Thematische Bibliographien / Contemporary collecting

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Auswahl der wissenschaftlichen Literatur zum Thema „Contemporary collecting“

Autor: Grafiati

Veröffentlicht am 24. Juni 2021

Zuletzt aktualisiert am 29. Januar 2023

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Zeitschriftenartikel zum Thema "Contemporary collecting"

Wilson, Margaret. „Contemporary collecting“. British Dental Journal 231, Nr. 8 (22.10.2021): 431. http://dx.doi.org/10.1038/s41415-021-3591-x.

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Saunders, Gill. „Collecting the contemporary“. Art Libraries Journal 28, Nr. 4 (2003): 5–11. http://dx.doi.org/10.1017/s0307472200013304.

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How do we define ‘the contemporary’, can we collect it, and if so, how should we do it? A look at some of the issues from the perspective of the Word & Image Department at the Victoria & Albert Museum in London argues for the primacy of the object over the digital surrogate, and investigates the challenges -and opportunities - involved in collecting or representing ‘boundary crossing’ art and design practice. The arguments are illustrated by a selection of recent acquisitions, ranging from book arts, multiples and ‘maps’, to prints, drawings and wallpapers.

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Elsner, J. „Collecting in Contemporary Practice“. Journal of the History of Collections 10, Nr. 2 (01.01.1998): 230. http://dx.doi.org/10.1093/jhc/10.2.230.

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Lurie, Nancy Oestreich. „Collecting Contemporary American Indian Art“. Museum Anthropology 11, Nr. 4 (November 1987): 3–7. http://dx.doi.org/10.1525/mua.1987.11.4.3.

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Williams, Emily Rebecca. „Red Collections in Contemporary China“. British Journal of Chinese Studies 11 (29.06.2021): 71–90. http://dx.doi.org/10.51661/bjocs.v11i0.73.

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“Red Collecting” is a widespread phenomenon in contemporary China. It refers to the collecting of objects from the Chinese Communist Party’s history. Red Collecting has received only minimal treatment in English-language scholarly literature, much of which focuses on individual object categories (primarily propaganda posters and Chairman Mao badges) and overemphasises the importance of Cultural Revolution objects within the field. Because of this limited focus, the collectors’ motivations have been similarly circumscribed, described primarily in terms of either neo-Maoist nostalgia or the pursuit of profit. This article will seek to enhance this existing literature and, in doing so, offer a series of new directions for research. It makes two main arguments. First, that the breadth of objects incorporated within the field of Red Collecting is far broader than current literature has acknowledged. In particular, the importance of revolutionary-era (pre-1949) collections, as well as regional and rural collections is highlighted. Second, it argues that collectors are driven by a much broader range of motivations, including a variety of both individual and social motivations. Significantly, it is argued that collectors’ intentions and their understandings of the past do not always align; rather, very different understandings of China’s recent past find expression through Red Collecting. As such, it is suggested that Red Collecting constitutes an important part of contemporary China’s “red legacies,” one which highlights the diversity of memories and narratives of both the Mao era and the revolutionary period. Image © Hou Feng

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Gabriel, Mille. „New Futures for Old Collections - Contemporary Collecting and Community Involvement at the National Museum of Denmark“. Museum and Society 14, Nr. 2 (09.06.2017): 275–93. http://dx.doi.org/10.29311/mas.v14i2.643.

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In recognition of altered global relations since colonial times, the Ethnographic Collections at the National Museum of Denmark have identified a need to redefine their role in society. The Ethnographic Collections explore new ways of activating old collections – ways, which include contemporary collecting, co-curation and dialogue with the communities from where the collections derive. Through three recent projects, this paper revolves around questions such as: How can we make associations between the old collections and contemporary society? How do we prioritize, when collecting the contemporary? And how do we ensure that community involvement not only challenges the authority of museums, but also informs museological practices in new and constructive ways?Key words: Ethnography, representation, contextualization, partnerships, contemporary collecting, knowledge sharing, co-curation.

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Chippindale, Christopher, und David W. J. Gill. „Material Consequences of Contemporary Classical Collecting“. American Journal of Archaeology 104, Nr. 3 (Juli 2000): 463. http://dx.doi.org/10.2307/507226.

