Relevant bibliographies by topics / Art of the Print (Organization)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Art of the Print (Organization)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Art of the Print (Organization)"

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Vobič, Igor. "Online multimedia news in print media: A lack of vision in Slovenia." Journalism 12, no. 8 (August 12, 2011): 946–62. http://dx.doi.org/10.1177/1464884911398339.

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Using the case of two Slovenian print media as an example, this article examines how online multimedia news has been adopted, what role different newsroom organization models play in online multimedia news production, and what multimedia news formats have emerged on news websites of Slovenian print media organizations. In the last decade, different multimedia news content has been emerging rapidly within news websites of print media organizations with online production organized differently and multimedia news formatted distinctly. A review of scholarly debates and research in media and journalism studies reveals that the particular institutionally structured features of online news production, and the technical and organizational attributes which influence what gets represented in the medium and the manner in which it is done have not yet emerged. Furthermore, on the basis of news format analysis, participant observation, and problem-centered interviews, the article concludes that there is a lack of vision in furthering the evolution of online production organization and news formats in Slovenian print media arena, which signals the present marginal significance of online multimedia news.
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Actoṅ, T. A. "The Organization for Security and Co-operation in Europe Prepares to Act Against Anti-Gypsy Violence." Nationalities Papers 23, no. 2 (June 1995): 483–88. http://dx.doi.org/10.1080/00905999508408393.

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The Organization (Conference) on Security and Co-operation in Europe has just held a meeting in Budapest which was widely touted as a flop for its failure to achieve agreement on Bosnia. Its only reported action was to change its own name to “Organization for Security and Co-operation in Europe.” But, tucked away in the small print of the final document (paragraphs 25-6), is a resolution to appoint within the Office for Development of International Human Rights (OCJIHR) “a contact point for Roma and Sinti (Gypsy) issues.” This will act as a clearing-house for information, facilitate contacts between state and international and non-governmental organizations, working closely with Gypsy organizations. What this will mean in practice is not yet clear; but those who have pushed for this development have a clear agenda.
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Kolobov, E. "THE SOVIET AND FOREIGN WRITERS AT THE SIXTH WORLD FESTIVAL OF YOUTH AND STUDENTS." Voprosy literatury, no. 4 (October 2, 2018): 215–29. http://dx.doi.org/10.31425/0042-8795-2018-4-215-229.

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The article examines the role of the Writers’ Union of the USSR and the country’s individual authors in the organization of the World Youth Festival in Moscow in 1957. The forum helped rekindle the literary connections and reestablish contacts with European and American writers which had been severed in the late 1930s. Besides, young writers from Africa, Asia and South America were able to visit the festival. This forum was a highly significant international event which grasped the attention of the writers from most Soviet republics and autonomous regions. Until now, this aspect has not been discussed neither in Russia nor abroad. The author provides a rich compendium of materials from the Russian State Archive of Literature and Art, some of which are in print for the first time.
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WILSON, BRONWEN. "Venice, print, and the early modern icon." Urban History 33, no. 1 (May 2006): 39–64. http://dx.doi.org/10.1017/s0963926806003518.

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Venetian printmakers in the sixteenth century were enthusiastic participants in what became a project of civic self-promotion as they looked beyond the local market to an international one. In response to the fascination of foreigners who marvelled at the city's singular topography and its reputation for liberty and licentiousness, the bird's-eye view and images of local social types – such as the doge and courtesan – became transmuted into icons of the city's urban identity. The medium and modes of representation used to reproduce the republic's social and physical organization on paper are crucial here, for it was the repetition and sedimentation of visual conventions that forged iconicity. Venice was redefined as a centre in which all the world could be seen. And the mechanisms for this redefinition, as this article argues, emerged, in part, out of print, for it was because the city could be seen from the eye of a bird, on paper as an image, by foreigners – that it could be re-envisioned from the outside in.
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Younus, M. Farhan, Syed Faizan Hassan, Hasnain Hasnain, and Agha Ammad Nabi. "The impact of corporate social responsibility on supply chain." Journal of Economic Info 3, no. 3 (July 31, 2016): 1–6. http://dx.doi.org/10.31580/jei.v3i3.89.

