The aim objective of CME 2014 is to provide a platform for researchers, engineers, academicians as well as industrial professionals from all over the world to present their research results and development activities in Information Management, Innovation Management, Project Management and Engineering. This conference provides opportunities for the delegates to exchange new ideas and application experiences face to face, to establish business or research relations and to find global partners for future collaboration. Submitted conference papers will be reviewed by technical committees of the Conference.

Today culture is everywhere as maybe never before. We read culture reviews, watch culture shows, live in Cities of Culture, and witness the Cultural Olympiad. Government, museums and arts councils worry that we are not getting enough culture and shape policy around notions of art and culture for all. Access and inclusion are in. Difficulty and exclusivity out. In "Being Cultured: in defence of discrimination" Angus Kennedy asks if this explosion of culture, and the breaking down of distinctions between high and low culture, has emancipated us or left us adrift without cultural moorings. Is it true that all cultures are equal? Is cultural diversity a good thing? Is it unacceptably elitist to insist on the highest standards of judgment? To argue that some cultural works stand the test of time and some don't? Can anyone dare to call themselves cultured anymore? Might it even be the case that culture no longer actually means anything much to us? That our nervousness about exercising discrimination and good taste - the erosion of cultural authority - might have left us with a culture that may be open to all, but lacking in depth? This provocative book strikes a blow for discrimination in culture and argues that there is a responsibility on each of us as individuals to always be becoming more cultured beings: our best selves. Kennedy revisits the tradition - from Cicero to Kant, Arnold to Arendt - of autonomy in culture: both in the sense of its intrinsic value and how it rests on our individual freedom - quite apart from state and society - to discriminate and judge. A freedom, without which, we risk a widening culture of consensus and conformity. But which is the constitutive element of a world in common.

Public engagement is high on the policy agendas of university funders, Vice Chancellors, policy makers, and in the wider cultural and public sphere. “What is to be Done?”: Cultural Leadership and Public Engagement in Art and Design Education introduces the reader to the different meanings and motivations that underpin this current trend, drawing upon initiatives and challenges set by: successive Arts Council policies to attract and inspire new audiences; Research Excellence Framework (REF) guidance on submitting impact case studies; and the Department for Culture, Media and Sport (DCMS) recognising the need to clearly articulate the value of culture using methods which fit in with the government’s decision-making strategies. Introducing the reader to the landscape of public engagement in the context of broader social, cultural and political challenges, as well as to the challenges faced when seeking to measure and articulate the impact of public engagement for different audiences, “What is to be Done?” will be of interest to postgraduate students and those working in Higher Education and the cultural industries, particularly in the museums and galleries sector.

After losing someone she loved, artist Candy Chang painted the side of an abandoned house in her New Orleans neighborhood with chalkboard paint and stenciled the sentence, "Before I die I want to _____." Within a day of the wall's completion, it was covered in colorful chalk dreams as neighbors stopped and reflected on their lives. Since then, more than four hundred Before I Die walls have been created by people all over the world. This beautiful hardcover book is an inspiring celebration of these walls and the stories behind them. Filled with hope, fear, humor, and heartbreak, Before I Die presents an intimate portrait of the dreams within our communities and a chance to ponder life's ultimate question.

This wide-ranging book explores the impact of marketization on the creative industries. With critical perspectives from a variety of disciplines and global experts, numerous examples from international cultural institutions are employed to illuminate the topic. Culture and business have become increasingly intertwined, and cultural institutions need to be aware of their place in the market. Commercial awareness, which was previously disparaged, is now seen as a legitimate and necessary response to increased competition, enhancing experience, increasing accessibility, broadening inclusivity and sustainable futures with diminishing funding. The contributions to this book highlight that marketing, public relations, sponsorship and fundraising have become integral to the survival of many museums, galleries and events. Of interest to students and scholars across topics such as arts marketing, arts administration, heritage marketing and museum studies, the book is also insightful for reflective practitioners in the creative sector.

The Artangel Trust has been credited with providing artists with all the money and logistics they need to create one-off dream projects. An independent art commissioning agency based in London, it has operated since 1985 and is responsible for producing some of the most striking ephemeral and site-specific artworks of the last decades, from Rachel Whiteread’s House to Jeremy Deller’s The Battle of Orgreave. Artangel’s existence spans three decades, which now form a coherent whole in terms of both art historical and political periodisation. It was launched as a reaction to the cuts in funding for the visual arts introduced by the Thatcher government in 1979 and has since adapted in a distinctive way to changing cultural policies. Its mixed economic model, the recourse to public, private and corporate funds, is the result of the more general hybridisation of funding encouraged by successive governments since the 1980s and offers a contemporary case study on broader questions concerning the specificities of British art patronage. This book aims to demonstrate that the singular way its directors have responded to the vagaries of public funding and harnessed new national attitudes to philanthropy has created a sustainable independent model, but also that it has been reflected more formally, in their approach to site. The locational art produced by the agency has indeed mirrored new distinctions between public and private spaces, it has reflected the social and economic changes the country has gone through and accompanied the new cultural geographies shaping London and the United Kingdom. Looking into whether their funding model might have had a formal incidence on the art they helped produce and on its relation to notions of publicness and privacy, the study of Artangel gives a fresh insight into new trends in British site-specific art.