Competitive Dynamics of Artificial Intelligence Economy: The Wicked Problem of Cognitive Competition

Abstract. The competitive dynamics of the early 21st century competition are being reshaped. Much has changed in recent years as the rise of artificial intelligence is emerging as a powerful force. Less understood, but overwhelmingly felt, the change is shattering the traditional vertical boundaries. With tech firms now encroaching the traditional verticals, the need for strategic realignment is apparent. Non-tech firms are responding with acquiring tech firms. Tech firms are responding with trespassing into the non-tech domains. This creates a wicked problem for traditional non-tech firms: traditional sellers of technology are now becoming fierce competitors andtraditional non-tech firms must adapt to this new reality by developing technology of their own. This paper adds to the literature in various ways. First, the paper presents a model that captures the unique properties of artificial intelligence competition. Second, the paper argues that to stay competitive non-tech firms would need to acquire multidisciplinary innovation capability as well as embrace high-performance innovation culture.Keywords. Artificial intelligence, Cognitive competition, Business strategy, Autonomous agents.JEL. O00, O30, M00, M10, L00, L10

Studying Complex IT Challenges? Discuss Real Cases

Field-based case studies are uniquely suited to exploring the complex challenges of digital transformation. We propose that real discussion cases (developed from rigorously-researched field-based case studies) can trigger useful discourse that helps scholars improve theories addressing complex digital transformation challenges. To advance this argument we undertook an extreme-case study to examine the practices and theoretical contributions of an exceptionally impactful researcher in a non- IT domain (Sumantra Ghoshal, an international management scholar who conducted many field- base case studies and produced many real discussion cases). Based on our extreme-case study findings we consider implications for research on digital transformation

A framework for increasing business value from social media

Organisations are investing heavily in various social media applications. Several case studies show that such undertakings may be promising at first glance, but often amount to little. More attention has to be paid to the factors that influence the business value of a social media application. The paper proposes a framework which argues that the business value of a social media activity depends on having a correctly identified purpose of its implementation (scope and targeted benefits), on the technological solution and also on user involvement (user groups, users’ motivation and skills). The framework is evaluated with a longitudinal case study of a wiki in a software development company where an assessment of the business value of the wiki at two different points in time was made. The case study shows how the interplay of components led to failure at one time point and success at the other

Reading the Market

Americans pay famously close attention to "the market," obsessively watching trends, patterns, and swings and looking for clues in every fluctuation. In Reading the Market, Peter Knight explores the Gilded Age origins and development of this peculiar interest. He tracks the historic shift in market operations from local to national while examining how present-day ideas about the nature of markets are tied to past genres of financial representation.Drawing on the late nineteenth-century explosion of art, literature, and media, which sought to dramatize the workings of the stock market for a wide audience, Knight shows how ordinary Americans became both emotionally and financially invested in the market. He analyzes popular investment manuals, brokers’ newsletters, newspaper columns, magazine articles, illustrations, and cartoons. He also introduces readers to fiction featuring financial tricksters, which was characterized by themes of personal trust and insider information. The book reveals how the popular culture of the period shaped the very idea of the market as a self-regulating mechanism by making the impersonal abstractions of high finance personal and concrete.From the rise of ticker-tape technology to the development of conspiracy theories, Reading the Market argues that commentary on the Stock Exchange between 1870 and 1915 changed how Americans understood finance—and explains what our pervasive interest in Wall Street says about us now

“Things are not separate”: literary symbiotic metamorphoses in the fiction and critical work of A. S. Byatt