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In today’s business world, growing attention is being paid on the business concept; “Corporate Social Responsibility “mostly because of environmental concerns, regulatory impacts, commercial benefits and reputation in front of the society. Increasing number of companies initiates and implements practices considered as CSR activities. Concept of Corporate Social Responsibility (CSR) has been first introduced by Bowen (1952) and states that while implementing strategies and making their decisions, organizations should act taking into consideration society’s values. In this respect, Carroll (1979) defined CSR as sensitivity of an organization about the stakeholders’ expectations on the management of social, environmental, economic, ethic and legal issues. Towards the end of 1980s, concept of sustainable development has been introduced and has focused on economic, social and environmental factors that organizations should consider. Sustainable development emphasizes how today organizations can fulfill their needs without Jeopardizing the needs of the future generations. Therefore, MNCs interested in a green supply chain should be attempting to cut their transportation carbon emissions and those of their suppliers. This can be accomplished by using biofuel, choosing the type of transportation with the least carbon foot print (trains and ships), utilizing smaller trucks when possible, and encouraging fuel efficient driving behavior by employees.
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Verlata, Anna. "EMIGRATION PUBLICATIONS OF THE CREATIVE HERITAGE OF VASYL PACHOVSKYI." Polish Studies of Kyiv, no. 35 (2019): 79–83. http://dx.doi.org/10.17721/psk.2019.35.79-83.

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The article deals with the role of the Association of Ukrainian Writers in Exile “Word” in publication of the most complete collection of works by Vasyl Pachovsky in two volumes. Vasyl Pachovsky was a prominent member of Young Muse – an informal modernist group of writers and artists in Western Ukraine founded in 1906. In Ukrainian literature, he is mostly known as a lyric poet, but Vasyl Pachovsky is also the author of dramatic works. His modernistic dramas are lyrical allegories. At the same time they are highly patriotic works describing Ukraine’s long quest for freedom. Pachovsky’s most prominent dramas are: “Dream of Ukrainian Night”, “Sun of the Ruin”, “The Sphinx of Europe”, “Prince Roman the Great”, and “Het’man Mazepa”. Some of the works by Vasyl Pachovskyi were published in various journals or as separate books, but many of his works of art and historical articles remained in manuscripts. They are saved in the archives of the author’s family in the USA. In the context of solving this issue the publishing activity of the Association of Ukrainian Writers in Exile “Word” has been examined. The organization continued the traditions initiated by the Ukrainian Artistic Movement (Mystets’kyi Ukrayins’kyi Rukh). Its most famous members were Hryhorii Kostiuk, Yurii Sherekh, Vasyl Barka, Yurii Lavrinenko, Ostap Tarnavskyi and others. Their purpose was to create a literary center that would unite Ukrainian writers of diaspora. The organization also had to promote the development of independent Ukrainian writing, Theory of Literature and Literary Criticism, to create a publishing house in which the authors would be able to print their works. In general, a great number of different books (works of art, documentary, literary studies) have been published under the stamp of this Association. The collected works by Vasyl Pachovsky in two volumes have been published in 1984–1985, when Ostap Tarnavskyi was the chairman of the union. A lot of efforts have been made by sons and daughter of the writer. The structure and peculiarities of the publication are observed, the prefaces by the members of the Association Ostap Tarnavskyi and Vasyl Barka to each volume are considered. The texts of these authors are very important for the research into creative legacy of Vasyl Pachovskyi.
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Zlydneva, Nataliya V. "Fording the stream of changes: The concept of border-zone in the novel by Dubravka Ugresic." Slavic Almanac, no. 3-4 (2020): 364–82. http://dx.doi.org/10.31168/2073-5731.2020.3-4.4.04.

