Gotowe bibliografie tematyczne / Gallery

Gotowa bibliografia na temat „Gallery”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 3 marca 2023

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Artykuły w czasopismach na temat "Gallery"

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Chiwara, Davison. "Documentation: A Security Tool for the Identification and Repatriation of Illicitly Trafficked Objects from Museums with Particular Reference to the National Gallery of Zimbabwe". Heritage 2, nr 1 (28.01.2019): 390–99. http://dx.doi.org/10.3390/heritage2010027.

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The aim of the study was to ascertain how documentation assisted in the recovery of stolen and illicitly trafficked objects at the National Gallery of Zimbabwe. The research objectives were to: Assess the adequacy of the gallery’s documentation system; appraise the documentation elements that were key in the tracking and repatriation of stolen objects to the gallery; analyze the gallery’s networks on the documentation and safeguarding of objects against theft; and ascertain challenges faced by the gallery in documenting its objects. Research results indicated that the gallery’s documentation system encompassed both manual and electronic documentation, which addressed vital aspects that have been prescribed by Object ID Standards for the identification and recovery of stolen objects. These include photographs, provenance, and name of objects. This, coupled with networks with key institutions involved in the fight against theft and illicit trafficking of objects, has enabled the gallery to recover its stolen objects from Poland. However, lack of state-of-the-art cameras has led to the production of poor photographs, which compromised the gallery’s claim to its stolen objects. Additionally, lack of ideal software for the gallery’s database is hampering effective documentation efforts. The research recommends that the gallery should acquire appropriate cameras for quality documentation of its objects and purchase database software with backup support for software upgrades to prevent loss of information on its objects.
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Neethling, Lynnda. "The Johannesburg Art Gallery Library: Looking to the Future". Art Libraries Journal 20, nr 4 (1995): 16–18. http://dx.doi.org/10.1017/s0307472200009573.

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The Johannesburg Art Gallery opened in 1915. A collection of books intended for the Gallery, but housed elsewhere pending the completion of the building, became the separate Michaelis Art Library; the Gallery gradually formed its own library, for the use of the curators. In 1986 the Gallery Library was accommodated in a new wing. Selection for the Library has reflected the Gallery’s diverse collecting activities. Latterly, the Library has worked closely with the Gallery’s education department, and as a result its resources have been made available to the wider community. In 1994 the Library was given a major art slide collection by the Rand Afrikaans University; in the same year, it received funding for the computerisation of its catalogue, which will be accessible through SABINET. Work is in progress on an index of South African art.
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Herijanto, Pudji, Nilawati Fiernaningsih, Widjanarko Wijanarko, Fauzi Ahmad, Maskur Maskur i Suwarni Evi. "PENATAAN SISTEM, PROSEDUR, DAN ORGANISASI GALERI UMKM KECAMATAN PONCOKUSUMO KABUPATEN MALANG". Dharma: Jurnal Pengabdian Masyarakat 3, nr 2 (1.12.2022): 28. http://dx.doi.org/10.31315/dlppm.v3i2.7744.

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The purpose of opening the gallery is to add distribution channels for MSME products, in order to increase sales. Most of these MSMEs produce products with local raw materials so they play a role in increasing the added value of the area. Currently, gallery operations are handled by the UMKM Association while still implementing traditional store management. After running for more than a year, they are still unable to carry out their functions effectively. This Community Service Activity aims to organize the Gallery's Organizational, System, and Working Procedures. The m Evi Suwarni method of implementing the activities is done by transferring knowledge, simulation, and implementing the gallery's organization, system, and work procedures. Evaluation of participants' understanding was done by distributing questionnaires. The output of this service is an increase in the knowledge and skills of partners, especially in terms of gallery management and the completeness of gallery operational standards. Another outcome is an increase in the competitiveness of partner human resources, who have knowledge and skills in managing galleries, both in terms of organization and work procedures. Store services also become another competitive advantage in the production process, especially consignment sales services.Keywords: system, procedures, organisation, gallery
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Gaudens, Asunción, i Jorge Morales. "Poster Gallery". Culture & History Digital Journal 3, nr 2 (30.12.2014): e011. http://dx.doi.org/10.3989/chdj.2014.011.

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Rakhmayanti, Retno, Anna Fitri Hindriana i Handayani Handayani. "PENERAPAN METODE GALLERY WALK TERHADAP KREATIVITAS SISWA PADA MATERI PENCEMARAN LINGKUNGAN DI KELAS X SMA NEGERI 1 GEGESIK". Quagga : Jurnal Pendidikan dan Biologi 10, nr 2 (30.07.2018): 20. http://dx.doi.org/10.25134/quagga.v10i2.1252.

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Tujuan penelitian ini adalah untuk mengetahui pengaruh penerapan metode Gallery Walk terhadap kreativitas siswa dengan menggunakan metode True Eksperimen post-test Only Control Design. Penelitian ini juga menggunakan Peer Assesment untuk menilai proses pembuatan produk antar teman, Angket digunakan untuk mengetahui respon siswa terhadap metode pembelajaran Populasi �penelitian adalah seluruh siswa kelas X IPA SMA Negeri 1 Gegesik Tahun ajaran 2016/2017 yang berjumlah 194 siswa. Pengambilan sampel dilakukan dengan menggunakan Cluster Random Sampling, dibagi menjadi 2 kelompok kelas, yaitu kelas metode Gallery Walk sebanyak 40 siswa dan kelas metode Proyek sebanyak 40 siswa. Instrumen yang digunakan adalah lembar observasi penilaian kreativitas produk, lembar observasi penilaian antar teman dan angket. Hipotesis diuji menggunakan uji statistik nonparametrik wilcoxon, Peer Assesment dan angket menggunakan presentasi hasil . Hasil penelitian menunjukkan bahwa nilai uji wilcoxon adalah R# 820 > Z 7,7 yang artinya ada pengaruh penerapan metode Gallery Walk terhadap kreativitas siswa. Hasil Peer Assesment menunjukkan presentasi 100 % untuk semua indikator pada kelas ekspeimen yang artinya peer assesment ini sangat baik digunakan pada metode Gallery Walk. Sedangkan untuk hasil Angket menunjukkan presentasi 90% untuk proses pembelajaran, 88,75% untuk kecocokan Metode Galley Walk terhadap materi, 87,5% untuk kelebihan metode Gallery Walk, 5% untuk kekurangan metode Gallery Walk. Kata kunci : Gallery Walk, Kreativitas
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Anastasiei, Iolanda. "Reconfigurations of the Exhibition Space – Case Study: Cristi Rusu Exhibition at the Plan B Gallery". Studia Universitatis Babeș-Bolyai Philosophia 65, Special Issue (20.11.2020): 145–57. http://dx.doi.org/10.24193/subbphil.2020.spiss.11.

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"Reconfigurations of the Exhibition Space – Case Study: Cristi Rusu Exhibition at the “Plan B” Gallery. In this paper I focus on a case study concerning the Cristi Rusu exhibition, The Only Thing I Am Sure about in This Life Lies above My Head, from the Plan B Gallery in Berlin (March 6 – April 11 2020). By integrating some interventions specific to land art in the gallery space (and, therefore, transforming it), Cristi Rusu manages to transgress the conventional limits imposed by the idea of a white cube gallery neutral space. The art gallery’s space functions as a medium for developing artistic discourse as the project tries to detach from the tradition and ideologies already incorporated in a certain place and time, in search for the sublime. Keywords: Plan B Gallery, Cristi Rusu, sublime, the archive, “profane space”, non-site "
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Ardhiati, Yuke, Ashri Prawesthi D, Diptya Anggita, Ramadhani Isna Putri, L. Edhi Prasetya, Widya Nur Intan, Muhammad Wira Abi i in. "An Adaptive Re-use of Cultural Heritage Buildings in Jabodetabek (Greater Jakarta) as the National Gallery of Indonesia's Satellites". International Journal of Built Environment and Scientific Research 4, nr 2 (28.12.2020): 115. http://dx.doi.org/10.24853/ijbesr.4.2.115-126.

