wie die definition – English Translation – Keybot Dictionary

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  www.georgfischer.com  
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Hierzu zählen die systematische Identifikation, Evaluation und Berichterstattung zu Risiken in den Bereichen Strategie, Betrieb, Finanzen, Märkte, Management und Ressourcen sowie Nachhaltigkeit, ebenso wie die Definition angemessener Risikominderungsmassnahmen auf Konzern-, Divisions- und Konzerngesellschaftsebene.
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GF controls risks by means of risk management. Risk management includes the systematic identification, evaluation, and reporting of strategic, oper-ational, financial, market, management, and resources and sustainability risks as well as the determination of adequate measures in order to mitigate the risks identified at the level of the Corporation, the divisions and the Corporate Companies. The criteria applied in assessing risks include their impact and the probability of their occurrence.
  www.pavo.org.uk  
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Die intuitive Benutzeroberfläche erlaubt dem Security-Operator die Aktivierung von Live-Streams in jedem Viewer der Workstation und die präzise Steuerung von PTZ-Kameras. Die Steuerung der Wiedergabe von Aufzeichnungen wird vollständig unterstützt ebenso wie die Definition und Auslösung von Backups.
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The touch screen extends a workstation by a simple and convenient multi-touch control of the functions displayed on the monitor. The intuitive user interface allows the security operator to activate live streams in any viewer on the workstation and to precisely control PTZ cameras. Full control over the playback of recordings is supported, as is the definition and triggering of backups. In addition, an advanced snapshot function can be used for individual markings and comments directly in the image.
  www.eisenbibliothek.ch  
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Hierzu zählen die systematische Identifikation, Evaluation und Berichterstattung zu Risiken in den Bereichen Strategie, Betrieb, Finanzen, Märkte, Management und Ressourcen sowie Nachhaltigkeit, ebenso wie die Definition angemessener Risikominderungsmassnahmen auf Konzern-, Divisions- und Konzerngesellschaftsebene.
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GF controls risks by means of risk management. Risk management includes the systematic identification, evaluation, and reporting of strategic, oper-ational, financial, market, management, and resources and sustainability risks as well as the determination of adequate measures in order to mitigate the risks identified at the level of the Corporation, the divisions and the Corporate Companies. The criteria applied in assessing risks include their impact and the probability of their occurrence.
  republicart.net  
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Inhaltlich organisierte sich die bisherige Arbeit des KUNSTRAUMS und des /D/O/C/K Projektbereich um Themen wie die Definition, Formalisierung und Honorierung von projektorientierter Kunst, um die Möglichkeiten und Verhältnisse von selbstorganisierten Strukturen im kulturellen Feld, um die Bedeutung von "immaterieller" Arbeit im künstlerischen und kulturellen Feld, um Konstitutionen und Wandlungen kultureller, professioneller und institutioneller Identitäten, um das Verhältnis von Kunst, Ökologie und Nachhaltigkeit oder um die Öffnung archivarischer Praktiken jenseits des Erinnerungsdiskurses.[6]
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In terms of content, the work of the KUNSTRAUM and the D/O/C/K Project Area so far has been organized around themes such as the definition, formalization and acknowledgement of project-oriented art, possibilities and situations of self-organized structures in the cultural field, the significance of "immaterial" labor in the art and cultural field, constitutions and transformations of cultural, professional and institutional identities, the relationship of art, ecology and sustainability, or opening up archivist practices beyond the discourse of memory.[6] What is determinant for the project work in both locations is a relational understanding of the social field "art" on the one hand and a relationship between theoretical and practical activities characterized by a "network of relationships and transfers" on the other.[7] As an experimental educational model with an emancipatory orientation it is intended for testing all contingencies. Gathering practical experience is not exhausted in recapitulating and rehearsing established skills and circumstances, but rather is focused specifically on their potential for change.[8]
  eipcp.net  
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Inhaltlich organisierte sich die bisherige Arbeit des KUNSTRAUMS und des /D/O/C/K Projektbereich um Themen wie die Definition, Formalisierung und Honorierung von projektorientierter Kunst, um die Möglichkeiten und Verhältnisse von selbstorganisierten Strukturen im kulturellen Feld, um die Bedeutung von "immaterieller" Arbeit im künstlerischen und kulturellen Feld, um Konstitutionen und Wandlungen kultureller, professioneller und institutioneller Identitäten, um das Verhältnis von Kunst, Ökologie und Nachhaltigkeit oder um die Öffnung archivarischer Praktiken jenseits des Erinnerungsdiskurses.[6]
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In terms of content, the work of the KUNSTRAUM and the D/O/C/K Project Area so far has been organized around themes such as the definition, formalization and acknowledgement of project-oriented art, possibilities and situations of self-organized structures in the cultural field, the significance of "immaterial" labor in the art and cultural field, constitutions and transformations of cultural, professional and institutional identities, the relationship of art, ecology and sustainability, or opening up archivist practices beyond the discourse of memory.[6] What is determinant for the project work in both locations is a relational understanding of the social field "art" on the one hand and a relationship between theoretical and practical activities characterized by a "network of relationships and transfers" on the other.[7] As an experimental educational model with an emancipatory orientation it is intended for testing all contingencies. Gathering practical experience is not exhausted in recapitulating and rehearsing established skills and circumstances, but rather is focused specifically on their potential for change.[8]
  www.uni-muenster.de  
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In diesen globalen Arenen werden zentrale Fragen wie die Definition von Entwicklung, die Frage der globalen Ungleichheit oder die Klima-Problematik verhandelt, die zugleich die normativen Grundlagen einer internationalen Gesellschaft als Wertegemeinschaft berühren: Welche Rolle spielen die besonderen Charakteristika religiöser Akteure in internationalen Verhandlungen und Debatten?
