112,342 research outputs found

    Boston Hospitality Review: Summer 2013

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    Hospitality Management: Perspectives from Industry Advisors by Rachel Roginsky and Matthew Arrants -- Te Four ‘Ps’ of Hospitality Recruiting by John D. Murtha -- Te Morris Nathanson Design Collection by Christopher Muller -- Still Searching for Excellence by Bradford Hudso

    Special Libraries, December 1974

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    Volume 65, Issue 12https://scholarworks.sjsu.edu/sla_sl_1974/1008/thumbnail.jp

    Shaping electricity policy in the Midwest

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    Energy policy

    Special Libraries, November 1956

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    Volume 47, Issue 9https://scholarworks.sjsu.edu/sla_sl_1956/1008/thumbnail.jp

    Challenges and prospects for Midwest manufacturing

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    The Chicago Fed held a series of conferences in 2003–04 aimed at understanding the recent poor performance of the manufacturing sector in the Midwest and the nation and identifying the challenges that lie ahead.Manufactures

    Two cheers for the Monetary Control Act

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    This article explains how the Monetary Control Act (MCA) of 1980 paved the way for the transition away from paper to electronic check clearing and processing, ultimately leading to the successful implementation of the Check Clearing for the 21st Century Act (Check 21) in 2003.Monetary policy ; Monetary policy - United States

    Polaroid, aperture, and Ansel Adams: rethinking the industry-aesthetic divide

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    This article takes the history of Polaroid photography as an opportunity to question a presupposition that underpins much thinking on photography: the split between industrial (ie useful) applications of photography and its fine art (ie aesthetic) manifestations. Critics as ideologically opposed as Peter Bunnell and Abigail Solomon-Godeau steadfastly maintain the existence of this separation of utility and aesthetics in photography, even if they take contrasting views on its meaning and desirability. However, Polaroid, at one time the second largest company in the photo industry, not only enjoyed close relations with those key representatives of fine art photography, Ansel Adams and the magazine Aperture, but it also intermittently asserted the ‘essentially aesthetic’ nature of its commercial and industrial activities in its own internal publications. The divide between industry and aesthetics is untenable, then, but this does not mean that the two poles were reconciled at Polaroid. While Aperture may have underplayed its commercial connections and Polaroid may have retrospectively exaggerated its own contributions to the development of fine art photography, most interesting are the contradictions and tensions that arise when the industrial and the aesthetic come together. The article draws on original research undertaken at the Polaroid Corporation archives held at the Baker Library, Harvard, as well as with the Ansel Adams correspondence with Polaroid, held at the Polaroid Collections in Concord, Massachusett

    Structuring information work: Ferranti and Martins Bank, 1952-1968

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    The adoption of large-scale computers by the British retail banks in the 1960s required a first-time dislocation of customer accounting from its confines in the branches, where it had been dealt with by paper-based and mechanized information systems, to a new collective space: the bank computer center. While historians have rightly stressed the continuities between centralized office work, punched-card tabulation and computerization, the shift from decentralized to centralized information work by means of a computer has received little attention. In this article, I examine the case of Ferranti and Martins Bank and employ elements of Anthony Giddens’s structuration theory to highlight the difficulties of transposing old information practices directly onto new computerized information work
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