies.