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Institutions typically treat research integrity violations as black and white, right or wrong. The result is that the wide range of grayscale nuances that separate accident, carelessness and bad practice from deliberate fraud and malpractice often get lost. This lecture looks at how to quantify the grayscale range in three kinds of research integrity violations: plagiarism, data falsification, and image manipulation. Quantification works best with plagiarism, because the essential one-to one matching algorithms are well known and established tools for detecting when matches exist. Questions remain, however, how many matching words of what kind in what location in which discipline constitute reasonable suspicion of fraudulent intent. Different disciplines take different perspectives on quantity and location. Quantification is harder with data falsification, because the original data are often not available, and because experimental replication remains surprisingly difficult. The same is true with image manipulation, where tools exist for detecting certain kinds of manipulations, but where the tools are also easily defeated. This lecture looks at how to prevent violations of research integrity from a pragmatic viewpoint, and at what steps can institutions and publishers take to discourage problems beyond the usual ethical admonitions. There are no simple answers, but two measures can help: the systematic use of detection tools and requiring original data and images. These alone do not suffice, but they represent a start. The scholarly community needs a better awareness of the complexity of research integrity decisions. Only an open and wide-spread international discussion can bring about a consensus on where the boundary lines are and when grayscale problems shade into black. One goal of this work is to move that discussion forward.
Today almost everyone in the developed world spends time online and anyone involved in strategic communication must think digitally. The magnitude of change may be up for debate but the trend is unstoppable, dramatically reconfiguring business models, organisational structures and even the practice of democracy. Strategic Communication, Social Media and Democracy provides a wholly new framework for understanding this reality, a reality that is transforming the way both practitioners and theoreticians navigate this fast-moving environment. Firmly rooted in empirical research, and resisting the lure of over-optimistic communication dreams, it explores both the potential that social media offers for changing the relationships between organisations and stakeholders, and critically analyses what has been achieved so far. This innovative text will be of great interest to researchers, educators and advanced students in strategic communications, public relations, corporate communication, new media, social media and communication management.
The Early Modern Period is increasingly perceived as a time of antagonism and conflict in different discursive fields. In the context of this topic the Collaborative Research Centre (SFB) 573 organized an international conference in March 2010 on Para/Textual Negotiations between Poetry and Philosophy in the Early Modern Period . The results of this conference are presented in this volume. The specific question of the book results from combining two key topics: the agonal relationship between poetry and philosophy, and the specificity through which this agon not only occurs in the text itself but even at the fringe between text and framework texts (paratexts and epitexts). "
Bionics means learning from the nature for the development of technology. The science of "bionics" itself is classified into several sections, from materials and structures over procedures and processes until evolution and optimization. Not all these areas, or only a few, are really known in the public and also in scientific literature. This includes the Lotus-effect, converted to the contamination-reduction of fassades and the shark-shed-effect, converted to the resistance-reduction of airplanes. However, there are hundreds of highly interesting examples that contain the transformation of principles of the nature into technology. From the large number of these examples, 250 were selected for the present book according to "prehistory", "early-history", "classic" and "modern time". Most examples are new. Every example includes a printed page in a homogeneous arrangement. The examples from the field "modern time" are joint in blocks corresponding to the sub-disciplines of bionics.
This unique dictionary covers all the major German idioms and is probably the richest source of contemporary German idioms available, with 33,000 headwords. Within each entry the user is provided with: English equivalents; variants; contexts and precise guidance on the degree of currency/rarity of an idiomatic expression. This dictionary is an essential reference for achieving fluency in the language. It will be invaluable for all serious learners and users of German. Not for sale in Germany, Austria and Switzerland.
Gun̈ter Brus; Roźa El-Hassan; Isabell Heimerdinger; Koo Jeong-A; Franz Kapfer; Herwig Kempinger; Jakob Kolding; Elke Krystufek; Dorit Margreiter; Jonathan Monk; Paul Petrisch; Nicole Six; Mathias Poledna; Lisl Ponger; Florian Pumhos̈l; Ugo Rondinone; Markus Schinwald; Ann-Sofi Sideń; Martina Steckholzer; Esther Stocker; Franz West; Erwin Wurm
Berlin gallerist Rolf Ricke has been unleashing influential American artists like Richard Artschwager, Jo Baer, Donald Judd, Lee Lozano, Steven Parrino, Richard Serra, Jessica Stockholder and Barry Le Va on Europe since the 1960s. A 1965 trip to New York opened his eyes to the creative ferment happening there, and inspired him to import the artists themselves, to create new work for his Berlin-based gallery, rather than simply borrowing existing pieces. It was a savvy move. Through the decades, he formed relationships with these artists and acquired a stellar collection of works. The Rolf Ricke Collection, which is being exhibited at three major European museums in 2008, represents four decades of work by predominantly American artists. This accompanying publication is a trove, showcasing Ricke's 150-piece collection and putting it in context with an illustrated timeline of 40 of the richest years of art history.

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