Gestão do Conhecimento – E daí?

Pirâmide_Conhecimento_siteLi e ando lendo uma série de títulos sobre gestão do conhecimento e admito ter chegado ao mais absoluto caos informacional. A situação se agrava pelo fato de estar, em paralelo, tentando transformar esta gama de teorias numa construção prática que se sustente.

Portanto, muito calma nesta hora para não meter os pés pelas mãos. Primeira coisa para não se perder no raciocínio é manter o foco – representar o baluarte do conhecimento. Quais são os fatores fundamentais para a sustentabilidade da gestão do conhecimento: (i) pessoascolaborar com os seus bens mais preciosos (persistência, competências e criatividade); (ii) processos – implementar o compartilhamento de informações; (iii) tecnologia – facilitar o acesso (consulta) a informação. Estes fatores são consagrados como os três pilares da gestão do conhecimento.

Não existe nada mais intrigado e misterioso do que o pensamento humano. E, justamente, fruto de tamanha complexidade é que brotam ideias inovadoras e mirabolantes, tanto para o bem quanto para o mal. O fato é que por conta do perfil comportamental das pessoas, por vezes deficitário de entusiasmo, comprometimento, autoestima e perspectivas, inibe-se o aproveitamento do capital humano e, consequentemente, há a perda do pensamento criativo em prol da organização. Para contornar tal situação, faz necessário o contágio de mentes e almas, sempre se lembrando de levar em consideração a sapiência da lógica oriental: primeiro obedeça (Shu), depois entenda os porquês (Ha); e só depois comece a inventar (Ri).

Os processos se tornaram criaturas abomináveis, depois de sequenciais iniciativas sem resultados palpáveis; pelo menos, segundo a minha percepção. Deparamo-nos com um bombardeio de práticas de qualidade (5S, Kaizen, seis sigmas, PDCA, normas ISO, COBIT, ITIL) todas pregando a mesma reza (promover a melhoria dos processos), mas nada de experienciar o milagre. Tamanho descrédito associado à cultura arraigada, apesar de ultrapassada, de monopolizar a informação, denota a dificuldade de se implementar o mapeamento de processos, cuja importância é vital: ter organizado e sistematizado o trabalho.

Além de evidenciar o incremento do número dos sentidos humanos, a saber: tato, paladar, olfato, audição e visão; a tecnologia veio para aguçar o sexto e o sétimo sentidos, completando sete que é a ordem natural do universo. Forçando um pouco a amizade, revelo que os dois “novos sentidos” tem tudo a ver com o que estamos fazendo aqui neste momento, nos comunicando, transmitindo ideias, trabalhando a informação, fazendo fluir o nosso pensamento, enfim, sensibilizando: a percepção e a compreensão humana. Sem os avanços tecnológicos, sejam na área de transporte, informação, comunicações, etc., a nossa percepção e compreensão de mundo seriam completamente diferentes. Portanto, nossa concepção do mundo globalizado se deve as facilidades promovidas pela tecnologia e se consubstanciam num caminho sem volta para a humanidade.

Bem, um conjunto de pilares que se preze deve servir para sustentar alguma estrutura; no nosso caso, temos em haver a pirâmide do conhecimento, composta de quatro camadas: (i) dados; (ii) informação; (iii) conhecimento + ação; e (iv) resultado. Há outras leituras que optam pela sabedoria no ápice da pirâmide, mas prefiro a objetividade do resultado.

De “bate pronto”, os dados são todas as observáveis captadas e quantificadas de uma determinada entidade do mundo real, depois de submetida a um modelo de representação simbólica. [universo de observações]

A informação é caracterizada pelos dados investidos de relevância, propósito e significado para um contexto específico. [quem, o quê, quando e onde?]

O conhecimento é inerente ao ser humano e indissociável da ação, que conferem significado (consistência) e praticidade (fluidez) a informação que se potencializa (dá-lhe Einstein: E=m.c2). [como?] Há ainda uma subdivisão do conhecimento, que pode ser: (i) explícito – quando o conhecimento é facilmente mapeado e passível de ser aprendido por terceiros; e (ii) tácito – refere-se ao conhecimento pessoal, calcado em experiências com insumos subjetivos.