My critical project in this dissertation examines the way Byatt’s work productively moves across, and in and out of apparently conflicting theoretical debates, such as Leavis’s views on reading and writing in the light of poststructuralist and feminist theoretical approaches; or the establishment of a separate female literary tradition within the male literary canon; or the postmodernist resistance to/ rejection of realist representation, to name but a few of the debates examined in this dissertation. Hence, it is not my intention to superimpose a particular theoretical view on my analysis of Byatt’s work, but rather analyse their particular relevance in the light of Byatt’s own politics of writing. I propose the term “literary symbiotic metamorphosis” to investigate Byatt’s negotiation of apparently conflicting theoretical debates, in which she examines the validity of each individual theory vis-à-vis their symbiotic relationship, and then reshapes them into a unique poetics of writing which combines the understanding of a text’s symbiotically creative as well as theoretical relationships with the capacity to rearrange them into a practice of writing which is much more than the sum of the different parts which constitute it. My term is also informed by the Hegelian dialectic as the critical investigation of “a process of change in which a concept or its realization passes over into and is preserved and fulfilled by its opposite” (Merriam Webster) in which “some assertible proposition (thesis) is necessarily opposed by an equally assertible and apparently contradictory proposition (antithesis), the mutual contradiction being reconciled on a higher level of truth by a third proposition (synthesis)” (Thesaurus). It is in light of all these interconnected threads that I will investigate Byatt’s creative and critical work.O meu projeto crítico nesta dissertação examina a forma como o trabalho de Byatt se move produtivamente em debates teóricos aparentemente conflituosos, como as opiniões de F. R. Leavis sobre a leitura e a escrita à luz de abordagens teóricas pós-estruturalistas e feministas; ou o estabelecimento de uma tradição literária feminina separada dentro do cânone literário masculino; ou a resistência pós-modernista à representação realista, para citar apenas alguns dos debates examinados nesta dissertação. Por conseguinte, não é minha intenção sobrepor uma visão teórica específica à minha análise do trabalho de Byatt, mas sim analisar a sua particular relevância à luz das próprias políticas de escrita de Byatt. Proponho o termo crítico “metamorfose simbiótica literária” para investigar o modo como Byatt se posiciona em debates teóricos aparentemente conflituosos, em que examina a validade de cada teoria individual, remodelando-as depois numa poética única de escrita que combina por simbiose as relações criativas e as relações teóricas de um texto com a capacidade de as reorganizar numa prática de escrita que é muito mais do que a soma das diferentes partes que constituem o produto final. O meu termo crítico também é informado pela dialética hegeliana como a investigação crítica de uma tese, necessariamente oposta por uma antítese, sendo a contradição mútua reconciliada num nível mais elevado de verdade por uma terceira proposta, ou síntese. É à luz de todos estes fios interligados que investigo o trabalho criativo e crítico de Byatt

Monochrome memories: nostalgia and style in 1990s America

Memory is central to the way that cultures produce, negotiate and contest ideas of nationhood. This work examines how, as an aesthetic mode of nostalgia, the black and white image was used in the 1990s to establish and legitimate particular kinds of memory within American cultural life. It locates the production of visual (monochrome) memory in different forms of cultural media and explores how attempts were made in the nineties to authorize a consensual past, a core memory - what might be called an archival essence - for a stable and unified concept of "America." The 1990s were a period when liberal ideologies of nationhood and mythologies of Americanness came under particular, and intensified, pressure. In a time when national identity was being undermined by transnational political and economic restructuring, when ideas of national commonality were being challenged by an emergent politics of difference, and when the metanarratives of memory were straining for legitimacy against the multiple pasts of the marginalized, the desire to stabilize the configuration and perceived transmission of American cultural identity became a defining aspect of hegemonic memory politics. By considering monochrome memory in nineties mass media, I look at the way that a particular "nostalgia mode" was used stylistically within visual culture and was taken up within a discourse of stable nationhood. By examining the production and visuality of aestheticized nostalgia, I make a cultural but also a conceptual argument. Much of the contemporary work on nostalgia is bound in critiques of its reactionary politics, its sanitization of history, or its symptomatic contribution to the amnesiac tendencies of postmodern culture. I explore the subject from the vantage point of cultural studies, mediating between theories that understand nostalgia in terms of cultural longing and/or postmodern forgetting. I account for the manner in which nostalgia has become divorced from any necessary concept of loss, but, also, how particular modes of nostalgia have been used affectively in the mass media to perform specific cultural and memory work. Critically, I examine nostalgia as a cultural style, anchoring a set of questions that can be asked of its signifying and political functionality in the visual narratives of the dominant media

