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Academic literature on the topic 'Galleria Cardi'

Author: Grafiati
Published: 27 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Galleria Cardi"

1

Simmons, Anne H. "FOMO case studies: loss, discovery and inspiration among relics." Art Libraries Journal 41, no. 2 (April 2016): 72–76. http://dx.doi.org/10.1017/alj.2016.3.

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In 2009, I was two years into my tenure as a museum employee, managing a collection of small exhibition brochures, pamphlets and gallery announcements at the National Gallery of Art Library. That summer, New York Times art critic Roberta Smith reported on a phenomenon I had also observed in my capacity as Reference Librarian for Vertical Files: the decline of the printed gallery post card. Smith's ArtsBeat blog post, ‘Gallery Card as Relic,’ is a breezy elegy surveying recent “final notice” cards mailed from commercial galleries that were “going green” by eliminating paper mailings. I, however, was feeling less light-hearted about the demise of what Smith describes as a “useful bit of art-world indicator…[and] an indispensable constant creatively deployed by artists, avidly cherished by the ephemera-obsessed and devotedly archived by museums.”
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Johnston, D., and T. Sharpe. "Visitor behaviour at The Evolution of Wales exhibition. National Museum and Gallery, Cardiff, Wales." Geological Curator 6, no. 7 (April 1997): 255–66. http://dx.doi.org/10.55468/gc528.

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The Evolution of Wales is a permanent geological exhibition at the National Museum and Gallery in Cardiff. Opened in 1993, it makes extensive use of video, lighting and sound technology, and a wide range of specimens to show the geological and biological processes that led to the formation of Wales. In the summer of 1995, a detailed study of how visitors behave within the exhibition, and their attitudes towards it, was carried out. The survey aimed more to provide an insight into human nature in geology galleries than to be an evaluation of the exhibition. Both quantitative and qualitative methods were used, including direct observation (behavioural mapping), interviews and visitor comment cards. Using the attracting and holding powers of each display unit, a behavioural map of the gallery has been produced. Based on the survey's findings, suggestions of what factors produce displays that both attract and hold visitor attention are presented.
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3

Bolotova, Alexandra I. "The Tretyakov Gallery Library." Art Libraries Journal 17, no. 2 (1992): 24–26. http://dx.doi.org/10.1017/s0307472200007781.

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The Library of the Tretyakov Gallery in Moscow contains over 50,000 books on Russian and foreign art. The collections date back to the gift, in 1899, of the library of P. M. Tretyakov. From 1918, the Library and the Gallery received the benefit of State support; the Library gained books from private collections and as a result of the closure of other museums, and it continued to receive donations. From 1931, copies of Russian publications on art were received on legal deposit, and many publications are additionally acquired in exchange for copies of the Gallery’s own publications. As well as books, the Library contains collections of manuscripts, of press-cuttings, and of exhibition invitation cards and posters. The Library maintains several card indexes, on Soviet art and the participation of Soviet artists in exhibitions, and of journal articles, illustrations, illustrators, and exhibition catalogues. The Library has itself published several reference books.
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Yani, Indri, and Engkus Kusmana. "PENERAPAN MODEL PEMBELAJARAN GALLERY WALK DAN MEDIA KOKAMI (KOTAK KARTU MISTERI) UNTUK MENINGKATKAN HASIL BELAJAR BIOLOGI SISWA KELAS XI DI SEKOLAH MENENGAH ATAS NEGERI 10 BOGOR." Pedagonal : Jurnal Ilmiah Pendidikan 4, no. 1 (March 29, 2020): 30–33. http://dx.doi.org/10.33751/pedagonal.v4i1.1991.