No topo, temos o resultado que é o suprassumo ou o fruto do trabalho exequível, em face do atual grau de maturidade.

E daí, pra que serve isso? Vou concluir e resumir todo este falatório numa simplória tabela que retrata a pirâmide do conhecimento aplicada a cenários esdrúxulos do nosso dia-a-dia, de forma a comprovar sua aplicabilidade e reforçar o ditado: “nada se cria, tudo se copia”.

Cenário (objetivo) Dados [mundo real] Informações [quem, o quê, quando e onde?] Conhecimento [como?] Resultado [E daí?]
Cozinha (preparar refeição) - Itens da dispensa

- Utensílios

- Eletrodomésticos

- Juntada dos ingredientes e meios necessários para o preparo do prato Mão na massa (seguir a receita e acrescentar pitadas de subjetividade) - Refeição (muito boa, satisfatória ou passível de melhoria).
Festa (boa companhia) - Pessoas

- Luzes

- Bebidas

- Música

- Espaços

- Levantar afinidades da parceria Mão na massa (seguir o instinto e acrescentar nuances de subjetividade) - Toco;

- Uma noitada; ou

- Felizes para sempre.

Eis singela colaboração, sob uma perspectiva singular, do que entendo e consigo explicitar sobre gestão do conhecimento. Ficou faltando uma liga entre os pilares e a pirâmide, assim como o baluarte ficou sem fundação. Porém, sabemos, o processo de construção e melhoria continua faz parte da elaboração do conhecimento, sempre contando com o compartilhamento, colaboração e consulta de todos.

“Pense como um homem de ação e aja como um homem de pensamento.” – Henri Louis Bergson (filósofo francês)

Eleições 2014 – Vai ou racha

Eleições_2014Tempos de pouco “acolherar” palavras neste blog. Mas como fazer frente aos espetáculos televisivos, onde freneticamente se assiste aos golpes baixos do MMA eleitoral, que tão bem representa o cenário das eleições 2014. Pelo menos temos que admitir a evolução das promessas utópicas para a objetividade do “fura olho”; com vantagem para os políticos, é claro, visto se eximirem de obrigações futuras.

Dentro em breve estará aberta a contagem nas famigeradas urnas eletrônicas, sempre alvos de desconfianças. Antes disso, fomos bombardeados por pesquisas eleitorais que parecem ser mais incertas que as previsões do tempo, com o senão de piorar a assertiva com a proximidade do veredito derradeiro. Outro ingrediente picante será o pós-resultado. Caso a candidatura que for preterida seja da situação, seu modus operandi aponta a adoção da tática da terra arrasada em seu desfecho. Caso mantenha-se o manche nas mesmas mãos, há tempestades que virão com intensidade majorada por ter sido o mal represado.

Comecei a escrever estas linhas com o intuito de não revelar minha inclinação, passando por deslizes no parágrafo anterior. Já nas redes sociais, que se tornaram paredes de pichação para a desconstrução dos candidatos à presidência, os quais foram desmoralizados sem perdão, mantive-me neutro, até então. Das acusações e escoriações, concluo que de “santinho” não tem ninguém e ter “peninha” não lhes cabe; e, mais ainda, diante de tudo que foi veiculado, vejo-me reescrevendo o não tão sábio ditado: “o povo aumenta, mas ‘também’ inventa”.

Porém, fui alquebrado de minha resistência depois do último embate. Não me contive e postei um comentário - putz… que pecado – , após a resposta da Sra. Dilma ao questionamento de uma indecisa (economista desempregada), sugerindo-lhe que faça um curso do SENAI para obter emprego. Poxa, ofensa entre eles (candidatos)… tá tudo bem, afinal quem está na chuva é para se molhar. Mas ofender a sociedade brasileira; seja num debate, seja despejando dinheiro em Cuba ou dando fiasco em relações políticas externas (lembram-se do episódio da ONU – negociação com terroristas) passa do limite do ridículo. Como esta senhora, visivelmente despreparada e esclerosada, pode continuar representando nossa nação?

