This dissertation discusses the transfer of practical knowledge as seen in the practises of conservatory teachers at the Royal College of Music in Stockholm. It is based on material from three series of dialogue seminars conducted with teachers and students. The aim of the dialogue seminar is to bring a practitioner’s personal style of relating to a profession into a form which makes it possible for the practitioner and others to reflect upon. Using the participants’ texts and the seminar protocols as a starting point the dissertation develops some of the themes which emerged. It is divided into three parts: The first discusses conservatory teachers’ relationship to language. Examples include the teachers’ use of indirect ways to »work around« a problem rather than addressing it directly, the use of metaphors and figures of speech, and the fields of disagreement that surround certain central concepts. These disagreements exist within a »thought-style« shared by practitioners of a profession. The second part develops some of the paradoxes inevitably encountered in practical music making and musical education. Examples include planning-spontaniety, simplicity-complexity, reflection-action, clarity-truth, breadth-depth. It is argued that the way in which practitioners’ handle and relate to such »paradoxical fields« constitute an essential part of mature professional skills. The third part discusses the nature of practical knowledge, especially its relationship to the rules that can be established to help transmit such knowledge. The wittgensteinian image of basic rules, which are followed in a way that can not be described in rules, is contrasted by an image in which the learner gains access to patterns of action which are handled on the basis of the percieved meaning of the actions. / QC 20100923

Vi har genomfört en kvalitativ studie i ämnet konflikthantering. Vi har valt att utforma den med hjälp av fem lärare som vi har intervjuat. Konflikter kan man inte undvika, varken i livet eller i skolan och där är det lärarens uppgift att hantera dem. Därför tycker vi att det är viktigt att belysa och förstå kunskapen om konflikthantering. Förr hanterades inte konflikter och bråk i skolan som idag. Fram till 1958 var det fortfarande tillåtet att bestraffa elever med aga. Det var genom aga och skäll som man hanterade konflik¬terna istället för att som idag prata med eleverna. Skäll existerar fortfarande men framförallt hanterar lärarna konflikter med hjälp av att kom¬municera med eleverna. Idag är idealet att kommunicera väl; lyssna, tala och känna empati. I konfliktsituationer agerar läraren ofta medlare mellan eleverna. För att ta reda på hur kunskapen om konflikthantering i skolan ser ut tar vi hjälp av begreppet tyst kunskap. Eftersom tyst kunskap har många olika tolkningar för vi en diskussion kring begreppet. Att vi använder oss av just detta begrepp beror på att tyst kunskap i alla olika tolk¬ningar ändå anses vara en praktisk kunskap. Så är, menar vi, även fallet med konflikthan¬teringen i skolan eftersom den är kopplad till lärarens vardagliga arbete. Därför kopplar vi samman kunskap om konflikthantering med tyst kunskap. Vi har kommit fram till att hur lärare hanterar konflikter beror mycket på vilka ideal som råder just då. Lärarna i våra intervjuer inhämtar kunskapen om konflikthantering till största delen i sitt arbete och de anser alla att det är viktigt att aktivt förebygga konflikter för en fungerande undervisning och ett gott klassrumsklimat. Kunskapen om konflikthantering är situationsbunden och personlig men detta räcker inte för att vi ska kunna sluta oss till att det är tyst kunskap, detta beror helt på vilken definition man utgår ifrån. Vi vill poängtera att våra resultat inte på något sätt försöker vara generaliserande. / We have done a qualitative study about conflict-handling. The purpose of this study is to understand conflict-handling and prevention of conflicts in the classroom from a teacher’s perspective; how does teachers develop their knowledge of conflict-handling and is that knowledge tacit? How can teachers handle conflicts and quarrels in the classroom and how can they prevent them? Those are our questions at issue. To get information we interviewed five different teachers and studied relevant literature. We have chosen to restrict this study to conflicts between pupils or teachers and pupils, grade 4-6 in the Swedish school. Conflicts or quarrels are things that can’t be avoided and it is the teacher’s job to handle them, this is called conflict-handling. In former times the conflict-handling in schools meant corporal punishment or telling the pupil off. Telling-off still exists in our schools today but the way conflicts are handled is now mostly by using communication and the teacher will in most cases become the mediator between the pupils. To elucidate conflict-handling we chose to use the concept of tacit knowledge. This concept has many different interpretations but all of them are saying that tacit knowledge is practical. Therefore it is interesting for us to connect conflict-handling, which is a part of the teacher’s daily tasks, with tacit knowledge. We have compared the interviews with each other and with the literature and found that the conflict-handling depends on what the current ideals are. The teachers in our interviews learn conflict-handling mostly in their work and they all think that it is important to actively prevent conflicts for a functioning education and a good atmosphere in the classroom. In the matter of deciding if conflict-handling is tacit knowledge or not it all comes down to which definition of tacit knowledge you rely on. The results we found are only specific for the teachers we interviewed and for our study.