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The article aims to identify correspondences / parallels between the lit-erary text and the “text” of the historical time. The novel of the modern Croatian writer D. Ugresic “Fording the Stream of Consciousness” is taken as a basis: it is considered against the background of the events of the 1980s in Croatia. As the core of the poetic structure of the work, the concept of border-zone stands out. The latter can be traced at different levels of the text organization: in the composition, the plot, the characters, the narrative structure as a whole. The novel describes vari-ous boundaries (mental, existential, state, linguistic). Their function in the poetics of the novel is based on the principles of postmodernism: this is literature on literature. The social and cultural context in which the novel arose also demonstrates the concept of boundary by which the characteristics of the transitional era can be described. The 1980s in Croatia marked the state of transition in politics, economy as well as culture. The article discusses various types of art, cinema, literature and print media that set the main tone. It is shown that in literature, art, and cinema this was a boom period. Access to new frontiers is described by the concept of border-zone, which manifests itself in various ways of breaking the usual hierarchy in art: intertextuality, combining high and low genres (in fi lms and literature), enhancing the role of marginal (youth press), hybridization of media (pictorial turn). The sense of border-zone existence gave rise to “garbage poetics” as a contra-cultural phenomenon of the time. The novel of D. Ugresic contains all these signs of a transitional period. It also relies on the deeper layers of the liter-ary tradition, revealing correspondences with the Balkan model of the world. In this regard, the article touches upon the issue of the bridge in I. Andric’s prose, as well as the stairs in the story of A. Solan. Destruc-tion as the leading principle of postmodernism, the theme of the death of the novel, that manifested themselves in the piece of D. Ugresic, became a refl ection of the transitional time of Croatia, its culture, marked by the symbolic border of existence.
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Auji, Hala. "Marketing Views of Modernity, Evangelism and Print Specialization in the American Mission Press Catalogs (1884–1896)." Middle East Journal of Culture and Communication 11, no. 3 (November 23, 2018): 316–54. http://dx.doi.org/10.1163/18739865-01103005.

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Abstract Taking up an analysis of the materiality of the American Mission Press (AMP) bilingual catalogs printed from 1884 to 1896 in Ottoman Beirut, in this article I identify these booklets as publications that circulated among broad networks of books, journals and newspapers during the period of the Arab nahda. By examining these catalogs in terms of the wider historical significance of their materiality, specifically their organization, layout, typography and illustrations, in this essay I show how these booklets promoted the AMP and its mission’s entangled messages in an increasingly competitive publishing industry. On the one hand, the catalogs highlighted the AMP’s ‘western’ qualifications and strove to engage local readers’ interests in ‘modern’ culture, science and technology. On the other hand, these works marketed the mission’s universalist evangelical views. Thus, in this study I show how such ephemeral publications, when studied for their dynamic content, make evident nineteenth-century Arabic print commerce at work and also illustrate early examples of nascent advertising practices.
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Humprecht, Edda, and Frank Esser. "Mapping digital journalism: Comparing 48 news websites from six countries." Journalism 19, no. 4 (September 6, 2016): 500–518. http://dx.doi.org/10.1177/1464884916667872.

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Media organizations throughout the Western world struggle to adjust their practices to rapidly changing conditions. Initially, online journalism was celebrated for potentially revolutionizing political reporting due to its new technological possibilities: According to this, it is able to (1) increase transparency by providing hyperlink sources, (2) increase understanding by providing further background information, and (3) add to deliberation and follow-up communication by providing a platform for interactive exchange. A comparative content analysis of 48 news websites from six countries (France, Italy, Germany, Switzerland, Great Britain, and United States) examines the degree to which these three potential strengths are fully exploited. By mapping the different news outlets in relation to the digital functions, we identify three models prevalent in different countries and organization types. The first model contains outlets promoting the usage of links to make their sources transparent to the reader (‘transparency model’), outlets focusing on the provision of background information to enable their audiences to gain a wider understanding of the reported topic (‘background model’), and outlets that mainly avoid the adoption of new technologies (‘print-oriented model’). These findings show that different structural developments and professional orientations lead to the adaption of different technologies in digital journalism.
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Nikitin, Andrii. "ART PROSPECTION OF YURI RUBASHOV." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 124–29. http://dx.doi.org/10.33838/naoma.28.2019.124-129.