Mas, vejo que muita gente não se importa em passar vexame e é bom que seja assim, pois será mais fácil assimilar o golpe das urnas. Assumindo a oposição, não tem jeito, vai dar muito desemprego, por conta dos favorecidos em cargos públicos que irão para o olho da rua. Mas PeTralhas, não se preocupem não, se Deus quiser e ele há de querer, vocês poderão dispor do SENAI-PRONATEC, do Bolsa-Família, da Minha Casa – Minha Vida e do SUS para sobreviverem.

Vexame – Copa do Mundo 2014

vexame_copaBrasil 1 x 7 Alemanha, placar no jogo da semifinal da Copa do Mundo de Futebol 2014. Quanto a ser uma partida de futebol memorável, concordo; mas sustento minha opinião quanto ao feito marcante. Nunca na história da Copa se teve um placar tão benevolente, por parte de um time superior que abdicou de jogar para não humilhar seu adversário, mais ainda.
Tá legal (no imaginário) pensaram os alemães… como o anfitrião deseja o Hexa, então façamos o placar de 6 x 0 e ficamos todos felizes. Como a “seleção” brasileira facilitou por demais, saiu mais um gol – meio sem querer – que foi, por clemência, devolvido para arredondar a conta. Poderiam ser nove ou dez gols favoráveis, porém os alemães estavam convictos no tamanho relativo da trapizonga.
Bem, se por um lado os alemães foram tão generosos na medida da goleada de presente, fomos inocentes – como sempre – por acreditar em papai Noel, mesmo fora de época. Ô povinho para ter fé inquebrantável, mesmo diante da óbvia realidade. Os três primeiros jogos foram deploráveis, no entanto acreditávamos num crescimento, entrosamento e amadurecimento da “seleção” no decorrer da competição. Contra o Chile entramos em campo com cagaço, onde já se viu? No jogo da Colômbia tivemos as graças de Deus, que forçou o travessão pra baixo, e do goleiro milagreiro. O que poderíamos esperar ao nos depararmos com uma seleção na verdadeira concepção da palavra? Um vareio… é claro!
Procurar um Cristo é perda de tempo. Uma seleção é uma aurora boreal que forma um leque harmonioso de brilho e de cores que não ocorre ao acaso, reluz após muito sangue, suor e lágrimas empenhados. Já nossa “seleção” nunca teve identidade com o povo brasileiro e seu brilho se restringia a uma estrela solitária, ofuscada por nuvens nada passageiras que com o tempo não se foram; aliás, se espessaram. Para explicar o fiasco, pode escolher: (i) o sábio ditado “pior cego é aquele que não quer enxergar!” ou (ii) as fantasiosas teorias conspiratórias.
Outro ingrediente diferencial da nossa “seleção” foi a fixação daquele que “gosta de cavalos pangarés”, que depois do fato consumado, assumiu a culpa. Tarde demais!
Mundo que gira, página virada e, resta-nos, partir para o próximo desafio, em um campo de batalha mais sério. Por favor, não estou falando do jogo secundário da final, cujo resultado é líquido e certo: germanos holandeses na cabeça.
É hora de esquecer o pão e o circo, tirando algum ensinamento do vexame para darmos uma volta por cima, levando à sério aquilo que realmente interessa. De preferência pessoal, sem miragem coletiva e com civismo responsável.

Depois do tropeço na ilusão, vamos abrir os olhos e cair na real!

