Difference between revisions of "BPMDS 2009"
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I austerely whseid to thank you very much once more. I'm not certain the things I could possibly have followed without the type of opinions shared by you regarding such a subject. Previously it was a very traumatic dilemma in my circumstances, but seeing the very skilled chance you handled the issue made me to leap over contentment. Now i am grateful for this support and even sincerely hope you really know what a fantastic job you were carrying out schooling the others by way of your blog. I am sure you have never encountered any of us. | I austerely whseid to thank you very much once more. I'm not certain the things I could possibly have followed without the type of opinions shared by you regarding such a subject. Previously it was a very traumatic dilemma in my circumstances, but seeing the very skilled chance you handled the issue made me to leap over contentment. Now i am grateful for this support and even sincerely hope you really know what a fantastic job you were carrying out schooling the others by way of your blog. I am sure you have never encountered any of us. | ||
| − | + | Tennessee Williams' talents seem to peak in the 1950s and 1960s; his work of the 1970s met with ever innaersicg critical and audience disinterest. Created three years before his death, the 1980 CLOTHES FOR A SUMMER HOTEL was indicative of his later failures: a large cast, technically complex show that left even hardcore Williams fans yawning in the aisles. August Strindberg (1849-1912) is Sweden's greatest playwright, and he exerted a powerful influence over such 20th Century dramatists as Eugene O'Neil, Arthur Miller, Edward Albee, and Tennessee Williams. Toward the end of his life, Strindberg wrote several dramas that he described as ghost plays plays that abandoned linear narrative for the surreal logic of dreams. It is a notion that Williams uses for much for CLOTHES OF A SUMMER HOTEL, but while Williams was noted for his poetic and often dreamy style, this wholesale dreamscape does not come naturally to him, and the result is both awkward and tiresome. The play itself focuses on the legendary mis-match of novelist F. Scott Fitzgerald and his innaersicgly insane wife Zelda Sayer Fitzgerald. The marriage was disastrous for both. Scott based many of his characters on Zelda; she in turn began to write; and the two began to compete over which had the write to use her life as material. By all accounts Zelda had a unique way with words, but while her writings are riddled with poetic turns of phrase, the gift did not translate into anything that approached sustained narrative. Nonetheless, there has always been an underground notion that Fitzgerald suffocated Zelda's creativity and that this drove her to madness. The play opens very much in ghost play mode, with Fitzgerald, now near the end of his life and suffering from heart problems, visiting Zelda at her North Carolina sanitarium. The characters find it difficult to articulate themselves, and their difficulties are furthered by a wind that tends to sweep their words away unless they shout. After a point, the play seques into the past to present a largely linear narrative of Zelda's infamous affair with a French aviator in the 1920s; along the way it also presents, with occasional ghost play embellishments, a few of the more famous individuals in the Fitzgerald social circle, including Gerald and Sara Murphy, Mrs. Patrick Campbell, and most notably Ernest Hemmingway. In the process of this narrative, Williams not only presents Zelda's affair, he refurnishes the rumor that Fitzgerald and Hemmingway were homosexuals who were unable to cope with that fact and who ultimately despised each other because their meetings made them aware of this fact. Toward the end of the play, Williams returns to ghost play mode: the characters are once again seen at the asylum, once again unable to communicate in any meaningful way, and the play itself ends in stalemate without emotional resolution of any kind beyond the certainty that Scott will soon be dead of heart failure and that Zelda will eventually die in a fire that swept through the facility years after Fitzgerald's death. Although it has a few moments here and there, CLOTHES FOR A SUMMER HOTEL does not hang together in any overall sense. It is easy to see how Williams was drawn to the subject of the Fitzgeralds he often depicted women driven to the extreme edges of life but he fails to find either factual or artistic truth in his portraits, which are at best superficial. Unless you are determined to read every single thing Williams ever wrote, this is one title you can skip over. GFT, Amazon Reviewer | |
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==PUBLICATIONS== | ==PUBLICATIONS== | ||
Revision as of 05:01, 5 July 2012
| BPMDS 2009 | |
|---|---|
The 10th Workshop on Business Process Modeling, Development, and Support
| |
| Subevent of | CAiSE 2009 |
| Dates | 2009/06/08 (iCal) - 2009/06/09 |
| Homepage: | lams.epfl.ch/conference/bpmds09 |
| Location | |
| Location: | Amsterdam, The Netherlands |
Loading map... | |
| Important dates | |
| Papers: | 2009/02/18 |
| Submissions: | 2009/02/18 |
| Notification: | 2009/03/13 |
| Camera ready due: | 2009/03/20 |
| Table of Contents | |
The 10th Workshop on Business Process Modeling, Development, and Support (BPMDS'09)
- Drivers of Business Process Development: Business, IT, Compliance
- 8-9 June, Amsterdam, The Netherlands
- Papers submission deadline: February 18th, 2009
- sponsored by IFIP WG8.1 (International Federation for Information Processing Working Group 8.1)
- http://lams.epfl.ch/conference/bpmds09
BACKGROUND AND AIMS
New business processes are created and existing ones evolve following different kinds of drivers or motivations. BPMDS'08 was dedicated to business process life-cycle, discussing issues such as how to streamline transitions among phases in the life-cycle of a business process (design, deployment, operation-evaluation). The next BPMDS will be devoted to the drivers related to these phases and to their transitions, and how they can be accommodated into a broader and dynamic view of the business process life-cycle. The research question will be what "drives" the wheel (the business process life cycle) when it turns to reach a moving business target with regard to market changes and continuous improvementrequirements.