Utopia And Commons: Enclosure And Blank Slate In The Americas

How can utopia, as a concept and a project, have as its goal the exposure and defense of the commons while its very articulation must posit a tabula rasa to be enclosed, improved, and defended? This question lies at the heart of my own project. I investigate and critique a series of moments that mobilize the twin concepts of utopia and commons: More's original 1516 text and the conquest of the Americas that lies behind it; several agrarian and communal projects in the Americas situated at the intersection of modernity, imperialism, land, and history; postapocalyptic narratives that find their logic in the revelation of a primal utopian moment turned dystopian; and contemporary debates over the enclosure of immaterial property and labor that, in turn, posit cyberspace as a new utopia and decry new enclosures of that immaterial realm. Chapter 1 pairs two contemporary dystopian post-apocalyptic novels from Argentina- Plop and El año del desierto-with Sarmiento's classic liberal text Facundo: Civilization and Barbarism in order to open up a new critical space to consider the curious relationship between liberalism, catastrophe, and the end of the world as we know it. Chapter 2 investigates the implications of the historical coincidence of the sixteenthcentury Spanish conquest of the Americas and Thomas More's 1516 publication of Utopia. Chapter 3 continues to develop the problematic relationship between conquest, colonialism, utopia, and commons, but in the context of the Andes; specifically, by tracing a constellation of Andean utopians that runs from Inca Garcilaso through José Carlos Mariátegui, Manuel Scorza, and José María Arguedas. Chapter 4 studies the paired notions of commons and enclosure in the realm of contemporary cultural production in Latin America through a focus on literary phenomena such as plagiarism, recycling, and community activism, with particular attention paid to Cartonera publishing houses. Chapter 5 attempts to extract a theory of the practice of copyleft capable of both recognizing the entirely novel elements of contemporary cultural production (the digital horizons of intellectual property) and exposing the hidden line of past struggle that traverses the very concept of the commons

