216,750 research outputs found
Conclusions and take away points
No full textWhat characterizes a good dialogue about corporate social responsibility (CSR)? How is it possible to keep abreast of the social valuation of CSR? What communi- cation platform is best used for CSR communication? How can a corporation com- municate about CSR without appearing only as self-serving? In short, what are the possibilities and perils of CSR communication? These and other questions have been discussed in this edited volume and here we present and extend on some conclusions from this collected output. In addition, we address a few important aspects of CSR communication that have not been discussed in the main body of the book, for instance the issue of power and the importance of cultural factors. Directions for future research are discussed before, finally, the main take away points from the volume are highlighted
RoMEO Studies 6: Rights metadata for open-archiving
No full textThis is the final study in a series of six emanating from the UK JISC-funded RoMEO Project (Rights Metadata for Open-archiving) which investigated the Intellectual Property Rights (IPR) issues relating to academic author self-archiving of research papers. It reports the results of a survey of 542 academic authors showing the level of protection required for their open-access research papers. It then describes the selection of an appropriate means of expressing those rights through metadata and the resulting choice of Creative Commons licences. Finally it outlines proposals for communicating rights metadata via the Open Archives Initiative’s Protocol for Metadata Harvesting (OAI-PMH)
Corporate social responsibility and communication
No full textCorporate activities are increasingly scrutinized for their effect on society and the environment. It is unthinkable that a corporation today will declare publicly that its only goal is to make money for its shareholders. Instead, corporations typically claim to balance the needs of society and the environment against the need to make a profit. That is, corporations say they practice corporate social responsibility (CSR). This edited volume explores the complexities of this seemingly simple claim.As such it is an essential resource to complement the latest academic thinking from management and communication research on how corporations communicate about CSR This chapter presents an overview of the book
Steve May
No full textSteve May taking students portraits in October of 1978.https://scholarworks.moreheadstate.edu/ocm_photo_archive/8126/thumbnail.jp
Steve May
No full textSteve May taking students portraits in October of 1978.https://scholarworks.moreheadstate.edu/ocm_photo_archive/8124/thumbnail.jp
Steve May
No full textSteve May taking students portraits in October of 1978.https://scholarworks.moreheadstate.edu/ocm_photo_archive/8125/thumbnail.jp
Steve May
No full textSteve May taking students portraits in October of 1978.https://scholarworks.moreheadstate.edu/ocm_photo_archive/8127/thumbnail.jp
Illusion / anti-illusion: the music of Steve Reich in context, 1965-1968
No full textThis dissertation situates the work of Steve Reich during the mid-to-late 1960s in its intricate socio-cultural context. Exploring biographical, hermeneutic, aesthetic, and political implications, it attempts to shed light on the composer’s early years. The historical narrative concentrates on the period between the first instantiation of the phase-shifting technique in 'It’s Gonna Rain, or, Meet Brother Walter in Union Square after Listening to Terry Riley' (1965) and the theoretical treatise ‘Music as a Gradual Process’ (1968). It reaches back, however, to the cultural nexus of San Francisco and ahead to the mercurial gallery scene in New York. In addition, modal compositions from 1966 and 1967 are subject to detailed analyses which question the boundary between ‘impersonal’ process and composerly intervention.
Chapter 1 deals with Reich’s relationship to Process art and Minimalism(s), paying particular attention to where he presented his work and with whom he was associated. Chapter 2 traces his involvement with the San Francisco Tape Music Center, the San Francisco Mime Troupe, and the filmmaker Robert Nelson; problematic issues surrounding race and representation are also considered. Chapter 3 critiques two transitional works: 'Melodica' and 'Reed Phase', the latter representing a striking omission from the accepted Reich canon. Chapter 4 is concerned with the relationship between musical teleology and consumer desire in post-war ‘affluent society’, building on the work of Robert Fink. The conclusion proposes that broader social contradictions of the 1960s can be detected in Reich’s music
Does science need computer science?
No full textIBM Hursley Talks
Series 3An afternoon of talks, to be held on Wednesday March 10 from 2:30pm in Bldg 35 Lecture Room A, arranged by the School of Chemistry in conjunction with IBM Hursley and the Combechem e-Science Project.The talks are aimed at science students (undergraduate and post-graduate) from across the faculty. This is the third series of talks we have organized, but the first time we have put them together in an afternoon. The talks are general in nature and knowledge of computer science is certainly not necessary. After the talks there will be an opportunity for a discussion with the lecturers from IBM.Does Science Need Computer Science?Chair and Moderator - Jeremy Frey, School of Chemistry.- 14:00 "Computer games for fun and profit" (*) - Andrew Reynolds - 14:45 "Anyone for tennis? The science behind WIBMledon" (*) - Matt Roberts - 15:30 Tea (Chemistry Foyer, Bldg 29 opposite bldg 35) - 15:45 "Disk Drive physics from grandmothers to gigabytes" (*) - Steve Legg - 16:35 "What could happen to your data?" (*) - Nick Jones - 17:20 Panel Session, comprising the four IBM speakers and May Glover-Gunn (IBM) - 18:00 Receptio
Steve Carlton, Piano
No full textSteve Carlton gave a senior recital on May 6, 2011. The program consisted of two halves; the first half was comprised of solo classical piano repertoire, and the second comprised of jazz repertoire, performed with Jonathan Withem (drums) and Patrick Bang (bass)
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