Search results

The purpose of this paper is to present a structure for identifying complexity that is not needed in an enterprise, and describe a methodology for eliminating it. Whether it is process complexity, product complexity, or organizational complexity, investments in managing higher levels of complexity often offer businesses significant value by enabling them to offer more and better products and services to a broader range of customers. However, along with higher levels of complexity has come an increased requirement to distinguish between that complexity which is needed and that which is needless.

This paper first presents a structure for categorizing different kinds of complexity, with a detailed focus on needless complexity that is categorized into four types. Next, specific factors are developed that can be used to identify needless complexity in an organization. Finally, a methodology is presented that organizations can utilize in order to eliminate needless complexity.

Needless complexity can be created where it never should have existed in the first place, and other times needless complexity exists as an historical relic left over from a time when it actually was needed. Using a structured approach, needless complexity can be identified and eliminated to yield significant business benefits.

This paper provides a framework for differentiating needless complexity from needed complexity, and assessing the landscape of needless complexity in an organization. It also provides an approach for identifying opportunities to reduce needless complexity using the needless complexity diagnostic.

Against the backdrop of the Responsibility to Protect (R2P) policy – an instrument with which the UN seeks to protect vulnerable civilians from gross violations of human rights – this study examines the application of R2P in the Libyan intervention and the various efforts to replicate similar claim to intervene in Syria. While proposing that the roles of Brazil, Russia, India, China and South Africa (BRICS) is increasingly influential to the success of an intervention, this study asks the question: what are the general conditions for success of R2P application in Libya and Syria during the period 2011-2014?

In its examination of the policy and scholarly works that have informed, justified and evaluated the processes and outcomes of the principles of R2P policy, this paper used relevant search terms for conditions for success of humanitarian military intervention (COSI). Specific keywords such as R2P, BRICS and humanitarian intervention are scrutinised for relevance to the research question. Documents that failed to satisfy the criteria of research quality were excluded, whereas the key problems and findings identified in each studied document were tabulated into inclusion and exclusion.

Despite the role of BRICS in the Libyan and Syrian interventions, existing literature failed to explicitly make this connection, although much of the literature agreed on a number of general conditions for success. This paper problematise the relationship between success and BRICS role. One of the reasons for this is the emerging nature of the literature that is beginning to appreciate the plausibility that the BRICS influences the success of an intervention.

This piece synthesises studies that focus on COSI with preference for works that engaged this study’s case countries. Much rich data which even until now are always in need of close examination emerged during data collection, making it useful to craft a third part for BRICS-focused literature that has informed the R2P debate.

Freddie Mercury rose to fame as the lead singer of the UK pop group Queen. The group started working on tracks for their fourteenth studio album, Innuendo, in early 1989, and the album was finally released in February 1991. Progress on recording was slow as Mercury, who had been diagnosed with AIDS, was unable to work for more than a few days at a time. Innuendo became the final Queen album to be released during Mercury’s lifetime, and ‘The Show Must Go On’ is its final track. Its placing is arguably significant, given that both Mercury and the remaining band members must have assumed that this would be the last album that they would record together. In this chapter, I present an analysis of the song’s music and lyrics, along with the music video that accompanied the single release, with reference to Mercury’s illness and his wish to contribute vocals for as long as he possibly could, knowing the seriousness of his condition meant that this would be one of his last recordings.

The purpose of this paper is to observe the nature of documentation and the description used in object biographies by an auction house catalogue and an online museum collection database in relation opera costumes. This research aims to discuss the issues of cultural and economic value in relation to objects in the art world, and examine examples of object biographies for opera costumes that are sold at an auction and exhibited in a museum.

The object biographies are compared from an auction house catalogue and the online museum collection database, based on two factors: costumes worn by a famous singer and costumes designed by a famous designer.

This study identified the valuation methods of auction houses and museums, including accounting for the market value and fair value, as well as social and cultural values. The nature of the documentation also clearly shows the different purpose of the object biographies. For auction houses the biography needs to be short and specific as it provides sufficient information and is read out at the auction, while art catalogues can also be used by experts as part of the conversation to understanding heritage value, and will also be viewed and used by researchers, investors, other auction house specialists and art world professionals.

