"The research project Methodology for the Documentation of Contemporary Art was initiated by Professor Dr Hubertus Kohle and Dr Harald Kraemer at the interdisciplinary Kulturwissenschaftliches Forschungskolleg at the Universities of Aachen, Bonn and Cologne . The main aim of this project (1999–2001) was to develop strategies and structures for a methodology for the study and documentation of modern and contemporary art. Furthermore, the project was to demonstrate, through specific characteristics of modern art, the need for new documentation procedures and the use of digital technologies. Traditional, static methods of documentation can be significantly extended through the application of multimedia electronic technologies. The diverse prerequisites and specific demands of contemporary art require a changed methodology of analysis and documentation. Hence, the aim of the project was to find the answers to the following questions: to what extent can the revamped documentation methods provide a basis for meaningful interpretation of contemporary art? And what is the role of interactive digital multimedia technology here?"
(Harald Kraemer, 2001)
 Kulturwissenschaftliches Forschungskolleg (SFB / FK 427) 'Medien und kulturelle Kommunikation'. Nicole Birtsch, Kathrin Lucht, Martina Nied, Simone Schmickl and Christina Hemsley were the other members of the team.
"Daniel Pink provides concrete examples of how intrinsic motivation functions both at home and in the workplace."
(Royal Society for the encouragement of Arts, Manufactures and Commerce, 8 April 2010)
"Charles Handy speaks at leadership All–Stars in downtown Los Angeles during the Drucker Centennial celebration. Charles is a globally renowned business expert and is often regarded as Britain's greatest management thinker. He has been an executive, a theorist, a management thinker and a student of business all his life. In 2008, he taught the Odyssey Course at The Drucker School while serving as a Scholar in Residence."
"Gibbs, Knapper and Piccinin (2009) describe a perceived shift of organisational culture over time from, collegial to bureaucratic to corporate and finally to a fourth entrepreneurial culture characterised 'by a focus on competence and an orientation to the outside world, involving continuous learning in a turbulent context. The management style involves devolved and dispersed leadership. Decisionmaking is flexible and emphasises accountable, professional expertise. Students are seen as partners.' (p. 6). UCA is considering whether an entrepreneurial culture is most suited to its ambitions for increased internal and external collaboration and if so the associated consequences for the working relationships between leaders and academics, and the degree of academic autonomy.
If universities were to accept a need to change their cultures and become more entrepreneurial, then it is possible that this might lead to confusion amongst staff as they experience aspects of different types of culture. Gibbs, Knapper and Piccinin (2009) note that this model of four organisational cultures is oversimplified and that is possible for 'individuals to hold conflicting perceptions of the organisational culture at the same time' (p. 6). Nevertheless, the model does seem to be useful in helping to reflect on the type of culture that might be desirable for a university offering art and design subjects."
(Paul Coyle, 2010)
Coyle, P. (2010). 'Crossing Boundaries – Creative Spaces'. Cumulus, International Association of Universities and Colleges of Art, Design and Media. Genk, Belgium.