Question
Today, in the digital age, who owns information owns the future. In this digital world, we face a fundamental choice between open and closed. In an open world information is shared by all freely available to everyone. In a closed world information is exclusively owned and controlled by a few. Today, we live in a closed world a world of extraordinary and growing concentrations in power and wealth. A world where innovation is held back and distorted by the dead hand of monopoly; where essential medicines are affordable only to the rich, where freedom is threatened by manipulation, exclusion and exploitation; and each click you make, every step you take, they will be watching you. By contrast, in an open world all of us would be enriched by the freedom to use, enjoy and build on everything from statistics and research to newspaper stories and books, from software and films to music and medical fomulae. In an open world, we would pay innovators and creators more and more fairly, using market-driven remuneration rights in place of intellectual property monopoly rights. As they have improved, digital technologies have taken on ever more of the tasks that humans used to do, from manufacturing cars to scheduling appointments. And in the next few decades, artificial intelligence may well be not only driving our cars for us but drafting legal contracts and performing surgery. On the face of it, we have much to gain if machines can spare us tedious or routine tasks and perform them with greater accuracy. The danger, though, is that robots run on information-software, data algorithms and at present the ownership of this sort of information is unequal. And because it is protected by our closed system of intellectual property rights.
Que. The crux of the passage contains the following statements:
(a) Digital technology is dangerous
(b) Those who own information will own the future
(c) Artificial intelligence will do the human tasks
(d) Monopoly of digital technology has led to unequal ownership of information
(e) Intellectual property rights should be protected in an open world
a.
(a), (b) and (c)
b.
(b), (c) and (d)
c.
c), (d) and (e)
d.
(d), (e) and (a)
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Q. Read the passage carefully and answer question: Today, in the digital age, who owns information owns the future. In this digital world, we face a fundamental choice between open...
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The last great war, which nearly shook the foundations of the modern world, had little impact on Indian literature beyond aggravating the popular revulsion against violence and adding to the growing disillusionment with the ‘humane pretensions’ of the Western World. This was eloquently voiced in Tagore’s later poems and his last testament, Crisis in Civilization. The Indian intelligentsia was in a state of moral dilemma. On the one hand, it could not help sympathising with England’s dogged courage in the hour of peril, with the Russians fighting with their backs on the wall against ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under the military occupation of their own soil, and an Indian army under Subhas Bose was trying from the opposite camp to liberate their country. No creative impulse could issue from such confusion of loyalties. One would imagine that the achievement of Indian independence in 1947, which came in the wake of the Allies’ victory and was followed by collapse of colonialism in the neighbouring countries of South-East Asia, would have released an upsurge of creative energy. No doubt it did, but unfortunately it was soon submerged in the great agony of partition, with its inhuman slaughter of the innocents and the uprooting of millions of people from their homeland, followed by the martyrdom of Mahatma Gandhi. These tragedies, along with Pakistan’s Invasion of Kashmir and its later atrocities in Bangladesh, did indeed provoke a poignant writing, particularly in the languages of the regions most affected, Bengali, Hindi, Kashmiri, Punjabi, Sindhi and Urdu. Both poignant or passionate writing does not by itself make great literature. What reserves of enthusiasm and confidence survived these disasters have been mainly absorbed in the task of national reconstruction and economic development. Great literature has always emerged out of chains of convulsions. Indian literature is richer today in volume, range and variety than it ever was in the past.
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The last great war, which nearly shook the foundations of the modern world, had little impact on Indian literature beyond aggravating the popular revulsion against violence and adding to the growing disillusionment with the ‘humane pretensions’ of the Western World. This was eloquently voiced in Tagore’s later poems and his last testament, Crisis in Civilization. The Indian intelligentsia was in a state of moral dilemma. On the one hand, it could not help sympathising with England’s dogged courage in the hour of peril, with the Russians fighting with their backs on the wall against ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under the military occupation of their own soil, and an Indian army under Subhas Bose was trying from the opposite camp to liberate their country. No creative impulse could issue from such confusion of loyalties. One would imagine that the achievement of Indian independence in 1947, which came in the wake of the Allies’ victory and was followed by collapse of colonialism in the neighbouring countries of South-East Asia, would have released an upsurge of creative energy. No doubt it did, but unfortunately it was soon submerged in the great agony of partition, with its inhuman slaughter of the innocents and the uprooting of millions of people from their homeland, followed by the martyrdom of Mahatma Gandhi. These tragedies, along with Pakistan’s Invasion of Kashmir and its later atrocities in Bangladesh, did indeed provoke a poignant writing, particularly in the languages of the regions most affected, Bengali, Hindi, Kashmiri, Punjabi, Sindhi and Urdu. Both poignant or passionate writing does not by itself make great literature. What reserves of enthusiasm and confidence survived these disasters have been mainly absorbed in the task of national reconstruction and economic development. Great literature has always emerged out of chains of convulsions. Indian literature is richer today in volume, range and variety than it ever was in the past.