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Alberti, Samuel J. M. M., Elsa Cox, Tacye Phillipson und Alison Taubman. „Collecting contemporary science, technology and medicine“. Museum Management and Curatorship 33, Nr. 5 (22.07.2018): 402–27. http://dx.doi.org/10.1080/09647775.2018.1496353.

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Exell, Karen. „Desiring the past and reimagining the present: contemporary collecting in Qatar“. Museum and Society 14, Nr. 2 (09.06.2017): 259–74. http://dx.doi.org/10.29311/mas.v14i2.642.

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The collecting processes in Qatar at state level is intimately linked with the construction of a new Qatari identity for global consumption and national cohesion. At an individual level, collecting can be linked with the desire to preserve the disappearing present in the face of rapid development, as well as representing local traditions of authority and erudition. The national collections created for the first Qatar National Museum institutionalize this process and re-classify the objects as representing the newly constructed ‘Qatari’ identity. The Msheireb Arts Center holds the Echo Memory collection of found objects, collected to inspire a Qatari future but representing the lives of the South Asian community otherwise excluded from the Qatari national discourse. Using these examples, this paper situates the processes of collection, curation and display within, or in opposition to, the ongoing process of Qatari national identity construction, preservation and dissemination, and presents them as a facet of Qatar’s engagement with modernity and the reimagining of itself in the contemporary global age.Key words: Qatar, collections, modernity, national identity, authorized heritage

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Knell, S. J. „Collecting and Excavation in Palaeontology“. Geological Curator 6, Nr. 2 (Oktober 1994): 49–56. http://dx.doi.org/10.55468/gc486.

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Many existing collections no longer fulfil past functions due to the more sophisticated collecting requirements of contemporary science. The reassessment of collecting rigour has also been driven by conservation concerns. Yet museum collecting policy and practice often continue to reflect interests which are external to the requirements of science. In addition the nomenclature applied to the process of collecting is redefined according to collector objectives rather than social level; the role of the collector is divided into field collector and collection assembler; and palaeontological excavation is given extractive and systematic categories.

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Dissertationen zum Thema "Contemporary collecting"

Luther, Anne-Katrin. „Collecting contemporary art : a visual analysis of a qualitative investigation into patterns of collecting and production“. Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9885/.

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The dissertation presents a cultural analysis of contemporary art collecting and art production with an illustration of patterns that overlap in collecting and art production practices in contemporary art. The illustrated visual network shows how institutions, local context, social strategies and prestige overlap in their influences on art production as a cause for collecting contemporary art. Economic exchange, reputation, a perception of time, and the personal and emotional understanding of objects and material are four patterns that illustrate reasons for collecting contemporary art in conclusion. This analysis is based on a visualisation of the structured field data that was generated in a participatory field study in the New York art world, consisting of semi-structured interviews between 2013 – 2015. Limitations in usability and interface design, and the need for a sufficient visualisation tool for qualitative data analysis, drew the focus of this study to the development of a new data visualisation software. After a peer-reviewed process, the software Entity Mapper was selected for use in this thesis to visually analyse the collected and structured data. The analysis takes location, size, hierarchy and movement of the structured data in the visual map into consideration for concluding theoretical statements.

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Dunn, Stephanie. „Collecting Memories: Rachel Whiteread’s House and Memory in Contemporary London“. Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19348.

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Contemporary British artist Rachel Whiteread is celebrated for her ability to cast everyday objects that force the viewer to think about the spaces they typically ignore. House, one of Whiteread’s most well known and written about sculptures was created in 1993. House considered issues of memory in contemporary London, specifically parts of London that are experiencing drastic amounts of change. Current scholars understand House as a memorial, and while this thesis agrees with this interpretation, it also considers House as part of a group memorial with Whiteread’s other sculptural works created before and in 1993. This thesis begins by contextualizing Whiteread’s artistic practice in current scholarship and argues for further evaluation of House. After a thorough examination of the creation, destruction, and reception of House, I analyze current scholarship on the sculpture and consider the similar themes through Whiteread’s early work to prove their ability to act as a group memorial.

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Atkinson, Louise. „Souvenirs from the British Isles : archiving, curating, and collecting in contemporary art practice“. Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/16860/.

