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About recent postings related to Knowledge Management, I leave an interesting video on how to make Internet searches more efficient. I also add another on Twitter.

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Networking: Open Possibilities Part II Social Capital and Innovation

This simple model networking is also replicable in the context of application for positions work, search for business opportunities or a business angel . According to traditional classification, we could say that adapts to the three types of networking that literature has identified: operational, personal and strategic.

course here, one of the key elements relates to the concept of "networks" and the way in which each person is connected with other united by common interests. The rise of social technologies and offers an excellent context rich in tools that facilitate the establishment of networks for different purposes (to get jobs, share information, business, etc.)

While larger and more robust than networks to build a person, the greater the benefits you get from your network. Facebook, Linkedin, Twitter, blogs, forums and more. are paradigmatic examples this. Learning to use these tools is a concrete way to optimize our capabilities networking, creating new communication channels and opening new possibilities for action.

Finally, the issue of networking is becoming increasingly effective in the world of management and fortunately there is plenty of theory and tools to learn a lot from him. The advances can be made here, will provide stakeholders very valuable tools and skills.

Networking: Open Possibilities Part I

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I leave this interesting article in the Harvard Business Review on how it relates to the Social Capital and Innovation. When

Social Innovation Capital Stifler

by Richard Florida , Robert Cushing, Gary Gates and

Regions WHERE tight social ties Are May Be The worst places for creative Operations.

Have Notions about innovation is undergone a change in the last decade. Where Once We Embrace the idea of \u200b\u200bthe lone scientist or entrepreneur and divine inspiration, we now see networks of creative people collaborating in the myriad steps from brainstorm to finished product. This new understanding has aligned perfectly with the emerging concept of social capital, the idea that strong social networks—tight communities bound by shared norms, trust, and reciprocity—enhance cooperation and productivity. When people belong to communities with high levels of social capital, the theory goes, they’re far more willing to work together and take chances on risky ideas. It followed that high social capital would fuel innovation.

Our studies of regional innovation and economic development, however, show just the opposite. In independent ongoing research projects, we looked at hundreds of metropolitan areas in the United States, comparing levels of social capital and levels of innovation (as measured by technological intensity and number of patents filed). We found that areas with low levels of innovation—such as Bismarck, North Dakota; Birmingham, Alabama; and Cleveland—scored high on social capital. Conversely, areas that did well on innovation—Seattle; Boulder, Colorado; and the San Francisco Bay area—tended to have below-average levels of social capital.

Why? Research has shown that weighing against the benefits that strong ties create is another dynamic. Relationships can get so strong that the community becomes complacent and insulated from outside information and challenges. Strong ties can also promote the sort of conformity that undermines innovation. Weak ties, on the other hand, allow a basic level of information sharing and collaboration while permitting newcomers with different ideas to be accepted quickly into the social network. Thus, social groups with weak ties could be expected to encourage innovative thinking.

This finding has implications for where companies locate their operations. We found two seemingly unrelated indexes to be excellent predictors of a region’s level of innovative activity. The first assesses an area’s social tolerance and diversity by estimating its proportion of gay couples in the population—the so-called gay index. The second, the bohemian index, measures cultural activity by determining the proportion of artists such as musicians, designers, writers, actors, photographers, and dancers in the labor force. Regions that rank high on the gay and bohemian indexes are likely to have the weaker social ties that promote innovation. Of the 206 regions we measured, San Francisco, Seattle, and Washington DC rank in the top ten on the bohemian and gay indexes, as well as on one of our key measures of innovative activity.

Increasingly, creative people are choosing not to live in places with high social capital. Instead, they’re flowing to environments with low social capital, cities and college towns where they can fit in quickly but still find their ideas challenged by other people, whether in business or the arts. These Findings Have Implications for nurturing innovation companies Within as well. Companies That foster diversity and Openness Internally-even at the cost of cohesiveness-May Some Do Better in Attracting talented, creative and encouraging Innovative Collaboration empleados.

See article in context:

http://hbr.org/2002/08/when-social-capital-stifles-innovation/ar/1

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Networking: Open Possibilities Part I of Neurophysiology

What differentiates successful leaders who are not so?
His networking, namely the creation of a group of people who provide support, feedback and resources you need to make things done. Many people, however, avoid such practices as in any way manipulative or biased, or simply because they say they have no time for them.
The truth is that with the overabundance of information, the growing complexity of processes and the fierce market competition, the world of management has responded by emphasizing the importance of teamwork and the ability to network or networking. The notion of "distributed knowledge" assumes that information is everywhere and that the only way to keep up there is through a network of information built upon the contributions of people with common interests.

