This study investigates generative artificial intelligence (GenAI) usage of university students who study alongside their professional career. Previous literature has paid little attention to part-time students and the intersectional use of GenAI between education and business. This study examines with a grounded theory approach the characteristics of GenAI usage of part-time students. Eleven students from a distance learning university were interviewed. Three causal and four intervening conditions, as well as strategies were identified, to influence the use of GenAI. The study highlights both the potential and challenges of GenAI usage in education and business. While GenAI can significantly enhance productivity and learning outcomes, concerns about ethical implications, reliability, and the risk of academic misconduct persist. The developed grounded model offers a comprehensive understanding of GenAI usage among students, providing valuable insights for educators, policymakers, and developers of GenAI tools seeking to bridge the gap between education and business.
We develop an analytically tractable model featuring heterogeneous workers and firms, where labor markets clear through a one-to-many sorting mechanism. Firms determine both the number and composition of their employees, shaping (1) the income distribution among workers and (2) the productivity distribution across firms. We study business cycles driven by market efficiency shocks that disproportionately benefit more productive firms. The model's implications are consistent with empirical regularities on the cyclical behavior of wage and productivity distributions.
Artykuł ma dwa zasadnicze cele: 1) przedstawienie i analizę reprezentacji czasu oraz doświadczenia czasu w wyreżyserowanych przez Magdę Szpecht spektaklach Wracać wciąż do domu oraz Solastalgia: Terrapia; 2) pokazanie propozycji myślenia o dramaturgii z wykorzystaniem myśli ekologicznej jako narzędzia badania relacji (szczególnie relacji czasowych) w pracach performatywnych. Spektakle Szpecht zostały umieszczone w kontekście refleksji na temat czasu w antropocenie oraz jego wpływu na teksty kultury. Analizy spektakli przeprowadzono pod kątem ich dramaturgii czasowej, dźwiękowej, wizualnej oraz performatywnej.
Dramatic representation. The theater, The performing arts. Show business
As one of the traditional Chinese musical instruments, the guzheng has a long history and rich musical connotation. From the perspective of the value and development of guzheng performing art, this paper firstly introduces the historical development of guzheng, its musical characteristics and its position in Chinese music culture, and then analyses the value of guzheng performing art in music aesthetics, cultural inheritance and social education. When discussing the current development of guzheng performing arts, the article points out the phenomena of the prosperous performance market, the improvement of the education system and the conflict between innovation and tradition. On this basis, the article puts forward a series of development strategies, including adhering to the combination of tradition and innovation, improving the quality of education, expanding the performance market and communication platform, and utilising modern technology. Finally, the article summarises the value and importance of the development of guzheng performing arts, and emphasises that in the context of the new era, opportunities should be seized to promote the prosperity of guzheng performing arts.
Este artigo apresenta e reflete a partir de atividades artísticas e formativas desenvolvidas no curso de graduação em Teatro da UFRGS: a disciplina “Laboratório de Prática Cênica B – Cabaré e Burlesco”, em conexão com o “Burlêmicas – Grupo de Pesquisa em Burlesco, Cabaré, Performance e afins” e o evento de extensão “Burlesco: cena, corpo e política”. Quais os desafios e possibilidades ao aproximarmos a universidade da linguagem festiva e disruptiva do cabaré e do burlesco? Que contribuições esse flerte pode trazer tanto para a formação de atores, diretores e professores de teatro, quanto para a cena burlesca brasileira? Como conduzir um percurso de criação – cuja característica principal é, além do formato curto e frenético das cenas, a autonomia e a singularidade do artista, em todas as etapas do processo, da concepção à apresentação, passando pela produção, dramaturgia, figurinos, sonoplastia, encenação e atuação – ao longo de um semestre, com um grupo de cerca de 15 pessoas? Como manter viva a provocação (no inglês, to tease) crítica e sedutora do burlesco, criando um ambiente propício para que, através de envolventes stripteases, sejam questionados e burlados padrões de corporalidade, sexualidade, racialidade, afetividade, sensualidade, performatividade, e de relação entre artista e público? O artigo apresenta conclusões e encaminhamentos de uma pesquisa em processo, atento a reverberações múltiplas.