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The last great war, which nearly shook the foundations of the modern world, had little impact on Indian literature beyond aggravating the popular revulsion against violence and adding to the growing disillusionment with the ‘humane pretensions’ of the Western World. This was eloquently voiced in Tagore’s later poems and his last testament, Crisis in Civilization. The Indian intelligentsia was in a state of moral dilemma. On the one hand, it could not help sympathising with England’s dogged courage in the hour of peril, with the Russians fighting with their backs on the wall against ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under the military occupation of their own soil, and an Indian army under Subhas Bose was trying from the opposite camp to liberate their country. No creative impulse could issue from such confusion of loyalties. One would imagine that the achievement of Indian independence in 1947, which came in the wake of the Allies’ victory and was followed by collapse of colonialism in the neighbouring countries of South-East Asia, would have released an upsurge of creative energy. No doubt it did, but unfortunately it was soon submerged in the great agony of partition, with its inhuman slaughter of the innocents and the uprooting of millions of people from their homeland, followed by the martyrdom of Mahatma Gandhi. These tragedies, along with Pakistan’s Invasion of Kashmir and its later atrocities in Bangladesh, did indeed provoke a poignant writing, particularly in the languages of the regions most affected, Bengali, Hindi, Kashmiri, Punjabi, Sindhi and Urdu. Both poignant or passionate writing does not by itself make great literature. What reserves of enthusiasm and confidence survived these disasters have been mainly absorbed in the task of national reconstruction and economic development. Great literature has always emerged out of chains of convulsions. Indian literature is richer today in volume, range and variety than it ever was in the past.
Que. What was the aftermath that survived tragedies in Kashmir and Bangladesh?
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The last great war, which nearly shook the foundations of the modern world, had little impact on Indian literature beyond aggravating the popular revulsion against violence and adding to the growing disillusionment with the ‘humane pretensions’ of the Western World. This was eloquently voiced in Tagore’s later poems and his last testament, Crisis in Civilization. The Indian intelligentsia was in a state of moral dilemma. On the one hand, it could not help sympathising with England’s dogged courage in the hour of peril, with the Russians fighting with their backs on the wall against ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under the military occupation of their own soil, and an Indian army under Subhas Bose was trying from the opposite camp to liberate their country. No creative impulse could issue from such confusion of loyalties. One would imagine that the achievement of Indian independence in 1947, which came in the wake of the Allies’ victory and was followed by collapse of colonialism in the neighbouring countries of South-East Asia, would have released an upsurge of creative energy. No doubt it did, but unfortunately it was soon submerged in the great agony of partition, with its inhuman slaughter of the innocents and the uprooting of millions of people from their homeland, followed by the martyrdom of Mahatma Gandhi. These tragedies, along with Pakistan’s Invasion of Kashmir and its later atrocities in Bangladesh, did indeed provoke a poignant writing, particularly in the languages of the regions most affected, Bengali, Hindi, Kashmiri, Punjabi, Sindhi and Urdu. Both poignant or passionate writing does not by itself make great literature. What reserves of enthusiasm and confidence survived these disasters have been mainly absorbed in the task of national reconstruction and economic development. Great literature has always emerged out of chains of convulsions. Indian literature is richer today in volume, range and variety than it ever was in the past.