What we understand as networking?
is the set of relationships aimed at achieving goals and develop personally and professionally. May include activities such as sending an email, talking on the phone, play golf or have a coffee with someone.
Consider the example of a top executive who wanted to stay very current on their fields of interest. It would be naive to think that utopia would be able to search and process all the information you need to know to succeed. The truth is that you can only get this in so far that has a network of people that suggests, says, "linkee" or criticize an article, a blog, a documentary or a book. In any case, this network could be any type of community, researchers, quality circle (in organizations) and amateurs are connected and may generate a flow of information.

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Here is some short videos showing interesting about the neurons, nerve transmission and nerve impulses

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PACOPÜKK, INNOVATIVE ULTIMATE MUSICIAN HIRFLÖ

Pacopükk, is undoubtedly one of the musicians of the ethnicity of most projected hirflös in the music scene Mincha Planet.
This artist has turned his musical limitations as a weapon in his favor. Influenced by the folklore of Ardos, among other styles, has cultivated an innovative style and even with the inclusion of percussion parts in many of his tunes Zitarrosa, giving a new air and creating a new style when playing this common tool in many areas and musicians on the planet.
Another of his contributions to music that has spread around the globe is to tap with its peak at the same time manage their hands thus achieving a greater degree of tunes on the mast of Zitarrosa.
There are performers and composers with much higher quality Zitarrosa technique Pacopükk the global landscape. Yet few people manage to catch the public with the ease and self-confidence of this individual and all thanks to his enormous creativity.
Many of his compositions are inspired by the environments in the region of Verdi, which was raised and currently reside.
We hear one of them, entitled "Verdi does not reassure me," in which to appreciate the good work when mixing strings and percussion on the Zitarrosa. Fixed icon that accompanies this piece is taken from a concert in a tavern known arduous.

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Metrics and dramatic structure

Fausta Antonucci (ed.), Metrics and dramatic structure in the theater of Lope de Vega , Kassel, Reichenberger, 2007. ISBN 973-3-937734-41-5.

Handbook Author: Javier Rubiera

Université de Montréal. Fausta Antonucci

released two years ago this book collects several valuable contributions on a topic that fortunately has become increasingly interesting to researchers from the Golden Age theater, theatrical text segmentation and the role of metrics in relation to the dramatic structure in this case exemplified in various comedies of Lope de Vega.

is an article from 1998 Marc Vits on "Polarimetry and dramatic structures in the poultry comedy seventeenth century" ( The writer and the scene, VI) in which, as exemplified The Trickster of Seville, developed and sustained arguments in his famous thèse d'Etat published ten years earlier. Vits there defending the absolute priority of the metric approach in the structuring of the play, as opposed to those proposed as a priority the division of each day in "frames", in which as Vits would reveal the absolute primacy accorded to certain critics wrong spatial elements. This text of 1998-which has been replicated cordial debate JM Ruano de la Haza in an essential article in Done theatrical (n º 7, 2007) - was spurred in another article on the segmentation of Peribáñez , Fausta Antonucci explore in the year 2000 ( Yearbook Lope de Vega, VI ) the scope of the analysis method proposed by Vits analysis was based on the one hand, the distinction between metrical forms encompassing and encompassed metric forms and, secondly, the recognition and role of "sequences" or basic metric units. Between 2003 and 2005 were invited to Rome Tre Italian by Professor Marc Vits, Güell and Delia Monica Gavela to discuss metric and structural issues in the comedy, while his host was involved with these concerns, as evidenced by the segmentation hypothesis The affectations of Belisa and Belisa The gallantry of working for then with their students. Manuela Silerio, with many personal contributions, reworked in an article in this book the results of these classes with Fausta Antonucci.

This volume published by Edition Reichenberger, and that the same editor is in a sense as the minutes of a special seminar, includes texts of the five researchers together in Rome and at different times around a same question that has been getting criticism for decades: beyond the uses explicitly included in the new Art what role does Polarimetry in the comedies of Lope and how to explain the structural value and structuring such a variety of meters on with the dramatic action?

Foremost among the large contribution of Fausta Antonucci, who also edited the volume makes a perfect introduction to the subject through a "state of affairs" by going on parade, including the positions of John E. Varey, Diego Marín, V. Dixon, Ruano de la Haza and Marc Vits, in whom particular stop, since it is the starting point of the 2000 article we referred to above and which includes as Appendix now ("More on the segmentation of the play: the case of Peribáñez and the Commander of Ocaña ) . Antonucci explains with great clarity Vits approaches, emphasizes what he considers his successes and shows some objections or limitations of their analytical method, based on segmentation as a key measure of dramatic structure, method "extremely useful and fruitful results" (p . 15), although perhaps too categorically deny the importance of space in the building of the play.

rigor is admirable Antonucci to discuss the arguments do not convince and elegance in the way of dissent from the positions of Professor Vits, who describes himself as "stubborn champion of the supremacy of metric structural criteria on spatial approach "(p. 192).

