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This paper sets out to highlight conclusions from computer‐supported cooperative work (CSCW) research, which are relevant to e‐learning environments, in this case, WebCT.

The paper analyses the CSCW literature and identifies the main findings relating to the use and acceptance of collaborative technologies. These findings are applied to the analysis of 65 free‐form accounts of the use of WebCT obtained from student users in a higher education institution.

The challenges to cooperative work tools widely demonstrated within the CSCW research community since the early 1990s are alive and well in the context of e‐learning technology more than ten years later. In particular, there is strong evidence of discrepancies in benefits for different stakeholders, the need for a critical mass of users, and problems with lack of fit with social norms.

Conclusions are based on computing students from one institution, but there is no reason to believe that the sample is atypical.

The conclusions identify a need for stakeholder involvement in the introduction of e‐learning environments in the tradition of participative design.

The paper brings well‐established findings from the CSCW community to the e‐learning domain.

The purpose of this paper is to bring together the fields of participatory design, design for all, accessible music, tangible interaction and musicking to propose musicking for all, where participants can take part on their own terms, with their own intentions, initiatives and interpretations. The goal is to promote well‐being and health among the participants.

Co‐creative tangibles to enable musicking for all have been created and evaluated in a research project. The paper uses the experiences so far in this project to propose “musicking for all”, based on the fields mentioned in “Purpose” above.

Participatory design, design for all and tangible interaction forms a promising basis for musicking for all. Challenges/paradoxes emerge when applying participatory design approaches to design work involving disabled children.

The paper contributes with an original view on musicking for disabled children, and proposes musicking for all based on the fields of research mentioned in “Purpose” above. The value in the contribution is a fresh view on co‐creative tangibles for disabled children, and a suggested way forward to improve health and well‐being for this user group.

The benefits of the thin film multichip module (MCM‐D) approach to high density packaging for VLSI devices have now been amply demonstrated by a number of research groups. The successful emergence of a viable multichip module industry from this research base will, however, depend upon the installation of an industry‐wide manufacturing infrastructure. This will have to provide the necessary range of concurrent design capabilities, make pretested bare die available, and include multichip module vendors who can offer an integrated capability in module design, substrate layout and manufacture, advanced module assembly, packaging and test. Each of these areas of MCM‐D technology merits detailed attention in its own right, sufficient to justify many individual papers and presentations. This present paper focuses on just one of these topics and addresses the approach taken by GEC Plessey Semiconductors (GPS) to the development and control of a highly manufacturable MCM‐D silicon substrate process. The GPS ‘Process I’ four‐layer metal, aluminium‐polyimide substrate technology is described, the technology development and process control test structures are detailed and process characterisation data presented.

The authors adopt a biographical methodology to investigate how a privately funded art museum has risen to become a key visitor destination on the island of Tasmania, Australia.

The authors utilise both entrepreneurship and consumption as collecting lenses to gain insight into the success of a new arts venture. In addition to biographical methodology the authors utilise in-depth interviews and participant observation.

The analysis shows what can be achieved when alternative paths to creativity and innovation are pursued. The creativity inherent in such actions does not necessarily have to be substantial. Sometimes incremental approaches to achieving something different from the norm are sufficient.

Implications include the continued merits of adopting a biographical approach to uncovering longitudinal insight into interlinking entrepreneurship and consumption practices. This approach enables key impacting events over time to be identified as they impact on the direction taken by the art entrepreneur.

There is growing evidence that administrative approaches to arts governance are limiting in their effectiveness. This paper addresses the call to be more entrepreneurial in arts governance practices.

There are only a limited number of papers on entrepreneurship and consumption in the arts and this research adds to knowledge in the area.

This article explores aspects of separation from “post-traditional” religiosity characteristic of certain late/post-modern affiliations. To do so, I analyze in-depth interviews with 44 individuals who formerly identified with straightedge – a clean-living youth-oriented scene tightly bound with hardcore music that is centered on abstinence from intoxicants – about their experiences transitioning through associated music assembly rituals. While features of hardcore music assemblies – e.g. moshing, slamdancing, sing-a-longs – have long been treated as symbolic connections that potentially conjure the religious as conceptualized in Émile Durkheim's “effervescence” and the liminality of Victor Turner's “communitas,” data on transitions from these features of ritual remain scant. Ex-straightedgers generally believed the sorts of deep connections they professed to experience in hardcore rituals as youths were not necessarily currently accessible to them, nor were they replicable elsewhere. Findings then ultimately suggest some post-traditional religious experiences might now be profitably considered in terms of the life course, which has itself transformed alongside the proliferation of newer late/post-modern affiliations and communities.

This paper seeks to review the current literature in order to explore how performance of leadership in project management determines project outcomes. The specific causes of project success or failure have been an area of much debate in the project management literature. Performance of leadership has been cited as a critical success factor, determining either the success or failure of a project.

An extensive literature review has been undertaken to explore our understanding of how project leadership performance impacts on project outcome.

The mechanisms through which leadership may impact on outcomes are considered. Implications include the need for project managers to prioritize training in leadership skills, and the need for continuous professional improvement to enhance leadership outcomes. No single leadership model is appropriate throughout the duration of the project. Performance, therefore, must be modified to align with the stages of the project duration.

While the literature has given meaningful insights into leadership of projects, there has been little research into performance management of project leadership. The work is the basis of developing a research agenda and establishing a conceptual framework. The opportunity exists, based on this work, for carrying out research on project leadership performance and its effect on project outcomes.

Insightful learning has been achieved into project leadership and the failing of practitioners in appropriate training and development at various stages of the projects life cycle.

Projects and project‐based management, delivered nationally and internationally, are of significant importance to organizations. Increasing understanding of the implications of leadership performance, therefore, is of critical importance.

The literature review has identified significant limitation in project leadership performance management. It is anticipated that this work will trigger further research.

THE development of undergraduate teaching in Aeronautical Engineering at Manchester University has followed a different pattern from that in most other Universities in this country. Although Osborne Reynolds carried out his famous experiments in the Engineering Department at Manchester, the teaching of Aeronautical Engineering grew out of Mathematics rather than out of Engineering. For a large proportion of the past 80 years the Chair of Applied Mathematics has been held by men eminent in the field of Fluid Mechanics: Lamb, Goldstein and Lighthill must surely be names well‐known to every aeronautical engineer. It was due to the initiative of Professor S. Goldstein that a separate Department of Fluid Mechanics was set up in 1946 under the direction of Mr W. A. Mair. At first it was natural that the emphasis should be on experimental work to complement the theoretical work carried out in the Mathematics Department. Later, however, although close relations with the Mathematics Department were still maintained, the Mechanics of Fluids Department developed into a separate entity making both theoretical and experimental contributions to fundamental knowledge.

The chapter presents the gospel festival as a significant postmodern religious tourism phenomenon which has not thus far been recognized or critically theorized. To date, conceptualizations of religious tourism, specifically pilgrimages, have been dominated by Turnerian concepts of liminality and communitas. It is suggested that these concepts, while valuable, do not sufficiently account for the heterogeneous and contested nature of these event spaces or their potentiality for the performance of alternative modes of social ordering. The Foucauldian notion of heterotopia is adapted as a more apposite theoretical framework and an example of a gospel festival in Australia is drawn on by way of explication.