922 resultados para Meat industry and trade--Canada.
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Mode of access: Internet.
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Mode of access: Internet.
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The bulk of the world's goat population is found in South-East Asia and Africa, where goats are the major source of meat production. Unfortunately, lack of an organized goat meat industry and marketing structure in developing countries is primarily responsible for their poor export earnings compared to those in developed countries such as Australia and New Zealand. Goat meat is leaner than meat from other domestic red meat species as well as being comparable in terms of its nutritional constituents. Furthermore, there are few, if any, religious or cultural taboos limiting the consumption of goat meat. Development of a carcass grading system and a suitable infrastructure in developing countries are some of the key requirements needed to establish a sustainable goat meat industry in the world. With an increase in demand by consumers for low-fat red meat alternatives, the future of the goat meat industry looks promising.
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Purpose - Studies the implementation of lean supply and partnership relationships in the UK food and farming industry to assess if these types of interventions are effective. Design/methodology/approach - Reviews the challenges affecting the UK supply chain for red meat. Describes the initiatives that were set up to develop a lean supply chain management approach and examines their application in the UK pig and beef industries. Assesses if these changes benefited all participants in the supply chains. Uses semi-structured interviews with key actors in each stage of the supply chain to do this, identifying the power relations within the supply chains and how these affected the outcomes for those participating in the chain. Findings - Concludes that lean initiatives were appropriate for the pig industry but were of limited value for the beef industry. Even within the pig industry, highlights that benefits were not shared equally, with producers, in particular, losing out. Lastly, points out that lean supply chain management is unlikely to be appropriate operationally and commercially in all circumstances in one industry. Argues for a differentiated policy approach and sets out a framework which enables decision makers to select industrial policy options. Research limitations/ implications - Describes the analysis and the framework developed from it. Originality/value - Assesses the effectiveness of lean supply chain management.
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Cashew is an important commodity traded across the continents and the world cashew industry is the livelihood of more than three million people worldwide, the majority of whom are womenfolk from the socially and economically backward community of the developing nations. Cashew tree was originally planted to prevent soil erosion and it was during the beginning of the 19th century that cashew kernels attained the status of a food item. Further, the cashew kernels attained the status of an international commodity with India exporting its first consignment of cashew kernels to U.S.A. in 1920. India was the first country to hit the world market with cashew as a commodity and it was she who pioneered cashew processing as an industry. For decades together India was enjoying a monopoly in the world cashew industry in the fields of raw nut production (cultivation), processing and the market share in the international trade. The liberalisation of international trade has brought in a big transition in the world of cashew. India started to benefit from the trade policy, that improved her supply positions of raw nuts from other producing countries, accelerated her growth in processing of raw nuts and exports of cashew kernels. On the other side, her domestic consumption started growing up that by the beginning of the new century, she emerged out as the world’s largest consumer of cashew kernels as well.
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This paper traces the evolutions of a new generation of students who are predominantly the ‘online generation’; explores the emerging impact of this generation on industry; identifies the changing role of education from traditional classroom to an online environment; and explores the contribution related to integrated marketing communications (IMC). Educational requirements from a business perspective must incorporate global business demands; virtual learning environments progress the online generation towards a post-modern learning state. The central proposition of this paper is that the emergence of IMC in evolving industry practices is influenced by student generations who are producing a new paradigm of alignment between education and industry. This is purely a conceptual exploration using limited examples to provide some context and illustrate the questions raised for consideration.
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Building Information Model (BIM) software, collaboration platforms and 5D Construction Management software is now commercially available and presents the opportunity for construction project teams to design more cost effectively, plan construction earlier, manage costs throughout the life cycle of a building project and provide a central asset management register for facilities managers. This paper outlines the merits of taking a holistic view of ICT in curriculum design. The educational barriers to implementation of these models and planning tools are highlighted. Careful choice of computer software can make a significant difference to how quickly students can master skills; how easy it is to study and how much they enjoy learning and be prepared for employment. An argument for BIM and 5D planning tools to be introduced into the curriculum to assist industry increase productivity and efficiencies are outlined by the authors.
