Essays on innovation in manufacturing environments: strategy and production

La present tesi doctoral és un recull de cinc articles científics que analitzen l'ús d'innovacions dins l'àmbit manufacturer. Entenent el concepte innovació en un sentit ampli, no només tecnològic. La tesi està estructurada en dos grans apartats, estratègia i producció. En el primer dels apartats, s'inclouen tres treballs. El primer treball és un anàlisi de quines són les principals barreres percebudes per les empreses en la cooperació en R&D. Els altres dos treballs són estudis empírics del comportament estratègic de les empreses que pertanyen al sector tèxtil i confecció. Respecte al segon gran apartat, producció, es presenten dos treballs. El primer treball, presenta per primer cop a Espanya dades detallades sobre l'ús d'innovacions tecnològiques dins l'àmbit manufacturer així com analitza el seu impacte en els resultats de l'empresa. Finalment, l'últim dels treballs estudia la relació entre l'ús d'innovacions organitzatives i la implantació de diferents nivells de qualitat dins l'empresa.

Rock art and social life - Revisiting the Neolithic transition in Mediterranean Iberia

This article revisits the Neolithic transition in Mediterranean Iberia taking into account an aspect usually neglected in the archaeological discourse: the rock art styles that emerged in this context. These distinct styles have been generally attributed to different populations, according to a historicist point of view that equates stylistic variability and ethnic identity. However, the recent recognition that they were developed by the same social group requires the formulation of an alternative explanation. My proposal is based on the exploration of the social context of production and consumption of the rock art, through the analysis of the patterns of location of the sites within the landscape and the definition of their archaeological context.

Models, moulds and mass production: the mechanics of stylistic influence form the Mediterranean to Bactria

Classical Greek and Roman influence on the material culture of Central Asia and northwestern India is often considered in the abstract. This article attempts to examine the mechanisms of craft production and movement of artisans and objects which made such influence possible, through four case studies: (1) Mould-made ceramics in Hellenistic eastern Bactria; (2) Plaster casts used in the production of metalware from Begram; (3) Terracotta figurines and the moulds used to produce them, from various archaeological sites; and (4) Mass production of identical gold adornments in the nomadic tombs from Tillya Tepe. The implications of such techniques for our understanding of the development of Gandhāran art are also discussed.

Categories & order systems: Claude Parent and The Serving Library intersections of architecture, art and editorial design

This paper discusses the work of Claude Parent and The Serving Library, considering the critiques generated by their intersecting of architecture, art and editorial design. Through focus on the ways in which hosting environment, architecture and forms of expanded publishing can serve to dissolve disciplinary boundaries and activities of production, spectatorship and reception, it draws on the lineage of 1960s/70s Conceptual Art in considering these practices as a means through which to escape medium specificity and spatial confinement. Relationships between actual and virtual space are then read against this broadening of aesthetic ideas and the theory of critical modernity.

Infeasibility handling in genetic algorithm using nested domains for production planning

In this paper we present a genetic algorithm with new components to tackle capacitated lot sizing and scheduling problems with sequence dependent setups that appear in a wide range of industries, from soft drink bottling to food manufacturing. Finding a feasible solution to highly constrained problems is often a very difficult task. Various strategies have been applied to deal with infeasible solutions throughout the search. We propose a new scheme of classifying individuals based on nested domains to determine the solutions according to the level of infeasibility, which in our case represents bands of additional production hours (overtime). Within each band, individuals are just differentiated by their fitness function. As iterations are conducted, the widths of the bands are dynamically adjusted to improve the convergence of the individuals into the feasible domain. The numerical experiments on highly capacitated instances show the effectiveness of this computational tractable approach to guide the search toward the feasible domain. Our approach outperforms other state-of-the-art approaches and commercial solvers. (C) 2009 Elsevier Ltd. All rights reserved.

The value of a saved tree : The lifecycle of CO2-emissions associated with the combination of printing paper and electricity production of wood in the U.S. and Sweden

The pulp- and paper production is a very energy intensive industry sector. Both Sweden and the U.S. are major pulpandpaper producers. This report examines the energy and the CO2-emission connected with the pulp- and paperindustry for the two countries from a lifecycle perspective.New technologies make it possible to increase the electricity production in the integrated pulp- andpaper mill through black liquor gasification and a combined cycle (BLGCC). That way, the mill canproduce excess electricity, which can be sold and replace electricity produced in power plants. In thisprocess the by-products that are formed at the pulp-making process is used as fuel to produce electricity.In pulp- and paper mills today the technology for generating energy from the by-product in aTomlinson boiler is not as efficient as it could be compared to the BLGCC technology. Scenarios havebeen designed to investigate the results from using the BLGCC technique using a life cycle analysis.Two scenarios are being represented by a 1994 mill in the U.S. and a 1994 mill in Sweden.The scenariosare based on the average energy intensity of pulp- and paper mills as operating in 1994 in the U.S.and Sweden respectively. The two other scenarios are constituted by a »reference mill« in the U.S. andSweden using state-of-the-art technology. We investigate the impact of varying recycling rates and totalenergy use and CO2-emissions from the production of printing and writing paper. To economize withthe wood and that way save trees, we can use the trees that are replaced by recycling in a biomassgasification combined cycle (BIGCC) to produce electricity in a power station. This produces extra electricitywith a lower CO2 intensity than electricity generated by, for example, coal-fired power plants.The lifecycle analysis in this thesis also includes the use of waste treatment in the paper lifecycle. Both Sweden and theU.S. are countries that recycle paper. Still there is a lot of paper waste, this paper is a part of the countries municipalsolid waste (MSW). A lot of the MSW is landfilled, but parts of it are incinerated to extract electricity. The thesis hasdesigned special scenarios for the use of MSW in the lifecycle analysis.This report is studying and comparing two different countries and two different efficiencies on theBLGCC in four different scenarios. This gives a wide survey and points to essential parameters to specificallyreflect on, when making assumptions in a lifecycle analysis. The report shows that there arethree key parameters that have to be carefully considered when making a lifecycle analysis of wood inan energy and CO2-emission perspective in the pulp- and paper mill in the U.S. and in Sweden. First,there is the energy efficiency in the pulp- and paper mill, then the efficiency of the BLGCC and last theCO2 intensity of the electricity displaced by BIGCC or BLGCC generatedelectricity. It also show that with the current technology that we havetoday, it is possible to produce CO2 free paper with a waste paper amountup to 30%. The thesis discusses the system boundaries and the assumptions.Further and more detailed research, including amongst others thesystem boundaries and forestry, is recommended for more specificanswers.