Cartel – Prática do Desporto de Orientação

Senhores,

orientação_esporteÉ com pesar que constato no que virou o salutar desporto de orientação, para o qual antes bastava o mapa, a bússola e pura vontade . Conseguiram afastar os iniciantes e curiosos, diante de exigências de afiliações a clubes, anuidades FGO, técnico responsável, enquadramentos em categorias e tantas barreiras que acabam por desestimular qualquer entusiasta. Além do desejável espírito desafiador na pista, agora se impõe uma via crusis de obrigatoriedades necessárias para o singelo ato de se inscrever numa prova e sentir o “gostinho” de uma pista de orientação.
De fato, em face do crescimento populacional, talvez estejamos vivendo um momento de processos seletivos e discriminatórios para escolher o público desejável num desporto, sejam praticantes ou na assistência. Assim, vem ocorrendo com a atividade de corrida de rua, os torcedores nos estádios e tantos outros eventos; onde se privilegia uma casta encarecendo ou restringindo os ingressos para a participação seletiva.
Mas esta atitude para a atividade de orientação, atualmente restrita, praticamente, ao público militar no nosso País, soa como um contrassenso. Isto me faz perceber e entender, perfeitamente, a nossa dificuldade em termos a prática de orientação consagrada e de ampla aceitação, tal como se evidencia em outros países.
Este meu desabafo deve-se as restrições para se realizar uma simples inscrição numa corrida de orientação, no interior do Estado do RS. Perguntam: Qual o seu clube? Está em dia com a anuidade? Tem chip eletrônico? Ao invés das boas vindas, de praxe, e do acolhimento receptivo a um “novo” praticante. Logo de entrada, exige-se um “cabedal orientação” como pré-requisito para poder, simplesmente, se divertir orientando-se.
Ao meu ver, os coordenadores do desporto de orientação estão tão absortos no desempenho, na competitividade e no registro dos escores dos seus partícipes, que se esqueceram do lado lúdico e educativo que antigamente enveredou a prática de orientação, só para lembrar: combinação de esforço físico e mental; respeito e integração a natureza; e estímulo ao desafio e tomada de decisão.
Pergunto maliciosamente: este é o preço a se pagar pela profissionalização do desporto ou, será, o preço imposto pelo cartel que tomou conta da prática de orientação?

Enfim, lastimável!

Seja bem-vindo ao seu Blog!

Com dúvidas para dar os primeiros passos no Super WordPress da Hostnet?

Conheça o portal ComoCriarMeuSite.com.br com diversas vídeo-aulas de ajuda e o site Tutoriais Hostnet com muitos tutoriais sobre o WordPress.

Links:
http://comocriarmeusite.com.br/
http://tutorial.hostnet.com.br/

Mais informações sobre o Super WordPress da Hostnet no link:
http://www.hostnet.com.br/instalador.wordpress.php

O Instalador Automático da Hostnet tem muitos outros aplicativos disponíveis para auto-instalação. Para mais informações acesse o link:
http://www.hostnet.com.br/instalador.automatico.php

Benefits of Desktop Sticky Notes

In 2006 the Turner Prize gained its first ever female winner. The artist who achieved this feat hails from Germany and is called is Tomma Abts. In order to carry off the Turner Prize – in the final, Tomma had to overcome three notable artists .

In no particular order of importance these were – sculptress Rebecca Warren who was the fancied hot favourite with many bookies, “billboard artist” Mark Titchner – and finally film maker Phil Collins…(No not him of Genesis fame!).

When the judges cast their votes however it was Tomma Abts who came out on top. She won twenty five thousand british pounds and of course the Turner Prize itself. I am sure the money will come in handy – however its the exposure that Tomma will get from winning thats the really important thing here.

What does Tomma Abts do? Well she actually paints abstract art; usually in oils or acrylics. – something of a novelty for the Turner Prize – some would say! Tomma Abts was originally selected for her solo art exhibitions at Kunsthalle Basel, Switzerland, and Greengrassi, London.

  1. Tomma Abts has been praised by no less than the Tate Gallery who describes her canvases as “intimate” and “compelling” .
  2. They also comment on Tommas “consistent” and even “rigorous” method of painting.
  3. In addition the Tate states that Tomma Abts “enriches the language of abstract art” .
  4. With such praise heaped upon her head its no surprise to me that she won the prize.
  5. However I actually feel that Tommas abstract artwork isnt “knock out” but it definitely is OK.