We distinguish three groups of these drivers, which can exist separately or in any combination in real life situations.
First, business objectives and goals drive the creation and evolution of business processes. Evolution of business processes can be driven by attempts to improve the achievement of business objectives (based on their measurement), or by the need to adapt to changes in these objectives. Research issues related to business drivers include their systematic identification, integration into process design and evolution, performance measurement, and others.
Second, the availability of new IT systems (any kind of components-on-the-shelf) can drive both the creation and evolution of business processes. The introduction of new information systems can enforce or enable or require the design of new business process; new possibilities of business process management or assessment can drive the evolution of the processes. Research issues related to IT drivers include business process-IT alignment, process mining and others.
Third, the need to comply with external standards and regulations may drive the creation of new business processes and the evolution of existing ones. Research issues related to compliance drivers include constrained process design, compliance assurance and verification, and others.
There may be other drivers that do not fall in any of these categories, and they are of interest to the workshop as well.
I austerely whseid to thank you very much once more. I'm not certain the things I could possibly have followed without the type of opinions shared by you regarding such a subject. Previously it was a very traumatic dilemma in my circumstances, but seeing the very skilled chance you handled the issue made me to leap over contentment. Now i am grateful for this support and even sincerely hope you really know what a fantastic job you were carrying out schooling the others by way of your blog. I am sure you have never encountered any of us.
Tennessee Williams' talents seem to peak in the 1950s and 1960s; his work of the 1970s met with ever innaersicg critical and audience disinterest. Created three years before his death, the 1980 CLOTHES FOR A SUMMER HOTEL was indicative of his later failures: a large cast, technically complex show that left even hardcore Williams fans yawning in the aisles. August Strindberg (1849-1912) is Sweden's greatest playwright, and he exerted a powerful influence over such 20th Century dramatists as Eugene O'Neil, Arthur Miller, Edward Albee, and Tennessee Williams. Toward the end of his life, Strindberg wrote several dramas that he described as ghost plays plays that abandoned linear narrative for the surreal logic of dreams. It is a notion that Williams uses for much for CLOTHES OF A SUMMER HOTEL, but while Williams was noted for his poetic and often dreamy style, this wholesale dreamscape does not come naturally to him, and the result is both awkward and tiresome. The play itself focuses on the legendary mis-match of novelist F. Scott Fitzgerald and his innaersicgly insane wife Zelda Sayer Fitzgerald. The marriage was disastrous for both. Scott based many of his characters on Zelda; she in turn began to write; and the two began to compete over which had the write to use her life as material. By all accounts Zelda had a unique way with words, but while her writings are riddled with poetic turns of phrase, the gift did not translate into anything that approached sustained narrative. Nonetheless, there has always been an underground notion that Fitzgerald suffocated Zelda's creativity and that this drove her to madness. The play opens very much in ghost play mode, with Fitzgerald, now near the end of his life and suffering from heart problems, visiting Zelda at her North Carolina sanitarium. The characters find it difficult to articulate themselves, and their difficulties are furthered by a wind that tends to sweep their words away unless they shout. After a point, the play seques into the past to present a largely linear narrative of Zelda's infamous affair with a French aviator in the 1920s; along the way it also presents, with occasional ghost play embellishments, a