Construir una comunidad en el sur de Latinoamérica nos da la posibilidad de repensar las maneras en las que articulamos lo colectivo. Ballroom, una comunidad con varias décadas de historicidad en Estados Unidos y Europa, se posiciona en los últimos años en Buenos Aires permitiéndole a sus integrantes construir una propia historicidad sudamericana. Así es como desde la experiencia personal de habitar e indagar en las prácticas del Sex Siren, una de las categorías de competencia de Ballroom, es que se introducen tensiones sobre cómo replicar las lógicas establecidas de esta subcultura LGBTQIAPN+, para devenir en un nuevo acontecimiento performático: Acuario de sirenes, performance colectiva erótica que permite expandir la potencia del Sex Siren por fuera de las dinámicas de competencia, para encontrar en la grupalidad una nueva arista posible para construir otros diálogos entre los cuerpos y otras maneras de construir escena ballroom. La autogestión, las necesidades de generar escritura y registro de una categoría que tiene un origen en estrecha relación con el trabajo sexual y la posilididad de encontrar en el erotismo una trinchera de resistencia sudaka son los ejes centrales de este artículo.
Artykuł analizuje zachowane przekłady sztuk dwóch rzymskich autorów, Plauta i Terencjusza, w kontekście ich adaptacji w polskich teatrach na przestrzeni ostatnich stu lat. Przynosi informacje na temat liczby polskich premier komedii Plauta w XX i XXI wieku, ale stara się także wskazać, że o doborze repertuaru decydowały przekłady i zastosowane w nich strategie. Materiału badawczego do analizy dostarczają programy teatralne, często omawiające rolę przekładu, a także przywołujące wypowiedzi badaczy i tłumaczy dramatów antycznych. Znacząca jest również nieobecność Plauta na scenie w latach 1979–2009 oraz kompletny brak zainteresowania dla twórczości Terencjusza, który w wieku XX i XXI nie pojawił się nigdy na deskach profesjonalnego teatru. Niewątpliwie duże znaczenie odegrały tutaj przekłady: ich anachroniczność lub niekomunikatywność, ale także zmiany obyczajowe XXI wieku (gender studies, #metoo).
Dramatic representation. The theater, The performing arts. Show business
We describe the methods and technologies underlying the application Grants4Companies. The application uses a logic-based expert system to display a list of business grants suitable for the logged-in business. To evaluate suitability of the grants, formal representations of their conditions are evaluated against properties of the business, taken from the registers of the Austrian public administration. The logical language for the representations of the grant conditions is based on S-expressions. We further describe a Proof of Concept implementation of reasoning over the formalised grant conditions. The proof of concept is implemented in Common Lisp and interfaces with a reasoning engine implemented in Scryer Prolog. The application has recently gone live and is provided as part of the Business Service Portal by the Austrian Federal Ministry of Finance.
To examine the relation between profitability and business models (BMs) across bank sizes, the paper proposes a research strategy based on machine learning techniques. This strategy allows for analyzing whether size and profit performance underlie BM heterogeneity, with BM identification being based on how the components of the bank portfolio contribute to profitability. The empirical exercise focuses on the European Union banking system. Our results suggest that banks with analogous levels of performance and different sizes share strategic features. Additionally, high capital ratios seem compatible with high profitability if banks, relative to their size peers, adopt a standard retail BM.
Valentin Haag, Maximilian Kiessler, Benedikt Pittl
et al.
Cloud resources have become increasingly important, with many businesses using cloud solutions to supplement or outright replace their existing IT infrastructure. However, as there is a plethora of providers with varying products, services, and markets, it has become increasingly more challenging to keep track of the best solutions for each application. Cloud service intermediaries aim to alleviate this problem by offering services that help users meet their requirements. This paper aims to lay the groundwork for developing a cloud portfolio management platform and its business model, defined via a business model canvas. Furthermore, a prototype of a platform is developed offering a cloud portfolio optimization service, using two algorithms developed in previous research to create suitable and well-utilized allocations for a customer's applications.
En el presente trabajo analizaremos las dos metodologías específicas de actuación de principios del siglo XIX: la culta y la popular, para observar como el trabajo del actor no escapó a la censura ejercida por la Sociedad del Buen Gusto por el Teatro (1817-1821). Este organismo compuesto por la élite porteña perteneciente al campo intelectual y de poder, reprobaba los gestos y la corporalidad grotesca del actor, así como la representación de los sainetes y otros géneros populares de la época, por no responder a los objetivos del proyecto civilizador y pedagógico que este organismo tenía para la incipiente nación argentina.
Мақалада, Қазақстан би өнеріне, соның ішінде ұйғыр
халқының би мәдениетін зерттеп, зерделеп жүрген Г.
Саитованың шығармашылық, педагогикалық еңбек жолы
қарастырылған. Хореографиялық білімді Республикалық
эстрада және цирк өнері студиясынан алған (бүгінгі Ж.
Елебеков атындағы колледж) білімі мен 1971 жылдан Қ.
Қожамьяров атындағы Мемлекеттік академиялық ұйғыр
театрында өткізген шығармашылыққа толы жылдары мен
кейінгі педагогикалық еңбек жолы да назардан тыс қалған
жоқ. Қазақстан хореография өнерін, соның ішінде ұйғыр
ғалқының би мәдениетін зерттеп, зерделеуде үлкен роль
атқарып отырған ғалым ретінде Рспубликаға танылып отыр.
