Gotowe bibliografie tematyczne / Collection art

Gotowa bibliografia na temat „Collection art”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "Collection art"

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Rademeyer, Alta. "Telkom art collection". de arte 33, nr 58 (wrzesień 1998): 44–47. http://dx.doi.org/10.1080/00043389.1998.11761277.

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Klyukanova, Larisa G. "Private Art Collecting as a Present­Day Culture Phenomenon". Observatory of Culture, nr 2 (28.04.2015): 73–77. http://dx.doi.org/10.25281/2072-3156-2015-0-2-73-77.

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Analyses collecting as a type of cultural activity, its institutional and substantive aspects. The author investigates mechanisms of private collection functioning including formation of collections and storage, systematisation, and exhibition of artifacts. The importance of representing the cultural value and symbolic significance embodied in the collection items is highlighted.
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Di Benedetto, Claudio. "The Uffizi Library: a collection that documents collections". Art Libraries Journal 35, nr 2 (2010): 4–7. http://dx.doi.org/10.1017/s0307472200016321.

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The Biblioteca degli Uffizi acts as a documentary ‘black box’ for all the notable collecting that has taken place in Florence during the past 500 years. The Library’s collections stretch from the autograph 22-year diary of the 15th-century painter Neri di Bicci and the different editions of Vasari’s Lives of the painters, through the inventories and lists of objects acquired and held successively by the Medici, the House of Hapsburg-Lorraine and the new Italian united kingdom, and to all the memoirs and plans and catalogues of the directors and ‘royal antiquarians’ of the Uffizi Gallery. In addition it contains major works on art history, artists, public and private art collections, exhibitions and many related topics. The Library holds 77,000 printed books and more than 440 manuscripts; its catalogue is shared with the IRIS consortium of art history and humanities libraries and contributes to artlibraries.net through this shared bibliographic database. Several digitisation projects have already been completed or are currently in progress.
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Romero, Martha. "The JAPS Library: A collection about art". Art Libraries Journal 48, nr 1 (styczeń 2023): 2–9. http://dx.doi.org/10.1017/alj.2022.22.

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AbstractJuan Antonio Pérez Simón has built one of the most extensive art collections in Mexico and it is well-known around the world. One of the least known facets of Juan Antonio Pérez Simón's collecting is that of a bibliophile, a facet that has led him to form one of the richest private libraries specializing in art in Mexico, known for its great expanse and diversity of themes, as well as for the importance of the works that comprise it. The Juan Antonio Pérez Simón (JAPS) Library is the custodian of Pérez Simón's book collection and strives to manage, research, and preserve the collection in order to strengthen and enrich it.
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Danowitz, Erica Swenson. "Art Magazine Collection Archive". Charleston Advisor 23, nr 3 (1.01.2022): 5–9. http://dx.doi.org/10.5260/chara.23.3.5.

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This resource provides full-text access to the digital archives of three significant art publications, ARTnews, Art in America, and The Magazine ANTIQUES. The 3,950 issues found in this database appear in digital format in their entirety as originally published. This database also includes the original advertisements found in these periodicals. These advertisements have been indexed and are searchable. This archive provides an extensive chronicle of art collecting, fine arts, art history, interior design, decorative arts, folk art, antiquing, and architecture in the twentieth and early twenty-first century. It also supports the study and research of the contemporary art movements of the twentieth century, the history of collecting, and the history of the art market.
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Rebora, Carrie. "Robert Fulton's Art Collection". American Art Journal 22, nr 3 (1990): 40. http://dx.doi.org/10.2307/1594565.

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Royo Naranjo, Lourdes. "Art Collection Neue Börse". Boletín de Arte, nr 25 (2.04.2018): 851–55. http://dx.doi.org/10.24310/bolarte.2004.v0i25.4647.

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Bajo el título Art Collection Neue Börse se expuso en el Centro de ArteContemporáneo de Málaga la muestra de un total de treinta y cuatro fotografías de gran formato seleccionadas de la colección de Arte de la Bolsa de Alemania (Deutsche Béirse) entre los días 23 de febrero y 25 de mayo de 2003. Una novedad tanto en el ámbito nacional como internacional, puesto que era la primera vez que la colección Deutsche Börse abandonaba su sede habitual de Francfurtk para ser expuesta.
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Hundt, Stefan. "The Sanlam Art Collection". de arte 40, nr 72 (styczeń 2005): 67–75. http://dx.doi.org/10.1080/00043389.2005.11877047.