The satirical reception of the new learning in english literature, 1592-1743

[EN] This PhD thesis is concerned with the satirical reception of the New Learning between 1592 and 1743. By the New Learning I mean antiquarianism, natural philosophy and textual criticism. The earliest example I have found of the satirical reception of antiquarianism is Thomas Nashe’s Pierce Penilesse his Supplication to the Devil (1592); the final work I look at in connection with textual criticism is Alexander Pope’s The Dunciad in Four Books (1743). In each of the three different fields something new began to happen in the period in question. The antiquaries, or later, antiquarians took an interest in the physical remnants of the past in order to understand better what had gone before. The natural philosophers, encouraged by Bacon’s scientific writings, embraced the empirical model of investigation and rejected Aristotle (384-322 BC) as stultifying and unproductive. The textual critics brought their faith in their own ability to correct faulty literary texts before a general readership, firstly in classical literature and secondly in Shakespeare. All three undertakings were contrary to the prevailing understanding of knowledge during the period, which was that knowledge came from texts and in particular from ancient classical literature. As a result of this, the antiquary, the virtuoso and the textual critic all attracted the attention of the satirists of the day, who remained loyal to the old ways of understanding. The thesis takes as its starting point Pedro Javier Pardo’s assertion that there is an identifiable body of work concerned with satirizing pedantry in the eighteenth century (Satire). He identifies the figures of what I call the textual critic and the virtuoso among others as the vehicles for this satire, regarding the Memoirs of Scriblerus (1741) as the epitome of the genre or mode. I have taken this perception back to the late 1590s by including the figure of the antiquary as another example of what is effectively a new form of learning which sought to displace the dominance of thinkers such as Aristotle and Galen (129-216 AD). By the sixteenth century, important contemporary thinkers were finding Aristotle’s thought restrictive. The logical framework of the Ancients’ way of looking at the world was provided by Aristotle’s Organon (4th century BC), six treatises on logic, including the Posterior Analytics, which explored how to define truth and what could be said about it. It is noteworthy in his Posterior Analytics that he specifies conclusions must be deducible from first principles in a scientific demonstration, surely meaning that the first principles determine the outcome of the experiment (Oxford Classical Dictionary 165-9). Aristotle regarded the syllogism as central to logic, a sequence of three statements the first two of which result in the third.1 While the syllogism served philosophers, it also potentially restricted them, as Bacon thought, because of its inclusive structure. This could result in the so-called syllogism fallacy. The epistemological rupture which precipitated the development of natural philosophy in the seventeenth century along experimental lines is to be found, as has already been implied, in the work of Francis Bacon (1561-1626). Bacon wrote a Novum Organon Scientiarum (1620), the purpose of which is clear in the title given to a mid-nineteenthcentury translation: The Novum Organon: Or, a True Guide to the Interpretation of Nature. He argues that the old ways of thinking excluded man from nature, rather than allowing him access to it and the ability to understand it. He also regarded the syllogism as suspect, as it made use of words which in turn represented confused notions (Instauratio II 69). His solution was to prefer the technique of induction to the syllogism, based on observation and conclusions drawn from what has been observed.4 Bacon’s philosophy gathered its own followers and was arguably the first instance of Modern thinking. It was partly as a result of Bacon’s writings that the Royal Society was founded in the 1660s, providing an institutional home for experimental science. The reaction on the part of the poets and the wits of the day to the experiments which were carried out there was one of incomprehension. This was because they were still comfortable with the Aristotelian status quo ante. It was this that led to the phenomenon of the satirical reception of natural philosophy. Early in the thesis I will show how the works of Bacon were important for this new development. I shall present in this thesis the idea that the satirical reception of the New Learning in English literature between 1592 and 1743 represents, on the one hand, a satirical response to three new disciplines – antiquarianism, natural philosophy and textual criticism – and, on the other, a record of a literary misapprehension. This was satire written according to an old way of thinking which was soon to give way to the new one which informed the satirical targets. Such satire preserves beliefs which are by now outdated and offers the historical lesson that he who mocks can, after the passing of a suitable amount of time, actually turn out to have mistakenly condemned a new form of knowledge because it was incompatible with the prevailing ideas of the day. There now follows a description of the structure of the thesis and a summary of its ten chapters. The thesis is divided into three parts which deal respectively with the figures of the antiquary, the virtuoso and the textual critic. Since the greater part of the evidence concerns the virtuoso, that part contains seven chapters, while the other two contain one and two chapters respectively. Chapter One is concerned with the satirical reception of the antiquary between 1592 and 1699. It begins with a discussion of the work of William Camden which highlights what is new about antiquarianism and collects together the various examples of satirical references to the antiquary. The first is Thomas Nashe’s Pierce Penilesse his Supplication to the Devil (1592) and the chapter ends with an examination of William King’s A Journey to London, In the Year 1698 (1699). Important works of literature discussed in this chapter are John Earle’s character sketch The Antiquarie, published in 1628, and Shackerley Marmion’s comedy of the same name, performed earlier but first printed in 1641. Chapter Two opens the second part of this thesis and gives an insight into the historical background to the figure of the virtuoso, an understanding of which is necessary to appreciate both the virtuoso and the satire written about the virtuoso. The chapter addresses the nature of natural philosophy as opposed to modern conceptions of science. It also explores the changing worldview of the 1600s, represented by Copernicus (1473-1543) and Kepler (1571-1630) in astronomy or Newton (1643-1727) in mathematics, and it stresses the importance of Francis Bacon’s work in allowing scientific inquiry to detach itself from the thinking of Aristotle and move ahead by embracing induction. It also discusses the different types of virtuosi and the ideas associated with them. It then explores the revaluation of the virtuosi in the twentieth century. Chapter Three examines the first satirical accounts of the virtuosi in the works of the author Samuel Butler. Although much of what Butler wrote about the virtuosi was not published until long after his death in 1759, he does provide us with the first example of the satirical reception of the virtuosi in the second part of Hudibras, where he satirizes the microscope (1663). His most accomplished satire on the virtuosi is probably The Elephant in the Moon, a work which attacks the use of the telescope to observe distant worlds supposedly teeming with life, according to the latest astronomical theories (probably 1676). Chapter Four concerns Thomas Shadwell (c. 1640-92). It was the character of Sir Nicholas Gimcrack in Shadwell’s comedy The Virtuoso (1676), which proved the most effective literary creation in undermining belief in the virtuosi. Chapter Five contains an examination of subsequent satirical accounts of the virtuoso by Sir Thomas Browne (1605-82), Aphra Behn (1640?