Refine
Year of publication
Document Type
- Article (386)
- Conference Proceeding (318)
- Part of a Book (71)
- Workingpaper / Report (34)
- Master's Thesis (7)
- Book (5)
- Doctoral Thesis (5)
- Collection (4)
- Patent (3)
- Preprint (3)
Language
- English (847) (remove)
Keywords
- VSVR (39)
- DOAJ (37)
- Virtual (TV) Studio (23)
- FHD (22)
- Forena (12)
- Poster (8)
- security (8)
- security requirement (7)
- DEAL (6)
- Lehre (6)
Department/institution
- Fachbereich - Medien (342)
- Fachbereich - Maschinenbau und Verfahrenstechnik (293)
- Creative Media Production and Entertainment Computing (142)
- Fachbereich - Sozial- & Kulturwissenschaften (90)
- Fachbereich - Elektro- & Informationstechnik (67)
- Sound and Vibration Engineering (42)
- Digitale Vernetzung und Informationssicherheit (30)
- Fachbereich - Architektur (22)
- Fachbereich - Wirtschaftswissenschaften (17)
- Intelligente Mensch-Technik-Interaktion (12)
The Long Tail theory serves as an explanation for market change triggered through evolving online market conditions. However, it is often referred to without empirical validation, or with inconsistent findings on its applicability. Therefore, this paper analyses the applicability of the Long Tail theory to German online media offerings as of 2014 and 2016, focusing on offerings that serve information purposes (information offerings). Based on a unique dataset of commercially oriented online media offerings (Longitudinal IntermediaPlus 2014–2016), an analysis for three Long Tail characteristics (variety increase, opposing concentration between hit and niche offerings and niche market share increase) is conducted. By additionally distinguishing between political and entertainment-oriented information offerings as boundaries of democratized online market conditions the analysis reveals that the Long Tail theory is not fully applicable to any market sample, and especially not to politically oriented offerings.
This article is on a university course called Engineering Conferences. It has been developed by the authors and installed as a mandatory part of the curriculum in three master’s degree programs for engineering students. The participants of the course are postgraduates with different nationalities, mostly German, and different technical backgrounds. They study Mechanical Engineering, Simulation and Experimental Technology, or International Business Engineering. The basic idea of the course concept goes far beyond simply teaching the standards of academic writing and skills for using scientific publications. By using a learnercentered approach, the students get engaged in typical activities around an active attendance of a real conference. Students learn to locate the field of their bachelor thesis or project report in the world of research communities, scientific journals and engineering conferences. They learn about conferences matching their bachelor/project topic. They write a paper complying with common academic standards, submit it to a mock-up conference, and review submissions of their fellow students. Students also produce a poster and have to defend it in a poster session held publicly on the campus. Engineering Conferences is a course on scientific communication and presentation that also aims at the development of other skills and competences needed in the world of modern engineering.
The standard definition of creativity is based on a tension between originality and effectiveness. Borrowing from the wave-particle duality in physics one could say that there is an originality-effectiveness duality at work for creativity. The paper explores how this tension pervades Amabile's (1997) componential theory of organizational creativity with the components organizational motivation, management practices (including work assignment and work control) and resources. As a method the so called value square (" Wertequadrat ") developed by Helwig (1967) and Schulz von Thun (1998) is used which balances a value with its countervalue. The author identifies a tension of corporate tradition and corporate change for organizational motivation, a tension of skills and challenges for work assignment, a tension of management by control and management by loss of control for work control as well as a tension of organizational efficiency and organizational slack for resources. Additionally different implications of these tensions for the resistance of a company to creativity, for an organizational climate conducive to creativity as well as for resource allocation in creative endeavours are discussed.
The definition of individual creativity is based on a tension between novelty on the one side and usefulness respectively appropriateness on the other side. The paper explores how this tension pervades the stage and componential theories of creativity. To achieve this, the so called value square (“Wertequadrat”) developed by Helwig (1967) and Schulz von Thun (1998)is used which balances a value with its countervalue to analyze creativity. The author identifies tensions of action and inaction, expertise and mindfulness, precision and ambiguity as well as immersion and detachment permeating the creative process and the components of creativity. As a conclusion a morphological box for creativity is presented which allows one to show which combination of characteristics of the tensions support different stages of creativity. Furthermore implications for development and time management are discussed.
This paper explores the tensions in team creativity. The tensions in team creativity are based on a tension between originality and effectiveness in the standard definition of creativity. To display the tensions in team creativity, the value square (“Wertequadrat”) developed by Schulz von Thun (1998) is used which balances a value with its countervalue. The author identifies tensions for cohesion, consensus and conformity. Cohesion is described as a tension between team diversity and team safety, consensus as a tension between constructive controversy and participatory decision-making and conformity as a tension between support for innovation and task orientation. Finally, the connection of individual and team creativity is described as an interplay between solitary and interactive components.