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Barata, Ana. "Resources for Latin American art in the Gulbenkian Art Library". Art Libraries Journal 37, nr 4 (2012): 21–23. http://dx.doi.org/10.1017/s0307472200017697.

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From its creation in 1968 the Gulbenkian Art Library has possessed a number of special collections, and these have been enriched through major bequests or through acquisition. Currently there are about 180 collections with relevance for the study of Portuguese art and culture: they include private libraries, the private archives of Portuguese artists and architects, and photographic archives. Material in the special collections is available through the library’s catalogue and some have already been digitised and are available on the internet, depending on their copyright terms and conditions. Among these special collections two have special relevance to the study of the history of Brazilian art and architecture: the collection of Portuguese tiles and the Robert Smith Collection.
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Crampton, Sharon. "The art collection of Oliewenhuis Art Museum, Bloemfontein". de arte 37, nr 65 (styczeń 2002): 98–101. http://dx.doi.org/10.1080/00043389.2002.11876993.

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Rozprawy doktorskie na temat "Collection art"

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Haight, Sarah M. "American Art Lending, 1895-1975". Thesis, School of Information and Library Science, 2006. http://hdl.handle.net/1901/344.

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This paper documents the range of art lending in the United States to individuals by libraries, museums, and other cultural institutions from roughly 1895-1975. The historical analysis includes the reasons and motivations behind the creation of each kind of lending scheme and what its proponents hoped to accomplish, as well as how these collections fit into the broader goals of each type of institution. Loans of originals and reproductions are discussed.
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Brogan, Devin. "Art in Wichita instruction, collection and innovation /". Diss., Click here for available full-text of this thesis, 2006. http://library.wichita.edu/digitallibrary/etd/2006/t024.pdf.

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Summerfield, Angela. "Interventions : twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth-century British art in Britain". Thesis, City, University of London, 2007. http://openaccess.city.ac.uk/17420/.

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In the twentieth century, collecting became a core activity of local authority art galleries and museums in Britain. A key feature of these art collections was the representation of Twentieth Century British Art. The aim of this study is to examine, for the first time, this development as abroad cultural phenomenon, through the distinctive roles played by central government-funded, and independent national and provincial art collection schemes. The central government-funded art collection schemes are the V. & A Purchase Grant Fund, War Artists' Advisory Committee and the National Heritage Memorial Fund; and the national loan and exhibition schemes offered by the Tate Gallery and the Arts Council. Independent schemes are more numerous and varied. These were administered by the National Art Collections Fund (now the Art Fund), Contemporary Art Society, Scottish Modem Arts Association, Contemporary Art Society for Wales, Henry Moore Foundation and Gulbenkian Foundation. In addition, there were the independent national loan and exhibition schemes offered by the Museums Association, Peter Stuyvesant Foundation and Alistair McAlpine and provincial schemes based in Manchester (Charles Rutherston Loan Scheme), Cardiff (National Museum of Wales Loan Scheme), Liverpool ('John Moores' competition-exhibitions) and Bradford ('International Print Biennale' competition-exhibitions). Given the geographical coverage, historical scope and focus of this study, a substantial body of published and unpublished literature was consulted. The wide-range of sources examined included institutional histories, biographies and studies of Twentieth-Century British Art; permanent collection and exhibition catalogues; newspaper, journal and magazine articles, curatorial records and correspondence; institutional records and correspondence; archival material and reports; and . correspondence and interviews. This entailed the discovery of much new material and the collation of substantial random data held by the Contemporary Art Society and the Gulbenkian Foundation This research seeks to show that local authority collecting of Twentieth-Century British Art was part of a nation-wide cultural pattern determined by certain ideas, theories and policies. Within this context, Section 1 identifies and discusses the nature and purpose of public art galleries, muscums and their art collections from 1845-1945. This momentous period in the museum movement in Britain, it is argued, sustained and generated ideas, theories and policies which encompassed national institutional hierarchies and their models of collecting, high art aesthetic standards and scholarship linked connoisseurship; the organic structure of museums; and multifaceted education. It concludes that during this formative period, an enduring cultural framework was established, from which emerged key collecting impetuses which are art history, patronage and heritage. Sections 2 and 3 examine the roles played by central government-funded and independent schemes, as a response to these issues, which also engendered and reinforced the collecting of specific types of Twentieth Century British Art. Section'4 surveys the local authority collections, which participated in the schemes, and concludes that 1957-79 was a crucial period in post-war collecting, which was both facilitated by the emergence of a considerable and dynamic network of commercial art galleries, and enhanced by national and provincial measures to decentralize the arts. A principal conclusion is that the future of modem (twentieth-century) and contemporary (twenty-first- century) British art collecting, by local authority art galleries and museums, lies in its perception as part of a collective cultural enterprise, in which the intervention of collection schemes will, as in the past, play a fundamental role. Finally, there is also a strong argument for provincial institutions to feed into a national debate as to what is selected to represent both modem and contemporary British art practice in public collections in general.
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Salmons, John Andrew. "Adopting an Orphaned Collection". Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/64789.

