ITERRATION ZERO

2011-11-20T20:14:00.000Z

Is the first phase of the ITERRATIO process. It involves the production of a series of paintings, which have been described as "symbolic mirrors of managerial capitalism", and the organisation of related events. Thefirst traces of of the ITERRATIO process date back to 2002 when Christophe de Landtsheer experimented with the graphical representation of concepts.
The first event has been held at the ITERRATIO workshop on Dec 1st 2006.
ITERRATIO@VLERICK is a permanent exhibition of the paintings by Teri Toria is being held as from April 2007 in the Leuven (Belgium) campus of the Vlerick Management School.
In 2011 the Vlerick Management School has acquired five ITERRATION ZERO paintings.
Other events are being planned and will be posted on this blog.

The themes of the works are:

the Generic Strategic Option Model (Christophe de Landtsheer)
the Business Unit Portfolio Management Model (Arthur D. Little)
the Value Discipline Model (Michael Treacy & Fred Wiersema)
the Stakeholder Dart Board (Christophe de Landtsheer)
the Competitive Advantage Model (Michael E. Porter)
the Product / Market Matrix (Igor Ansoff)
the Performance Prism (Cranfield Business School)
the Organic Growth Model (Christophe de Landtsheer)
the Strategy Map (David P. Norton & Robert S. Kaplan)
a Generic Value Chain Integration Model
the Five Forces Model (Michael E. Porter)
a Generic External Growth Model
the Blue Ocean Strategy (W. Chan Kim and Renée Mauborgne)
the Red Ocean Strategy (W. Chan Kim and Renée Mauborgne)

NOTE ON THE NAMES OF THE WORKS
The works have names composed of a combination of at least three numbers and letters.
Legend:

first number: theme of the work
first letter: size of the work
second number: colour scheme
second letter: font
third letter: language

ITERRATIO@VLERICK

2007-04-08T08:35:00.002Z

Is a permanent exihibition of the works of Teri Toria being held at the Leuven campus of the Vlerick Management School (Vlamingenstraat 83, 3000 Leuven, Belgium).

3-L-1-A-E at minus one © 070405, CdL

The buiding is open to the public every day between 8 AM and 7 PM.

9-S-3-A-E at plus two © 070405, CdL

10-S-3-A-D in the entrance hall © 070405, CdL

Teri Toria

2007-04-07T11:53:00.003Z

Teri Toria is the artist who signs the works of the ITERRATION ZERO process.

Thematically works of ITERRATION ZERO comprehend the representation of both generic strategy models and organisation specific schemes, such as, organisational charts, strategy maps, processes, value chains, production and supply chains, etc... In more recent work Teri Toria is painting "company portraits" and concentrates on the representation of virtues and (corporate) values.

The ITERRATIO process has been in gestation since several years. The earliest traces date from 2002.

13. Blue Ocean Strategy (W. Chan Kim & Renée Mauborgne)

2007-02-22T09:42:00.000Z

W. Chan Kim and Renée Mauborgne use the terms Red and Blue Oceans to denote the market universe. They claim that a Blue Ocean Strategy is a way to make the competition irrelevant by creating a leap in value for both the company and its customers; it is a market creating strategy. In Blue Oceans, competition is transcended because the rules of the game of a new market are waiting to be set.

"Blue Ocean" and "Red Ocean" © 070422, Distrifina SA

Red Oceans are all the industries in existence today – the known market space. In the Red Oceans, industry boundaries are defined and accepted, and the competitive rules of the game are known. Here companies try to outperform their rivals to grab a greater share of existing demand. As the market space gets crowded, prospects for profits and growth are reduced. Products become commodities, and cutthroat competition turns the red ocean bloody. Hence, the term “Red” Oceans.

About the Blue Ocean Strategy. Visit the Blue Ocean Strategy web site.

