VeriSM TM - Foundation - Português (Brasil)

pacote do Courseware consiste em duas publicações, VeriSMTM - Foundation Courseware e VeriSM TM - Foundation Study Guide. Este material de treinamento abrange o plano de estudos para a qualificação da Fundação VeriSM TM. O treinamento pode ser entregue em dois dias. Este material didático é credenciado para preparar o aluno para a certificação da VeriSM TM Foundation. O VeriSM TM Foundation consiste em duas partes: VeriSM TM Essentials e VeriSM TM Plus, cada uma cobrindo um dia de treinamento. Os alunos que já possuem um certificado de Gerenciamento de Serviços (TI) podem se beneficiar do conhecimento que já possuem. Eles são o público-alvo de apenas um treinamento do VeriSM TM Plus. Ao serem aprovados no exame VeriSM TM Plus, recebem o certificado VeriSM TM Foundation. Provedores de treinamento que desejam oferecer um treinamento de um dia sobre princípios de gerenciamento de serviços podem decidir oferecer apenas o treinamento VeriSM TM Essentials. Os alunos que forem aprovados no exame VeriSM TM Essentials receberão o certificado VeriSM TM Essentials. Se eles passarem no exame VeriSM TM Plus mais tarde, receberão automaticamente o certificado VeriSM TM Foundation. O "courseware" abrange os seguintes tópicos: A organização do serviço (Essentials) Cultura de serviço (Essentials) Pessoas e estrutura organizacional (Essentials) O modelo VeriSM TM (ambos) Práticas Progressivas (Plus) Tecnologias Inovadoras (Plus) O VeriSM TM é uma abordagem holística e orientada aos negócios para o Gerenciamento de Serviços, que ajuda a entender o panorama crescente das melhores práticas e como integrá-las para oferecer valor ao consumidor. É uma evolução no pensamento em Gerenciamento de Serviços e oferece uma abordagem atualizada, incluindo as mais recentes práticas e desenvolvimentos tecnológicos, para ajudar as organizações a transformar seus negócios para a nova realidade da era digital. O VeriSM TM é um gerenciamento orientado a valor, evolutivo, responsivo e integrado. VeriSM TM é uma marca registrada e propriedade da IFDC, a Fundação Internacional de Competências Digitais.

The National Gallery of Art collection of Italian fifteenth-century paintings, the finest in any American museum, has not been published in its entirety since the 1979 Catalogue of Italian Paintings by Fern Rusk Shapley. Among the altarpieces, devotional works, portraits, and allegorical scenes are many world-famous masterpieces. In addition to Leonardo's Ginevra de' Benci and the Adoration of the Magi by Fra Angelico and Fra Filippo Lippi, paintings by Domenico Veneziano, Castagno, Sassetta, Mantegna, Giovanni Bellini, Perugino, Botticelli, and Ghirlandaio make this a book of major masters of the Renaissance.

During his lifetime, W.E. Blatz was so much occupied with the development of the University of Toronto’s Institute of Child Study that he was able to devote little time to writing. This is his first book to appear in twenty-one years, and his first complete exposition of his famous Theory of Security. The Theory of Security is radically different from the theories promulgated by Freudian psychologists. Whereas Freudian personality theory is based on the notion of “unconscious,” an entity that is only indirectly observable, the Theory of Security derives from the observation of the conscious state in all its manifestations. Dr. Blatz thus makes use of both empirical observations and the results of introspection, and, as might be expected, some of his conclusions run counter to those reached in much current psychological discussion. But proof of the forcible influence of the theory and its author may be found in the impressive number of books and articles already published by Dr. Blatz’s associates at the Institute of Child Study, applying the theory to the practical problems of psychological observation and therapy. It is fitting that the man whose work has generated so much fruitful research by others in this field should at last have set down in book form the fundamental principles that guided them.

This primer is designed to teach students the interconnected arts of visual communication. The subject is presented, not as a foreign language, but as a native one that the student "knows" but cannot yet "read." Responding to the need she so clearly perceives, Ms. Dondis, a designer and teacher of broad experience, has provided a beginning text for art and design students and a basic text for all other students; those who do not intend to become artists or designers but who need to acquire the essential skills of understanding visual communication at a time when so much information is being studied and transmitted in non-verbal modes, especially through photography and film. Understanding through seeing only seems to be an obviously intuitive process. Actually, developing the visual sense is something like learning a language, with its own special alphabet, lexicon, and syntax. People find it necessary to be verbally literate whether they are "writers": or not; they should find it equally necessary to be visually literate, "artists" or not. This primer is designed to teach students the interconnected arts of visual communication. The subject is presented, not as a foreign language, but as a native one that the student "knows" but cannot yet "read." The analogy provides a useful teaching method, in part because it is not overworked or too rigorously applied. This method of learning to see and read visual data has already been proved in practice, in settings ranging from Harlem to suburbia. Appropriately, the book makes some of its most telling points through visual means. Numerous illustrated examples are employed to clarify the basic elements of design (teach an alphabet), to show how they are used in simple syntactic combinations ("See Jane run."), and finally, to present the meaningful synthesis of visual information that is a finished work of art (the apprehension of poetry...).

Ally knows her super-efficient big sis Linn finds their chaotic family a bit ... exasperating. But when Linn falls for Q, the tearaway lead singer in a local band, all her sensible ways go out of the window. Everyone else can see that Q's a creep, but does Ally have the courage to burst Linn's heart-shaped bubble?