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"Architecture itself is linked not only to other arts but also to the broader context of life; it is only on that scale that we may understand its specific contribution to the formation of the communicative space of culture."* - Dailbor Vesely 2004 Architects have explored Art Galleries as a medium throughout the ages. In 2014, the Corcoran was sold, dismantled and divided between the National Gallery of Art and George Washington University signaling the end of an era of art display in the Nation's Capital. This transformation of a major DC art collection was the impetus for this thesis: to mark the end of an era and to create a new home for the Corcoran Collection. To house this orphaned collection, I have studied similar elements that earlier architects have studied such as light, shadow, and reflection, taking into account the dawn of the next generation of art galleries. The role of this museum is to educate and facilitate information about the collection and the art. Contemporary art galleries that have been built recently included additional areas of services that were originally not part of the Corcoran Museum's building program, such as the role of conservation of historical objects including paintings and works on paper. Another area of my research was the relationship between the viewer and the building. The Corcoran has an extensive collection of American art and art directly from D.C. and it is important to allow direct access for the community and accommodate enough wall space to give context to the art. With the setting of the contemporary art gallery framed, we return back to the research to really question how each of those elements were thought about moving forward. We need light to see, but what had been seen and depicted on great Master's canvases should be protected from light. Should natural light be brought into the gallery spaces even though it damages works on canvas and paper? Can gallery spaces change over time to mirror the objects that they hold? Can the building reflect the area around the gallery but also act as a space of meditation and self-reflection? To adopt means to take another's child, but it can also mean to embrace an idea. In this case we are adopting the collection of William Corcoran and combining it with newer elements found in modern museums. On further evaluation of the gallery it has strong ties to historic D.C. because of its collection and its community outreach however its weakness was due in part of turning its back on the same community that made it strong. I propose moving the collection into the heart of Washington D.C. and combining it with newer ideas of light and gallery services. This process will allow the Corcoran to continue its evolution as a great American collection. *Dailbor Vesely, "Architecture in the Age of Divided Representation." (Cambridge: The MIT Press, 2004), 88-89.
Master of Architecture
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Walker, Jessica E. "Unexpected Reflection Collection". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253634229.

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Quito, Anne. "Art at work potential contributions of an art collection to non-profit organizations /". Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/456296265/viewonline.

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Baker, Laura. "The New Orleans Museum of Art: Managing the Collection". ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/aa_rpts/173.

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An internship experience in the Office of the Registrar and Collections Management at the New Orleans Museum of Art is reviewed alongside discussion of the Museum’s history, structure, and permanent collection, in addition to analyses of the organization’s finances and its institutional strengths, weaknesses, opportunities and threats. Discussion topics also include the intern’s experience, best practices in similar institutions, and a conclusion with recommendations made by the intern.
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Wilson, Janelle. "Accessioning and Managing the Petersburg Area Art League Collection". VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2296.

