then (NEXT), Flow ( Optimal Experience ), Optimization, optimal size of team, span of control

Modern companies may choose a small group of “core” workers and a larger group of contract workers. This could improve cohesion within the core staff, but the others may be less well-treated

The number of the best

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Finding the optimal size of teams and organisations

Span of control is the term now used more commonly in business management, particularly human resource management. Span of control refers to the number of subordinates a supervisor has.

Contents

• 1Overview
• 2Factors affecting span of control
• 3Theoretical considerations
• 4References
  

Kids Struggle With Return to China

Alan Paul explains how each visit back to the U.S. makes it more difficult for his kids to then return to China.

Quote from W. Edwards Deming:
Sub-optimization is when everyone is for himself. Optimization is when everyone is working to help the company.

optimum 
adjective [before noun] (ALSO optimal)
best; most likely to bring success or advantage:
A mixture of selected funds is an optimum choice for future security and return on investment.

optimize, UK USUALLY optimise Show phonetics
verb [T]
to make something as good as possible:
We need to optimize our use of the existing technology.

 op・ti・mize

━━ vt. …を最も効果的にする; 【コンピュータ】（プログラムなどを）最適化する.
 op・ti・mi・za・tion
　━━ n. 【コンピュータ】最適化.
 optimizing compiler　【コンピュータ】最適化コンパイラ.

then (NEXT)
adverb
next or after that:
Let me finish this job, then we'll go.
Give her the letter to read, then she'll understand.



THEN was found in the Cambridge Advanced Learner's Dictionary at the entries listed below.

• then (TIME)
• then (NEXT)
• then (IN ADDITIONAL)
• then (RESULT)
• then again
• life's a bitch (and then you die)
• even now/then
• every now and again/then
• (every) now and then/again
• now then
• and then some
• from then on
• then and there
• but then (again)
• What's that (all) about (then)?

此書2017年有新譯本？

Flow: The Psychology of Optimal Experience by Mihaly Csikszentmihalyi
Flow ( Optimal Experience )

2008.1
破︰ 在你剛回國時初次做的兩部集體創作的戲，像是藝術學院第一屆學生的《我們都是這樣長大的》、長時間和精障患者田野式的工作坊創作《摘星》，曾提到當時的集體創作是有點極簡、克難，甚至是有許多限制，然後從限制中去突破，相較到第三部作品《過客》（也就是成立表演工作坊之前的最末部）你認為已經可以將集體創 作變成一種「熟悉的工具」。再接下來在表坊這20多年來，又誕生許多集體創作的戲碼，從過去到現在，這種創作模式對你來說有何最大的不同或是改變？
賴聲川︰ 它這種方法本身一方面在長進，一方面運用了幾年就熟悉許多了。所以到後來，就越來越成為我個人式的一種創作方法。到現在，我這種集體即興創作，已經變成進 入到某種「flow」（Csikzentmihalyi的流暢理論）的境界裡面，調準了，作品很快就會出來。這很難去解釋，也很少人問，其實就是要進入某 一種狀態，才能作。
破︰ 這似乎在不少創作者，無論是戲劇，還是藝術、音樂、文學工作者在解釋創作心境都會提到的一種共通性？
賴聲川︰ 對啊，就像是一位書法家、爵士樂手…等等，他們都必須在某一種特殊的狀態當中，才有辦法做出一樣作品。至於我比較特殊的狀態，則是在排練室裡頭發生，而不 是在舞台上發生。就像表現主義畫家波拉克（Jackson Pollock），他必須進入到某種情況內，才有辦法畫出那些抽象的東西。所以一旦我在排練室裡進入那樣的狀態，我就可以很快將演員們帶到那種狀況。