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The Nasional Gallery of Indonesia is a reputable art gallery owned by Indonesian State. It roles as the venue for exhibitions and art events on International scale. To maintain the reputation then it employed the Independent Curators to cary out exhibitions. In recent years, the phenomenon of the proffesional Fine Art Artists show the hing spirits. To enrich their international publication then they began to realize their opportunity to exhibit at this gallery. Unfortunately, the gallery building is an adaptive reuse of the Cultural Heritage Building. The National Gallery building which has a distinctive Dutch Colonial architectural style has not been optimally utilized. So, it has existence has wide limitations and space limitation that unable to accommodate such high interests. On the other hand, Jabodetabek is stands for Jakarta-Bogor-Depok-Tangerang-Bekasi are the Greater City of Jakarta, has Cultural Heritage Buildings. There are many of architectural style of heritage buildings that has chance to be the exhibition spaces. The study is an idea to aim solutions of the availability of exhibition area in Jabodetabek to accommodate the Fine Art Artists interest of exhibiting. According to the Adaptive-Reuse of the National Gallery’s case, and by refers to the Grounded Theory Research method and Case Studies related to the Jabodetabek’s Cultural Heritage buildings. A Working Hyphotesis is Jabodetabeks’s Cultural Heritage Buildings opportunities as The National Gallery’s Satellites. The findings are the Satellite Galleries Rank, and the Properties Display recommendation based on the Cultural Heritage’s rules that can be offered to make them as the “Satellite” as well as the ICOM as the National Gallery of Indonesia’s standard.
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Lydon, Andrea. "The right space: 150 years of housing a national gallery's library and archive collection". Art Libraries Journal 43, nr 1 (8.12.2017): 24–30. http://dx.doi.org/10.1017/alj.2017.44.

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The National Gallery of Ireland is the country's premier art institution. It houses the nation's collection of fine art in addition to a collection of library and archive material relating to the visual arts. The library and archive collections play an invaluable role supporting the work of the gallery and are regularly consulted by external researchers. Surprisingly, for more than a century there was no dedicated library space allocated to this collection. This article explores the development of the collection and the space it has occupied within the Gallery over the last 150 years, chronicling the challenges the gallery has faced housing this growing collection. This article outlines the situation today and concludes with an outline of the gallery's future plans for the library and archive in its efforts to create a space that will be a fitting home for this remarkable collection.
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Yanuardi, Yanuardi, Ahmad Soleh i Eska Prima Monique Damarsiwi. "Analysis of Radix Guitar Marketing Strategy on Queen Guitars Gallery, Bengkulu City". Journal of Indonesian Management (JIM) 1, nr 1 (20.06.2021): 19–27. http://dx.doi.org/10.53697/jim.v1i1.114.

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In conducting marketing activities a company has several objectives to be achieved, both short-term goals and long-term goals. In the short term it is usually to win the hearts of consumers, especially for newly launched products. Whereas in the long term it is carried out to maintain existing products in order to exist. Likewise, the Queen Guitars Gallery of the City of Bengkulu, of course, requires the role of marketing activities and strategies. Based on this, then to find out the exact strategy used by the Queen Guitars Gallery of the City of Bengkulu, a SWOT analysis is needed. The purpose of this study was to find out the marketing strategy of the Radix guitar at the Queen Guitars Gallery in the City of Bengkulu.From the results of IFAS and EFAS research in this study, there was a strength factor possessed by the Bengkulu City Queen Guitars Gallery of 25, while the weakness was 6.69. So the internal quadrant of the factor is 25-6.69 = 18.31, while the opportunity factor that is owned is 19.125 and for the threat factor is 7,15. So the external quadrant is a factor of 19.125-7,15 = 11,975. Based on this analysis, Queen Guitars Gallery of the City of Bengkulu is in quadrant 1 in the SWOT diagram. Based on the results of research carried out at the Bengkulu City Queen Guitars Gallery, it can be concluded that the appropriate strategy is an aggressive strategy or Strength opportunity (SO) strategy, because the Bengkulu City Queen Guitars Gallery currently has great strength and opportunity, so this strategy which can be used for the progress of the Queen Guitars Galllery City of Bengkulu.
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Neave, Richard. "Gallery". Journal of Audiovisual Media in Medicine 8, nr 1 (styczeń 1985): 2. http://dx.doi.org/10.3109/17453058509155954.

