Private Labels have transformed from value purchases into powerful brands. This paper develops a framework based on the four strategic dimensions of brand breadth, positioning, segmentation, and relationship with the store brand that retailers can uniquely draw upon to organise their brand portfolios. It examines the case of German retailer Rewe that successfully organises its private label portfolio along these dimensions. This paper argues that maintaining multi-tiered and multi-segmented private label portfolios can be important tools for retailers enabling them to cover broader markets, fulfil current consumer needs, build brand equity, and strengthen customer loyalty.
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Rapport dat een overzicht biedt, wat portfolio is en wat het zou kunnen zijn. Een handreiking voor opleidingen die met portfolio's willen gaan werken en het biedt een overzicht van aandachtspunten en een theoretische basis van uit de literatuur tot en met december 2000. Rapportnummer 20365.655-CA/IH.
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This paper will explore how a portfolio approach to teaching and learning can help the educator incorporate unique forms of reflective practice into his or her daily work. By being able to express ideas more clearly to himself, the educator can better promote the relational construction of knowledge in his educational communities. This paper, as part of a larger body of research asks, how can a portfolio approach to teaching and learning help the educator develop unique forms of reflective practice that will help him express his ideas more clearly, first to himself and then secondly to his educational communities? Research methodology is primarily participatory action research and includes an autoethnographic review of the author's work, reviews, interviews, observations, and focus groups with student teachers and professional teachers in the United Arab Emirates. The research concludes that in consideration of McLuhan's (1964) notion that the "medium is the message," the interactions that arise through the use of new media tools can lead us to relational, co-constructed ideas that are not those simply passed on from other texts. By making our thinking visible, the portfolio approach allows the educator to capture the contextual relationship between the author, the audience or community, and the knowledge being created.
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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?
