Thursday, September 27, 2012

Article Review and CritiqueAGILE MANUFACTURING IN PRACTICE: APPLICATION OF A METHODOLOGYBy H. Sharifi and Z. Zhang

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The article by Sharifi and Zhang is outlining a developed methodology for achieving agility in manufacturing organization and describing its implementation and validation in two case study companies. In developing the methodology, the authors used two empirical studies the concept of agility (Dove, 16; Kidd, 15), and the conceptual model of agility (Zhang and Sharifi, 000) as their main references.

Basically there are three major stages composed in the methodology the determination of a company’s agility needs and it current agility level, the determination of agility capabilities required in order for the company to become agile, and the identification of agility providers or business practices and tools which could lead to the recognized capabilities for the company. In order to give a better picture of the methodology, the authors created a graphical form of the methodology in figure of the article.

In the first stage of the methodology, an assessment model is developed to study the conditions in which a company struggles for success and to provide a mindset for the company to move toward agility. This includes two practical tools, referred to as tool one and tool two. Tool one is used to determine the degree of turbulence with a range between 1 and 10. If the score is closer to 10, it means that the more turbulent is the company’s business environment, the more agile the company needs to be. Based on this result the second tool is designed to determine the level of company’s agility. There are two possible outcomes that can be expected from this tool Gap analysis in which a speculative interpretation can be made to specify the level of agility needed, and direct result which indicates the company’s weak points as well as how to respond to them in a proper manner.

The second stage, which is the determination of agility capabilities, is carried out with the assistance of a network model with which external and internal changes/pressures effecting manufacturing organizations are classified and represented as inputs. The agility capabilities required to challenge and overcome the changes/pressures are represented as the outputs. In addition to that, an industrial questionnaire and a series of case studies are used to establish the network connection




Finally, in the last stage, the authors identify a list of business practices, methods, tools, and techniques as the agility providers. The importance of these agility providers to various capabilities is represented by a network relationship. The results from the network model described in the second stage are used as inputs to produce a set of outputs representing the importance of individual agility providers to a company.

In implementing this methodology, the authors selected two UK manufacturing companies that had responded to the previous phases of the assessment work. The first company is a leading manufacturer of domestic cookers, which appears to be the only manufacturer that is profitable in this business. The second company is a manufacturer of high-technology electronics components and devices established to supply its mother’s company. This article review will only discuss about company one because the procedures used for both companies are pretty similar.

In the implementation, both of these companies went through the three major stages of the methodology explained before the assessment model, determination of agility capabilities, and determination of agility providers. For simplification, the last two stages are referred to as “the practical tool”. For company one, the result of the assessment model reveal three major points

• Company one needs a moderate level of agility, though it is not an urgent agenda.

• The areas in table I must be taken into consideration as potentially threatening factors when defining and designing the company’s strategy.

• The company’s perception of its level of agility is higher than the perceived level and than the average score of tool number two of the assessment model.

The next stage, referred to as “the practical tool” is applied in three steps

1. Determining the drivers of the agility. Table III lists the types of agility drivers.

. Determining the required capabilities. Table IV lists 0 prioritized capabilities.

. Determining the practices and actions.

Based on the practical tool this company has ability level of 6.5 and less, therefore it needs the following important capabilities sensing, perceiving and anticipating changes, immediate reaction to changes, strategic vision, co-operation (internal and external), products/services quality, cost effectiveness, and people flexibility. The practical tool also provides guidance for the company to choose the appropriate practices. Sets of practices that can assist company one to achieve the proposed capabilities are listed in table V. Table VI lists some of the practices that company one has adapted in responding to the change factors. These actions could have provided other capabilities which can be extended with further actions from the proposed practices.

CRITIQUE

Sharifi and Zhang have done an excellent work in developing a methodology for achieving agility in manufacturing and presenting details in its implementation and validation in the two case studies companies. They have also performed an extensive research and review of literature relevant to the subject to be used as a basis for the formation of the methodology to help manufacturing companies make strategic decisions in the pursuit of agile manufacturing.

Sharifi and Zhang have also made a great effort in collecting the data and information used for the application of the methodology in the two companies. These collection of data was obtained during the previous phases of the research by determining various aspects of the companies like the level of agility needed, the abilities of the companies in response to unpredictable changes, the capability required by the company to respond to changes in appropriate manner. In addition, data and information were acquired by examining the business environment, speculating the available strategic alternatives, and identifying the practices that could support the company’s approach toward agility.