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Rozprawy doktorskie na temat "Gallery"

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Basar, Murat. "INTERACTIVE GALLERY". Thesis, Linnéuniversitetet, Institutionen för datavetenskap, fysik och matematik, DFM, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-23220.

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Today, there are many high-level interactive applications and products around the world which are developed by using programming languages or software. Basically, games, virtual museums, educational applications, interactive architectural products are the simplest examples about these interactive solutions. In this thesis, interactive gallery means moving objects in a three-dimensional room. Objects can be re-placed by using keyboard keys in this three-dimensional room. Thus, user can move these interactive objects in accordance with intended purpose. Interactive gallery is similar with a room that has furniture, door and windows. Also, this room includes interactive objects in it. The main focal point is about how these objects can be displayed interactively and how different methods are used, when these processes are started to be made. This thesis helps to solve these questions. Interactive gallery bases on model loading structure and on the following thesis, this process is parted. It starts with 3D modelling, continuous with model loading and it ends with key implementation.
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Arnett, Joanne. "Rogue gallery". Thesis, Kent State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1555301.

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I seek to capture the ephemeral in a series of large-scale weavings that examine relationships between public and private, real and artificial, the mundane and the extraordinary.

I use mug shots as a device because they represent a perfect juncture between conflict and resolution. I assume the role of the accused in all the compositions. Rather than present the images as photographs I transform them into weavings. The zeros and ones that make up a digital image file become a code which translates as the over and under of warp and weft and embeds the image in the finished cloth. Matte yarn is used for the warp, shiny wire is used for the weft, transforming darks and lights in to rich tactile surfaces. The resulting image appears and disappears depending on the viewer's perspective.

The viewer is required to physically interact with the artwork in order to see the portrait, creating a dynamic between him and the person pictured. The image slips away as the viewer steps closer, shifting the viewer's focus to other aspects of the work, and as he circles the art work to recapture the portrait there is time for layers of information to be read. The luxurious weavings are enigmatic and inspire a sense of wonder. Content, materials, and form combine to create a moment where the viewer is taken out of the expected, suspending a fleeting exchange in time and resulting in an experience rather than just a viewing.

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Brunstorp, Jimmi. "Gallery Wall". Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4763.

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För vissa är graffiti konst, för andra är det ett tecken på förlorad kontroll. För mig är det ett redskap för att mötas.  Jag har delat in mitt examensarbete i två delar. Den första behandlar visionen jag baserat mitt arbete på. Den andra handlar om design och placering av de fysiska paviljongerna.  I den första delen har jag utgått ifrån ett scenario där den fysiska arkitekturen återspeglas i ett virtuellt gallerisystem jag get namnet Gallery Wall. Denna del finns bara på idébasis men har varit utgångspunkt då jag formgivit mina paviljonger.  Jag har skapat fem olika paviljongstyper som tillsammans på ett teoretiskt plan utgör en och samma virtuella huvudform. I, eller rättare sagt på, paviljongerna ges tillfälle för vem som helst att måla och presenteras sin gatukonst.  Min förhoppning är att mina paviljongtyper skall inspirera andra att bygga egna varianter som alla är del av Gallery Wall. Systemet är tänkt att vara open source.  Jag vill också med mitt arbete ifrågasätta och belysa vad som får visas upp och värdesätts inom konstvärlden och i samhället.  Mitt examensarbete är baserat på en dröm som förhoppningsvis i framtiden blir verklighet.
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Lee, Wonkyu. "Urban Gallery". Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/71766.

