Information mangment Essay Example | Topics and Well Written Essays - 1000 words

Information mangment - Essay Example According to Nonaka, Krogh and Voelpel (2006), â€Å"organizational knowledge creation is the process of making available and amplifying knowledge created by individuals as well as crystallizing and connecting it with an organization’s knowledge system.† Studies have shown that creation of knowledge, retention as well as managing it is very important for the survival of the organization during the contemporary period as we move towards a digital economy (Alavi & Leidner, 2001). One way of generating knowledge in an organization is achieved through the use of learning. Learning in an organisation is particularly concerned with creating, acquiring and transforming knowledge and transforming this knowledge to improve the overall performance of the employees and the organization as a whole (Andriopoulos & Dawson 2009). Knowledge may be explicit and/or tacit, individual and/or collective. Basically, explicit knowledge refers to details of processes that have been codified an d it often acts as a manual to deal with certain queries or problems in the organization while tacit knowledge is knowledge of experience (Polanyi, 1983). In as far as tacit knowledge is concerned so the person concerned uses his or her experience to deal with a certain problem. As noted above, knowledge is a business asset given that much of organizations’ value mainly depends on their capacity to create and generate knowledge which can be used to transform the operations of the organization during changing period. It is important for an organization to create knowledge and transfer it to other employees since this can help the whole organization. As illustrated in the model of knowledge creation and diffusion illustrated above, it can be seen that there are various techniques that can be used to transfer knowledge from one person to the other in the organization. According to Nonaka & Takeuchi (1995), knowledge can be transferred through the following strategies in the comp any: tacit to tacit through socialization, tacit to explicit through a process of externalization, explicit to tacit through a process of internalization as well as explicit to explicit through a process of combination. Tacit knowledge can be transferred to tacit knowledge through the process of socialization. Basically, socialization is a process that loosely describes the way people in an organization are socialised or interact. Through interaction among employees in an organization, knowledge can be transferred from one person to the other. In this case, it is individual to individual where an experienced employee can impart his or her ideas and experience to the other employee who also can capitalise on this wealth of knowledge in his or her operations. Explicit to tacit knowledge can also be transferred through a process of internalization in the organization. Internal structures in the organization are created and these are meant to transform knowledge that is codified into ac tual experience that can help the employees to deal with different situations they may encounter in their operations. This process involves transfer of knowledge from the individual, group as well as organization. This helps to improve the overall performance of the employees as well as the organization a whole. The other strategy is tacit to explicit

Themes Of Landscape And Wilderness In Cinematic Films Essay

Themes Of Landscape And Wilderness In Cinematic Films - Essay Example 2. Examine the scope of landscape and wilderness in films. 3. Highlight the nature of landscape and wilderness as characters within films. Despite the progressive change, which land undergoes, two key predictions can be made about land, especially with regard to the establishment of new landscapes: i.e. landscapes transpire in light of people’s expectations, as well as their previous encounters, or landscapes evolve from a shift in mindset and from a changed connection between the environment, society and self. This means that changes that are embedded on a landscape are not typically similar to changes that are wrought on land. According to Sobieszek, the theme of landscape has undergone a dramatic change since early times, especially between the 1950s and 1980s. It is clear that a relatively new order of landscape has engulfed cinematic films that seem to take hold of the imagination of not only the writer and film director, but the audience, as well. The radical change in the perception of landscape is that from a solid yet permanent view to one that is marred by treachery and transmutation. In essence, differ ent media create new landscapes. For instance, in the film Walkabout of 1971, Roeg offers what can be perceived as a typology that showcases photography of locations such as Australian auk lands in the late 20th century. Roeg embodies a formalist concept by rendering the settings of landscapes devoid of human presence through settings such as deserts, flat horizons, vacant highways and fields (Harper and Rayner, 2010, 71). All these locations convey an essence that is at odds with the echo of Hollywood fictions. This allows films to level the meanings that they are originally meant to convey. Landscape in cinematic films adopts quite a different stance compared to still images, which are frozen depictions of landscape. Landscape in cinematic films incites the feeling of culture and cross-over between popular cinema and photography. Historically, landscape is initially associated with painting, and this is evidenced by the numerous depictions of landscapes in exhibitions and art muse ums around the world. Launched in the seventeenth century, the portrayal of emerging infrastructures of channels, harbours and roads that ran through sheltered country sides illustrates the claim that landscape depiction and description through picture is a product of the shift from feudal to capitalist economies (Harper and Rayner, 2010, 58). This paper argues that landscape facilitates new perceptions and venues of analysis and interpretation of cinematic films. Simply put, landscape emerges when the setting becomes the subject of the cinema rather than an object within the entire cinematic film. When applied to films, landscape enables a variation from plot, characters and psychology towards elements that are rarely taken into account in mainstream film. The main challenge thus becomes the discussion of landscape as a comprehensive expression in its own right, as well as its own agenda in other instances. Landscapes can be appreciated as encompassing numerous interacting ideas, t raditions, as well as inventions rather than something that is either out there or can be fixed on films. This paper will conduct a discussion within the realm of films over the period between the year 1970 and 2009. This is a period marred by a number of uncertainties and upheavals, as well as immense successes in the media industry and especially with regard to films. Through this period, there has been immense focus on film and landscape as avenues of the contested perception of individuals, and how film makers investigate the practices, properties and traditions of global cinema that is