Récemment, les wikis sont devenus les outils d'édition collaborative les plus populaires. Ils doivent maintenant faire face à une forte augmentation en quantité et complexité des données gérées en nombre d'utilisateurs. Pour répondre à ce problème, le passage d'une architecture client/serveur vers une architecture décentralisée sur réseau pair-à-pair est une voie possible. Elle pose cependant des problèmes liés à la concurrence des mises à jour sur des sites distants. Ce document décrit deux contributions à cette problématique. La première contribution propose un mécanisme totalement décentralisé pour la conscience de la concurrence dans une édition collaborative sur réseaux P2P. Son rôle est de permettre aux visiteurs d'un wiki d'avoir conscience du statut d'une page vis-à-vis de la concurrence - s'agit-il d'une page éditée ou fusionnée ? - et dans le cas d'une page fusionnée, d'avoir une vision des zones de la page touchées par la fusion. Ce mécanisme repose sur un détecteur de concurrence dont le principe consiste à étiqueter les patchs échangés entre les serveurs. La deuxième contribution porte sur la visualisation d'un historique concurrent. La visualisation proposée se base sur la visualisation linéaire classique: chaque site affiche la séquence locale de versions dans l'ordre où elles sont apparues, et complète cet historique avec des informations permettant de repérer les états édités et fusionnés et les parties concurrentes dans l'histoire. / Currently, Wikis are the most popular form of collaborative editors. They allow users to concurrently edit and modify a shared set of wiki pages. We anticipate large increasing of amount and complexity of data. To face this problem, some researches have been done to shift from centralized architecture to fully decentralized wikis relying on peer-to-peer networks. However, this approach leads to new problem related to concurrency and the way remote modifications are integrated at each site. To overcome this problem, this thesis introduces the idea of concurrency awareness and proposes two contributions. The first one is to build a concurrency awareness mechanism for a P2P wiki. This mechanism makes users aware of the status of the pages they access regarding concurrency: is it an edited page or a merged page? In addition, in case of merged page, it indicates which region of the page has been merged. This mechanism depends over a concurrency detection mechanism which labels the generated patches by the set of servers. The second contribution deals with the representation of the concurrent history. Our visualisation is based over the classical history visualisation: the local versions are presented at the same order of their creation, and we added the information that present the status of these versions according to the concurrence.

Collaborative ministry -- Spiritan Life No. 10 -- April 2000 -- CONTENTS -- Editorial -- (pg 1) -- PARTNERS IN GOD'S BUSINESS; Mission as Collaborative Ministry, Anthony J. Gittins -- (pg 3) -- POULLART DES PLACES AND FRANCOIS LIBERMANN; The way to Collaborative Ministry, Christian de Mare -- (pg 15) -- A BISHOP'S VIEW OF COLLABORATION, Bishop Peter Sarpong -- (pg 23) -- COLLABORATION WITH MISSIONARY ORDERS; The Sedos Experience, Bill Jenkinson -- (pg 29) -- COLLABORATION WITH MISSIONARY ORDERS; The Sedos Experience, Bill Jenkinson -- (pg 37) -- WORKING TOGETHER FOR REFUGEES, The Spiritan Team -- (pg 45) -- THE D.C.C: A COLLABORATIVE MINISTRY, Jean Savoie -- (pg 53) -- COLLABORATION FOR A JUST WORLD -- (pg 59) -- WORKING TOGETHER FOR JUSTICE AND PEACE, Gerard Sireau -- (pg 59) -- REFUSING TO ACCEPT INHUMAN SITUATIONS, Lucien Heitz -- (pg 63) -- THE MEANING OF COLLABORATIVE MINISTRY, Antonio Farias -- (pg 67)

The purpose of the study is to explore women's experiences as they negotiate collaborative group projects in a college course. This qualitative study extends the existing literature by providing depth to the research on women's learning through observation of women in group activities, surveys about college students' attitudes toward collaborative learning, and in-depth interviews with university women. The study isolates four ways women negotiate collaborative learning in a college course. (1) Women take group work seriously and consider it to be very important. (2) Women are often leaders in group work. Sixty-four percent of the women and only two percent of the men said they are usually the leader in collaborative learning situations. (3) Women end up doing more than their share of the work, although they may have won the leadership roles. (4) Earning good grades is very important to the women studied, and they are willing to work harder than anyone else in a group to earn them. The theories of how women learn include the debate over whether women are relational or task-oriented. The conclusion of this study is that in the university classes studied, women are both. However, textbooks on collaborative learning may contain passages that indicate that in mixed-sex groups males will emerge as leaders. In addition, some textbooks suggest that women might lead when groups are primarily dealing with relationship issues, and men will lead when groups are primarily task-oriented or where a democratic rather than a participatory style is preferred. Discussions of collaborative learning often include the goal of helping counterweigh the hidden curriculum that diminishes women. Although collaborative learning can be an important classroom technique, this study points out that it is important that collaborative learning and feminist pedagogy not be conflated. Some collaborative learning groups are a site of discrimination and power difference for women.