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Since the 1960s, the Petersburg Area Art League (PAAL) has obtained works of art for its permanent collection through purchases, private donations, and through the local art show, the Poplar Lawn Art Festival, later known as Artfest. Recently, however, the organization has decided to become a non-collecting institution in order to focus on its mission to promote the arts in Petersburg through gallery shows for local artists and educational programs. While PAAL’s staff members share a love of art and a dedication to the local community, they have not been trained in professional standards for handling museum collections as outlined by the American Association of Museums (AAM). Consequently, the PAAL collection had not been adequately documented or stored in a manner that protected the works from potential damage or degradation. This museums project was designed to help the Petersburg Area Art League meet AAM standards. During the summer of 2010, the collection of 150 artworks was accessioned; its storage facility was reorganized; a database was created; and a collections management policy that would ensure the continued care of the collection after the completion of this project was written and approved. This paper describes challenges encountered and resolved during the two-month project and provides a reference for those who wish to take on similar projects in the future.
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Lucas, Jean-Jacques. "Les territoires imaginés de la collection, récits individuels et collectifs : les collections et les collectionneurs d'oeuvres d'art, d'archéologie, d'arts décoratifs et appliqués dans le Centre-Ouest Atlantique entre 1870 et 1983". Poitiers, 2010. http://www.theses.fr/2010POIT5007.

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Le collectionnisme d'œuvres d'art depuis le milieu du XIXème siècle , lisible tout au long de cette période au travers des expositions régionales, des dons et legs aux musées locaux, inscrit des valeurs de repères. Ces situations supposent l'enchâssement de plusieurs territoires imaginaires, temporels et spatiaux. L'objet pouvant prétendre à une durée que le corps n'atteindra pas, la collection le présente à une admiration durable. Elle est monument marquant l'appropriation de son assembleur, par une fonction ligamentaire, avec son territoire généalogique réel ou reconstruit. La translation dans la collection publique garantit à perpétuité le dépassement de soi et la pérennisation d'un modèle social fondateur et édifiant. La nature des collections d'œuvres d'art, issues aussi de l'archéologie, des arts décoratifs ou d'ethnographie, questionne sur les systèmes de références du monde poitevin. Le temps et l'espace géographique les concernant relèvent de territoires mythogènes rendus visitables dans l'espace du musée. Ces constructions circonscrivent ici des contours spatio-temporels imaginés ou vécus. L'étude de ces collections, de leur mouvance et mouvements renvoie aux valeurs identitaires de leurs auteurs et à celles assurant la cohérence d'un groupe. L'espace géographique de l'étude correspond à trois départements actuels : Vienne, Deux-Sèvres, et la Vendée, historiquement associée au Bas-Poitou pour sa plus grande partie. Le cadre chronologique est fixé entre l'entrée du legs Charbonnel au musée de Poitiers en 1870 et l'arrivée d'un nouvel acteur institutionnel missionné pour collectionner l'art de son temps, le Fonds Régional d'Art Contemporain
Art collecting since the mid-nineteenth century, understandable throughout this period through regional exhibitions, donations and legacies to local museums, recorded landmark values. These situations involve the embedding of several imaginary, temporal and spatial fields. The object aspiring a duration which the body will not reach, will be presented to lasting admiration in a collection. It is a monument marking the ownership of its collector, by a ligamentary function, with its real or reconstructed genealogical territory. The transfer to the public collection guarantees everlasting self surpassing and the perpetuation of a founding and edifying social. The nature of the collections of works of art, also from archaeology, decorative arts, or ethnography questions about the reference systems of the world from Poitou. Their time and geographical space come from mythogène territories for visitors to see in the space of the museum. These constructions define imagined or experienced contours in time and space. The study of these collections, their movement and sphere of influence refers to the identity values of their authors and to those ensuring the coherence of a group. The geographical area of study corresponds to three existing departments : Vienne, Deux-Sevres, and Vendee, for the most part historically associated with the Bas Poitou. The chronological frame is set between the entrance of the Charbonnel legacy to the Poitiers museum in 1870 and the arrival of a new institutional actor commissioned to collect the art of its time, le Fonds Régional d’Art Contemporain
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Donkor, Kimathi. "Africana unmasked : fugitive signs of Africa in Tate's British Collection". Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12019/.

