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Статті в журналах з теми "Super Bock Group":

1

Stupar, Milorad. "On understanding the crisis of European supernational political integration." Theoria, Beograd 61, no. 2 (2018): 25–37. http://dx.doi.org/10.2298/theo1802025s.

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It has been shown in this paper that deeper economic and political integration of the EU does not have to be a good in itself because the institutions of a super state most often do not function as a welfare state in a single country the set-up of which is aimed at solving the problem of negative externalities on the basis of a unique and coherent fiscal and social policy on a domestic level. The motivation for a research of this type has been initiated by the idea of ?hidden federalism?. This expression is used in Bojan Kovacevic?s book published under the same title with an aim to explain the fundamental problem in functioning of EU institutions which endangers the very existence of this super national political community. By leaving its contents unchecked by the wide European electorate, and by leaving simultaneously the question of ultimate political authority quite unresolved, the ?founding fathers? of the EU let the final political goal of the EU remain under the veil of non-transparent political agreement. Their hope was that the economic integration of the European Community lead by technocrats would amount eventually to its harmonious political integration on liberaldemocratic grounds. This practice has been continued by later political elite of the EU except that non-elective policy-making group were also in charge for creating central European institutions that shaped its political content in a centralistic federal manner. Since these latter institutions and policies remained unchecked by a wider public, the question of the legitimacy of the EU institutions remains constantly unresolved leaving the EU in permanent crisis.
2

Taranets, Valentyn, Nataliia Shkvorchenko, and Ihor Peresada. "THE ORIGIN OF THE SWEDES (HISTORICAL-LINGUISTIC ANALYSIS OF THE ETHNOS)." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2019, no. 29 (November 2019): 231–47. http://dx.doi.org/10.24195/2616-5317-2019-29-17.

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The article is dedicated to the problem of the origin of the Swedes tribe against the background of Indo-European ethnogenesis in comparison with the Rus tribe, which were formed on the basis of territorial and pagan proximity to a relatively single ethnic group and a super-language (koine) on the Don. The study is based on the mythological material of the Ynglinga saga and the Book of Veles, lexicographic, toponymic features of the indicated tribes, in which the roots of the ethnic groups stand out. The latter is confirmed in Finnish names regarding the country of Sweden, which the Finns call Ruotsi, Ruossi, Ruohti, Ruotti, the Votes – Rôtsi, the Estonians – Rôťs, on the other hand, the name of the country Sweden has the ancient forms of Swes, Sues, Swēorice “Kingdom of the Swedes” and modern with the meaning “Sweden”: Icelandic Svíþjóð, Swedish Sverige. The origin of the Slavic and German ethnic groups occurred during the period of cohabitation of these peoples in the Indo-European proto-ethnics on the banks of the Don River, approximately in the second millennium BC. These origins include the origin of Indo-European root of kweruki, which the names of the ethnic groups are evolved from: * kweruχi (palatalization)> rusi> rusy “Rus” and * kwеruki ~ * ruti (substitution)> fin. ruotsi “swedes”. The Indo-European root of *kwa in the meaning of “Universe, God” is the origin of Germanic *sve- / swe-, which gave birth to the names of Suionen (Tacitus), Swēorice “Kingdom of the Swedes” and Swerikl, Swealand, Swithiod, as well as Latin Svedia, Svecia, Sveonia with the meaning “Sweden”. The above is proved by the presence of the common goddess Mother-SVA (Slavs) and Moder Svea (Swedes).
3

Michelsen, William. "Nekrolog over Gustav Albeck." Grundtvig-Studier 46, no. 1 (January 1, 1995): 9–17. http://dx.doi.org/10.7146/grs.v46i1.16213.

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Gustav Albeck 1906 - 1995By William MichelsenWilliam Michelsen writes an obituary of Gustav Albeck, Professor of Nordic Literature. In his commemorative words, William Michelsen quotes at some length from the commemorative speech, made by Bishop Henning Høirup, Doctor of Divinity, on the occasion of Gustav Albeck’s funeral in the Cathedral of Aarhus.In his commemorative speech Bishop Høirup describes Gustav Albeck’s close ties to Aarhus, where his father, Chief Consultant Viggo Albeck, was the prime mover behind the foundation of the University of Aarhus. Thus, Gustav Albeck’s first publication after his university graduation in 1932 was a pamphlet about the history of the establishment of the Jutland university. The paper is evidence of a fundamental feature of Gustav Albeck’s personality: his loyalty to the family, and to the heritage from previous generations. It is emphasized by Henning Høirup that Gustav Albeck’s research work covered a wide field from runic inscriptions to modem Danish 20th century literature, and that his personal commitment and sympathetic insight combined seriousness with humour, most often inextricably linked together. As an expert on Danish Golden Age literature Albeck was superb. Høirup describes Gustav Albeck’s inspiring work in the Grundtvig Society from its foundation, and his 43 years as editor of Grundtvig Studier, the high scholarly standards of which were of paramount importance for him. Finally Bishop Høirup tells about Gustav Albeck’s invaluable work to promote classical music in Aarhus, and he concludes his speech by remarking on the joy felt by Albeck over the gift to man received in baptism, and his love of Danish poetry.Subsequently William Michelsen draws an equally personal portrait of Gustav Albeck and his work in literary history, in Grundtvig scholarship and popular enlightenment. Gustav Albeck took his M.A. degree in Nordic philology in 1932, and became a Doctor of Philosophy with his thesis on the Nordic Kings’ sagas in 1946, and in 1959 he was appointed Professor at the University of Aarhus, after having been on the teaching staff for a number of years. As early as 1934 Grundtvig wrote his first study of Grundtvig’s early poetry, and through the 1940s he published a number of shorter books on Grundtvig’s writings. In 1948 he contributed to the first annual volume of Grundtvig Studier, and in 1951 he became the editor of the yearbook, a post he held until his death.William Michelsen suggests that Gustav Albeck’s Grundtvig research should be seen on the background of Grundtvig’s visions of a new Danish university, unhampered by rigid academic traditions - visions that found expression in Grundtvig’s folk high school thoughts and his ideas of a Scandinavian university in Gothenburg. Gustav Albeck regarded the University of Aarhus and the University Extension Institution as realizations of these ideas. He agreed with Grundtvig about the crucial importance of popular enlightenment, but always preserved an objective and matter-of-fact distance to the ideas in Grundtvig’s writings. What was important to Gustav Albeck in literary studies was to state what literature says, not to evaluate it or relate oneself personally to it. Thus, to him it was essential to emphasize that Grundtvig was a poet and a great poet - a visionary poet who remained critical towards his own time. Albeck’s philological approach to literary scholarship finds expression in his work on Grundtvig manuscripts, such as the publication of .Grundtvig’s diaries and extract collections. in 1979. Albeck’s most significant book as a Grundtvig scholar was published in 1955 in the series Acta Jutlandica, entitled .Around Grundtvig’s Poetry Collections.. This book deals with Grundtvig’s poetical works in the years 1808-1816, but also contains a large amount of material that throws light on Grundtvig’s development over these years.Fundamentally important to Grundtvig research is Gustav Albeck’s preparation of a model for the registration of Grundtvig’s posthumous works, used by the group of scholars who worked out the 30-volume register. Gustav Albeck’s greatest book is his last publication, .University and People., from 1984, with the modest subtitle .Contributions to the History of the University Extension Institution.. The book contains a wealth of information about how Grundtvig’s vision of a people’s university became a reality around the turn of the century. For 30 years Gustav Albeck was the president of the University Extension Institution in Aarhus.William Michelsen concludes his obituary of Gustav Albeck by pointing out that as Albeck saw him, Grundtvig was not so different from his own time as we tend to see him today. And Gustav Albeck could finish his chapter on Grundtvig in the Politiken Literary History by quoting Jørgen Elbek saying that Grundtvig, with his unshakable faith in the word, was a poet in a far more exclusive sense than any of his contemporaries.
4

Poplavskaya, Anita. "What Do We Know About 21st Century Youth? American Teens Through the Eyes of a Psychologist Book review: Twenge J. (2019) Pokolenie I. Pochemu pokolenie Interneta utratilo buntarskiy dukh, stalo bolee tolerantnym, menee schastlivym — i absolyutno ne gotovym k vzrosloy zhizni* *i chto eto znachit dlya vsekh ostal’nykh [iGen. Why Today’s Super-Connected Kids Are Growing Up Less Rebellious, More Tolerant, Less Happy — and Completely Unprepared for Adulthood — and What That Means for the Rest of Us] (transl. A. Tolmatchev), Moscow: Group of Companies “RIPOL Classic” (in Russian). 406 p." Journal of Economic Sociology 21, no. 3 (2020): 84–100. http://dx.doi.org/10.17323/1726-3247-2020-3-84-100.

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5

"Single Image Super Resolution by Directionally Structured Coupled Lexicon Learning." International Journal of Innovative Technology and Exploring Engineering 9, no. 1 (November 10, 2019): 956–58. http://dx.doi.org/10.35940/ijitee.l3311.119119.

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In this paper, a alternative algorithmic software is deliberate supported coupled wordbook gaining knowledge of with mapping perform for the problem of single-photograph extremely good solution. Dictionaries rectangular degree designed-group of the carry out for clustered facts. The coaching information is based into 9 clusters supported correlation between the info patches and already evolved directional templates. The unchanging ness of the distributed representations is thought for the mission of wonderfulresolution. For each cluster, a integrate of high-decision and low-decision dictionaries rectangular measure designed in conjunction with their mapping-capabilities. This is a coupled word e book learning with a mapping performs enables in strengthening, the unchangingness of disbursed example coefficients for diverse resolution stages. throughout the reconstruction section, for a given low-decision patch a collection of directional clustered dictionaries square measure used, and also the cluster is chosen which elements the smallest amount allotted instance errors. The planned algorithmic application is as compared with in advance paintings in addition to the presently pinnacle-ranked incredible-decision algorithmic program. by the deliberate mechanism, the healing of directional fine options becomes extremely good.
6

Wazeera Farajallah Al sulami, Maysoon Abdelazeez Dakhiel. "The Effectiveness of PQ4R Strategy on the Development of Reading Comprehension Skills of the English Language Course among Second Intermediate Grade Students (Female Students): فاعلية استراتيجية (PQ4R) في تنمية مهارات الاستيعاب القرائي في مقرر اللغة الانجليزية لدى طالبات الصف الثاني متوسط في مدينة جدة". مجلة العلوم التربوية و النفسية 5, № 8 (27 лютого 2021). http://dx.doi.org/10.26389/ajsrp.r210920.