Following the introduction, the first article is also collected Antonucci and he looks at three pieces of Lope, dated between 1596 and 1603, containing chivalrous characters cycle Carolingian The Marquis of Mantua, Galiana Palaces and The youth of Roland.

We are two articles Delia Gavela, Monica Güell and Manuela Silerio which carefully examines the segmentation of several comedies Lopes from different eras, combining testing and mainly the analysis criteria and Marc Vits Ruano de la Haza. Delia Gavela analyzes the beauty prize , custom comedy represented in 1611 by members of the royal family and court ladies in the park of the town of Lerma. Güell Monica devotes his attention to the dramatic and aesthetic uses of versification in The dog in the manger and Manuela Silerio deals to clarify differences of dramatic organization in two different urban comedies times Lope de Vega, Belisa The fuss (from to 1607) and The gallantry of Belisa (1634). Finally Marc Vits, inspiring much of a widely used method, with some qualifications, by previous researchers, responds with verve, good humor and with renewed weapons to the proposals and hypotheses about the Peribáñez that Antonucci had made in the 2000 and, as mentioned, are collected in a final Appendix. As a result of reviewing the work of Antonucci and his own careful analysis Peribáñez , Vits argues that both approaches are "perfectly legitimate", but lead to 'divergent interpretations of the work practices examined "(p. 199).

I can not hide that, while admiring the subtlety and thoroughness with which Marc Vits conducts its analysis, the final leg of their exposure leads to a very desirable not know if complication, which curls the curl of the macro-, meso-and microsequences and variations on the "globe" (encompassing, subsumed, semienglobada ...). On the other hand, it is surprising that the teacher be able to distinguish Vits so perceptively to the smallest detail to find the nuances in a very complex picture ( Car nous voulons the Nuance Encor ...) but insist on summarizing its position on reducing extreme forms as the paramount in repeating that in the comedy Omnia tempus regit , determined not to recognize the structural value and structuring space. I share much the tone of his final thoughts when he insists that "there is no segmentation in the work of the golden play, nothing can be done automatically, no method that can be applied mechanically. If I am convinced that [...] exists between the conventions of writing comedy, the system, silent but sure, the metrical structure, I am also convinced that each specific translation This structural principle is 'original', that each work can offer a combination studied combinatorial [sic] different from the same constituent elements of the invention unparalleled theatrical polymetry golden "(p. 201).

This book highlights the importance of studying the role of Polarimetry in the Golden Age theater, which also devoted its attention in recent years other researchers as Christophe Couderc, Leonor Guillermo Fernández, Emmanuelle Garnier, Melchora Romans or Pedro Ruiz Pérez, for example, which I think shows a renewed interest in this topic.

All items are accompanied by books reviewed of explanatory tables collected from each studied comedy detailed information in relation to the type of diversification, segmentation into tables indicating the time when the stage is empty, and microsequences macrosequences (Vits's terminology) and other criteria which vary according to the researcher (action, space, weather, scenery, characters). These tables and their corresponding analysis, are invaluable idea to go slowly becoming a drama as large and complex as that of Lope, which adequately meet here examples of comedies that come from different eras, belonging to different genera and were designed for public spaces and diverse. The hardest thing is to move from anecdote to the class, draw general conclusions from a work or a limited number of cases, especially if you want to jump to Lope consideration of Comedy, as changing over XVII century. Without leaving Lope, how to conciliate the case of El arenal de Sevilla , written in quatrains in almost 95%, with no cleaning stained , where changes are noted verse 54? One must be very cautious to generalize the findings from case very interesting in themselves, but may not be very representative of trends general. For my part, on questions of segmentation of the dramatic text, the concept of "frame" and the "scene" I put my room to swords soon, but the record that, for starters, I stand in line Fausta Antonucci when he advocates see the joint together and the spatial metric, but obviously this can be done in many different ways. Antonucci agree to recognize as she did at the end of his article in 2000 that "even if we accept, with VITS, estucturante primacy of audibility (or legible, which is now perceived as more clearly the game polymetric), no that forget the visual reality of the theater, and the importance in their interpretation of any visible signs that this is, first of all entrances and exits of the characters to the stage where it represents the work "(p. 227).