-89) and William King (1663-1712) in works published from the 1680s onwards. In Browne’s Musaeum Clausum, or Biblioteca Abscondita (1683) we encounter a satirical reception of curiosity as a characteristic of the virtuoso. The first performance of Behn’s comedy The Emperor of the Moon took place in 1687. The central character of Behn’s comedy is Doctor Baliardo, who is obsessed with the moon. Behn’s characterization of Baliardo is Quixotic as his obsession with the moon comes from reading books on the subject and the results show the comic consequences of becoming detached from the world. The source of several references to Rosicrucianism is examined. The chapter closes with a consideration of two works by William King. These are The Transactioneer (1700) and the Useful Transactions in Philosophy, and Other Sorts of Learning: In Three Parts (1708). Chapter Six is concerned with Scriblerian satire by Jonathan Swift and Alexander Pope. In the first part of the chapter the focus is on the Scriblerus Club, whose members included Swift and Pope. In the second half of the chapter the Memoirs of Scriblerus (1741) become the focus. A summary of the contents of the Memoirs is given and the satirical character of the Memoirs described. There ensues a discussion of the different satirical styles the Memoirs draw on, ranging from satire, parody and burlesque, the latter both in the eighteenth-century and in the modern sense. The importance of Cervantes for the Memoirs is described. There then follows a discussion of the satirical reception of the Ancients and Moderns in the Memoirs. Chapter Seven looks at satires written about Dr John Woodward (1665/8-1728), much of which was personal in nature. Woodward’s interests were rather broad and included fossils, antiquarianism and the treatment of smallpox. Each of these interests were the subject of satirical treatments of Woodward. A version of Woodward as a virtuoso appears in John Gay’s comedy Three Hours after Marriage (1717) in the form of the character Fossile. Woodward’s iron shield, which he thought was Roman in origin, features in the satire on antiquarianism in Chapter Three of the Memoirs of Scriblerus. The Life and Adventures of Don Bilioso d l’Estomac (1719) is an anonymous response to Woodward’s approach to treating smallpox. Chapter Eight seeks to answer the question as to whether Swift’s Voyage to Laputa is a Scriblerian postscript. There follows at the heart of this chapter a discussion of the visit to the Academy of Lagado in the Travels, when Gulliver visits the flying island of Laputa and its dependent territory of Balnibarbi. The conclusion is that the visit to the Academy of Lagado in Balnibarbi is an example of the satirical reception of early modern science. And given that much of Swift’s work considered in this chapter deals with follies in learning, the conclusion is reached that Gulliver’s Travels (1726) can hold its place in any account of the evolution of the satirical reception of early modern science and of learning itself. Part Three of this thesis deals with the satirical reception of the textual critic. Textual criticism became a subject for satire as a result of the publication of three books. Firstly, the edition of the poetry of the Roman poet Horace prepared by Richard Bentley was published in 1711 and soon became the focus of criticism because of Bentley’s changes to the text of one of the main works of Roman literature. Lewis Theobald, a self-confessed disciple of Bentley, published his Shakespeare Restored in 1726. The purpose of the work was to demonstrate through the procedures of textual criticism the defects of a recent edition of William Shakespeare’s plays edited by Alexander Pope. Thirdly, Bentley’s edition of Milton’s Paradise Lost was published in 1732 and flowed into the satirical current formed by Pope’s Dunciads (1729, 1743). Chapter Nine explores the development of textual criticism in the world of classical scholarship. It then examines Bentley’s intervention in the Battle of the Ancients and Moderns and his appearance as a character in Swift’s Battle of the Books (1704). The next topic is the importance given to the conjectural emendation in Bentley’s edition of Horace. The satirical responses to Bentley’s work are considered. Chapter Ten is concerned with Alexander Pope’s reception of textual criticism in his Dunciads (1729, 1743). Textual criticism was seen by Pope as another misguided Modern critical practice and as such fair game for satirical treatment. The importance of the publication of Lewis Theobald’s Shakespeare Restored (1726) is stressed for the writing of Pope’s The Dunciad Variorum (1729). The chapter mentions that the fictitious author of the editorial apparatus of this work is Martinus Scriblerus, already familiar from the Memoirs of Scriblerus. The change in hero to the actor and writer Colley Cibber (1671-1757) for Pope’s later The Dunciad in Four Books (1743) is discussed. A description of the life and work of Pope is also provided, which is necessary because the one informs the other. This is followed by a section on Pope’s first target as a textual critic, Lewis Theobald. The latter’s ideas about the editor’s responsibilities and his suitability for the role of textual critic are discussed. Several examples of his emendations to Pope’s edition are presented and discussed, along with an examination of the portrayal of Lewis Theobald in The Dunciad Variorum (1729). The satirical reception of Richard Bentley in The Dunciad in Four Books (1743) is examined, followed by an analysis of the paratext in the work of the Scriblerians and of the notes of Martinus Scriblerus in The Dunciad Variorum (1729). Finally, there is a brief examination of later works by writers other than Pope which were inspired by the figure of Martinus Scriblerus. In assembling the evidence for this thesis, I was largely guided by the search for literature about the virtuoso. Once the innovation of the virtuosi at the Royal Society became apparent, the choice of the antiquary and the textual critic as companions in the New Learning followed easily enough. The formal diversity used by the satirists to express their opposition is fascinating from a literary critical point of view. The matter is clear, construing the manner now follows.editor’s responsibilities and his suitability for the role of textual critic are discussed. Several examples of his emendations to Pope’s edition are presented and discussed, along with an examination of the portrayal of Lewis Theobald in The Dunciad Variorum (1729). The satirical reception of Richard Bentley in The Dunciad in Four Books (1743) is examined, followed by an analysis of the paratext in the work of the Scriblerians and of the notes of Martinus Scriblerus in The Dunciad Variorum (1729). Finally, there is a brief examination of later works by writers other than Pope which were inspired by the figure of Martinus Scriblerus. In assembling the evidence for this thesis, I was largely guided by the search for literature about the virtuoso. Once the innovation of the virtuosi at the Royal Society became apparent, the choice of the antiquary and the textual critic as companions in the New Learning followed easily enough. The formal diversity used by the satirists to express their opposition is fascinating from a literary critical point of view. The matter is clear, construing the manner now follows