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Since the dawn of high-rise buildings, human relationships have been limited by the floors. Compared to the pre-industrialized era where residential streets fostered community socialization, it is safe to say our relationships are constrained to the physical boundaries that surround us. Especially large cities such as New York, Chicago, Tokyo and Hong Kong, citizens lack compassion towards each other, treating neighbors as strangers. The fundamental problem of this phenomenon originates from the stacked floor arrangements that divide people. I believe it's not people's choices to be indifferent to each other; our built environment induces this behavior. The solution is to integrate a new concept of vertical plazas to the design of high-rise buildings. This social space provides citizens not only multiple paths of movement, but also the chances to interact with people outside of the boundary that vertical floors create. This thesis explores the possibilities of the architecture as a contributor of better human relationship.
Master of Architecture
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Vicens, Rebeca. "Alley-Gallery". Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/9660.

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The site chosen for this thesis project is located in downtown Blacksburg, Virginia. It consists of a 30'­x110' infill lot and an alley running parallel to it. An initial desire to blur the boundary between the alley and the proposed building led to a study of the potential of parallel planes overlapped along the shared border. Representation of these planes in two dimensions allowed almost simultaneous perceptions of multiple spatial and geometrical configurations among them. The architectural consequences of this phenomenon became the main subject of inquiry. Exploration through silkscreen prints and model studies culminated in the design of an outdoor art gallery.
Master of Architecture
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Arnett, Joanne M. "Rogue Gallery". Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366636723.

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Lacher, Kria. "Blenko Glass Gallery". Thesis, Virginia Polytechnic Institute and State University, 1996. http://hdl.handle.net/10919/53421.

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This master's thesis is the design and discussion of a glass gallery and museum for the Blenko Glass factory in Milton, West Virginia. It is an exploration of Hertzberger’s concept of warp and weft. Let us take the image of a fabric such as constituted by warp and weft. You could say the warp established the basic ordering of the fabric, and in doing so creates the greatest opportunity to achieve the greatest possible variety and colorfulness in the weft. The warp must first and foremost be strong and of the correct tension, but as regards to color it needs merely to serve as a base. It is the weft that gives color, pattern and texture to the fabric, depending on the imagination of the weaver. Warp and weft make up an invisible whole, the one cannot exist without the other, they give each other their purpose.
Master of Architecture
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Ajlani, Tarek F. "Gallery For Art". Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33977.

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For my thesis I explored the idea of the mask in relation to architecture. For my project I designed an art gallery located in Georgetown Washington DC which is composed of three layers: a structural layer, an environmental casing, and an outer layer. Theoretical parallels are drawn between the outer layer of the gallery and what is commonly referred to as a mask. Additionally, I explored the interaction between the layers of the gallery. The distinguishing characteristics of the building include the tri-facade mask, the unique spaces in between the gallery's layers, the glass system, the mask's ghost effect, and the floor system.
Master of Architecture
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Fopp, Michael Anton. "Museum & gallery management". Thesis, City University London, 1988. http://openaccess.city.ac.uk/7538/.

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This thesis examines management and organization theories and their relevance to the Museum and gallery context. In Part One management theories are examined to ascertain the development of management thinking and to establish the principles under which museums and galleries operate. This theme is developed to extend the concept of management expertise in museums and galleries to enable due consideration to be given to applications of management theory which are seen to be under-utilized yet appropriate to the changing environment in which museums and galleries currently operate. Thought is given to the attitudes and antecedents of the museum profession and their seeming reluctance to develop new management skills. The complexities of subject-specialists occupying key management positions within museums and galleries is discussed and the move to a more consultative approach to management is recommended. Part Two explores Organization Theory, its historical and contemporary view and its relevance to the museum and gallery context. An analysis of organizational structure questions the understanding by museum managers of the importance of appropriate structures to the successful and effective control of' museums and galleries. Following on from this is a detailed look at structural patterns and how best to understand and design appropriate structures within the environment of change currently affecting museums. To give guidance to this line of thought Organization Culture, Conflict and Change is examined to point out the importance of a cognizant approach to these subjects by senior museum professionals in order to provide the most appropriate structure within institutions which are required to function with historic collections in a competitive environment that has seen fundamental changes, generally, over the past twenty 11 years.
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Lau, King-hong, i 柳景康. "Urban gallery for design". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31983972.