The images or paintings of Tomma Abts are created by the repetiton of various geometrical shapes on a base of rich colour. Personally – I dont think that Tommas approach to painting is particularly original. However I have to admit that while not being “knock out” I find some of Tommas images pretty compelling and touching. I have to say that this does surprise me.

48 x 38 cms – exactly. These are the dimensions of every Tomma Abts painting. Im not sure quite why Tomma selected these dimensions. Obviously she finds them appealing and I suppose they make for a very compact painting.

When creating titles for her paintings apparently Tomma simply plucks one from a dictionary of German first names! Titles like “Veeke” for example were created in this way. In my view this is surely only slightly more interesting than numbering each picture!

All in all I think that Tomma Abts creates abstract art that is pretty accessible to the public at large. This is something that perhaps could not be said about the artwork of previous Turner Prize winners! I base my opinion of course on Tommas prize winning paintings. I would go further and state that I cannot conceive of a Tomma Abts creation offending anyone – even slightly.

In the end its just my personal opinion but I do believe that its entirely posible that Tomma Abts will go on to become a household name – within her own lifetime…Of course she could also disappear without trace from the media – and our minds in the blink of an eye, for precisely the same reasons.

Mlm Software Development India

While the world pays respectful tribute to Rembrandt Van Ryn the artist, it has been compelled to wait until comparatively recent years for some small measure of reliable information concerning Rembrandt Van Ryn the man. Rembrandt Van Ryn was born in the pleasant city of Leyden, but it is not easy to name the precise year. Somewhere between 1604 and 1607 he started his troubled journey through life, and of his childhood the records are scanty. Doubtless, his youthful imagination was stirred by the sights of the city, the barges moving slowly along the canals, the windmills that were never at rest, the changing chiaroscuro of the flooded, dyke-seamed land. Perhaps he saw these things with the large eye of the artist, for he could not have turned to any point of the compass without finding a picture lying ready for treatment.

His family soon knew that he had the makings of an artist and, in 1620, when he could hardly have been more than sixteen, and may have been considerably less, he left Leyden University for the studio of a second-rate painter called Jan van Swanenburch. We have no authentic record of his progress in the studio, but it must have been rapid. He must have made friends, painted pictures, and attracted attention. At the end of three years he went to Lastmans studio in Amsterdam, returning thence to Leyden, where he took Gerard Dou as a pupil. A several years later, it is not easy to settle these dates on a satisfactory basis, he went to Amsterdam, and established himself there, because the Dutch capital was very wealthy and held many patrons of the arts, in spite of the seemingly endless war that Holland was waging with Spain.

His art remained true and sincere, he declined to make the smallest concession to what silly sitters called their taste, but he did not really know what to do with the money and commissions that flowed in upon him so freely. The best use he made of changing circumstances was to become engaged to Saskia van Uylenborch, the cousin of his great friend Hendrick van Uylenborch, the art dealer of Amsterdam. Saskia, who was destined to live for centuries, through the genius of her husband, seems to have been born in 1612, and to have become engaged to Rembrandt Van Ryn when she was twenty. The engagement followed very closely upon the patronage of Rembrandt Van Ryn by Prince Frederic Henry, the Stadtholder, who instructed the artist to paint three pictures.

  1. Saskia is enshrined in many pictures.
  2. She is seen first as a young girl, then as a woman.
  3. As a bride, in the picture now at Dresden, she sits upon her husbands knee, while he raises a big glass with his outstretched arm.
  4. Her expression here is rather shy, as if she deprecated the situation and realised that it might be misconstrued.
  5. This picture gave offence to Rembrandt Van Ryns critics, but some portraits of Saskia remained to be painted.
  6. She would seem to have aged rapidly, for after marriage her days were not long in the land.
  7. She was only thirty when she died, and looked much older.

