The thesis develops work started on the MA in Multi-Disciplinary Printmaking. It addresses the question - Can personal grief narratives explored through contemporary arts practice,auto-ethnographic writing, and the participatory performative act of making and being in specific places result in access into, the potentially, restorative space of mourning; moving between what continues to exist and what is missing in the physical world? This troubles at the Western societal idea of getting over grief and presents an alternative model of walking with and alongside loss as well as providing opportunities for conversations and ‘metalogues’, following Bateson (1972). An investigation follows, through a phenonmenological methodology of repetition, into the functions of articulating loss and absence through stories in exploring personal grief narratives, through contemporary arts practice and the participatory creative enacting of rituals in specific places which involve the interweaving of people, objects, place and story, so as to externalize emotion through creative activity to match the void of absence. Testing Foucault’s (1989: 208) notion that “a work of art opens a void,” an opportunity to question without always providing reconciliation or answers. Through an interwoven exploration of theory and practice utilising Law’s (2004) ‘method assemblage’ of presence, manifest absence and Otherness, the practice element creates both the representational and allegorical; objects and gifted objects (forms of presence), documentation of performance/ritual, some orientated around specific external sites thus allowing an examination of loss of place as well as loss of people, (forms of manifest absence) and one’s response to and ongoing relationship with the presence of absence as ways of exploring grief and loss (what is hidden or Other,). The participatory projects and interviews with 7 artists (across artistic disciplines) enable conversations and sharing of understandings of loss. They provide multiple perspectives,viewpoints, and voices for the thesis. New knowledge is formed in the methodological and iterative dance between practice,reading and writing. The presence of absence becomes, to borrow a musical term, an ostinato through the repetition, variation and development of practice. Meaning is re-interpreted and transformed through evocation and noticing, allowing an examination of the pain ofgrief and loss. These combinations model new possibilities for enabling others by offering ideas and choices of how we might live with the presence of absence. The thesis shows the power of metaphor and story to alter the self, give back a sense of choice and control and find equivalence to the intensity of grief. Through creating objects and rituals, writing and sexual encounter, through the examples of other artists’ practice and the sharing of extended conversations multiple layers of meaning are revealed, how they work in relation to what continues to exist and what is missing in the physical world.

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This thesis is concerned with the smallest and cheapest products of the Venetian presses in the sixteenth century. Pamphlets and printed fliers were the most accessible articles of printed matter to the wider public, and they are crucial to understanding how the technology of printing infiltrated the urban life of Venice in this period. To this end, Chapter One is concerned with the spaces of print dissemination in the city, mapping information about the locations of presses, bookshops, and stalls in the city. A particular focus is the street trade in cheap print, how this interacted with established shops and was drawn to particular times and spaces of public gathering. Chapters Two and Three consider the chief producers and disseminators of cheap print: printers and publishers, and vendors both established and itinerant. I examine the people who came to make up the printing industry in this developmental phase, and the role that the production of cheap print played in the process of establishing a successful business. A focus on performers who published or sold cheap print-enacting the oral dissemination of texts in tandem with their printed diffusion-suggests how broader publics, of every shade from illiterate to literate, were becoming acculturated to an expanding print culture. Chapter Four then concentrates on representative examples of printed pamphlets produced in Venice by itinerant publishers and performers in collaboration with members of the local printing industry, for example, tales of chivalry, poems about recent wars, charlatans' recipes, and prognostications. Finally, in Chapter Five I consider how cheap print dissemination fared in the intensifying climate of control and censorship of the Counter-Reformation era.

Im Rahmen der wachsenden Informationsflut hat sich die These durchgesetzt, dass es nicht wichtig ist, Wissen vorrätig zu haben, sondern dass man wissen sollte, woher man dieses bekommen kann. Eine potenzielle Quelle neuen Wissens sind Kooperationen. Kooperation als ein Teil des Wissensmanagement respektive Wissenskooperationen als zentrale Grundlage für erfolgreiches Wissensmanagement unterstützen die Akquise und Bündelung von Wissensressourcen. Wertschöpfungsprozesse verändern sich dahingehend, dass ein Gesamtprodukt das Ergebnis von Teilleistungen ist, die durch Kooperationen erzielt werden. Geschehen diese Kooperationen systematisch, so bilden sie eine Basis für das Wissensmanagementund dienen der der regionalen Strukturentwicklung.

Im Zuge der ungebremsten Ausbreitung des Web 2.0 und der längst eingetretenen Globalisierung der Märkte entwickelt sich das Wissen über die Bedürfnisse und Meinungen von Kunden zum erfolgskritischen Faktor in jedem Unternehmen. Es können jedoch nicht alle Kunden immer profitabel sein, denn nicht jeder Kunde liefert denselben Beitrag zum Unternehmenswert. Neben den offensichtlichen ökonomisch-monetären Kriterien, wie etwa Umsatz oder Deckungsbeitrag, spielen nach, (Cornelsen, 2000) und (Homburg & Schnurr, 1999) vermehrt auch nicht ökonomische Determinanten, wie Referenz- und Informationspotenziale eine große Rolle. Der Einfluss des Einzelnen wird durch die Weiterentwicklungen im Internet, wie sozialen Netzwerken oder Blogs ermöglicht. Das soziale Netzwerk Facebook verzeichnet über 1.42 Milliarden User weltweit. In den USA sind über 50 Prozent aller Internetnutzer bei Facebook registriert. Der Microblog Service Twitter zählt 288 Millionen Nutzer weltweit. Betrachtet man sich diese Zahlen, so lassen diese keinen Zweifel an der Integration des Web 2.0 in das tägliche Leben und somit auch in das Konsumentenverhalten aufkommen. In der vorliegenden Arbeit werden mit Hilfe der Methoden des Text Mining als Teilbereich der Business Intelligence (BI) und der sozialen Netzwerkanalyse die Referenzpotenziale einzelner Nutzer analysiert, wobei als Quelle das Verhalten der Nutzer bei der Kommunikation in sozialen Netzwerken herangezogen wird. Dabei setzt sich das Referenzpotential nicht ausschließlich aus netzwerkbezogenen Determinanten zusammen, sondern beinhaltet vielmehr auch Komponenten wie Fachwissen. Daher ist eine Integration von Inhalten und Netzwerkstrukturen nötig, um das Referenzpotential vollständig abzubilden. Das Gestaltungsziel der Arbeit besteht aus der Integration der Ansätze der sozialen Netzwerkanalyse und der Ansätze des Text-Mining um eine adäquate Beschreibung des Referenzpotentials mit Hilfe von Struktur- sowie Inhaltsdaten aus sozialen Netzwerken zu ermöglichen.

