Material production and distribution, and operations management

2017 ◽  
Vol 23 (1) ◽  
pp. 274
Author(s):  
Philip Leslie Cass

Journalism as Activism, by Adrienne Russell. Cambridge: Polity Press, 2016, 200 pages. ISBN 978-0-745-6712-6-0IN 1845 Marx wrote:The class which has the means of material production has control at the same time over the means of mental production so that… generally speaking, the ideas of those who lack the means of mental production are subject to it… as they rule as a class and determine the extent and compass of an epoch, it is self-evident that they…regulate the production and distribution of the ideas of their age; Thus their ideas are the ruling ideas of the epoch.


Author(s):  
Bruno Santos Pimentel ◽  
Geraldo Robson Mateus ◽  
Franklin Assunção Almeida

The present chapter discusses the application of intelligent decision-support systems – mathematical programming-based in particular – to operations management within the mining industry. The underlying production and distribution planning and scheduling problems have often been addressed individually, in disregard of upstream and downstream operations. A supply chain approach to mining operations, however, requires an integrated perspective which takes into account mine, railway and port operations, as well as domestic and international supply stations served by appropriate logistics channels. Three main topics are discussed here: recent operations research developments in the mining industry; integrated approaches towards the development of decision-support systems to address a global mining supply chain; and possible solution approaches to the integrated problems. The main thread is oriented to mathematical programming approaches, but relevant applications of simulation and artificial intelligence techniques are also discussed.


Liquidity ◽  
2018 ◽  
Vol 1 (2) ◽  
pp. 142-152
Author(s):  
Mukhaer Pakkanna

Political democracy should be equivalent to the economic development of the quality of democracy, economic democracy if not upright, even the owner of the ruling power and money, which is parallel to force global corporatocracy. Consequently, the economic oligarchy preservation reinforces control of production and distribution from upstream to downstream and power monopoly of the market. The implication, increasingly sharp economic disparities, exclusive owner of the money and power become fertile, and the end could jeopardize the harmony of the national economy. The loss of national economic identity that makes people feel lost the “pilot of the state”. What happens then is the autopilot state. Viewing unclear direction of the economy, the national economy should clarify the true figure.


MECOSAN ◽  
2014 ◽  
pp. 55-69
Author(s):  
Alessandro Agnetis ◽  
Alberto Coppi ◽  
Matteo Corsini ◽  
Gabriella Dellino ◽  
Carlo Meloni ◽  
...  

2019 ◽  
Vol 16 (3) ◽  
pp. 305-326
Author(s):  
Christopher Meir

Up until late 2013, RED Production was considered one of the UK's premier independent producers. In December of that year, 51 per cent of the company was sold to Studiocanal, the production and distribution arm of France's Canal+, a pay-television provider with an increasingly global orientation. Although the UK trade press has continued to label RED as an ‘indie’, this article argues that the investment by a much larger multinational corporation marks a watershed moment in RED's history. While the company's trajectory since the takeover shows many artistic continuities with the previous fifteen years – including continuing collaboration with key writers and a dedication to shooting and setting stories in the north of England – there have also been significant changes to some of the company's long-standing practices that require critical scrutiny. The article will document and analyse a number of these, taking as case studies the series created after the investment and distributed by Studiocanal as well as a number of projects reported to be in development since that point. Collectively these changes have seen RED shift from what Andrew Spicer and Steve Presence have called its ‘rooted regionalism’ to being a more globally oriented producer, a change apparent in the settings of some of its shows. It has also seen the company embrace artistic practices – such as literary adaptation and the remaking of existing series and films – that it had long eschewed. The article seeks to explore what has been gained and lost by RED as it has embarked on this global strategy, a strategy that becomes all the more urgent as the industrial landscape of British television is transformed by the importance of international export markets and the growing power of subscription video on demand (SVOD) services such as Amazon Prime and Netflix.


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