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The current study aimed at investigating the effectiveness of PQ4R Strategy in developing reading comprehension skills of the English Language Course among second intermediate grade students. The study adopted a quasi-experimental design employing two groups (experimental and control). The design included an independent variable (PQ4R Strategy) and a dependent variable (reading comprehension skills). The sample of the study consisted of 2nd Intermediate Grade Students from schools in Al kamel (N=47). The students were divided into two groups experimental and control. The experimental group (N=23) was taught the reading comprehension texts of the super Goal 3 book through PQ4R Strategy. The control group (N=24) was taught the same texts through the traditional method. To achieve the goal of the research, a guide was prepared for the teacher to implement the strategy and reading comprehension test designed by the researcher. Results revealed that PQ4R Strategy had a positive effect on the students' reading comprehension. In light of the study results, the researcher recommended the following: using PQ4R Strategy for developing reading comprehension skills of English language students’.
7

Roche, Matilda. "Cats' Night Out by C. Stutson." Deakin Review of Children's Literature 1, no. 2 (September 22, 2011). http://dx.doi.org/10.20361/g2j010.

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Stutson, Caroline. Cats’ Night Out. Jon Klassen. Illus. Toronto: Simon & Schuster, 2010. Print. This is an immediately appealing and well designed book – a pleasing convergence of balanced palettes and retro details. Sophisticated and stylish little urban cats cavort throught an overview of twentieth century dance styles against the backdrop of an understatedly cool Gotham night. The minimal text is mindfully integrated into the page design and its counting rhyme cadence comes to an enjoyable visually unstructured, cartoonish climax. When I read Cats’… to myself I was concerned that it shared one short coming with other attractive children’s books. Did the level of textual comprehension required, complexity of the popular culture references and the dark, low contrast palette cohere into a narrative and visual text that is holistically appropriate for a particular children’s age group? It’s discouraging when artful and ambitious books elude toddlers and preschool age audiences while seeming too simplistic to older children to offer sufficient engagement. Such books wash over children leaving them unmoved. Creating a beautiful picture book - which Cats’ Night Out certainly is - is a great accomplishment. Creating a picture book that is beautiful and that is truly directed at and calibrated for children is even more challenging. I knew that Cats’ Night Out would please discerning adults but, what little sartorialist cat-lover and junior aficionado of dance and monochromatic retro architecture would have an affinity for this book? Well, as it turns out, my four year old loves it and goes back through the book to examine all the details and explain which shoes, clothes and colours are the best and ask me baffling questions about “polka dotted Swiss” (I had to look it up – it’s a vintage fabric style). Very well done, indeed. Recommended: 3 out of 4 stars Reviewer: Matilda RocheMatilda spends her days lavishing attention on the University of Alberta’s metadata but children’s illustrated books, literature for young adults and graphic novels also make her heart sing. Her reviews benefit from the critical influence of a four year old daughter and a one year old son – both geniuses. Matilda’s super power is the ability to read comic books aloud.
8

Young, Sherman. "Beyond the Flickering Screen: Re-situating e-books." M/C Journal 11, no. 4 (August 26, 2008). http://dx.doi.org/10.5204/mcj.61.