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My interdisciplinary practice-based research project utilises a theoretical framework of anthropology to explore concepts associated with economic and cultural appropriation in visual art. Through investigating the problematic history of artists appropriating ethnographic objects for use in their own work, the project considers how anthropology could be used to engage audiences in a more collaborative fashion. This thesis also outlines the processes for producing a body of work using the museum strategies of archiving, collecting and curating. This includes aspects of documentation, interpretation, and dissemination through online and offline channels such as blogging and participatory arts. The two main projects included in the thesis, The Imaginary Museum and Souvenirs from the British Isles, consider how audiences can be engaged through the artwork to produce their own interpretations. The Imaginary Museum achieved this through the physical interaction of audiences collecting postcards. Through ascribing a value to the work with the inclusion of a donation box and only having postcards available within the time frame of the exhibition, the audience began to consider the works as both limited edition artworks and souvenirs of the exhibition. Similarly, there was an element of ambiguity between the artwork and souvenir in the Souvenirs from the British Isles exhibition. Here the sculptures took the aesthetic of the souvenir but were presented in the style of museum artefacts which discouraged tactile engagement. This resulted in a more conceptual interaction, with audiences discussing potential interpretations of the work with each other. Both of these works demonstrate a method of engaging with the museum format, which suggests a model for other artists working in and with collections. Through considering the museum framework as a contact zone, I also aim to suggest the possibility of a collaborative form of anthropology, which can express multiple responses and interpretations of the work of art, whilst also addressing the more problematic aspects of cultural appropriation.

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Sepez, J. A. „Political and social ecology of contemporary Makah subsistence hunting, fishing, and shellfish collecting practices /“. Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/6400.

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Moser, Susan. „K-12 Educational Programs in Contemporary Art Museums: An Examination of University and Non-University Non-Collecting Institutions of Contemporary Art“. VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/4031.

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This museum thesis project will provide an overview of kindergarten through 12th-grade (K-12) educational programs at six non-collecting art institutions within the United States, contextualized within a selected historiography of art museum education. This project is designed to aid the Virginia Commonwealth University Institute for Contemporary Art (ICA). The ICA is a non-collecting institution that will be located on VCU’s Monroe Park campus. As the ICA staff sets out to articulate a vision and scope for its K-12 education programs, it will benefit from the information offered in this thesis project, especially given that there is no existing literature specifically about K-12 programs at non-collecting museums of contemporary art.

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Bueno, Delgado Patricia. „Towards a professional learning dialogue in Mexican contemporary art museums“. Thesis, City, University of London, 2014. http://openaccess.city.ac.uk/17618/.

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Dialogue is a tool that can be used to promote learning experiences amongst audiences in contemporary art museums, in particular due to the potential difficulty of interpreting this type of art. This study argues that when dialogue between the museum and audience promotes balanced opportunities to express ideas and information, the museum can also learn. The museum can share the learning findings about audiences with the rest of the staff members through a professional dialogue, which may impact, creating positive change on future museum practice, in order to facilitate exhibitions, programmes and activities better targeted to audiences. The research explores the concept of learning dialogue using interviews, content analysis, and a theoretical framework related to learning and dialogue in museums. The study also analyses the role of learning and education, and their context in contemporary art museum practice in Mexico, using critical texts and practical evidence from interviews with educators, curators and directors. The thesis investigates, in particular, the case study of the Enlaces programme at the University Museum of Contemporary Art (MuAC). This is a learning activity where the Enlaces participants, who are university students, receive training about the specialist knowledge required to understand contemporary art. The participants aim to create further dialogue with audiences with the purpose of provoking questions, reflection and understanding of MuAC’s contemporary artworks and exhibitions. Findings from the Enlaces participants’ interviews reveal a learning dialogue with audiences, resulting in a model that considers the interaction of three categories of dialogue: visual internal, content and participatory dialogues. Furthermore, the research demonstrates that the interactions between the Enlaces participants and MuAC staff stimulate peer dialogue, professional dialogue and limited dialogue. The analysis of findings results in a model for professional learning dialogue based on the interaction between three key areas: communication, recognition and teamwork. The research proposes an optimal scenario where there is professional and audience learning dialogue taking place, these then feedback to the museum cyclically, allowing audiences to contribute and influence the organisation.