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Through painting, drawing, photography and digital design, I have investigated the relationship between, on the one hand, my fine art practice—with its interest in postcolonial African and diaspora identities (or, ‘Africana’)—and on the other hand, works at The Tate Gallery—with its remit to hold the National Collection of British Art. By interrogating iconological ‘conditions of existence’ for works by Fehr, Sargent and Brock, I created new artworks that indicated hidden (or, ‘fugitive’) African connections with the intention of disrupting complacent assumptions and reimagining unacknowledged (or, ‘masked’) themes. I considered concepts of Africa: described by Mudimbe as ‘discursive formations’ (after Foucault) and embodying postcolonial, transracial identities; in addition, I addressed the problematics of Tate’s British Art collection as a post-imperial brand of ‘cultural capital’. Unmasking fugitive Africana was a practical methodology designed to produce artworks. So,while aware of many theoretical interlocutors, I pursued a convoluted, sometimes intuitive path through the creative process by making drawings, digital designs, photographs and paintings. Nonetheless, Stuart Hall’s framework of an ‘oppositional code’ was key and so I suggest that, as practiced by artists, ‘unmasking Africana’ might be an inherently counter-hegemonic,critical project. My investigation embodied technical and conceptual problematics of critical enquiry as a mode of studio practice. I explored unmasking methodologies through reading, observation,reflection and painterly, synthesised appropriations—also witnessing an evolution in my imagery, from iconographically layered compositions to works in which identities and motifs seemed to fuse. As well as the studio investigation and writing, my project had a pedagogic element. In a series of seminars, I taught MA students at C.C.W. Graduate School the preliminary findings of my research. My interviews with students produced evaluations about their learning, which I later disseminated as part of UAL’s programme to reduce disparities between white and B.A.M.E. British undergraduate students.
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Książki na temat "Collection art"

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1974-, Ilham Khoiri R., i Gautama Candra, red. Art and collecting art: A collection of writings. Jakarta: Kepustakaan Populer Gramedia in cooperation with OHD Museum and Djarum Foundation, 2012.

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Sykes, Marie. Sugar art collection. Frenchs Forest,NSW: Child & Associates, 1989.

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University of Lethbridge. Art Gallery. The art collection. Lethbridge, Alta: University of Lethbridge Art Gallery, 2003.

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Gallery, Art Circle. [Art Circle Gallery art book collection]. Mandaluyong City]: Art Circle Gallery, 2010.

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Barzel, Amnon. Light art: Targetti Light Art Collection. Milano: Skira, 2006.

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Collection remixed. Bronx, N.Y: Bronx Museum of the Arts, 2005.

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Methodist Ladies' College (Kew, Vic.). Contemporary art collection 2009: Methodist Ladies' College Contemporary Art Collection. Melbourne: Bounce Books, 2009.

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Ronte, Dieter. Hess Collection. Bern: P. Haupt, 1989.

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Ronte, Dieter. Hess collection. New York, N.Y: H.N. Abrams, 1989.

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Ayesha, Taslim, red. National Art Gallery collection. Islamabad: Pakistan National Council of the Arts, 2008.

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Części książek na temat "Collection art"

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Barrow, John D. "Art is Critical". W The Frontiers Collection, 875–76. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-92192-7_45.

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Gomes, Noémia Herdade, Elisa Noronha, Filipe Silva, Alexandre Matos i Mário Vairinhos. "The Drawing Collection". W Art and Technology, 123–42. Rotterdam: SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6300-863-1_7.

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Robson, Jonathan. "Popular Art, Bad Art, and the Data of Philosophical Aesthetics". W The Frontiers Collection, 267–77. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_17.

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Skrubbe, Jessica Sjöholm. "The Walden Art Collection". W Nell Walden, Der Sturm, and the Collaborative Cultures of Modern Art, 42–84. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003098935-3.

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McAllister, James W. "Art and Science: A Tangled Relation". W The Frontiers Collection, 1–10. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_1.

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Aiken, Nancy E. "Figurines and the Origin of Art". W The Frontiers Collection, 279–90. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_18.

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Kappraff, Jay. "Complexity and Chaos Theory in Art". W The Frontiers Collection, 117–38. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_9.

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Raghunath, Ghosh. "Art as an Aid to Resolve Tension". W The Frontiers Collection, 335–48. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_21.

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El-Bizri, Nader. "Art and Science: Historical Confluences and Modern Dialectics". W The Frontiers Collection, 11–30. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_2.