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The move from analog distribution to online digital delivery is common in the contemporary mediascape. Music is in the midst of an ipod driven paradigm shift (Levy), television and movie delivery is being reconfigured (Johnson), and newspaper and magazines are confronting the reality of the world wide web and what it means for business models and ideas of journalism (Beecher). In the midst of this change, the book publishing industry remains defiant. While embracing digital production technologies, the vast majority of book content is still delivered in material form, printed and shipped the old-fashioned way—despite the efforts of many technology companies over the last decade. Even the latest efforts from corporate giants such as Sony and Amazon (who appear to have solved many of the technical hurdles of electronic reading devices) have had little visible impact. The idea of electronic books, or e-books, remains the domain of geeky early adopters (“Have”). The reasons for this are manifold, but, arguably, a broader uptake of e-books has not occurred because cultural change is much more difficult than technological change and book readers have yet to be persuaded to change their cultural habits. Electronic reading devices have been around for as long as there have been computers with screens, but serious attempts to replicate the portability, readability, and convenience of a printed book have only been with us for a decade or so. The late 1990s saw the release of a number of e-book devices. In quick succession, the likes of the Rocket e-Book, the SoftBook and the Franklin eBookman all failed to catch on. Despite this lack of market penetration, software companies began to explore the possibilities—Microsoft’s Reader software competed with a similar product from Adobe, some publishers became content providers, and a niche market of consumers began reading e-books on personal digital assistants (PDAs). That niche was sufficient for e-reading communities and shopfronts to appear, with a reasonable range of titles becoming available for purchase to feed demand that was very much driven by early adopters. But the e-book market was and remains small. For most people, books are still regarded as printed paper objects, purchased from a bookstore, borrowed from a library, or bought online from companies like Amazon.com. More recently, the introduction of e-ink technologies (EPDs) (DeJean), which allow for screens with far more book-like resolution and contrast, has provided the impetus for a new generation of e-book devices. In combination with an expanded range of titles (and deals with major publishing houses to include current best-sellers), there has been renewed interest in the idea of e-books. Those who have used the current generation of e-ink devices are generally positive about the experience. Except for some sluggishness in “turning” pages, the screens appear crisp, clear and are not as tiring to read as older displays. There are a number of devices that have embraced the new screen technologies (mobileread) but most attention has been paid to three devices in particular—mainly because their manufacturers have tried to create an ecosystem that provides content for their reading devices in much the same way that Apple’s itunes store provides content for ipods. The Sony Portable Reader (Sonystyle) was the first electronic ink device to be produced by a mainstream consumers electronics company. Sony ties the Reader to its Connect store, which allows the purchase of book titles via a computer; titles are then downloaded to the Reader in the same way that an mp3 player is loaded with music. Sony’s most prominent competition in the marketplace is Amazon’s Kindle, which does not require users to have a computer. Instead, its key feature is a constant wireless connection to Amazon’s growing library of Kindle titles. This works in conjunction with US cellphone provider Sprint to allow the purchase of books via wireless downloads wherever the Sprint network exists. The system, which Amazon calls “whispernet,” is invisible to readers and the cost is incorporated into the price of books, so Kindle users never see a bill from Sprint (“Frequently”). Both the Sony Reader and the Amazon Kindle are available only in limited markets; Kindle’s reliance on a cellphone network means that its adoption internationally is dependent on Amazon establishing a relationship with a cellphone provider in each country of release. And because both devices are linked to e-bookstores, territorial rights issues with book publishers (who trade publishing rights for particular global territories in a colonial-era mode of operation that seems to ignore the reality of global information mobility (Thompson 74–77)) contribute to the restricted availability of both the Sony and Amazon products. The other mainstream device is the iRex Iliad, which is not constrained to a particular online bookstore and thus is available internationally. Its bookstore ecosystems are local relationships—with Dymocks in Australia, Borders in the UK, and other booksellers across Europe (iRex). All three devices use EPDs and share similar specifications for the actual reading of e-books. Some might argue that the lack of a search function in the Sony and the ability to write on pages in the Iliad are quite substantive differences, but overall the devices are distinguished by their availability and the accessibility of book titles. Those who have used the devices extensively are generally positive about the experience. Amazon’s Customer Reviews are full of positive comments, and the sense from many commentators is that the systems are a viable replacement for old-fashioned printed books (Marr). Despite the good reviews—which suggest that the technology is actually now good enough to compete with printed books—the e-book devices have failed to catch on. Amazon has been hesitant to state actual sales figures, leaving it to so-called analysts to guess with the most optimistic suggesting that only 30 to 50,000 have sold since launch in late 2007 (Sridharan). By comparison, a mid-list book title (in the US) would expect to sell a similar number of copies. The sales data for the Sony Portable Reader (which has been on the market for nearly two years) and the iRex iliad are also elusive (Slocum), suggesting that they have not meaningfully changed the landscape. Tellingly, despite the new devices, the e-book industry is still tiny. Although it is growing, the latest American data show that the e-book market has wholesale revenues of around $10 million per quarter (or around $40 million per year), which is dwarfed by the $35 billion in revenues regularly earned annually in the US printed book industry ("Book"). It’s clear that despite the technological advances, e-books have yet to cross the chasm from early adopter to mainstream usage (see IPDF). The reason for this is complex; there are issues of marketing and distribution that need to be considered, as well as continuing arguments about screen technologies, appropriate publishing models, and digital rights management. It is beyond the scope of this article to do justice to those issues. Suffice to say, the book industry is affected by the same debates over content that plague other media industries (Vershbow). But, arguably, the key reason for the minimal market impact is straightforward—technological change is relatively easy, but cultural change is much more difficult. The current generation of e-book devices might be technically very close to being a viable replacement for print on paper (and the next generation of devices will no doubt be even better), but there are bigger cultural hurdles to be overcome. For most people, the social practice of reading books (du Gay et al 10) is inextricably tied with printed objects and a print culture that is not yet commonly associated with “technology” (perhaps because books, as machines for reading (Young 160), have become an invisible technology (Norman 246)). E. Annie Proulx’s dismissive suggestion that “nobody is going to sit down and read a novel on a twitchy little screen. Ever” (1994) is commonly echoed when book buyers consider the digital alternative. Those thoughts only scratch the surface of a deeply embedded cultural practice. The centuries since Gutenberg’s printing press and the vast social and cultural changes that followed positioned print culture as the dominant cultural mode until relatively recently (Eisenstein; Ong). The emerging electronic media forms of the twentieth century displaced that dominance with many arguing that the print age was moved aside by first radio and television and now computers and the Internet (McLuhan; Postman). Indeed, there is a subtext in that line of thought, one that situates electronic media forms (particularly screen-based ones) as the antithesis of print and book culture. Current e-book reading devices attempt to minimise the need for cultural change by trying to replicate a print culture within an e-print culture. For the most part, they are designed to appeal to book readers as a replacement for printed books. But it will take more than a perfect electronic facsimile of print on paper to persuade readers to disengage with a print culture that incorporates bookshops, bookclubs, writing in the margins, touching and smelling the pages and covers, admiring the typesetting, showing off their bookshelves, and visibly identifying with their collections. The frequently made technical arguments (about flashing screens and reading in the bath (Randolph)) do not address the broader apprehension about a cultural experience that many readers do not wish to leave behind. It is in that context that booklovers appear particularly resistant to any shift from print to a screen-based format. One only has to engage in a discussion about e-books (or lurk on an online forum where one is happening) to appreciate how deeply embedded print culture is (Hepworth)—book readers have a historical attachment to the printed object and it is this embedded cultural resistance that is the biggest barrier for e-books to overcome. Although e-book devices in no way resemble television, print culture is still deeply suspicious of any screen-based media and arguments are often made that the book as a physical object is critical because “different types of media function differently, and even if the content is similar the form matters quite a lot” (Weber). Of course, many in the newspaper industry would argue that long-standing cultural habits can change very rapidly and the migration of eyeballs from newsprint to the Internet is a cautionary tale (see Auckland). That specific format shift saw cultural change driven by increased convenience and a perception of decreased cost. For those already connected to the Internet, reading newspapers online represented zero marginal cost, and the range of online offerings dwarfed that of the local newsagency. The advantage of immediacy and multimedia elements, and the possibility of immediate feedback, appeared sufficient to drive many away from print towards online newspapers.For a similar shift in the e-book realm, there must be similar incentives for readers. At the moment, the only advantages on offer are weightlessness (which only appeals to frequent travellers) and convenience via constant access to a heavenly library of titles (Young 150). Amazon’s Kindle bookshop can be accessed 24/7 from anywhere there is a Sprint network coverage (Nelson). However, even this advantage is not so clear-cut—there is a meagre range of available electronic titles compared to printed offerings. For example, Amazon claims 130,000 titles are currently available for Kindle and Sony has 50,000 for its Reader, figures that are dwarfed by Amazon’s own printed book range. Importantly, there is little apparent cost advantage to e-books. The price of electronic reading devices is significant, amounting to a few hundred dollars to which must be added the cost of e-books. The actual cost of those titles is also not as attractive as it might be. In an age where much digital content often appears to be free, consumers demand a significant price advantage for purchasing online. Although some e-book titles are priced more affordably than their printed counterparts, the cost of many seems strangely high given the lack of a physical object to print and ship. For example, Amazon Kindle titles might be cheaper than the print version, but the actual difference (after discounting) is not an order of magnitude, but of degree. For example, Randy Pausch’s bestselling The Last Lecture is available for $12.07 as a paperback or $9.99 as a Kindle edition (“Last”). For casual readers, the numbers make no sense—when the price of the reading device is included, the actual cost is prohibitive for those who only buy a few titles a year. At the moment, e-books only make sense for heavy readers for whom the additional cost of the reading device will be amortised over a large number of books in a reasonably short time. (A recent article in the Wall Street Journal suggested that the break-even point for the Kindle was the purchase of 61 books (Arends).) Unfortunately for the e-book industry, not is only is that particular market relatively small, it is the one least likely to shift from the embedded habits of print culture. Arguably, should e-books eventually offer a significant cost benefit for consumers, uptake would be more dramatic. However, in his study of cellphone cultures, Gerard Goggin argues against purely fiscal motivations, suggesting that cultural change is driven by other factors—in his example, new ways of