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Demand is one of the few economic terms almost everyone knows. Demand drives supply. When demand rises, it stimulates growth - jobs are created, the economy flourishes and society thrives. So goes the theory. It sounds simple, yet almost no one really understands demand, including the business owners, company leaders and policy makers who try to stimulate and satisfy it. DEMAND is a book with breakout general non-fiction potential which searches for clues as to where demand really comes from, and why, and how we might control it.
“If you want to understand the most immersive new communications medium to come along since cinema… I’d suggest starting with Mr. Bailenson’s [book].” —Wall Street Journal Virtual reality is able to effectively blur the line between reality and illusion, granting us access to any experience imaginable. These experiences, ones that the brain is convinced are real, will soon be available everywhere. In Experience on Demand, Jeremy Bailenson draws upon two decades spent researching the psychological effects of VR to help readers understand its upsides and possible downsides. He offers expert guidelines for interacting with VR, and describes the profound ways this technology can be put to use to hone our performance, help us recover from trauma, improve our learning, and even enhance our empathic and imaginative capacities so that we treat others and ourselves better.
Learning on Demand presents new ideas around the topic of web-enabled instruction, challenging long-held beliefs about proper ‘design’ and the methods for engaging students. Drawing on technology trends, this book shows that accessibility of information on demand overshadows ‘interactive design’ for creating effective web-based instruction. In addition, the trends that are evident outside of the training and development industry are ones that could empower and bring training and development professionals into vital roles within an organization. Learning on Demand showcases fascinating examples of web and mobile technologies that are based on an increasingly open web platform. Right now, technology innovations are moving faster than innovations in learning. The showcase of technologies presented in this book can create a baseline of innovation to use for comparison in the future. We must continue to look at new, developing technologies, and assess whether training and development trends are taking advantage of these technologies. If they are not, we need to examine how we can do so moving forward. This book will discuss new ways of measuring the effectiveness of web-enabled instructional solutions based on the success of business intelligence and web analytic technologies.
Despotism on Demand draws attention to the impact of flexible scheduling on managerial power and workplace control. When we understand paid work as a power relationship, argues Alex J. Wood, we see how the spread of precarious scheduling constitutes flexible despotism; a novel regime of control within the workplace. Wood believes that flexible despotism represents a new domain of inequality, in which the postindustrial working class increasingly suffers a scheduling nightmare. By investigating two of the largest retailers in the world he uncovers how control in the contemporary "flexible firm" is achieved through the insidious combination of "flexible discipline" and "schedule gifts." Flexible discipline provides managers with an arbitrary means by which to punish workers, but flexible scheduling also requires workers to actively win favor with managers in order to receive "schedule gifts": more or better hours. Wood concludes that the centrality of precarious scheduling to control means that for those at the bottom of the postindustrial labor market the future of work will increasingly be one of flexible despotism.
Varian Fry, a young editor from New York, traveled to Marseilles after Germany defeated France in the summer of 1940. As the representative of the Emergency Rescue Committee, a private American relief organization, he offered aid and advice to refugees who found themselves threatened with extradition to Nazi Germany under Article 19 of the Franco-German armistice — the “Surrender on Demand” clause. Fry risked his life to rescue those targeted by the Gestapo in “the most gigantic man-trap in history.” Working day and night with a few associates in opposition to France’s Vichy government and to American authorities, his elaborate rescue network managed to spirit more than 1,500 people — including prominent European politicians, artists, writers and scientists — to safety by the time Fry was expelled from France after 13 months. “Surrender on Demand is by turns wildly exciting, horrifying and exalting. Certainly, there has never been another book like it... Varian Fry is a good man. Through the people he has helped rescue — the doctors, the painters, the writers, the sculptors, the teachers — he has added to the sum total of the world’s happiness... an astonishingly good book.” — Russell Maloney, The New York Times “Surrender on Demand contains enough intrigue and conspiracy, enough narrow escapes and shady and flamboyant characters for three or four spy stories. But Mr. Fry has not written it for excitement... He has put down some plain and eloquent facts.” — Orville Prescott, The New York Times “I have read and heard many accounts of escapes from Europe... but none surpasses this restrained and factual narrative in suspense and excitement... It tells of many triumphs and some defeats: it depicts with vividness and often with humor a large number of interesting and frequently distinguished persons; it describes the endless obstacles encountered and the ingenious and constantly changing shifts and devices contrived to overcome them; and throughout it makes one feel the undercurrent of potential tragedy which too often became actual.” — New York Herald Tribune Weekly Book Review “A novelist would hardly dare pack a novel with so many hair-breath escapes.” — Lewis Gannett, New York Herald Tribune “... a brilliant exposé of the work accomplished by [Fry] in Marseille during the tragic days that followed the French defeat... Surrender on Demand is a unique contribution to the underground history of the war.” — Josef Forman, Free World “There are a larger number of highly exciting and almost unbelievable stories in this deeply moving but often also highly amusing book. Friends of light adventure novels will undoubtedly like it. And friends of humanity will see much more in it than an adventure story although it deals with forging passports, with hiding and escaping from detectives, with secret messages hidden in a toothpaste tube, and with an underground railroad over a well protected border. They will see in it a memorial to the man who made what he modestly calls ‘an experiment in democratic solidarity’ and also to the women and men who sent him on his dangerous mission.” — Henry B. Kranz, Saturday Review
