Move fast and break things: Reassessing IB research in the light of the digital revolution

2022 ◽  
Author(s):  
Julian Birkinshaw
Keyword(s):  
2019 ◽  
Vol 118 (11) ◽  
pp. 533-541
Author(s):  
Dr. Premila Koppalakrishnan

The world stands on the precarious edge of an innovative transformation that will on a very basic level modify the manner in which we live, work, and identify with each other. In its scale, degree, and unpredictability, the change will be not normal for anything mankind has encountered previously. We don't yet know exactly how it will unfurl, however one thing is clear: the reaction to it should be incorporated and exhaustive, including all partners of the worldwide nation, from the general population and private segments to the scholarly community and common society. It is The Fourth Industrial Revolution, the digital revolution. The digital revolution has opened way for many impacts. All of the emirates are experiencing the effects of the “Fourth Industrial Revolution.” This revolution reflects the velocity, scope, and systems impact of a digital transformation that is changing economies, jobs, and work as it is currently known. Characteristics of the revolution include a fusion of technologies across the physical, digital, and biological spheres.


2020 ◽  
Vol 11 (1) ◽  
pp. 22-26
Author(s):  
S.V. Tsymbal ◽  

The digital revolution has transformed the way people access information, communicate and learn. It is teachers' responsibility to set up environments and opportunities for deep learning experiences that can uncover and boost learners’ capacities. Twentyfirst century competences can be seen as necessary to navigate contemporary and future life, shaped by technology that changes workplaces and lifestyles. This study explores the concept of digital competence and provide insight into the European Framework for the Digital Competence of Educators.


Author(s):  
N. Rodigina ◽  
S. Moleva ◽  
M. Logina ◽  
V. Musikhin

This article is devoted to digitalization as a challenge of the modern world economy. The digital revolution has changed our lives and societies with unprecedented speed and scale, providing huge opportunities as well as daunting challenges. New technologies can make a significant contribution to achieving sustainable development goals, but positive results should not be taken for granted.


Al-Risalah ◽  
2018 ◽  
Vol 8 (2) ◽  
pp. 1-10
Author(s):  
Ilyas Ismail

The paper is titled, "Becoming True Learners in a New Era of Globalization." This title is important for two reasons. First, internal cause, that is the tendency in society where people only attach importance to degree, certificate or diploma, not science or competence. Second, external cause, that is arising from the digital revolution that gave rise to global competition, where everyone was expected to become true learners. Otherwise, he will be marginalized, as a human being, which according to Michael Fullan, is not feasible, morally, socially, and economically. True learners, as James R. Davis and Adelaide B. Davis point out, refer to people who love new things, new thinking, and new skills. He learned not only to know (learning toknow), but more than that to think (learning to think) and solve (learning to solve) the problem. Human learners try to learn and develop knowledge not only from college, formal learning, and from the text book, but from experiences and from the real world or reality of life. True learners have 5 (five) prominent characters. First, they have a high curiosity that makes them passionate and studying diligently. Second, they like to share knowledge and experience to others. Third, they like to develop and expand knowledge. Fourth, they have contributions to the progress of culture, civilization, and humanity. Fifth, they have a humbleattitude and the open to thoughts of others. The new century, globalization, requires a new man, a true learner.


Author(s):  
Admink Admink

Обґрунтована необхідність розширення культурологічних досліджень арт-ринку з урахуванням останніх культурно-мистецьких тенденцій, а також його наукової концептуалізації у вітчизняній культурології. Враховуючи зростання ролі інформації, арт-ринок набуває нових ціннісно-смислових аспектів, а інтерес до цієї теми потребує культурологічного осмислення. Інформаційна функція арт-ринку актуалізується завдяки формуванню і розвитку інформаційно-технологічної революції, тому має вплив на соціокультурну діяльність митців та презентацію їхнього мистецтва. Функцію інформування на арт-ринку виконують організаційні структури, серед яких виділено виставки та бієнале. Проаналізовано проєкти українських митців на першій Київській міжнародній бієнале сучасного мистецтва ARSENALE 2012 та проєкт Ж/ Кадирової під час 58 Венеційської бієнале у 2019 р. Ключові слова: арт-ринок, інформаційна функція, інформаційне суспільство, бієнале, Мистецький Арсенал, Арсенале 2012, Венеційське бієнале 2019. The necessity of expanding the cultural researches of the art market, taking into account the latest cultural and art tendencies, is considered, as well as its scientific conceptualization in national cultural studies. The art market is gaining new valuable and semantic meanings, because of the growing role of information. So the interest in this topic requires cultural reflection. The information function of this market is actualized due to the formation and the development of the digital revolution, so it has an impact on the socio-cultural activity of the artists and the presentation of their art. Information structures in the art market are performed by organizational structures, among which exhibitions and biennials are highlighted. The projects of Ukrainian artists from the first Kyiv International Biennale of Contemporary Art ARSENALE 2012 and the project of Zhanna Kadyrova from the 58th Venice Biennale in 2019 are analyzed. Key words: art market, informational function, information society, biennale, Mystetskyi Arsenal, ARSENALE 2012, Venice Biennale 2019.  


Author(s):  
Olivier Asselin

“Canadian cinema.” The term may appear self-evident but is problematic. First, one may question the value of national approaches to culture, especially here, in Quebec and Canada, where the debates over the Nation seem interminable, and especially now, in an era of globalization. Next, one may question the value of media-centered approaches to culture, especially when the successive waves of the “digital revolution” have blurred the boundaries between technologies and among artistic practices. Rather than try to survey “important” fiction films for theatres in Quebec or Canada, this essay adopts another point of view to examine the presence of cinema in Montreal museums over the past few years by focusing on three singular exhibitions. It may well be symptomatic of the current state of film in Quebec and Canada—but also, paradoxically, everywhere else—and says much about the relationship between medium and nation, the expansion of cinema beyond the movie theatre, and the internationalization of culture.


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