Study for painting 13-M-6 "Blue Ocean" © 070222, Distrifina SA

Study for painting 14-M-6 "Red Ocean" © 070222, Distrifina SA

12. Generic External Growth Model

2006-05-21T08:19:00.000Z

In contrast to organic growth strategies, external growth strategies achieve their aims by acquisition of existing assets. Their success is measured by increasing the combined reported value of these assets through the creation of synergetic benefits. The generation of these benefits is dependent on the product, technology, market and intangible compatibility of the old and newly acquired assets.

Characteristics painting 12-S-3-A-F
Dimensions: 90 x 144 x 3.5 cm
Colourscheme: 3
Lettertype: Arial
Language: French

Painting 12-S-3-A-F © 060510, Distrifina SA

11. The Five Forces Model (Michael E. Porter)

2006-04-24T07:53:00.003Z

This elegant competitive analysis tool can be used to formulate organic growth strategies, as well as to assess the attractiveness of other activities and their potential for external expansion. A sector's attractiveness and the conditions for survival in it are preconditioned by five competitive forces exerted by five types of competitive actors.

More on Michael E. Porter

Characteristics painting 11-S-3-A-E
Dimensions: 90 x 144 x 3.5 cm
Colourscheme: 3
Lettertype: Arial
Language: English

Painting 11-S-3-A-E © 060510, Distrifina SA

10. Generic Value Chain Integration Model

2006-04-23T08:49:00.003Z

The horizontal axis of integration is the value chain; from components to consumer. The vertical axis of integration allows to define an activity position relative to the value chain; from the production of raw materials to the provision on customer oriented services. Both horizontal and vertical integration policies can inspire organic as well as external growth strategies.

About Value Chain Integration

Characteristics painting 10-S-3-A-D
Dimensions: 90 x 144 x 3.5 cm
Colourscheme: 3
Lettertype: Arial
Language: Dutch

Painting 10-S-3-A-D © 060510, Butras

Note: an interesting aspect of this model is that it can be immediately related to Roman Jakobson's structural linguistics. Horizontal integration corresponds to the paradigmatical or metaphoric axis, and vertical integration to the syntagmatical or metonymic axis of language. In linguistic terms, a paradigmatical strategy is based on similarity and aims at selection and substitution, whereas a syntagmatical strategy stems from proximity or contiguity and aims at combination and articulation.

9. The Generic BSC Strategy Map (David P. Norton & Robert S. Kaplan)

2006-04-22T09:02:00.000Z

About the generic Balanced Scorecard Strategy Map

In « Strategy Maps » (2004), Robert S. Kaplan and David P. Norton, described how a strategy map represents the way an oranisation creates values, and how such a dynamic visual tool can help describe and communicate strategy, by identifying the key internal processes that drive strategic success, aligning investments in people, technology and organizational capital for the greatest impact, exposing gaps in the strategies and take early corrective action. Norton and Kaplan state that each organization should have its specific and unique strategy map. The strategy map represented here is based on the generic model founded in the four balanced scorecard perspectives; finance, customer, process and learning & growth.

More about the Strategy Map

Characteristics painting 9-S-3-A-E
Dimensions: 90 x 144 x 3.5 cm
Colourscheme: 3
Lettertype: Arial
Language: English

Painting 9-S-3-A-E © 060510, BUTRAS

Characteristics painting 9-S-5-H-E
Dimensions: 90 x 144 x 3.5 cm
Colourscheme: 4
Lettertype: Helvetica
Language: English

Painting 9-S-5-H-E © 070326, BUTRAS

Characteristics painting 9-S-4-H-E

Dimensions: 90 x 144 x 3.5 cm

Colourscheme: 4

Lettertype: Helvetica

Language: English

Painting 9-S-4-H-E © 110905, BUTRAS

Acquired by the Vlerick Management School in 2011

Graphics: Visualizing a theory of implementing strategy

"The use of graphical illustrations is important in the popularization of management concepts such as the BSC. Notably, Kaplan and Norton have used many figures (on average about ten per chapter) in their books to illustrate central ideas. What distinguishes graphics is their way of presenting and eliminating certain gratuitous details that are usually part of written text. The use of graphics in documents is very persuasive, as they redefine space, wiping clean of all irrelevant details‖ and restructuring claims and the objects of the illustration (Myers, 1988, p.239).