WHO COULD PLOT A MURDER BETTER THAN A MYSTERY WRITER? At Annie Laurance’s Death On Demand bookstore on Broward’s Rock Island, South Carolina, murder most foul suddenly isn’t confined to the well-stocked shelves. Author Elliot Morgan’s abrupt demise during a weekly gathering of famous mystery writers called the Sunday Night Regulars is proof positive that a bloody sword is sometimes mightier than a brilliant pen. With Annie is the unenviable position of primary police suspect, the pretty young mystery maven and her wealthy paramour, Max Darling, embark on an investigation into a classic locked-room mystery with high stakes. For failing to unmask a brutal and ingenious killer could mean prison for Ms. Laurance. While success could mean her death. “Irresistible! [Carolyn] Hart drops big names from the mystery world like murderers drop clues and Annie and Max are the most endearing new pair of sleuths since Tommy and Tuppence!” – Nancy Pickard
Business consultants everywhere preach the benefits of innovation—and promise to help businesses reap them. A trendy industry, this type of consulting generates courses, workshops, books, and conferences that all claim to hold the secrets of success. But what promises does the notion of innovation entail? What is it about the ideology and practice of business innovation that has made these firms so successful at selling their services to everyone from small start-ups to Fortune 500 companies? And most important, what does business innovation actually mean for work and our economy today? In Creativity on Demand, cultural anthropologist Eitan Wilf seeks to answer these questions by returning to the fundamental and pervasive expectation of continual innovation. Wilf focuses a keen eye on how our obsession with ceaseless innovation stems from the long-standing value of acceleration in capitalist society. Based on ethnographic work with innovation consultants in the United States, he reveals, among other surprises, how routine the culture of innovation actually is. Procedures and strategies are repeated in a formulaic way, and imagination is harnessed as a new professional ethos, not always to generate genuinely new thinking, but to produce predictable signs of continual change. A masterful look at the contradictions of our capitalist age, Creativity on Demand is a model for the anthropological study of our cultures of work.
“Unsettles contemporary art’s unspoken hierarchies and topples modernist and postmodernist assumptions about originality, authenticity, and authorship.” —caa Reviews In a metropolis in south China lies Dafen, an urban village that houses thousands of workers who paint van Goghs, Da Vincis, Warhols, and other Western masterpieces for the world market, producing an astonishing five million paintings a year. Winnie Wong infiltrated this world, first investigating the work of conceptual artists; then working as a dealer; apprenticing as a painter; surveying wholesalers and retailers in Europe, East Asia and North America; establishing relationships with local leaders; and organizing a conceptual art exhibition for the Shanghai World Expo. The result is Van Gogh on Demand, a fascinating book about a little-known aspect of the global art world—one that sheds surprising light on the workings of art, artists, and individual genius. Wong describes an art world in which migrant workers, propaganda makers, dealers, and international artists make up a global supply chain of art. She examines how Berlin-based conceptual artist Christian Jankowski, who collaborated with Dafen’s painters to reimagine the Dafen Art Museum, unwittingly appropriated the work of a Hong Kong-based photographer Michael Wolf. She recounts how Liu Ding, a Beijing-based conceptual artist, asked Dafen “assembly-line” painters to perform at the Guangzhou Triennial, styling himself into a Dafen boss. Through such cases, Wong shows how Dafen’s painters force us to reexamine our preconceptions about the role of Chinese workers in redefining global art. “[A] fantastically detailed exploration of a topic which touches the heart of many of the issues surrounding China's economic rise.” —South China Morning Post
The movie industry is changing rapidly, due in part to the adoption of digital technologies. Distributors now send films to theaters electronically. Consumers can purchase or rent movies instantly online and then watch them on their high-definition televisions, their laptops, or even their cell phones. Meanwhile, social media technologies allow independent filmmakers to raise money and sell their movies directly to the public. All of these changes contribute to an “on-demand culture,” a shift that is radically altering film culture and contributing to a much more personalized viewing experience. Chuck Tryon offers a compelling introduction to a world in which movies have become digital files. He navigates the complexities of digital delivery to show how new modes of access—online streaming services like YouTube or Netflix, digital downloads at iTunes, the popular Redbox DVD kiosks in grocery stores, and movie theaters offering digital projection of such 3-D movies as Avatar—are redefining how audiences obtain and consume motion picture entertainment. Tryon also tracks the reinvention of independent movies and film festivals by enterprising artists who have built their own fundraising and distribution models online. Unique in its focus on the effects of digital technologies on movie distribution, On-Demand Culture offers a corrective to address the rapid changes in the film industry now that movies are available at the click of a button.
TV Writing On Demand: Creating Great Content in the Digital Era takes a deep dive into writing for today’s audiences, against the backdrop of a rapidly evolving TV ecosystem. Amazon, Hulu and Netflix were just the beginning. The proliferation of everything digital has led to an ever-expanding array of the most authentic and engaging programming that we’ve ever seen. No longer is there a distinction between broadcast, cable and streaming. It’s all content. Regardless of what new platforms and channels will emerge in the coming years, for creators and writers, the future of entertainment has never looked brighter. This book goes beyond an analysis of what makes great programming work. It is a master course in the creation of entertainment that does more than meet the standards of modern audiences—it challenges their expectations. Among other essentials, readers will discover how to: Satisfy the binge viewer: analysis of the new genres, trends and how to make smart initial decisions for strong, sustainable story. Plus, learn from the rebel who reinvented an entire format. Develop iconic characters: how to foster audience alignment and allegiance, from empathy and dialogue to throwing characters off their game, all through the lens of authenticity and relatability. Create a lasting, meaningful career in the evolving TV marketplace: how to overcome trips, traps and tropes, the pros and cons of I.P.; use the Show Bible as a sales tool and make the most of the plethora of new opportunities out there. A companion website offers additional content including script excerpts, show bible samples, interviews with television content creators, and more.