In 1638 we find Rembrandt Van Ryn taking an action against one Albert van Loo, who had dared to call Saskia extravagant. It was, of course, still more extravagant of Rembrandt Van Ryn to waste his money on lawyers on account of a case he could not hope to win, but this thought does not seem to have troubled him. He did not reflect that it would set the gossips talking more cruelly than ever. Still full of enthusiasm for life and art, he was equally full of affection for Saskia, whose hope of raising children seemed doomed to disappointment, for in addition to losing the little Rombertus, two daughters, each named Cornelia, had died soon after birth. In 1640 Rembrandt Van Ryns mother died. Her picture remains on record with that of her husband, painted ten years before, and even the biographers of the artist do not suggest that Rembrandt Van Ryn was anything but a good son. A year later the well-beloved Saskia gave birth to the one child who survived the early years, the boy Titus. Then her health failed, and in 1642 she died, after eight years of married life that would seem to have been happy. In this year Rembrandt Van Ryn painted the famous “Night Watch,” a picture representing the company of Francis Banning Cocq, and incidentally a day scene in spite of its popular name. The work succeeded in arousing a storm of indignation, for every sitter wanted to have equal prominence in the canvas.

It may be said that after Saskias death, and the exhibition of this fine work, Rembrandt Van Ryns pleasant years came to an end. He was then somewhere between thirty-six and thirty-eight years old, he had made his mark, and enjoyed a very large measure of recognition, but henceforward, his career was destined to be a very troubled one, full of disappointment, pain, and care. Perhaps it would have been no bad thing for him if he could have gone with Saskia into the outer darkness. The world would have been poorer, but the man himself would have been spared many years that may be even the devoted labours of his studio could not redeem.

Between 1642, when Saskia died, and 1649, it is not easy to follow the progress of his life; we can only state with certainty that his difficulties increased almost as quickly as his work ripened. His connection with Hendrickje Stoffels would seem to have started about 1649, and this woman with whom he lived until her death some thirteen years later, has been abused by many biographers because she was the painters mistress.

He has left to the world some 500 or 600 pictures that are admitted to be genuine, together with the etchings and drawings to which reference has been made. He is to be seen in many galleries in the Old World and the New, for he painted his own portrait more than a score of times. So Rembrandt Van Ryn has been raised in our days to the pinnacle of fame which is his by right; the festival of his tercentenary was acknowledged by the whole civilised world as the natural utterance of joy and pride of our small country in being able to count among its children the great Rembrandt Van Ryn.

AVG Antivirus Free Edition 2011

Contemporary paintings are an exquisite style of paintings. Contemporary art paintings are the true representatives of the modern art. Contemporary artists are creating the contemporary oil paintings of the high quality. A great number of contemporary oil paintings are available in the contemporary art gallery. Contemporary art is of great artistic importance. Contemporary abstract paintings make the most of contemporary art. Still life Contemporary paintings are also very much appreciated.

There are many museums of modern paintings all over the world. The modern paintings of the modern artists are exhibited in these museums. These museums of modern art have been successful in flourishing the contemporary art. Modern artists exhibit their modern paintings creations in the museum of contemporary art. Museum of modern art New york, Contemporary art museum Houston, museum of modern art paris, art museum of Fort worth are the famous museums of contemporary art. Contemporary art work can be seen in these modern art museums.These museums exhibit the popular contemporary paintings of the famous modern artists.

Modern Abstract Art

  1. There are great number of painters of modern life.
  2. They have created the modern abstract art on modern themes.
  3. Modern artists paint colours in an artistic way.
  4. Their contemporary oil paintings are pure form of fine arts.
  5. History of modern art is full of great contemporary paintings from famous modern artists.
  6. 19th century paintings and 20th century paintings are worth seeing.
  7. Modern art movements have been in progress in recent times.
  8. There are many contemporary art centers.
  9. Contemporary art center Cincinnati and Contemporary art center of Virginia are the famous modern art center.
  10. St.Louis contemporary art has been very much appreciated. Contemporary Christian artists
    1. Modern art is also available for sale. Modern and contemporary art can be purchased from the modern art gallery. These contemporary art galleries offer the Original modern paintings of the famous contemporary artist. The reproductions of the famous contemporary paintings can also be purchased from these modern art galleries. These galleries also offer cheap price modern oil paintings.