Multimediale Technologien werden in der Marktforschung immer stärker eingesetzt, um flexible und kostengünstige Studien durchzuführen. Im Innovationsprozess kann dabei auf die langjährigen Erfahrungen zurückgegriffen werden, die durch den Einsatz der Computersimulation in der technischen Produktentwicklung zustande gekommen sind. In sehr frühen Phasen des Innovationsprozesses können durch Einsatz der neuen Technologien die Markteinführungskonzepte für neue Produkte getestet werden. Die Applikationen der virtuellen Realität bieten ein einzigartiges Potential, neue Produkte einschlieï‚lich des Marketingkonzeptes zu testen, ohne dass dieses Produkt bereits physisch vorhanden sein muss. Am Beispiel eines Elementes des Marketingkonzeptes, der Preispolitik, zeigt die vorliegende Studie auf, welches Potential die virtuelle Kaufsituation von Produkten bietet. Der Fokus des Projektes liegt auf der interaktiven Produktpräsentation in einer virtuellen Umgebung, die in eine Online-Befragung mit zusätzlichen Werbefilmen eingebettet ist. Visuell hochwertige 3D-Produktpräsentationen versetzen den Probanden in eine virtuelle Einkaufsumgebung, die einem realen Szenario entspricht. Die virtuellen Produkte werden in mehreren Kaufentscheidungsrunden zu unterschiedlichen Preisen angeboten. Der Preisuntersuchung geht eine Präsentation ausgewählter Werbespots sowie eine produktbezogene Befragung voraus. Im Anschluss an die virtuellen Preisentscheidungen werden die Eindrücke sowie einige Kontrollgröen abgefragt. In weitergehenden Studien dieser Art können die Wirkungen mehrerer Marketing-Instrumente zu einem Zeitpunkt untersucht werden, in dem sich die Produkte noch im Entwicklungsprozess befinden. Auf diesem Weg lassen sich auch Wettbewerbsvorteile bestehender Produkte effizienter erkennen und nutzen. Mit den hoch entwickelten Computer- und Visualisierungstechnologien ist ein mächtiges Werkzeug entstanden, das bereits für kommerzielle Präsentationen und Produktstudien eingesetzt wird. Zukünftig kann es auch in Kombination mit Internetanwendungen und klassischen Methoden der Marktforschung zu einem sehr frühen Zeitpunkt umfassende Erkenntnisse über ein Produkt liefern.
Music-related decision-making encompasses a wide range of behaviours including those associated with listening choices, composition and performance, and decisions involving music education and therapy. Although research programmes in psychology and economics have contributed to an improved understanding of music-related behaviour, historically, these disciplines have been unconnected. Recently, however, researchers have begun to bridge this gap by employing tools from behavioural economics. This article contributes to the literature by providing a discussion about the benefits of using behavioural economics in music-decision research. We achieve this in two ways. First, through a systematic review, we identify the current state of the literature within four key areas of behavioural economics-heuristics and biases, social decision-making, behavioural time preferences, and dual-process theory. Second, taking findings of the literature as a starting point, we demonstrate how behavioural economics can inform future research. Based on this, we propose the Behavioural Economics of Music (BEM), an integrated research programme that aims to break new ground by stimulating interdisciplinary research in the intersection between music, psychology, and economics.
The conductor's philosophy
(2013)
The article argues that European innovators can profit from some of the concepts of philosophical Daoism, namely "wu-wei" (non-interference) and "ziran" ("go with the flow"). Whereas most Western approaches to innovation emphasize the different stages of the creative process as well as tools to enhance creativity, the Daoist world view allows for the mind to just wander and thus spontaneously discover the solution to a problem in a rather detached state of mind. Creative minds need space for personal development and the permission to wander around without being exposed to control and instant judgement on the results. Training individuals in the tools and techniques of problem solving and creativity as the common approach in innovation management is certainly necessary, but in the end it is the intellectual accomplishment of a creative mind that produces innovation. Managers can allow this to happen when they get the balance of control and non-interference right.
A central question for managers in charge of innovation is to what extent creativity and inno-vation can be controlled and supervised, or whether they just have to be set free and allowed to take shape. In assessing this dilemma the authors conclude that there is a contradiction of action versus inaction on the personal level as well as a contradiction of control versus loss of control on the organizational level. What European innovators can learn from philosophical Daoism is an attitude that allows a process to just develop “naturally” and refrains from prem-ature interference with the intention to permanently be in control. In business structures that judge everything according to its usefulness, i.e. profitability for the company, a look at the laid-back attitude of Daoism where usefulness and uselessness are relative qualities might relief the pressure on people to perform in a premeditated way. Innovation can be supported, but creativity cannot be forced. It can only be allowed to happen when control, interference, and action are balanced out with non-interference, and go-with-the-flow. This attitude in not an excuse for stressed-out managers to neglect their duty, but a time honoured worldview of one of the oldest civilizations in the world that can give them the sovereignty to “get out of the way” and let innovation happen.