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Rubashov — Honored Artist of Ukraine, Member of the National Union of Artists in Ukraine, Associ- ate Professor of the Department of Drawing the National Academy of Fine Arts and Architecture.Yurii Rubashov was born in Kyiv in 1947. After the end of the RCSU with the name of T. Shevchenko in 1965, he joined KSAI and till 1971 he studied in prominent Ukrainian graphists: V. Kasyana, I. Selivanov, V. Chebanyk.The artist turns to historical subjects and initiates graphic cycle, dedicated to the history of Kiev Rus and the activities of the kings who influenced the historical passing of events of that time.First of this thesis topic was a series of lithographs "Yaroslav the Wise" (1971), later — a series of graphic com- positions "Kiev Rus" (1979), a series of colored prints "Prince of Kiev", "Princess Olga, Svyatoslav, Vladimir, and Yaroslav the Wise (1992).The artist shows the greatest creative interest in landscape painting (cycles "On the Spain" (1982), "On the Sweden" (1985), "On the Jordan" (1983), "On the Armenia" (1983), "Roads of the Ukraine" (1996) and still life (Sweden Series, 2012–2013).It can be argued that Yu. Rubashov’s works absorbed the lyrics of landscapes with characteristic features of both southern and northern colors, and his still life is characterized by precise organization, a variety of styl- ized forms, which show confidence in the possession of the material and a balanced sense of compositional harmony. In the process of forming the author’s technique, he chooses the path of innovation and experiment, which in turn causes a peculiar interpretation of different technical means — a combination of materials and technologies of different nature. The artist exploits and applies multicolored pigments, oil pastels, watercolors and acrylic paints and the like, mixing everything with different solvents, which gives the opportunity to original express and crystallize a peculiar, author’s style.Drawing on the foundations of academic education, the artist experiments, seeks creative ideas and success- fully incorporates contemporary artistic problems into new imaginative solutions. This is a valuable example of growing skill and formation creative personality.In 2000 and 2015 he received first-degree diplomas All-Ukrainian Triennial of Graphic Arts, in 2012 — Di- ploma of the third stage of the exhibition-competition named G.Yakutovich.Yu. Rubashov fruitfully combines creative work with teaching. In the process of teaching his students, Yu. Rubashov not only lays the foundations of academic drawing, but also encourages to analyze creative material, to study and master the various drawing techniques and opportunities inherent in them.In the general process of contemporary search for an art, together with the academic pragmatism of the cur- riculum, the teacher, especially in the first courses of the Faculty of Fine Arts and Restoration, draws attention of the students in different artistic trends, teaches analytical and creative perception of natural objects and consciously approach the transformation of three-dimensional forms on a two-dimensional work plane of a paper sheet. These methodological principles meet the needs of modern times.The stylistic language of his works is recognizable and special. Not dwelling on what he has achieved, he im- parts his experience to the students, demonstrating the inexhaustible possibilities of drawing and the technical means of its implementation, including pastels. The high level of his works makes it possible to claim that Yu. Rubashov is a master of pastels and his contribution to the development of Ukrainian art is indisputable.
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Dissertations / Theses on the topic "Art of the Print (Organization)"

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Norman, Natasha. "Further fictions in print." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/11652.

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Includes bibliographical references (p. 36-40).
Further Fictions mediates a particular visual system - that of the screen. I have tried to unravel and grant materiality to this contemporary virtual coding of images using a process of translation: by evoking the inherent nature of the cinematic image in the medium of print.We live in an analogue reality. There is always a shift between an idea and its translation into a model, between the photograph and the reality of the event it references, between the drawing on a matrix and the print of that drawing on paper. In this project I have set myself the task of the translator by grappling with the elements of an image that defy translation from one medium to another.
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Nash, Elizabeth R. "Edo print art and its Western interpretations." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1891.

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Thesis (M.A.) -- University of Maryland, College Park, 2004.
Thesis research directed by: Dept. of Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Meier, Lori T., Huili Hong, Millie P. Robinson, and Edward J. Dwyer. "Encouraging Awareness of Environment through Art and Print." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/3326.

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Cameron, Erin Marie. "The Body in Print." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343775047.

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Frederick, Amy Reed. "Rembrandt's Etched Sketches and Seventeenth-Century Print Culture." Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1390500621.

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Elek, Jennifer K. "Easy Does It: How the Organization of Print Advertisements Influences Product Evaluations." Ohio : Ohio University, 2010. http://www.ohiolink.edu/etd/view.cgi?ohiou1260816711.

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Owens, Eileen Grace. "VISUALIZING MASCULINITY: MEN, FAMILY, AND COUNTRY IN NINETEENTH-CENTURY FRENCH PRINT CULTURE." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/385190.