Das vorgestellte Projekt zeigt anhand des Wissensmanagement-Modells von, welche Bausteine vor dem Hintergrund der zeitkritischen Rahmenbedingung des demografischen Wandels für einen Wasserverband priorisiert werden sollten. Der Praxispartner wird hierzu in die Vorgehensweise eingeordnet und es werden zwei Maßnahmen der Kodifizierung erläutert. Abschließend zeigt ein Fallbeispiel den bereits erzielten Nutzen.

Printmaking within the applied arts is an extremely diverse practice that can extend the concept of what a print can be. Rather than the dissemination of published images and text, in this context printed information is transformed into objects and materials, ceramics, textiles, tableware, clothing. Prints such as these are not ʻreproductionʼ they are ʻproductionʼ.Process is crucial to both printmaking and the applied arts and the determining aspect of production plays a vital part in defining the qualities of a work such as print-decorated ceramic objects. To work with a printmaking process in this sector requires interpretation, predictive foresight and a degree of ʻthinking-through-makingʼ to transpose an image into the physical world of materials and objects. Printmaking, specifically within the ceramic discipline, is often plagued by issues of integrity brought about by problems relating to ʻdivisionʼ, these issues include: - - The physical divisions between image and object - The divided tasks in production that can disrupt thinking and making - A division of perceptions surrounding the surface/form relationship that considers the surface as supplementary or artificial Commercial production has developed approaches and techniques to integrate surface and form, combat these negative perceptions and raise the value of this type of work. These methods are not, however, always appropriate or accessible to individual ceramist-printmakers working in the studio. How can this sector overcome these negative factors and adopt strategies that invest some value of visual integrity within production? The research project answers this question in two ways: A low-tech, accessible method was developed in the studio with the aim to offer a new practical approach that physically integrates complex ceramic forms with the printed image. The aim was to facilitate this unity at an early ʻraw-clayʼ stage, where the combined manipulation of surface and form can take place together, resulting in an aesthetic that has ʻvisual integrityʼ. The second aim of the research has been to identify the inherent qualities of working and thinking ʻwithinʼ the language of ceramics and print materials and processes. ʻSyntacticʼ qualities and factors have been determined through research into historical innovations and the observation of current commercial practice in the field of screenprinting and screenprinted ceramics. This has helped to establish approaches to overcome negative factors relating to the perception of division, and invest integrity in the work through principled approaches to practice. The project adopts a methodology of ʻthinking-through-makingʼ where iterative studio experimentation is undertaken through tacit understanding, gained from experiential knowledge combined with research of contemporary and historical precedents. This approach is reflected upon and informed by writers who discuss working within the inherent language of printmaking. The research contributes to the advancement of knowledge through the development of a new versatile technique that can be easily accessed by ceramists and printmakers who wish to produce integrated ceramics and print works. This contributes to the advancement of technology, perception and knowledge in the field of printed ceramic objects. My approach and the development of a value system also offers a tool to further the critical

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Der Austausch von Wissen zwischen Organisationen gewinnt aufgrund beschleunigter Entwicklungsschleifen und begrenzten internen Möglichkeiten zur Wissensgenerierung immer mehr an Bedeutung. Der vorliegende Beitrag untersucht in diesem Zusammenhang, welche Barrieren den interorganisationalen Wissensaustausch auf der Ebene einzelner Personen einschränken. Dazu wurde anhand einer Literaturanalyse ein ganzheitlicher Ordnungsrahmen zur Identifikation, Zuordnung und Beschreibung der Barrieren gebildet. Darauf aufbauend wurden Methoden entwickelt, die eine Messung und Bewertung der Barrieren ermöglichen. Die Ergebnisse dienen Entscheidungsträgern in Wirtschaft und Wissenschaft, um Störungsquellen in interorganisationalen Wissensflüssen zu identifizieren und liefern eine Grundlage für die Ableitung gezielter Maßnahmen.

Despite the fact that knowledge management (KM) challenges cannot be solved by installing a technical system alone, technical support for KM initiatives is still an important issue and nowadays requires handling of context, intelligent content analysis and extended collaboration support. Since information systems have significantly improved in the last ten years with regards to implementing Web 2.0 features and semantic content analysis, knowledge workers can expect better support from IT than ever. After the human-oriented, technology-oriented (documents), process-riented and social KM phases, KM support now needs integration of those beneficial technologies instead of hyping one and neglecting the other. The true nature and potential of social media does only manifest when people incorporate them into their day-to-day work routines or even "live" the social media idea. The same is true for business process management (BPM). If BPM tools are not integrated into the existing, well-known information systems, acceptance will be low. Practice shows, that employees often do not even know in which process they are currently working.