Sentences with phrase «century working practices»

Steve Turner, assistant general secretary of Unite, said workers had likened the conditions to a «gulag», or «labour camp» and described the conditions as «19th century working practices».

Not exact matches

But «liturgy» literally means «the work of the people,» and the people of God have been sustained through the centuries by rhythms and practices that help us remember our story, remember our saints and sing the eternal song that echoes around God's throne.

Rhetorical criticism of the Bible is nothing new; it can be traced back at least as early as Augustine, but the twentieth century practice of rhetorical criticism finds its origins in James Muilenburg's work with Hebrew poetry and Amos Wilder's lectures on early Christian rhetoric.

Practices embody our ultimate beliefs, Smith explains, drawing upon the work of the twentieth century sociologist and anthropologist Pierre Bourdieu, who says, «Practice has a logic which is not that of the logician — a logic that is performed directly in bodily gymnastics.»

We read of a church and the material of which it is built; of a way of life characterized by «sickness,» «poverty» and «centuries of hard work and patience»; thoughts and attitudes, religious practice and desire; and of the wind and the sea.

Proven effective over centuries of parenting and research, swaddling is a practice that truly works.

With the identification of this new stage of development, coupled with new laws in the 20th century to protect children from abusive work practices, children were allowed to enjoy a longer childhood.

Maluku islanders began studding oranges with cloves as insect repellent centuries ago, and the practice has spread as a natural alternative to chemical options around the world, working particularly well against ants and mosquitoes.

Google was the basic first step in Gadon's extensive research on her Alias Grace character, which included reading and re-reading the Margaret Atwood novel that the miniseries is based on; learning how to perform tasks like cooking, cleaning and sewing in the exacting ways a 19th - century housemaid would have performed them; and practicing a Northern Irish accent to the point that it gave her migraines because the «tight - jawed» dialect worked muscles in ways most of us never have to.

The easiest rubrics I have seen are used commonly for practices that all teachers work on, such as reading, writing and 21st century skills.

Despite decades of relying on standardized test scores to assess and guide education policy and practice, surprisingly little work has been done to connect these measures of learning with the measures developed over a century of research by cognitive psychologists studying individual differences in cognition.

Working together on op - ed drafts, poring over survey data to determine how to present a powerful story, practicing a presentation for the eighth time, so it's just right: These are the types of 21st - century skills that writer and educator Tony Wagner declares that we need.

His talk, Theory and Practice in Reading Comprehension: Reflections on a Half Century of Work, will revisit his long career, take a look at the future of the field, and ask the question, «Was all the work worth it?&raWork, will revisit his long career, take a look at the future of the field, and ask the question, «Was all the work worth it?&rawork worth it?»

University of California — Berkeley Professor P. David Pearson — noted reading researcher — presented «Theory and Practice in Reading Comprehension: Reflections on a Half Century of Work,» an exploration of his career and the evolution of reading education in the light of policy changes, including the introduction and implementation of Common Core Standards.

The 21st century skills coaches in Upper Arlington are not only supporting the critical thinking work of the PLCs in their schools, but they are also supporting individual teachers who are integrating critical thinking in their practices.

«We've heard several times over the past few years that nothing is more cognitively and physically taxing in the project - learning environment than managing student work groups,» McDowell writes in «Leading Student Work Groups in the 21st Century,» an in - progress article that discusses the tools, best practices, and scholarly strategies for student work groups in the project - learning environmwork groups,» McDowell writes in «Leading Student Work Groups in the 21st Century,» an in - progress article that discusses the tools, best practices, and scholarly strategies for student work groups in the project - learning environmWork Groups in the 21st Century,» an in - progress article that discusses the tools, best practices, and scholarly strategies for student work groups in the project - learning environmwork groups in the project - learning environment.

We work to update our schools coverage in keeping with 21st - century expectations, using the nimble format of the Web to be as specific and detailed as possible about practices that work.

It has also established and continues to sustain a vibrant learning community of experienced principals, who work with the research team to explore how insights and images of practice for 21st century learning and leadership may speak beyond the boundaries of ISV and inspire schools around the globe.

Beginning in 2013, and continuing with a second cohort in 2017, experienced Independent school principals in Victoria, Australia, work with researchers from Project Zero, Harvard Graduate School of Education, to identify leadership practices necessary for planning and implementing school innovations for 21st century learning.