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Art History
M.A.
Focusing on satirical prints from illustrated newspapers, this thesis examines nineteenth-century French notions of masculinity in a culture that linked its reputation for success to the productivity of its male citizens. I will focus on man’s connection to marriage and family life, as these institutions were so closely connected to perceptions of masculinity. Specifically, I look at portrayals of the cuckold and the bachelor—tropes of male identity that deviated from the ideal notions of the French man—and how printed images reflected, commented on, and shaped the ways in which conventional French masculinity was imagined. Examining these lithographs in light of specific social and political shifts, including changing marriage and divorce laws, the rising feminist movement, and the loss of the Franco-Prussian war, will ground my project historically. Popular lithographic prints, from the 1840s to the early 1900s, remarked not only on masculinity itself—the ways in which men should act and look—but also on the ways in which any departures from the norm threatened the French family and nation. Although medical journals and etiquette manuals expounded on the ‘natural’ qualities of men, satirical cartoons that were most often published weekly, were immediately pertinent in their commentary. Using prints to decode these ever-prevalent issues of masculinity, my project makes clear why representations and notions of certain types of masculinity were so alarming to French audiences. Although much of the scholarship around nineteenth-century French lithography deals with the censorship issues and political implications of the illustrated newspapers, I focus instead on the social ramifications of such images. I emphasize the distinctive nature of such prints—the audience, the circulation, and the cultural impact of printed images themselves. Looking to both art and social historical texts, I concentrate on the everyday realm of printed images, and what it meant for Parisian men and women to be surrounded by such tropes. My thesis connects the growing concerns over family and marriage to issues of failed masculinity and the ways in which they were addressed in the print culture across the century. It explores how these satirical cartoons provided a humorous, yet urgent, visual attempt to illuminate the tricky and conflicting expectations of French men in the nineteenth century.
Temple University--Theses
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Scalfi, Eghenter Anna. "Organization and the work of art." Thesis, University of Essex, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654535.

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The process of constructing the research, begun at university and continued in public spaces and then in artistic institutional spaces, observes the boundary and modulates the form in which to translate the conceptual intuition between the ambit dedicated to art and the outside, between the symbolic dimension and the real one. The constructional artefacts produced allow for the flowing of various levels of consistency of the work, ranging from the immaterial to extreme concrete expression, considering as the supporting texture of the research itself the negotiation of permits, the translation between the ambits and the conversion of the languages. Within the prospect of a design that is never closed, where the result of a phase in turn becomes useful material for the next experimental passages, the exhibition phase is not considered as the crystallization of the work but rather as a privileged experimental opportunity. Artistic practice, therefore, is applied as a tool of experimental research that acquires, as a necessary and decisive component, the identification of the organizational nature of the context on which it acts. The artistic frame exceptionally allows to develop an experimental period within the spaces of everyday life, acting according to its own operational rules. In response to the analysis of the context, an "organizational analogue" is created and presented as a work of art. The "Analogous" is not a representation or a performance, but rather the assumption, via linguistic mimesis, of a pre-extant object to the form of which a change is made. The product is evaluated on the border of the language through which it interacts, allowing the components of the environment to negotiate its pertinence. The notion of "frame" allows one to imagine the localization of the dynamic border between the ambits.
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Geurts, James, and james@jamesgeurts com. "BLUE-PRINT: Human/Hydrokinetic Drawing Projects." RMIT University. Art, 2010. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20100326.114926.