The use of graphics greatly contributes to the generalization of a claim. This is because the elimination of gratuitous details is part of the move from the particularity of one observation to the generality of a scientific claim (Myers, 1988, p. 239). In previous chapters, we have discussed how the idea of the BSC was generalized by removing local categories specific to ADI, and replacing them with abstract categories (such as the four perspectives). It is even more persuasive when this is achieved through colourful and simple figures, using arrows and boxes to represent key ideas.

The development of strategy maps has further aided the generalization of the BSC. Strategy maps are presented as a dynamic visual tool to describe and communicate strategy through the display of an organization‘s perspectives, objectives, measures, and the causal linkages between them (Kaplan and Norton, 2004a, p.54). They offer a general visual representation that companies can use to customize their own strategic objectives.

Graphs have a pronounced effect even when the data in them are subjective, qualitative or imaginary and when they are usually based on the known general properties of things (Myers, 1988, p. 248). A strategy map offers a visual representation of the strategy through a single-page view of how objectives in the four perspectives integrate and combine to describe the strategy (Kaplan and Norton, 2004a, p.54). Yet when managers look at a strategy map, it is easy to forget that these objectives (and even the concept of strategy itself) are subjective, typically the product of a struggle over the nature and future of the organization. Strategy maps are inevitably based on the imagination of its authors, but their representation as a fixed visualisation hides the possibility of resistance and that the underlying objectives and strategies can be contested.

Kaplan and Norton (2004a) suggest that explicit visuals displayed through strategy maps are very important in making everyone in the organization see how they fit into the overall strategy. However the details of this proposition have to be imagined by the reader, who must think about the cause-and-effect relationships that the strategy maps are argued to illustrate, and the way they link desired outcomes in the customer and financial perspectives to outstanding performance in critical internal processes (Kaplan and Norton, 2004a, p.55). Formulating cause-and-effect relationships take quite an effort. However, such formulations appear to be more credible through the use of the visualization and mapping process."

(CIMA RESEARCH REPORT: Creating and Popularizing a Global Management

AccountingIdea: The Case of the Balanced Scorecard, p. 65-67)

8. The Organic Growth Model (Christophe de Landtsheer)

2006-03-21T14:38:00.000Z

About the Organic Growth Model

Because they have insufficient access to capital to extend their activity externally (by acquiring external assets), the vast majority of companies and business units have no option but to focus on an organic growth strategy.
In most strategies "cash is king", in organic growth strategies this factor is the most extremely salient. 99 % of humanity is living and working in this strategic mode. And yet, not a lot of models are specifically focusing on it.
Growing and keeping cash flow and reserves in balance is the challenge here. And as growth means investing, it is of the utmost importance to focus on discretionary spending which either enables the organisation to perform better (process improvement) or increases its competitive position by executing its strategy effectively.It's all about the fine alchemy of combining the right doses of diversification and differentiation.
This model is dedicated to all the inventive and hard working people on this earth.

Characteristics painting 8-M-2-A-E
Dimensions: 120 x 192 x 3.5 cm
Colourscheme: 2
Lettertype: Arial
Language: English

Painting 8-M-2-A-E © 060321, Distrifina SA

7. The Performance Prism (Cranfield Business School)

2006-03-11T14:31:00.000Z

About the Performance Prism

More on the Performance Prism

Characteristics painting 7-M-2-A-E
Dimensions: 120 x 192 x 3.5 cm
Colourscheme: 2
Lettertype: Arial
Language: English

Painting 7-M-2-A-E © 060311, Distrifina SA

6. The Product / Market Matrix (Igor Ansoff)

2006-03-10T13:47:00.001Z

Igor Ansoff created the Product / Market diagram in 1957 as a method to classify options for business expansion. The beauty of this model is that the four strategic options defined can be generically applied to any industry.