The performing arts. Show business, Dramatic representation. The theater
In the era of joint ventures (JV) and mergers & acquisitions (M&A), dynamic and large business processes can emerge to achieve broader business goals and are often formed from business processes of distinct organizations. Software systems of such distinct organizations should support these larger processes and, for this, they need to communicate among them forming the so called Systems-of-Systems (SoS). However, the management of these larger processes and the correspondent SoS has been currently a complicated challenge for the alliances of organizations. In this scenario, the main contribution of this paper is to discover what has been proposed in the literature to manage these processes. We analyzed possibly all existing approaches and the findings point out that many of them cannot provide understanding of the whole large processes and, more importantly, they do not address completely the SoS inherent characteristics. We also highlight the next research directions to make possible the management of these dynamic, complex, interconnected business processes that have increasingly crossed several critical domains.
Business economics research on digital platforms often overlooks existing knowledge from other fields of research leading to conceptual ambiguity and inconsistent findings. To reduce these restrictions and foster the utilization of the extensive body of literature, we apply a mixed methods design to summarize the key findings of scientific platform research. Our bibliometric analysis identifies 14 platform-related research fields. Conducting a systematic qualitative content analysis, we identify three primary research objectives related to platform ecosystems: (1) general literature defining and unifying research on platforms; (2) exploitation of platform and ecosystem strategies; (3) improvement of platforms and ecosystems. Finally, we discuss the identified insights from a business economics perspective and present promising future research directions that could enhance business economics and management research on digital platforms and platform ecosystems.
Microservices architecture has been widely adopted to develop software systems, but some of its trade-offs are often ignored. In particular, the introduction of eventual consistency has a huge impact on the complexity of the application business logic design. Recent proposals to use transactional causal consistency in serverless computing seems promising, because it reduces the number of possible concurrent execution anomalies that can occur due to the lack of isolation. We propose an extension of the aggregate concept, the basic building block of microservices design, that is transactional causal consistent compliant. A simulator for the enriched aggregates is developed to allow the experimentation of this approach with a business logic rich system. The experiment results shown a reduction of the implementation complexity. The simulator is a publicly available reusable artifact that can be used in other experiments.
This article discusses the Israeli press reviews of Konrad Swinarski’s Hamlet, which premiered at the Cameri Theater in Tel Aviv in 1966. Based on material previously unknown in Poland, the analysis makes it possible not only to reconstruct some of the stage actions and effects, but also to follow the reasoning, competences and tastes of Israeli critics. Comparing this material with documents concerning the preparations for the Kraków staging of Hamlet eight years later, the author concludes that the general framework of Swinarski’s conceptualization of the play was already developed in 1966; the director managed to bring some of its aspects to the stage in Tel Aviv. Most importantly, he created a new vision of the characters of Hamlet and Horace, re-examined the image of Claudius, and outlined a historiosophical and political interpretation of Shakespeare’s tragedy. In Israel, the critics usually recognized the ideological message of Swinarski’s staging correctly; however, they questioned its point and denied its value.
Dramatic representation. The theater, The performing arts. Show business
Al yuxtaponer algunos episodios clave en el desarrollo de la danza y la antropología contemporáneas, pretendo arrojar luz sobre un momento crucial en la historia reciente de las artes escénicas. Después de rastrear las semejanzas y las diferencias entre el teatro posdramático y lo que Rudi Laermans propone llamar la “danza en general”, me enfoco en la antropología sociocultural para delimitar más claramente el tipo de reflexividad que se despliega en obras de danza contemporánea como Pichet Klunchun and Myself (2005) de Jérôme Bel y Product of Other Circumstances (2009) de Xavier Le Roy. Paralelamente, reconstruyo estas dos obras y sondeo el alcance de una reflexividad que no opera “desde fuera” sino “desde dentro”. Además, ya que en ambos casos se trata de una reflexividad que gira en torno al problema de la alteridad, esto resulta particularmente relevante para la propia antropología. A un nivel más general, pongo de manifiesto que las artes escénicas y las ciencias antropológicas son empresas convergentes.
Most business decisions are made with analysis, but some are judgment calls not susceptible to analysis due to time or information constraints. In this article, we present a real-life case study of critical business decision making of PerceptIn, an autonomous driving technology startup. In early years of PerceptIn, PerceptIn had to make a decision on the design of computing systems for its autonomous vehicle products. By providing details on PerceptIn's decision process and the results of the decision, we hope to provide some insights that can be beneficial to entrepreneurs and engineering managers in technology startups.