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The last great war, which nearly shook the foundations of the modern world, had little impact on Indian literature beyond aggravating the popular revulsion against violence and adding to the growing disillusionment with the ‘humane pretensions’ of the Western World. This was eloquently voiced in Tagore’s later poems and his last testament, Crisis in Civilization. The Indian intelligentsia was in a state of moral dilemma. On the one hand, it could not help sympathising with England’s dogged courage in the hour of peril, with the Russians fighting with their backs on the wall against ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under the military occupation of their own soil, and an Indian army under Subhas Bose was trying from the opposite camp to liberate their country. No creative impulse could issue from such confusion of loyalties. One would imagine that the achievement of Indian independence in 1947, which came in the wake of the Allies’ victory and was followed by collapse of colonialism in the neighbouring countries of South-East Asia, would have released an upsurge of creative energy. No doubt it did, but unfortunately it was soon submerged in the great agony of partition, with its inhuman slaughter of the innocents and the uprooting of millions of people from their homeland, followed by the martyrdom of Mahatma Gandhi. These tragedies, along with Pakistan’s Invasion of Kashmir and its later atrocities in Bangladesh, did indeed provoke a poignant writing, particularly in the languages of the regions most affected, Bengali, Hindi, Kashmiri, Punjabi, Sindhi and Urdu. Both poignant or passionate writing does not by itself make great literature. What reserves of enthusiasm and confidence survived these disasters have been mainly absorbed in the task of national reconstruction and economic development. Great literature has always emerged out of chains of convulsions. Indian literature is richer today in volume, range and variety than it ever was in the past.
Que. What was the impact of the last great war on Indian literature?
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Q. Read the following passage carefully and answer the following question:
The last great war, which nearly shook the foundations of the modern world, had little impact on Indian literature beyond aggravating the popular revulsion against violence and adding to the growing disillusionment with the ‘humane pretensions’ of the Western World. This was eloquently voiced in Tagore’s later poems and his last testament, Crisis in Civilization. The Indian intelligentsia was in a state of moral dilemma. On the one hand, it could not help sympathising with England’s dogged courage in the hour of peril, with the Russians fighting with their backs on the wall against ruthless Nazi hordes, and with China groaning under the heel of Japanese militarism; on the other hand, their own country was practically under the military occupation of their own soil, and an Indian army under Subhas Bose was trying from the opposite camp to liberate their country. No creative impulse could issue from such confusion of loyalties. One would imagine that the achievement of Indian independence in 1947, which came in the wake of the Allies’ victory and was followed by collapse of colonialism in the neighbouring countries of South-East Asia, would have released an upsurge of creative energy. No doubt it did, but unfortunately it was soon submerged in the great agony of partition, with its inhuman slaughter of the innocents and the uprooting of millions of people from their homeland, followed by the martyrdom of Mahatma Gandhi. These tragedies, along with Pakistan’s Invasion of Kashmir and its later atrocities in Bangladesh, did indeed provoke a poignant writing, particularly in the languages of the regions most affected, Bengali, Hindi, Kashmiri, Punjabi, Sindhi and Urdu. Both poignant or passionate writing does not by itself make great literature. What reserves of enthusiasm and confidence survived these disasters have been mainly absorbed in the task of national reconstruction and economic development. Great literature has always emerged out of chains of convulsions. Indian literature is richer today in volume, range and variety than it ever was in the past.
Que. What did Tagore articulate in his last testament?
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Many aspects of the motion-picture industry and its constituent companies are dissimilar to those observable in advanced-technology industries and firms. For instance, company longevity does not represent a consistent concern across the two organisational contexts. In the advanced-technology company for example, one new-product innovation – which is expected to generate financial returns to the firm – is insufficient for the company to be successful.
Rather, a stream of new product innovations is required. By contrast with the independent production company of this case, each new film – which is expected to generate financial returns to the principals – is sufficient for the company to be successful. Any subsequent new films involving the firm’s participants will be produced by a different independent company.
As another instance, people’s learning is expected to have different contributors and beneficiaries across the two organizational contexts. In the advanced-technology company, for example, each new product innovation provides an opportunity for participants on the project team to learn and acquire experience, and this same company intends to retain such participants, hence, benefit from their increased experience on the next project. By contrast with the independent production company, each new film provides an opportunity for participants on the project team to learn and acquire this experience also, but this same company has little or no expectation of retaining such participants, and hence, benefitting from their increased experience in the next project.