More on the Product / Market Matrix
More on Igor Ansoff

Characteristics painting 6-M-2-A-E
Dimensions: 120 x 192 x 3.5 cm
Colourscheme: 2
Lettertype: Arial
Language: English

Painting 6-M-2-A-E © 060306, Distrifina SA

5. The Competitive Advantage Model (Michael E. Porter)

2006-03-09T13:04:00.000Z

About the Competitive Advantage Model

More on Michael E. Porter

Characteristics painting 5-M-2-A-G
Dimensions: 120 x 192 x 3.5 cm
Colourscheme: 1
Lettertype: Arial
Language: English

Painting 5-M-2-A-G © 060306, Distrifina SA

4. Stakeholder Dart Board (Christophe de Landtsheer)

2006-03-08T20:17:00.000Z

About the Stakeholder Dart Board

There has been a lot of discussion lately about corporate governance. Not only about fraudulent CEOs, but also on who should be taken account running a business, and how. The Stakeholder Dart Board Model offers a generic answer to such questions. Who are an organisation's stakeholders? In how far should their legitimate expectations be weighed against the organisation's valid interests? These are dynamic issues which should carefully be managed by any organisation, whether for profit or not, privately owned or publicly quoted.
The Stakeholder Dart Board is not only an effective way to keep track of the agendas of the multiplicity of stakeholder segments, but also to make sure the stakeholder satisfaction / expectation balance remains in favour of the organisation and in alignment to its strategy.

In relation to stakeholder mangement, also see The Performance Prism

Characteristics painting 4-L-1-H-E
Dimensions: 150 x 242 x 4.5 cm
Colourscheme: 1
Lettertype: Arial
Language: English

Painting 4-L-1-H-E (unfinished) © 060619, Distrifina SA

Painting 4-L-1-H-E (finished) © 070326, Distrifina SA

3. The Value Disciplines Model (Michael Treacy & Fred Wiersema)

2006-03-08T12:08:00.004Z

This excellence model stresses the importance of focusing the organisation on developing one unmatched value proposition, while keeping sufficient attention on other value disciplines in order to maintain general competitiveness. The two central triangles have been added to link the model to consequential actions to be taken in the area of business process management.

About the Value Disciplines Model

More on Michael Treacy and Fred Wiersema

Characteristics painting 3-L-1-A-E
Dimensions: 150 x 242 x 4.5 cm
Colourscheme: 1
Lettertype: Arial
Language: English

Painting 3-L-1-A-E © 060224, butras
Acquired by the Vlerick Management School in 2011

Prof. dr. Marc Buelens and dr. Annick Van Rossem
posing in front of 3-L-1-A-E

2. The Business Unit Portfolio Management Model (Arthur D. Little)

2006-03-07T11:50:00.000Z

About the ADL Business Unit Portfolio Management Model

About other Portfolio Management Models

Characteristics painting 2-L-1-H-E

Dimensions: 150 x 242 x 4.5 cm

Colourscheme: 1

Lettertype: Helvetica

Language: English

1. The Generic Strategic Option Model (Christophe de Landtsheer)

2006-03-06T11:06:00.003Z

About the Generic Strategic Option Model

The simplicity of this matricial representation of generic strategic options is deceptive. It indicates, amongst many other issues relating to strategic thought, two salient facts: all strategy is determined by constraints in the first place, and, secondly, by culture.

Both Xenophon and Sun Tse have stressed the determining importance of an adaquate knowledge of the environment for military success. This understanding of strategy is universal: the environment (of which the ennemy is a part) determines the "freedom of action", or the strategic options available given specific environmental circumstances.

The way in which this "freedom of action" is used, is however, highly culturally determined. Western cultures will not easily understand how an attack strategy can be indirect. Filling out the four open quadrants of the matrix is not an easy task, and the way it is being done reveales cultural preconceptions (such as the relationship between war and diplomacy).