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Jankauskas, Jennifer Kathleen. „Acquiring contemporary art in today's global market : collecting strategies at small, mid-sized and regional American museums“. Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/32246.

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Over the years, prices for contemporary works of art have continued to rise to the point that many small, mid-sized and regional American art museums have difficulties collecting in this arena. Few authors have examined this phenomenon, or the different tactics in place to combat it. This study aims to fill this gap by undertaking a detailed analysis of successful museum acquisition processes at several museums. To ground the discussion I closely examine the hierarchical systems of the art world and its subset, the art market, and investigate the ways in which particular actors, including collectors, dealers and museum curators, negotiate this realm. Despite the economic hardships that they face, many museums embark on creative strategies to compete in this global market. In order to identify and evaluate these strategies I take an ethnographic approach to the research. Participant observations were undertaken at three American art fairs to fully understand the role of key participants in the market. Furthermore, semi-structured interviews with gallery dealers, museum curators and museum directors revealed both the challenges and solutions involved in the acquisition process, and led to the examination of six key strategies currently in place at museums around the United States. An analysis of these strategies demonstrates the creativity and entrepreneurial nature necessary for continued collecting of contemporary art in a market that has outpaced acquisition budgets.

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Waelder, Laso Pau. „Selling and collecting art in the network society: Interactions among contemporary art new media and the art market“. Doctoral thesis, Universitat Oberta de Catalunya, 2016. http://hdl.handle.net/10803/399029.

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Aquesta tesi explora i analitza les interaccions actuals entre art, nous mitjans i el mercat de l'art, i també les transformacions que es produeixen en el reconeixement de l'art digital, l'estructura del mercat de l'art i els rols de l'espectador i el col·leccionista. La tesi es divideix en tres parts. La primera part analitza les maneres en què l'art de nous mitjans s'ha definit ell mateix com un món de l'art específic, i les polèmiques que exemplifiquen la seva separació del món de l'art contemporani. La segona part analitza les motivacions i les expectatives dels artistes que treballen amb tecnologies emergents, per mitjà d'una enquesta feta per l'autor entre més de cinc-cents artistes de cinquanta països. La tercera part analitza les maneres en què l'art digital ha estat comercialitzat i els canvis recents en el mercat de l'art contemporani a internet.
La presente tesis explora y analiza las interacciones actuales entre arte, nuevos medios y el mercado del arte, así como las transformaciones que se están produciendo en el reconocimiento del arte digital, la estructura del mercado del arte y los roles del espectador y el coleccionista. La tesis se divide en tres partes. La primera parte analiza las formas en que el arte de nuevos medios se ha definido a sí mismo como un mundo del arte específico, y las polémicas que ejemplifican su separación del mundo del arte contemporáneo. La segunda parte analiza las motivaciones y las expectativas de los artistas que trabajan con tecnologías emergentes, por medio de una encuesta realizada por el autor entre más de quinientos artistas de cincuenta países. La tercera parte analiza las maneras en que el arte digital ha sido comercializado y los cambios recientes en el mercado del arte contemporáneo en internet.
The present dissertation explores and analyzes the current interactions among art, new media and the art market, as well as the ongoing transformations in the recognition of digital art, the structure of the market, and the role of the viewer and collector. It is divided into three parts. The first part analyzes the ways in which new media art has defined itself as a distinct art world, as well as the controversies that exemplify its separation from the mainstream contemporary art world. The second part exposes the motivations and expectations of artists working with emerging technologies by means of a survey carried out by the author among more than 500 artists from 50 countries. The third part discusses the ways in which digital art has been commercialized as well as the recent developments in the online contemporary art market.

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Martin, Paul Kenneth. „Contemporary popular collecting in Britain : the socio-cultural construction of identity at the end of the second millennium AD“. Thesis, University of Leicester, 1997. http://hdl.handle.net/2381/31148.