By comparing two institutions, auction houses and museums, this study has shown that the information that is documented and how it is presented in object biographies is determined by the goals of the institutions. These goals may vary or overlap in providing information, demonstrating cultural importance, to be spoken allowed to an audience and make sales, or to educate, conserve and preserve.

This study shows that to some extent museum online databases display their collection removed from cultural context, with an isolated image of the item, and in an organised, digitally accessible manner. A potential implication is that museums should not only digitally catalogue an item, but also provide discussion and the cultural background and significance of the item.

Auction catalogues are written for a specific event (the auction), while the online museum collection database is meant to be a permanent record, which aims to digitally preserve objects and provide access to images and information to a general audience, and further could be edited with amendments or new information when future research or events lead to potential updates.

This study adds to the discourse on approaches to the understanding of costumes as an art object of significance and their potential cultural, economic and heritage value, particularly as represented in the documentation of object biographies.

Film provides an alternative medium for assessing our interpretations of cultural icons. This selective list looks at the film and video sources for information on and interpretations of the life of Woody Guthrie.

The connotations, associations, custom and usages of a name often give to it an importance that far outweighs its etymological significance. Even with personal surnames or the name of a business. A man may use his own name but not if by so doing it inflicts injury on the interests and business of another person of the same name. After a long period of indecision, it is now generally accepted that in “passing off”, there is no difference between the use of a man's own name and any other descriptive word. The Courts will only intervene, however, when a personal name has become so much identified with a well‐known business as to be necessarily deceptive when used without qualification by anyone else in the same trade; i.e., only in rare cases. In the early years, the genesis of goods and trade protection, fraud was a necessary ingredient of “passing off”, an intent to deceive, but with the merging off Equity with the Common Law, the equitable rule that interference with “property” did not require fraudulent intent was practised in the Courts. First applying to trade marks, it was extended to trade names, business signs and symbols and business generally. Now it is unnecessary to prove any intent to deceive, merely that deception was probable, or that the plaintiff had suffered actual damage. The equitable principle was not established without a struggle, however, and the case of “Singer” Sewing Machines (1877) unified the two streams of law but not before it reached the House of Lords. On the way up, judical opinions differed; in the Court of Appeal, fraud was considered necessary—the defendant had removed any conception of fraud by expressingly declaring in advertisements that his “Singer” machines were manufactured by himself—so the Court found for him, but the House of Lords considered the name “Singer” was in itself a trade mark and there was no more need to prove fraud in the case of a trade name than a trade mark; Hence, the birth of the doctrine that fraud need not be proved, but their Lordships showed some hesitation in accepting property rights for trade names. If the name used is merely descriptive of goods, there can be no cause for action, but if it connotes goods manufactured by one firm or prepared from a formula or compsitional requirements prescribed by and invented by a firm or is the produce of a region, then others have no right to use it. It is a question of fact whether the name is the one or other. The burden of proof that a name or term in common use has become associated with an individual product is a heavy one; much heavier in proving an infringement of a trade mark.

Although none of the new music reference books of the past year totally replaces the old stand‐bys, some significant works did appear, especially in the areas of contemporary music, opera, and classical music discography.

David R. Adamson has been appointed vice president of marketing and sales for de Havilland Canada. The appointment, which charges Adamson with the responsibility to steer the Canadian aircraft manufacturer's sales, sales engineering and marketing efforts worldwide, is effective immediately.

This paper aims to examine exceptionalisms in ethics in general and in the fields of animal and technology ethics in particular.

This paper reviews five sample works in animal/technology ethics it considers representative for particularly popular forms of “exceptionalism”.

The shared feature of the exceptionalisms exhibited by the chosen samples appears to be born out of the cultural and biological history, which provides powerful intuitions regarding the on “specialness”.

As this paper is mostly a critique of existing approaches, it contains only a limited amount of counter-proposed alternative approaches.

This is a discussion worth having because arguments based on (human or biological) exceptionalism have more chance of resulting in significantly altered theoretical conclusions and practical suggestions for normative guidance than non-exceptionalist perspectives.

The approaches critiqued in this paper have a significant effect on the way the authors approach animals, machines/technologies and each other.

The paper identifies intuitive notions of exceptionalism and argues in favour of a reformist, ethical expansionist stance, which views humanity as residing (and other biological organisms) on the same plane of ethical significance as any other entity regardless of its material composition.