Characteristics painting 1-L-1-H-EDimensions: 150 x 242 x 4.5 cm
Colourscheme: 1
Lettertype: Helvetica
Language: English

Acquired by the Vlerick Management School in 2011

Dr. Annick Van Rossem and prof. dr. Marc Buelens
posing in front of 1-L-1-H-E

The Painter

2006-03-05T11:06:00.001Z

Yvo D'Herde (°1966 in Aalst, Belgium) is a confirmed artist. He studied arts at the Rijksnormaalschool in Ghent. His participation to the ITERRATIO Project is a fracture in his painting career. Up till today the central theme of Yvo's work has been the human figure. This incursion in a more conceptual sphere benefits from his great feeling for colour, composition and the pictorial substance.

OTHER WORKS BY YVO D'HERDE

The Conceptor

2006-03-05T11:03:00.000Z

The ITERRATION project has been initiated by Christophe de Landtsheer (°1960). He always has actively been interested in art, as a photographer, drawer and writer. Throughout his diversified career as entrepeneur, consultant and executive in various sectors (international trade and finance, B2B events, publishing and airlines), Christophe has always focused on general and performance management, and on strategy development and implementation. Today Christophe is a member of the board of several companies and contributes to their strategic expansion, funding and operational development. The ITERRATION project has grown from the idea to integrate art and (business) strategy.

Interview with TERI

2006-03-03T15:38:00.002Z

Transcript of the interview rehearsal of TERI, the producer of the ITERRATIO programme, taken by his wife, Ann, on 060125

TERI – OK, have you read the questions? Let’s start.

Ann - What is ITERRATION ZERO about?

TERI - The ITERRATION ZERO event is the first step of the ITERRATIO programme. It is planned to be held in Belgium in 2007. It will be a multi disciplinary cultural event that will include, besides paintings, videos, drink, performances, food, books, etc…
Everything is still very much in motion. It is very exiting.

Ann - Food … drink …

TERI - Don’t look at me so disapprovingly. You’re supposed to interview me in a neutral way, remember? I will say no more at this point. Go on.

Ann - Why did you choose the rather unattractive theme of the “universality of business strategy”?

TERI – Read the questions as they have been written, please. You say the theme is unattractive. But you confuse the title and the theme. When one looks closer, the subject is fascinating, you said so yourself. It covers everything what is of interest to most people: money, power, ethics, success, failure, risk, opportunities, etc…
The reflection on, and the position of strategy within a culture, provides a very good image of that culture. The way people understand strategy is constitutive of their society and personality. I try to clarify this in my “Generic Strategy Options” model. Some elements in strategy are universal, both Xenophon and Sun Tse agree that environmental constraints determine the “freedom of action” of the war leader. The way in which this “freedom of action” is understood is, however, very much culturally and historically determined. A strategic concept, such as “indirect attack”, is very strange to the medieval western mind, but not, for instance, to the Byzantine strategists of the same period.
Capitalism has developed a set of techniques and methods to formalise business strategy. In the sense that capitalism has become ubiquitous, these techniques and methods have become universal. They are being applied even in “communist” China! They have become “common sense”, and not understanding their logic makes the world seem chaotic.

Ann – You sound pedantic, and I still think that you should find something else than the “universality of business strategy”, maybe something like “Strategy Games”. Next question: Why do you think people will be interested to attend ITERRATIO events?

TERI – If I were a cynic I would say: because it’s in their best interest! The pervasiveness of capitalism imposes increasingly to everyone to be an agent. In order to be an effective agent one has to understand the way the world is being logically structured. Not taking the time to reflect on business strategies today leads to estrangement and, in the worst cases, to marginalisation.
The flattening of organisational structures, the increasing demand for autonomous decision making and flexibility, the speeding up of change, these are all causes of an increasing strategic involvement of most people’s every day professional live. Not being able to understand the strategic performance framework in which one is supposed to function can lead to what Marx called “alienation”.
But I am not a cynic, as you know, my darling, or at least not totally. Some people have identified strategy to poetry, philosophy or have reduced it to data crunching, you know, things like the last hype: “competitive intelligence”. For my part, I think that strategy is the result of a conversational process which can be very enjoyable. I have made a glossary of the terms mentioned on the ITERRATIO paintings, and I am convinced that each single one of them, let alone the relationship between them, can be the source of an exciting conversation.