communicating, connecting, and engaging (205–211). The few market segments where electronic books have succeeded are informative. For example, the market for printed encyclopedias has essentially disappeared. Most have reinvented themselves as CD-ROMs or DVD-ROMs and are sold for a fraction of the price. Although cost is undoubtedly a factor in their market success, added features such as multimedia, searchability, and immediacy via associated websites are compelling reasons driving the purchase of electronic encyclopedias over the printed versions. The contrast with the aforementioned e-book devices is apparent with encyclopedias moving away from their historical role in print culture. Electronic encyclopedias don’t try to replicate the older print forms. Rather they represent a dramatic shift of book content into an interactive audio-visual domain. They have experimented with new formats and reconfigured content for the new media forms—the publishers in question simply left print culture behind and embraced a newly emerging computer or multimedia culture. This step into another realm of social practices also happened in the academic realm, which is now deeply embedded in computer-based delivery of research and pedagogy. Not only are scholarly journals moving online (Thompson 320–325), but so too are scholarly books. For example, at the Macquarie University Library, there has been a dramatic increase in the number of electronic books in the collection. The library purchased 895 e-books in 2005 and 68,000 in 2007. During the same period, the number of printed books purchased remained relatively stable with about 16,000 bought annually (Macquarie University Library). The reasons for the dramatic increase in e-book purchases are manifold and not primarily driven by cost considerations. Not only does the library have limited space for physical storage, but Macquarie (like most other Universities) emphasises its e-learning environment. In that context, a single e-book allows multiple, geographically dispersed, simultaneous access, which better suits the flexibility demanded of the current generation of students. Significantly, these e-books require no electronic reading device beyond a standard computer with an internet connection. Users simply search for their required reading online and read it via their web browser—the library is operating in a pedagogical culture that assumes that staff and students have ready access to the necessary resources and are happy to read large amounts of text on a screen. Again, gestures towards print culture are minimal, and the e-books in question exist in a completely different distributed electronic environment. Another interesting example is that of mobile phone novels, or “keitai” fiction, popular in Japan. These novels typically consist of a few hundred pages, each of which contains about 500 Japanese characters. They are downloaded to (and read on) cellphones for about ten dollars apiece and can sell in the millions of copies (Katayama). There are many reasons why the keitai novel has achieved such popularity compared to the e-book approaches pursued in the West. The relatively low cost of wireless data in Japan, and the ubiquity of the cellphone are probably factors. But the presence of keitai culture—a set of cultural practices surrounding the mobile phone—suggests that the mobile novel springs not from a print culture, but from somewhere else. Indeed, keitai novels are written (often on the phones themselves) in a manner that lends itself to the constraints of highly portable devices with small screens, and provides new modes of engagement and communication. Their editors attribute the success of keitai novels to how well they fit into the lifestyle of their target demographic, and how they act as community nodes around which readers and writers interact (Hani). Although some will instinctively suggest that long-form narratives are doomed with such an approach, it is worthwhile remembering that, a decade ago, few considered reading long articles using a web browser and the appropriate response to computer-based media was to rewrite material to suit the screen (Nielsen). However, without really noticing the change, the Web became mainstream and users began reading everything on their computers, including much longer pieces of text. Apart from the examples cited, the wider book trade has largely approached e-books by trying to replicate print culture, albeit with an electronic reading device. Until there is a significant cost and convenience benefit for readers, this approach is unlikely to be widely successful. As indicated above, those segments of the market where e-books have succeeded are those whose social practices are driven by different cultural motivations. It may well be that the full-frontal approach attempted to date is doomed to failure, and e-books would achieve more widespread adoption if the book trade took a different approach. The Amazon Kindle has not yet persuaded bookloving readers to abandon print for screen in sufficient numbers to mark a seachange. Indeed, it is unlikely that any device positioned specifically as a book replacement will succeed. Instead of seeking to make an e-book culture a replacement for print culture, effectively placing the reading of books in a silo separated from other day-to-day activities, it might be better to situate e-books within a mobility culture, as part of the burgeoning range of social activities revolving around a connected, convergent mobile device. Reading should be understood as an activity that doesn’t begin with a particular device, but is done with whatever device is at hand. In much the same way that other media producers make content available for a number of platforms, book publishers should explore the potential of the new mobile devices. Over 45 million smartphones were sold globally in the first three months of 2008 (“Gartner”)—somewhat more than the estimated shipments of e-book reading devices. As well as allowing a range of communications possibilities, these convergent devices are emerging as key elements in the new digital mediascape—one that allows users access to a broad range of media products via a single pocket-sized device. Each of those smartphones makes a perfectly adequate e-book reading device, and it might be useful to pursue a strategy that embeds book reading as one of the key possibilities of this growing mobility culture. The casual gaming market serves as an interesting example. While hardcore gamers cling to their games PCs and consoles, a burgeoning alternative games market has emerged, with a different demographic purchasing less technically challenging games for more informal gaming encounters. This market has slowly shifted to convergent mobile devices, exemplified by Sega’s success in selling 300,000 copies of Super Monkey Ball within 20 days of its release for Apple’s iphone (“Super”). Casual gamers do not necessarily go on to become hardcore games, but they are gamers nonetheless—and today’s casual games (like the aforementioned Super Monkey Ball) are yesterday’s hardcore games of choice. It might be the same for reading. The availability of e-books on mobile platforms may not result in more people embracing longer-form literature. But it will increase the number of people actually reading, and, just as casual gaming has attracted a female demographic (Wallace 8), the instant availability of appropriate reading material might sway some of those men who appear to be reluctant readers (McEwan). Rather than focus on printed books, and book-like reading devices, the industry should re-position e-books as an easily accessible content choice in a digitally converged media environment. This is more a cultural shift than a technological one—for publishers and readers alike. Situating e-books in such a way may alienate a segment of the bookloving community, but such readers are unlikely to respond to anything other than print on paper. Indeed, it may encourage a whole new demographic—unafraid of the flickering screen—to engage with the manifold attractions of “books.” References Arends, Brett. “Can Amazon’s Kindle Save You Money?” The Wall St Journal 24 June 2008. 25 June 2008 ‹http://online.wsj.com/article/SB121431458215899767.html? mod=rss_whats_news_technology>. Auckland, Steve. “The Future of Newspapers.” The Independent 13 Nov. 2008. 24 June 2008 ‹http://news.independent.co.uk/media/article1963543.ece>. Beecher, Eric. “War of Words.” The Monthly, June 2007: 22–26. 25 June 2008 . “Book Industry Trends 2006 Shows Publishers’ Net Revenues at $34.59 Billion for 2005.” Book Industry Study Group. 22 May 2006 ‹http://www.bisg.org/news/press.php?pressid=35>. DeJean, David, “The Future of e-paper: The Kindle is Only the Beginning.” Computerworld 6 June 2008. 12 June 2008 ‹http://www.computerworld.com/action/article .do?command=viewArticleBasic&articleId=9091118>. du Gay, Paul, Stuart Hall, Linda Janes, Hugh Mackay, and Keith Negus. Doing Cultural Studies: The Story of the Sony Walkman. Thousand Oaks: Sage, 1997. Eisenstein, Elizabeth. The Printing Press as an Agent of Change. Cambridge: Cambridge UP, 1997. “Frequently Asked Questions about Amazon Kindle.” Amazon.com. 12 June 2008 ‹http://www.amazon.com/gp/help/customer/display.html?nodeId=200127480&#whispernet>. “Gartner Says Worldwide Smartphone Sales Grew 29 Percent in First Quarter 2008.” Gartner. 6 June 2008. 20 June 2008 ‹http://www.gartner.com/it/page.jsp?id=688116>. Goggin, Gerard. Cell Phone Cultures. London: Routledge, 2006. Hani, Yoko. “Cellphone Bards Make Bestseller Lists.” Japan Times Online Sep. 2007. 20 June 2008 ‹http://search.japantimes.co.jp/cgi-bin/fl20070923x4.html>. “Have you Changed your mind on Ebook Readers?” Slashdot. 25 June 2008 ‹http://ask.slashdot.org/article.pl?sid=08/05/08/2317250>. Hepworth, David. “The Future of Reading or the Sinclair C5.” The Word 17 June 2008. 20 June 2008 ‹http://www.wordmagazine.co.uk/content/future-reading-or-sinclair-c5>. IPDF (International Digital Publishing Forum) Industry Statistics. 24 June 2008 ‹http://www.openebook.org/doc_library/industrystats.htm>. iRex Technologies Press. 12 June 2008 ‹http://www.irextechnologies.com/about/press>. Johnson, Bobbie. “Vince Cerf, AKA the Godfather of the Net, Predicts the End of TV as We Know It.” The Guardian 27 Aug. 2008. 24 June 2008 ‹http://www.guardian.co.uk/technology/2007/aug/27/news.google>. Katayama, Lisa. “Big Books Hit Japan’s Tiny Phones.” Wired Jan. 2007. 24 June 2008 ‹http://www.wired.com/culture/lifestyle/news/2007/01/72329>. “The Last Lecture.” Amazon.com. 24 June 2008 ‹http://www.amazon.com/gp/product/1401323251/ref=amb_link_3359852_2? pf_rd_m=ATVPDKIKX0DER&pf_rd_s=right-1&pf_rd_r=07NDSWAK6D4HT181CNXD &pf_rd_t=101&pf_rd_p=385880801&pf_rd_i=549028>.Levy, Steven. The Perfect Thing. London:Ebury Press, 2006. Macquarie University Library Annual Report 2007. 24 June 2008 ‹http://senate.mq.edu.au/ltagenda/0308/library_report%202007.doc>. Marr, Andrew. “Curling Up with a Good EBook.” The Guardian 11 May 2007. 23 May 2007 ‹http://technology.guardian.co.uk/news/story/0,,2077278,00.html>. McEwan, Ian. “Hello, Would you Like a Free Book?” The Guardian 20 Sep. 2005. 28 June 2008 ‹http://www.guardian.co.uk/books/2005/sep/20/fiction.features11>. McLuhan, Marshall. The Gutenberg Galaxy. Toronto: U of Toronto P, 1962. Mobileread. E-book Reader Matrix, Mobileread Wiki. 30 May 2008 ‹http://wiki.mobileread.com/wiki/E-book_Reader_Matrix>. Nelson, Sara. “Warming to Kindle.” Publishers Weekly 10 Dec. 2007. 31 Jan. 2008 ‹http://www.publishersweekly.com/article/CA6510861.htm.html>. Nielsen, Jakob. “Concise, Scannable and Objective, How to Write for the Web.” 1997. ‹20 June 2008 ‹http://www.useit.com/papers/webwriting/writing.html>. Norman, Don. The Invisible Computer: Why Good Products Can Fail. Cambridge, MA: MIT P, 1998. Ong, Walter. Orality & Literacy: The Technologizing of the Word. New York: Methuen, 1988. Postman, Neil. Amusing Ourselves to Death. New York: Penguin, 1986. Proulx, E. Annie. “Books on Top.” The New York Times 26 May 1994. 28 June 2008 ‹http://www.nytimes.com/books/99/05/23/specials/proulx-top.html>. Randolph, Eleanor. “Reading into the Future.” The New York Times 18 June 2008. 19 June 2008 ‹http://www.nytimes.com/2008/06/18/opinion/18wed3.html?>. Slocum, Mac. “The Pitfalls of Publishing’s E-Reader Guessing Game.” O’Reilly TOC. June 2006. 24 June 2008 ‹http://toc.oreilly.com/2008/06/the-pitfalls-of-publishings-er.html>. Sridharan, Vasanth. “Goldman: Amazon Sold up to 50,000 Kindles in Q1.” Silicon Alley Insider 19 May 2008. 25 June 2008 ‹http://www.alleyinsider.com/2008/5/how_many_kindles_sold_last_quarter_>. “Super Monkey Ball iPhone's Super Sales.” Edge OnLine. 24 Aug. 2008 ‹http://www.edge-online.com/news/super-monkey-ball-iphones-super-sales>. Thompson, John B. Books in the Digital Age. London: Polity, 2005. Vershbow, Ben. “Self Destructing Books.” if:book. May 2005. 4 Oct. 2006 ‹http://www.futureofthebook.org/blog/archives/2005/05/selfdestructing_books.html>. Wallace, Margaret, and Brian Robbins. 2006 Casual Games White Paper. IDGA. 24 Aug. 2008 ‹http://www.igda.org/casual/IGDA_CasualGames_Whitepaper_2006.pdf>. Weber, Jonathan. “Why Books Resist the Rise of Novel Technologies.” The Times Online 23 May 2006. 25 June 2008 ‹http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/books/article724510.ece> Young, Sherman. The Book is Dead, Long Live the Book. Sydney: UNSW P, 2007.
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Holmes, Ashley M. "Cohesion, Adhesion and Incoherence: Magazine Production with a Flickr Special Interest Group." M/C Journal 13, no. 1 (March 22, 2010). http://dx.doi.org/10.5204/mcj.210.

