Key Results. The conclusions of the presentations and discussion can be summarized in the following key results:
Key Results. 5.1.1 Clearly communicate Intel's requirements for SIU physical and functional parameters and supplier qualification process.
Key Results. CHF surpassed the key deliverable in the project, employment creation, by a substantial margin, and achieved 91% on the second key deliverable, solid waste collection during the original term of the program. Deliverable Unit Target Actual (April 30, 2005) % of target Employment Creation Person Days 195,000 267,514 137% Solid Waste Collection Cubic Meters 275,000 249,184 91% These major deliverables were reached during the original nine month period of the cooperative agreement while expending only 82% of the original award amount of $3,040,769. The decision by USAID not to provide CHF with a no-cost extension to the program meant that delays encountered during the program implementation and desired modifications to the agreement to reflect conditions on the ground could not be implemented. This negatively impacted the full potential of the program to surpass by even a greater degree the key targets established at the outset of the program, and to fulfill a number of secondary program objectives.
Key Results. In a transversal view of the projects the following major key results could be identified: - Identification of transport and transport-related companies across Europe, being interested in taking part in R&D&I initiatives at European level (over 1000 of such companies were identified) - Support in creation of common interest groups (clusters), gathering companies from the same transport sectors, allowing more focused “brainstorming” of possible project ideas - Support in identification and submission of project proposals for FP6 and FP7 Calls. (over 80 project ideas were identified, with about 30 submitted to different FP6 and FP7 schemes). - Matchmaking and brokerage activities conducted during a number of international events organized by SSA projects - Creation of a number of reports, guidelines and manuals aiming at supporting SMEs in successful participation in FP projects, reaching beyond the SSA duration timeline - Assessment studies of situation and perspectives in transport sector in all countries targeted by SSA’s - Cooperation with key European players, allowing to support the SMEs in joining valuable proposals - Organization of a large number of national and international events, allowing SMEs to acquaint themselves with FP’s specifics, meet and discuss with key players and learn from their experiences, find new business and R&D&I contacts, join and form project consortia, and others.
Key Results. The conclusions of the presentations and discussion can be summarized in the following key results: [1] Types and levels of creative clusters: Such clusters comprise different types and levels of connecting organisations that include: Cultural quarters and other shared creative spaces (local level), digital technology & content clusters (typically linking several centres on the regional/national level), cultural routes (regional to European level) and international networks of institutions (European level and beyond). [2] Wide range of involved actors: In creative cluster initiatives a wide range of actors is involved in various combinations. Two main groupings of actors can be distinguished: One group that connects regional development agencies, science & technology centres, innovation, technology transfer and business development organisations, and industrial players, including leading creative industry companies. The second group brings together users of new knowledge and technologies such as municipalities, creative SMEs and other professionals, content holders (e.g. cultural institutions) and cultural and tourism operators. [3] Functions of creative clusters: Creative clusters can play an important role in local/regional development through producing and marketing of novel products and services based on cultural assets of regions and towns. Vital functions of such clusters are promoting a culture of creativity and innovation, providing technological expertise and services, and supporting business development. [4] Growing a culture of creativity and innovation: Creative clusters on the local/regional level promote an environment that attract and generate synergies among talented people and entrepreneurs (e.g. business incubators). Often they are also used to stimulate the development of new living and working spaces (e.g. revitalization of historic centres and buildings). Moreover creative cluster strategies allow for involving educational institutions (universities, vocational training centres, schools) to offer creativity and business development programmes as well as specialised knowledge (e.g. historic background for cultural tourism). [5] Stimulating cooperation in regional development: Regional development policies based on creative economy strategies have shown to promote a stronger cooperation of municipalities as they require cross-community networking and involvement of actors from different domains. For example a network of small historic to...
Key Results. The conclusions of the presentations and discussion can be summarized in the following key results: [1] Heritage institutions can offer citizens many opportunities for cultural participation: There are many different opportunities organisations can offer citizens to participate in, learn about, and contribute to the preservation and communication of cultural heritage. Examples ranged from documentation of objects and sites through providing images, videos, descriptions, etc. to using historic content as inspiration for creative activities (e.g. historic costumes or music scores). [2] Citizens are willing to contribute, but according to their terms: People old and young are interested in the preservation and communication of cultural heritage as shown in the number of volunteers, donators and activists in this field. But they wish to contribute according to their terms what concerns required time and effort as well as type of heritage. Projects that want to involve citizens should be aware of this and offer different and flexible ways of participation. [3] Local people can add place-specific context: In the marketing of cultural sites such as historic towns often stereotypic “brand” images and messages are used. People who have grown up, live and work in the area can provide personal stories that explain what they value about particular objects, places or events. This may convey better what makes cultural sites distinct and worth visiting. [4] Using Web 2.0 requires putting the users at the centre: “Web 2.0” or “social software” (content sharing platforms, Weblogs, etc.) allow people to express themselves, take part, and share ideas and own content. Through using such applications cultural heritage institutions can involve users, for example, in online exhibitions or virtual communities around cultural heritage topics, artefacts and sites. But a truly “Web 2.0” approach must put the users and their contributions at the centre, not the institution and its authoritatively curated content. [5] A challenging approach for cultural heritage institutions: A “Web 2.0” approach requires a certain level of openness and willingness to experiment in order to find out what works and what doesn’t. Project managers should be prepared that what people contribute and express in the context of the institution can raise issues of ownership of content or concerns about appropriateness. [6] What contributions of participants fit or don’t fit: Offensive, false or indecent statem...
