Stora Vika ligger nordväst om Nynäshamn och är ett litet före detta brukssamhälle vid Fållnäsviken. Tidigare präglades området av Cementas fabrik och kalkbrott med ett tätt sammanvävt lokalsamhälle. Eftersom det inte finns någon aktiv arbetsgivare i Stora Vika längre har mycket av det kommunala serviceutbudet försvunnit såsom skolor, tät lokaltrafik och affärer. Detta medför att ingen längre jobbar i Stora Vika och de måste pendla till andra orter för arbete. Efter Cementa lade ner sin verksamhet i orten sjönk invånarantalet kraftigt men har på senare tid börjat öka igen - än väldigt långsamt. Däremot har föreningslivet  fortsatt varit aktivt och båtklubben är en viktig knutpunkt för invånarna. I dag huserar båtklubben i en liten byggnad intill båtupplaget men som inte har kapacitet att fungera som en samlingslokal. Samtidigt råder det en kraftig brist på båtvarv och båtsnickare i Stockholmsregionen, detta då de har fått ge vika åt bostadsexploateringar - eftersom de ligger i attraktiva och sjönära områden. Detta öppnar upp en möjlighet att kapitalisera på Stora Vikas nuvarande sociala värden och tillföra mervärden i form av arbete, lärande samt utöka båtklubbens resurser och yta. Projektet ämnas att skapa ett stort båtsnickeri med tillräckligt med plats för att kunna husera kompetensutvecklande kurser samt yrkesutbildningar för båtsnickeri. Övre plan skall användas som klubbhus åt Stora Vika Båtklubb med extra program för att stärka Stora Vikas attraktionskraft. / Stora Vika is located northwest of Nynäshamn and is a small former industrial community. In the past, the area was characterized by Cementa's factory and limestone quarry with a closely interwoven local community. Since there is no longer an active employer in Stora Vika, many of the municipal services have disappeared, such as schools, frequent local traffic and shops. This means that Stora Vika now are forced commute to other towns for work. After Cementa closed down their operation the population decreased but has recently started to increase again - albeit very slowly. However, the community has remained active and the boat club is an important meeting point for the residents. Today, the boat club is housed in a small building next to the boat yard, but it does not have the capacity to function as a meeting place. At the same time, there is a significant shortage of boatyards and boat builders in the Stockholm region. This provides an opportunity to capitalize on Stora Vikas' current social assets and add value in terms of employment, learning and expanding the resources and space for the boat club. The project aims to create a large boat workshop with enough space to accommodate skill development courses and carpentry education. The upper floor will be used as a clubhouse for the Stora Vika Boat Club with additional programs to strengthen Stora Vika's attractiveness.

No description available.

Throughout the twentieth century, Boris Goldovsky (1908-2001) played a significant role in training the operatic singer-actor. One of his most significant contributions was integrating music and drama. He taught his students how to develop a character, how to find dramatic clues in the music, and to become expressive artists free from monotonous operatic gestures and posturing. As author of the first textbook for training the operatic singer-actor, his curriculum was developed from experience, acting traditions, and mentor-student relationships. A new forum, Opera Workshop, allowed him to experiment and test his methods. Although Goldovsky is known to some scholars as the “Father of Training the Operatic Singer-Actor,” his presence in modern day training material is almost non-existent. How can we understand the needs of educating today’s operatic singer-actor without knowing the very foundation upon which it was built? This paper applies Goldovsky’s method of training to a staging and performance of Act II scene I from Humperdinck’s Hansel and Gretel. Providing this modern application of his training will demonstrate the relevance of his contributions for educators in a contemporary university setting. My findings suggest that Goldovsky’s approach and philosophy to training the young singer-actor provides practical and valuable knowledge that is still viable for today’s university singer-actor educator.

This study evaluated the effects of a community workshop designed to teach community members about human trafficking prevention. Participants were trained to identify the critical and non-critical features of human trafficking and safe ways to respond to identified trafficking situations. A pre-post treatment design was used to assess the effects of a community workshop across written and verbal target behaviors. This included written responses as well as simulation assessments across five different trafficking scenarios. Results indicate that all participants engaged in more correct responding within the written assessment and asked specific relevant questions with greater confidence within the simulation assessment following training. However, social media and empathy responses following the workshop did not differ from baseline. This study is one of the first empirical studies aimed at formally evaluating the effects of human trafficking prevention workshops. Results are discussed in the context of instructional design, measurement of outcomes, and interdisciplinary collaboration.

No description available.

