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The purpose of this paper is to ensure power efficiency in wireless sensor networks (WSNs) through a new framework-oriented middleware, based on a biologically inspired mechanism that uses an evolutionary multi-objective optimization algorithm. The authors call this middleware framework multi-objective optimization for wireless sensor networks (MONet).

In MONet, the middleware level of each network node autonomously adjusts its routing parameters according to dynamic network conditions and seeks optimal trade-offs among performance objectives for a balance of its global performance. MONet controls the cooperation between agents (network nodes) while varying transmission paths to reduce and distribute power consumption equitably on all the sensor nodes of network. MONet-runtime uses a modified TinyDDS middleware platform.

Simulation results confirm that MONet allows power efficiency to WSN nodes while adapting their sleep periods and self-heal false-positive sensor data.

The framework implementation is lightweight and efficient enough to run on resource-limited nodes such as sensor nodes.

The process of commercialization of art is often referred to as “monetization,” denoting the use of art as an investment class. I discuss the reverse mechanism, defined as “Monet-ization,” where investment is overlaid with artistic value, and unproven art is imbued with aesthetic qualities. This mechanism is derived from a historical overview of key periods in the history of art, such as the flourishing of new genres in early 17th century Dutch art and the rise of Modern art in the early 20th century. An analysis of original data on the leading art collectors in the world in the period 1990–2015 highlights the tendency for collectors with an “investor” profile and eclectic taste to buy contemporary art. Combining artworks from diverse periods and styles, eclectic personal collections contribute to the conversion of economic into aesthetic value by way of spill-overs across genres and to the attribution by association of “old” value to “new” art. The “Monet-ization” process helps elucidate how paradigm shifts occur in the art world and how innovation survives under conditions of insufficient demand.

Looks at the current state of marketing through the mediating eyes of Milton, Machiavelli, Monet and Mussorgsky. Mussorgsky’s emotional and relational music Pictures at an Exhibition is used as a interlinking inspirational pastiche of characters and events as we promenade and observe some of the remorseless characters and creative passion that drives marketing ever onward. Milton is perceived as the great mediator and defender of the true faith, and is symbolised by the music portraying the Great Gate of Kiev through which truth passes to gain entry to paradise, symbolising our discipline’s ultimate goal. Machiavelli reflects the enquiring mind, enlightenment and is perceived as the true advocate of the realities of the discipline and the search for power. Monet provides the creative guiding light and insight into the perceived image. Contemporary marketing concepts are also added to the thoughts of the mediators. Marketing needs to regenerate itself and not fear change or ambiguity in its quest to seek the truth. It needs to avoid shibboleths, false and unarmed prophets, learn from history and show passion and courage or be deemed beyond redemption.

The purpose of this paper is to explore Somos Escritoras, a creative space and writing workshop, for Latina adolescent girls (grades 6–8), as a program that supports not only writing and literacy development of girls, but also their college going identities.

This is a case study focused on the experiences of five Latina girls who participated in Somos Escritoras and what they define as the important aspects of the program that supported their personal and academic development.

Through girls writing, interview transcripts, and ethnographic conversations, their words illustrate how Somos Escritoras provided a safe space to examine their lives and find comunidad. Girls described the value they found in examining their lives through art and writing in ways that school did not invite them to do. Also, girls discussed the power they found in writing alongside Latinas their age and Latina mentors.

This study offers pedagogical implications for English language arts classrooms and schools to support Latina girls’ college-going identities.

The debate about whether corporate reports should focus on numbers or narrative is long-standing. The recent push for business model information to be included in corporate reports has revitalised the debate. Many scholars suggest this constitutes a move towards narrative-based reporting. This study aims to investigate the debate and draws a comparison with the juxtaposition of the narrative and rational paradigms. This study also investigates how accountingisation influences the way business model information is presented in corporate reports.

This study analyses data from the financial and non-financial reports from 86 globally listed companies. This study first uses content analysis to code the data. This study then uses a partial least squares-structural equation model to test how accountingisation influences how firms report their business model information.

This study finds that accountingisation and a rational paradigm shape how companies present information about their business model in their financial and non-financial reports. This suggests that the dominance of quantitative measures in accounting affects even the presentation of narrative-based information. Despite the much-touted shift towards qualitative reporting, this study argues that companies find it difficult to cast off the yoke of a traditional numbers-based mindset.

