Within- and between-firm mobility in the low-wage labour market

Wage mobility among low wage earners has previously been focussing on the characteristics of the low wage earners, whereas the role of the firm has been neglected. The purpose of this study is to focus on the characteristics of the firms when analysing variation in wage mobility. The empirical findings confirm that the characteristics of the employing firm indeed matter for low-wage employees´ likelihood of escaping a low-wage job. Especially does the employing firm affect the destination state – i.e. where a low-wage worker goes after having finished a low-wage job, and the findings enable me to identify three types of firms: career firms with high within-firm upward wage mobility, stepping-stone firms with high between-firm upward wage mobility and dead-end firms with low upward wage mobility.Low wage earners; wage mobility; firm behaviour; employer-employee relations

Animating the Ethical Demand:Exploring user dispositions in industry innovation cases through animation-based sketching

This paper addresses the challenge of attaining ethical user stances during the design process of products and services and proposes animation-based sketching as a design method, which supports elaborating and examining different ethical stances towards the user. The discussion is qualified by an empirical study of Responsible Research and Innovation (RRI) in a Triple Helix constellation. Using a three-week long innovation workshop, UCrAc, involving 16 Danish companies and organisations and 142 students as empirical data, we discuss how animation-based sketching can explore not yet existing user dispositions, as well as create an incentive for ethical conduct in development and innovation processes. The ethical fulcrum evolves around Løgstrup's Ethical Demand and his notion of spontaneous life manifestations. From this, three ethical stances are developed; apathy, sympathy and empathy. By exploring both apathetic and sympathetic views, the ethical reflections are more nuanced as a result of actually seeing the user experience simulated through different user dispositions. Exploring the three ethical stances by visualising real use cases with the technologies simulated as already being implemented makes the life manifestations of the users in context visible. We present and discuss how animation-based sketching can support the elaboration and examination of different ethical stances towards the user in the product and service development process. Finally we present a framework for creating narrative representations of emerging technology use cases, which invite to reflection upon the ethics of the user experience.</jats:p

hæc pictura completa fuit: Om kalkmalerier og rammer

hæc pictura completa fuit On Wall Paintings and Frames By Axel Bolvig The caption or another linguistic statement try to bind the visual messages. So is the situation in modern society (cf. Roland Barthes). But medieval imagery does communicate on its own without a linguistic »ancrage«. It is due to a well-developed iconography. It leads to the question, what is an image? After the development of oil painting, woodcut and other kinds of portable images we can answer, an image is what is within the frame. Dealing with wall paintings we face the problem that most subjects have no frame. In a Romanesque decoration the extension of the wall can be perceived as the frame of several individual subjects. The totally painted background does also serve as a pictorial markation. In a vaulted late medieval church we find paintings all over the church. The white background of the individual subjects does not constitute a framing, on the contrary there is no difference between the white background of depicted subjects and the whitewashed surface of the rest of the church. Consequently the church building constitutes the frame and all the individual subjects are to be perceived as one image. This is in accordance with the understanding of medieval painters. All the survived inscriptions about decorations use the word pictura in the singular form. Even the complete decoration of Bellinge church is defined as one picture. Especially after the invention of photography we are used to a fragmented representation of medieval wall paintings, which in a way is a violation towards medieval perception. But a still more detailed fragmentation is necessary to do research in the paintings. The image database with Danish wall paintings at www.kalkmalerier.dk contains at the time of the writing of this article more than 5.000 pictures and it is a useful tool for research, which could never be done by visits to the churches spread all over the country. And by help of IT we now can make 3D programmes offering a virtual church interior where all the fragmented subjects are combined to one pictura