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This study is an attempt firstly, to explain the phenomenal increase both in the activity of collecting and the range of material that is now collected in Britain. It dose this by exploring the contexts of change over the last twenty years. This change it is argued has led to a culture of social and material insecurity in which collecting is used for the creation and defence of identity. The social theory of Guy Debord is employed as an underlying philosophy in which contemporary popular collecting is interpreted as a passive situationist response to a society driven by market forces. The social world and values of collectors are explored through their clubs, which it is asserted, comprise an alternative society or environment, one in which a legitimisation of their activities and preferences can be made and in which they develop a complimentary reality. Secondly it compares private popular collecting with that of museums, finding both potential and need for a closer relationship. It is argued that as collectors, develop in sophistication museums can partially redefine themselves through them. There are a number of areas in which collectors and museums are increasingly overlapping. Museums it is argued, should take advantage of this and the current boom in collecting by valuing collecting in the wider community. This would help museums comply with focused collecting policies and allow staff more time to concentrate on other areas such as community activities. Museums and collectors it is ultimately argued, should converge to form a symbiotic knowledge sharing nexus, thus strengthening and deepening communal bonds, acting as an anchor in a changing and diversifying museum profession and a socially atomised society.

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Landis, Tamra R. „How a Successful Collecting Society Can Transform an Art Museum: A History of The Georgia Welles Apollo Society at the Toledo Museum of Art“. Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522759729069838.

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Bücher zum Thema "Contemporary collecting"

Collecting contemporary. Köln: Taschen, 2006.

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Collecting contemporary art. Köln: Taschen, 2010.

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Collecting in contemporary practice. London: AltaMira Press, 1998.

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Rabinovitch, Benton Seymour. Contemporary silver.: Designing, commissioning, collecting. [Seattle, WA: RAB Associates], 2005.

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Helen, Clifford, Hrsg. Contemporary silver: Commissioning, designing, collecting. London: Merrell, 2000.

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Anne, Rorimer, und Art Institute of Chicago, Hrsg. Contemporary collecting: The Judith Neisser collection : minimal and postminimal innovation. Chicago: Art Institute of Chicago, 2011.

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Cock, A. C. F. Analysis of corporate collecting of contemporary art. Oxford: Oxford Brookes University, 1995.

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Forbes, Dennis. Collecting limited edition prints: Contemporary African American printmakers. [United States]: Cavanaugh Press, 2004.

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Owens, Beth. Contemporary fashion dolls: The next generation. Grantsville, MD: Hobby House Press, 2000.

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Bahar, Ann. Contemporary artist dolls from Germany. Grantsville, Md: Hobby House Press, 1995.

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Buchteile zum Thema "Contemporary collecting"

Jankauskas, Jennifer. „Strategies for Acquiring Contemporary Art“. In Museum Collecting Lessons, 43–56. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003216384-4.

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Wharton, Glenn. „The Challenges of Conserving Contemporary Art“. In Collecting the New, herausgegeben von Bruce Altshuler, 163–78. Princeton: Princeton University Press, 2013. http://dx.doi.org/10.1515/9781400849352.163.

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McClusky, Pamela. „The Unconscious Museum: Collecting Contemporary African Art without Knowing It“. In Collecting the New, herausgegeben von Bruce Altshuler, 115–30. Princeton: Princeton University Press, 2013. http://dx.doi.org/10.1515/9781400849352.115.

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Desai, Vishakha N. „Beyond the “Authentic-Exotic”: Collecting Contemporary Asian Art in the Twenty-first Century“. In Collecting the New, herausgegeben von Bruce Altshuler, 103–14. Princeton: Princeton University Press, 2013. http://dx.doi.org/10.1515/9781400849352.103.

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Zorloni, Alessia. „Collecting: Motivations and Patterns of Consumption“. In The Economics of Contemporary Art, 119–56. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-32405-5_5.

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van der Grijp, Paul. „Collecting Art in Asia and the Pacific“. In An Anthropology of Contemporary Art, 146–60. New York: Bloomsbury Academic, An imprint of Bloomsbury Publishing Plc, 2017.: Routledge, 2020. http://dx.doi.org/10.4324/9781003084464-13.

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Stapp, Henry P. „Support from Contemporary Psychology“. In The Frontiers Collection, 41–45. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-18076-7_7.

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Souffrant, Eddy M. „Contemporary Options“. In Identity, Political Freedom, and Collective Responsibility, 53–60. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137337979_9.

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Van de Putte, Thomas. „Collective memory and the self“. In Contemporary Auschwitz/Oświęcim, 24–36. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003143017-3.