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THEAPPLICATION OF GALLERY WALK MODEL AND KOKAMI MEDIA TO IMPROVE STUDENTS’ ACHIEVEMENT IN BIOLOGY ON ELEVENTH GRADE STUDENTS IN SEKOLAH MENENGAH ATAS NEGERI 10 BOGORThis research is a Classroom Action Research (CAR) which aimed at to improve students’ achievement in biology using gallery walk model and mystery cards box. The samples are 35 students of the eleventh grade IPA 2. This research was done in two cycles, with each cycles consist of two meetings. There are four stages for each cycles, they are planning, treatment, observation, and reflection. Evaluation is given at the end of every cycles using calibrated instrument. The evaluation result on the first cycle is 74,48 there are 24 students reach the maximum mastery criteria with KKM achievement percentage around 68,57% from 35 students, and on the second cycle the average score increased into 81,45 with KKM achievement percentage at 82,85%. It shows that the application of gallery walk learning model and Kokami media can improve students’ achievement of the eleventh grade IPA 2 in biology subject in SMAN 10 Bogor.
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5

Hingley, Liz. "A Key to Home: Illuminating the Role of the SIM Card in Refugee Resettlement." Imaginations Journal of Cross-Cultural Image Studies/revue d études interculturelle de l image 13, no. 2 (October 30, 2022): 105–21. http://dx.doi.org/10.17742/image.tp.13.2.5.

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This paper considers how creative research mediated by mobile devices might contribute to upending inherited notions of refugee powerlessness and passivity in galleries and museums. A collaborative project, undertaken in 2019, explored the significance of SIM cards in forging a sense of security, identity, and belonging for Syrian refugees on a resettlement program in the U.K. This “opening up” the “body” of the smartphone in the process of creating artworks reveals the urgent need for deeper appreciation of the meaning and materiality of personal digital ecosystems (Blanke & Pybus 2020) for refugees negotiating a sense of home.
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Candra, Ayung. "ANALISIS USER EXPERIENCE UNTUK VIRTUAL GALLERY 3D MENGGABUNGKAN PANORAMA FOTO SEBAGAI MEDIA INFORMASI CANDI HINDU BUDHA." Jurnal Ilmiah Teknologi Infomasi Terapan 8, no. 1 (December 15, 2021): 85–91. http://dx.doi.org/10.33197/jitter.vol8.iss1.2021.725.

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Teknologi realitas maya dan dunia virtual menjadi salah satu perkembangan teknologi yang terus dikembangkan sebagai media untuk menyampakan informasi maupun konten dalam bentuk digital. Kebutuhan akan media yang inovatif di era revolusi Industri 4.0 menjadi keharusan dan tantangan baru terutama melihat potensi budaya dan sejarahnya yang harus tetap dilestarikan seiring dengan perkembangan zaman dan teknologi. Salah satu topik yang menjadi tantangan dalam inovasi media saat ini adalah model media informasi yang sebelumnya di desain konvensional dalam menampilkan informasi terutama bidang sejarah, baik itu keilmuan murni maupun sejarah untuk media pembelajaran. Informasi sejarah candi Hindu Budha pada dasarnya merupakan sejarah yang sangat menarik dan wajib diketahui oleh semua orang, baik bagi anak anak, remaja maupun masyarakat umum. Penelitian ini berfokus pada perancangan user experience (UX) untuk virtual galeri 3D menggabungkan panorama foto sebagai media informasi Candi Hindu budha di Jawa Barat berdasarkan pada kemudahan, efisiensi, dan kegunaan untuk pengguna. Metode dalam penelitian ini adalah Desain and Development (DnD). Penelitian dilakukan dengan menggunakan kuesioner sebagai instrumen penelitian. Kuesioner penelitian yang disebar terdiri atas 15 pertanyaan yang dikelompokkan menjadi lima variabel usability. Berdasarkan pengolahan data diperoleh hasil bahwa dari 5 variabel usability yang digunakan pada kuesioner, hanya 1 variabel yang signifikan digunakan untuk menganalisis usability aplikasi yaitu memorability. Dari 5 variabel tersebut aplikasi virtual gallery 3D memenuhi 4 variabel lainnya sehingga dapat disimpulkan bahwa aplikasi android belum memenuhi kriteria-kriteria Usability, Learnability 85,6 %, System Performance 76,9 %, Eficiency 79,9 %, Memorability 74,2 %, Satisfaction 85,04 %.
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Johnston, Paul R., and Neil Crickmore. "Gut Bacteria Are Not Required for the Insecticidal Activity of Bacillus thuringiensis toward the Tobacco Hornworm, Manduca sexta." Applied and Environmental Microbiology 75, no. 15 (June 12, 2009): 5094–99. http://dx.doi.org/10.1128/aem.00966-09.