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This paper provides embedded, reflective practice-based insight arising from my experience collaborating to produce online and print-on-demand editions of a magazine showcasing the photography of members of haphazart! Contemporary Abstracts group (hereafter referred to as haphazart!). The group’s online visual, textual and activity-based practices via the photo sharing social networking site Flickr are portrayed as achieving cohesive visual identity. Stylistic analysis of pictures in support of this claim is not attempted. Rather negotiation, that Elliot has previously described in M/C Journal as innate in collaboration, is identified as the unifying factor. However, the collaborators’ adherence to Flickr’s communication platform proves problematic in the editorial context. Some technical incoherence with possible broader cultural implications is encountered during the process of repurposing images from screen to print. A Scan of Relevant Literature The photographic gaze perceives and captures objects which seem to ‘carry within them ready-made’ a work of art. But the reminiscences of the gaze are only made possible by knowing and associating with groups that define a tradition. The list of valorised subjects is not actually defined with reference to a culture, but rather by familiarity with a limited group. (Chamboredon 144) As part of the array of socio-cultural practices afforded by Web 2.0 interoperability, sites of produsage (Bruns) are foci for studies originating in many disciplines. Flickr provides a rich source of data that researchers interested in the interface between the technological and the social find useful to analyse. Access to the Flickr application programming interface enables quantitative researchers to observe a variety of means by which information is propagated, disseminated and shared. Some findings from this kind of research confirm the intuitive. For example, Negoecsu et al. find that “a large percentage of users engage in sharing with groups and that they do so significantly” ("Analyzing Flickr Groups" 425). They suggest that Flickr’s Groups feature appears to “naturally bring together two key aspects of social media: content and relations.” They also find evidence for what they call hyper-groups, which are “communities consisting of groups of Flickr groups” ("Flickr Hypergroups" 813). Two separate findings from another research team appear to contradict each other. On one hand, describing what they call “social cascades,” Cha et al. claim that “content in the form of ideas, products, and messages spreads across social networks like a virus” ("Characterising Social Cascades"). Yet in 2009 they claim that homocity and reciprocity ensure that “popularity of pictures is localised” ("Measurement-Driven Analysis"). Mislove et al. reflect that the affordances of Flickr influence the growth patterns they observe. There is optimism shared by some empiricists that through collation and analysis of Flickr tag data, the matching of perceptual structures of images and image annotation techniques will yield ontology-based taxonomy useful in automatic image annotation and ultimately, the Semantic Web endeavour (Kennedy et al.; Su et al.; Xu et al.). Qualitative researchers using ethnographic interview techniques also find Flickr a valuable resource. In concluding that the photo sharing hobby is for many a “serious leisure” activity, Cox et al. propose that “Flickr is not just a neutral information system but also value laden and has a role within a wider cultural order.” They also suggest that “there is genuinely greater scope for individual creativity, releasing the individual to explore their own identity in a way not possible with a camera club.” Davies claims that “online spaces provide an arena where collaboration over meanings can be transformative, impacting on how individuals locate themselves within local and global contexts” (550). She says that through shared ways of describing and commenting on images, Flickrites develop a common criticality in their endeavour to understand images, each other and their world (554).From a psychologist’s perspective, Suler observes that “interpersonal relationships rarely form and develop by images alone” ("Image, Word, Action" 559). He says that Flickr participants communicate in three dimensions: textual (which he calls “verbal”), visual, and via the interpersonal actions that the site affords, such as Favourites. This latter observation can surely be supplemented by including the various games that groups configure within the constraints of the discussion forums. These often include submissions to a theme and voting to select a winning image. Suler describes the place in Flickr where one finds identity as one’s “cyberpsychological niche” (556). However, many participants subscribe to multiple groups—45.6% of Flickrites who share images share them with more than 20 groups (Negoescu et al., "Analyzing Flickr Groups" 420). Is this a reflection of the existence of the hyper-groups they describe (2009) or, of the ranging that people do in search of a niche? It is also probable that some people explore more than a singular identity or visual style. Harrison and Bartell suggest that there are more interesting questions than why users create media products or what motivates them to do so: the more interesting questions center on understanding what users will choose to do ultimately with [Web2.0] capabilities [...] in what terms to define the success of their efforts, and what impact the opportunity for individual and collaborative expression will have on the evolution of communicative forms and character. (167) This paper addresseses such questions. It arises from a participatory observational context which differs from that of the research described above. It is intended that a different perspective about online group-based participation within the Flickr social networking matrix will avail. However, it will be seen that the themes cited in this introductory review prove pertinent. Context As a university teacher of a range of subjects in the digital media field, from contemporary photomedia to social media to collaborative multimedia practice, it is entirely appropriate that I embed myself in projects that engage, challenge and provide me with relevant first-hand experience. As an academic I also undertake and publish research. As a practicing new media artist I exhibit publically on a regular basis and consider myself semi-professional with respect to this activity. While there are common elements to both approaches to research, this paper is written more from the point of view of ‘reflective practice’ (Holmes, "Reconciling Experimentum") rather than ‘embedded ethnography’ (Pink). It is necessarily and unapologetically reflexive. Abstract Photography Hyper-Group A search of all Flickr groups using the query “abstract” is currently likely to return around 14,700 results. However, only in around thirty of them does the group name, its stated rules and, the stream of images that flow through the pool arguably reflect a sense of collective concept and aesthetic that is coherently abstract. This loose complex of groups comprises a hyper-group. Members of these groups often have co-memberships, reciprocal contacts, and regularly post images to a range of groups and comment on others’ posts to be found throughout. Given that one of Flickr’s largest groups, Black and White, currently has around 131,150 members and hosts 2,093,241 items in its pool, these abstract special interest groups are relatively small. The largest, Abstract Photos, has 11,338 members and hosts 89,306 items in its pool. The group that is the focus of this paper, haphazart!, currently has 2,536 members who have submitted 53,309 items. The group pool is more like a constantly flowing river because the most recently added images are foremost. Older images become buried in an archive of pages which cannot be reverse accessed at a rate greater than the seven pages linked from a current view. A member’s presence is most immediate through images posted to a pool. This structural feature of Flickr promotes a desire for currency; a need to post regularly to maintain presence. Negotiating Coherence to the Abstract The self-managing social dynamics in groups has, as Suler proposes to be the case for individuals, three dimensions: visual, textual and action. A group integrates the diverse elements, relationships and values which cumulatively constitute its identity with contributions from members in these dimensions. First impressions of that identity are usually derived from the group home page which consists of principal features: the group name, a selection of twelve most recent posts to the pool, some kind of description, a selection of six of the most recent discussion topics, and a list of rules (if any). In some of these groups, what is considered to constitute an abstract photographic image is described on the group home page. In some it is left to be contested and becomes the topic of ongoing forum debates. In others the specific issue is not discussed—the images are left to speak for themselves. Administrators of some groups require that images are vetted for acceptance. In haphazart! particular administrators dutifully delete from the pool on a regular basis any images that they deem not to comply with the group ethic. Whether reasons are given or not is left to the individual prosecutor. Mostly offending images just disappear from the group pool without trace. These are some of the ways that the coherence of a group’s visual identity is established and maintained. Two groups out of the abstract photography hyper-group are noteworthy in that their discussion forums are particularly active. A discussion is just the start of a new thread and may have any number of posts under it. At time of writing Abstract Photos has 195 discussions and haphazart! — the most talkative by this measure—has 333. Haphazart! invites submissions of images to regularly changing themes. There is always lively and idiosyncratic banter in the forum over the selection of a theme. To be submitted an image needs to be identified by a specific theme tag as announced on the group home page. The tag can be added by the photographer themselves or by anyone else who deems the image appropriate to the theme. An exhibition process ensues. Participant curators search all Flickr items according to the theme tag and select from the outcome images they deem to most appropriately and abstractly address the theme. Copies of the images together with comments by the curators are posted to a dedicated discussion board. Other members may also provide responses. This activity forms an ongoing record that may serve as a public indicator of the aesthetic that underlies the group’s identity. In Abstract Photos there is an ongoing discussion forum where one can submit an image and request that the moderators rule as to whether or not the image is ‘abstract’. The same group has ongoing discussions labelled “Hall of Appropriate” where worthy images are reposted and celebrated and, “Hall of Inappropriate” where images posted to the group pool have been removed and relegated because abstraction has been “so far stretched from its definition that it now resides in a parallel universe” (Askin). Reasons are mostly courteously provided. In haphazart! a relatively small core of around twelve group members regularly contribute to the group discussion board. A curious aspect of this communication is that even though participants present visually with a ‘buddy icon’ and most with a screen name not their real name, it is usual practice to address each other in discussions by their real Christian names, even when this is not evident in a member’s profile. This seems to indicate a common desire for authenticity. The makeup of the core varies from time to time depending on other activities in a member’s life. Although one or two may be professionally or semi-professionally engaged as photographers or artists or academics, most of these people would likely consider themselves to be “serious amateurs” (Cox). They are internationally dispersed with bias to the US, UK, Europe and Australia. English is the common language though not the natural tongue of some. The age range is approximately 35 to 65 and the gender mix 50/50. The group is three years old. Where Do We Go to from Here? In early January 2009 the haphazart! core was sparked into a frenzy of discussion by a post from a member headed “Where do we go to from here?” A proposal was mooted to produce a ‘book’ featuring images and texts representative of the group. Within three days a new public group with invited membership dedicated to the idea had been established. A smaller working party then retreated to a private Flickr group. Four months later Issue One of haphazart! magazine was available in print-on-demand and online formats. Following however is a brief critically reflective review of some of the collaborative curatorial, editorial and production processes for Issue Two which commenced in early June 2009. Most of the team had also been involved with Issue One. I was the only newcomer and replaced the person who had undertaken the design for Issue One. I was not provided access to the prior private editorial ruminations but apparently the collaborative curatorial and editorial decision-making practices the group had previously established persisted, and these took place entirely within the discussion forums of a new dedicated private Flickr group. Over a five-month period there were 1066 posts in 54 discussions concerning matters such as: change of format from the previous; selection of themes, artists and images; conduct of and editing of interviews; authoring of texts; copyright and reproduction. The idiom of those communications can be described as: discursive, sporadic, idiosyncratic, resourceful, collegial, cooperative, emphatic, earnest and purposeful. The selection process could not be said to follow anything close to a shared manifesto, or articulation of style. It was established that there would be two primary themes: the square format and contributors’ use of colour. Selection progressed by way of visual presentation and counter presentation until some kind of consensus was reached often involving informal votes of preference. Stretching the Limits of the Flickr Social Tools The magazine editorial collaborators continue to use the facilities with which they are familiar from regular Flickr group participation. However, the strict vertically linear format of the Flickr discussion format is particularly unsuited to lengthy, complex, asynchronous, multithreaded discussion. For this purpose it causes unnecessary strain, fatigue and confusion. Where images are included, the forums have set and maximum display sizes and are not flexibly configured into matrixes. Images cannot readily be communally changed or moved about like texts in a wiki. Likewise, the Flickrmail facility is of limited use for specialist editorial processes. Attachments cannot be added. This opinion expressed by a collaborator in the initial, open discussion for Issue One prevailed among Issue Two participants: do we want the members to go to another site to observe what is going on with the magazine? if that’s ok, then using google groups or something like that might make sense; if we want others to observe (and learn from) the process - we may want to do it here [in Flickr]. (Valentine) The opinion appears socially constructive; but because the final editorial process and production processes took place in a separate private forum, ultimately the suggested learning between one issue and the next did not take place. During Issue Two development the reluctance to try other online collaboration tools for the selection processes requiring visual comparative evaluation of images and trials of sequencing adhered. A number of ingenious methods of working within Flickr were devised and deployed and, in my opinion, proved frustratingly impractical and inefficient. The digital layout, design, collation and formatting of images and texts, all took place on my personal computer using professional software tools. Difficulties arose in progressively sharing this work for the purposes of review, appraisal and proofing. Eventually I ignored protests and insisted the team review demonstrations I had converted for sharing in Google Documents. But, with only one exception, I could not tempt collaborators to try commenting or editing in that environment. For example, instead of moving the sequence of images dynamically themselves, or even typing suggestions directly into Google Documents, they would post responses in Flickr. To Share and to Hold From the first imaginings of Issue One the need to have as an outcome something in one’s hands was expressed and this objective is apparently shared by all in the haphazart! core as an ongoing imperative. Various printing options have been nominated, discussed and evaluated. In the end one print-on-demand provider was selected on the basis of recommendation. The ethos of haphazart! is clearly not profit-making and conflicts with that of the printing organisation. Presumably to maintain an incentive to purchase the print copy online preview is restricted to the first 15 pages. To satisfy the co-requisite to make available the full 120 pages for free online viewing a second host that specialises in online presentation of publications is also utilised. In this way haphazart! members satisfy their common desires for sharing selected visual content and ideas with an online special interest audience and, for a physical object of art to relish—with all the connotations of preciousness, fetish, talisman, trophy, and bookish notions of haptic pleasure and visual treasure. The irony of publishing a frozen chunk of the ever-flowing Flickriver, whose temporally changing nature is arguably one of its most interesting qualities, is not a consideration. Most of them profess to be simply satisfying their own desire for self expression and would eschew any critical judgement as to whether this anarchic and discursive mode of operation results in a coherent statement about contemporary photographic abstraction. However there remains a distinct possibility that a number of core haphazart!ists aspire to transcend: popular taste; the discernment encouraged in camera clubs; and, the rhetoric of those involved professionally (Bourdieu et al.); and seek to engage with the “awareness of illegitimacy and the difficulties implied by the constitution of photography as an artistic medium” (Chamboredon 130). Incoherence: A Technical Note My personal experience of photography ranges from the filmic to the digital (Holmes, "Bridging Adelaide"). For a number of years I specialised in facsimile graphic reproduction of artwork. In those days I became aware that films were ‘blind’ to the psychophysical affect of some few particular paint pigments. They just could not be reproduced. Even so, as I handled the dozens of images contributed to haphazart!2, converting them from the pixellated place where Flickr exists to the resolution and gamut of the ink based colour space of books, I was surprised at the number of hue values that exist in the former that do not translate into the latter. In some cases the affect is subtle so that judicious tweaking of colour levels or local colour adjustment will satisfy discerning comparison between the screenic original and the ‘soft proof’ that simulates the printed outcome. In other cases a conversion simply does not compute. I am moved to contemplate, along with Harrison and Bartell (op. cit.) just how much of the experience of media in the shared digital space is incomparably new? Acknowledgement Acting on the advice of researchers experienced in cyberethnography (Bruckman; Suler, "Ethics") I have obtained the consent of co-collaborators to comment freely on proceedings that took place in a private forum. 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Davies, Julia. “Display, Identity and the Everyday: Self-Presentation through Online Image Sharing.” Discourse: Studies in the Cultural Politics of Education 28.4 (Dec. 2007): 549–564. Elliott, Mark. “Stigmergic Collaboration: The Evolution of Group Work.” M/C Journal 9.2 (2006). 12 Jan. 2010 ‹http://journal.media-culture.org.au/0605/03-elliott.php>. Harrison, Teresa, M., and Brea Barthel. “Wielding New Media in Web 2.0: Exploring the History of Engagement with the Collaborative Construction of Media Products.” New Media & Society 11.1-2 (2009): 155–178. Holmes, Ashley. “‘Bridging Adelaide 2001’: Photography and Hyperimage, Spanning Paradigms.” VSMM 2000 Conference Proceedings. International Society for Virtual Systems and Multimedia, 2000. 79–88. ———. “Reconciling Experimentum and Experientia: Reflective Practice Research Methodology for the Creative Industries”. Speculation & Innovation: Applying Practice-Led Research in the Creative Industries. Brisbane: QUT, 2006. Kennedy, Lyndon, Mor Naaman, Shane Ahern, Rahul Nair, and Tye Rattenbury. “How Flickr Helps Us Make Sense of the World: Context and Content in Community-Contributed Media Collections.” MM’07. ACM, 2007. Miller, Andrew D., and W. Keith Edwards. “Give and Take: A Study of Consumer Photo-Sharing Culture and Practice.” Proceedings of the SIGCHI Conference on Human Factors in Computing Systems. ACM, 2007. 347–356. Mislove, Alan, Hema Swetha Koppula, Krishna P. Gummadi, Peter Druschel and Bobby Bhattacharjee. “Growth of the Flickr Social Network.” Proceedings of the First Workshop on Online Social Networks. ACM, 2008. 25–30. Negoescu, Radu-Andrei, and Daniel Gatica-Perez. “Analyzing Flickr Groups.” CIVR '08: Proceedings of the 2008 International Conference on Content-Based Image and Video Retrieval. ACM, 2008. 417–426. ———, Brett Adams, Dinh Phung, Svetha Venkatesh, and Daniel Gatica-Perez. “Flickr Hypergroups.” MM '09: Proceedings of the Seventeenth ACM International Conference on Multimedia. ACM, 2009. 813–816. Pink, Sarah. Doing Visual Ethnography: Images, Media and Representation in Research. 2nd ed. London: Sage, 2007. Su, Ja-Hwung, Bo-Wen Wang, Hsin-Ho Yeh, and Vincent S. Tseng. “Ontology–Based Semantic Web Image Retrieval by Utilizing Textual and Visual Annotations.” 2009 IEEE/WIC/ACM International Conference on Web Intelligence and Intelligent Agent Technology – Workshops. 2009. Suler, John. “Ethics in Cyberspace Research: Consent, Privacy and Contribution.” The Psychology of Cyberspace. 1996. 12 Jan. 2010 ‹http://www-usr.rider.edu/~suler/psycyber/psycyber.html>. ———. “Image, Word, Action: Interpersonal Dynamics in a Photo-Sharing Community.” Cyberpsychology & Behavior 11.5 (2008): 555–560. Valentine, Mark. “HAPHAZART! Magazine/Discuss/image selections…” [discussion post]. 2009. 12 Jan. 2010 ‹http://www.flickr.com/groups/haphazartmagazin/discuss/72157613147017532/>. Xu, Hongtao, Xiangdong Zhou, Mei Wang, Yu Xiang, and Baile Shi. “Exploring Flickr’s Related Tags for Semantic Annotation of Web Images.” CIVR ’09. ACM, 2009.
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Jaaniste, Luke Oliver. "The Ambience of Ambience." M/C Journal 13, no. 2 (May 3, 2010). http://dx.doi.org/10.5204/mcj.238.