Bildens godkännandeprocessi katalogproduktion : The image approval processin a catalog production

The objective of this thesis has been to investigate the approval process for an image. This investigation has been carriedout at four catalog-producing companies and three companies working with repro or printing. The information wasgathered through interviews and surveys and later used for evaluation. The result of the evaluation has shown that allbusinesses are very good at technical aspects but also that the biggest problem they have is with the communication. Theconclusion is that businesses need a clear construction for the image process. This will minimize the communicationproblems and make the process effective.

Reconciling difference: art as reparation and healing

This paper demonstrates the way shamanism and psychoanalysis are deeply related as first signalled by Claude Lévi-Strauss. It then creates a context in which the question of body and mind, creativity and healing is discoursed in an interdisciplinary manner. An exposition of thinkers emerging from disparate disciplines will be used to show how aesthetic experience (both the production and the reception of art) results in reparation and healing. This relationship is not only relevant in therapeutic terms, but can also be extended to aesthetic practices which involve possible reconciliation of inner and outer conflict. The therapeutic involves an understanding of ways in which aesthetic practices recast western notions of the relationship between body and mind.

Kristevan aesthetics, performativity and the production of situated knowledge

In this paper, I will draw on the work of Julia Kristeva to argue that performativity can be understood in terms of a materialist ontology that underpins creative production and the knowing subject. To understand this, we need to examine the relationship between individual history, biology and culture and processes through which creative practice attributes value by translating psychic representations of affect and drive into verbal and visual signs. Kristeva's aesthetics does not plunge us into an obscure metaphysics, but provides a model for articulating material-discursive practices that emerge from corporeal responses. Enactments, predicated by desire give rise to agency and judgement allowing practice to test theory through the production of situated knowledge.

Kristeva's psychoanalytical position reveals the necessity of linking material and individual practices of art with the social through language and interpretation. Material-discursive practices can only acquire meaning through their relationship between the speaking subject and addressees. Art itself provides us with the means for discovering the knowledge it produces. In and through material practice, the work of art is capable of transferring back to the artist as viewer, structures of meaning that have hitherto been hidden. In practice, this involves a constant movement between the biological self (the self as 'other') and the social self, the ego. In artistic research, it can be said that the first addressee is the artist her/himself, as social other. Constant movement between the two in creative practice can thus be understood as a performative production of knowledge.

Culture clash : artistic production and the school environment

Artists-in-schools programs involving contemporary art practices can be transformational for the participants when environmental considerations are integral to the planning and structure of the project and both the form and content of the program are reflected upon critically.

Testimony, memory, and art at the Jewish Holocaust museum, Melbourne, Australia

Taking its cue from Charlotte Delbo’s powerful writing about the Holocaust in which she highlights the role of sense memories, this chapter begins with the proposition that sense memories – as distinct from narrative or vicarious forms of memory – are a particularly effective vehicle for the communication of past trauma in the present. The paper explores the potential value of this proposition for the display of objects in a Holocaust museum which are given meaning by the voices of the survivor community and their focus on the importance of testimony. The chapter undertakse an analysis of how the sense memories of survivors animate specific objects on display, exploring the ways in which these objects help the Museum to create a bridge between the survivor community and the wider general public (Auerhahn and Laub, 1990). I argue that built into that process there is a requirement that audiences listen in a manner that makes them a witness to past traumas. This listening process, I want to argue, offers not only an opportunity for healing on the part of survivors but also, following Simon (2005), the exchange of a ‘terrible gift’. That gift, I will suggest, places the visitor as a witness to past traumas and builds an ethical request that they should actively work against future genocides. Central to that possibility, I want to argue, is the way in which the process of witnessing a sense memory is an affective experience for the viewer leading to the potential production of empathy.

Not-I/Thou : the other subject of art and architecture

Not-I/Thou: The Other Subject of Art and Architecture is a series of essays delineating the gray areas and black zones in present-day cultural production. Part One is an implicit critique of neoliberal capitalism and its assault on the humanities through the pseudo-scientific and pseudo-empirical biases of academic and professional disciplines, while Part Two returns to apparent lost causes in the historical development of modernity and post-modernity, particularly the recourse to artistic production as both a form of mnemonics and periodic (and renascent) avant-garde agitation. In-between these twin systems of taking the measure of things, Art and Architecture, as forms of speculative intellectual capital, emerge from the shadow-lands of half-conscious and half-unconscious forces to become gestures toward a type of knowledge that has no utilitarian or generic agency. Defying the tendencies of such discourses to fall prey to instrumental orders that effectively neuter the inherent radical agenda of both, Art and Architecture are represented in this series of essays as noetic apparatuses, operating at the edge of authorized systems of knowledge, quietly and secretly validating and valorizing the shadowy and recondite, collective and personal operations of intellect in service to no particular end.