Experience is paramount in the motion-picture industry. Generally, on film projects, budgets are very tight, and schedules are very demanding. People are hired largely based on their experience and are expected to perform well immediately when called to do so. There is negligible slack time or margin for learning through trial and error, but experienced people learn exactly through trial and error. Because experience is valued so highly and film-production houses have such short time horizons, entry into the industry is very difficult for most people. Further, the role played by schools and colleges is minimal in this industry. Some skills and techniques can be learned and refined through formal education (e.g., acting schools, theatre, film degrees), but the majority come through direct experience. Mentoring plays an important role. True, the film business focuses heavily on exploitation over exploration. Yet success of the industry as a whole is critically dependent upon learning and exploration overtime.
Que. What is not a consistent concern across the two organisational contexts ?
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Q. Read the following passage carefully and answer the below question:
Many aspects of the motion-picture industry and its constituent companies are dissimilar to those observable in advanced-technology industries and firms. For instance, company longevity does not represent a consistent concern across the two organisational contexts. In the advanced-technology company for example, one new-product innovation – which is expected to generate financial returns to the firm – is insufficient for the company to be successful.
Rather, a stream of new product innovations is required. By contrast with the independent production company of this case, each new film – which is expected to generate financial returns to the principals – is sufficient for the company to be successful. Any subsequent new films involving the firm’s participants will be produced by a different independent company.
As another instance, people’s learning is expected to have different contributors and beneficiaries across the two organizational contexts. In the advanced-technology company, for example, each new product innovation provides an opportunity for participants on the project team to learn and acquire experience, and this same company intends to retain such participants, hence, benefit from their increased experience on the next project. By contrast with the independent production company, each new film provides an opportunity for participants on the project team to learn and acquire this experience also, but this same company has little or no expectation of retaining such participants, and hence, benefitting from their increased experience in the next project.
Experience is paramount in the motion-picture industry. Generally, on film projects, budgets are very tight, and schedules are very demanding. People are hired largely based on their experience and are expected to perform well immediately when called to do so. There is negligible slack time or margin for learning through trial and error, but experienced people learn exactly through trial and error. Because experience is valued so highly and film-production houses have such short time horizons, entry into the industry is very difficult for most people. Further, the role played by schools and colleges is minimal in this industry. Some skills and techniques can be learned and refined through formal education (e.g., acting schools, theatre, film degrees), but the majority come through direct experience. Mentoring plays an important role. True, the film business focuses heavily on exploitation over exploration. Yet success of the industry as a whole is critically dependent upon learning and exploration overtime.
Que. What will be sufficient for an independent production company to be successful ?
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Q. Read the following passage carefully and answer the below question:
Many aspects of the motion-picture industry and its constituent companies are dissimilar to those observable in advanced-technology industries and firms. For instance, company longevity does not represent a consistent concern across the two organisational contexts. In the advanced-technology company for example, one new-product innovation – which is expected to generate financial returns to the firm – is insufficient for the company to be successful.
Rather, a stream of new product innovations is required. By contrast with the independent production company of this case, each new film – which is expected to generate financial returns to the principals – is sufficient for the company to be successful. Any subsequent new films involving the firm’s participants will be produced by a different independent company.
As another instance, people’s learning is expected to have different contributors and beneficiaries across the two organizational contexts. In the advanced-technology company, for example, each new product innovation provides an opportunity for participants on the project team to learn and acquire experience, and this same company intends to retain such participants, hence, benefit from their increased experience on the next project. By contrast with the independent production company, each new film provides an opportunity for participants on the project team to learn and acquire this experience also, but this same company has little or no expectation of retaining such participants, and hence, benefitting from their increased experience in the next project.
Experience is paramount in the motion-picture industry. Generally, on film projects, budgets are very tight, and schedules are very demanding. People are hired largely based on their experience and are expected to perform well immediately when called to do so. There is negligible slack time or margin for learning through trial and error, but experienced people learn exactly through trial and error. Because experience is valued so highly and film-production houses have such short time horizons, entry into the industry is very difficult for most people. Further, the role played by schools and colleges is minimal in this industry. Some skills and techniques can be learned and refined through formal education (e.g., acting schools, theatre, film degrees), but the majority come through direct experience. Mentoring plays an important role. True, the film business focuses heavily on exploitation over exploration. Yet success of the industry as a whole is critically dependent upon learning and exploration overtime.
