För att ta reda på vilka utmaningar designers upplever i samband med distribuerade workshops genomfördes en förstudie där designers intervjuades och utifrån intervjuerna kunde flera utmaningar identifieras. Bland annat var det utmanande att få deltagare engagerade, att få dialoger och samtal att fungera bra över videosamtal och att tekniken inte var tillräckligt lättanvänd för alla deltagare. Efter förstudien valdes en av dessa utmaningar ut som fokus för en uppföljningsstudie och utmaningen som valdes var att höja engagemanget hos deltagare i distribuerade designworkshops. För att undersöka detta genomfördes studien med designforsknignsmetoder där skisser och olika prototyper utformades och utvärderades. Den slutgiltiga prototypen av ett fysiskt workshop-kit testades i ett experiment med mellangruppsdesign där engagemanget mättes med User Engagement Scale. Efter workshoparna intervjuades även flera deltagare ur varje grupp om deras upplevelse.  Resultatet från User Engagement Scale påvisade inte någon statiskt signifikant skillnad mellan de två grupperna men i intervjuerna lyftes flera olika aspekter och attribut som bidrar till engagemanget, vare sig ett workshop-kit används eller ej. Inledningsvis behöver det väckas ett intresse genom det första intrycket och då är workshop-kitet en värdefull tillgång då det väcker intresse och spänning hos deltagarna genom den visuella utformningen och spänning inför vad det kan innehålla.   För att behålla engagemanget under workshopen är det viktigt att deltagarna får vara aktiva och interagera snarare än att vara passiva. När de själva är aktiva ökar deras anknytning till workshopen vilket bidrar till engagemanget. Det bidrar även ifall de får vara med och influera de olika momenten, exempelvis genom omröstningar eller att få ta ledaransvar under olika moment. Anknytning kan även skapas socialt i gruppen för att höja engagemanget. Workshop-kitet var utformat för att stötta den sociala interaktionen i gruppen, något som flera deltagare upplevde hade en positiv inverkan på gruppdynamiken och workshopen.  När fysiska artefakter utformas för workshops är det fördelaktigt ifall de är visuellt tilltalande och intresseväckande då det skapar spänning inför workshopen och de olika momenten, detta hjälper till att öka engagemanget. Att ha variation i workshopen bidrar även till bibehållandet av engagemanget hos deltagarna, workshop-kitet bör således bidra till variation och nya intresseväckande moment under workshopen. Vid utformandet av det fysiska workshop-kitet är det även viktigt att ha i åtanke att det behöver stötta den digitala workshopen samtidigt som den inte ersätter funktioner som fungerar bättre online och de fördelar som finns med online-verktyg. Utifrån detta rekommenderas det att de fysiska föremålen ska kunna användas av varje deltagare enskilt och att samarbetet inte bygger på att deltagarna kan se eller interagera med varandras artefakter. / In order to understand what challenges designers experience when facilitating distributed workshops, a study was conducted where designers were interviewed about their experiences. From this several challenges were identified, for example, that it is difficult to get participants engaged, to have group conversations over video call and that the technical tools might be too difficult to use for some workshop participants. After this, another study was performed focusing on the question of increasing the engagement of participants in distributed workshops. In order to answer this question, the study followed a research through design approach where sketches and prototypes were made and the final prototype of a physical workshop-kit was evaluated in an experiment with an experimental group and a control group. The User Engagement Scale was used to measure the engagement and after the workshops several interviews were conducted with participants about their experience participating.  The result from the Use Engagement Scale did not show a statistically significant difference between the two groups, however, several attributes and aspects contributing to engagement were mentioned in the interviews. To start with, there needs to be an interest that sparks the engagement, this can be done with the physical workshop kit since it looks interesting and makes the participants eager to know what it contains.   In order to maintain the engagement during the workshop it is important that the participants are kept active rather than passive, this creates a connection that increases the engagement. Another way to increase the connection is by letting the participants influence the workshop, for example through voting or by letting them take leadership in some activities in the workshop. There can also be a social connection in the group which increases the engagement and the workshop-kit was partly aimed at facilitating the social interaction in order to increase the engagement. This had a positive effect on the group dynamics and the workshop according to participants.  When physical artifacts are designed for a workshop it is beneficial if they are visually appealing and interesting since that creates interest leading up to the workshop, this interest increases the engagement. To have variation in the workshop also increases the engagement and thus the workshop-kit could be designed to support variation and new interesting activities during the workshop. Another aspect to keep in mind when designing a physical workshop-kit for distributed workshops is that it needs to support the digital workshop but at the same time not replace the strengths of the digital tools. Based on this it is recommended that the physical artifacts are designed to be used individually by the participants and that the cooperation does not build on the participants being able to see or interact with each other's artifacts. / <p>Framläggningen genomfördes på distans över videosamtal i Microsoft Teams.</p>

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Founded in 1963, Playwrights' Workshop Montreal has served the English-Canadian playwriting community for over twenty-five years. An integral but often ignored part of the nationalistic alternative theatre movement, PWM has developed and supported the work of hundreds of English playwrights both within and outside of the Montreal area. / This study examines the work of PWM in an historical context, and as revealed in the organization's records and in contemporary reports. The written documentation is supplemented by interviews with persons who have worked with PWM. A number of these have made important contributions to Canadian dramaturgy on a national scale.

