Suchergebnisse

Cover -- Half Title -- Title -- Copyright -- Contents -- List of Tables -- Notes on the Contributors -- Preface -- Map of the Soviet Union and Eastern Europe -- Introduction -- 1 The Soviet Union -- 2 Soviet Leadership Profiles -- 3 Poland -- 4 The German Democratic Republic -- 5 Czechoslovakia -- 6 Hungary -- 7 Romania -- 8 Bulgaria -- 9 Albania -- 10 Yugoslavia -- 11 China -- 12 Regime and Citizen in the Soviet Union, Eastern Europe and China -- References -- Index

THE U.S. IS NOT MAKING ADAPTATIONS TO THEIR MILITARY POWER TO ENSURE THAT TODAY'S SUPERIORITY ENDURES. STRATEGY SHOULD FOCUS ON A PREVENTIVE-DEFENSE APPROACH TO THE MOST IMPORTANT LONG-TERM THREATS TO SECURITY, RATHER THAN ON INTERVENING IN MINOR CONFLICTS. BUDGETING SHOULD REFLECT BOTH PREVENTIVE APPROACHES AND PROTECTION AGAINST ASYMMETRICAL THREATS IF PREVENTION FAILS. THE DEPARTMENT OF DEFENSE'S ORGANIZATION SHOULD GIVE HOMES TO THE GROWING NUMBER OF NEW MISSIONS THAT HAVE "NO ONE IN CHARGE." AND DEFENSE-INDUSTRIAL POLICY MUST ADAPT TO THE COMMERCIALIZATION AND GLOBALIZATION OF THE INDUSTRIAL BASE UPON WHICH AMERICA'S TECHNOLOGICAL EDGE RESTS.

"The true story of a couple adopting two children--taking you on their journey from the despair of infertility and endometriosis, through their whole adoption journey in detail, including timelines....Their journey shows what it's really like preparing to be approved by the Adoption Panel, being 'matched' with a child, 'Introductions,' and getting the Adoption Order to legally adopt your child in the UK"--Back cover

Purpose
Creative and cultural producers, like social enterprises, operate in a complex business environment where the value proposition is difficult to define, and the organisational motivations are not always financially driven. In the case of Australian visual artists, low incomes and limited access to government funding magnify the importance of developing sustainable business models. This paper aims to present the Creative Business Model Canvas (CBMC), a reinterpretation of Osterwalder and Pigneur's CBMC (2010), for the benefit of a visual artist's business planning.


Design/methodology/approach
This qualitative study uses data from semi-structured interviews to analyse and evaluate the effectiveness of the Osterwalder and Pigneur's BMC (2010) for use by creative artists to understand the value of their artwork beyond traditional profit-driven business models. A modified canvas is presented to capture a clearer snapshot of creative arts practice with a focus on value propositions that possess dimensions of symbolic value.


Findings
This study found that the symbolic value of an artist's practice is difficult to capture using Osterwalder and Pigneur's CBMC (2010). An artist value proposition is composed of the artifact, artistic services and the artist's identity. The creative CBMC, as a modified CBMC, captures aspects of the artistic identity such as professional achievements, personal life and the artist's authenticity.


Originality/value
This study builds on Osterwalder and Pigneur's CBMC and reimagines it for use by visual artists and art-based social enterprise organisations where the notion of value can be challenging to articulate.