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Laamanen, Mikko, Marcos Barros und Gazi Islam. „Collective representation on collaborative economy platforms“. In Contemporary Collaborative Consumption, 35–56. Wiesbaden: Springer Fachmedien Wiesbaden, 2018. http://dx.doi.org/10.1007/978-3-658-21346-6_3.

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Konferenzberichte zum Thema "Contemporary collecting"

Staiger, Jeff D. „The Forest, The Trees, The Bark, The Pith: An Intensive Look at the Circulation Rates of Primary Texts in Ten Major Literature Areas at the University of Oregon Libraries“. In Charleston Library Conference. Purdue Univeristy, 2020. http://dx.doi.org/10.5703/1288284317145.

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This poster looks at the circulation rate for literary primary texts, which constitute a unique area of collecting in academic libraries: while they do not in most cases meet immediate research needs, it is assumed that libraries ought to acquire them, for reasons including future research needs, preservation of the cultural record, and the ability of members of the intellectual community to stay current, those these remain primarily tacit. The circulation trends of contemporary literary works in ten areas of literature (English, American, German, French, Italian, Spanish, Latin American, Chinese, Japanese, and Russian) over the past twenty years at the University of Oregon Knight Library are presented and the circulation turnover rate (CTR), for each of these subject areas are presented. Sample graphs allow for the comparison of circulation rates and numbers of books across time, and serve as examples of the utility of such visualizations of the numbers. The key question raised by the study is what makes a good CTR for a particular region of the collection? The poster concludes by summarizing the considerations that bear on the interpretation of the CTR as an index of how the collection is “working.”

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Jacobus, Frank, und Marc Manack. „Remote Control: The Natural Language of Architecture“. In 2018 ACSA International Conference. ACSA Press, 2018. http://dx.doi.org/10.35483/acsa.intl.2018.30.

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The architectural design process is a means of translating information into form, and has long relied on indirect (“remote”) control mechanisms for communicating and translating the architect’s authorial intent into a built work. These methods have generally evolved from a more direct, physical basis, as both technology and the discipline have evolved. To communicate design ideas, architects have relied on methodologies that range from an extreme desire for control, to models that attempt to relinquish many controls entirely. Early communication models, in part due to lack of material, form, and program diversity, allowed for a less systematic and complex descriptive method; inscriptions in the earth, physical detail models along with a set of instructions, or simple scale models of the intention were all that was required.2 As cultures and their technologies advanced, communication methods such as scaled orthographic drawings, specifications and other forms of written instructions, and now fully realized Building Information Models, have become normative practice in a profession that looks for total control of the built work before it is physically realized. Apart from the communicative control models mentioned above, there are authorial models which have also progressed in complexity and abstraction alongside societal advancements. In the discipline’s infancy, authorship involved subtle evolutions of proportion and order within a well-established typological system. In modernism, the authorial models evolved as architects experimented with increased typological invention in response to a radically changing technological and social environment. Advancing to the contemporary “digital” moment, architects continue to develop systems to control complexities within the work, mapping strategies that deal with collecting and spatializing data, while others see contemporary design tools as a means to relinquish some design control to outside forces whose unexpected potential is compelling. This paper gives examples of remote communicative and authorial controls, and posits a new theory of the potential meaningful effects of leveraging these control mechanisms in new ways using three projects by SILO AR+D.

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Mosakova, Elizaveta Alexandrovna. „CONTEMPORARY TRENDS OF DEVELOPMENT OF THE GLOBAL CRYPTO MARKET“. In Collection of articles 7th International Scientific Conference. ISOASPSH of N.D. Kondratieff, 2021. http://dx.doi.org/10.46865/978-5-901640-36-4-2021-297-300.

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Sarhan Abud Al-Azawi, Faisal, und Sali Ibrahim Ahmad. „The Contemporary Government Accounting System And Its Role In Achieving The Requirements Of The External Environment Of The Tax System In Iraq, A Study Of Concepts And Application Mechanism“. In 11th International Conference of Economic and Administrative Reform: Necessities and Challenges. University of Human Development, 2022. http://dx.doi.org/10.21928/icearnc/26.