      Good News for lovers of modern art ! You can get Contemporary and Modern Oil Paintings of your own choice just by selecting the Model number of the Landscape Oil Painting or by sending the Photo of your required image. Our highly skilled modern artists can reproduce the contemporary paintings as per your given photo. Just click the Link of Contemporary paintings on our website (www.paintingsgifts4u.com) . For more details, Please contact us at : info@paintingsgifts4u.com.

AVG vs. Norton

A computers hard disk is basically divided into four or five equal parts for convenience in storage facilities. However, a hard disk is of two types, namely, basic disk and dynamic disk. The disks in our system are basic disks by default. Both, obviously, serve different purposes owing to possession of properties. As the name suggests, a dynamic disk is far more advanced and brings about greater satisfaction and ease during normal usage.

What kind of art do you like?

There are many opportunities to browse art within your community at local exhibitions, art fairs and galleries. Even small towns usually have a not-for-profit gallery space, or cafes and restaurant that exhibit local artists. In larger cities, galleries often get together for monthly or periodic “gallery nights” where all the galleries hold open house receptions on the same evening. Its a great way to see a lot of art in a short time.

Today the internet provides the largest variety and depth of fine art available worldwide. You can visit museum websites and see master works from ages past, check out online galleries for group shows, and visit hundreds of individual artists websites. One advantage of using the internet is that you can search for the specific kind of art you are interested in, whether its photography, impressionism, bronze sculpture, or abstract painting. And when you find one art site, youll usually find links to many, many more.

Should the art fit the room or the room fit the art?

If you feel strongly about a particular work of art, you should buy the art you love and then find a place to put it. But you may find that when you get the art home and place it on a wall or pedestal, it doesnt work with its surroundings. By not “working,” I mean the art looks out of place in the room. Placing art in the wrong surroundings takes away from its beauty and impact.

What should you do if you bring a painting home and it clashes with its environment? First, hang the painting in various places in your home, trying it out on different walls. It may look great in a place you hadnt planned on hanging it. If you cant find a place where the art looks its best, you may need to make some changes in the room, such as moving furniture or taking down patterned wallpaper and repainting in a neutral color. The changes will be worth making in order to enjoy the art you love.

Sometimes the right lighting is the key to showing art at its best. You may find that placing a picture light above a painting or directing track lighting on it is all the art needs to exhibit its brilliance. If you place a work of art in direct sunlight, however, be sure it wont be affected by the ultraviolet light. Pigments such as watercolor, pencil and pastel are especially prone to fading. Be sure to frame delicate art under UV protected glass or acrylic.

How to pick art to fit the room.

Size and color are the two major criteria for selecting art to fit its surroundings. For any particular space, art that is too large will overwhelm, and art that is too small will be lost and look out of proportion. The bolder the art, the more room it needs to breathe.

As a rule, paintings should be hung so that the center of the painting is at eye level. Sculpture may sit on the floor, a table, or pedestal, depending on the design. Rules should be considered guidelines only, however, so feel free to experiment.

When selecting a painting to match color, select one or two of the boldest colors in your room and look for art that has those colors in it. Youre not looking for an exact match here. Picking up one or two of the same colors will send a message that the painting belongs in this environment.

Another possibility for dealing with color is to choose art with muted colors, black-and-white art, or art that is framed in a way that mutes its color impact in the room. A wide light-colored mat and neutral frame create a protected environment for the art within.

Style is another consideration when selecting art to fit a room. If your house is filled with antiques, for example, youll want to use antique-style frames on the paintings you hang there. If you have contemporary furniture in large rooms with high ceilings, youll want to hang large contemporary paintings.

