Unpacking Knowing Integration: A Practice-based Study in Haute Cuisine

Nous proposons d'analyser l'intégration des connaissances à la source d'un avantage concurrentiel avec une approche pratique des organisations. Alors que la littérature s'est focalisée sur le transfert de connaissances et les relations entre communautés par le biais des objets frontière, nous considérons les relations intra-communauté et la façon dont les acteurs mobilisent, restructurent et créent des connaissances pour l'action. Dans une perspective pratique, la dynamique des connaissances est un phénomène situé dans un contexte social donné. Nous nous appuyons sur une phase empirique qualitative, par l'analyse de l'intégration des connaissances lors de la création de nouveaux plats au sein des équipes de cuisiniers de restaurants tri-étoilés.Apprentissage ; Avantage concurrentiel ; Connaissance ; Créativité ; Gastronomie ; Integration ; Transfert

Unpacking Knowing Integration: A Practice-based Study in Haute Cuisine

Within a practice-based approach of organizations, we explore the knowing integration phenomena at the roots of competitive advantage. While former knowing integration studies have pointed to the importance of boundary objects across occupational communities, knowing integration inside a community to ground competitive advantage remains to be explored. How do individuals integrate their knowing in practice, in complex and important situations in order to contribute to competitive advantage for the firm? We ground our analysis on the ethnographic study of performed tasks in new dishes creation in two gourmet restaurants. We trace individual knowing in this creation to highlight how a new dish emerges from knowing integration, based on our understanding of knowing as processual, social, and situated. We propose a model of knowing integration as a combination of three phenomena: comprehending, interpreting and explicitating. We show that integration leads to the development of new dishes while knowing remains largely individual. We therefore suggest that there exists a clear distinction between knowing integration and knowledge sharing or transfer. We also contribute to a clearer delineation between integration and explicitation, the latter being only one and secondary means to achieve the former. Our study advances practice-based studies of organizations by highlighting the central role of integration in knowing dynamics and by bridging micro and macro perspectives on practice.Combination; Competitive Advantage; Integration; Knowledge; Learning; Restaurants; Transfer

The Cowl - v.83 - n.15 - Jan 31, 2019

The Cowl - student newspaper of Providence College. Vol. 83 No. 15 January 31, 2019. 24 pages

Institution-Based Resource: Concept and Cases

In this paper, we draw insights from resource-based theory, institutional theory, and Bourdieu’s concepts of cultural consecration and symbolic capital to propose a concept of Institution-Based Resource (IBR) as a novel source of sustainable competitive advantage. We define an IBR as a valuable and symbolic resource that is consecrated and institutionalized by legitimate consecrating institutions, granted to or attained by individuals and/or firms based on each institution’s merit system, and then used by individuals and firms as a means to achieve their objectives. We also specify three premises of the IBR, detail its benefits to individuals and firms, and explain how the value of IBR can be preserved over time. We regard the IBR as a strategic resource according to the resource-based tradition and argue that an IBR can be converted into different forms of capital, making it a unique source of competitive advantage for individuals and firms. We use a variety of primary and secondary data collection methods such as surveys, interviews, observations, and examinations of documentaries, printed materials, and archival records in order to illustrate our concept of the institution-based resource through three case studies: 1) The Role of Couturier and Creator as IBR in the Luxury Fashion Industry, 2) Art Museums’ Consecration of Fashion Designers as Artists, and 3) The Royal Warrant as an IBR. The findings from our research support and highlight the importance of our IBR concept to firms’ strategy and competitive advantage as well as open up many areas for future research