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Blue-Print: Human/Hydrokinetic Drawing Projects, is based on an expanded field of drawing practice, centering on a series of spatial and time-based projects at various bodies of water around the world. Blue-Print drawing projects set out to describe a language that articulates a human/hydrokinetic relationship. This expanded drawing practice emerges through diverse forms of installation, video, land-art, kinetic sculpture, light works, sensor-drawing, photography, living-monochromes, sound, durational events and research. This expanded drawing practice is based on an inquiry into the relationships between land/place and thought/movement. It addresses the processes through which landscape, and its forms, are internalised in conceptual space, and the ways in which conceptual frameworks are projected outwards onto the landscape. The work is informed by, and contributes to, the paradigms of eco-poetics and psychogeography. Both of these paradigms engage with the relationships between the physical world and the human experience of space and time. Combining the two through my practice creates a view of the environment and the human as two interdependent circulatory systems. Bodies of water/weather cycles/conceptual systems/the human as a water-body, these are subjects in my work as much as the sense of circulation comes through methodologically and aesthetically in the actual making and form of my expanded drawings. This approach to art practice uses process in a particular way, that is as a primary means of making an artwork, although it could be said that such an approach is also an anti-method in as much as the 'method' is variable - it is continually invented given the situation/circumstances. What is consistent is a dynamic of proliferation; the work spreads out in different directions and in unpredictable ways. Here process is not for 'outcome' but is the work itself. My overall practice has taken drawing as the base from which to work. My works are combinational and connective. They are based on a type of research that is deliberate, intense and composite, and which activates the spaces of transformation that exist in the movement between landscape and thought, the circulation between environment and human. This investigation uses human engagement with moving bodies of water to generate drawings in a variety of ways, according to the specifics of each hydrokinetic system. This interest in human/hydrokinetic relationships stems from my experiences as a surfer and surfing is one of the means with which I create drawing works within this investigation. I am interested in the unique and dynamic complexity of hydrokinetics in each of the chosen locations and how this complexity of movement influences the drawing/ recording process. I am interested in generating real-time drawing works from the particular intersection of: place; time; human/hydrokinetic activity; ecological forces at work and the specific ways in which these variables all affect the resultant form of abstraction. Further to this I am interested in exploring the capacity of abstraction to access, and refer to, psychological space more readily than naturalistic renderings of the landscape.
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Atkinson, Andrew. "The creation of digital photographic fine art print through the Woodburytype model." Thesis, University of the West of England, Bristol, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.418444.

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Books on the topic "Art of the Print (Organization)"

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Carreiro, Carolyn. Hand-print animal art. Charlotte, Vt: Williamson Pub. Co., 1997.

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Carreiro, Carolyn. Hand-print animal art. Charlotte, Vt: Williamson Pub., 1998.

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Sarkar, Narendra Nath. Art and print production. New Delhi: Oxford University Press, 2008.

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The impressionist print. New Haven: Yale University Press, 1996.

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Xi-Qin, Li. The Chinese Art Academies Print Exhibition. Belfast: University of Ulster, 1993.

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Art and print: The Curwen story. London: Tate, 2008.

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Print & pattern. London: Laurence King Pub., 2010.

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Editorial: Print & electronic design. Crans-près-Céligny, Switzerland: RotoVision, 2001.

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McAteer, Lorraine. Pop art and print: Rauschenberg and Warhol. London: LCPDT, 1998.

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Kilpatrick, James Jackson. Fine print: Reflections on the writing art. Kansas City: Andrews and McMeel, 1993.

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Book chapters on the topic "Art of the Print (Organization)"

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AlOthman, Sulaiman, Hyeonji Claire Im, Francisco Jung, and Martin Bechthold. "Spatial Print Trajectory." In Robotic Fabrication in Architecture, Art and Design 2018, 167–80. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92294-2_13.

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Gibson, David, and Maestro B. Curtis. "Finances, Organization, and Politics." In The Art of Producing, 17–26. Second edition. | New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351252461-3.

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Strati, Antonio. "Art and Organizing." In Aesthetics, Organization, and Humanistic Management, 11–21. New York, NY : Routledge, 2021. | Series: Humanistic management: Routledge, 2020. http://dx.doi.org/10.4324/9781003091530-2.

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Brake, Laurel. "The Politics of Illustration: Ruskin, Pater and the Victorian Art Press." In Print in Transition, 197–212. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230005709_10.

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Styhre, Alexander. "Art: Visual Perception and the Aesthetic." In Perception and Organization, 44–99. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230584167_2.

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Jantzer, Michael, Godehard Nentwig, Christine Deininger, and Thomas Michl. "Shaping the Work Organization." In The Art of Engineering Leadership, 117–32. Berlin, Heidelberg: Springer Berlin Heidelberg, 2020. http://dx.doi.org/10.1007/978-3-662-60384-0_17.