Ann – Are you setting up a capitalist propaganda forum?

TERI – Come on, stick to the questions, only a leftist journalist would ask stupid questions like these.

Ann – Answer the question. I AM a leftist journalist. Didn’t you tell me that one of the golden rules you’ve learned at your SN Brussels Airlines seminar on media communication was never to say “no comment” or refuse to answer a question?

TERI – OK, I’ll play the game.
You know, I tend to agree with Peter Sloterdijk that capitalism is a constitutive part of Western civilisation and that it has probably been the most accepted export product of what he calls the “age of terrestrial globalisation”, the period between the discovery of America and the end of the 20th century. The current era is characterised by the saturation of the effects of the previous age. What is going on today is an absorption “in depth” of capitalistic modes of thinking and behaving, and business strategic thought is, in my view, a perfect example of this phenomenon.
It is not my goal to trigger antagonistic discussions about the epistemological or moral right or wrong of socio-economical preconceptions or phenomena like capitalism and globalisation. All I want to achieve is to enhance “strategy awareness” through the provision of a conversational platform.

Ann – I liked your reference to Sloterdijk, people like famous names to be mentioned, you should refer more to them, it’ll make you seem less megalomaniac than you are. Next question: If you don’t want to promote “preconceptions”, as you call them, are your intentions purely philanthropic? In other words, will it finally buy us a nicer, BIG house?

TERI – What a mutation! The leftist journalist transforms into a mother animal!
Fortunately, times have long gone since art and business were parallel universes. But, I'm afraid that the relationship between business and art remains problematic, unachieved. Although business has integrated the concept of culture, in terms of managerial or corporate culture and values, art remains a very accidental element in the business world. Occasionally a cultural event or a visit to an exhibition is organised, most of the time within the context of PR or HR activities. Art is very rarely understood and used as one of the most effective instruments to build a common experience and understanding. The art community, from its side, remains quite averse to what it perceives as the instrumentalisation of its genius.
Some artists, like Yvo D’Herde, have a more traditional conception of their position. Within the framework of the ITERRATIO programme, Yvo has accepted to function as a craftsman. The purpose of the paintings is to create a tension between the quality of the painted images and their usual representation in aseptic printing or powerpoint projections. You’ll agree with me, seeing Ansoff’s Product/Market Matrix painted by Yvo creates a shock, especially to people who have only associated it to it's slick representation in their MBA manuals.
I consider that contributing to the triggering of a strategic conversation and the awareness of strategy through artistically generated questioning is a very beneficial service to both individuals and organisations. It is a service worth paying for, and I see nothing wrong with that.

Ann – Neither do I, but I’m still not fully convinced of the value of your proposition. You’ll have to work harder on that one.

TERI – I will.

Ann – And that’s what you will do using the pompous title “Producer”?

TERI – I am not an artist, nor am I a scenographer, an art critic, or an event organiser. I leave these responsibilities to much more qualified professionals. Harald Szeemann has elevated exhibition organising to an art form in its own right. I lack the background to be a “curator”. My craft is the raising of funds and the management of the proceeds, but with a definite say on the final product. This is the way the role of the producer is defined in the American film industry.

Ann - You are referring to the art world, but your programme is about generating a conversation about the “universality of business strategies”. Wouldn’t it be more efficient to organise a series of conferences?

TERI – There are already plenty of conferences on business strategy, they cover the rational argumentation of the subject. The objective of the ITERRATIO programme is to initiate conversational argumentation; this is a completely different aim. The ITERRATIO programme is about awareness, not knowledge. It is about what precedes knowledge, it is about experience. Art is the ideal vector to create such an experience.