Fashionable People, Fashionable Society: Fashion, Gender, and Print Culture in England 1821-1861.

This dissertation examines fashionable society as a “new” cultural realm in early nineteenth-century England—roughly from 1821 to 1861—in light of contemporary fashion, gender, historical and literary studies, as well as a variety of social theories ranging from Arendt to Bataille. Challenging the predominant view which confuses fashionable society with the aristocratic high society of the ancien regime, my thesis retrieves fashionable society as a discrete, dynamic, and cross-class entity. As a mobile institution, fashionable society was neither aristocratic nor bourgeois and yet integrated the values and interests of both in tandem with local circumstances. Compared with eighteenth-century polite society, fashionable society was characterized by a strengthened transnational nature; a stronger emphasis on the body; a special logic of space; and a versatile politics of vision, incivility and open exclusivity. With these characteristics, fashionable society functioned as an important means to the peaceful re-distribution of power and the re-structuring of early nineteenth-century English society. As a special crowd and a unique public that bore a symbiotic relationship with the bourgeois public—Habermasian and otherwise—fashionable society embodied and enacted a third sphere that both made possible and destabilized the public/private division. Emerging in a gendered process, fashionable society also sustained a flexible femininity and masculinity that developed in the space of possibility between binary distinctions such as the public man/private woman, the bourgeois and the aristocratic, the inner and the outer. A closer look at fashionable femininity and masculinity reveals the key role of fashion in the transformation of gender norms into gender realities and in facilitating the exchange among different capitals—gender, class, imperial power, colonial wealth, etc.—in tune with current exigencies. While fashionable society depended on the culture and technology of print for its sustenance, it also set in motion an entire problematic of fashion representation that bore directly on Victorian literary experiments and especially on the development of the domestic novel, such as illustrated by Charles Dickens’s _Bleak House_.Ph.D.English and Women's StudiesUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/58510/1/sumiaol_1.pd