Calendar

Università Cattolica del Sacro Cuore Student Art

Innovation – Standardization – Commoditization run along a continuum.  Today we unpack some of the ideas that hasten (and prohibit) leading practice discovery; how quickly goods and services become a “human right”; why all of this is relevant to education communities and why some believe that commoditization is a myth.

From the Wikipedia

In business literature, commoditization is defined as the process by which goods that have economic value and are distinguishable in terms of attributes (uniqueness or brand) end up becoming simple commodities in the eyes of the market or consumers. It is the movement of a market from differentiated to undifferentiated price competition and from monopolistic competition to perfect competition. Hence, the key effect of commoditization is that the pricing power of the manufacturer or brand owner is weakened: when products become more similar from a buyer’s point of view, they will tend to buy the cheapest.

https://twitter.com/StandardsMich/status/1318508254658502657?s=20

Illumination technologies have had a pattern of consuming about 35 percent of building electrical energy use.  That number has been pressed downward with the expanded application of LED luminaires and occupant responsive controls; much of the transformation hastened by IEEE and ASHRAE consensus products.

Today we run through the development status of these products.  Our meeting coincides with the day of two IEEE Education & Healthcare Facilities Committee teleconferences at 14:00 Central European time and 2:00 PM Eastern time in the Americas.

https://standardsmichigan.com/illumination-400/

Today we explain our collaboration with other like-minded units in education communities in the US and other nations.  In most cases we conform to participation requirements set by ANSI US Technical Advisory Groups to the International Organization for Standardization but we also have liaison with other universities in the European Union who conform to the participation requirements of their own national standards bodies.

Use the login credentials at the upper right of our home page.  Because a great deal of content is copyright protected by the International Electrotechnical Commission, International Organization for Standardization and International Telecommunications Union, please contact bella@standardsmichigan.com for an advance agenda.

https://standardsmichigan.com/international-standards-teleconference-today-11-am-eastern/

https://standardsmichigan.com/lorem-ipsum/

https://twitter.com/AESorg/status/1085607058374836224

There are written fine arts standards that have been developed by various organizations and educational bodies. These standards provide a framework for what students should know and be able to do in the arts at different grade levels. Here are a few examples of fine arts standards:

National Core Arts Standards: The National Core Arts Standards were developed by the National Coalition for Core Arts Standards and outline what students should know and be able to do in dance, media arts, music, theater, and visual arts at different grade levels.

State Fine Arts Standards: Many states have their own fine arts standards that are aligned with the National Core Arts Standards but may be tailored to reflect the unique needs and priorities of the state; e.g., State of Ohio Fine Art Standards

International Baccalaureate Arts Standards: The International Baccalaureate (IB) program offers arts standards as part of their curriculum framework for the arts. These standards are designed to develop students’ creative and critical thinking skills in the arts.

Arts Education Partnership National Standards for Arts Education: The Arts Education Partnership has developed national standards for arts education that cover the four major artistic disciplines: dance, music, theater, and visual arts.

Today at 15:00 UTC we drill into the technical specifics that contribute to the safety and sustainability of spaces used for the teaching, practice and

display of the fine arts.  These occupancies are typically at greater risk than classrooms because they usually contain volatile fluids for artistic painting

or biologic specimen preservation, kilns for pottery, fabrics and related machinery for teaching fashion design and practice.