Hooters Handbook Rules Sent Back to the Drawing Board

2014 ◽  
Vol 37 (12) ◽  
pp. 7-8
Keyword(s):  
Drawing Board

Sovietica in English: in the Press, in the Works, on the Drawing Board

1966 ◽  
Vol 11 (8) ◽  
pp. 382-383 ◽  
Author(s):  
JOSEF BROŽEK ◽  
JIŘÍ HOSKOVEC
Keyword(s):  
The Press ◽  
Drawing Board

"Do not Worry Your Head": The Impossibility of Indigenising Social Work Education and Practice in Africa

2018 ◽  
Vol 30 (3) ◽  
Author(s):  
Kwaku Osei-Hwedie ◽  
Doris Akyere Boateng
Keyword(s):  
Social Work ◽  
Knowledge Base ◽  
North American ◽  
Social Work Education ◽  
Culturally Relevant ◽  
Social Work Educators ◽  
The People ◽  
African Context ◽  
Drawing Board ◽  
Work Education

As the discussions and debates rage on about the content and direction of social work in Africa, the challenges associated with weaning the profession off its Western and North American roots become apparent. The desire to indigenise or make the profession culturally relevant is well articulated in the literature. Some efforts have been undertaken toward achieving this desire. However, it is evident that despite the numerous discussions and publications, it appears that efforts at indigenising, localising, or making social work culturally relevant have not made much progress. While what must be achieved is somewhat clear; how to achieve it and by what process remain a conundrum. The article, therefore, revisits the issue of making social work culturally relevant in Africa and its associated challenges. Despite the indictment of current social work education and practice in Africa, it appears that many academics and professionals have accepted that what is Western is global, fashionable, and functional, if not perfect. Given this, perhaps, “we should not worry our heads” about changing it. Instead, social work educators and practitioners in Africa should go back to the drawing board to determine how current social work education and practice can be blended with a traditional African knowledge base, approaches and models to reflect and align with the critical principles and ideals within the African context. This is with the hope of making the profession more relevant to the needs of the people of Africa.

Data Integrity Report Sends Journals Back to the Drawing Board

Science ◽  
2009 ◽  
Vol 325 (5939) ◽  
pp. 381-381 ◽  
Author(s):  
Jocelyn Kaiser
Keyword(s):  
Data Integrity ◽  
Drawing Board

Laser Battle Stations: Back to the Drawing Board

Science ◽  
1982 ◽  
Vol 217 (4564) ◽  
pp. 1017-1017
Author(s):  
William J. Broad
Keyword(s):  
Drawing Board

Revisiting the relationship between art and industry in nineteenth-century Britain from the manufacturer’s perspective

2021 ◽  
Vol 30 (1) ◽  
pp. 31-52
Author(s):  
Ann Compton
Keyword(s):  
Nineteenth Century ◽  
Industrial Sector ◽  
Critical Discourse ◽  
Drawing Board ◽  
Public Exposure ◽  
Production Practices ◽  
The Aesthetic ◽  
The Relationship ◽  
Two Sectors

The mid-nineteenth century critical discourse compartmentalized art and industry by crediting each with specific powers. Manufacturing was identified with the development of technologically advanced processes, materials and products, while fine artists were given authority over the aesthetic aspects of industrial design. The idea that the two sectors had separate areas of responsibility has proved extremely enduring, and continues to influence our perceptions of Victorian manufacturing. This article contributes to the wider task of re-evaluating the relationship between art and industry in nineteenth-century Britain by examining the role of design in potteries and art metalworking firms from the manufacturer’s perspective. It shows that contrary to the picture painted by Victorian critics, design was central to the ambitions and commercial operations of manufacturing businesses. Crucially, decisions about the recruitment of design staff were shaped by the close connection between the creation of new products at the drawing board, and their fabrication in the workshop. Since each branch of manufacturing had its distinctive characteristics, there were significant practical, aesthetic and commercial advantages for manufacturers in employing experienced designers who knew the trade, and were fully conversant with production practices. Unless a professional sculptor joined a firm, they were unlikely to have this inside knowledge, which made commissioning one-off designs from artists a riskier proposition. Manufacturers found that one of the best ways to get around this was to make reductions of sculptures, and initial demand for statuettes in Parian suggested they would be profitable for all concerned. In the end, the market did not live up to its early promise, but the publicity given to Parian statuettes compensated manufacturers and sculptors. Overall, it was this increased public exposure for art manufactures that was the prime benefit of the mid-nineteenth century critical discourse for the industrial sector.

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