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Patrick C. Lee. Dissertation Committee: Frederick D. Kershner, Jr. Includes bibliographical references.

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The Richmond Printmaking Workshop (RPW) was in operation from 1978 to 1991 during a nationwide print revival. From the 1960s through the 1990s, hundreds of new printmaking workshops and cooperatives sprung up across the country. This newfound popularity in the medium led to a boom in the print market and resulted in widespread experimentation of the medium. The RPW, founded by artists Nancy David and Gail McKennis, began in response to these trends and demonstrates how the print resurgence operated on a local level. Like many other small printmaking workshops of the period, it provided printmaking equipment to artists and promoted the print medium through classes, lectures, and membership in a Print Club. The locally-oriented workshop was a place for artists to meet, work on art, and form a supportive printmaking community. The RPW provided artists with opportunities to create portfolios, mount exhibitions, and experiment with new printmaking techniques. The various programs sponsored by the RPW were meant to engage both the professional printmakers and amateur artists of Richmond. An extensive print collection was formed from the various activities of the organization. A portion of the collection was eventually donated to the University of Richmond Museum in 2001. This collection of 253 prints spans the duration of the RPW’s existence and demonstrates the wide variety of prints created at the workshop and the diverse programs they organized. Although the workshop closed in the early 1990s, the RPW’s significant influence on the artists involved, the Richmond art scene, and generations of printmakers to follow is evident. This thesis provides an institutional history of the organization to give context to the print collection and provide a sense of how the nationwide print revival operated on a local level.

These are the proceedings of the 5th International Probabilistic Workshop. Even though the 5th anniversary of a conference might not be of such importance, it is quite interesting to note the development of this probabilistic conference. Originally, the series started as the 1st and 2nd Dresdner Probabilistic Symposium, which were launched to present research and applications mainly dealt with at Dresden University of Technology. Since then, the conference has grown to an internationally recognised conference dealing with research on and applications of probabilistic techniques, mainly in the field of structural engineering. Other topics have also been dealt with such as ship safety and natural hazards. Whereas the first conferences in Dresden included about 12 presentations each, the conference in Ghent has attracted nearly 30 presentations. Moving from Dresden to Vienna (University of Natural Resources and Applied Life Sciences) to Berlin (Federal Institute for Material Research and Testing) and then finally to Ghent, the conference has constantly evolved towards a truly international level. This can be seen by the language used. The first two conferences were entirely in the German language. During the conference in Berlin however, the change from the German to English language was especially apparent as some presentations were conducted in German and others in English. Now in Ghent all papers will be presented in English. Participants now, not only come from Europe, but also from other continents. Although the conference will move back to Germany again next year (2008) in Darmstadt, the international concept will remain, since so much work in the field of probabilistic safety evaluations is carried out internationally. In two years (2009) the conference will move to Delft, The Netherlands and probably in 2010 the conference will be held in Szczecin, Poland. Coming back to the present: the editors wish all participants a successful conference in Ghent.

These are the proceedings of the 6th International Probabilistic Workshop, formerly known as Dresden Probabilistic Symposium or International Probabilistic Symposium. The workshop was held twice in Dresden, then it moved to Vienna, Berlin, Ghent and finally to Darmstadt in 2008. All of the conference cities feature some specialities. However, Darmstadt features a very special property: The element number 110 was named Darmstadtium after Darmstadt: There are only very few cities worldwide after which a chemical element is named. The high element number 110 of Darmstadtium indicates, that much research is still required and carried out. This is also true for the issue of probabilistic safety concepts in engineering. Although the history of probabilistic safety concepts can be traced back nearly 90 years, for the practical applications a long way to go still remains. This is not a disadvantage. Just as research chemists strive to discover new element properties, with the application of new probabilistic techniques we may advance the properties of structures substantially. (Auszug aus Vorwort)