The purpose of this study was to see the lifetime literacy growth of one fourth-grade writing teacher, and to view her teaching from inside her classroom. This study follows the journey of an emerging teacher as she grew and developed into a professional educator. This study continues into her classroom to see her as she taught Writers’ Workshop, inspiring her students to write from their own life experiences. This qualitative study was conducted using participant observation, interviews, and artifacts to gather data. Through qualitative inquiry and thematic analysis, data were interpreted to gain insight into this teacher’s life and her teaching. The researcher’ s reflections, review of the literature, and eighteen years of experience as a teacher, brought a knowledgeable perspective that informed interpretation of the data. This study of Ruth’s life and her classroom was an inquiry into the processes of teacher development. Our view of teachers and their teaching is hidden by the nature of the job they do. Stories of the lives and work of teachers seek to illuminate the professional development of teachers and their teaching (Goodson, 1994; Jalongo & Isenberg, 1995; Schwarz, 2001). By closely studying the path of one teacher’s growth and teaching, the growth and teaching of all teachers are illuminated; by "weav[ing] together the themes throughout one teacher’s lifetime, [we] connect" ¦them to the lives of many different teachers' (Jalongo & Isenberg, 1995, p. 28). From this study, experiences of one teacher build and layer as years of teaching experience and professional development mingle together to change and enhance her knowledge of teaching and resulting classroom practice. The fourth-grade students in Ruth’s classroom were the recipients of their teacher’s literacy experiences that developed over her lifetime. / Ph. D.

Problem Ideation in group is used by many, often as a tool for creating new and innovative ways to solve problems and creating change. Groups may have difficulties to move from the phase of inspiration to the phase of ideation, if information and ideas aren’t defined in the team. The authors claim that this process can be helped by providing practical tools that are adapted and tested for the purpose. The reason is to foster concretization of volatile thoughts in form of inspiration and information. Purpose The study aims to investigate how Storyboard as a tool can be used to concretize thoughts and inspiration in a group before ideation. Method In order to collect empirical data the authors along with four other facilitators, conducted 24 DO TANK:s for the innovation contest Smart Lunch. The empirical data where then analyzed using theories related to the topic. To obtain further empirical information the authors conducted a open dialogue with the other facilitators. Conclusions The study shows that it’s possible to use Storyboard as a tool for specifying and collect a group’s thoughts before ideation. Furthermore the authors consider that the use of Storyboard enables a more efficient ideation as the groups becomes more focused when they’ve defined their thoughts. / Problemformulering Idégenerering i grupp används idag av många, ofta som ett verktyg för att kunna skapa nya och innovativa sätt för att lösa problem och skapa förändring. Det finns svårigheter för grupper att gå från det som författarna kallar inspirationsfasen vidare till idégenereringsfasen, då information och tankar fortfarande inte är fastställda. Författarna menar att denna process går att underlätta genom att tillföra konkreta verktyg anpassade och testade för idéutvecklingsprocessernas olika faser. Anledningen är att främja konkretisering av flyktiga och svårtolkade tankar i form av inspiration och information. Syfte Studiens syfte är att undersöka hur verktyget Storyboard, tidigare använt inom filmindustrin kan användas som konkretiseringsverktyg inför en idégenerering i en gruppkonstellation? Metod För att samla in empirisk data har författarna, tillsammans med fyra andra facilitatorer, genomfört 24 st. DO TANK:s för innovationstävlingen Smart Lunch. Detta empiriska material har sedan analyserats med hjälp av teorier kopplade till ämnet. För att få ytterligare empirisk information har författarna utfört en öppen dialogintervju med facilitatorerna. Slutsatser Studien visar att det med fördel går att använda verktyget Storyboard för att konkretisera och samla en grupps tankar inför en idégenrering. Vidare anser författarna att detta möjliggör en effektivisering av idégenrereringsprocessen då denna blir mer fokuserad när gruppen är enig.