Ann - OK, now one of the more sensible questions on your list. Why did you select the number 12 and the Golden Section as formal themes for the ITERRATIO programme?

TERI – The choice for the number 12 has to do with practical considerations. First, it is high enough to cover a sufficient number of perspectives on business strategy. I can cover the internal and external, the market or process, static or dynamic orientations of the different models. On the other hand 12 is not too many. I don’t want to overdo it and confuse people. Finally, and this is great news, 12 can be divided by 1, 2, 3, 4 or 6. This can come in handy in the concrete elaboration of the event.
As for the Golden Section it is, besides the aesthetic qualities of the 1.618 ratio, a referral to the Western cultural tradition. Although far from being an occultist or a Pythagorean, I always have been fascinated by the Golden Section and the famous book on the subject by Matila C. Ghyka.

Ann – You may not be an occultist, but my Christian background forces me to an association with the 14 stations of the way of cross.

TERI – You surprise me. I didn’t think of that one. What can I say? Well, the similarity is purely fortuitous. The 14 stations of the way of the cross are focal points in a linear story. The 12 representations of strategy models are part of a non-linear network of signification. I’ll need to think more on this subject, thanks for the input.

Ann - Are you in touch with other artists?

TERI – Of course. I am currently talking to several people to make a first video, to architects, scenographers, etc… , but also to cooks and professionals in the event industry. One shouldn’t underestimate the creativity of these people.
I am also building an “advisory board” for the ITERRATIO programme. Besides artists, business people, academics, executives and politicians will contribute to the elaboration of the programme.

I am in touch with a lot of fascinating individuals. I have set up a blog (http://iterrationzero.blogspot.com/) for the people who wish to follow the development of the project.

Ann – What are your chances of success?

TERI – What could go wrong with a woman like you at my side?

Strategy Glossary

2006-02-25T10:09:00.002Z

This alphabetical list contains all the terms used in the Iterratio paintings. These concepts provide a pretty accurate indication of the areas of interest of modern strategy theory.

Ability to execute (term present in painting 8)
Absorption (term present in painting 17)
Accessible market (term present in painting 8)
Advantage (term present in painting 5)
Aging (term present in painting 2)
Alignment (term present in painting 9)
Asset utilisation (term present in painting 9)
Attack (term present in painting 1)
Availibility (term present in painting 9)

Bargaining power (of buyers) (term present in painting 11)
Bargaining power (of supplier) (term present in painting 11)
Benefits (term present in painting 12)
Brand (term present in paintings 9 and 12)
Brand identifications (term present in painting 12)
Buyers (term present in painting 11)

Capabilities (term present in painting 7)
Capital (term present in painting 9 and 15)
Cash (term present in painting 8)
Cognitive (School) (term present in painting 16)
Company (term present in painting 10)
Compatibility with strategy (term present in painting 8)
Competition (term present in paintings 4 and 11)
Configuration (School) (term present in painting 16)
Core Business (term present in painting 8)
Cost leadership (term present in painting 5)
Cost structure (term present in painting 9)
Culture (term present in paintings 9 and 12)
Cultural (School) (term present in painting 16)
Customer bases (term present in painting 12)
Customer focus (term present in painting 15)
Customer intimacy (term present in painting 3)
Customer management processes (term present in painting 9)
Customer perspective (term present in painting 9)
Customer value (term present in painting 9)
Customers (term present in paintings 4 and 10)

Defence (term present in painting 1)
Design (School) (term present in painting 16)
Development focus (term present in painting 15)
Differentiation (term present in paintings 5 and 8)
Direct (term present in painting 1)
Distribution channels (term present in painting 12)
Diversification (term present in paintings 6 and 8)

Embryonic (term present in painting 2)
Entrepreuneurial (School) (term present in painting 16)
Environmental (School) (term present in painting 16)
Excess production capacity (term present in painting 12)