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The issue of accountability is one of the most important foundations of a healthy society that seeks to build a generation that is committed to its national and moral responsibilities. And that any defect in the accounting system in a society will negatively affect the credibility of the law and the individual's loyalty to his society because it will properly regulate the relationship between the law and its actual application, Accountability has a role in all areas of life, including tax, where the importance of accounting converges with the importance of taxes since ancient times, because tax is a legitimate right of the state, society and citizen. This importance of accounting lies in the integrity of the procedures followed in collecting funds correctly by the employees working to collect them in accordance with the established tax laws and regulations, and accordingly, cadres must be armed with knowledge and full knowledge of the laws, regulations and accounting methods. Hence the importance of research by providing accounting programs for employees working in this field to help them and raise their efficiency. The first topic of the study showed the concept of government accounting, its most important functions and characteristics, while the second topic included the external tax system environment, which was represented by tax legislation in Iraq, taxpayers, the level of tax awareness, informants, supporting administrations, the tax judiciary, the accounting profession, technological progress, General budget statements, the media, and the constitution. The third topic showed the practical aspect through hypothesis testing. The fourth topic came with the most important conclusions, which is that the taxpayer has the right to choose the appropriate measurement method provided that it is not changed from year to year except with the approval of the tax administration, meaning that the accepted measurement procedures are tax-acceptable unless such a procedure is prohibited or specified a method in its own right. Measurement methods. We also recommend that in order to calculate the tax profit, amendments must be made to its financial legislation and instructions

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Bukrinskaja, Irina, und Olga Karmakova. „The ancestor cult as reflected in the customs of the contemporary Russian village“. In Slavic collection: language, literature, culture. LLC MAKS Press, 2019. http://dx.doi.org/10.29003/m.slavcol-2018/233-240.

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Siying, Song, und Xin He. „Responding to the Loneliness in the New Era of the Internet: Exploring the Role of Hugging and Fitting in Alleviating Loneliness“. In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001604.

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The development of the new era has given the new generation new psychological characteristics of loneliness. The purpose of this paper is to explore a new way to relieve loneliness, and to demonstrate that the interaction method and form of hugging with objects is useful for relieving loneliness.The new design and analysis method is used to verify that the ergonomic design of human fit and inductive hugging interaction function are useful for alleviating loneliness, proving that the emotional needs of users can be addressed by attaching hugging function and ergonomic redesign to specific products, providing a new direction for alleviating the psychological situation of contemporary lonely people and creating better products for alleviating loneliness.In this paper, a literature review is conducted in the early stage to outline the current research on the Internet and loneliness. Based on the starting point of hugging and fitting to relieve loneliness, a human-computer pillow with hugging function is designed. University students who meet the characteristics of the target user group are selected as the experimental research objects, and the questionnaire method is used to collect objective intelligence information by distributing online questionnaires to the research target group, and the interview method is used to conduct in-depth research on the target user group so as to deeply understand the users' psychology and identity. After collecting the relevant data, the data were statistically processed using mathematical tools, analyzed using SPSS and other analytical tools, and considered for its credibility, so as to verify the effect of hugs on alleviating loneliness. The experimental method and interview method were used to ask the test subjects about their feelings, so as to prove that the feeling of closeness has an effect on alleviating loneliness.This paper finds that the interaction action of hugging with objects and the ergonomically based sense of fit are useful for alleviating loneliness and can alleviate people's inner loneliness to a certain extent, which helps to focus on the new trend of loneliness psychology among young people based on the contemporary Internet society, design better loneliness relief products for lonely people and pay attention to the deep needs of users.Keywords: ergonomics, psychology, SPSS, loneliness, Internet, z era, interaction

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Kaźmierczak, Jan, und Izabela Jonek-Kowalska. „ENVIRONMENTAL DATA AND INFORMATION FOR THE NEEDS OF MANAGING SMART CITIES“. In GEOLINKS International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/geolinks2020/b2/v2/02.