Despite of its well-established content, this study is subject to improvements due to some limitations. In some practical areas, the proposed methodology still needs a more advanced research, particularly in defining the relationship between agility capabilities and agility practices. A more extensive study in identifying the exact domain of capabilities, the corresponding practices, and the appropriate ways of implementing and assessing the capabilities would provide a more accurate guideline for organizations in pursuit of agile manufacturing.

Another area for improvement can be found in the number and location of participating companies for this study. The present paper has only analyzed two manufacturing companies in UK, thus the application of the findings might not be appropriate for other manufacturing companies in other countries. Future study should definitely increase the number of participating companies from different regions of the world where influencing factors such as business environment, business practices, and the strategic alternatives available for the company to pursue might be different.

By and large, the study on agile manufacturing in practice by Sharifi and Zhang is fairly comprehensive and well developed in terms of its content and method used. The development and application of the proposed methodology for achieving agility in manufacturing is also well presented in such detail and appropriate way. Nonetheless, the proposed methodology still needs a more advanced research, particularly in defining the relationship between agility capabilities and agility practices. Although the proposed methodology is to be fully developed and validated, it still constitutes an essential effort in this regard and assists to bridge the gap between theory and practice in the agile manufacturing.

H. Sharifi, Z. Zhang. “ Agile Manufacturing in Practice Application of A Methodology.” International Journal of Operations & Production Management, 1.5/6 4. (001) 77-74.

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Thematic Analysis and Interpretation

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ýÜüSynopsis

Kafka’s short “A Hunger Artist” tells the story of a once well known professional hunger artist. During the time before “the interest in professional fasting [had] markedly diminished,” the hunger artist was a great source of excitement for people. Kafka describes the way people once used to gather around the hunger artist’s cage and watch him as “he sat there pallid in black tights, with his ribs sticking out so prominently, not even on a seat but down among straw on the ground, sometimes giving a courteous nod, answering questions with a constrained smile, or perhaps stretching an arm through the bars so that one might feel how thin it was, and then again withdrawing deep within himself, paying no attention to anyone or anything, not even to the all-important striking of the clock that was the only piece of furniture in his cage, but merely staring into vacancy with half-shut eyes[.]” This description of the artist gives one the impression of a sort of ascetic on-show for people. Kafka also tells us about people’s true feelings about the performing ascetic. Though the children observed him in awe, the adults saw him “as a joke that happened to be in fashion.” People in general looked at the artist’s way with skepticism and disbelief. Some of them, the special “night-time watchers” (butchers who did not understand the artist’s fast), believed that the faster secretly ate “Nothing annoyed the artist more than such watchers; sometimes he mastered his feebleness sufficiently to sung during their watch for as long as he could keep going, to show them how unjust their suspicions were. But that was of little youth; they only wondered at his cleverness in being able to fill his mouth even while singing.”

This disbelief however, did not bother the artist as he eventually got used to it as a fact of his life. Since no one could watch the artist continuously, his was the only true satisfaction gained after the fasting period was over. It was a sense of personal dissatisfaction that really bothered the artist. Kafka hints that maybe fasting was not the only cause for his thinness. “The longest period of fasting was fixed by his impresario at forty days,” he states. The artist longed to go on further as he found fasting very easy and thus when the time came for him to leave his cage and eat, he was reluctant. The reason for the forty-day limit was that “[e]xperience had proved that forty days the interest of the public could be stimulated by a steadily increasing pressure of advertisement, but after that the town began to lose interest[.]”






After living thus for some years, fasting in regular intervals and being applauded by the world, the artist finds himself “deserted” as the “amusement-seekers” found more attractive entertainment elsewhere. Faced with this reality, the ascetic is forced to leave the impresario and hire himself to a circus. In the circus, his cage is placed, by his own decision, “outside, near the animal cages.” The artist naively believes that there is still interest in his fasting, but soon finds out that people are more attracted by the menagerie at the end of the “narrow gangway” on one side of which his cage is placed. After a while, nobody wishes to stop at his cage as the circus-goers are all on their way to the menagerie. They forget how long the artist has been fasting, how many records he has been breaking, until finally the circus attendant prompted by a visitor, remembers him. The artist reveals why he has been fasting for so long. “I couldn’t find the food I liked,” he says, before being buried. The circus replaces his cage with that of a young panther, which, in its eating and livelihood, holds visitors attention forever.

