This paper analyzed the relationship between entrepreneurial orientation and new product development perlormance based on the perspective of knowledge creation process. Through a questionnaire survey, we found that en...This paper analyzed the relationship between entrepreneurial orientation and new product development perlormance based on the perspective of knowledge creation process. Through a questionnaire survey, we found that entrepreneurial orientation is positively related to new product performance, and knowledge creation process plays a mediating role in this relationship. This article examines the role of entrepreneurial orientation on new product innovation performance in Chinese situations, and it is the first time to check the intermediary functions on each dimension of knowledge test between entrepreneurial orientation and new product development performance.展开更多
How can choreography and physical theatre pieces continue to perpetuate the work after rendering？ How to preserve their aura, their dynamics, and their ephemeral and genuine nature, as Walter Benjamin said？ In 1936,...How can choreography and physical theatre pieces continue to perpetuate the work after rendering？ How to preserve their aura, their dynamics, and their ephemeral and genuine nature, as Walter Benjamin said？ In 1936, Benjamin already anticipated in The Work of Art in the Age of lts Technological Reproducibility that something is missing even in the best-finished reproduction. And memories of dance and physical theatre are intricate. The question is how to create a type of documentation that does not betray the vital flow of the event-based phenomenon. In this short article we will see a series of choreographic and performance artists like Esther Ferrer, Ayara Hern^indez Holz, and Olga de Soto who claimed a new form of organic documentation, making it turn performance or memory of viewers. Other creators as the company La Fura dels Baus claim documentation as spectacle and others on the opposite side, as Tino Sehgal propose radically non documentation of their work. Precisely, these different positions coincide with those of thinkers like Peggy Phelan, Sarah Bay-Cheng, or Paula Caspao who respect to a range of documentation and how it can never replace the live art.展开更多
This research develops a knowledge model for Software Process Improvement (SPI) project based on knowledge creation theory and its twenty-four measurement items, and proposes two hypothesizes about the interaction of ...This research develops a knowledge model for Software Process Improvement (SPI) project based on knowledge creation theory and its twenty-four measurement items, and proposes two hypothesizes about the interaction of explicit knowledge and tacit knowledge in SPI. Eleven factors are extracted through statistical analysis. Three knowledge-creation practices for capturing tacit knowledge contribute greatly to SPI, which are communication among members, crossover collaboration in practical work and pair programming. Two knowledge-creation practices for capturing explicit knowledge have significant positive impact on SPI, which are integrating project document and on-the-job training. Ultimately, suggestions for improvement are put forward, that is, encouraging communication among staff and integrating documents in real time, and future research is also illustrated.展开更多
文摘This paper analyzed the relationship between entrepreneurial orientation and new product development perlormance based on the perspective of knowledge creation process. Through a questionnaire survey, we found that entrepreneurial orientation is positively related to new product performance, and knowledge creation process plays a mediating role in this relationship. This article examines the role of entrepreneurial orientation on new product innovation performance in Chinese situations, and it is the first time to check the intermediary functions on each dimension of knowledge test between entrepreneurial orientation and new product development performance.
文摘How can choreography and physical theatre pieces continue to perpetuate the work after rendering？ How to preserve their aura, their dynamics, and their ephemeral and genuine nature, as Walter Benjamin said？ In 1936, Benjamin already anticipated in The Work of Art in the Age of lts Technological Reproducibility that something is missing even in the best-finished reproduction. And memories of dance and physical theatre are intricate. The question is how to create a type of documentation that does not betray the vital flow of the event-based phenomenon. In this short article we will see a series of choreographic and performance artists like Esther Ferrer, Ayara Hern^indez Holz, and Olga de Soto who claimed a new form of organic documentation, making it turn performance or memory of viewers. Other creators as the company La Fura dels Baus claim documentation as spectacle and others on the opposite side, as Tino Sehgal propose radically non documentation of their work. Precisely, these different positions coincide with those of thinkers like Peggy Phelan, Sarah Bay-Cheng, or Paula Caspao who respect to a range of documentation and how it can never replace the live art.
文摘This research develops a knowledge model for Software Process Improvement (SPI) project based on knowledge creation theory and its twenty-four measurement items, and proposes two hypothesizes about the interaction of explicit knowledge and tacit knowledge in SPI. Eleven factors are extracted through statistical analysis. Three knowledge-creation practices for capturing tacit knowledge contribute greatly to SPI, which are communication among members, crossover collaboration in practical work and pair programming. Two knowledge-creation practices for capturing explicit knowledge have significant positive impact on SPI, which are integrating project document and on-the-job training. Ultimately, suggestions for improvement are put forward, that is, encouraging communication among staff and integrating documents in real time, and future research is also illustrated.