This study is based on motivation theory, communication theory and knowledge about change management and workshop arrangement. The aim of the study is to develop a communication strategy which increases motivation for sustainability work in municipalities. Main focus of this report is to (1) determine whether motivation theory is applicable on a municipality’s sustainability work, in order to gain a willingness to change and (2) decide if workshops are suitable platforms for communication with municipalities. The opinion that global, complex problems require local solutions is a starting point for this study. The role of municipalities is claimed to be of great importance and is furthermore suggested to undergo a change in order to meet the current demands. The developed communication strategy is based on theories from a literature review and informal interviews with experts and was tested in a case study (with a municipality in south of Sweden). The communication strategy is intended to be useful when wanting to motivate any municipality to sustainability work. The communication strategy includes preparations, workshop arrangements and follow-up work. Every step of the strategy is explained, justified and presented in this report. The results from the case study are displayed and serve as a framework for the improvement discussion. The main result of this study consists of de following 11 steps: Background studies of the municipality. Survey of the existing expectations and needs. Identification of suitable workshop participants. Sending out invitations to the participants. Sending out questionnaires to participants. Adaptation of the communication. Implementation of workshop 1. Sending out reminder of the ’micro-task’. Implementation of workshop 2. Evaluation of the results. Follow-up of the municipality’s work. All participants in the case study stated that the workshops inspired to sustainability work and the self-perceived motivation was considered to be higher after the workshops had taken place (on a scale from 1 to 5, the mean value rose from 4,3 to 4,6). The conclusions of the study are: (I) by paying attention to theories of motivation – and applying these theories during contact with the municipality - willingness to change occurred amongst the majority of the participants. (II) Workshops are suitable forums for communication with municipalities. To generalize these conclusions, further studies are required. / Studiens bakgrund är motivationsteori, kommunikationsteori, samt kunskap kring förändringsarbete och workshop-arrangemang. Syftet med studien är att utarbeta en kommunikationsstrategi som ökar motivationen till hållbarhetsarbete i en kommun. Fokus ligger på (1) huruvida motivationsteori kan appliceras på en kommuns hållbarhetsarbete för att öka förändringsvilja samt (2) att avgöra ifall en workshop-serie är ett bra forum för kommunikation med kommuner. Som utgångspunkt för studien hävdas att globala, komplexa problem kräver lokala lösningar, varpå kommunens roll i hållbarhetsarbetet är av stor vikt. Vidare utgicks det från att dagens kommunala hållbarhetsarbete inte är tillräckligt, utan kräver förändring. Med en litteraturstudie och informella intervjuer med sakkunniga som bakgrund utvecklades en kommunikationsstrategi som testades på en pilotkommun i södra Sverige. Strategin som presenteras i rapporten är tänkt att kunna användas för att motivera även andra kommuner till hållbarhetsarbete. Kommunikationsstrategin inbegriper förberedelser, workshop-arrangemang och uppföljning. I rapporten motiveras valet av kommunikationsstrategins respektive steg, en presentation sker för hur varje del genomfördes i fallstudien och förbättringsförslag diskuteras utefter fallstudiens utfall. Studiens huvudsakliga resultat består i kommunikationsstrategins 11 steg: Inläsning om kommunen. Undersökning av vilka förväntningar och behov som finns. Identifiering av workshopdeltagare. Utskickning av inbjudan till deltagare. Utskickning av frågeformulär till deltagare. Anpassning av kommunikationen. Genomförande av workshop 1. Utskickning av påminnelse om mikrouppgifter. Genomförande av workshop 2. Utvärdering av resultat. Uppföljning av kommunens arbete. Samtliga deltagare i fallstudien angav att workshopparna inspirerat till hållbarhetsarbete och den självupplevda motivationsgraden ansågs högre hos ett par deltagare efter att workshopparna ägt rum (på en skala från 1 till 5 ökade genomsnittet från 4,3 till 4,6). Slutsatserna i studien är följande: (I) Genom att uppmärksamma teorier om motivation, samt tillämpa dem praktiskt under kontaken med kommunen, uppstod förändringsvilja hos majoriteten av de som deltog i workshop-serien. (II) Ett bra forum för att kommunicera med kommuner är genom att arrangera workshoppar. För att generalisera slutsatserna krävs vidare undersökningar.

Skövde Kulturhus is a cultural centre in Skövde that have been remodelled to incorporate new areas and to improve the old ones. The centre has different locals where different activities can be performed such as watching movies and theatre plays, dance, etc. In the art gallery, one of the new areas is the workshop, and for this, new furniture is needed. During the project, a set of a table and chairs have been developed for the workshop, following some specifications, set by the personnel of the Cultural Centre and by the conclusion from the different investigations. This report covers the whole process from the different researches to the evaluation and the development of the final concepts; it follows a modification of the Cyclic Strategy Method process, which includes the research and different design tools to create the concepts, as morphological chart, braindrawing and a study of the form. User studies have been made to get a good understanding of the way a person uses this furniture using surveys; ergonomics research has been made to design furniture for all kind of people; and market research have been made to discovered what kind of furniture is usually used. All these researches have been investigated to create the optimal table and chair for the activities done at the Centre. The final solutions, which have been evaluated against other concepts, are a wooden table, whose design and modular form permits to join other tables to work in teams; and a wooden chair, which have been designed for different people size. Both would fulfil the requirements and fit in the new cultural centre.