How to create an art-friendly room.

Think about it. When you walk into a gallery or museum, what do they all have in common? White walls and lots of light. If a wall is wall-papered or painted a color other than white, it limits the choices for hanging art that will look good on it. If a room is dark, the art will not show to its best advantage.

If you want to make art the center of attraction, play down the other elements of the room like window coverings, carpeting, wall coverings, and even furniture. A room crowded with other colors, textures and objects will take the spotlight away from the art. Follow the principle that less is more. Keep it spare and let the art star. Then relax and enjoy it.

Selecting and displaying art is an art in itself. Experiment to learn what pleases you and what doesnt. Youll be well-rewarded for the time you invest by finding more satisfaction both in the art and in your home.

Microsoft Dynamics GP 9.0

Microsoft Dynamics GP 9.0 has multiple improvements and “Project Green” innovations. One of the new key words, Microsoft Business Solutions people like to introduce and increase the frequency of using is eConnect.

The First Theft:

The first documented case of art theft was in 1473, when two panels of altarpiece of the Last Judgment by the Dutch painter Hans Memling were stolen. While the triptych was being transported by ship from the Netherlands to Florence, the ship was attacked by pirates who took it to the Gdansk cathedral in Poland. Nowadays, the piece is shown at the National Museum in Gdansk where it was recently moved from the Basilica of the Assumption. The Most Famous Theft:

The most famous story of art theft involves one of the most famous paintings in the world and one of the most famous artists in history as a suspect. In the night of August 21, 1911, the Mona Lisa was stolen out of the Louver. Soon after, Pablo Picasso was arrested and questioned by the police, but was released quickly.

It took about two years until the mystery was solved by the Parisian police. It turned out that the 30×21 inch painting was taken by one of the museum employees by the name of Vincenzo Peruggia, who simply carried it hidden under his coat. Nevertheless, Peruggia did not work alone. The crime was carefully conducted by a notorious con man, Eduardo de Valfierno, who was sent by an art faker who intended to make copies and sell them as if they were the original painting.

While Yves Chaudron, the art faker, was busy creating copies for the famous masterpiece, Mona Lisa was still hidden at Peruggias apartment. After two years in which Peruggia did not hear from Chaudron, he tried to make the best out of his stolen good. Eventually, Peruggia was caught by the police while trying to sell the painting to an art dealer from Florence, Italy. The Mona Lisa was returned to the Louver in 1913.

The Biggest Theft in the USA:

The biggest art theft in United States took place at the Isabella Stewart Gardner Museum. On the night of March 18, 1990, a group of thieves wearing police uniforms broke into the museum and took thirteen paintings whose collective value was estimated at around 300 million dollars. The thieves took two paintings and one print by Rembrandt, and works of Vermeer, Manet, Degas, Govaert Flinck, as well as a French and a Chinese artifact.

As of yet, none of the paintings have been found and the case is still unsolved. According to recent rumors, the FBI are investigating the possibility that the Boston Mob along with French art dealers are connected to the crime.

The Scream:

The painting by Edvard Munchs, The Scream, is probably the most sought after painting by art thieves in history. It has been stolen twice and was only recently recovered. In 1994, during the Winter Olympics in Lillehammer, Norway, The Scream was stolen from an Oslo gallery by two thieves who broke through an open window, set off the alarm and left a note saying: thanks for the poor security.

Three months later, the holders of the painting approached the Norwegian Government with an offer: 1 million dollars ransom for Edvard Munchs The Scream. The Government turned down the offer, but the Norwegian police collaborated with the British Police and the Getty Museum to organize a sting operation that brought back the painting to where it belongs.

Ten years later, The Scream was stolen again from the Munch Museum. This time, the robbers used a gun and took another of Munchs painting with them. While Museum officials waiting for the thieves to request ransom money, rumors claimed that both paintings were burned to conceal evidence. Eventually, the Norwegian police discovered the two paintings on August 31, 2006 but the facts on how they were recovered are not known yet.