Haute games : innovative self and self-identity blendings

This thesis introduces the original idea that it is possible, and productive, to consider the ‘blending’ of (or deliberate creative combining of methods from) the fields of fine art practice and science practice, using selected empirical research methods to investigate constructions of self and self-identity that emerge between disciplines. In particular, the thesis investigates how the scientific aspects of modern computer games, for instance, can be seen to affect emotional responses from viewers and how those responses are, in turn, affected by the ‘blending’ of aesthetic concerns with consideration of alternative cognitive processes that induce relaxation to connect with participant-players’ self-identities. This process created a method to access cognitive processes, hitherto unexplored by computer-game developers. This research locates its arguments primarily in and between the disciplines, Art and Game Studies and supports the findings with examples taken from art practice and with theories of Psychology and Gaming. This thesis documents the creation of the author’s original hybrid ‘art- work-game’, known as ‘Star World’. It describes the process of ‘Star World’s’ creation, with analysis of the efficacy of this environment as a space where the mapping of narrative, and where perceptual and interactive ‘blendings’ of self and self-identity were employed and tested, with both qualitative and empirical studies of the experiences and perceptions of participant-players. The research focuses on how the distinctive abstract environment, ‘Star World’, affords and facilitates personal expression and interaction for computer-game players. It reveals specific cognitive processes undergone by participant-players; evidence that supports and validates the conjecture that participant-players use personal frames of reference when navigating, exploring and interpreting computer games. Teach-back protocols and their impact are shown to improve the interactivity and immersive potential of the environment. Overall, this thesis classifies ‘haute game’ rules that are formulated to identify virtual environments creating unique, alternative ‘blendings’ with participant-players and assembles a framework for developers to pursue, when producing original computer-game genres. It offers an innovative case study of value to future scholars of Game Studies, as well as to game developers, with cautionary examples provided to assist in dealing with situations where emotional states are accessed by game play. This thesis highlights the potential of interactive art and game design to produce beneficial outcomes for its participant-players, moreover, it demonstrates, with empirical evidence, the effect of the virtual environment on its participant-players.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

When is Artification?

How do people do or make things that come to be seen as works of art? In other words, when is there artification? The answer to this question is simultaneously symbolic, material, and contextual. It has to do with meanings, objects, interaction, and institutions. We seek to define not what art is nor how it should be considered, but how and under what circumstances it comes about by way of methodical observation and inquiry in a variety of fields. Circus acrobats, breakdancers, fashion designers, chefs, graffiti artists, printers, photographers, and jazz musicians are some of the examples we explore. This pragmatic and empirical perspective enables us to present a typology of forms of artification and examine its sources as well as the questions of de-artification and obstacles to artification

A cultural-awareness exercise book for first-year instruction in French, 1993

This doctoral project is a cultural-awareness exercise book for first-year instruction in French. It is intended to offer historical and cultural information which will enable students to experience, empathize, honor and respect foreign people and their culture. The book includes two parts: a methodology section and a student activity section. The first part, in English, contains various approaches to teaching culture. These techniques are explained, defined and discussed. For the most part, they lend themselves to active student involvement and the use of the target language. The second and more significant part of this book is designed to meet the cultural needs of the teacher and student. It consists of four units: religion and tradition, daily life, cultural pastimes and modes of travel. The student activities in these units are developed with the audio-lingual, interdisciplinary and humanistic approaches in mind. Various activities such as mini-dramas, video presentations, role-playing, and artifact studies are presented to promote engagement and to elicit a sense of caring for another culture. Four sets of multiple choice questions reflecting topics on religion and tradition, daily life, cultural pastimes, and modes of travel and included. These examinations may be employed at the beginning of the course to assess student readiness and/or at the end of the course to evaluate student attitudinal changes. Finally, the cultural exercises in this book are designed primarily for the first year French student, on the high school or college level, who has little or no understanding or appreciation for foreign cultures. It is hoped that after being exposed to the activities in this book, students will acquire, a better understanding and a fond appreciation for people of other cultures, while mastering the required minimal language proficiency skills

When is Artification?

How do people do or make things that come to be seen as works of art? In other words, when is there artification? The answer to this question is simultaneously symbolic, material, and contextual. It has to do with meanings, objects, interaction, and institutions. We seek to define not what art is nor how it should be considered, but how and under what circumstances it comes about by way of methodical observation and inquiry in a variety of fields. Circus acrobats, break-dancers, fashion designers, chefs, graffiti artists, printers, photographers, and jazz musicians are some of the examples we explore. This pragmatic and empirical perspective enables us to present a typology of forms of artification and examine its sources as well as the questions of de-artification and obstacles to artification