This paper contributes to the debate on numbers- versus narrative-based corporate reporting and the workings of narrative and rational paradigms. In it, this study lays out theoretical and empirical findings of accountingisation. This study also makes a case for freeing corporate reports from the shackles of an accountingisation mindset.

This study provides new insights into how companies report information about their business models and the influence of narrative and rational paradigms on financial and non-financial reporting.

The Micro Gallery is an ambitious project to allow public access to the National Gallery's catalogue of holdings, and much other information on paintings, periods, artists and locations, via large format touch screen VDUs and image processing software. The system is designed to be used by the inexperienced. Images of paintings and other information may be printed for a small fee; tour maps showing locations of selected paintings may be printed without charge. The article describes the use of the system as well as outlining the background to the project and its development.

The concept of novelty is central to questions of creativity, innovation, and discovery. Despite the prominence in scientific inquiry and everyday discourse, there is a chronic ambiguity over its meaning and a surprising variety of empirical measures, which muddle the interpretation of prior findings and frustrate the consolidation of knowledge. To help dispel some of the unclarity, this paper presents a survey and synthesis of conceptualizations and operationalizations of novelty scattered across social, cognitive, and organizational studies. From this analysis, I advance the argument that novelty is generally regarded as a function of frequency or proximity, and in these two complementary perspectives, it is commonly bounded its empirical study and theoretical understanding. I further argue that contextual and temporal aspects are integral to the specification of novelty and primary contributors to its multifaceted nature.

In a process termed “organizational centrifugalism,” this chapter describes how avant-garde artists sought new, alternative organizational spaces for innovations in the visual arts from the late nineteenth century through the early twentieth century and how new alternative marketspaces co-evolved with these new organizational spaces. Organizational centrifugalism begins with the denouement of the state-run Salon and Academy in the mid-nineteenth century; the rise of the dealer-critic system and other, non-salon alternative exhibition spaces of French Impressionism in the latter half of the nineteenth century; and through many new organizational spaces associated with Modernism such as formal artists groups, museums, great exhibitions, schools of art, and Modernist art itself. The ultimate effect of organizational centrifugalism is drawing avant-garde art closer to the public and eventually the masses. Excessive organizational centrifugalism, however, can be dangerous to the avant-garde art.

This paper aims to present findings from a three-year qualitative study that used a model of teacher learning referred to as teaching as inquiry (Manfra, 2019). Teaching as inquiry centers the teacher as a learner in a prolonged and “systematic process of data collection and analysis focused on changing teaching” (p. 167). Findings from the larger qualitative study demonstrate the work of collecting transcripts and using discourse analysis to analyze classroom discourse fostered high school English teachers’ knowledge and skills for facilitating critical conversations (Schieble et al., 2020). For this paper, the authors highlight Paula, a white, female secondary teacher who is dual certified in English Language Arts and ESL. Findings from Paula’s case demonstrate the ways the teacher inquiry group disrupted Paula’s language ideologies of linguistic purism, an ideology embedded in white supremacist and colonialist, hegemonic language policies and practices (Kroskrity, 2004), and transformed her instructional practices over time.

The research used qualitative methods for design and scope to generate an information-rich instrumental case study (Stake, 1995). Case study is a form of qualitative inquiry that concentrates on experiential knowledge of the case. This study used case study methods to construct an instrumental case to understand how participation in the teacher inquiry group shaped Paula’s facilitation of critical conversations. Data analysis used inductive and deductive qualitative coding procedures and discourse analysis (Gee, 2004; Rogers, 2018) to address the research questions.

Findings demonstrate that prior to meeting with the teacher inquiry group, Paula’s teaching practices embodied linguistic separatism by emphasizing that standardized English was the “appropriate” way to participate in critical conversations. Through studying her classroom discourse, the inquiry group supported her to critically question these instructional practices and ideologies. Findings demonstrate that the work of the inquiry group supported her embodiment and articulation of a translanguaging ideology that supported her facilitation of critical conversations.

Findings from this study contributes to scholarly and professional knowledge about how models of teaching as inquiry (Manfra, 2019) demonstrate a positive or reconstructive impact on teacher and student learning. This study highlights the potential for reconstructive shifts in the context of how teachers learn together and the tools that support them in doing so.