The left, meanwhile, will need to see that the dream of a single best public - school system, with the teaching profession largely held apart from the usual standards and practices of professional life, simply will not work in 21st - century America.

By working within the Framework of the 21st Century School Nursing Practice, school nurses can ensure that students are healthy, safe, and ready to learn.

Christine is an educational consultant who works with schools and districts around the country on elementary and middle school math curriculum, test savvy strategies, technology integration for incorporating and reinforcing 21st century skills and mathematical best practices.

These are some of the practices that work, based on my first - hand experience as a teacher in a 21st century urban classroom:

In describing how this model works in practice, two leading proponents, Richard Kahlenberg of the Century Foundation and James Ryan, the dean of the Harvard Graduate School of Education, cite an amalgam of institutional and interpersonal forces.

Over the course of the 2014 - 15 and 2015 - 16 school years, I worked with a group of instructional coaches in a district in Illinois to create an implementation matrix to guide educational practice in realizing the district's vision of personalized, twenty - first century learning where all students are successful.

While individual teachers can adopt the practices of 21st century classroom, the real impact on students is if an entire school and district embraces and works toward the same vision.

OIPD works across FHWA to develop or align capacity building, technical support, and guidance to bring forward and accelerate the implementation of innovative designs, materials, construction and environmental techniques and practices, finance and revenue tools, public - private partnerships, and transportation workforce development practices and resources to help FHWA's partners meet the needs of a 21st century transportation system.

This very first speaking engagement would catalyze my life's work: to enhance veterinary practices around the world with digital tools built for the 21st Century.

Try using travel - sized neti pot ($ 7; amazon.com), a centuries - old sinus flushing practice borrowed from India, if you're even the tiniest bit curious as to whether it would work for you.

Building began on the sandstone monument in the 13th century, but it wasn't completed until the 17th; much of the interior was remodeled by Gaudi at the beginning of the 20th century, and it is said that his use of natural light here was practice for later work on his famous Sagrada Familia in Barcelona.

With the rise of 21st century independent game development this impulse is getting pushed back, however even much of this work is unable to imagine itself further incorporating an artistic practice, since game development is long held to be a drawn out and financially draining process that result in this one shot to make it all back.

Deep Cuts will showcase work by contemporary artists who reconsider, redefine and even subvert the centuries - old practice of paper cutting.

During the second half of the eighteenth century, the practice of using oil paint on paper while working outdoors became popular among landscape artists.

Louise Bourgeois One of the most influential artists of the twentieth century, Louise Bourgeois described her artistic practice as an attempt to work through whatever tumult plagued her — psychologically, personally, or artistically.

Starting with his peripatetic upbringing in Philadelphia, California, and New York, the author, Jed Perl, traces Calder's studies as an engineer, his influential friendships with prominent twentieth - century creators, as well as his move to Paris in the 1920s and work thereafter, to brilliantly illustrate the artist's visionary practice and career.

Grau's work is grounded in the history of plein air painting, an in - situ practice of landscape painting based on direct observation that was initiated by artists such as Claude Monet, Pierre - Auguste Renoir, and Camille Pissarro in the latter half of the nineteenth century.

Drawing from its collection, the museum is featuring works spanning the late 19th century to the present that «explore the practice of portraiture and figuration as a means of celebrating personal and collective histories, ideas and identities.»

His work occupies a unique place within the practice of contemporary photography, employing anachronistic production techniques, borrowing from the aesthetics of the finest figurative painters of the 19th and 20th centuries, and drawing upon the longstanding tradition of vanitas imagery.

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, Twentieth - Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

Reinventing the Wheel: the Readymade Century pays tribute to this seminal work and traces the subsequent elaboration of neo-dada practices, with a particular focus upon everyday and vernacular contexts; the mysterious and libidinous potential of sculptural objects; institutional critique and nominal modes of artistic value; pop, minimalism and industrial manufacture.

The artist will discuss her work that is informed by late 19th and early 20th century modes of representation in documentary practice.

The exhibition, which contains around 120 works, examines seven hundred years of sculptural practice; from fourteenth - century Europe to the global present.

Although often associated with particular twentieth century art historical practices and discourses — including abstraction, Minimalism, and Conceptual Art — Palermo's diverse body of work defies easy classification.

