This paper reports a study into the relationship between the configuration of the process of Strategic Information Systems Planning (SISP) and the success of SISP. SISP is an important activity in the alignment of information technology systems and services to business requirements. However, despite the obvious importance of a proper planning of information technology and information systems in organizations, success of SISP is not evident. And as the success of SISP is also influenced by the process followed in developing the SISP, the research question for this study was, “How does the configuration of the SISP process influence the success of the SISP?” Based on an explorative multi case study, we concluded that the specificity and comprehensiveness of strategies, goals and decisions in an organization has a positive effect on the success of SISP. Another conclusion was that a more dominant role of the IS/IT organization in the SISP process influences the quality of the SISP deliverable positively, but has a negative effect on the building of partnership between business and IT in the organization. A final conclusion was that following a formal SISP methodology does not seem to have an effect on the success of SISP. These findings provide guidance for practitioners that plan to develop an SISP as part of their efforts to align business and IT.
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Research on how music artists generate sales from their content through different platforms is scant. In this study, configuration theory is used to show that different market access configurations are viable simultaneously and that young musicians differ significantly in how they generate revenues. Using data on the media and sales performance of 338 young musicians in the Netherlands, we show that there is an ‘Emerging Star’ group (7–13% of artists depending on regional scope) and that record labels play an important role in this configuration providing broad media access on all platforms, both old and new. Digital age ‘Independents’ (14% of young artists), mostly without a record label, seem to benefit from the use of social media while exploiting synergies around live music. All artists in the remaining groups ‘Question Marks’ and ‘Hobbyists’ experience low to very low performance on all platforms. This study shows that configuration theory can provide detailed insight into viable and unviable marketing strategies. In particular, it shows that the globally declining music CD platform can still be very important for specific artists that exploit synergies between live performances, on-site CD sales and social media fan relationship management. The implications for marketing theory and young music artists are discussed. Om het artikel te kunnen lezen dient het gekocht te worden: http://www.tandfonline.com/doi/abs/10.1080/0267257X.2015.1034158
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The focus of this chapter is the customer journey, a concept which has emerged from business practice and which now commands the attention of practitioners and academics alike. The customer journey is defined as the sum total of all customer interactions with a product, brand or organization across multiple channels and touchpoints. The customer journey is still primarily a concept from business practice and is an immature field for academics. As a result, we draw upon existing literature streams which are not directly focused on the customer journey, but which deliver key insights and enable us to build understanding. Specifically, we draw upon multichannel management and services management research and demonstrate how these knowledge streams help to build understanding of the dynamics of the customer as they move along their journey. We present a detailed examination of one specific form of customer journey, the shopper journey, and assess the drivers of shopping channel choice and journey configuration. The evolution of the shopper journey from single channel, through multichannel, to omnichannel is discussed. The chapter then moves on to discuss the service journey, broadening the journey perspective from the act of shopping to the holistic experience of service consumption. The key role of the customer in co-creating value along the service journey is identified, and we note the importance of personalization and of understanding customers’ relational needs to service journey optimization. Next, we examine the role that customer journey mapping can play in helping organizations to understand and improve their customers’ current journey configurations, and in informing future service journey design. The challenges inherent in measuring the customer experience along the journey are discussed, and alternative customer journey metrics are evaluated. The chapter concludes with our reflections on the current state of knowledge and we identify future directions for customer journey research and also future challenges for business practice.
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The PhD research by Joris Weijdom studies the impact of collective embodied design techniques in collaborative mixed-reality environments (CMRE) in art- and engineering design practice and education. He aims to stimulate invention and innovation from an early stage of the collective design process.Joris combines theory and practice from the performing arts, human-computer interaction, and engineering to develop CMRE configurations, strategies for its creative implementation, and an embodied immersive learning pedagogy for students and professionals.This lecture was given at the Transmedia Arts seminar of the Mahindra Humanities Center of Harvard University. In this lecture, Joris Weijdom discusses critical concepts, such as embodiment, presence, and immersion, that concern mixed-reality design in the performing arts. He introduces examples from his practice and interdisciplinary projects of other artists.About the researchMultiple research areas now support the idea that embodiment is an underpinning of cognition, suggesting new discovery and learning approaches through full-body engagement with the virtual environment. Furthermore, improvisation and immediate reflection on the experience itself, common creative strategies in artist training and practice, are central when inventing something new. In this research, a new embodied design method, entitled Performative prototyping, has been developed to enable interdisciplinary collective design processes in CMRE’s and offers a vocabulary of multiple perspectives to reflect on its outcomes.Studies also find that engineering education values creativity in design processes, but often disregards the potential of full-body improvisation in generating and refining ideas. Conversely, artists lack the technical know-how to utilize mixed-reality technologies in their design process. This know-how from multiple disciplines is thus combined and explored in this research, connecting concepts and discourse from human-computer interaction and media- and performance studies.This research is a collaboration of the University of Twente, Utrecht University, and HKU University of the Arts Utrecht. This research is partly financed by the Dutch Research Council (NWO).Mixed-reality experiences merge real and virtual environments in which physical and digital spaces, objects, and actors co-exist and interact in real-time. Collaborative Mix-Reality Environments, or CMRE's, enable creative design- and learning processes through full-body interaction with spatial manifestations of mediated ideas and concepts, as live-puppeteered or automated real-time computer-generated content. It employs large-scale projection mapping techniques, motion-capture, augmented- and virtual reality technologies, and networked real-time 3D environments in various inter-connected configurations.This keynote was given at the IETM Plenary meeting in Amsterdam for more than 500 theatre and performing arts professionals. It addresses the following questions in a roller coaster ride of thought-provoking ideas and examples from the world of technology, media, and theatre:What do current developments like Mixed Reality, Transmedia, and The Internet of Things mean for telling stories and creating theatrical experiences? How do we design performances on multiple "stages" and relate to our audiences when they become co-creators?Contactjoris.weijdom@hku.nl / LinkedIn profileThis research is part of the professorship Performative Processes
