1. Understanding technology trajectories (patterns) is useful because it can reduce uncertainty when managing innovation.
Describe the trajectory of a technology’s improvement. Why don’t some technologies reach their limit? Describe the trajectory of a technology’s diffusion. How do individual consumer differences affect it?
2. Speaking of technology diffusion and Roger’s adopter categories
GE is launching a new radical innovation, an ultra efficient refrigerator that uses magnetic refrigeration instead of refrigerants and compressors. This is a radical new product consumers have never seen before. Who should the company target its initial promotion towards? What type of message and medium should Phoenix use (i.e. how and where should they advertise)?
Would you recommend a skimming or penetration pricing strategy. Be specific and defend your answer.
3. The Washington Redskins are a professional football team. Two years ago the United States Patent and Trademark Office (USPTO) canceled their trademark registration saying it was offensive to Native Americans.
What did the Redskin’s trademark protect? What effect did the canceled registration have?
Last month the US Supreme Court ruled that that “The Slants”, and Asian-American rock band, CAN trademark their name even though it is disparaging. Do you think this will impact the Redskins?
4. BioSight was a leader in the Binocular Industry and profits from its Rangefinder Binoculars were very high. BioSight developed a new innovative computerized type of binocular and is trying to decide how to time launching this new product. What options does it have? 5. Kean University competes in the Higher Education Industry. This industry is rapidly changing, online classes are becoming more popular and student concern over price is growing.
Use Porter’s 5 Forces to assess the Higher Education Industry and Kean current external environment. 6. A good new product development process will minimize development time and control costs.
Explain how the Stage-gate process used by most companies does this.
7. The battle between Blu-Ray and HD-DVD technology is one example of an industry adopting a dominant design.
What is a dominant design? How do increasing returns to adoption affect whether an industry adopts a dominant design? 8. There are lots of different types of methods companies use to choose which innovation projects to pursue. Describe one QUANTITATIVE and one QUALITATIVE method. Which type of method would be best for a radical innovation? Which type of method would be best for an incremental innovation?
Live Interpretation of Heritage Distributed: first August, 2018 Last Edited: first August, 2018 Disclaimer: This exposition has been put together by an understudy. This isn't a case of the work composed by our expert paper essayists. You can see tests of our expert work here. Any sentiments, discoveries, conclusions or suggestions communicated in this material are those of the writers and don't really mirror the perspectives of UK Essays. Notable Sites, Museums and Galleries Live translation of Heritage Presentation In the course of recent decades legacy and culture has turned into a critical piece of individuals' life, particularly in regard of their relaxation and visitor exercises (Boyd 2003, p.1). This is especially valid on account of tourism, where the verifiable interest for vacationer and relaxation exercises have melted away for those loaded with more social components. There is an expanding want to visit notable destinations, historical centers and exhibitions in an endeavor by the person to take in more about their legacy and those of different societies and social gatherings. In the meantime, the present legacy guest has turned out to be all the more observing about the way that these scenes display legacy experience to them (Boyd 2003, p.2). Generally in this manner, legacy can be believed to identify with verifiable occasions and settings and the guest needs to encounter those recorded encounters as a relatively physical occasion. In any case, notwithstanding the various investigates and review comes about that backings this adjustment in the guest request, there is still proof that various legacy destinations, exhibition halls and displays are neglecting to respond decidedly to these discoveries (Black 2005, p.10), which much of the time has brought about a drop in guest numbers at these settings. This circumstance can have genuine results, particularly for those legacy destinations that depend upon extra charges to conquer any hindrance between state financing and the running expenses of the setting. Indeed, even where this not the situation, for instance where government subsidizing is utilized to give free affirmation, such settings are as yet responsible to the state and need to demonstrate that their foundation is conveying to the necessities of general society, which a diminishment in guest numbers won't accomplish. With an end goal to address this issue the most recent two decades have seen an expansion in writing related particularly to the way in which legacy is shown and depicted to the guest, making another train under the general title of legacy translation. Legacy translation relates similarly to the comprehension of the site or protests showed for the guest and the inspiration determinant and requirements of that guest (Blockley and Hems 2006, p.1). Up to this point, most scholastics concur that legacy understanding has been the slightest created part of the scene's advancement to the guest (Boyd 2003 and Blockley and Hems 2006). Translation structures and indispensable piece of the guest encounter and will impact the experience that they detract from the visit (Boyd 2003, p.193). In this way, it takes after that understanding what spurs a guest or gathering of guests will empower the exhibition hall, display or legacy site to be better ready to show and advance their item (on the same page 2003, p.64). For most guests that inspiration will be to pick up delight and gaining from the protest or action being shown. Much of the time, as Blockley and Hems (2006, p.10) recommend in their exploration the inspiration for the visit is to satisfy the person's requirement for joy and inclining and if the legacy scene or question does not accomplish this the guest will leave disappointed. Truth be told, the guest has generally expected to be welcomed with visual perspectives, and vivified shows when going by legacy destinations (Dicks 2003, p.17). In this way it is fundamental for the setting chiefs to guarantee their goal and its substance meet these necessities. One part of elucidation that has gone to the fore in the psyches of the guest amid ongoing years, and a territory that scholastics concur is a fundamental piece of understanding, is the level of connection that exists between the guest and the legacy scene or question. An ongoing advancement in this regard is the expanding utilization of different types of live elucidation inside the legacy show and other scene exercises, and it this territory of translation that will frame the point of convergence for this examination. Live Interpretation Live translation of legacy is the most direct type of connection between the guest and the ancient rarities and occasions that are being displayed at legacy locales and scenes. Guests and vacationers today hope to see live legacy and social shows instead of lifeless things showed in unfilled or one dimensional building and show boxes. For instance, guests to mechanical exhibition halls have generally expected to be dealt with to visual and moving presentations of verifiable apparatus and even to feel the experience through a living case of the general public of the time (Dicks 2003, p.29). The procedure of live understanding can be conveyed in various configurations. One early case of live elucidation was accomplished by enabling the guest to connect with working models, which empowered them to all the more likely decipher the procedures that were included with that models operational reason. As the procedure of understanding kept on developing, these working models were upgraded by the consideration of sound and visual translation strategies, which look into demonstrated were seen to be more remunerating for the guest than composed content material, for example, flyers and books (Boyd 2003, p.231). The utilization of data and correspondence innovation is another region of live elucidation that can demonstrate compelling, through a procedure of intuitive inclusion or showing films and holographic pictures (Atkinson 2007). As Atkinson (2007) report additionally clarifies, by utilizing ICT it is feasible for the legacy site administration to have the capacity to "customize and tailor displays and encounters to the individual or particular gathering's needs." Notwithstanding, today the most direct type of live translation is considered to be what includes physical up close and personal cooperation between the guest and an agent or gathering of delegates specifically required with the legacy site, either on a deliberate or utilized premise (Blockley and Hems 2006, p.184), which most specialists distinguish as a translator. As these creator's bring "up close and personal elucidation is viewed as the best type of breathing life into the guest encounter" and unquestionably influence them to consider that it is time well spent. One imperative viewpoint should be specified in regard of the activities of the mediator. This identifies with their level of ability and level of capability. As Boyd (2003, p.195) clarifies, "While live elucidation is considered the best type of collaboration amongst guest and the legacy question, low quality in live understanding is more regrettable than nothing." In any case, how much the "translator" breathes life into the legacy experience will rely on the scene and its substance. For instance, they can go from the consideration of a visit manual for costumed characters who re-order the history and culture that the legacy site is advancing. This level of variety and the propriety for the legacy scene will be additionally tended to in the accompanying areas of this investigation. Exhibition halls and Galleries Various investigates have been directed with the expectation of finding how much time guests spent in historical centers and to what degree the organization and show of the displays affected the length of visit. One such overview, directed for the examination completed by Boyd (2003, pp.77-78) found that there was a state of time at which guests enthusiasm for the displays started to melt away and the tendency to "set out toward the exit" started to rule their points of view. This was particularly observed to be genuine where the understanding of the shows depended entirely upon the fundamental system of show. For instance, except if the guest has a particular verifiable or scholarly enthusiasm for the particular relics being shown inside the scene, which just identifies with a little section of the populace, sooner or later one display, be that a work of art, vase or another sort of lifeless thing, all started to resemble the other alike to the guest. At that stage the delight and taking in picked up from the experience started to break down. There still exists the perfectionist see that will contend against the presentation of live elucidation includes no place inside exhibition halls and displays. Their thinking is that the guest ought to be permitted to translate the show free from the impact of what the individuals who hold this conclusion see to be outer impedance. In any case, despite the fact that as expressed past this may be important for the individuals who have a committed explanation behind going by the gallery or exhibitions it was getting to be evident to the troughs of these settings this was not agreed with by the larger part of guests upon whom these historical centers and displays depended. Consequently, healing and imaginative activity apparently was required if the decrease in guest numbers was to be turned around. It wound up obvious that a portion of the key characteristics that guests anticipated that would involvement from survey a specific show were clearness, strength, engaging quality together with a dynamic introduction (Boyd 2003, p.224). In any case, on account of numerous guests it demonstrated troublesome accomplish the fulfillment of a large number of these characteristics except if the protest or display was properly translated in any case. This did not imply that the historical centers and displays needed to present moving or exceedingly intuitive understanding procedure for the greater part of their shows. In numerous cases it was just an issue of presenting a visit direct (Dicks 2003, p.171). This would include utilizing a man who had adequate learning and experience about the show to have the capacity to give a proper interpretati>GET ANSWER