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Moretiana. Adverse and prosperous fortune Agustín Moreto

M ª Luisa Lobato and Juan A. Berbel Martínez (Eds.), Moretiana. Adverse and prosperous fortune Moreto Augustine, Madrid - Frankfurt, Iberoamericana - Vervuert, 2008, 371 p. ISBN: 978-84-8489-400-1

*** Link to the publisher on the cover, link to the online volume, Google Scholar, the volume title

*** Reviewer: Sophia

Cantalapiedra Delgado University of Barcelona

days 6 to 9 November 2006 was held at the University of Burgos the first International Congress dedicated to Agustín Moreto under the title "dramatic and practical strategies Augustine theatrical Moreto. International Congress of the Golden Theater, coordinated by Maria Luisa Lobato and Juan A. Martínez Berber. The result of this meeting appears in this volume entitled: Moretiana. Adverse and prosperous fortune Moreto Augustine, whose need is to show the scientific community question the status of the studies devoted to the figure of one of the most important dramatists of the seventeenth century, under the pen of the best specialists moretianos and theater of the Golden Age Sixteen items are divided into four sections which form the body of the volume, whose introduction and M ª Luisa Lobato says the need to recover the "adverse" dramaturgy Moreto fortune, it is the first monograph devoted to the author in Madrid after the studies of Kennedy (1932), Caldera (1960), House (1966), Castaneda (1974) and Mackenzie (1994).

The first section focuses on the theatrical company which Moreto Augustine played a dynamic, whose article, Maria Luisa Lobato shows the great activity of the author of The disdain with disdain as a businessman and playwright between 1637 and 1654, together with the authors of the most famous companies in the first half of the seventeenth century as Antonio Garcia de Prado, Prado Sebastián , Gaspar Fernández de Valdés, Juan Vivas and Diego Osorio, among others. Zugasti Miguel, meanwhile, leads the reader through the vicissitudes suffered by the autograph manuscript The power of friendship at stake against censors, editors, printers and comedians to his appearance in 1654, in Part comedy of D. Agustín Moreto and Shack. Esther Borrego and Luciano Lorenzo García study the reception of the work of the playwright. The first analyzes the mixture in which The force of the law , integrates elements of a pattern of burlesque tragedy of honor, possibly due to attrition over the decades suffered the genre and led to the playwrights to seek new ways to keep the 'applause of the people. " The second, in line with its research and teaching, which gives us great light to young researchers in analyzing the assembly of our playwrights golden-analyzes and compiles Moreto presence in the English scene from 1939 to 2006, showing that The disdain with contempt and The wonderful Don Diego works have been represented so far.

The second section focuses on the techniques of dramatic writing at the time of Moreto. Are responsible for rewriting and Abraham Blessed Baczynska Madroñal. The Polish scholar analyzes the consolidation of 's best friend, King, from comedy Caution against caution, attributed to Tirso, "giving greater cohesion to the plot and characters greater transparency" in the words of Baczynska. Do not forget that Moreto was and has been known for the famous Jerome molestation Cancer y Velasco, which portrayed the playwright (re) writing "Old Comedy", a rewrite that in the case of these works, achieves the highest quality in the model of the New Comedy. For his part, Abraham Madroñal analyzes the process of rewriting between Similar and The similarity in the Court, case where the editor notes that the first is a shorter version, possibly due to the demands of a company to suit theatrical representation, while the second appears to be the version closest to the author's will. Juan Antonio Martínez Berbel offers a valuable and useful tool for structural analysis and dramatic production Moreto Augustine. And Marcella Trambaioli Alessandro Cassol and focus on the study of the collaborative plays within the dramatic corpus Moreto prominently, sharing pen Matos, Cancer or Calderon himself.

The third part includes the analysis of issues in drama moretiana. First, Judith Farr offers a delicate study of comedy Until the end no one is happy, recasting of the work of Guillén de Castro brothers Enemies, in which landscaped areas are the perfect backdrop for the loving intimacy , reflection, the characterization of the beauty of the lady and the outcome. Héctor Brioso analyzes the fun loving slightly "mechanical" in Moreto interludes. Manuel Cornejo offers analysis of the different place names with which Moreto refers to the English capital and in which space plays a role essentially playful. In a historical comedy, Castilla judges, the article focuses Sáez Francisco Raposo, showing that Moreto is based, to create his work, in the character of Ramiro II of León (931-951) as a symbol of the birth of Castilla. For his part, Javier Rubiera The work is licensed glazed, analyzing components not considered so far by the critics: the feigned madness of the protagonist and the subtitle of the play, The fortunes of Charles, that shed light on the correct interpretation of the deed, not the work of Cervantes.

The last section includes studies focused on the interplay of the characters in the theater of Moreto: ladies, gallant and graceful. Ana Suárez Miramón made an anthropological analysis of the figure of the woman in the work moretiana. Delia Gavela focuses on the figure of the gallant "roguish" in the sitcoms and Elena Di Pinto discusses the importance of funny The wonderful Don Diego.

We, therefore, before the first volume devoted to analyzing the dramatic moretiana the hand of the best specialists, that print and now turning the wheel of the goddess Fortuna, returning to Augustine Moreto of prosperous fortunes adversely.

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