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Cohen, Mark Daniel. "Art, Science, and the Nature of the Meritorious". W The Frontiers Collection, 31–52. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_3.

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Streszczenia konferencji na temat "Collection art"

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Coulter, Daniel R., Steven A. Macenka, Mark T. Stier i Roger A. Paquin. "ITTT: a state-of-the-art ultralightweight all-Be telescope". W Critical Review Collection. SPIE, 1997. http://dx.doi.org/10.1117/12.279810.

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"[Cover art]". W 2008 WOMBAT Workshop on Information Security Threats Data Collection and Sharing (WISTDCS). IEEE, 2008. http://dx.doi.org/10.1109/wistdcs.2008.17.

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Graham, Beryl S. "Museums, New Media Art, Documentation and Collection". W Electronic Visualisation and the Arts (EVA 2011). BCS Learning & Development, 2011. http://dx.doi.org/10.14236/ewic/eva2011.37.

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Chen, Zhiqian. "Chinese Art Appreciation and Collection Under Aesthetical Perspective". W proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.423.

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Carletti, Laura, Dominic Price, Gabriella Giannachi, Rebecca Sinker, Derek McAuley i John M. Stack. "Art Maps - Putting the Tate Collection on the Map". W Electronic Visualisation and the Arts (EVA 2014). BCS Learning & Development, 2014. http://dx.doi.org/10.14236/ewic/eva2014.17.

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Qiao, Xiuqiang. "Art Appreciation and Collection from the Perspective of Aesthetics". W Proceedings of the 2018 8th International Conference on Management, Education and Information (MEICI 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/meici-18.2018.124.

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Marr, Stefan, i Benoit Daloze. "Few versatile vs. many specialized collections: how to design a collection library for exploratory programming?" W 2018: 2nd International Conference on the Art, Science, and Engineering of Programming 2018. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3191697.3214334.

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Moldovanu, Anastasia. "The Scientific Value of the Collection of “Tudor Arghezi” art Library. Heritage Documents". W Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.01.

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The written culture of a people is impressive in terms of heritage documents. These include books, the press, old prints and manuscripts, maps. According to their scientific importance, the Library’s collection includes current books, old books, books that, regardless of the year of publication, have special graphic qualities of the cover, title page, valuable content, atypical format, illustrations by well-known artists, and books with special bibliophile value with the signature or autograph of the author/donor. In libraries, such documents come from private donations and libraries; they are collected by professional people who activated in a certain period of time. These donations are managed in the form of special collections at the Arts Branch. In this context, the question of managing this special fund appears, i.e. the inventory, cataloging and preservation of the fund, the elaboration of a common Bibliography for all branches of “B. P. Hasdeu” Municipal Library, which would be permanently completed and therefore become everybody’s common good.
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Udodik, A. I. "VISUAL ART IMAGES OF K. D. BALMONT’S POEM COLLECTION «IN BOUNDLESSNESS»". W ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-36.

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De las Heras Molina, Javier, Juan Gómez Sánchez i José Manuel Vassallo Magro. "Electronic Toll Collection Systems and their Interoperability: The State of Art". W CIT2016. Congreso de Ingeniería del Transporte. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/cit2016.2016.3186.

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The European Electronic Toll Service (EETS) was created in 2004 with the aim of ensuring interoperability among the existing electronic toll collection (ETC) systems in Europe. However, the lack of cooperation between groups of stakeholders has not made possible to achieve this goal ten years later. The purpose of this research is to determine the better way to achieve interoperability among the different ETC systems in Europe. Our study develops a review of the six main ETC systems available worldwide: Automatic Number Plate Recognition (ANPR), Dedicated Short-Range Communications (DSRC), Radio Frequency Identification (RFID), Satellite systems (GNSS), Tachograph, and Mobile communications tolling systems. The research also provides some insight on different emerging technologies. By focusing on different operational and strategic aspects offered by each technology, we identify their main strengths, weaknesses, opportunities and threats and makes different recommendations to improve the current framework. The research concludes that given the diversity of advantages and inconveniences offered by each system, the selection of a certain ETC technology should also take into account its potential to overcome the weaknesses in the current ETC framework. In this line, different policy recommendations are proposed to improve the present ETC strategy at the EU.DOI: http://dx.doi.org/10.4995/CIT2016.2016.3186
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Raporty organizacyjne na temat "Collection art"

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Healey, Patrick. The Social Sculpture in Practice: Joseph Beuys, Waldo Bien and the Free International University World Art Collection, A Report. Redaktor Gerhard Bruyns. FIUWAC, październik 2020. http://dx.doi.org/10.31182/001.