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Książki na temat "Gallery"

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Fassman, Paula. Gallery. New York: Oxford University Press, 1989.

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Fassman, Paula. Gallery. New York: Oxford University Press, 1989.

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Fassman, Paula. Gallery. New York, NY, USA: Oxford University Press, 1989.

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Gallery, Edwin Pollard, i Fraser Carver Gallery, red. Edwin Pollard Gallery, Fraser Carver Gallery. (London?): (s.n.), 1989.

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Gallery, Delta (Harare Zimbabwe). Gallery: The art magazine from Gallery Delta. Harare, Zimbabwe: Gallery Delta, 1994.

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David, Jenkins. Clore gallery Tate gallery, Liverpool: James Stirling. London: Phaidon Press, 1992.

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Caputo, Philip. DelCorso's gallery. New York: Vintage Contemporaries, 2001.

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Nielsen, Gallery (Boston Mass ). Nielsen Gallery. Boston, MA: Nielsen Gallery, 1999.

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Guarisco Gallery. Washington, D.C: Guarisco Gallery, 2000.

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Russo, Richard Paul. Subterranean gallery. New York: Tom Doherty Associates, 1989.

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Części książek na temat "Gallery"

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Kehoe, Alice Beck, i Andrew J. Petto. "Gallery". W Humans, 137–51. Wyd. 2. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003226819-9.

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Tillman, Bryan. "Gallery". W Creative Character Design, 173–216. 2nd edition.: CRC Press, 2019. http://dx.doi.org/10.1201/9781351261685-11.

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"Gallery". W Death's Futurity, Plate 1—Plate 41. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478023937-gallery.

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"Gallery". W Raving, Color Plate. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478024040-gallery.

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"Gallery". W Being Dead Otherwise, Color Plates 1—Color Plates 8. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478024415-gallery.

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"Image Gallery". W New Growth, Color Plate 1—Color Plate 32. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478023708-gallery.

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"Image Gallery". W Feltness, Color Plates 1–2—Color Plates 62–63. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478023531-gallery.

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"Gallery". W Signage and Wayfinding Design, 256–85. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781119174615.oth.

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"Gallery". W Tradigital 3ds Max, 265–73. Elsevier, 2012. http://dx.doi.org/10.1016/b978-0-240-81730-9.00018-9.

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"Gallery". W Close-Up and Macro Photography, v—x. Elsevier, 2009. http://dx.doi.org/10.1016/b978-0-240-81212-0.00002-7.

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Streszczenia konferencji na temat "Gallery"

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Isa, Bahrom Mohd. "GALLERY EDUCATION: HOW GALLERY EDUCATORS APPROACH SPECIAL EDUCATION TEACHERS IN GALLERY SETTINGS?" W 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s15.43.

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Johnson, Patricia. "Guerrilla gallery". W ACM SIGGRAPH 96 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '96. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/253607.253674.

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"PHOTO GALLERY". W Proceedings of the Tenth General Meeting. WORLD SCIENTIFIC, 2003. http://dx.doi.org/10.1142/9789812704276_others04.

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Unger, Denny. "The gallery". W SIGGRAPH '18: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3226552.3226563.

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Rowland, Duncan, Abigail Durrant i Rachel Clarke. "Interactions gallery". W British HCI 2015: 2015 British Human Computer Interaction Conference. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2783446.2783625.

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Truckenbrod, Joan, Heather Elliott, Jessica Westbrook, John Grimes, Ron Hutt, Deanna Morse, Jane Stevens i Valerie Sullivan-Fuchs. "Art gallery". W ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281397.

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Bureaud, Annick, Stephen A. Benton, Deanna Morse i Jane Stevens. "Art gallery". W ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281398.

