• The Journal of Society for e-Business Studies
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• v.12 no.1
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• pp.73-87
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• 2007

To survive in a global competition, many companies are trying to standardize and visualize Business Process (BP) by implementing Business Process Management (BPM). Recently, enhancing business process efficiency has become one of critical success factors. In this paper, we introduce a two-phase perspective of BP efficiency: Process Engine Perspective (PEP) and Task Performer Perspective (TPP). The former is related to allocation function of BP engine; it is mainly concerned with efficient task allocation to users. The latter phase influences efficiency depending on how users execute tasks assigned to them. Instead of considering each phase separately, we develop a comprehensive method considering the two-phase together, which is more effective for the BP efficiency. We carry out simulation experiment to show the combinational effect of the two phases.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.2
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• pp.68-74
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• 2024

This thesis explores the embodiment of a performer and a character/role specifically by examining what the term character is associated with and implies in a sense of the performer's bodily training through which what happens to their body. First of all, this research begins to investigate the relationship between a performer and a character centred on the performer's bodily experience through training and/or studio work. From a perspective of a performer, the concept and practical approach of a character itself essentially includes and signifies all the given circumstance of a specific play which has to be acknowledged then inhabited through the performer's body. That is, the internal structure of the text parallels with articulating and developing the spine of a specific character which take place as the substance leads the performer's body to an organic action and/or that of way corresponding to what the character needs and wants to obtain through a series of moment on stage. Here, we argue that the purposeful action as a process and result of applying/inhabiting the substance enhances the performer's body as the whole being participates in the given environment within which his/her body can also work or function by means of the integrated oneness. Second, in a manner of the most fundamental level, both the ethic of acting and the central task of a performer remind us the significance of allowing therefore experiencing subtle bodily movement, namely, responses to stimulus from in/outside of his/her body either visible or invisible on the one hand. At the same time, such a journey of self-discovery empowers the performer to explore new potential possibilities on the other. Finally, as the research finding suggests that these practical insights are necessarily need to be acknowledged as a point of the departure through which the quality of a performer's body is also cultivated by means of the changeable wholeness in order to being on stage.