In economic geographic analysis, the ‘firm’ usually is assumed, at least implicitly, as a coherent and unitary economic actor. The WritePass Journal

In economic geographic analysis, the ‘firm’ usually is assumed, at least implicitly, as a coherent and unitary economic actor. Introduction In economic geographic analysis, the ‘firm’ usually is assumed, at least implicitly, as a coherent and unitary economic actor. IntroductionConclusionRelated Introduction In economic geographic analysis the ‘firm’ has an ontological and epistemological privilege (Grabher, 2004). Since 1980s onwards the notion of firm as a ‘black box’ a coherent and unitary factor was challenged. There is an increase in investigation of the relation between firms. The concept of firm as a coherent and unitary economic actor was diminished by the concept of ‘projects’ (Grabher, 2002). This essay aims to discuss the centrality of ‘the firm’ in economic geography, and examine the concept of project that undercut the integrity of firm as a coherent and unitary actor by using the evidence from the recorded music industry. The firm in neoclassic economics is defined as â€Å"the theoretical in which production take place†. This does not take the activities of the real firms or corporate organization into accounts (Williamson 1999: 1089). While market is viewed as the most efficient ways of organizing economic activities, much of neoclassical economic geography simply perceive the firm as â€Å"black box† (Hodgson, 1989) which means that it converts inputs into outputs according to the demand and supply in the market. In the perfect markets, all firms in the industry have an equal opportunity to access to perfect information without the need of human or social interaction (Hirchman, 1982). The firm is considered as ‘self-contained and homogenous’ (Yeung, 2005). Grabher also suggests that in economic geography the ‘firm’ have been unproblematised as coherent and unitary actor. This was evidence in â€Å"geography of enterprise† approach in which primary concerned with a dominant firm, rather than industry or a regions of firm (Yeung, 2000 ).   Much economic geographic analysis was focused only with the role of motivation, location, and individual firm’s behaviour (Krumme, 1969). This was called as pseudo-concrete analysis (Sayer, 1982) because it does not take the complex organizational processes inside the representative firm into accounts. Therefore it reduces organisational structures of firm into simple dichotomies such as single-plant or multi-plant enterprises. However, single-plant firms are difference from multi-plant firms and separate plants within multi-plants firms are much more similar (Yeung, 2000). Hence, the notion of firm as a coherent unitary economic actor usually leads to misrepresentation of spatial organization of production. However, the concept of firm as a ‘black box’ a coherent unitary economic actor was challenged by the practice of project-based organizing. Project is defined as system of productions that constituted by different agents such as economic, social and cultural agents with specialize, difference and complementary skills. They aim to accomplish usually a complicate task in which the task requires cooperation of multidisciplinary skills that it more economically efficient to bring together on a temporary basis (Lorenzen and Frederiksen, 2005 ). In order to coordinate the division of labor, it focuses on the ‘relational proximity’ instead of ‘spatial proximity’ and represents particular forms of temporal and spatial actor-networks (Boggs and Rantisi, 2003). Project organizing diminishes the integrity of firm as a coherent and unitary actor because boundaries of project organization operate and cooperate across different firms (Gann and Salter, 2000). In many project-based businesses, project teams work closely with a variety of difference firms rather than their home base manager (Grabher, 2002). In addition, instead of assuming the firm as a single and coherent actor, projects focus on the role of individuals with in firms, specifically how individuals’ interest coincides with or differs from material interests of the firms (Boggs and Rantisi, 2003 ). Grabher (2001) also illustrates a number of paradoxes that challenge the key assumptions of organizing. Projects often have high complexity, high risk and high stake outcome; however, they could be unorganized and lack formal structure that could coordinate the complexities. Since projects depend on collective knowledge and diverse skills; nevertheless there is little time for individuals to clarify members’ abilities and skills. Furthermore, there is not enough time to develop trust and confidence among the members. However, Grabher (2001) argues that these paradoxes can be partly resolved by including the social context into projects. Networks, localities and institutions supply legitimation and trust that are preconditions for the ‘projectification’ of economic organisation. He further explains that reputation is essential for success in projects. Reputation in project organization is not about certificate; it is about how well we work with other people. In addition, the success of project also depends on inter-personal skills and co-operate attitude. Furthermore, location plays a crucial role in the success of the project.   Grabher (2001) explains that project collaboration often takes place in densely knit clusters. The co-location of project partners reduces transaction costs and increase face-to-face interaction. This also provides a local ‘communities of practice’ that serve as informal educational system for sharing knowledge. Moreover, rather than formal firm contractual networks, it is personal networks that provide the basic social infrastructure for learning. In addition, he argues that since projects are embedded in an institutional context of normative structures that manage complex tasks, it allows the emergence of ‘swift trust’. Swift trust is where actors are viewed from their role instead of their individual personality. For example, engineers are trusted because they are engineers and they believe that engineers are trained to apply their principles. As a result, expectations are more standardised and stable because it is defined in term of tasks than personalities (Grabher, 2001). Nevertheless, since project becomes more popular, it has the impact on the employment.   There will be more self-employ job and freelance labor in the future. There are some disadvantages such as short contact, job insecurity and uncertainty. Grabher (2002) argues that project does not entirely replace the firm, but there are interdependencies between projects and firms as well as the personal relations, localities and corporate networks from which these projects mobilize essential sources; this is called project ecology. He uses example of the project ecology of record music industry. The recorded music industry is characterized by high innovation and task complexity that requires cooperation from difference skills. Recorded music industry illustrates that projects are more likely organized on the market instead of inside the boundaries of firm. However, the localized cluster in the advertising village shares the same basic principles of social organization with the global communication group. In addition, both ‘the village’ and ‘the group’ represents high level of diversity of organizational forms which is crucial in working. In addition the periods of ‘idleness’ in project work mi ght be considered economic inefficient; however period of idleness is a part of the process that give a chance to rest and reflect. Furthermore, the evidence from recorded music industry shows that geographical clustering has a significant role in market organized-project (Lorenzen and Frederiksen, 2005). Recorded music ecologies are often clustered in the world’s major cities (Scott, 1999). This because clustering allows people to interact with each; it creates social trust and allows information to be shared and available to all local firms (Grabher, 2005). Conclusion To conclude, the notion of the firm as a ‘black box’ was challenge by organizational practices which are built instead around ‘projects’’. Project organizing undercuts the integrity of firm as a coherent and unitary actor because boundaries of project organization operate and cooperate across different firms. There are some paradoxes of project such as there are a lack the normative structures, there is no time to clarify member’s ability and develop confidence building. However these paradoxes could be overcome by including the social context into projects. The evidence from record music industry also illustrates that the projects are not completely replace the firm, but there are the interdependencies between projects and firms as well as the personal relations, localities and corporate networks.