Facilitators (term present in painting 4)
Favourable (term present in painting 2)
Financial goal (term present in painting 9)
Financial focus (term present in painting 15)
Financial perspective (term present in painting 9)
Focus (term present in painting 5 and 15)
Functionality (term present in painting 9)

Growth (term present in paintings 2 and 9)

History (term present in painting 15)
Holding (term present in painting 17)
Horizontal integration (term present in painting 10)
Human capital (term present in painting 9)
Human focus (term present in painting 15)

Indirect (term present in painting 1)
Industry competitors (term present in painting 11)
Industry leading (term present in painting 3)
Industry par (term present in painting 3)
Industry wide (term present in painting 5)
Influencers (term present in painting 4)
Information capital (term present in painting 9)
Information technologies (term present in painting 12)
Innovation processes (term present in painting 9)
Intangible linkages (term present in painting 12)
Integration (term present in painting 10)
Intellectual capital (term present in painting 15)
Internal perspective (term present in painting 9)

Leadership (term present in painting 9)
Leadership zone (term present in painting 8)
Leading (term present in painting 2)
Learning and growth perspective (term present in painting 9)
Learning (School) (term present in painting 16)
Low cost position (term present in painting 5)

Market (term present in paintings 6 and 10)
Market linkages (term present in painting 12)
Market development (term present in painting 6)
Materials procurement (term present in painting 12)
Mature (term present in painting 2)
Maturity (term present in painting 2)

New (term present in paintings 6 and 12)
New Product technologies (term present in painting 12)
Nonviable (term present in painting 2)

Old (term present in painting 6)
Operational excellence (term present in painting 3)
Operations management processes (term present in painting 9)
Operations technologies (term present in painting 12)
Organisation (term present in paintings 4 and 9)
Organisation capital (term present in painting 9)
Organisational autonomy (term present in painting 17)

Particular segment (term present in painting 5)
Partnership (term present in painting 9)
Penetration (term present in painting 6)
Perspective (term present in painting 9)
Planning (School) (term present in painting 16)
Position (term present in painting 2)
Positioning (School) (term present in painting 16)
Potential entrants (term present in painting 11)
Power (School) (term present in painting 17)
Preservation (term present in painting 17)
Price (term present in paintings 8 and 9)
Process focus (term present in painting 15)
Processes (term present in painting 7)
Product (term present in paintings 3, 6 and 12)
Product development (term present in painting 6)
Product leadership (term present in painting 3)
Product line extension (term present in painting 12)
Product linkages (term present in painting 12)

Quality (term present in painting 9)

Raw materials (term present in painting 10)
Regulatory and social processes (term present in painting 9)
Renewal focus (term present in painting 15)
Revenue opportunities (term present in painting 9)
Rivalry among existing firms (term present in painting 11)

Same market (term present in painting 10)
Same type of buyers (term present in painting 12)
Service (term present in painting 9)
Shared managerial culture (term present in painting 12)
Similar generic strategies (term present in painting 12)
Similar market (term present in painting 10)
Similar value chain (term present in painting 12)
Staff functions (term present in painting 12)
Stakeholder contribution (term present in painting 7)
Stakeholder portfolio (term present in painting 4)
Stakeholder satisfaction (term present in painting 7)
Strategies (term present in painting 7)
Strategic interdependence (term present in painting 17)
Strong (term present in painting 2)
Substitutes (term present in painting 11)
Suppliers (term present in paintings 4 and 11)
Symbiosis (term present in painting 17)
Synergetic benefits (term present in painting 12)

Target (term present in painting 5)
Teamwork (term present in painting 9)
Technological linkages (term present in painting 12)
Tenable (term present in painting 2)
Threat of new entrants (term present in painting 11)
Threat of substitute products or services (term present in painting 11)
Today (term present in painting 15)
Tomorrow (term present in painting 15)
Top 10 zone (term present in painting 8)

Uniqueness (term present in painting 5)

Vertical integration (term present in painting 10)

Weak (term present in painting 2)
World class (term present in painting 3)