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From Tate Modern in London to the Benesse House Museum on the Japanese island of Naoshima; from the Getty Center in Los Angeles to the Museum of New and Old Art, a ferry-ride from Hobart in Tasmania; from the Pompidou Centre in Paris to the West Bund Museum in Shanghai – he has visited them all, casting an acute eye on the way the experience of art is shaped by the buildings that house it and the organizing principles by which it is displayed. \u003cbr\u003e \u003cbr\u003e  What has changed over the past century? Where the public once visited museums to be educated in art history, he argues, they are now more likely to be in search of a private, aesthetic experience. Museum displays that were automatically didactic, chronological and either national or Western in viewpoint are now thematic and global. While museums used to be invariably in city centres, they may now be in remote locations, destinations of cultural pilgrimage. 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They showcase successful female portfolio managers to demystify the profession and argue that increasing the number of women could help transform active investment management. \u003c\/blockquote\u003e\u003cp\u003e\\n                                                            \u003cstrong\u003eFormat\u003c\/strong\u003e: Hardback\u003cbr\u003e\\n                              \u003cstrong\u003eLength\u003c\/strong\u003e: 280 pages\u003cbr\u003e\\n                              \u003cstrong\u003ePublication date\u003c\/strong\u003e: 03 August 2021\u003cbr\u003e\\n                              \u003cstrong\u003ePublisher\u003c\/strong\u003e: Columbia University Press\u003cbr\u003e\\n                          \u003c\/p\u003e \u003cp\u003e\u003cbr\u003eDiversification is a fundamental principle of investing, yet it has been largely overlooked by money managers in their own ranks. Only around 10 percent of portfolio managers, the individuals responsible for investing client funds, are female, and the numbers are even worse at the ownership level. The causes of this underrepresentation are complex and multifaceted, but they include a lack of visible role models, gender biases, and systemic barriers.\u003cbr\u003e\u003cbr\u003eThe consequences of this underrepresentation are significant for firms and clients. Women have a unique perspective and approach to investing, which can lead to better investment decisions and improved performance. However, the lack of women in investment management means that firms are missing out on valuable insights and expertise. Additionally, women investors are often underrepresented in the financial industry, which can lead to lower returns and fewer opportunities for growth.\u003cbr\u003e\u003cbr\u003eTo address this issue, there are several steps that can be taken. One of the most important is to promote diversity and inclusion in the investment industry. This can include initiatives to increase the number of women in leadership positions, provide training and development opportunities for women, and create a culture that values diversity and encourages collaboration.\u003cbr\u003e\u003cbr\u003eAnother important step is to address gender biases in the hiring and promotion process. This can include blind hiring practices, equal pay policies, and mentorship programs that support women's career growth. Additionally, firms can work to create a more inclusive workplace culture that values diversity and encourages open communication and collaboration.\u003cbr\u003e\u003cbr\u003eFinally, policymakers and regulators can play a role in promoting diversity and inclusion in the investment industry. 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It is valuable for academics, students, museum professionals, and cultural studies. \u003c\/blockquote\u003e\u003cp\u003e\\n                                                            \u003cstrong\u003eFormat\u003c\/strong\u003e: Paperback \/ softback\u003cbr\u003e\\n                              \u003cstrong\u003eLength\u003c\/strong\u003e: 240 pages\u003cbr\u003e\\n                              \u003cstrong\u003ePublication date\u003c\/strong\u003e: 29 June 2021\u003cbr\u003e\\n                              \u003cstrong\u003ePublisher\u003c\/strong\u003e: Taylor \u0026amp; Francis Ltd\u003cbr\u003e\\n                          \u003c\/p\u003e \u003cp\u003e\u003cbr\u003eHere is the rephrased text:\u003cbr\u003eThe book delves into cutting-edge examples of innovative museological practice from across the globe, showcasing how museums can conceive, implement, and evaluate novel approaches to audience engagement and participation.\u003cbr\u003e\u003cbr\u003eCollectively, the chapters present a groundbreaking framework for approaching museum practice. 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It asks whether we are entering a new restitution paradigm that could impact the cultural sector and the world. \u003c\/blockquote\u003e\u003cp\u003e                                                            \u003cstrong\u003eFormat\u003c\/strong\u003e: Hardback\u003cbr\u003e                              \u003cstrong\u003eLength\u003c\/strong\u003e: 104 pages\u003cbr\u003e                              \u003cstrong\u003ePublication date\u003c\/strong\u003e: 30 September 2021\u003cbr\u003e                              \u003cstrong\u003ePublisher\u003c\/strong\u003e: Lund Humphries Publishers Ltd\u003cbr\u003e                          \u003c\/p\u003e \u003cp\u003e\u003cbr\u003eDebates surrounding the repatriation of cultural artifacts have been ongoing for numerous decades, but they have recently gained heightened urgency due to increased scrutiny of European museum collections acquired during the colonial era. 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It emphasizes the importance of employee and community well-being, company resilience, and organizational culture, and provides a comprehensive checklist of what organizations must do to thrive. \u003c\/blockquote\u003e\u003cp\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e: Paperback \/ softback\u003cbr\u003e\u003cstrong\u003eLength\u003c\/strong\u003e: 344 pages\u003cbr\u003e\u003cstrong\u003ePublication date\u003c\/strong\u003e: 15 February 2022\u003cbr\u003e\u003cstrong\u003ePublisher\u003c\/strong\u003e: Columbia University Press\u003cbr\u003e\u003c\/p\u003e \u003cp\u003e\u003cbr\u003eEvery company faces challenges, but some are able to achieve long-term vitality while others flame out. What distinguishes a healthy, high-performing organization? 