Social issues in sustainable supply chain networks: state of the art and further research directions

The study of supply networks sustainability is a field with a long path behind. Nonetheless, most studies to date are focused on the environmental sub dimension of sustainability, while the social perspective in supply chain networks research still shows a potential for pioneering contri butions. Moreover, from the development standpoint we have observed a paradigm shift advancing from a narrow concept of development, centered on purely economic dimensions, towards more refined issues such as inclusive business, shared value or poverty footprint, all of which are highly related to supply chain activities. In this paper we present a review of the current state of the art on social sustainability of supply chains and we identify the main existing trends in this field. After conducting this study, we can state that a new sphere of knowledge is emerging at the interface between sustainable supply chain networks and development research. The academic community is called to play an important dovetailing role in this scenario by advancing both conceptual and methodological contributions.

El lenguaje gráfico de Eduardo Chillida como aportación conceptual para la identidad tipográfica de la Universidad del País Vasco —UPV/EHU—

Este proyecto de investigación financiado por la Universidad del País Vasco/Euskal Herriko Unibertsitatea —UPV/EHU-PES 11/31—, a través de su programa de investigación estratégica, tiene como objetivo la creación de la tipografía de identidad visual corporativa de la Universidad del País Vasco —UPV/EHU—, cuyo inicio conceptual para dotar de unas características de identidad visual corporativa a la UPV/EHU, ha sido planteado desde las especulaciones estéticas sobre la forma, materializadas por Eduardo Chillida. En la producción gráfica de este artista encontramos una sutil coincidencia con principios vitales para la creación tipográfica, en cuanto al planteamiento de formas dinámicas y constructivas, en las que el rigor geométrico es vencido por una suerte de organicidad que parte del núcleo mismo de la estructura —«cursus»—, por: la fuerza vital que imprime la acción modulada del gesto —«ductus»—; por la dialéctica entre lo lleno y lo vacío —forma/contraforma—, por el impulso y la espontaneidad — carácter—, o por la afirmación de un lenguaje plástico en la cultura diferenciada del medio en el que se vive —identidad—.

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

[Early Conceptual Sketches], untitled. Ink sketches on reverse of "La Valencia Hotel" memo pad paper, 3 1/2 x 6 1/2 inches [from photographic copy by Lance Burgharrdt]

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

[Early Conceptual Sketches], untitled. Ink sketches on steno pad paper, initialed, 6x9 inches [from photographic copy by Lance Burgharrdt]

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

[Conceptual Sketch], untitled. Blue ink sketch on tracing paper, initialed, 12x24 inches [from photographic copy by Lance Burgharrdt]

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

[Conceptual Sketch of Fountain], untitled. Ink sketch on tracing paper with blue marker coloring, 7 1/2 x 12 inches [from photographic copy by Lance Burgharrdt]

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

[Conceptual Sketch of Fountain], untitled. Ink sketch on tracing paper with blue marker coloring, 10x12 inches [from photographic copy by Lance Burgharrdt]

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

Competition Drawing of Design Concept. Ink drawing on tracing paper, initialed, 11x17 inches [from photographic copy by Lance Burgharrdt]

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

Competition Drawing of Grand Atrium Hall. Ink drawing on tracing paper, initialed, 11x17 inches [from photographic copy by Lance Burgharrdt]

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

Competition Drawing of Grand Atrium Hall, Permanent Collection Gallery and Changing Exhibition Gallery. Ink drawing on tracing paper, initialed, 11x17 inches [from photographic copy by Lance Burgharrdt]

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

Competition Drawing of [Floor Plan], untitled. Ink drawing on tracing paper, initialed, 11x17 inches [from photographic copy by Lance Burgharrdt]

The nomenclature of style: Brutalism, Minimalism, art history and visual style in architecture journals

The naming of styles or movements is a basic mechanism of the architectural journals. The announcement of new tendencies, groups or philosophies, gives a journal its character as ‘news’, and if such terms are taken up in general discourse this demonstrates the prescience of the editor and enhances the repute of the journal. The announcement of phenomenon such as ‘critical regionalism’ or ‘deconstructivism’ referred architectural developments to a context in socio-politics or philosophy, and thus aimed to provide at least an initial resistance to their understanding as the formal styles which they quickly became. A different strategy, or occasion, which this paper will discuss, is where the name of an architectural moment is given in the traditional form of an art historical style. Here the nomenclature of style and a certain attitude to form is introduced as the starting point for a more open ended critical inquiry. Two examples of this strategy will be given. The first is Peter Reyner Banham and the Architecture Review’s promotion of ‘Brutalism’ as an anti-aesthetic which took its conceptual form from early twentieth century art movements, particularly Futurism. The second, identified with Architectural Design in the 1990’s is ‘Minimalism’, a term describing a strand of the visual arts of the 1960’s which can be understood as an attempt to nuance and add seriousness to the present rampant nostalgia for the style of the architecture of the 1960’s.

SentiCircles for contextual and conceptual semantic sentiment analysis of Twitter

Lexicon-based approaches to Twitter sentiment analysis are gaining much popularity due to their simplicity, domain independence, and relatively good performance. These approaches rely on sentiment lexicons, where a collection of words are marked with fixed sentiment polarities. However, words' sentiment orientation (positive, neural, negative) and/or sentiment strengths could change depending on context and targeted entities. In this paper we present SentiCircle; a novel lexicon-based approach that takes into account the contextual and conceptual semantics of words when calculating their sentiment orientation and strength in Twitter. We evaluate our approach on three Twitter datasets using three different sentiment lexicons. Results show that our approach significantly outperforms two lexicon baselines. Results are competitive but inconclusive when comparing to state-of-art SentiStrength, and vary from one dataset to another. SentiCircle outperforms SentiStrength in accuracy on average, but falls marginally behind in F-measure. © 2014 Springer International Publishing.