Esta tese intenta refletir acerca das oficinas como modalidade pedagógica e, mais especificamente, acerca das oficinas de música como possibilidade de engendramentos de espaços menores em educação musical. Inicialmente, buscando saber se os conceitos de \"oficina\", de \"oficina de música\" e de \"oficineiro(a)\" vêm sendo movimentados em pesquisas da área da música, realizou-se uma pesquisa bibliográfica de caráter estado da arte. Visando compreender se e como as pesquisas encontradas tratavam aspectos históricos, conceituais e metodológicos das oficinas de música, fez-se uma análise dos trabalhos localizados no levantamento bibliográfico, com descrições textuais acerca destes e categorizações. A análise comprovou a hipótese deste trabalho, que previa ampla utilização dos termos \"oficina\" e \"oficina de música\", em diferentes pesquisas, sem aprofundamentos ou delineamentos conceituais minuciosos. Um panorama teórico acerca das oficinas de música foi construído a partir de três trabalhos, considerando que estes debruçaram-se específica e sistematicamente sobre a análise dessa modalidade pedagógica, tratando de suas características, bem como de aspectos históricos e conceituais do movimento das oficinas de música no Brasil. Para além da explanação deste panorama teórico, que destacou enfoques, similaridades e divergências entre tais pesquisas, busquei diálogos conceituais com autores das áreas da Educação (Maria Oly Pey, Guilherme Côrrea e Ana Preve) e da Filosofia (Gilles Deleuze, Félix Guattari, Jorge Larossa e Silvio Gallo) no intuito de propor novas conceituações às oficinas e às oficinas de música. Operando por deslocamentos, proponho pensar a oficina como espaço menor de educação, propício às experiências e às viagens. Delineio, também, o que compreendo como oficineiro-artesão, pensando o papel dos educadores nestes espaços. Por fim, atentando ao conceito de nomadismo e suas possibilidades de intervenção em educação, discorro acerca das oficinas como engendramentos nômades, vislumbrando, dentre suas características, a possibilidade de instauração de um espaço e planejamento liso em educação musical. / This work aims to study the workshops as a pedagogical modality and, more specifically, to think musical workshops as a way to create/achieve a minor space in musical education. Initially, in order to comprehend if the concepts of \"workshop\", \"musical workshop\" and \"workshopper\" have being used and moved in Brazilian\'s music researches, a state-of-the-art bibliographic research was carried out. In order to understand if and how the historical, conceptual and methodological aspects of musical workshop where attended, it was realized an analysis of the works found in the bibliographic survey, describing and categorizing them according on how they approached the aforementioned concepts. It was demonstrated true the original hypothesis that most of these researches used the terms \"workshop\" and \"musical workshop\" without conceptual deepening. A theoretical overview about musical workshops was constructed based on the only three works that specific and systematically studied this pedagogical modality, describing its main characteristics, as well as the historical and conceptual aspects of the musical workshop movement in Brazil. In addition to this theoretical overview, that highlighted approaches, similarities and divergences of these researches, we seek for conceptual dialogues with writers from Education (Maria Oly Pey, Guilherme Côrrea, Ana Preve) and Philosophy (Gilles Deleuze, Félix Guattari, Jorge Larrossa, Silvio Gallo) in order to propose new concepts to workshop and musical workshop. Through conceptual displacements, it\'s proposed to think workshops as a minor space of education, propitious to experience and travels. We also delineate what we understand as a craftsman-workshopper, thinking about the educator role in these spaces. Lastly, considering the concept of nomadism and its possibilities of influence in the education process, we discuss about workshops being nomadic spaces, comprehending the possibility of the establishment of a smooth space and planning in musical education.

