"De leiding van organisaties moet sturen om de voorspelde opbrengsten uit ICT te realiseren." en " De leiding van de organisatie moet hierbij opties hebben.". In één zin de reden om gestructureerd met portfolio's te werken en in één zin de kans, die het actief en systematisch werken met portfoliomanagement onze organisaties biedt. Dit boekje gaat over dit portfoliomanagement. Het is de weerslag van een onderzoek gedaan onder auspiciën van de kenniskring portfoliomanagement van het lectoraat ICT governance van Fontys hoge-school, school voor ICT.
"De leiding van organisaties moet sturen om de voorspelde opbrengsten uit ICT te realiseren." en " De leiding van de organisatie moet hierbij opties hebben.". In één zin de reden om gestructureerd met portfolio's te werken en in één zin de kans, die het actief en systematisch werken met portfoliomanagement onze organisaties biedt. Dit boekje gaat over dit portfoliomanagement. Het is de weerslag van een onderzoek gedaan onder auspiciën van de kenniskring portfoliomanagement van het lectoraat ICT governance van Fontys hoge-school, school voor ICT.
Expos, festivals and events have become increasingly important as tools of urban developmentin recent decades. The competitive drive to put cities on the global map has led many to adoptevent-based strategies, including the creation of ‘eventful cities’, ‘festival cities’ and ‘eventportfolios’. World Expos have taken on a particular significance as ‘pulsar events’ that canshape the host city through urban development, increased tourism and place branding. Eachhost city also uses the event in a different way, and gives it a unique flavour that tempers theeventual effects. This paper reviews the literature on World Expos and their effects, identifyingthemes including Place branding, Tourism flows, Resident attitudes and Architecture and urbandevelopment. It then analyses the experience of Barcelona, twofold Expo host and a‘paradigmatic’ example of a city developed through mega events.
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While several governmental and research efforts are set upon mobility-as-a-service (MaaS), most of them are driven by individual travel behavior and potential usage. Scholars argue that this is a too narrow perspective when evaluating government projects because choices individuals make in a private setting might not accurately reflect their preferences towards public policy. Participatory Value Evaluation (PVE) is a novel evaluation framework specifically designed to alleviate this issue by analyzing preferences on the allocation of public budgets. Thus, based on PVE, this project aims at assessing different features of MaaS-services (e.g. enhancing mobility of the elderly and the poor, complementing public transport, etc.) from a social desirability perspective and compare them with investments in alternative social projects. Specifically, it aims at establishing the citizen value of MaaS as compared to social investments in green/recreational areas or transport infrastructure (e.g. bike or bus lanes), and eliciting trade-offs between different features of them. The project includes the selection of different investment projects (and their features) that are politically relevant in Rotterdam. It also includes a qualitative assessment on the way individuals evaluate different social projects and their features and a quantitative assessment based on choice models that allow eliciting trade-offs between different attributes and projects. Finally, policy recommendations are provided based on these results. They allow conceiving investments projects to maximize the societal benefits as well as to construct optimal investment portfolios. This information is to be used as a complement of the evaluation of projects on the basis of individual preferences.
A growing part of contemporary arts practices in the Netherlands has reoriented itself from studio and institutional art towards self-organization in self-run initiatives. In this type of contemporary art, self-organization is not only a way of gaining economic independence. Just as importantly, it is a form of expression where the organizational structure becomes the art project: self-organization-as-contemporary-art. Often using informal and underground settings, these initiatives reach audiences who have little or no access to the established system of cultural institutions. Aiming to bring art closer to everyday life, they often are no longer easily recognizable as art projects at all. Instead of individual studio practice with the artist as the central figure, these projects and initiatives are based on participation and non-hierarchical collaboration and rarely produce art objects for the traditional gallery art market. Examples include restaurants run as art projects, experimental schools, radio stations run as art performances, and do-it-yourself publishers. Rotterdam is an ideal case study for this development, since the city has played a role in self-organized artists’ initiatives and activist practices like no other city in the Netherlands. The trend towards self-employed work and flexibilization in the creative sector after 2008 accelerated this development. Self-organization-as-contemporary-art has developed throughout the years into an active, extensive and complex network of more than 80 self-organized initiatives; a fabric of autonomously operating initiatives that covers the entire city which we have mapped in previous research. This leads to the questions: How can the creative industries and cultural institutions adapt to these new forms of artistic practice which are no longer based on (a) individual work and (b) classical artists’ portfolios? How can art school curricula be adapted so that they educate innovative network artists who actively contribute to the fabric of self-organization-as-contemporary-art?