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ABSTRACT It was recently proposed that gut bacteria are required for the insecticidal activity of the Bacillus thuringiensis-based insecticide, DiPel, toward the lepidopterans Manduca sexta, Pieris rapae, Vanessa cardui, and Lymantria dispar. Using a similar methodology, it was found that gut bacteria were not required for the toxicity of DiPel or Cry1Ac or for the synergism of an otherwise sublethal concentration of Cry1Ac toward M. sexta. The toxicities of DiPel and of B. thuringiensis HD73 Cry− spore/Cry1Ac synergism were attenuated by continuously exposing larvae to antibiotics before bioassays. Attenuation could be eliminated by exposing larvae to antibiotics only during the first instar without altering larval sterility. Prior antibiotic exposure did not attenuate Cry1Ac toxicity. The presence of enterococci in larval guts slowed mortality resulting from DiPel exposure and halved Cry1Ac toxicity but had little effect on B. thuringiensis HD73 Cry− spore/Cry1Ac synergism. B. thuringiensis Cry− cells killed larvae after intrahemocoelic inoculation of M. sexta, Galleria mellonella, and Spodoptera litura and grew rapidly in plasma from M. sexta, S. litura, and Tenebrio molitor. These findings suggest that gut bacteria are not required for B. thuringiensis insecticidal activity toward M. sexta but that B. thuringiensis lethality is reduced in larvae that are continuously exposed to antibiotics before bioassay.
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Callaghan, Holly. "Electronic ephemera: collection, storage and access in Tate Library." Art Libraries Journal 38, no. 1 (2013): 27–31. http://dx.doi.org/10.1017/s0307472200017843.

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The Tate Library holds an extensive collection of print ephemera that includes private invitation cards, press releases, postcards, and promotional material from artists and galleries. In 2006, library staff began to notice a trend for an increasing amount of born-digital ephemera, circulated via email and vulnerable to loss, deletion and disintegration. In 2011, they undertook an internal research project to develop a strategy for collecting, storing and providing access to born-digital ephemera. As the creation and dissemination of electronic ephemera continues to grow rapidly, we need to ask how we can bridge the gap in our technical knowledge and apply current digital preservation research to our library collections. How can we establish a low-cost working best practice for collection, storage and access? And is there future potential to create external partnerships with other institutions facing the same issues?
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9

Falconer, Vicky. "Printed exhibition ephemera: here to stay? A survey of UK and international art galleries and organisations undertaken at Chelsea College of Arts Library." Art Libraries Journal 41, no. 2 (April 2016): 97–105. http://dx.doi.org/10.1017/alj.2016.8.

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A survey was carried out at Chelsea College of Arts Library in 2015 to investigate the currency of printed art ephemera, and to inform the development of its collection. The questions were: 1. Does your institution produce printed exhibition ephemera (i.e. exhibition announcements, private view cards, posters, etc.)?; 2. If yes, does your institution distribute these items by post?; 3. Is your policy on the above likely to change in the foreseeable future? Do you have any comments about this or about anything else to do with exhibition ephemera? Distributed to 250 organisations, this article analyses the data gathered from the replies received.
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Tade, Oludayo, and Oluwatosin Adeniyi. "On the limits of trust." Journal of Financial Crime 23, no. 4 (October 3, 2016): 1112–25. http://dx.doi.org/10.1108/jfc-04-2015-0023.

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Purpose This paper aims to investigate automated teller machine (ATM) fraud in southwest Nigeria, as extant studies have not examined the unintended consequences of ATM subscription particularly the effect of the identity of fraudsters and the strategies for defrauding. Design/methodology/approach Using sequential exploratory strand of mixed method, data were collected from both ATM users and victims of ATM fraud using multi-stage sampling procedure. This involved purposive selection of Lagos and Oyo states. Findings Results showed that fraudsters were typically lovers, friends, relatives and sometimes children of victims. Strategies for defrauding included card cloning, swapping of cards and physical attacks at ATM galleries. Research limitations/implications Because of the size of the sample which is small, the research results may lack generalizability. More expansive works are needed across Nigeria in this regard. Practical implications The paper includes implications for policy initiative concerning the deployment and use of payment systems such as ATM in Nigeria. Social implications The paper reveals the limits of trust in cashless policy. It raises salient policy issues concerning the need for the governance of trust to engender adoption. Originality/value The paper characterizes fraudsters and their strategies for defrauding.
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Books on the topic "Galleria Cardi"

1

Valcamonica, Giulia. Untitled: The best of Galleria Cardi. Milano: Electa, 2008.

