Online self-and-peer-assessment for teamwork in architecture and business communications

There is considerable evidence of general student scepticism regarding the purpose of team assignments and high levels of concern for the fairness of assessment procedures when all members of a team receive the same grade. Some educators are similarly anxious about not only the validity of team grades, but also the need to assess ongoing team processes in addition to the final assignment product. This paper offers self-andpeer-assessment (SAPA) as a fair, valid and reliable method of producing information about ongoing team processes. The paper examines a pilot study investigating an online SAPA tool originally developed for a small class of architecture students. This tool is adapted for use for by students completing team assignment in two further architecture design units and for a very large class of 800 business communication students. The sample students studied on four campuses, as well as in off campus and offshore modes. The paper focuses on the initial stages of the study to demonstrate how researchers from very different backgrounds collaborated to adapt the online tool and implement a pilot study whilst maintaining both comparability of assessment and integrity of research design.

Business communications: principles and methods

Mode of access: Internet.

Designing educational tasks for success in industry: a reflection on the evolution of business communication studies in tertiary education

This paper is the result of a "Rip Van Winkle" experience I had concerning the teaching of Business Communication. The paper focuses on the remarkable expansion in the curriculum of the traditional "Business Communication" or "Business Writing" course offered by many tertiary institutions around the world. Based on 25 years of personal observation and experience in a number of educational settings, the paper will trace the increasing sophistication and complexity of the study of business communication from one that covered little more than lessons in the design of hardcopy memos, letters, and reports to one that now covers a broad spectrum of topics such as "emotional intelligence," "intercultural communication," "effective public speaking," as well as the effects of purpose and audience on the design of a wide variety of business communications.

An example of an effective task that involves a number of on the job activities is provided in the form of a ready to use assignment that is applicable in a number of contexts.

Locking away the mysteries of fair basis : Lockwood v Doric in the High Court

This article updates a previous article on the Lockwood v Doric fair basing case in the Full Court of the Federal Court which was recently appealed to the High Court. The High Court's decision provides a new and welcome level of clarity in this difficult area of patent law. With this new clarity we can finally lock away some of the mysteries that have plagued the area for some time. Already, indications are that Lockwood's guidelines are being usefully applied in the Patent Office and Federal Court.

'Look and feel' computer copyright in the United States and Australia (part 1)

United States copyright law -- two streams of computer copyright cases form basis for 'look and feel' litigation, literary work stream and audiovisual work stream -- literary work stream focuses on structure -- audiovisual work steam addresses appearance -- case studies

The valley of the dolls: Brand protection and artistic parody

In the case of Mattel Inc v Walking Mountain Productions, the toy doll manufacturer Mattel sought to prohibit a Utah photographer called Thomas Forsythe from producing and selling a series of 78 photographs entitled "Food Chain Barbie". The work had strong social and political overtones. The artist said that he chose to parody Barbie in his photographs because he wanted to challenge the beauty myth and the objectification of women. He observed: "Barbie is the most enduring of those products that feed on the insecurities of our beauty and perfection-obsessed consumer culture." The company Mattel argued that the photographs infringed its copyrights, trade marks, and trade dress. It was concerned that the artistic works would erode the brand of Barbie by wrongfully sexualising its blonde paragon of womanhood. However, Lew J of the Central District Court of California granted summary judgment for the photographer. The Court of Appeals upheld this verdict. Pregerson J held that the use of the manufacturer's copyrighted doll in parodic photographs constituted a fair use of copyright works. His Honour held that the use of manufacturer's "Barbie" mark and trade dress did not amount to trade mark infringement or dilution. This article provides a case commentary upon the Court of Appeals decision in Mattel Inc v Walking Mountain Productions, and its wider ramifications for the treatment of artistic parody under copyright law and trade mark law. It contends that the decision highlights the need for reform in Australian jurisprudence and legislation in respect of artistic parody.

„Interculture TV“: Interkulturelles Lernen durch Educasts

This paper gives an introduction to "Interculture TV", an educational videocast project initiated by the Department of "Intercultural Studies and Business Communications" at the Friedrich Schiller University, Jena. The project provides open access to audio-visual teaching/learning materials produced by intercultural student work groups and offers opportunities for cooperation. Starting from a definition of the term "educast", the article analyses the videocast episodes on Interculture TV and discusses their potential for inter-cultural instruction and learning.

Rola stereotypów w komunikacji międzykulturowej biznesowej: studium porównawcze polsko-ukraińskie

Wydział Neofilologia: Katedra Ekokomunikacji

A comunicação empresarial nos mercados internacionais através de feiras exposições

Dissertação de Mestrado Apresentada ao Instituto de Contabilidade e Administração do Porto para a obtenção do grau de Mestre em Empreendedorismo e Internacionalização, sob orientação do Mestre Adalmiro Álvaro Malheiro de Castro Andrade Pereira

Adobe Devanagari typeface

Typeface design: collaborative work commissioned by Adobe Inc. Published but unreleased. The Adobe Devanagari typefaces were commissioned from Tiro Typeworks and collaboratively designed by Tim Holloway, Fiona Ross and John Hudson, beginning in 2005. The types were officially released in 2009. The design brief was to produce a typeface for modern business communications in Hindi and other languages, to be legible both in print and on screen. Adobe Devanagari was designed to be highly readable in a range of situations including quite small sizes in spreadsheets and in continuous text setting, as well as at display sizes, where the full character of the typeface reveals itself. The construction of the letters is based on traditional penmanship but possesses less stroke contrast than many Devanagari types, in order to maintain strong, legible forms at smaller sizes. To achieve a dynamic, fluid style the design features a rounded treatment of distinguishing terminals and stroke reversals, open counters that also aid legibility at smaller sizes, and delicately flaring strokes. Together, these details reveal an original hand and provide a contemporary approach that is clean, clear and comfortable to read whether in short or long passages of text. This new approach to a traditional script is intended to counter the dominance of rigid, staccato-like effects of straight verticals and horizontals in earlier types and many existing fonts. OpenType Layout features in the fonts provide both automated and discretionary access to an extensive glyph set, enabling sophisticated typography. Many conjuncts preferred in classical literary texts and particularly in some North Indian languages are included; these literary conjuncts may be substituted by specially designed alternative linear forms and fitted half forms. The length of the ikars—ि and ी—varies automatically according to adjacent letter or conjunct width. Regional variants of characters and numerals (e.g. Marathi forms) are included as alternates. Careful attention has been given to the placements of all vowel signs and modifiers. The fonts include both proportional and tabular numerals in Indian and European styles. Extensive kerning covers several thousand possible combinations of half forms and full forms to anticipate arbitrary conjuncts in foreign loan words. _____