In Curriculum I (2004), the entire household of contemporary Swiss artist Isabelle Krieg is piled up to form a streambed: the water runs over her belongings and disappears in her bed. Likewise, Curriculum II (2008) consists of the artist’s studio equipment, with a stream running through it. Using the example of the intermedia-works Curriculum I and Curriculum II by Isabelle Krieg, this contribution aims to show how water as an art material can be linked to subject matter and interact with written and spoken/sung language to contribute to the art work’s meaning.

In 2002, the Swiss Design Awards were relaunched in a new format, in a bid to reinvigorate the competition and to adapt the promotion of design to the evolving needs of the profession. One of the key themes of the new format was the vision of the Swiss Federal Office of Culture that it could be a node in the network of Swiss design. After tracing the evolution of the Office’s approach to sponsorship in the years leading up to the relaunch, this article analyses the impact of the awards on the networks and on the practice of three winners of the 2002 edition.

Der Vortrag geht auf die wichtigsten Punkte im Verfassen von Abstracts beziehungsweise Beiträgen für Kongresspräsentationen ein. Themen sind die klassischen „Do‘s and Don‘ts“, die wichtigsten Voraussetzungen für er-folgreiches Einreichen und warum es dann trotzdem nicht klappen kann.Das genaue Studium der Kongressseite, der durch dieVeranstalter präsen-tierten Ausführungen und Anleitungen werden aufgegriffen. Es wird disku-tiert, ob weniger wohl mehr ist.Die grundlegenden Anforderungen an einen Text bezüglich Aufbau, Struktur und Inhalt, werden präsentiert. Themen, wie Attraktivität der Texte für Reviewer und Kongressveranstalter werden gestreift.Für alle, die auch morgen wieder einen Abstract einreichen wollen, bietet der Vortrag einen idealen Platz um Know-how zu tanken und sich auszutau-schen.

Milk is known for its high nutrient content that helps to maintain important body functions. In this regard, bioactive peptides that are encrypted in milk proteins and get released during processing and/or digestion might play a role. These peptides are able to inhibit enzymes, influence cell growth, or target specific receptors. The peptide profile that arises after protein digestion in the jejunum before the absorption into the blood takes place includes these bioactive peptides. The composition of the peptide profile is influenced strongly via processing and a modification in processing might target specific functionalities. Thermal, chemical, biochemical, and physical treatments affect protein digestion mainly by changing the protein structure for example via denaturation or protease actions. Parameters influencing this are external ones, like the matrix of the product, and internal ones, like specific enzyme deficiencies. However, considering all the important aspects that are involved, there might be the possibility in the future to adjust a bioactive function via processing.

Herausforderungen in einem sich wandelnden Gesundheitssystem verlangen nach neuen Arbeitsteilungen unter den Gesundheitsberufspersonen. Es bracht Pflegefachpersonen, die für eine erweiterte klinische Praxis vorbereitet sind. Der Master of Science Studiengang der deutschsprachigen Fchhochschulen der Schweiz bietet die postgraduierte Ausbildung zur Pflegeexpertin/ zum Pflegeexperten APN an und bereitet die Studierenden auf neue Verantwortlichkeiten vor. Die Ausbildung hilft, das Fachwissen zu erweitern, vertieft die wissenschaftliche Arbeitsweise und thematisiert und lehrt neue Formen der Versorgung und Zusammenarbeit. Das Kapitel gibt Einblick sowohl in die curricularen wie didaktischen Grundlagen des Master of Science Studienganges der Fachhochschulen der deutschsprachigen Schweiz.

Can we conceive of artworks in terms of their temporal duration – as events, performances and processes? Can artworks, including the recent portion of artistic production as well as traditional artworks, be rethought in terms of time and their intrinsic temporalities? Why and how would it matter for their conservation? This paper offers an opportunity to rethink traditional paradigms of conservation and art theory that regard objects as fixed and static entities. It proposes letting go of the belief in the apparent stability of objects that for too long has offered a skewed message by isolating the negative qualities of change. The kind of thinking in the expanded field of curation and conservation presented here fosters the acknowledgement of changeability and impermanence of these media as a condition of possibility for their survival.