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This article reflects on aspects of what is claimed to be the distinctiveness of Australian communication, cultural and media studies, focusing on two cases – the cultural policy debate in the 1990s, and the concept of creative industries in the 2000s – and the relations between them, which highlight the alignment of research and scholarship with industry and policy and with which the author has been directly involved. Both ‘moments’ have been controversial; the three main lines of critique of such alignment of research and scholarship with industry and policy (its untoward proximity to tenets of the dominant neo-liberal ideology; the evacuation of cultural value by the economic; and the possible loss of critical vocation of the humanities scholar) are debated.
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The study of the creative industries is not much more than a decade old. What makes it fascinating is that it is dealing with a rapidly evolving process, where a good deal of Schumpeterian ‘creative destruction’ – of old industries, business models, and some familiar cultural and creative pursuits – can already be observed. What happens next – and who will be the winner – is hard to predict. Furthermore, the creative industries encompass both large-scale ‘industry’ (media, publishing, digital applications) and individual creative talent; both economic and cultural values, and both global reach and local context. Thus, the challenge is to integrate ‘top-down’ policy and planning with ‘bottom-up’ experimentation and innovation. There is always the promise that this new creative ecology will provide some novel answers to problems of wealth-creation for emergent economies, new solutions to problems of intellectual emancipation for individuals, and sustainable development for that most intense incubator of creative ideas, the city.
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Across post-industrial societies worldwide, the creative industries are increasingly seen as a key economic driver. These industries - including fields as diverse as advertising, art, computer games, crafts, design, fashion, film, museums, music, performing arts, publishing, radio, theatre and TV - are built upon individual creativity and innovation and have the potential to create wealth and employment through the mechanism of intellectual property. Creative Industries: Critical Readings brings together the key writings - drawing on both journals and books - to present an authoritative and wide-ranging survey of this emerging field of study. The set is presented with an introduction and the writings are divided into four volumes, organized thematically: Volume 1: Concepts - focuses on the concept of creativity and the development of government and industry interest in creative industries; Volume 2: Economy - maps the role and function of creative industries in the economy at large; Volume 3: Organization - examines the ways in which creative institutions organize themselves; and Volume 4: Work - addresses issues of creative work, labour and careers This major reference work will be invaluable to scholars in economics, cultural studies, sociology, media studies and organization studies.
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If there is one thing performance studies graduates should be good at, it is improvising – play and improvisation are central to the contemporary and cultural performance practices we teach and the methods by which we teach them. Objective, offer, acceptance, advancing, reversing, character, status, manipulation, impression management, relationship management – whether we know them from Keith Johnson’s theatre theories or Erving Goffman’s theatre theories, the processes by which we play out a story, scenario or social situation to our own benefit are familiar. We understand that identity, action, interaction and its personal, aesthetic, professional or political outcomes are unpredictable, and that we need to adapt to changeable and uncertain circumstances to achieve our aims. Intriguingly, though, in a Higher Education environment that increasingly emphasises employability, skills in play, improvisation and self-performance are never cited as critical graduate attributes. Is the ability to play, improve and produce spontaneous new self-performances learned in the academy worth articulating into an ability to play, improvise and product spontaneous new self-performances after graduates leave the academy and move into the role of a performing arts professional in industry? A study of the career paths of our performance studies graduates over the past decade suggests that addressing the challenges they face in moving between academic culture, professional culture, industry and career in terms of improvisation and play principles may be very productive. In articles on performing arts careers, graduates are typically advised to find a market for their work, and develop career self-management, management and marketing skills, together with an ability to find, make and maintain relationships and opportunities for themselves. Transitioning to career is cast as a challenging process, requiring these skills, because performing arts careers do not offer the security, status and stability of other careers. Our data confirms this. In our study, though, we found that strategies commonly used to build the resilience, self-reliance and persistence graduates require – talking about portfolio careers, parallel careers, and portable, transferable or translatable skills, for example – can engender panic as easily as they engender confidence. In this paper, I consider what happens when we re-articulate some of the skills scholars and industry stakeholders argue are critical in allowing graduates to shift successfully from academy to industry in terms of skills like improvisation, play and self-performance that are already familiar, meaningful and much-practiced amongst performance studies graduates.