Que. What does an advanced-technology company expect from the learning experience of its participants ?
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Q. Read the following passage carefully and answer the below question:
Many aspects of the motion-picture industry and its constituent companies are dissimilar to those observable in advanced-technology industries and firms. For instance, company longevity does not represent a consistent concern across the two organisational contexts. In the advanced-technology company for example, one new-product innovation – which is expected to generate financial returns to the firm – is insufficient for the company to be successful.
Rather, a stream of new product innovations is required. By contrast with the independent production company of this case, each new film – which is expected to generate financial returns to the principals – is sufficient for the company to be successful. Any subsequent new films involving the firm’s participants will be produced by a different independent company.
As another instance, people’s learning is expected to have different contributors and beneficiaries across the two organizational contexts. In the advanced-technology company, for example, each new product innovation provides an opportunity for participants on the project team to learn and acquire experience, and this same company intends to retain such participants, hence, benefit from their increased experience on the next project. By contrast with the independent production company, each new film provides an opportunity for participants on the project team to learn and acquire this experience also, but this same company has little or no expectation of retaining such participants, and hence, benefitting from their increased experience in the next project.
Experience is paramount in the motion-picture industry. Generally, on film projects, budgets are very tight, and schedules are very demanding. People are hired largely based on their experience and are expected to perform well immediately when called to do so. There is negligible slack time or margin for learning through trial and error, but experienced people learn exactly through trial and error. Because experience is valued so highly and film-production houses have such short time horizons, entry into the industry is very difficult for most people. Further, the role played by schools and colleges is minimal in this industry. Some skills and techniques can be learned and refined through formal education (e.g., acting schools, theatre, film degrees), but the majority come through direct experience. Mentoring plays an important role. True, the film business focuses heavily on exploitation over exploration. Yet success of the industry as a whole is critically dependent upon learning and exploration overtime.
Que. What is not the expectation of an independent production company in the case of its participants ?
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Q. Read the following passage carefully and answer the below question:
Many aspects of the motion-picture industry and its constituent companies are dissimilar to those observable in advanced-technology industries and firms. For instance, company longevity does not represent a consistent concern across the two organisational contexts. In the advanced-technology company for example, one new-product innovation – which is expected to generate financial returns to the firm – is insufficient for the company to be successful.
Rather, a stream of new product innovations is required. By contrast with the independent production company of this case, each new film – which is expected to generate financial returns to the principals – is sufficient for the company to be successful. Any subsequent new films involving the firm’s participants will be produced by a different independent company.
As another instance, people’s learning is expected to have different contributors and beneficiaries across the two organizational contexts. In the advanced-technology company, for example, each new product innovation provides an opportunity for participants on the project team to learn and acquire experience, and this same company intends to retain such participants, hence, benefit from their increased experience on the next project. By contrast with the independent production company, each new film provides an opportunity for participants on the project team to learn and acquire this experience also, but this same company has little or no expectation of retaining such participants, and hence, benefitting from their increased experience in the next project.
Experience is paramount in the motion-picture industry. Generally, on film projects, budgets are very tight, and schedules are very demanding. People are hired largely based on their experience and are expected to perform well immediately when called to do so. There is negligible slack time or margin for learning through trial and error, but experienced people learn exactly through trial and error. Because experience is valued so highly and film-production houses have such short time horizons, entry into the industry is very difficult for most people. Further, the role played by schools and colleges is minimal in this industry. Some skills and techniques can be learned and refined through formal education (e.g., acting schools, theatre, film degrees), but the majority come through direct experience. Mentoring plays an important role. True, the film business focuses heavily on exploitation over exploration. Yet success of the industry as a whole is critically dependent upon learning and exploration overtime.
Que. Why do film production houses value experience highly ?
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Q. Read the following passage carefully and answer the below question:
Many aspects of the motion-picture industry and its constituent companies are dissimilar to those observable in advanced-technology industries and firms. For instance, company longevity does not represent a consistent concern across the two organisational contexts. In the advanced-technology company for example, one new-product innovation – which is expected to generate financial returns to the firm – is insufficient for the company to be successful.