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The problems of creating and managing urban areas according to the approach called “intelligent’ are undoubtly one of leading challenges in contemporary world. A major part of published research from this range is focused on particular tasks of ‘environmental origin’, like sustainability, green economy, reverse economy or the “classic’ problem of protecting urban areas against various sorts of pollutions (air, water, soil, acoustic noise). But in the analysis of the literature sources authors of this paper have noticed that the problems of management is not enough often considered, especially in the context of collecting and processing ‘environmental’ data, obtainability of such data and - last but not least - using the information based on such data in procedures of managing the urban areas. In the introductory part of the papers the above mentioned problems are briefly presented as a background for further consideration. Next, the needs of environmental information in managing urban areas are identified as well as obtainability of such information. Authors have based the contents of this part of the paper on their own experiences from their project ‘Smart City: A Holistic Approach’ as well as on results of surveys carried out on a representative sample of Polish cities. Applying the developed by them model of stakeholder groups in Smart City, the authors presents in the third part of the paper some detailed proposals concerning both the requirements and manner of using the environmental information by various participants of Smart City projects. A special attention is paid on the meaning of environmental information in educational efforts. In the summary part of the paper, some perspectives for further research are briefly presented.

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Chun Wai, Wilson Yeung, und Estefanía Salas Llopis. „THE SPACE BETWEEN US“. In INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.

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This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.

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Polyakov, Yuri Mikhailovich. „PUSHKIN AND THE CONTEMPORARY WORLD“. In Collection of the main reports of the International Scientific and Practical Forum «Russia in the XXI Century: Global Challenges, Risks and Solutions». ISOASPSH of N.D. Kondratieff, 2021. http://dx.doi.org/10.46865/978-5-901640-35-7-2020-48-49.

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Berichte der Organisationen zum Thema "Contemporary collecting"

Lee, Jinkyoung, und Younhee Lee. Expression Methods of Superculture from Subculture in Contemporary Womenswear Collection. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1718.

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Lewis, Dustin, Hrsg. Database of States’ Statements (August 2011–October 2016) concerning Use of Force in relation to Syria. Harvard Law School Program on International Law and Armed Conflict, Mai 2017. http://dx.doi.org/10.54813/ekmb4241.

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Many see armed conflict in Syria as a flashpoint for international law. The situation raises numerous unsettling questions, not least concerning normative foundations of the contemporary collective-security and human-security systems, including the following: Amid recurring reports of attacks directed against civilian populations and hospitals with seeming impunity, what loss of legitimacy might law suffer? May—and should—states forcibly intervene to prevent (more) chemical-weapons attacks? If the government of Syria is considered unwilling or unable to obviate terrorist threats from spilling over its borders into other countries, may another state forcibly intervene to protect itself (and others), even without Syria’s consent and without an express authorization of the U.N. Security Council? What began in Daraa in 2011 as protests escalated into armed conflict. Today, armed conflict in Syria implicates a multitude of people, organizations, states, and entities. Some are obvious, such as the civilian population, the government, and organized armed groups (including designated terrorist organizations, for example the Islamic State of Iraq and Syria, or ISIS). Other implicated actors might be less obvious. They include dozens of third states that have intervened or otherwise acted in relation to armed conflict in Syria; numerous intergovernmental bodies; diverse domestic, foreign, and international courts; and seemingly innumerable NGOs. Over time, different states have adopted wide-ranging and diverse approaches to undertaking measures (or not) concerning armed conflict in Syria, whether in relation to the government, one or more armed opposition groups, or the civilian population. Especially since mid-2014, a growing number of states have undertaken military operations directed against ISIS in Syria. For at least a year-and-a-half, Russia has bolstered military strategies of the Syrian government. At least one state (the United States) has directed an operation against a Syrian military base. And, more broadly, many states provide (other) forms of support or assistance to the government of Syria, to armed opposition groups, or to the civilian population. Against that backdrop, the Harvard Law School Program on International Law and Armed Conflict (HLS PILAC) set out to collect states’ statements made from August 2011 through November 2016 concerning use of force in relation to Syria. A primary aim of the database is to provide a comparatively broad set of reliable resources regarding states’ perspectives, with a focus on legal parameters. A premise underlying the database is that through careful documentation of diverse approaches, we can better understand those perspectives. The intended audience of the database is legal practitioners. The database is composed of statements made on behalf of states and/or by state officials. For the most part, the database focuses on statements regarding legal parameters concerning use of force in relation to Syria. HLS PILAC does not pass judgment on whether each statement is necessarily legally salient for purposes of international law. Nor does HLS PILAC seek to determine whether a particular statement may be understood as an expression of opinio juris or an act of state practice (though it might be).

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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena und Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, Dezember 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.

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