Translating Feel to Spanish

Translating Feel to Spanish The English verb to feel is one of those verbs that can be tricky to translate to Spanish. More so than with most words, you need to think of what the word means when trying to come up with a Spanish equivalent. If youre fairly new to Spanish and trying to think of how to say a sentence using feel in Spanish, you should probably see first if you can think of a different, and simpler if possible, way of saying what you want to say. For example, a sentence such as I feel sad means basically the same thing as I am sad, which can be expressed as Estoy triste. In that case, using sentirse to translate feel would also work: Me siento triste. In fact, sentir or sentirse frequently is a good translation, as it usually means to feel an emotion. (Sentir comes from the same Latin word as the English word sentiment.) But sentir doesnt work with many uses of feel, as in these sentences: That feels smooth. I feel like going to the store. I feel that its dangerous. It feels cold. In those cases, you need to think of a different verb to use. Here are some of the ways you can translate feel:   Feeling an Emotion As stated above, sentir or sentirse can often be used when referring to emotions: Me siento muy feliz. (I feel very happy.)Me siento fuerte psicolà ³gicamente. (I feel psychologically strong.)Se siente en conflicto cuando necesita escoger entre uno u otro. (He feels conflicted when he needs to choose one or the other.)No sentimos nada. (We dont feel anything.) However, Spanish has many expressions using other verbs to express emotions. Here are a few: Estoy muy feliz. (I am very happy. I feel very happy.)Él tenà ­a miedo. (He was afraid. He felt afraid.)Tengo celos a mi hermana. (Im jealous of my sister. I feel jealous of my sister.)De repente se enojà ³. (Suddenly he got angry. Suddenly he felt angry.) Sentirse is frequently used with como to express the concept of feeling like a ...: Se sintià ³ como una extraà ±a en su propia casa. (She felt like a stranger in her own home.)Me siento como una estrella del rock. (I feel like a rock star.) Feeling Sensations Spanish generally doesnt use sentir to express what is felt with the senses. Sensations are often expressed by idioms using tener. If describing what something feels like, you can often use parecer (see next section): Tienen hambre. (Theyre hungry. They feel hungry.)Tengo frà ­o. (Im cold. I feel cold. It feels cold here.)Tenà ­an sed. (They were thirsty. They felt thirsty.) Meaning ‘To Seem’ When to seem can be substituted for to feel, you can often translate using the verb parecer: Parece lisa al tacto. (It feels smooth to the touch. It seems smooth to the touch.)Parece que va a llover. (It feels like its going to rain. It seems that it is going to rain.)La herramienta me parece à ºtil. (The tool feels useful. The tool seems useful to me.) Meaning ‘To Touch’ Tocar and palpar are often used to refer to touching something. Although palpar comes from the same source as palpate, it is used much more often than the English word and can also be used in informal contexts. El mà ©dico me palpà ³ el abdomen. (The doctor felt my abdomen.)Todos tocaron la piel de zorro para que les diera buena suerte. (Everyone felt the fox skin so it would give them good luck.) ‘To Feel Like’ Meaning ‘To Want To’ A phrase such as to feel like doing something can be translated using querer or other verbs used to express desire: Quisiera comer una hamburguesa. (I feel like (eating) a hamburger. I would like to eat a hamburger.)Prefiero salir yo con mis amigos. (I feel like leaving with my friends. I prefer to leave with my friends.)Katrina no tenà ­a ganas de estudiar. (Katrina didnt feel like studying. Katrina didnt have a desire to study.) For Giving Opinions Feel is often used to express opinions or beliefs. In such cases, you can use opinar, creer or similar verbs: Pienso que no me gusta. (I feel I dont like it. I think I dont like it.)Creo que Argentina es el mejor equipo del mundo. (I feel that Argentina is the best team in the world. I believe that Argentina is the best team in the world.) ¿Por quà © supones que tienes una infeccià ³n? (Why do you feel you have an infection? Why do you suppose you have an infection?) Key Takeaways Although sentir and sentirse are the most common verbs translating to feel, in many situations they would be incorrect.Other verbs that are frequently used for to feel include tocar, querer, and creer.A good way to translate feel is to instead translate a synonym for feel as it used in the context.