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Zhang, Ling, Chunhui Xiang i Eulanda A. Sanders. Testing Chinese Ink as a Natural Dyestuff on Silk and Cotton Fabrics: The Foundation for a Collection of Wearable Art. Ames: Iowa State University, Digital Repository, listopad 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-131.

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Trachunthong, Deondara, Suchintana Chumseng, Worrayot Darasawang i Mathuros Tipayamongkholgul. Risk Factors and National Burden of Selected Noncommunicable Diseases in People Living with HIV: Systematic Review, Meta-Analysis and, Disability-Adjusted Life Years protocol. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, wrzesień 2022. http://dx.doi.org/10.37766/inplasy2022.9.0018.

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Review question / Objective: 1. Are the prevalence/incidence of four major groups of NCDs including MetS, DM, CVD, and CKD different among adults with and without HIV infection? 2. Are there relationships between HIV status, ART (ART use, short and long-term effects of ART), traditional risk factors (BMI), and the development of four major NCDs? 3. Does the trend of NCDs burden attributable to HIV in Thailand increase according to the time? Information sources: 1. Electronic databases: the following databases will be searched: PubMed/Medline, Scopus, Embase, Cochrane Library Thai journals online (ThaiJO), Thai digital collection (TDC), Thai journal index (TJI), and Thai-journal citation index (TCI). 2. Authors or experts in the field will be contacted through emails for any relevant data, results and information.
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Bates, C. Richards, Melanie Chocholek, Clive Fox, John Howe i Neil Jones. Scottish Inshore Fisheries Integrated Data System (SIFIDS): Work package (3) final report development of a novel, automated mechanism for the collection of scallop stock data. Redaktorzy Mark James i Hannah Ladd-Jones. Marine Alliance for Science and Technology for Scotland (MASTS), 2019. http://dx.doi.org/10.15664/10023.23449.

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[Extract from Executive Summary] This project, aimed at the development of a novel, automated mechanism for the collection of scallop stock data was a sub-part of the Scottish Inshore Fisheries Integrated Data Systems (SIFIDS) project. The project reviewed the state-of-the-art remote sensing (geophysical and camera-based) technologies available from industry and compared these to inexpensive, off-the -shelf equipment. Sea trials were conducted on scallop dredge sites and also hand-dived scallop sites. Data was analysed manually, and tests conducted with automated processing methods. It was concluded that geophysical acoustic technologies cannot presently detect individual scallop but the remote sensing technologies can be used for broad scale habitat mapping of scallop harvest areas. Further, the techniques allow for monitoring these areas in terms of scallop dredging impact. Camera (video and still) imagery is effective for scallop count and provide data that compares favourably with diver-based ground truth information for recording scallop density. Deployment of cameras is possible through inexpensive drop-down camera frames which it is recommended be deployed on a wide area basis for further trials. In addition, implementation of a ‘citizen science’ approach to wide area recording is suggested to increase the stock assessment across the widest possible variety of seafloor types around Scotland. Armed with such data a full, statistical analysis could be completed and data used with automated processing routines for future long-term monitoring of stock.
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Panchenko, Liubov F., Andrii O. Khomiak i Andrey V. Pikilnyak. Using Twitter in Ukrainian sociology majors training. [б. в.], lipiec 2020. http://dx.doi.org/10.31812/123456789/3863.

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The article deals with the problem of using cloud technologies in the training of sociology students in Ukraine. The popularity of Twitter in Ukraine is analyzed. The possibilities of using Twitter as a learning tool in classroom are discussed. List of recommended tweeters, including Ukrainian resources as well as resources related to population censuses is proposed. The article offers examples of student activities for Social Statistics and Demographics courses. The article demonstrates that new forms of student’s activity related to data analysis introduced by academics and practitioners (building art objects and storytelling based on data; shared data collection by citizens through mobile devices, “play with data” modern data visualization services) can be realized with Twitter resources and can help overcome the barriers that arise while studying quantitative methods.
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Simas, Molly. The Skins We Have Shed and Where They Are Buried: A Collection. Portland State University Library, styczeń 2000. http://dx.doi.org/10.15760/etd.6371.