Key Results. The conclusions of the presentations and discussion can be summarized in the following key results: [1] Collective learning environments promote versatility: Learning to collaborate with others is essential. In any project development, knowing how to communicate with people who cover different aspects of the same problem (for example content specialists, technological and financial experts) will allow students to understand the various phases of development, and plan, design, create and manage products and services for the multimedia industry, cultural institutions and governmental agencies. [2] More emphasis on the business perspective of cultural heritage projects: In most current educational and early professional training programmes very little attention is placed on the managerial aspects cultural heritage projects. This should be addressed at an early stage to ensure that students have an understanding of what goes into managing a project, even if they are not in charge of handling the funds. Future cultural heritage practitioners should become good entrepreneurs. The socio-economic impact of cultural institutions and sites (e.g. museums, archaeological sites, etc.) should be incorporated in the training of future professionals. [3] The EuroMACHS Programme as a blueprint: The success of the “European Heritage, Digital Media and the Information Society – EuroMACHS” European Master Programme (started in 2006) shows that there is a need for specialized second-level training courses in the field of digital cultural heritage. The programme can be taken as a blueprint and implemented in universities throughout the continent. The rate of students that find employment after the course is high, mostly in start-ups, governmental and public institutions and often in their own companies. [4] Promoting closer collaboration with cultural institutions: Currently EuroMACHS students are assigned a project or problem mainly by the professors, though cultural institutions could suggest joint projects and be able to utilize the product developed by the students. This would allow each party to benefit from the collaboration: real-life cases addressed by the students, institutions – always low on funding – able to enhance visitor experiences with minimal budget efforts. [5] Cultural Heritage experiences based on solid historical facts: The CreativeCH showcase in Tuscany aims to be relevant to people with various cultural backgrounds. Therefore the showcase mixes modern te...
Key Results. The conclusions of the presentations and discussion can be summarized in the following key results: [1] Creative city / regional development policies and strategies: Cities and regions aim for a strong position in the country and internationally, recognition as centers of creativity and technology, and positive social and environmental conditions. The role of cultural and creative industries (CCIs) as important drivers of city and regional development are recognized. However, different strategies (and certainly lack of a clear strategy) of CCI promotion can result in very different outcomes. [2] Involving stakeholders across the board: Mobilizing all relevant stakeholders is crucial for successful creative city / regional development. Development initiatives often face conflicts among parties with different interests (e.g. investors / developers, monument protection, local businesses and citizens). Governance of the public sector (e.g. municipality, regional government) has an important role to play in the resolution of such conflicts. [3] Cultural and creative industries “spillovers”: Cultural and creative industries (CCIs) should not only be seen as a driver of economic growth but also as vital for cross-sector innovations. Such innovations may be achieved through promoting “spillovers” of CCI knowledge and skills into other sectors. Public and social services may be one of the prime targets of such “creative spillovers”. [4] The 3P’s – Pathways, Place, Personal Networks: The 3P’s (developed in the ACRE project) may provide a more useful framework for thinking about required conditions for creative city / regional development than the 3T’s (Talent, Technology, Tolerance) suggested by Xxxxxxx Xxxxxxx. [5] Requirements for success: Among the main requirements of success of creative city / regional development are attraction and promotion of creative businesses and talented people, access to finance and markets, and a supportive legal framework. Bureaucratic mindsets, missing cooperation between local / regional authorities and other actors, and a weak civil society can be strong impediments for creative city / regional development. [6] Providing fit-for-purpose curricula, training and professionalization: The development of the necessary local / regional base of knowledge and skills for cultural and creative businesses requires that universities offer appropriate curricula that provide fit-for- purpose learning and skills development. Furthermore opportuni...
Key Results. Two of the most important characterizations of M¨obius transformations is that they are both cross-ratio and circle preserving. But what is not always stated is that the converse is also true: if a function preserves either cross-ratios or circles then it must be a M¨obius transformation. Thus if we have a function which does either then we can apply to it all the properties of M¨obius transformations. In the two following theorems f is assumed to be sense preserving, a necessary condition in order for f to be analytic.