For a public symposium held on January 19, 2018, Miguel de Baca further explores ideas first introduced in his book Memory Work: Anne Truitt and Sculpture by considering Truitt's oeuvre in the context of the cultural practice of historic preservation and the idea of the 20th - century «monument.»

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, 20th Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

Be sure not to miss booths by Benrubi Gallery from New York, a leading gallery with a focus on 20th Century and contemporary photographs; Blindspot Gallery from Hong Kong, a gallery with a primary focus on contemporary image - based works; Bryce Wolkowitz Gallery from New York, a gallery with a major commitment to representing new media artists who are exploring the intersection of arts and technology; Dittrich & SCHLECHTRIEM & V1 from Berlin, a gallery representing emerging, mid-career and established artists from around the world; Fraenkel Gallery from San Francisco exploring photography and its relation to other arts; Gagosian Gallery from New York, Hong Kong, Beverly Hills, Athens and Rome; Hamiltons Gallery from London, one of the world's foremost galleries of photography; Galerie Lelong from Paris focusing on an international contemporary art and representing artists and estates from the United States, South America, Europe, and the Asia - Pacific Region; Magda Danysz from Paris, Shanghai and London dedicated to promoting and supporting emerging artists and favouring a larger access to contemporary art on an international level; Mai 36 from Zurich focusing on trading and presenting international contemporary art; Pace Prints / Mac Gill, a publisher of fine art prints and artist editions affiliated with the Pace Gallery; Richard Saltoun Gallery from London specialising in post-war and contemporary art with an interest in conceptual, feminist and performance artists; Roman Road from London; Rosegallery from Santa Monica, an internationally recognized gallery of 20th and 21st century works on paper; Taka Ishii Gallery from Paris, Tokyo, and New York devoted to exploring the conceptual foundations and implications of contemporary (photo) graphic practice; White Space from Beijing; and Yumiko Chiba Associates from Tokyo, among Century and contemporary photographs; Blindspot Gallery from Hong Kong, a gallery with a primary focus on contemporary image - based works; Bryce Wolkowitz Gallery from New York, a gallery with a major commitment to representing new media artists who are exploring the intersection of arts and technology; Dittrich & SCHLECHTRIEM & V1 from Berlin, a gallery representing emerging, mid-career and established artists from around the world; Fraenkel Gallery from San Francisco exploring photography and its relation to other arts; Gagosian Gallery from New York, Hong Kong, Beverly Hills, Athens and Rome; Hamiltons Gallery from London, one of the world's foremost galleries of photography; Galerie Lelong from Paris focusing on an international contemporary art and representing artists and estates from the United States, South America, Europe, and the Asia - Pacific Region; Magda Danysz from Paris, Shanghai and London dedicated to promoting and supporting emerging artists and favouring a larger access to contemporary art on an international level; Mai 36 from Zurich focusing on trading and presenting international contemporary art; Pace Prints / Mac Gill, a publisher of fine art prints and artist editions affiliated with the Pace Gallery; Richard Saltoun Gallery from London specialising in post-war and contemporary art with an interest in conceptual, feminist and performance artists; Roman Road from London; Rosegallery from Santa Monica, an internationally recognized gallery of 20th and 21st century works on paper; Taka Ishii Gallery from Paris, Tokyo, and New York devoted to exploring the conceptual foundations and implications of contemporary (photo) graphic practice; White Space from Beijing; and Yumiko Chiba Associates from Tokyo, among century works on paper; Taka Ishii Gallery from Paris, Tokyo, and New York devoted to exploring the conceptual foundations and implications of contemporary (photo) graphic practice; White Space from Beijing; and Yumiko Chiba Associates from Tokyo, among others.

The two works on paper specialists are united by their love of drilling down into one area of artistic practice and finding resonances across the centuries.

In the late 1960s poet Ishmael Reed adopted the 19th - century term «HooDoo,» referring to forms of religion and their practice in the New World to explore the idea of spiritual practice outside easily definable faiths or creeds and ritualism on contemporary works of literature and art.

Her work is informed by late 19th - and early 20th - century modes of representation in documentary practice.

One of the foremost artists of the second half of the twentieth century, whose work continues to impact contemporary practice, the writings of Donald Judd remain as significant today as in the first decades of his career.