Thematic Analysis and Interpretation

The Hunger Artist is a story about asceticism that has lost its meaning. Modernity, Kafka tells us, is not entertained by avoidance of life--the hunger artists mystic asceticism--but by life itself--the panther. It is a highly symbolic story in its use of the comparison between the hunger artist and the panther. This contrast is the most important element in the story. The asceticism of the artist is mystic and religious; it is empty and propelled by a search for something better. But it is false, precisely because there is nothing better than life. Thus Kafka stresses the value of livelihood. The public lack of interest in the hunger artist is representative of the modern abandonment of spiritualism.



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long,long after school

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LONG, LONG AFTER SCHOOL

1. PRE-READING

a) For discussion What do you most remember about your favourite teacher? What would

you change about today¡¯s school system if you could?




b) For journal writing In eight to 10 lines, describe a time when you misjudged someone OR were judged unfairly yourself. In your description,explain what caused this situation

and what happened to make the situation better.

c) Define alumni -incongruous -ee other story examples (such as Gore) for how to do a character chart if unsure.

1. For Ches and Miss Calista, make a character chart where you list

words to describe the personality of each with evidence.

. For each Ches and Miss Calista, label each as

a)flat or round

b)static or evolving

c)protagonist or antagonist or minor

Back up each label with evidence from the story which ties back to the definition.

For Example Wes is a round character in Long, Long After School because we know a lot about him like his thoughts, feelings and experiences.

winsomer -dogged -

. UNDERSTANDING THE STORY

a) WHO is Miss Trethway? ... is Wes?

b) WHAT cruel tricks did the kids at school play on Wes?

c) HOW did Wes get the scar on his arm?

d) WHY did Wes think that Miss Trethway was beautiful?

e) WHY does the storyteller feel ¡°less beautiful¡± at the end of the story?

f) WHEN does the story occur?If youre going to succeed, youve got to be like one of those punch-drunk fighters in the old Warner Bros. boxing pictures too stupid to fall down, you just keep slugging and stay on your feet. --Premiere, October 14

On Tarantino I find Quentins work very interesting, because he does dabble so well in the nihilistic world, but yet, theres a real streak of humanity in his work. Its not about the nihilism, its about people in a sense operating as honorably as they can in a nihilistic world. -- Frank Darabont, Creative Screenwriting

On Stephen King (jokingly) We have a joke now - because the first two films I directed were period prison movies - that my directing career will stall unless he writes another period prison story Frank Darabont, Creative Screenwriting

Amazon.com Essentials When this popular prison drama was released in 14, some critics complained that the movie was too long (14 minutes) to sustain its story. Those complaints miss the point, because the passage of time is crucial to this story about patience, the squeaky wheels of justice, and the growth of a life-long friendship. Only when the film reaches its final, emotionally satisfying scene do you fully understand why writer-director Frank Darabont (adapting a novella by Stephen King) allows the story to unfold at its necessary pace, and the effect is dramatically rewarding. Tim Robbins plays a banker named Andy whos sent to Shawshank Prison on a murder charge, but as he gets to know a life-term prisoner named Red (Morgan Freeman), we realize theres reason to believe the bankers crime was justifiable. We also realize that Andys calm, quiet exterior hides a great reserve of patience and fortitude, and Red comes to admire this mild-mannered man who first struck him as weak and unfit for prison life. So it is that The Shawshank Redemption builds considerable impact as a prison drama that defies the conventions of the genre (violence, brutality, riots) to illustrate its theme of faith, friendship, and survival. Nominated for seven Academy Awards including Best Picture, Actor, and Screenplay, its a remarkable film that signaled the arrival of a promising new filmmaker--a film that many movie lovers count among their all-time favorites. --Jeff Shannon



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Tuesday, September 11, 2012

blackberrying

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“Blackberrying” described Plath’s life for once as being happy, she was happy in her new home where she could go blackberrying. The poem decribes blackberries in three ways. First the berries are described during the harvest and the great sensations you get while picking them. The second to define what happens when the berries get over developed and they end up falling off the bushes by themselves. The third part of the poem tells about how the mood can be switched from picking good berries to seeing the berries too ripe and falling off the bushes. The blackberries are fun to pick and very juicy. The consist of red and blue juices which, get all over your fingers when you pick them. The blackberries fill with flies when they are not picked right away, and the flies reun all the berries and there is nothing to pick. The only other thing that can make a person happy after the blackberries are gone is the sea, but the sea doesn’t come over often between the hills which, leave the place empty.