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Wildavsky, Aaron. "The Self-Evaluating Organization." In The Art and Craft of Policy Analysis, 223–51. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58619-9_9.

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Di Pisa, Alessandra, and Robert Stasinski. "The Art of Creating the Unthinkable." In Aesthetics, Organization, and Humanistic Management, 129–49. New York, NY : Routledge, 2021. | Series: Humanistic management: Routledge, 2020. http://dx.doi.org/10.4324/9781003091530-10.

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Park, J. P. "Art, Print, and Cultural Discourse in Early Modern China." In A Companion to Chinese Art, 73–90. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch3.

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Boyle, Mary-Ellen. "Reconciling Aesthetics and Justice in Organization Studies." In Art and Aesthetics at Work, 51–64. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230554641_4.

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Conference papers on the topic "Art of the Print (Organization)"

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Safonova, N. N. "The use of reduced vocabulary in media texts (for example, regional print edition - New City newspaper)." In Scientific Trends: Philology, Culturology, Art history. LJournal, 2019. http://dx.doi.org/10.18411/spc-26-03-2019-04.

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DIMITRAKOPOULOU, GEORGIA. "A CRITIQUE ON: THE RENAISSANCE ENGLISHWOMAN IN PRINT: COUNTERBALANCING THE CANON." In 7th SWS International Scientific Conferences on ART and HUMANITIES ISCAH 2020. STEF92 Technology, 2020. http://dx.doi.org/10.5593/sws.iscah.f2020.7.2/s16.21.

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Karpova, E. K. "The first organization of musicians in Ufa musical history." In Scientific trends: Philology, Culturology, Art history. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-26-02-2020-06.

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Battalova, Sania. "The right to reading: The principles of the Marrakesh Treaty in Russia." In The Book. Culture. Education. Innovations. Russian National Public Library for Science and Technology, 2020. http://dx.doi.org/10.33186/978-5-85638-223-4-2020-38-43.

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The Marrakesh Treaty on facilitating access for blind and visually impaired people and people with print disabilities to published works is one of the first international treaties in copyright aimed at widening the access to printed works under the copyright for up to 300 million people with print disabilities. The member states are to amend their national laws correspondingly. Russia ratified the Treaty in November, 2017 2 [4] and on May 8, 2018, the Treaty will come into effect in this country. By doing this, Russia accepts responsibility to eliminate legislative barriers preventing inequality of blind, visually impaired people and persons with print disabilities in the access to books and other materials and widening this access. The key Treaty provisions are analyzed; amendments to and provisions of the RF copyright law are discussed as they are to enable the libraries and other organizations to provide the rights to equal access to the information and knowledge for the target groups of population.
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Pippenger, Brian S. "Three-Dimensional Model for Manufacturing and Inspection." In ASME Turbo Expo 2013: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/gt2013-94149.

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Three-dimensional Model-Based Engineering (MBE) along with Quality Information Framework (QIF) is an approach to product design, manufacturing, and support where a digital three-dimensional representation of the product serves as the normative source for information communicated throughout the product’s lifecycle and supply chain. MBE simplifies data management and provides a more powerful communication medium than 2D-based environments. This is not just using a model for reference or a visual aid. The model will be the definition for the parts being manufactured, inspected, and built into full engines. The use of two-dimensional prints will be outdated and a culture change will be needed to embrace this change. Many organizations are implementing MBE and are using this technology to produce aerospace products. Manufacturing and inspection functions are dependent on the models from cradle to grave of the product lifecycle. These smart models will have all of the necessary dimensional metrology interoperability, GD&T encoded and product manufacturing information (PMI) data all in a standardized format associated within the model. This will allow for a model that has less errors, more functionality with manufacturing and inspection systems. The information included in the Model Based Definition (MBD) will be part of the QIF. The QIF fully defines quality measurement plans, measurement results, measurement rules, measurement resources, and results analysis. This combined with the PMI for manufacturing will provide a comprehensive MBD that can be used for all of the manufacturing process in the lifecycle of the product. The culture will need to progress from two-dimensional paper prints to smart three-dimensional models that are rich with data. These models will drive the process and be the final word for part acceptance; paper prints will not be needed or produced. These types of models will drive almost all of the military’s new designs and if the organization is not prepared for this change, it will lose many opportunities to be competitive.
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Wang, Yibin. "Organization and Symbolization of the Folk Belief Opera." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.146.