few of the more famous individuals in the Fitzgerald social circle, including Gerald and Sara Murphy, Mrs. Patrick Campbell, and most notably Ernest Hemmingway. In the process of this narrative, Williams not only presents Zelda's affair, he refurnishes the rumor that Fitzgerald and Hemmingway were homosexuals who were unable to cope with that fact and who ultimately despised each other because their meetings made them aware of this fact. Toward the end of the play, Williams returns to ghost play mode: the characters are once again seen at the asylum, once again unable to communicate in any meaningful way, and the play itself ends in stalemate without emotional resolution of any kind beyond the certainty that Scott will soon be dead of heart failure and that Zelda will eventually die in a fire that swept through the facility years after Fitzgerald's death. Although it has a few moments here and there, CLOTHES FOR A SUMMER HOTEL does not hang together in any overall sense. It is easy to see how Williams was drawn to the subject of the Fitzgeralds he often depicted women driven to the extreme edges of life but he fails to find either factual or artistic truth in his portraits, which are at best superficial. Unless you are determined to read every single thing Williams ever wrote, this is one title you can skip over. GFT, Amazon Reviewer
PUBLICATIONS
Accepted papers will be published in the workshop proceedings (joint with EMMSAD), to be published by Springer LNBIP.
After the workshop, the workshop material together with a selection of the best papers will be considered for publishing in a special issue of an international journal (previous special issues were for instance, BPMDS'07 in IJBPIM (under edition), BPMDS'06 in IJBPIM,
- <http://www.inderscience.com/browse/index.php?journalID=3D115&year=3D2008&vol=3&issue=1>vol. 3, issue 1, 2008, BPMDS'05 in
- <http://www3.interscience.wiley.com/journal/114099242/issue?CRETRY=1&SRE=0>SPIP<http://www3.interscience.wiley.com/journal/114099242/issue?CRETRY=1&SRETRY=0>, vol. 12, issue 1, 2007).
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ORGANIZERS
- Selmin Nurcan, University Paris 1 Panth=E9on Sorbonne, France
- Rainer Schmidt, Aalen University of Applied Sciences, Germany
- Pnina Soffer, University of Haifa, Israel
- Roland Ukor, School of Computer Science, University of Manchester, UK
INDUSTRIAL ADVISORY BOARD
- Ilia Bider, IbisSoft, Sweden.
- Ian Alexander, Scenario Plus, UK.
- Lars Taxén, Linköping University, Sweden.
- Gil Regev, Ecole publique Polytechnique Fédérale de Lausanne (EPFL), Itecor, Switzerland.
WORKSHOP PROGRAM COMMITTEE
- Wil van der Aalst - Eindhoven University of Technology, The Netherlands
- Sebastian Adam - Fraunhofer IESE, Kaiserslautern, Germany
- Antonia Albani - Delft University of Technology, The Netherlands
- Ian Alexander - Scenario Plus, UK
- Ilia Bider - IbisSoft, Stockholm, Sweden
- Stewart Green - University of the West of England, UK
- Paul Johannesson - Royal University of Technology, Stockholm, Sweden
- Marite Kirikova - Riga Technical University, Latvia
- Peri Loucopoulos - Loughborough University, UK
- Renata Mendes de Araujo - Federal University of the State of Rio de Janeiro, Brasil
- Jan Mendling - Queensland University of Technology, Brisbane, Australia
- Murali Mohan Narasipuram - City University of Hong Kong
- Selmin Nurcan - University Paris 1 Pantheon Sorbonne, France
- Jan Recker - Queensland University of Technology, Brisbane, Australia
- Gil Regev - Ecole publique Polytechnique Fédérale de Lausanne (EPFL), Itecor, Switzerland
- Manfred Reichert - University of Ulm, Germany
- Michael Rosemann - Queensland University of Technology, Brisbane, Australia
- Rainer Schmidt - University of Applied Sciences, Aalen, Germany
- Pnina Soffer - University of Haifa, Israel
- Markus Strohmaier - University of Toronto, Canada
- Lars Taxén - Linköping University, Sweden
- Roland Ukor - School of Computer Science, University of Manchester, UK
- Barbara Weber - University of Insbruk, Austria
- Jelena Zdravkovic - Royal University of Technology, Stockholm, Sweden
- Michael zur Muehlen - Stevens Institute of Technology, USA
