1,354,131 research outputs found
Orfeo Tv e le televisioni di strada. Quando le rivoluzioni vengono dal basso
No full textLe nuove tecnologie stanno rivoluzionando la diffusione e l’accesso alle informazioni, abbassando le barriera all’entrata di nuovi operatori (ad esempio in settori tradizionalmente chiusi come quello televisivo), e aumentando così la pluralità dell’informazione e le possibilità di partecipazione. In questo articolo viene analizzato il caso di Orfeo Tv e Telestreet e come il fenomeno delle televisioni di strada sia stato precursore di nuovi modelli di produzione e diffusione dell’informazione. Gli autori discutono l’intreccio tra evoluzione istituzionale e innovazione tecnologica, le questioni aperte sul fronte normativo, e le implicazioni in termini di cambiamento dell’interfaccia produttore/fruitore
Gruppo di alimentazione e taglio per un erogatore di fogli di carta ricavati da un nastro continuo
No full textPlayStation and the Power of Unexpected Consequences
No full textIt has been suggested that research business strategy is like studying specimens on a wall. By examining successful stories, one can easily identify the strategic factors responsible for such a success, and the greater the success, the more evident those factors are. Timing, strategic positioning, pricing policies, lead-time – everything goes back to the place where it fits best, like a beautiful mosaic. Even competitors' mistakes become more evident, their dull misunderstanding of what the winner was planning as every successful move leads to an even more successful one. The case of Sony PlayStation, the most successful digital games console ever, is no exception and the temptation to explain the rationale behind such an achievement is almost irresistible. As this paper tries to suggest, sometimes ex- post rationalizations hide or avoid part of the truth. Despite PlayStation's success, Sony's strategic choices were, on more than one occasion, driven more by lucky coincidence than by long-range planning. Furthermore, this paper shows how some of the strategic factors behind PlayStation's winning run sprang from decisions taken by lack of alternatives, and that only in the very end was Sony able to understand their full profit potential
Talking about routines in the field: the emergence of organizational capabilities in a new cellular phone network company
No full textGoing Beyond Counting First Authors in Author Co-citation Analysis
No full textThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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