I think that Plath didn’t have a great life or rather felt her life was bad even when it wasn’t. The only thing that kept her motivated was the fact that where is lived she was able to go pick blackberries. The blackberries made he happy because she felt like she was helping the by picking them when they needed to be picked. She only got sad when she let them go to long and they became to ripe and bad. I think this is a good poem and really reflects how her life sometimes was. She always had ups and downs in her life and one of her high point in life was when she had the chance to pick blackberries.






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Sunday, September 9, 2012

create and develop ideas

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I started the theme Art and Architecture by producing a series of design sheets in a wide range of media across a series of subjects. These include ceramics, d, fine art and textiles. In each subject I started different. For example, in ceramics I started looking at architecture and recreating it. Whilst in textiles I was producing several experiments with different materials.

Within a couple of weeks into term I went to Venice an Barcelona for 5 days where I collected primary research. I also produced observational drawings of what I saw and examples artists work, such as Arman, Rossi, Bennoton, Pomoro and Matise. I also visited galleries. These include Gallerie Dell Academia and The International Galleria of Modern art.

On my return I worked into the initial sketches from Venice and Barcelona using a. variety of media including sowing, perspex, clay, watercolour, etching and paints. I liked the etching best as this was a new media and process to me and I was looking forward to work with it. I also achieved a series of good quality prints which I will mount. I also did the same into my design sheets

Once I got my design sheets going I started developing test pieces and maquettes using my influence of Venice and Barcelona my drawings/paintings and artists. I experimented with different mark making techniques using ink, mono printing and paints. I also had a go on the sowing machine trying to recreate a photograph of Venice I took. I found this quite hard at first but with time and practise I improved and felt more confident using the sowing machine. I glazed my test pieces which I made in ceramics as well using a variety of different glazes because I wanted to see what different glazes to with different oxides.




I have learnt a lot about different techniques and process throughout this term. They include etching, using a sowing machine and developed mono printing. If I had to do this unit again I would liked to develop more by using more glazes and oxides as it would give me more of an variety of different effects you can achieve. I would have liked more time to develop my d model as I found it hard to join the rods together and took me over a week to come up with a solution. I am now ready to take my ideas further to develop a final outcome.



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Saturday, September 1, 2012

"How I express my creativity"

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Creative self expression is, above all things, an art; it allows a person to translate intangible feelings and emotions�the essence of their being�to something the world can see and, at best, understand. For me, expressing my creativity is executed in an array of behaviors, including singing and the arts, but most predominately, through writing.

My greatest love will always be the manipulation of the written word. As a -year old-child, I would often sit wide-eyed in the hallway with my girlfriend Leila during those precious increments of “free time”, penning elaborate short stories of Barbies, witches, and laughable relatives, our curious minds filled to the brim with elan and youthful enthusiasm. Writing was an outlet, a release�some otherworldly place that I was welcomed into; a place far transcending the mediocrity and unevenness of a seemingly prosaic life.

As a young teenager, I discovered the unbelievable relief that came with writing poetry. When my boyfriend, Alex, relentlessly broke my heart, I turned not to my parents, or deviant behavior, or even to tears, but rather, to the comfort and solace of my Ticonderoga # and crisp white sheets of fluttery heaven. It indeed was quite a prolific period, and looking back on it now, the ordeal itself seemed so inconsequential. But I know intrinsically that without the hours of scrawling raw, overly sentimental lyrics, my broken heart may never have mended.

Freshman English was an artistic category unto itself. On countless occasions we were to write poems, stories, essays, responses. The most memorable of assignments were the adaptation of the George Ella Lyon “I am from” poem and the essay on the Aeniad, where we had to assume the role of one of the characters. Both works were the recipients of meritorious praise, but more importantly, personal growth. The way I could shed my skin and become Queen Dido, embody the sheer quintessence of the heartbroken deity, showed me how much writing could mean.




During my junior year, my affection for creative writing was augmented even further, due to the inspiration and energy of my English teacher, Ms. Karasek. Throughout the year we were given coursework where our literary techniques were displayed in diverse formats. Incontrovertibly my favorite assignment consisted of writing a short story containing elements of Romanticism. I chose to illustrate the dismal and depressing life of a teenage girl who wished to commit suicide a la Edgar Allen Poe. Although my story far exceeded the two-page minimum, (in fact it was upwards of 14,000 words), the excitement and pure unadulterated high that it yielded made every hour worthwhile.

Even as I sit typing this essay, it is not a burden or a chore. It is not some horrible obligation that has been looming in the back of my mind for weeks and haunting me with its ubiquitous and pressing existence. In fact, it is somewhat therapeutic, for it grants me the opportunity to recapitulate just how much creative expression through writing has enhanced my life.



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