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Feng, Sidong, Chunyang Chen i Zhenchang Xing. "Gallery D.C". W ICSE '22: 44th International Conference on Software Engineering. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3510454.3516873.

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Thieme, Sabine, Ansgar Scherp, Melanie Albrecht i Susanne Boll. "Media gallery TV". W the 13th annual ACM international conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1101149.1101200.

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Ullrich, Tomas, i Jiří Žára. "Interactive virtual gallery". W the 18th spring conference. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/584458.584466.

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Raporty organizacyjne na temat "Gallery"

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Campbell, J. R. Downtown Art Gallery Jacket. Ames: Iowa State University, Digital Repository, wrzesień 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1585.

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Imfeld, Hans. How Long is the SLAC Gallery? Office of Scientific and Technical Information (OSTI), sierpień 2007. http://dx.doi.org/10.2172/915384.

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Brown, Gerald G., i Robert F. Dell. Formulating Integer Linear Programs: A Rogues' Gallery. Fort Belvoir, VA: Defense Technical Information Center, kwiecień 2006. http://dx.doi.org/10.21236/ada486732.

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Grady, Michael. A Gallery of Ray Tracing for Geometers. Washington, DC: The MAA Mathematical Sciences Digital Library, październik 2009. http://dx.doi.org/10.4169/loci003350.

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Kindscher, Kelly, i Jenny Holah. An Old-Growth Definition for Western Hardwood Gallery Forests. Asheville, NC: U.S. Department of Agriculture, Forest Service, Southern Research Station, 1998. http://dx.doi.org/10.2737/srs-gtr-022.

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Kindscher, Kelly, i Jenny Holah. An Old-Growth Definition for Western Hardwood Gallery Forests. Asheville, NC: U.S. Department of Agriculture, Forest Service, Southern Research Station, 1998. http://dx.doi.org/10.2737/srs-gtr-22.

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Author, Not Given. Conceptual Design Report. Footprint Gallery Upgrade - Civil Construction, May 1988. Office of Scientific and Technical Information (OSTI), maj 1988. http://dx.doi.org/10.2172/1221248.

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Felch, K., L. Ives, E. Jongewaard, H. Jory i S. Spang. Initial operation of a high-power whispering-gallery-mode gyrotron. Office of Scientific and Technical Information (OSTI), październik 1987. http://dx.doi.org/10.2172/5867724.

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Mahat, Marian, Guy Morrow, Brian Long, Siew Fang Law, Amy Gullickson i Chengxin Guo. Developing an impact framework for Science Gallery Network: Final report. University of Melbourne, 2022. http://dx.doi.org/10.46580/124372.

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Streszczenie:
The aim of this project was to develop an impact framework for the Science Gallery Network (SGN). This work was commissioned by the Science Gallery International (SGI). The SGN has eight member organisations across four continents: Dublin, London, Melbourne, Bengaluru, Detroit, Rotterdam, Atlanta and Berlin. Whilst the network consistently sees unprecedented levels of accomplishment by its members, a testimony to their capacity, innovation and vision, the SGN does not have a systematic way to measure and monitor this impact. An impact framework that can assist with understanding and reporting the value of this impact will provide important recognition that the SGN has achieved what it sets out to do— bringing science, art, technology and design together to deliver world-class educational and cultural experiences for young people. This report details the robust consultation approach that was undertaken by the University of Melbourne’s project team—one that included a desktop review, focus group discussions, surveys and interviews—to ensure multiple perspectives were gathered on what could be considered a multi-faceted concept. The desktop review provided a thorough review and an environmental scan of the impact literature and its measurement. In addition, the focus group discussions and interviews provided a rich understanding of what ‘good impact’ means for the SGN and the implications of this to the measurement of impact outcomes. Five key recommendations are provided and summarised. Note that these key recommendations should be taken as a point of departure for further in-depth consultation throughout the wider SGN.
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Howells, M. R. The whispering gallery as an optical component in the X-ray region. Office of Scientific and Technical Information (OSTI), sierpień 1995. http://dx.doi.org/10.2172/125417.

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