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Tammaro, Rosanna, Iolanda Sara Iannotta, and Concetta Ferrantino. "THE TEACHER TRAINING DURING COVID-19 PANDEMIC: AN EXPLORATORY STUDY ABOUT ONLINE LABORATORIES QUALITY." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end111.

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The spread of novel Corona Virus and the resulting Covid-19 Pandemic has had a profound impact in our lives and most of daily activities have been upset. Negative effects crushed education and all around the world schools, universities and tertiary institutions had to shut down moving to Distance Learning. Distance Learning was in fact the global answer to continue educational activities and preserve students’ right to education. The United Nations Organization for Culture and Education (UNESCO) reports that ten months after rising pandemic, more than 331 million students worldwide are affected by the Pandemic and in 28 countries the schools are still closed (updated 09.12.2020). During the months of the first contagion curve, only 15% of teaching activities were delivered remotely, globally, thanks to Distance Learning. More than 1.5 billion students worldwide are or have been touched by the closure of schools and universities due to the Covid-19 Pandemic. Teachers and instructors world-wide had to find the best solution to fix the pedagogical challenge. For this reason, teaching strategies, methods and materials have been adapted to the online learning environment. Distance Learning refers to an electronic learning environment; generally, it is used if time and/or geographic conditions do not allow a direct contact between educators and students (King, Young, Drivere-Richmond & Schrader, 2001). UNESCO (2002) asserts that Distance Learning includes learning process carried out separately in time and space, through artificial electronic or print media; this holds also for a part of the educational process. Distance Learning requires specific evaluation procedures throughout qualitative and quantitative methodologies, focusing the performance assessment and the learning process (Benigno & Trentin, 1999). This article is a part of a wider research that wants to investigate the students’ experience about online Laboratory classes during Pandemic crisis. Based on a quantitative, non- experimental and ex-post-facto research, this article specifically investigates the strategies used during remote Labs students attended during the sanitary emergency. Data was collected through a no-tested research survey administered with an online free app. A voluntary response sample from 749 Single-cycle Primary Teacher Education students, from first year course to the fifth, attending university in one of the most important athenaeums in Southern Italy, at the end of their last second semester. Results from the closed-response questions show the use of a variety of strategies whose effectiveness should be assessed based on empirical evidence.
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Qi, Jingkun. "The Phenomenon of Chinese Female Print Artists’ Creative Activities in the 13th National Exhibition of Fine Arts." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.076.

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Sanjaya, Ridwan, Albertus Dwiyoga Widiantoro, Tjahjono Rahardjo, and A. Rachmat Djati Winarno. "Modest Android Application Development for the Entrepreneurship in Art and Culture Organization." In 2019 23rd International Computer Science and Engineering Conference (ICSEC). IEEE, 2019. http://dx.doi.org/10.1109/icsec47112.2019.8974820.

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Reznikova, Marina Viktorovna. "The organization of students' collective action in primary school during art classes." In V International Scientific and Practical Conference, chair Lyudmila Aleksandrovna Burovkina. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-116884.

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Reports on the topic "Art of the Print (Organization)"

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Boehm, Ted W., and Jim Handy. Central HMA Acceptance Lab Process Improvement Implementation Plan Project. Purdue University, 2020. http://dx.doi.org/10.5703/1288284317130.

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The Indiana Department of Transportation (INDOT) Central Hot Mix Asphalt (HMA) Acceptance Lab was opened on March 29, 2018 at the Office of Materials Management (OMM) facility in Indianapolis. The state-of-the-art lab conducts acceptance testing on HMA samples from INDOT’s Crawfordsville and Greenfield districts, as well as testing of appeals samples from the other four INDOT districts. Each HMA sample undergoes multiple sequences acceptance testing processes. In 2019, project SPR-4353 “Central HMA Acceptance Lab Process Improvement Project” was conducted with the goal to improve organization, flow of work and efficiency in the central region HMA Acceptance Lab for all tests done, and provide implementation leading to the reduction of turnaround time from six days to four days. This project follows key recommended actions from SPR-4353 to implementation.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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