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Well, you couldn't control the situation to that extent. The world just comes in on top of you. It creeps under the door. It falls out of the sky. It's all around. (Leunig) Like the world that cartoonist Michael Leunig describes, ambience is all around. Everywhere you go. You cannot get away from it. You cannot hide from it. You cannot be without it. For ambience is that which surrounds us, that which pervades. Always-on. Always by-your-side. Always already. Here, there and everywhere. Super-surround-sound. Immersive. Networked and cloudy. Ubiquitous. Although you cannot avoid ambience, you may ignore it. In fact, ambience is almost as ignored as it is pervasive. For the most part, our attention is given over to what’s in front of us, what we pick up, what we handle, what is in focus. Instead of ambience, our phenomenal existence is governed by what we bring into the foreground of our lives. Our attention is, almost by definition, occupied not by what is ambient, but what is salient (Jaaniste, Approaching Ch. 1). So, when Brian Eno coined the term Ambient Music in the 1970s (see Burns; Radywyl; and Ensminger in this issue), he was doing something strange. He was bringing ambience, as an idea and in its palpable sonic dimension, into salience. The term, and the penchant for attuning and re-thinking our connections to our surroundings, caught on. By the end of the twentieth century, it was deemed by one book author worthy of being called the ambient century (Prendergast). Eno is undoubtedly the great populariser of the term, but there’s a backstory to ambience. If Spitzer’s detailed semantic analysis of ‘ambience’ and its counterpart ‘milieu’ published back in the 1940s is anything to go by, then Newtonian physics had a lot to do with how ambience entered into our Modern vernacular. Isaac Newton’s laws and theories of gravity and the cosmos offered up a quandary for science back then: vast amounts of empty space. Just like we now know that most of an atom is empty space, within which a few miserly electrons, protons, neutrons and other particle fly about (and doesn’t that seem weird given how solid everything feels?) so too it is with planets, stars, galaxies whose orbits traverse through the great vacuum of the universe. And that vacuum Newton called ambience. But maybe outer-space, and ambience, is not actually empty. There could be dark matter everywhere. Or other things not yet known, observed or accounted for. Certainly, the history of our thinking around ambience since its birth in physics has seen a shift from vacuity to great density and polyphony. Over time, several ‘spaces’ became associated with ambience, which we might think of as the great scapes of our contemporary lives: the natural environment, the built environment, the social world, the aesthetic worlds encountered ‘within’ artefacts, and the data-cloud. Now is not the time or place to give a detailed history of these discursive manoeuvres (although some key clues are given in Spizter; and also Jaaniste, Approaching). But a list of how the term has been taken up after Eno–across the arts, design, media and culture–reveals the broad tenets of ambience or, perhaps, the ambience of ambience. Nowadays we find talk of (in alphabetical order): ambient advertising (Quinion), aesthetics (Foster), architecture (CNRS; Sample), art (Desmarias; Heynen et al.), calculus (Cardelli), displays (Ambient Displays Reserch Group; Lund and Mikael; Vogel and Balakrishnan), fears (Papastergiadis), findability (Morville), informatics (Morville), intelligence (Weber et al.), media (Meeks), narratives (Levin), news (Hagreaves and Thomas), poetics (Morton), television (McCarthy), and video (Bizzocchi). There’s probably more. Time, then, to introduce the authors assembled for this special ‘ambient’ issue of M/C Journal. Writing from the globe, in Spain, Ukraine, Canada, United Sates, and New Zealand, and from cities across Australia, in Melbourne, Canberra and Perth, they draw on and update the ambience of ambience. Alison Bartlett, in our feature article, begins with bodies of flesh (and sweat and squinting) and bodies of thought (including Continental theory). She draws us into a personal, present tense and tensely present account of the way writing and thinking intertwine with our physical locality. The heat, light and weathered conditions of her place of writing, now Perth and previously Townsville, are evoked, as is some sort of teased out relation with Europe. If we are always immersed in our ambient conditions, does this effect and affect everything we do, and think? Bruce Arnold and Margalit Levin then shift gear, from the rural and natural to the densely mediated contemporary urban locale. Urban ambience, as they say, is no longer about learning to avoid (or love?) harsh industrial noises, but it’s about interactivity, surveillance and signalling. They ambivalently present the ambient city as a dialectic, where feeling connected and estranged go hand-in-hand. Next we explore one outcome or application of the highly mediated, iPhone and Twitter-populated city. Alfred Hermida has previously advanced the idea of ‘ambient journalism’ (Hermida, Twittering), and in his M/C Journal piece he outlines the shift from ambient news (which relies on multiple distribution points, but which relays news from a few professional sources) to a journalism that is ambiently distributed across citizens and non-professional para-journalists. Alex Burns takes up Hermida’s framework, but seeks to show how professional journalism might engage in complex ways with Twitter and other always-on, socially-networked data sources that make up the ‘awareness system’ of ambient journalism. Burns ends his provocative paper by suggesting that the creative processes of Brian Eno might be a model for flexible approaches to working with the ambient data fields of the Internet and social grid. Enter the data artist, the marginal doodler and the darkened museum. Pau Waelder examines the way artists have worked with data fields, helping us to listen, observe and embody what is normally ignored. David Ensminger gives a folklorist-inspired account of the way doodles occupy the ambient margins of our minds, personalities and book pages. And Natalia Radywyl navigates the experiences of those who encountered the darkened and ambiguously ambient Screen Gallery of the Australian Centre for Moving Image, and ponders on what this mean for the ‘new museum’. If the experience of doodles and darkened galleries is mainly an individual thing, the final two papers delve into the highly social forms of ambience. Pauline Cheong explores how one particular type of community, Christian churches in the United States, has embraced (and sometimes critiqued) the use of Twitter to facilitate the communal ambience, 140 characters at a time. Then Christine Teague with Lelia Green and David Leith report on the working lives of transit officers on duty on trains in Perth. This is a tough ambience, where issues of safety, fear, confusion and control impact on these workers as much as they try to influence the ambience of a public transport network. The final paper gives us something to pause on: ambience might be an interesting topic, but the ambience of some people and some places might be unpalatable or despairing. Ambience is morally ambivalent (it can be good, bad or otherwise), and this is something threading through many of the papers before us. Who gets to control our ambient surrounds? Who gets to influence them? Who gets to enjoy them, take advantage of them, ignore them? For better or worse. The way we live with, connect to and attune to the ambience of our lives might be crucially important. It might change us. And it might do so on many levels. As is now evident, all the great scapes, as I called them, have been taken up in this issue. We begin with the natural environment (Bartlett’s weather) and the urban built environment (Arnold and Levin; and also Radywyl). Then we enter the data-cloud (Herminda; Burns; Waelder, and also Cheong), shifting into the aesthetic artefact (Waelder; Ensminger; Radywyl), and then into the social sphere (Cheong; Teague, Green and Leith). Of course, all these scapes, and the authors’ concerns, overlap. Ambience is a multitude, and presses into us and through us in many ways. References Ambient Displays Research Group. “Ambient Displays Research Group.” 25 July 2006 ‹http://www.eecs.berkeley.edu/Research/Projects/CS/io/ambient/›. Bizzocchi, Jim. “Ambient Video: The Transformation of the Domestic Cinematic Experience.” Media Environments and the Liberal Arts Conference, 10-13 June 2004, Rochester Institute of Technology, New York. 26 July 2006 ‹http://www.dadaprocessing.com› [third version of this essay]. Cardelli, Luca. “Mobility and Security.” Lecture notes for Marktoberdorf Summer School 1999, summarising several Ambient Calculus papers by Luca Cardelli & Andrew Gordon. Foundations of Secure Computation. Eds. Friedrich L. Bauer and Ralf Steinbrüggen. NATO Science Series. Proceedings of the NATO Advanced Study Institute on Foundations of Secure Computation, Marktoberdorf, Germany, 27 July - 8 Aug. 1999. 3-37. ‹http://lucacardelli.name/Papers/Mobility%20and%20Security.A4.pdf›. CNRS. “UMR CNRS 1563: Ambiances architecturales et urbaines”. 2007. 9 Feb. 2007 ‹http://www.archi.fr/RECHERCHE/annuaireg/pdf/UMR1563.pdf›. Desmarias, Charles. “Nothing Compared to This: Ambient, Incidental and New Minimal Tendencies in Contemporary Art.” Catalogue essay for exhibition curated by Charles Desmarais at Cincinnati Contemporary Arts Center, 25 Sep. - 28 Nov. 2004. Foster, Cheryl. “The Narrative and the Ambient in Environmental Aesthetics.” Journal of Aesthetics & Art Criticism 56.2 (Spring 1998): 127-137. Hargreaves, Ian, and James Thomas. “New News, Old News.” ITC/BSC (October 2002). 3 May 2010 ‹http://legacy.caerdydd.ac.uk/jomec/resources/news.pdf›. Herminda, Alfred. “Twittering the News: The Emergence of Ambient Journalism.” Journalism Practice (11 March 2010). 3 May 2010 ‹http://www.informaworld.com/smpp/content~content=a919807525›. Heynen, Julian, Kasper Konig, and Stefani Jansen. Ambiance: Des deux cơtes du Rhin. To accompany an exhibition of the same name at K21 Kuntstsammlung NRW, Düsseldorf, 15 Oct. 2005 – 12 Feb. 2006. Köln: Snoeck. Jaaniste, Luke. Approaching the Ambient: Creative Practice and the Ambient Mode of Being. Doctoral thesis, Queensland University of Technology, 2007. 3 May 2010 ‹http://www.lukejaaniste.com/writings/phd›. Leunig, Michael. “Michael Leunig”. Enough Rope with Andrew Denton. ABC Television, 8 May 2006. 3 May 2010 ‹http://www.abc.net.au/tv/enoughrope/transcripts/s1632918.htm›. Lund, Andreas, and Mikael Wiberg. “Ambient Displays beyond Convention.” HCI 2004, The 18th British HCI Group Annual Conference, Leeds Metropolitan University, UK, 6-10 Sep. 2004. 18 Oct. 2005 ‹http://www.informatik.umu.se/~mwiberg/designingforattention_workshop_lund_wiberg.pdf›. Manovich, Lev. “Soft Cinema: Ambient Narratives.” Catalogue for the Soft Cinema Project presented at Future Cinema: The Cinemtic Imaginary after Film at ZKM Center for Art and Media in Karlsruhe, Germany, 16 Nov. 2002 - 30 March 2003. McCarthy, Anna. Ambient Television: Visual Culture and Public Space. Durham and London: Duke University Press, 2001. Meeks, Cyan. Ambient Media: Meanings and Implications. Masters of Fine Arts thesis, Graduate School of the State University of New York, Department of Media Study, August 2005. Morton, Timothy. “Why Ambient Poetics?: Outline for a Depthless Ecology.” The Wordsworth Circle 33.1 (Winter 2002): 52-56. Morville, Peter. Ambient Findability: What We Find Changes Who We Become. O’Reilly Media, 2005. Papastergiadis, Nikos. “Ambient Fears.” Artlink 32.1 (2003): 28-34. Prendergast, Mark. The Ambient Century: From Mahler to Trance, the Evolution of Sound in the Electronic Age. London: Bloomsbury, 2000. Quinion, Michael. “Ambient Advertising.” World Wide Words 5 Sep. 1998. 3 Aug. 2006 ‹http://www.worldwidewords.org/turnsofphrase/tp-amb1.htm›. Sample, Hilary. “Ambient Architecture: An Environmental Monitoring Station for Pasadena, California.” 306090 07: Landscape with Architecture. 306090 Architecture Journal 7 (Sep. 2004): 200-210. Spitzer, Leo. “Milieu and Ambiance: An Essay in Historical Semantics (Part 2).” Philosophy and Phenomenological Research 3.2 (Dec. 1942): 169–218. Vogel, Daniel, and Ravin Balakrishnan. “Interactive Public Ambient Displays: Transitioning from Implicit to Explicit, Public to Personal, Interaction with Multiple Users.” Proceedings of the 18th ACM Symposium on User Interface Software and Technology. Large Public Displays session, Santa Fe. New York: ACM Press. 137-146. Weber, W., J.M. Rabaey, and E. Aarts. Eds. Ambient Intelligence. Berlin: Springer, 2005.