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Strachan, Anna Louise. The Impact of Covid-19 on Research Methods and Approaches. Institute of Development Studies (IDS), styczeń 2021. http://dx.doi.org/10.19088/cc.2021.002.

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The Covid-19 pandemic, and measures to contain the spread of the virus, such as border closures, quarantine requirements, mandatory PCR (Polymerase Chain Reaction) tests, curfews, and social distancing requirements, have had a significant impact on research methods and approaches. Most of the available literature assumes that remote data collection is the only viable means of collecting primary data during the pandemic, so that is the focus of this report. While there is an extensive discussion of challenges associated with undertaking primary data collection during this time, there are also several commentaries and opinion pieces that highlight the opportunities and positive aspects of remote data collection.
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Kennedy, Marie, Aisha Conner-Gaten, Jamie Hazlitt, Javier Garibay i Marisa Ramirez. Assessing the Diversity of the E-collection of the William H. Hannon Library; a Phased Project. William H. Hannon Library, 2018. http://dx.doi.org/10.15365/whhl.librarian.2018.1022.

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The American Library Association’s 1982 statement on Diversity in Collection Development reminds librarians of our professional responsibility “to select and support the access to materials on all subjects that meet, as closely as possible, the needs, interests, and abilities of all persons in the community the library serves. This includes materials that reflect political, economic, religious, social, minority, and sexual issues.” The William H. Hannon (WHH) Library’s vision statementaffirms that the library views itself as Bridge, Gateway, Agora, and Enterprise. To ensure that our materials collection aligns with our institutional vision and meets the research needs of our diverse campus population, the project team proposed an assessment of our electronic collection through the lens of diversity. The assessment was to determine if the library’s online databases (most often the first point of research consultation for our students and faculty) are adequately “bridging disciplines” (Bridge) and “representing diverse topics and perspectives” (Gateway). What the team learns will inform the library collection strategy, to ensure that it builds collections that deliberately and positively contribute to an inclusive campus climate. [1] http://library.lmu.edu/aboutthelibrary/libraryvisionmission/
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Hamudi, Simbarashe. Perception of Taxpayers and Tax Administrators Towards Value Added Withholding Tax in Zimbabwe. Institute of Development Studies (IDS), lipiec 2021. http://dx.doi.org/10.19088/ictd.2021.013.

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Value added tax is a key tax for generating revenue in Zimbabwe and all African states, and for financing the budget in African countries. VAT revenue has an essential role in budgetary policymaking. Every year revenue authorities are not collecting large amounts of VAT for various reasons, including ineffective administration and tax evasion. This brings the question of the reform of the VAT system to the forefront. In Zimbabwe, attempts to improve VAT revenue collection have been made over several years. Hopes were pinned on the use of fiscalisation and audits of VAT refunds.1 However, traders continue to evade VAT – and this has led to the introduction of value added withholding tax to improve VAT revenue collection.
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Engel, Chandler, Rachel Hastings, Jeremy Giovando, Eric Gabel, Caroline Duncan i Travis Dahl. Summary of ground-based snow measurements for the Northeastern United States. Engineer Research and Development Center (U.S.), kwiecień 2022. http://dx.doi.org/10.21079/11681/44122.

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Snow is an important resource for both communities and ecosystems of the Northeastern United States. Both flood risk management and water supply forecasts for major municipalities, including New York City, depend on the collection of snowpack information. Therefore, the purpose of this study is to summarize all of the snowpack data from ground-based networks currently available in the Northeast. The collection of snow-depth and snow water equivalent information extends back several decades, and there are over 2,200 active sites across the region. Sites are distributed across the entire range of elevations in the region. The number of locations collecting snow information has increased substantially in the last 20 years, primarily from the expansion of the CoCoRaHS (Community Collaborative Rain, Hail, and Snow) network. Our summary of regional snow measurement locations provides a foundation for future studies and analysis, including a template for other regions of the United States.
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