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In doing so the project further examines conditions and effects of conflicting normative truth claims in specific policy fields. Focusing on the issues of international development and environmental policies on a supranational level, international negotiations and UN world conferences will be central to the analysis. Taking into account the role of transnational religious actors in those arenas, the research agenda thereby emphasizes discursive practices on development, global inequality or negotiations on climate change prevention measures. Summing up, assessing international society as a ‘Wertegemeinschaft’ (community of values) functioning as the normative basis, the focus will lie on the specific role and particular characteristics of religious actors in international negotiations and debates. Therefore, the projects objective will be the analysis of underlying conditions that allow religious actors to transform their legitimacy into discursive power, taking external preconditions, institutional settings and political opportunity structures into account, as well as aggregating these actors’ success in practicing norm-setting and discursive power.
  transversal.at  
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Inhaltlich organisierte sich die bisherige Arbeit des KUNSTRAUMS und des /D/O/C/K Projektbereich um Themen wie die Definition, Formalisierung und Honorierung von projektorientierter Kunst, um die Möglichkeiten und Verhältnisse von selbstorganisierten Strukturen im kulturellen Feld, um die Bedeutung von "immaterieller" Arbeit im künstlerischen und kulturellen Feld, um Konstitutionen und Wandlungen kultureller, professioneller und institutioneller Identitäten, um das Verhältnis von Kunst, Ökologie und Nachhaltigkeit oder um die Öffnung archivarischer Praktiken jenseits des Erinnerungsdiskurses.[6]
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In terms of content, the work of the KUNSTRAUM and the D/O/C/K Project Area so far has been organized around themes such as the definition, formalization and acknowledgement of project-oriented art, possibilities and situations of self-organized structures in the cultural field, the significance of "immaterial" labor in the art and cultural field, constitutions and transformations of cultural, professional and institutional identities, the relationship of art, ecology and sustainability, or opening up archivist practices beyond the discourse of memory.[6] What is determinant for the project work in both locations is a relational understanding of the social field "art" on the one hand and a relationship between theoretical and practical activities characterized by a "network of relationships and transfers" on the other.[7] As an experimental educational model with an emancipatory orientation it is intended for testing all contingencies. Gathering practical experience is not exhausted in recapitulating and rehearsing established skills and circumstances, but rather is focused specifically on their potential for change.[8]
  www.republicart.net  
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Inhaltlich organisierte sich die bisherige Arbeit des KUNSTRAUMS und des /D/O/C/K Projektbereich um Themen wie die Definition, Formalisierung und Honorierung von projektorientierter Kunst, um die Möglichkeiten und Verhältnisse von selbstorganisierten Strukturen im kulturellen Feld, um die Bedeutung von "immaterieller" Arbeit im künstlerischen und kulturellen Feld, um Konstitutionen und Wandlungen kultureller, professioneller und institutioneller Identitäten, um das Verhältnis von Kunst, Ökologie und Nachhaltigkeit oder um die Öffnung archivarischer Praktiken jenseits des Erinnerungsdiskurses.[6]
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine republicart.net as primary domain
In terms of content, the work of the KUNSTRAUM and the D/O/C/K Project Area so far has been organized around themes such as the definition, formalization and acknowledgement of project-oriented art, possibilities and situations of self-organized structures in the cultural field, the significance of "immaterial" labor in the art and cultural field, constitutions and transformations of cultural, professional and institutional identities, the relationship of art, ecology and sustainability, or opening up archivist practices beyond the discourse of memory.[6] What is determinant for the project work in both locations is a relational understanding of the social field "art" on the one hand and a relationship between theoretical and practical activities characterized by a "network of relationships and transfers" on the other.[7] As an experimental educational model with an emancipatory orientation it is intended for testing all contingencies. Gathering practical experience is not exhausted in recapitulating and rehearsing established skills and circumstances, but rather is focused specifically on their potential for change.[8]