Esta tese intenta refletir acerca das oficinas como modalidade pedagógica e, mais especificamente, acerca das oficinas de música como possibilidade de engendramentos de espaços menores em educação musical. Inicialmente, buscando saber se os conceitos de \"oficina\", de \"oficina de música\" e de \"oficineiro(a)\" vêm sendo movimentados em pesquisas da área da música, realizou-se uma pesquisa bibliográfica de caráter estado da arte. Visando compreender se e como as pesquisas encontradas tratavam aspectos históricos, conceituais e metodológicos das oficinas de música, fez-se uma análise dos trabalhos localizados no levantamento bibliográfico, com descrições textuais acerca destes e categorizações. A análise comprovou a hipótese deste trabalho, que previa ampla utilização dos termos \"oficina\" e \"oficina de música\", em diferentes pesquisas, sem aprofundamentos ou delineamentos conceituais minuciosos. Um panorama teórico acerca das oficinas de música foi construído a partir de três trabalhos, considerando que estes debruçaram-se específica e sistematicamente sobre a análise dessa modalidade pedagógica, tratando de suas características, bem como de aspectos históricos e conceituais do movimento das oficinas de música no Brasil. Para além da explanação deste panorama teórico, que destacou enfoques, similaridades e divergências entre tais pesquisas, busquei diálogos conceituais com autores das áreas da Educação (Maria Oly Pey, Guilherme Côrrea e Ana Preve) e da Filosofia (Gilles Deleuze, Félix Guattari, Jorge Larossa e Silvio Gallo) no intuito de propor novas conceituações às oficinas e às oficinas de música. Operando por deslocamentos, proponho pensar a oficina como espaço menor de educação, propício às experiências e às viagens. Delineio, também, o que compreendo como oficineiro-artesão, pensando o papel dos educadores nestes espaços. Por fim, atentando ao conceito de nomadismo e suas possibilidades de intervenção em educação, discorro acerca das oficinas como engendramentos nômades, vislumbrando, dentre suas características, a possibilidade de instauração de um espaço e planejamento liso em educação musical. / This work aims to study the workshops as a pedagogical modality and, more specifically, to think musical workshops as a way to create/achieve a minor space in musical education. Initially, in order to comprehend if the concepts of \"workshop\", \"musical workshop\" and \"workshopper\" have being used and moved in Brazilian\'s music researches, a state-of-the-art bibliographic research was carried out. In order to understand if and how the historical, conceptual and methodological aspects of musical workshop where attended, it was realized an analysis of the works found in the bibliographic survey, describing and categorizing them according on how they approached the aforementioned concepts. It was demonstrated true the original hypothesis that most of these researches used the terms \"workshop\" and \"musical workshop\" without conceptual deepening. A theoretical overview about musical workshops was constructed based on the only three works that specific and systematically studied this pedagogical modality, describing its main characteristics, as well as the historical and conceptual aspects of the musical workshop movement in Brazil. In addition to this theoretical overview, that highlighted approaches, similarities and divergences of these researches, we seek for conceptual dialogues with writers from Education (Maria Oly Pey, Guilherme Côrrea, Ana Preve) and Philosophy (Gilles Deleuze, Félix Guattari, Jorge Larrossa, Silvio Gallo) in order to propose new concepts to workshop and musical workshop. Through conceptual displacements, it\'s proposed to think workshops as a minor space of education, propitious to experience and travels. We also delineate what we understand as a craftsman-workshopper, thinking about the educator role in these spaces. Lastly, considering the concept of nomadism and its possibilities of influence in the education process, we discuss about workshops being nomadic spaces, comprehending the possibility of the establishment of a smooth space and planning in musical education.

Modern Societies have to consider diverse tasks strongly related to geochemistry sciences. Examples intensively discussed in the public are restoration measures for contaminated industrial fallow grounds, the safe storage of chemical-toxic and radioactive waste, carbon dioxide sequestration to reduce green-house gas emissions, the construction and operation of deep geothermal power plants, the geochemical exploration of natural resources or water and waste water treatments, including desalination efforts. Direct and urgent aspects to be dealt with are analytical and geochemical consequences of the Fukushima Daiichi nuclear disaster. All these cases have one in common – they require reliable thermodynamic data in order to forecast the fate of chemicals in the respective environment. Whereas a variety of standard methods, such as potentiometry, solubility studies, liquid-liquid extraction or electrochemical titrations, are in widespread use to generate thermodynamic data, it is far less straightforward to assign correct reaction pathways and structural patterns to the underlying chemical transformations. This especially holds for systems with strong tendencies to complexation and oligomerization. Here, it is essential to have proof of evidence for all involved species, which cannot be provided by the aforementioned methods, and is still lacking for various metal-containing systems. Spectroscopic techniques in combination with approaches from quantum chemistry can be of great benefit for such tasks. However, their application ranges are often restricted with respect to the type of element (and redox state) that can be probed. Further handicaps are imposed by detection limits or other parameters such as pH or salinity. Moreover, the spectroscopic results are often difficult to interpret in an unambiguous way. To overcome these complications at least partially, this workshop has been initiated. It shall significantly extend the application areas of spectroscopic tools important for lanthanide and actinide chemistry. Emphasis shall be placed on the development of spectroscopic methods towards more challenging environmental conditions – such as very basic pH values, elevated temperatures, pressures, or salinities – extending the range of covered elements and redox states. Furthermore, the exploration of options for lowering detection limits and increasing spatial resolution at sufficiently high signal-to-noise ratios will support future investigations on more complex systems. An approach combining the extension of spectroscopic tools with respect to elements and parameters, improvements of experimental setups, and applications of quantum chemical methods in predictive as well as interpretative ways certainly can be very beneficial. The workshop hopefully will bundle and strengthen respective research activities and ideally act as a nucleus for an international network, closely collaborating with international partners. I am confident that the workshop will deliver many exciting ideas, promote scientific discussions, stimulate new developments and in such a way be successful.