The need to form inter-organisational collaborative working arrangements is now common across community, public and private sectors. Working collaboratively however, is extremely complex and failures abound. Much research has recently been directed at understanding the nature of inter-organisational collaboration. Insight gained through such research provides the basis for informing, pragmatically, those trying to manage collaborative activities in practice. To date, attempts at making the insight on collaboration available and accessible to practice appear limited in scope and success. Many of those who embark on collaborative working arrangements also seem unaware of the need to consider explicitly the management of their collaborative processes. the high level of complexity, coupled with poor awareness of the need to consider the management of collaboration render the task of making insight available to practice difficult. This is the challenge addressed by the research upon which this thesis is based. The aim of research was to generate process theory on the transfer of insight on collaboration to practice. The work was undertaken in Participatory Action Research and Action Research capacities with individuals pragmatically concerned with collaboration in practice. Ten Design Principles for Transferring Insight to Practice were developed. Conceptualisations of who should be targeted, how they should be targeted and what the substance of the insight should be were also developed. These developments address relevant issues pertaining the Transfer of Insight on Collaboration to Practice.

Dovecot Studios (also known as Dovecot) was established in 1912 by the 4th Marquess of Bute (1881-1947) for the purpose of weaving large historical tapestries for his many residences, primarily Mount Stuart on the Isle of Bute. The tapestries produced were all woven by hand, using the traditional Gobelins technique, and were primarily intended as wall hangings. After the Second World War, the studio began collaborating with external designers, inviting well-known contemporary artists to submit tapestry designs. My overall research question has been: ‘How has a wide range of artists responded to the opportunity to design tapestries for Dovecot Studios?’ The thesis addresses this question using a chronological structure and focuses on the years 1945 to 1970, a period of flux, constant change and rapid development at the studio. The broader narrative is interspersed with case studies on particular artist-designers: Graham Sutherland(1903-1980), Sax Shaw(1916-2000), Joyce Conwy Evans (b.1929) and Harold Cohen (b.1928). These allow a detailed exploration of how four individual artists designed tapestries for Dovecot, and how their tapestry designs relate to their wider creative practice. The history of the studio during this period was also shaped by individual personalities in the roles of Director, Artistic Director and Head Weaver. In the 1940s the Directors chose to weave small panels for the wealthy domestic market but as big business grew in the 1960s so too did the studio’s ambitions and it began receiving large site-specific commissions for new and refurbished buildings. Throughout this period it is evident that the artistic decisions of the studio’s directors were underpinned by financial concerns as they attempted to establish Dovecot as a commercial organisation, against the backdrop of broader economic changes and cultural and social movements in Great Britain and abroad. This in-depth examination of the development of Dovecot Studios over a twenty-five year period reveals a complex organisation, in which the inter-relationships between artist-designers, weavers, patrons and studio directors changed and adapted. In particular, artists and weavers increasingly worked as partners, trying to find a balance between artistic control for the artist as designer and interpretive freedom for the weavers as creative practitioners. This working relationship required a delicate balance and its dynamics were sensitive to the different requirements of speculative and commissioned tapestries. The thesis argues that each tapestry must be viewed as the product of both designer and weaver(s), challenging the tradition of only attributing a tapestry to its designers, not its makers. The thesis also reflects on Dovecot’s relationship with tapestry practice in post-war Europe.

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The current problem-solving paradigm for software developers revolves around using a search engine to find knowledge about the problem and its solutions. This approach provides the developer with search results that are only restricted by the context of the keywords they used to search. Problem-Resolution Dissemination (PRD) is a system and method for collecting, filtering, storing and distributing knowledge that users discover and access when solving a problem. The method involves an agent running on a user's (Alice???s) browsing client which is enabled when Alice is solving a problem. After Alice indicates that she has solved the problem, the agent will collect all web pages visited when solving the problem and filter out the pages that are not relevant. Pointers to the remaining pages (URIs) are tagged with Alice???s identity and stored in the central repository. When another user (Bob) attempts to solve the same problem, the above repository is queried based on Bob's social context. This social context is defined by Bob as a group of other users who have one of three trust levels: team, peer or community. The results are displayed by ranking them within each of the above contexts. In the event that no results are relevant to the Bob, he has the option of following traditional problem solving approaches. When Bob has solved his problem, the web pages he visited are added to the repository and made available to future users. In this manner, PRD incorporates relationships and previous experiences to improve the relevancy of results and thus efficiency in problem solving.