Klinisk blick är en term som frekvent återkommer under sjuksköterskeutbildningen och i klinisk verksamhet. Den återfinns ofta i samband med klinisk bedömning och som en övergripande beskrivning av en patient. Endast antydda betydelser har framkommit och då tätt knutna till andra termer och processer. Syftet med studien var att undersöka komponenterna intuition och tyst kunskap som delar i sjuksköterskans kliniska blick. Studien genomfördes som en litteraturstudie där 17 vetenskapliga artiklar granskades. Resultatet visar att intuition och tyst kunskap är huvudkomponenter i sjuksköterskans kliniska blick. Intuition verkar som en länk mellan kognitiva, affektiva och perceptuella processer. Tyst kunskap sammanbinder intuition och teoretisk kunskap. Intuition och tyst kunskap utvecklas över tid och baseras på personlighet, erfarenhet och teoretisk kunskap. Förslag till vidare forskning är att försöka utveckla och specificera termen och förstå de bakomliggande processerna bättre med syftet att utbilda och stödja sjuksköterskan i hennes professionella utveckling.

This study elevates the importance of experience, the senses and tacit knowledge in relation to archaeology with a focus on music. With this I take up a thread drawing on theoretical aspects of Polanyi’s ‘Tacit Dimension’ and ‘Ingold’s Lines’.  I review paradigms in experimental archaeology and music archaeology, and the subject of reconstruction in both.  My case study is of four individuals, whose reconstruction models are connected to artefacts perceived as flutes in the archaeological record and/or notions of prehistoric flutes.  Combining the way in which we learn by understanding others’ experiences through gesture and experience as data, my work examines these ideas in relation to wanting to find out about these flute-making people, and how their work is related to the canon of archaeology to which one might expect that it belongs, and if we can call this a tradition.  What I found was that the praxis is complex and far reaching and stretches into various ontologies through philosophy, religion, emotionalism, intellectualism, symbolism, music, tradition, imagination, experience, sensation and identity, where interrelations of the past, present and future are very evident.  I finally consider archaeology as an art which reveals parallels between archaeology itself and music.  Paradigms in archaeologies in 2013 do not effectively support this praxis of flute making despite contextual experimentation showing welcoming promise for future change.

Konkurrens är ett fenomen som vi alla någon gång utsätts för. Vissa träffar på det på arbetsplatsen, vissa gör det inom idrotten och vissa gör det inom det sociala livet med vänner och familj. Troligen får många bekanta sig med konkurrens på alla dessa platser samtidigt. Syftet med denna studie var att synliggöra hur lärande skapas och vad unga idrottare lär sig i en idrottspraktik med hög konkurrens.  Detta undersöktes med hjälp av intervjuer med unga idrottare som utsatts för konkurrens inom idrotten och även observation av en idrottspraktik där hög konkurrens fanns.  Lärandet inom laget vi undersökte byggde på att man provade sig fram. Ungdomarna formulerade teorier och testade sedan dessa teorier i verkligheten. Det man lär sig handlar oftast om att försöka göra saker som man antar att ledarna uppskattar.  Spelarna uppförde sig mycket disciplinerat då de antog att det var det som ledarna uppskattade. De lärde sig att inte ställa frågor, inte uttrycka sina åsikter och inte bry sig om sina medspelare. Konkurrensen kommer även till uttryck genom att spelarna ignorerar det sociala på uttagningarna och endast fokuserar på att göra sitt bästa på planen. Detta gör att spelarna tenderar att umgås med de spelare som de redan känner sedan tidigare.

This degree project deals with the concept of creativity and the creative output based on howSwedish upper-secondary design teachers within the Technical Engineering Programexperience this from a student's perspective. The project discusses how the concept creativityis interpreted and how the creative output is regarded by educationalists and professionaldesigners and how this then can be related to literature on the subject and in the steeringdocuments. The purpose of this degree project is to visualize the interviewees' viewpoint oncreativity and the significance of experience, skills, and environment for the creative outputand within the field of design. This in order to, in the pedagogic and didactic situation, enablethe improvement of teaching so that creativity and its output come to show. Moreover, theproject aims to create a ground for discussion of the view of the importance of these skills inthe pedagogic/didactic situation.In order to reach this aim, I have read literature on creativity from several perspectives andcarried out eight qualitative structured interviews: both with three educationalists withoutexperience within the design profession, and with two educationalists who are or have beenactive within the design profession, as well as with three professional designers. Therespondents work in different parts of the country, have different backgrounds, as well aswork experience within their respective fields. What they all have in common is that they usethe same concepts, methods, and creative processes in their daily work. My principalquestions have been:– What do the respondents read into the concept “creativity”?– In what ways does creativity express itself according to the respondents?– What significance do the respondents believe knowledge, skills, and experience oftools and methods have for “creativity”?– What significance do respondents believe that the environment (physical as well aspsychosocial) has for “creativity”?The outcome of my project is confined to the views by the respondents and illustrates the factthat the creativity concept is superficially interpreted, and is often confined to creativeactivity. Additionally, some kind of an output is needed in order to enable creativity to beinterpreted as creative. The degree project also shows that this output demands experienceand skills of how tools and methods are used, but also the need for a well functioning andsuitable, albeit adaptable, both physically and psycho-socially, as well as creativeenvironment.

