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Tobias Brandt outlines how information technology (IT) can be used to integrate sustainable energy technologies into existing infrastructures
The topic is approached from micro, meso, as well as macro perspectives
He first describes how IT artifacts can

It Solutions for the Smart Grid: Theory, Application, and Economic Assessment

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Smart Soa Platforms in Cloud Computing Architectures

This book is intended to introduce the principles of the Event-Driven and Service-Oriented Architecture (SOA 2.0) and its role in the new interconnected world based on the cloud computing architecture paradigm
In this new context, the concept of "service" is widely applied to the hardware and software resources available in the new generation of the Internet
The authors focus on how current and future SOA technologies provide the basis for the smart management of the service model provided by the Platform as a Service (PaaS) layer.

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The Good Jobs Strategy: How the Smartest Companies Invest in Employees to Lower Costs and Boost Profits, Library Edition

A research-backed clarion call to CEOs and managers, making the controversial case that good, well-paying jobs are not only good for workers and for society - they're good for business, too
For decades, jobs with good pay and decent benefits in service, manufacturing, and retail have gone overseas, eviscerating America's middle class and setting off a chain reaction of problems for the country as a whole
Up until now, defenders of the new system have argued that American corporations, to stay competitive internationally, must cut wages and benefits and essentially squeeze as much value as possible out of each worker
But this is backward: workers aren't a cost
They are a company's greatest asset
Ton argues that good jobs and happy, well-compensated employees are in fact a key element of a virtuous cycle for companies that results in low prices and increased profitability
The author's work focuses on retailing, where bad jobs would seem to be most embedded in the fabric of the business
but she also reveals how her insights and conclusions can be applied successfully in most service businesses.

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Pastiche, Fashion, and Galanterie in Chardin's Genre Subjects: Looking Smart

Pastiche, Fashion and Galanterie in Chardin s Genre Subjects seeks to understand how Chardin s genre subjects were composed and constructed to communicate certain things to the elites of Paris in the 1730s and 1740s
The book argues against the conventional view of Chardin as the transparent imitator of bourgeois life and values so ingrained in art history since the nineteenth century
Instead, it makes the case that these pictures were crafted to demonstrate the artist s wit (esprit) and taste, traits linked to conventions of seventeenth-century galanterie
Early eighteenth-century Moderns like Jean-Simeon Chardin (1699 1779) embraced an aesthetic grounded upon a notion of beauty that could not be put into words the je ne sais quoi
Despite its vagueness, this model of beauty was drawn from the present, departed from standards of formal beauty, and could only be known through the critical exercise of taste
Though selecting subjects from the present appears to be a simple matter, it was complicated by the fact that the modernizers expressed themselves through the vehicles of older, established forms
In Chardin s case, he usually adapted the forms of seventeenth-century Dutch and Flemish genre painting in his genre subjects
This gambit required an audience familiar enough with the conventions of Lowlands art to grasp the play involved in a knowing imitation, or pastiche
Chardin s first group of enthusiasts accordingly were collectors who bought works of living French artists as well as Dutch and Flemish masters from the previous century, notably aristocratic connoisseurs like the chevalier Antoine de la Roque and Count Carl-Gustaf Tessin.

Price : 77.52

Pastiche, Fashion, and Galanterie in Chardin's Genre Subjects: Looking Smart

Pastiche, Fashion and Galanterie in Chardin s Genre Subjects seeks to understand how Chardin s genre subjects were composed and constructed to communicate certain things to the elites of Paris in the 1730s and 1740s
The book argues against the conventional view of Chardin as the transparent imitator of bourgeois life and values so ingrained in art history since the nineteenth century
Instead, it makes the case that these pictures were crafted to demonstrate the artist s wit (esprit) and taste, traits linked to conventions of seventeenth-century galanterie
Early eighteenth-century Moderns like Jean-Simeon Chardin (1699 1779) embraced an aesthetic grounded upon a notion of beauty that could not be put into words the je ne sais quoi
Despite its vagueness, this model of beauty was drawn from the present, departed from standards of formal beauty, and could only be known through the critical exercise of taste
Though selecting subjects from the present appears to be a simple matter, it was complicated by the fact that the modernizers expressed themselves through the vehicles of older, established forms
In Chardin s case, he usually adapted the forms of seventeenth-century Dutch and Flemish genre painting in his genre subjects
This gambit required an audience familiar enough with the conventions of Lowlands art to grasp the play involved in a knowing imitation, or pastiche
Chardin s first group of enthusiasts accordingly were collectors who bought works of living French artists as well as Dutch and Flemish masters from the previous century, notably aristocratic connoisseurs like the chevalier Antoine de la Roque and Count Carl-Gustaf Tessin.

Price : 77.52