Rather, a stream of new product innovations is required. By contrast with the independent production company of this case, each new film – which is expected to generate financial returns to the principals – is sufficient for the company to be successful. Any subsequent new films involving the firm’s participants will be produced by a different independent company.
As another instance, people’s learning is expected to have different contributors and beneficiaries across the two organizational contexts. In the advanced-technology company, for example, each new product innovation provides an opportunity for participants on the project team to learn and acquire experience, and this same company intends to retain such participants, hence, benefit from their increased experience on the next project. By contrast with the independent production company, each new film provides an opportunity for participants on the project team to learn and acquire this experience also, but this same company has little or no expectation of retaining such participants, and hence, benefitting from their increased experience in the next project.
Experience is paramount in the motion-picture industry. Generally, on film projects, budgets are very tight, and schedules are very demanding. People are hired largely based on their experience and are expected to perform well immediately when called to do so. There is negligible slack time or margin for learning through trial and error, but experienced people learn exactly through trial and error. Because experience is valued so highly and film-production houses have such short time horizons, entry into the industry is very difficult for most people. Further, the role played by schools and colleges is minimal in this industry. Some skills and techniques can be learned and refined through formal education (e.g., acting schools, theatre, film degrees), but the majority come through direct experience. Mentoring plays an important role. True, the film business focuses heavily on exploitation over exploration. Yet success of the industry as a whole is critically dependent upon learning and exploration overtime.
Que. According to the author, what has been the focus of film business ?
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Q. Read the following passage carefully and answer the following question:
In terms of labour, for decades the relatively low cost and high quality of Japanese workers conferred considerable competitive advantage across numerous durable goods and consumer-electronics industries (eg. Machinery, automobiles, televisions, radios). Then labour-based advantages shifted to South Korea, then to Malaysia, Mexico and other nations. Today, China appears to be capitalizing best on the basic of labour, Japanese firms still remain competitive in markets for such durable goods, electronics and other products, but the labour force is no longer sufficient for competitive advantage over manufacturers in other industrializing nations. Such shifting of labour-based advantage is clearly not limited to manufacturing industries. Today a huge number of IT and service jobs are moving from Europe and North America to India, Singapore, and like countries with relatively well-educated, low-cost workforces possessing technical skills. However, as educational levels and technical skills continue to rise in other countries, India, Singapore and like nations enjoying labour-based competitive advantage today are likely to find such advantage cannot be sustained through emergence of new competitors.
In terms of capital, for centuries the days of gold coin and later even paper money restricted financial flows. Subsequently regional concentrations were formed where large banks, industries and markets coalesced. But today capital flows internationally at rapid speed. Global commerce no longer requires regional interactions among business players. Regional capital concentrations in places such as New York, London and Tokyo still persist, of course, but the capital concentrated there is no longer sufficient for competitive advantage over other capitalists distributed worldwide. Only if an organization is able to combine, integrate and apply its resources (eg. Land, labour, capital, IT) in an effective manner that is not readily imitable by competitors can such an organization enjoy competitive advantage sustainable overtime.
In a knowledge-based theory of the firm, this idea is extended to view organizational knowledge as resource with atleast the same level of power and importance as the traditional economic inputs. An organization with superior knowledge can achieve competitive advantage in markets that appreciate the application of such knowledge. Semiconductors, genetic engineering, pharmaceuticals, software, military warfare, and like knowledge-intensive competitive arenas provide both time-proven and current examples. Consider semiconductors (e. g. computer chips), which are made principally of sand and common metals, these ubiquitous and powerful electronics devices are designed within common office buildings, using commercially available tools, and fabricated within factories in many industrialized nations. Hence, land is not the key competitive recourse in the semiconductor industry.
Que. What is required to ensure competitive advantages in specific markets?
