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Design is a driver of productivity. The objective of this project is to create a framework for working professionals of an organization in the 21st Century, utilizing principles of editorial design. The new workplace can be reflective of the modernization and digitalization of our communication. Widespread change is occurring in the realm of work due to a variety of factors, from sweeping demographic shifts to the impacts of globalization and rapid integration of new technology. Similarly, print magazines have also found the need to adjust their push-methodology to customers due to the same factors. Because of similarities between the editorial industry and the corporate world and the challenges they share, magazines are in fact able to serve as a model for companies wishing to respond to these challenges, improve employee satisfaction, and generate more creativity and innovation in their workplace. Components making up the general layout of a magazine are dissected and applied to the program requirements of an office. Ultimately, the new system is not wholly collaborative or wholly sequestered, but instead offers a balance of these ideals. In addition to designated conference rooms, offices and other areas designed for work, members of the system have effortless access to focus rooms, learning space, places for socialization, quiet areas for informal meetings or personal phone calls as well as access to nature and the outdoors. Hospitality design also serves as a case study reference, playing a large role in the overall design of the new workplace as accomplishes many objectives for both employees and building lease operatives alike. Additionally, typical extracurricular or leisure activities may be encompassed in the system, although they vary among individual systems depending on the needs and activities of the specific members. The physical structure encourages use of all, and technology that is used is done only to encourage and foster these environments unless otherwise necessary for safety reasons, etc. The designed framework is a contemporary environment built on the principles of simplicity and sophistication intended for contemporary working professionals. This atmosphere is achieved mostly through material usage, graphics and way finding. Members of the system should feel able to focus and know that they have the freedom to move about the system in a flexible manner. The magazine serves as a template and lens to understand and achieve design goals with the intent to increase employee engagement, minimize cost and thereby increase the profits of an organization.

Testing materials for high school students whose reading is below grade level might not be age-appropriate or sufficiently motivating. The first step in finding appropriate material would be to talk with the student to learn his or her interests. To find age-appropriate material the author searched Internet resources and then used Microsoft Word to determine the grade level and word count for each article. With practice, she was able to evaluate these materials without taking too much time. The materials she used could then be as current as the morning news. Local newspapers on-line are an excellent source for material. Use the Search function of the newspaper to explore the Kids' Section or special interest sections such as sports heroes or ethnic foods. Teachers can find other useful Web sites listed at the end of this paper. An alternative is to use the scanner to import reading material into Microsoft Word or another writing program. If the student requires Braille, word lists, stories, and articles from appropriate reading levels can be embossed, but the rest of the process is the same. For all reading material, the word count, print sizes, and reading level can be determined in Microsoft Word. This article offers ideas for selecting individualized reading material for informal assessments of students with visual impairments.

This dissertation surveys the legal and ethical implications of the journey of artworks from Africa to Europe and the United States, beginning with events of the nineteenth century and continuing to the present. It addresses the laws regarding works of art from undeveloped countries, with focus on sub-Saharan Africa. The laws offer insight into what cultural value has been assigned to African art, and the changing laws and ethical norms reflect how African art has been perceived at different times. This work also discusses to what extent the unique aspects of African art should affect laws protecting the cultural property of sub-Saharan African countries. The dissertation focuses especially on Nigeria, the home of the Kingdom of Benin. It also addresses the legal issues of art from Mali, Cameroon, and the Democratic Republic of the Congo. It shows when, where, and how the legal issues for sub-Saharan art are similar to, or different from, the legal issues for other regions. Three spheres of academic endeavor were pursued in producing this work: African art history, ethics, and legal studies. From the combination of these areas emerges a narrative with a broad variety of events and people. Although the story is told chronologically, it is based on a set of legal and ethical issues. The common issues fall into four categories: plunder and illegal import/export; ethical collection and display; authenticity and forgery; and ownership and copyright. African artworks found their way to the West in the nineteenth century. There they were considered “savage fetishes” and put in ethnographic museums. In the twentieth century, Western artists such as Picasso were inspired by the aesthetics of African art, and private collectors began acquiring it. Now the world’s major art museums display African art. Since World War II, important international conferences have established an increasing level of protection for cultural property, and thus for African art. International conventions have not prevented illicit art traffic, however. The story of the Afo-A-Kom's return to Cameroon in 1975 illustrates the diverging interests of collectors, museums, the public, and the source country. Forgery has been an increasing problem for African art throughout the twentieth century and into the twenty-first century, fed by the high prices that authentic works receive in auction and at galleries. In 1991, for example, Sotheby’s sold a forged terracotta ram from Mali for more than a quarter of a million dollars. Today’s attitudes and laws concerning African art reflect a complex interplay of historical events and legal changes over time. From the nineteenth century to current times, some progress has been made. Key issues remain from colonial times, however. Despite a growing body of international and national legislation to protect cultural property, African art is still seen by some as a commodity that can be stolen, illegally exported and imported, forged, destroyed or censored.