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In Germany, open‐ended funds represent the prevailing form of indirect real estate investment for retail and institutional investors. The purpose of this paper is to address whether significant performance differences occur between retail and institutional funds.

The relative fund performance of 137 funds investing in Germany and abroad are each measured against tailored Investment Property Databank performance benchmarks of direct property investments. Such benchmarks shall mimic the asset allocation of any particular fund. Data on retail fund performance are retrieved from the fund association BVI, the data on institutional fund performance are derived from the individual statements of accounts for each fund.

German open‐ended funds show significant differences in mean relative returns. The differences are mainly driven by the respective asset allocation of the funds, although relative returns against tailored benchmarks as dependent variables are supposed to offset country‐specific return fluctuations. Institutional investors tend to be better‐off than retail investors.

Liquidity holdings are not (and can not be) extracted from fund performance with the given data. In this regard, it must be acknowledged that retail funds by nature are induced to carry more liquidity. Second, the high significance of the factor asset allocation may indicate that country‐specific benchmarks could still be tailored more effectively. However, the conclusions from this paper remain unaffected. Ex post variations in the grouping of funds explain additional fund performance variance. In particular, it would be interesting to analyze the performance patterns of single‐investor funds and the influence or control that is being exercised by single‐investors in institutional funds.

Results give new insights into the performance of open‐ended real estate funds. The analysis helps explaining performance patterns and contributes to an improved understanding of the German indirect real estate investment market.

Provides a bibliography of CD‐ROM for librarians, covering case studies, costs, product evaluation guidelines, databases, CDI, downloading/copyright and CD vs. online, for use when making decisions about the adoption of CD‐ROM.

One core element of interactive information retrieval (IIR) experiments is the assignment of search tasks. The purpose of this paper is to provide an analytical review of current practice in developing those search tasks to test, observe or control task complexity and difficulty.

Over 100 prior studies of IIR were examined in terms of how each defined task complexity and/or difficulty (or related concepts) and subsequently interpreted those concepts in the development of the assigned search tasks.

Search task complexity is found to include three dimensions: multiplicity of subtasks or steps, multiplicity of facets, and indeterminability. Search task difficulty is based on an interaction between the search task and the attributes of the searcher or the attributes of the search situation. The paper highlights the anomalies in our use of these two concepts, concluding with suggestions for future methodological research related to search task complexity and difficulty.

By analyzing and synthesizing current practices, this paper provides guidance for future experiments in IIR that involve these two constructs.

Drawing on literature and the evaluation of a UK community Arts in Health project, this article aims first to demonstrate that, in spite of the common association in mental health practice between art and the use of psychotherapeutic techniques, involvement in art creation can, in itself, have a sustained and positive impact on the mental and social wellbeing of participants and, second, to give an analysis of the different forms of arts involvement in health.

A qualitative evaluation of a successful process‐based arts in health‐care provision to existing vulnerable mental health community groups is discussed.

While the implementation of traditional forms of art therapy tends to be the preserve of those with specialist training, process‐orientated art for health projects have been found to be more versatile and are developments in which many practitioners potentially play an important part. Arts in Health provision in a community setting can offer positive health benefits, and aid health promotion.

More widespread, sustained funding and further evaluation and research for this accessible, cost‐effective means of health promotion in a community setting are needed.

Arts in Health, in institutions (such as prison and hospital) as well as community, is a rapidly expanding, successful and attractive, yet severely under‐funded provision. Descriptive in‐depth evaluations and critical analyses of the field, such as that presented here, need to be made available in order to develop the field practically and theoretically.

The objective of this study was to determine the level of acceptance by Irish consumers of a hypothetical genetically modified (GM) dairy spread that offered a specific, consumer‐oriented benefit, reducing cholesterol.

Some 300 spread consumers, representative in terms of age, gender, and socio‐economic group, completed a questionnaire. Conjoint, cluster and factor analyses were among the main methods used in the analysis.

The hypothetical GM product was rejected by a majority of Irish spread consumers. Cluster analysis identified four segments of consumers who differed in their purchase intentions towards such a product, depending on demographic factors, on whether they had their cholesterol level tested, on the attitudes that influenced their food choice and on their willingness to try different GM foods. Two segments were pro GM; the other two were anti.

In terms of limitations, questions about GM foods are hypothetical and the conjoint design did not allow for interaction effects.

The results imply that a GM spread, conferring specific consumer benefits, could capture a share of the Irish market for dairy spreads. Such information is of value to both existing market players and companies considering opportunities in this market.

Research has established a connection between industrially-produced food and negative health outcomes. Scholars have also shown a significant link between poor food environments and health. This paper explores the experiences of university extension program agents in order to initiate greater dialogue about the role of extension in lessening the deleterious health impacts of unequal access to high quality and sufficient quantity foods. Specifically, we consider the role of food self-provisioning instruction (e.g., food gardening, preservation).

The paper draws on semi-structured interviews with 20 university extension program officers in the state of Washington.

Although our participants report that demand for education in food production skills is on the rise across Washington, there are barriers to the equitable distribution of self-provisioning skills.

There is considerable promise for extension programs to have positive implications for health and nutrition for communities struggling to access quality foods. To meet this progress, extension must be more aware of serving the entire public either through hiring agents mirror their constituencies or funding a more diverse array of programming.

Little existing research examines or evaluates using university extension programs as a vehicle for teaching food self-production, though these topics have been taught since the founding of extension.

The purpose of this paper is to investigate the practice of casting celebrity performers in London West End theatres. The paper uses the literature on celebrity to explore the impact that casting a celebrity has on the London theatre audience.

The pervasiveness of celebrity culture forms the background and starting point for this research. In the first phase, theatre managers, directors and producers were interviewed to explore their views on the practice of celebrity casting. In the second phase, an audience survey was conducted. The approach taken is exploratory and is intended to illuminate the conditions under which a successful celebrity-focused strategy can be constructed.

A distinction between fame and celebrity was drawn by both theatre professionals and audiences, with celebrity status being seen as something that is created by media exposure and being in the public eye. This is in contrast to fame, which is earned by being famous for something, or some achievement. Theatre audiences are more likely to be attracted by celebrities who have theatrical expertise and not by someone known simply through film, television or the all-pervasive gossip columns. Celebrities with a background in theatre and film were seen to strongly draw audiences to the theatre, as opposed to those with a background in reality TV shows, search-for-a-star shows or for being half of a famous couple.

The paper is focused on the theatre and makes an original contribution to the current discussion of the power wielded by celebrities. It is the first empirical research on this aspect of the theatre business. Its contribution lies in understanding audience members’ interpretation and understanding of celebrity to ascertain the extent to which they perceive celebrities as credible to perform theatre. This is based on a differentiation between their mediated fame and expertise. It is helpful and useful information for producers when deciding whether or not to cast a celebrity and to which audiences that the celebrity might appeal.

IT IS BY direction of NLW'S Subscription Department—to whom I have the good fortune to have been married for nigh on 16 years—that I open my first column of the new year with a lot of gubbins about subscriptions and their administration. Do please read it and, if appropriate, take action, or I'll never hear the end of it.