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Gosudarstvennyĭ t︠s︡entralʹnyĭ muzeĭ sovremennoĭ istorii Rossii, ed. I︠A︡ khudozhnik velikoĭ derzhavy: Deni V.N. (1893-1946) : Katalog pochtovykh kartochek : Iz sobranii︠a︡ Gosudarstvennogo t︠s︡entralʹnogo muzei︠a︡ sovremennoĭ istorii Rossii. Moskva: Gosudarstvennyĭ t︠s︡entralʹnyĭ muzeĭ sovremennoĭ istorii Rossii, 2013.

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3

Edward, Weston. Edward Weston: Portraits. New York: Aperture, 1995.

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Edward, Weston. Edward Weston: Portraits. New York: Aperture, 1995.

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1886-1958, Weston Edward, and Morgan Susan, eds. Edward Weston portraits: Aperture. New York: Aperture, 1995.

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Edward, Weston. Edward Weston. Firenze: Flli. Alinari, 1990.

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Susan, Danly, Spaulding Jonathan 1957-, Smith Jessica Todd, Watts Jennifer A, and Henry E. Huntington Library and Art Gallery., eds. Edward Weston: A legacy. London: Merrell, 2003.

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1945-, Mora Gilles, ed. Edward Weston: Forms of passion. New York: H.N. Abrams, 1995.

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Gallery, Hayward, ed. Edward Weston. London: Hayward, 1999.

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University of Arizona. Center for Creative Photography., ed. Edward Weston: Color photography. Tucson, Ariz: Center for Creative Photography, University of Arizona, 1986.

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Book chapters on the topic "Galleria Cardi"

1

Lindsey, Rachel McBride. "When I Awake with Thy Likeness." In A Communion of Shadows. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469633725.003.0002.

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This chapter examines family Bible portrait galleries within the context of studio portraiture and nineteenth-century notions of “likeness.” Portrait galleries for small, card-sized “carte de visite” studio portraits became popular additions to family bibles in the 1860s and remained so through the end of the century. This chapter positions these galleries against standalone photograph albums and other forms of memory work within family bibles in order to consider what genealogies these silent likenesses created for their beholders. As a point of entry into the communion of shadows, this chapter argues that family bible portrait galleries were sites where knotted threads of race and nation were smuggled into sacred history—unwittingly, perhaps—under the guise of family pictures.
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Ritchie, Donald A. "News Center of the World." In Reporting from Washington, 92–110. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195178616.003.0006.

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Abstract While Joe McCarthy hunted for Reds in the government, reporters for the Soviet news agency TASS could watch him from the congressional press galleries. The columnist Joseph Alsop mused that “anybody could go anywhere; you didn’t even need a card to get in the White House, and even Larry Todd got into the press conferences, and nobody thought anything about it.” He was referring to Laurence Todd, the mild-mannered, scholarly correspondent for TASS. Both the liberal columnist Drew Pearson and the conservative Chicago Tribune correspondent Walter Trohan counted Todd as a personal friend, regardless of his employer. By the time the Cold War started, on the heels of World War II, Todd had represented TASS in Washington for two decades and had become the dean of the State Department’s press corps. His press pass let him dine in the State Department cafeteria, a hub of office gossip, and attend off-the-record briefings on matters of national security. American officials assumed that TASS reporters were Communists at best and spies at worst, yet when anti-Communists in Congress tried to expel TASS from the press galleries, the State Department and the Standing Committee of Correspondents rallied to its defense. Even TASS belonged to what members of the press corps referred to as the “international fraternity of reporters.”
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