Photorealism is what visual effects are all about most of the time. This report entails digital compositing and studio lighting, in relation to Chroma key film material, aimed to give a photorealistic impression.    One of the identified problems in this report is that compositors may get Chroma key footage where the lighting is done poorly, which means a lot of extra work for the compositors and it might even make it impossible to create the desired end result.    Another problem recognized is that the knowledge that these professions possess is often tacit, not available in texts or even functionally defined.    Considering these problems, the purpose of this report is to articulate and try the tacit knowledge found in respect to these research questions: Which factors can alter the photorealistic impression of filmed Chroma key material? To what extent can different factors be altered in the compositing process, for a photorealistic result? How can a photorealistic result from composited Chroma key material be enabled and facilitated, with focus on studio lighting?       Methods used to answer these questions are interviews with compositors, a case study of a small video production, and the production of video clips, including studio lighting and compositing.    While professionals often write about the importance of consistency in image characteristics between different element that are composited together, this report defines which specific features that ought to be consistent, for a photorealistic result.    Further findings are focused on the limitations of the compositor; i.e. the features that are possible to manipulate and the features that have to be set correctly when filming in the studio, to enable a photorealistic outcome. Nonetheless, the main focus will be on the features of lighting set in the Chroma key film studio.    In fact, there are many features that are crucial for enabling and facilitating the compositing of a photorealistic end product. While some of the findings are new, others confirm what has already been presented.

ABSTRACT Beginning in 1946 fertility in Canada and other Western countries increased to rates unequaled throughout the rest of the 20th century. Sixty five years since the beginning of the baby boom, as this generation was labelled, workers are retiring or nearing retirement on scale not previously witnessed. This workforce exodus has signalled concern among scholarly, professionals and government sources alike. The public sector has been identified as particularly at risk with both and older average worker age and a low average retirement age. Within the public sector, jobs relating to the Canadian water workforce have similarly been identified for retirement concerns, specifically among senior positions. Retirements have highlighted aspects of concern for the future: knowledge leaving the workplace, and recruiting talent for the future. Among primary concerns is for knowledge that has no place in traditional documentation methods, tacit knowledge. Although transferring this knowledge presents difficulties, strategies include retaining knowledgeable employees and creating programs that facilitate knowledge exchange. Mentorship programs are one such strategy identified specifically for tacit knowledge transfer. This thesis considers how retirements would affect the water workforce including positions centred on conservation and policy efforts, as well as the water utilities industry. Although a few studies have focused on water utilities, this area of the public workforce had largely been ignored. Conducting fourteen interviews within three case study municipalities, primary data was gathered to determine how the water workforce would be affected by retirements, if retirements created concerns with respect to inter-organizational networks, and what strategies would be most suited to the needs of participating organizations.

Tacit knowledge refers to the knowledge that is located inside individuals; it is not expressed or written like explicit knowledge. Inherently, tacit knowledge is often limited solely to one person and consequently individually based. Project based companies need to acknowledge the importance of transforming tacit knowledge into explicit in order to preserve the knowledge inside the organisation. If the knowledge is not transformed, there is a great risk of losing the knowledge when a key individual leaves the organization. One way of transforming the tacit knowledge is through Nonaka’s and Takeuchi’s knowledge spiral. But the knowledge spiral ignores some wider issues that should be included in order to achieve a transformation. This thesis shows that the knowledge spiral is a good base but the organisation has to provide a supporting context and an open culture to create an environment where a transformation can be accomplished. This thesis stresses that a transformation is not always the ultimate choice since it is not, at all times, possible. In some cases, distribution of tacit knowledge throughout the organisation is a better alternative to preserve the knowledge. A distribution can, for instance, be done through learning by doing. The thesis demonstrates that an organisation has to choose either a transformation or a distribution. The choice depends on which alternative that brings the most improvements, advantages and effectiveness for the organisation. The situation will then, as a consequence, decide whether the knowledge is to be transformed or not.

Project management has become a natural way of conducting activities in companies.  The goal is continuous improvement in project performance.  The way knowledge is managed in the company is crucial for gaining competitive advantage.  Knowledge management and learning, has been recognized by academics and practitioners as important to achieving success and improvement in projects.   Achieving continuous improvement is considered a difficult task.  The difficulty lies in capturing and storing the knowledge and learning from one individual to another and from one project to another.  In this study the researcher has reviewed the mechanisms and processes from recent research which are supposed to facilitate knowledge transfer and learning.  Nevertheless, the academic and practitioner researchers do not seem to have a common ground on how to facilitate knowledge transfer and learning, even though there are many mechanisms and processes suggested.  Their results are not concurrent in effective and efficient facilitation of knowledge and learning. The researcher has conducted a qualitative case study through seven interviews.  The empirical study was done in a Company X which provides air traffic services.  It shows that some of the practices institutionalized by Case Company X are different from what the literature suggests.  Moreover, the environment wherein these mechanisms and processes co-exist is particular from what the literature suggests.  A learning landscape of Case Company X is identified based on the empirical data.  Recommendations and suggestions are provided in the end to increase knowledge transfer and improve learning in and between projects at Case Company X.