Дисертації з теми "Super Bock Group":

1

Leão, Rita Joana Sampaio de Azevedo Teixeira. "A gestão da formação no Super Bock Group : criação de dashboards." Master's thesis, 2019. http://hdl.handle.net/10400.14/28569.

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No Super Bock Group, a gestão da formação insere-se na área do Capital Humano com o propósito de investir continuamente na valorização das pessoas da organização. É também da responsabilidade dessa área a elaboração de relatórios de dados da formação efetuada a todos os formandos. Com o constante aumento da complexidade e diversidade de dados, a criação de dashboards é apresentada como uma solução para uma devida organização e visualização dos dados e consequente extração de informação. Um dashboard é essencialmente um meio de comunicação e, tendo isso em conta, a questão de investigação deste estudo focou-se em como comunicar de forma eficiente os principais KPI’s (sigla em inglês de “Indicadores-chave de desempenho”) da gestão da formação da empresa. Para tal, foi feita uma vasta revisão de literatura relacionada com a formação nas empresas e todas as implicações, assim como dos aspetos a ter em consideração na criação de dashboards. Após essa análise, o estudo recorreu ao método CRISP-DM (CRoss Industry Standard Process for Data mining) para a criação de dashboards relevantes para a empresa. A avaliação dos mesmos foi bastante positiva e a sua utilização por parte da organização foi imediata. Os critérios de sucesso da empresa foram superados devido à automatização dos dashboards e facilidade de implementação para análises futuras.
In Super Bock Group, training management is part of the Human Capital area in order to continually invest in promoting the company’s employees. It is also Human Capital’s responsability to develop data reports concerning the formation given to all the trainees. With the increase of complexity and diversity of data, the creation of dashboards is presented as an answer to organize and to visualize the data, as well as a way to extract information. A dashboard is a mean of communication and the matter of this investigation was focused on how to efficiently communicate the main KPI’s (Key Performance Indicators) of the company’s training management. In order to do so, it was made an extensive literature review related to the company’s training and all its implications, as well as the aspects to have in consideration when creating these dashboards. After this analysis, this study used the CRISP-DM method (CRoss Industry Standard Process for Data Mining) to create relevant dashboards for the company. The assesment of these dashboards was quite positive and its use by the company was immediate. The company’s success criteria were overcomed due to dashboards’ automation and also to the simplicity of implementation for future analysis.
2

Teixeira, Pedro. "Estudo das alterações dos hábitos de consumo de cerveja - Super Bock Group." Master's thesis, 2021. http://hdl.handle.net/10400.26/36759.

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No contexto do mestrado em Direção Comercial e Marketing, efetuei um estágio na equipa de Trade Marketing do Super Bock Group, que reporta ao Departamento Comercial daquela que é a maior empresa de bebidas portuguesa. Fui integrado na equipa de Trade Marketing do canal on-trade, com o propósito de levar a cabo a realização de um estudo de mercado, cujo objetivo visava a identificação, compreensão e apresentação dos hábitos de consumo de bebidas alcoólicas (em particular, de cerveja) por parte dos estudantes universitários, a nível nacional. Isto, num contexto em que tais hábitos de consumo já se têm vindo a alterar há vários anos, e cuja tendência se veio a intensificar com o surgimento da pandemia da COVID-19. Devido ao agravamento da situação pandémica em Portugal, e ao regime de teletrabalho imposto pela empresa a meio do estágio, houve necessidade de efetuar uma adaptação do projeto e as entrevistas, que estavam planeadas para serem presenciais, vieram a realizar-se por via telefónica, o que permitiu alargar a amostra de pontos de venda entrevistados da cidade do Porto para seis cidades no território nacional continental: Braga, Porto, Guarda, Covilhã, Coimbra e Lisboa. Foram, assim, analisados, filtrados e apresentados os resultados obtidos por meio da observação nos pontos de venda e das entrevistas semiestruturadas efetuadas aos retalhistas, que deram origem a recomendações para as estratégias futuras da marca Super Bock dirigidas para a comunidade académica.
3

Barbosa, Andreia da Costa. "Contributos para a melhoria do desempenho ambiental no Super Bock Group S.A." Master's thesis, 2019. http://hdl.handle.net/1822/64517.

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Dissertação de mestrado em Gestão Ambiental
Na presente dissertação desenvolveu-se o tema “Contributos para a melhoria do Desempenho Ambiental no Super Bock Group S.A.” Pretendeu-se com este trabalho avaliar e conhecer o desempenho ambiental da empresa, os indicadores ambientais e conhecer como funciona o seu Sistema de gestão Integrado. Após realizar a avaliação diagnóstica foram analisadas as principais causas dos baixos valores obtidos na avaliação das Boas Práticas de Separação de Resíduos por área de laboração da empresa, dando mais importância àquelas que mostraram mais dificuldades na separação de resíduos. Foram aplicadas algumas ações propostas para melhoria do desempenho das áreas quanto à Separação de Resíduos, tais como atualização de cartazes informativos, sessões de sensibilização, que foram muito importantes para manter os colaboradores atualizados e mais sensibilizados para as questões ambientais, esta última avaliada com um inquérito de análise. Foi criada uma metodologia para controlo e avaliação do Índice de Cumprimento criado para avaliar a correta utilização dos contentores nomeadamente verificar se não existe mistura de resíduos pelos colaboradores. O objetivo desta ação foi diminuir as quantidades de resíduos recicláveis enviadas para aterro junto com os resíduos banais, até porque a empresa ganha dinheiro com os resíduos que envia para valorização ou vende a outras empresas, enquanto que as quantidades de resíduos enviados para aterro têm de ser cobradas à empresa, pois vão ocupar espaço no mesmo, que contribui negativamente para a sua lotação. Neste trabalho foi notório que para uma mudança e uma maior consciencialização de todos sobre os desafios que os problemas e a pressão socioeconómicas para as empresas traz, é necessário informar, sensibilizar todos os colaboradores e toda a comunidade em geral para que todos trabalhem com maior noção de que cada pequeno gesto, seja positivo ou negativo, poderá fazer grande diferença no fim do ciclo de um produto.
This dissertation developed the theme “Contributions to the Improvement of Environmental Performance in Super Bock Group SA” This work aimed to evaluate and know the company's environmental performance, environmental indicators and know how its Integrated Management System works. After performing the diagnostic evaluation, the main causes of the low values obtained in the evaluation of Good Waste Separation Practices by the company's work area were analyzed, giving more importance to those that showed more difficulties in waste separation. Some proposed actions were implemented to improve the performance of areas regarding Waste Separation, such as updating informative posters, awareness sessions, which were very important to keep employees updated and more aware of environmental issues, the last one was assessed with an analysis survey. A methodology was created to control and evaluate the Compliance Index created to evaluate the correct use of containers, namely to check if there is no mixture of waste by employees. The purpose of this action was to reduce the amount of recyclable waste sent to landfill along with banal waste, because the company makes money from waste it sends for recovery or sells to other companies, while the amount of waste sent to landfill has to be charged to the company as they will take up space in it, which contributes negatively to its stocking. In this work it was noticeable that for a change and a greater awareness of the challenges that the problems and the socioeconomic pressure on companies brings, it is necessary to inform, sensitize all employees and the community in general so that all work with greater awareness. that every little gesture, whether positive or negative, can make a big difference at the end of a product's cycle.
4

Angel, Danilo Téllez. "How can super bock group reduce the amount of disposable plastic cups in portugal? Development of a new model and roll out plan for reusable plastic cups." Master's thesis, 2019. http://hdl.handle.net/10362/69186.

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5

Correia, Francisca Vieira de Campos Horta. "How to achieve top line profitable growth in the still water category for the brands Vitalis and Caramulo." Master's thesis, 2018. http://hdl.handle.net/10362/38777.

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6

Antunes, Beatriz, Francisca Vieira de Campos Horta Correia, Leonor Maria Stock da Cunha Santiago Pinto, Teresa Arantes Pedroso Posser de Andrade, and Teresa Pereira dos Santos Santana Godinho. "How to achieve top line profitable growth in the still water category for the brands Vitalis and Caramulo." Master's thesis, 2018. http://hdl.handle.net/10362/39288.