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Samuel Frederick's book \"The Redemption of Things\" explores this paradox by focusing on objects that challenge notions of collectability, such as ephemera, detritus, and trivialities. Through close readings of works by various authors and an experimental film, Frederick demonstrates how collecting can be a poetic activity that makes the world of scattered things uniquely palpable and knowable. \u003c\/blockquote\u003e\u003cp\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e: Hardback\u003cbr\u003e\u003cstrong\u003eLength\u003c\/strong\u003e: 348 pages\u003cbr\u003e\u003cstrong\u003ePublication date\u003c\/strong\u003e: 15 January 2022\u003cbr\u003e\u003cstrong\u003ePublisher\u003c\/strong\u003e: Cornell University Press\u003cbr\u003e\u003c\/p\u003e \u003cp\u003e\u003cbr\u003eCollecting is often perceived as an activity that bestows permanence, unity, and meaning on otherwise scattered and ephemeral objects. However, in Samuel Frederick's book \"The Redemption of Things,\" he emphasizes that collecting things also involves displacing, immobilizing, and potentially disfiguring them. He argues that the dispersal of objects, which may seem antithetical to the collector's task, is essential to the logic of gathering and preservation.\u003cbr\u003e\u003cbr\u003eThrough meticulous close readings of works by various authors, such as Gotthelf, Stifter, Keller, Rilke, Glauser, and Frisch, as well as an experimental film by Oskar Fischinger, Frederick illustrates how the difficulties posed by these fleeting, fragile, and forsaken objects help to reconceptualize collecting as a poetic activity that makes the world of scattered things uniquely palpable and knowable.\u003cbr\u003e\u003cbr\u003eFrederick explores how collecting can be seen as a means of redeeming the transient and forgotten aspects of existence. 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He shows how the act of collecting can be a form of meditation and contemplation, allowing the collector to connect with the world around them on a deeper level.\u003cbr\u003e\u003cbr\u003eIn addition to his close readings of literary and artistic works, Frederick also examines an experimental film by Oskar Fischinger, which explores the concept of collecting through the lens of animation and sound. Frederick argues that the film captures the essence of collecting as a poetic activity that makes the world of scattered things uniquely palpable and knowable.\u003cbr\u003e\u003cbr\u003eOverall, \"The Redemption of Things\" is a thought-provoking and insightful book that challenges our assumptions about collecting and the objects we collect. 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However, in Samuel Frederick's book \"The Redemption of Things,\" he emphasizes that collecting things also involves displacing, immobilizing, and potentially disfiguring them. He argues that the dispersal of objects, which may seem antithetical to the collector's task, is essential to the logic of gathering and preservation.\u003cbr\u003e\u003cbr\u003eThrough meticulous close readings of works by various authors, such as Gotthelf, Stifter, Keller, Rilke, Glauser, and Frisch, as well as an experimental film by Oskar Fischinger, Frederick illustrates how the difficulties posed by these fleeting, fragile, and forsaken objects help to reconceptualize collecting as a poetic activity that makes the world of scattered things uniquely palpable and knowable.\u003cbr\u003e\u003cbr\u003eFrederick explores how collecting can be seen as a means of redeeming the transient and forgotten aspects of existence. 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He also explores how moss can be used as a metaphor for the human body, as it is often overlooked or taken for granted, but is essential for maintaining physical health and vitality.\u003cbr\u003e\u003cbr\u003eSimilarly, Frederick examines the collection of detritus, which is often seen as a sign of pollution or waste. However, he shows how detritus can be seen as a source of creativity and inspiration, as artists and designers have used it to create beautiful and innovative works of art. He also explores how detritus can be used as a metaphor for the human mind, as it is often filled with thoughts and ideas that are forgotten or ignored, but can be valuable sources of knowledge and insight.\u003cbr\u003e\u003cbr\u003eIn addition to examining the collection of specific objects, Frederick also examines the broader cultural implications of collecting. He argues that collecting can be seen as a way of asserting cultural identity and heritage, as well as a means of connecting with others who share similar interests and values. He explores how collecting can be used as a tool for social activism and change, as well as a means of preserving and promoting cultural traditions and practices.\u003cbr\u003e\u003cbr\u003eOverall, \"The Redemption of Things\" is a thought-provoking and insightful book that challenges our assumptions about collecting and the objects we collect. By examining the paradoxes and complexities of collecting, Frederick offers a new perspective on the human experience and the world we live in. 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The authors argue that the architectural and urban landscape has been a powerful tool for the reproduction and reinforcement of colonial power structures, as well as for the assertion of local identities and cultures. They explore how the colonial legacy has influenced the design of buildings, the organization of cities, and the spatial arrangements of communities, highlighting the ways in which these structures continue to shape the political, social, and economic dynamics of the region.\u003cbr\u003e\u003cbr\u003eAt the same time, the book also recognizes the potential for architecture and urbanism to serve as a catalyst for change and transformation. It explores how architects, urban planners, and community activists have used design and planning strategies to challenge dominant narratives, promote social justice, and create sustainable and inclusive communities. The authors showcase examples of innovative projects and initiatives that have sought to redefine the relationship between architecture, urbanism, and the environment, highlighting the ways in which these efforts can contribute to the development of a more equitable and sustainable Asia.\u003cbr\u003e\u003cbr\u003eIn conclusion, this book offers a profound and thought-provoking exploration of Asia's spatiotemporal dynamics, providing a comprehensive and interdisciplinary perspective on the region's architectural and urban heritage. Through its focus on display-ness and the postcolonial condition of architecture, it offers a critical lens through which to understand the complex relationships between architecture, urbanism, and the broader socio-political context. 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