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Q. Read the following passage carefully and answer the following question:
In terms of labour, for decades the relatively low cost and high quality of Japanese workers conferred considerable competitive advantage across numerous durable goods and consumer-electronics industries (eg. Machinery, automobiles, televisions, radios). Then labour-based advantages shifted to South Korea, then to Malaysia, Mexico and other nations. Today, China appears to be capitalizing best on the basic of labour, Japanese firms still remain competitive in markets for such durable goods, electronics and other products, but the labour force is no longer sufficient for competitive advantage over manufacturers in other industrializing nations. Such shifting of labour-based advantage is clearly not limited to manufacturing industries. Today a huge number of IT and service jobs are moving from Europe and North America to India, Singapore, and like countries with relatively well-educated, low-cost workforces possessing technical skills. However, as educational levels and technical skills continue to rise in other countries, India, Singapore and like nations enjoying labour-based competitive advantage today are likely to find such advantage cannot be sustained through emergence of new competitors.
In terms of capital, for centuries the days of gold coin and later even paper money restricted financial flows. Subsequently regional concentrations were formed where large banks, industries and markets coalesced. But today capital flows internationally at rapid speed. Global commerce no longer requires regional interactions among business players. Regional capital concentrations in places such as New York, London and Tokyo still persist, of course, but the capital concentrated there is no longer sufficient for competitive advantage over other capitalists distributed worldwide. Only if an organization is able to combine, integrate and apply its resources (eg. Land, labour, capital, IT) in an effective manner that is not readily imitable by competitors can such an organization enjoy competitive advantage sustainable overtime.
In a knowledge-based theory of the firm, this idea is extended to view organizational knowledge as resource with atleast the same level of power and importance as the traditional economic inputs. An organization with superior knowledge can achieve competitive advantage in markets that appreciate the application of such knowledge. Semiconductors, genetic engineering, pharmaceuticals, software, military warfare, and like knowledge-intensive competitive arenas provide both time-proven and current examples. Consider semiconductors (e. g. computer chips), which are made principally of sand and common metals, these ubiquitous and powerful electronics devices are designed within common office buildings, using commercially available tools, and fabricated within factories in many industrialized nations. Hence, land is not the key competitive recourse in the semiconductor industry.
Que. The passage also mentions about the trend of
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Q. Read the following passage carefully and answer the following question:
In terms of labour, for decades the relatively low cost and high quality of Japanese workers conferred considerable competitive advantage across numerous durable goods and consumer-electronics industries (eg. Machinery, automobiles, televisions, radios). Then labour-based advantages shifted to South Korea, then to Malaysia, Mexico and other nations. Today, China appears to be capitalizing best on the basic of labour, Japanese firms still remain competitive in markets for such durable goods, electronics and other products, but the labour force is no longer sufficient for competitive advantage over manufacturers in other industrializing nations. Such shifting of labour-based advantage is clearly not limited to manufacturing industries. Today a huge number of IT and service jobs are moving from Europe and North America to India, Singapore, and like countries with relatively well-educated, low-cost workforces possessing technical skills. However, as educational levels and technical skills continue to rise in other countries, India, Singapore and like nations enjoying labour-based competitive advantage today are likely to find such advantage cannot be sustained through emergence of new competitors.
In terms of capital, for centuries the days of gold coin and later even paper money restricted financial flows. Subsequently regional concentrations were formed where large banks, industries and markets coalesced. But today capital flows internationally at rapid speed. Global commerce no longer requires regional interactions among business players. Regional capital concentrations in places such as New York, London and Tokyo still persist, of course, but the capital concentrated there is no longer sufficient for competitive advantage over other capitalists distributed worldwide. Only if an organization is able to combine, integrate and apply its resources (eg. Land, labour, capital, IT) in an effective manner that is not readily imitable by competitors can such an organization enjoy competitive advantage sustainable overtime.
In a knowledge-based theory of the firm, this idea is extended to view organizational knowledge as resource with atleast the same level of power and importance as the traditional economic inputs. An organization with superior knowledge can achieve competitive advantage in markets that appreciate the application of such knowledge. Semiconductors, genetic engineering, pharmaceuticals, software, military warfare, and like knowledge-intensive competitive arenas provide both time-proven and current examples. Consider semiconductors (e. g. computer chips), which are made principally of sand and common metals, these ubiquitous and powerful electronics devices are designed within common office buildings, using commercially available tools, and fabricated within factories in many industrialized nations. Hence, land is not the key competitive recourse in the semiconductor industry.
Que. What does the author lay stress on in the passage?
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