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Leader in the beer market in Portugal, Super Bock Group is the second biggest player in the still bottled water category, owning two brands: Vitalis and Caramulo. With a past focus only on Vitalis, the company expressed concerns about Caramulo positioning in the market, leading to an interest in exploring new opportunities. By analysing the still bottled water industry, pinpointing the main trends, and evaluating the consumer’s habits and purchase behaviors, a growth opportunity was identified within the environmental and social sustainability; convenience; and beauty segments. The proposals for Vitalis, offer a solution to solve the goal established by SBG.

Книги з теми "Super Bock Group":

1

Marvel Super Hero Fact Book. Brighter Child Interactive, 2006.

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2

Costa-Font, Joan, and Mario Macis, eds. Social Economics. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035651.001.0001.

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The growing field of social economics explores how individual behavior is affected by group-level influences, extending the approach of mainstream economics to include broader social motivations and incentives. This book offers a rich and rigorous selection of current work in the field, focusing on some of the most active research areas. Topics covered include culture, gender, ethics, and philanthropic behavior. Social economics grows out of dissatisfaction with a purely individualistic model of human behavior. This book shows how mainstream economics is expanding its domain beyond market and price mechanisms to recognize a role for cultural and social factors. Some chapters, in the tradition of Gary Becker, attempt to extend the economics paradigm to explain other social phenomena; others, following George Akerlof’s approach, incorporate sociological and psychological assumptions to explain economic behavior. Loosely organized by theme—Social Preferences; Culture, Values, and Norms; and Networks and Social Interactions”—the chapters address a range of subjects, including gender differences in political decisions, “moral repugnance” as a constraint on markets, charitable giving by the super-rich, value diversity within a country, and the influence of children on their parents’ social networks. Contributors Mireia Borrell-Porta, Sjoerd Beugelsdijk, Joan Costa-Font, Elwyn Davies, Julio Jorge Elias, Marcel Fafchamps, Luigi Guiso, Odelia Heizler, Ayal Kimhi, Mariko J. Klasing, Martin Ljunge, Mario Macis, Mark Ottoni-Wilhelm, Abigail Payne, Kelly Ragan, Jana Sadeh, Azusa Sato, Kimberley Scharf, Sarah Smith, Mirco Tonin, Michael Vlassopoulos, Evguenia Winschel, Philipp Zahn
3

Alkon, Alison Hope, Yuki Kato, and Joshua Sbicca, eds. A Recipe for Gentrification. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479834433.001.0001.

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From upscale restaurants to community gardens, food often reflects shifts in taste that are emblematic of gentrification. The prestige that food retail and urban agriculture can lend to a neighborhood helps to increase property values, fostering the displacement of long-term residents while shifting local culture to create new inclusions and exclusions. And yet, many activists who oppose this dynamic have found food both a powerful symbol and an important tool through which to fight against it at scales ranging from individual consumption to state and national policy. The book argues that food and gentrification are deeply entangled, and that examining food retail and food practices is critical to understanding urban development. A series of case studies, from super-gentrifying cities like New York, to oft-neglected places like Oklahoma City, show that while gentrification always has its own local flavor, there are many commonalities. In the context of displacement, food reflects power struggles between differently situated class and ethnoracial groups. Through the lens of food, we can see that who has a right to the gentrifying city is not just about housing, but also includes the everyday practices of living, working, and eating in the places we call home.

Частини книг з теми "Super Bock Group":

1

Steinberg, Paul F. "Super Rules." In Who Rules the Earth? Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780199896615.003.0017.

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If you watch a group of children at play in an unstructured situation, soon you will be treated to a microcosm of how societies make rules, boiled down to the essentials. After some random running about, the children will eventually seek to build a social structure in the form of a game. The process unfolds with remarkable swiftness and predictability. By definition, every game requires rules, and these are the subject of considerable haggling at the outset. You have to touch the tree to be safe; no one can go past the rocks. The participation rules are negotiated with special care, because every child knows intuitively that these will affect the outcome. You have more people, so we get the big kid. It is equally fascinating to observe who makes the rules of the game. Over a chorus of competing ideas, the rulemaker is often the oldest or most assertive child, but not always. Someone may make a credible threat based on her resources and the power that accompanies them: It’s my ball and I don’t want to play that game. Alternatively, she may appeal to a source of moral authority recognized by the other players—it’s my house and my birthday party. Once settled, all participants in this miniature society must understand and abide by the rules. Those who break them are subject to a collective outcry from the group and even efforts at third-party enforcement: Mom, Richard keeps cheating! The situation is not so very different from the inner workings of our entire civilization, which is built upon a vast infrastructure of rules. Every business and every community, every religion and nonprofit organization, every terrorist network, taco vendor, and art museum relies on social rules to achieve its ends. Throughout this book we have seen how our lives and our landscapes are shaped by these rules, be they policies or property rights, safety codes or shared cultural norms. We are now ready to take a closer look at a special and very powerful category of rules—I call these super rules—that decide how other rules are made.
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Oosterlynck, Stijn, Gert Verschraegen, and Ronald van Kempen. "Introduction: Understanding super-diversity in deprived and mixed neighbourhoods." In Divercities, 1–24. Policy Press, 2018. http://dx.doi.org/10.1332/policypress/9781447338178.003.0001.

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This introductory chapter provides an overview of super-diversity. Contemporary cities have seen an increasing diversity of migration in terms of countries of origin, ethnic groups, languages and religions, gender, age profiles, and labour market experiences. Complex migration and asylum regimes have further contributed to the process of diversification through the multiplication of immigration legal statuses (civic stratification). Super-diversity has become especially apparent in cities that are designated as ‘global cities’, on the basis of their ability to draw heterogeneous people from all parts of the world. This book is thus concerned with the question of how urbanites from different ethnic and cultural backgrounds, occupying different socioeconomic positions, speaking different languages and often with different legal statuses, can make a common life together in their city or neighbourhood.
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Haslop, Craig. "Torchwood’s Supermen." In Toxic Masculinity, 103–18. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828934.003.0007.

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Focusing on the spin-off series Torchwood, lauded by academics and popular media for its liberating and frank representations of fluid sexuality, this chapter discusses audience research using focus groups exploring Torchwood’s representations of queer masculinity, analyzing respondents’ responses to the masculinity of the leading character, Captain Jack Harkness, and the recurring character, Captain John Hart. While not ostensibly superheroes or supervillains in the comic book sense, research participants positioned them as super-human or god-like. Using the notion of homonormativity, the pressure on queer people to conform to heteronormativity, this chapter highlights how, despite foregrounding the leading man as fluidly sexual, Torchwood suggests a homonormative hypermasculinity dominating much of Western gay male culture, which deradicalizes queer identity and renders it safe for heteronormativity and, by association, hypermasculinity.
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Vostral, Sharra L. "Health Activism and the Limits of Labeling." In Toxic Shock, 138–70. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479877843.003.0006.

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Since the threat of toxic shock syndrome (TSS) subsided but remained, how to manage it became a politically contested issue. Chapter 5 addresses the political stakes of science-based policy used to warn women about the risk of tampon-related TSS. Advice to use the least absorbent tampon possible was not feasible because packages were not accurately labeled. To help women make informed decisions, the Food and Drug Administration called upon the creation of a Tampon Task Force to recommend absorbency ranges and to standardize descriptions such as “regular” and “super.” Different stakeholders on the task force, including corporations, consumer groups, and women's health activists, exerted pressure to control the terms of policy, product labeling, and the language of warnings printed on tampon boxes. In particular, Esther Rome of the Boston Women’s Health Book Collective participated on the Tampon Task Force and challenged methods and procedures that were not beneficial to women. She sought to include menstrual fluid, rather than saline, in the syngyna lab tests as a basis of tampon absorbency to more accurately reflect real-life conditions.
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Jecker, Nancy S. "Future People." In Ending Midlife Bias, 307–24. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190949075.003.0011.

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Chapter 11 explores the future of population aging, asking if aged societies will become a permanent fixture or are fleeting and unique to our time. It approaches this question by looking at the effects of controlling fertility rates by means of reproductive policies designed to balance ratios between young and old age groups. Using historical examples of China’s one-child policy and Romania’s Decree 770, the chapter argues that both pro- and antinatalist policies produce population aging and can exact a heavy toll on individuals’ capabilities to be healthy, have bodily integrity, and determine a plan of life. The chapter examines future societies with aged, super-aged, and extremely aged populations and gives guidance for intergenerational justice that is dignity-based. It considers the objection that reproductive choices do not make future persons worse off because they change the identities of future persons (the nonidentity problem). We counter this objection by drawing on the dignity framework developed throughout the book. After examining evidence of the effects of pro- and antinatalist reproductive policies, the chapters conclude that the longer-term effects on population aging must temper any assessment of the putative shorter-term good of raising or lowering fertility rates.
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Alkon, Alison Hope, Yuki Kato, and Joshua Sbicca. "Introduction." In A Recipe for Gentrification, 1–28. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479834433.003.0001.

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From upscale restaurants to community gardens, food often reflects shifts in taste that are emblematic of gentrification. The prestige that food retail and urban agriculture can lend to a neighborhood helps to increase property values, fostering the displacement of long-term residents while shifting local culture to create new inclusions and exclusions. And yet, many activists who oppose this dynamic have found food both a powerful symbol and an important tool through which to fight against it at scales ranging from individual consumption to state and national policy. The book argues that food and gentrification are deeply entangled, and that examining food retail and food practices is critical to understanding urban development. A series of case studies, from super-gentrifying cities like New York, to oft-neglected places like Oklahoma City, show that while gentrification always has its own local flavor, there are many commonalities. In the context of displacement, food reflects power struggles between differently situated class and ethnoracial groups. Through the lens of food, we can see that who has a right to the gentrifying city is not just about housing, but also includes the everyday practices of living, working and eating in the places we call home.
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Saunders, Max. "Introduction." In Imagined Futures, 1–60. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198829454.003.0001.

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Multiple introductions are warranted to this complex and unusual series. The first section describes its origins, its polymath editor C. K. Ogden, some of his related editorial ventures, and the books by some of the more prominent contributors. The distinctive futurological angle is discussed, together with its generally progressive orientation, and commitment to intelligent debate. The importance of the scientific approach is introduced, as a main thread running through the series and this study. Two superb, influential science volumes are introduced: the initial book, J. B. S. Haldane’s Daedalus; or, Science and the Future (1923); and J. D. Bernal’s The World, the Flesh, and the Devil (1929). Some cardinal intellectual contexts are established: how the series addresses time, eugenics, and modernity. Its organization is considered. The contemporary impact is assessed, leading to a discussion of the value of studying past predictions for thinking not only about the past but about the nature of prediction. The second introductory section places the series in the history of futurological thinking from the fin de siècle to the present. It starts from a contrast between today’s data-driven professionalized group foresight exercises and individual imaginative projections.

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