other post-industrial areas in the United States, Williamsburg Brooklyn was the site of many abandoned industrial buildings, casualties of the departure of industry. For a certain time period, before the massive redevelopment that took place in the 2000's, these buildings were available for exploring, photographing and other creative interventions. There was a feeling of things being wide open at that time. One could discover a scene that no-one else had seen, and do something with it. There was a picturesque randomness about the mile-long swathe of land between the last street and the east river, scattered with abandoned cars, a railroad steam engine, turbine rooms, wharfs, docks and warehouses that had been neglected and abandoned for some 25-30 years. It wasn't safe to go there, but it wasn't terribly dangerous either, and one could go by oneself and bushwhack in the urban wilderness that went right down to the waters edge. The openness of the landscape at that time gave rise to many DIY projects, some more public than others. The freedom to manipulate and interact with the landscape is something I can connect to my own kind of manipulations of images that came later.
Abstract: Since the first the image or photograph was first found around 1800, has become one of the fundamental elements of communication in human daily live. Those images which come from various sources from electronic and printed media contain various types of messages. Fundamentally all these images can be clustered into two major of ‘realistic’ and ‘interpretative’ strands. It functions encompass a broad range of contemporary living, from communication, the economy, education to art and culture. It is therefore, all images even the simple one requires to be understood by the large of society. Its importance is like a verbal and written languages. In some parts of the nation especially some developing countries however, image or photograph or can be referred as photographic education has not been given a proper position or is not well flourished in their formal Education System. Arguably, the subject of image-based or photographic education is given as secondary importance in education hierarchy ranging from the lower level of primary education to the highest level of tertiary education. Its importance has not been given as important as others established subjects like mathematics, business and others. This paper therefore, aim to analyse and highlight the significance of the theory and practice of image-based subject as important as others subjects in the formal education sphere. This paper can be concluded that visual images in education lies between two continua – the theory of epistemology (knowledge) and the theory of learning. The study argues that the importance of visual images in education provides significant opportunities for the development of individuals and for social, cultural and economic development. Photographic education can provide a platform for visual intelligence competencies of visual thinkers, specialist visual practitioners and contributes to visual literacy. Finally, photographic education is recommended to become as one of the subjects to offer at various levels of lower, middle and tertiary education in the formal education system.
5. Yahoo is using Hadoop for content optimization, search index, ads optimization and content feed processing. Biggest development has happened in the mediaindustry. New York Times uses Hadoop to make PDF file from published articles. E-Commerce companies are using Hadoop to track user behaviour. Hadoop is also used in customer segmentation and experience analysis, credit risk assessment, targeted services, etc. Hadoop addresses most common industry challenges like fraud, financial crimes and data breaches effectively .
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As the goal of design education is to guide creative individuals with aesthetical perceptions, Interior Architecture education must also be improved so that it supports creativity . Especially in the information and communication age, needs and personal choices become more and more various, and the role of creativity in interior architecture design gets more and more significant. Gropius stated that the purpose of education is teaching a way, method for approaching problems rather than providing a certain information-skill. Considering that the design education is a process of creating, experiencing and researching, methods that support such process and bring creativity forward become more important . A design education is provided in consideration of basic designing principals such as color, ratio, difference, integrity, rhythm, balance, and contrast in order to contribute to visual and intuitive developments of students. Creativity is improved through working, experiencing, observing, the researching and perceiving. Principals adopted in Basic Design courses improve the perceptions and experiences of students and contribute to their creativity.
Work produced within the Painting and Drawing unit could include portraits, still-life, landscape, imaginative compositions, studies of natural and made forms, and murals. Learners should be encouraged to experiment with a number of materials, techniques and processes including pencil, charcoal, crayon, paints, inks, collage and mixed media. N.B. The above lists are not exhaustive.
media content, user profiling and mnemotechniques – that undergird and pre- pattern our collective consciousness and scope for future action. We are all, according to Hansen and Stiegler, participating in the creation of a technological “lifeworld” of calculation and prediction, to which we contribute (our data, communication, desires and relationships), yet to which we also have no direct sensory access. In many ways, this media-enabled age of code and data is the apotheosis of the instrumental and abstracted optimization that horrified the first wave of architectural phenomenology. There is certainly an imperative to think very carefully about how media-infused architecture or public works may contribute to this accumulating non-phenomenological data realm, but also to consider how these projects might be capable of actually intervening in or questioning these processes of information capture and social control.
Pictorial documentation in the building industry during the construction process presents a true picture of the project. The photographs are contem- poraneous record of what was actually happening at any given time during the course of the project. For small projects keeping documentation doesn’t present a major problem. Difficulties arise with larger projects due to the complex structure and unmanageable data base, where management and or- ganization of current documentation becomes a real challenge. In this case data visualization can be of a great help. In this work we analyzed the general trend of the increasing dominance of visual information in the construction sector in recent years, and identified how this trend is reflected in changes in the documentation of construction projects. Based on the above analysis, we made a plan and developed system to assist in documenting and optimizing the management of photographic documentation generated during the im- plementation of construction projects. With our system the structure of the photographic documentation is unified, clear, and inexpensive. The devel- oped system is possible to expand and use in other fields as well.
The variables used in this study are marketing ethics, business performance, and consumer response. Marketing ethics is brand equity from the customer's point of view which is formed from customer response to brand marketing, where this customer response can depending on the knowledge the customer has about the brand. The Purchase Decision Process is the stage through which the consumer decides the use of a product, the stages include: a) identification of needs, b) seeking information to meet those needs, c) evaluating various possible alternatives and d) selecting alternatives/purchasing decisions, e) Post Consumption. Consumer Response is consumer’s response to marketing activities related to business ethics in the creativeindustry. Responses can be cognitive, affective, conative, and behavioral.
The literature around entrepreneurship within the creative industries focuses on the characteristics of the sector, the ways in which organisations and individuals interact with one another, and the impact of external factors which influence the direction of those organisations and the sector as a whole. For example, the sector has been characterised by its reliance upon networks, relationships and collaboration (NESTA, 2003; Baines and Robson, 2001), owing to the requirements for collaboration for project fulfilment across sub-sectors. The film industry has long been identified for its reliance on freelancers, as it is funded on a project by project basis. Employment patterns in this sub-sector are almost exclusively based on groups of freelancers, and the sub-sector is often used as an exemplar of how an industry can operate in this way (Blair et al., 2001a,b), with emphasis in the popular press in the USA on the ‘emergence of the freelancer’ (Pink, 2002). Here, Pink identifies a growing trend towards self-employment in the US across all sectors and walks of life. This work has been the subject of many citations and acknowledgements (Florida, 2002) but there is little academic research to explore, deny or support these ideas, although there has been a recurring view that business owners source team members, finance and work via friendships and other social networks, with resulting interdependence and related issues. Bilton goes on to describe the characteristics of creative talent that underpin and necessitate this type of collaboration: “it could be said that the high level of supply chain dependency in the creative industries is the direct result if the specialisation and individualisation of creative work in such complex and specialised sector, no single individual or firm can realistically expect to be self-sufficient” (Bilton, 2007:27).
E Consistently the advanced individuals expect new gadget and new technology to streamline their everyday life. The trailblazers and specialists are continually endeavoring to discover new things to fulfill the general population yet the procedure is as yet endless. In the 1990s, Internet availability started to multiply in big business and buyer markets, yet was as yet restricted in its utilization due to the low execution of the network interconnects. In the 2000s Internet network turned into the standard for some applications and today is normal as a major aspect of numerous undertaking, mechanical and buyer items
However, despite the progress of the last four years, there remain challenges and uncertainties in this long, sluggish recovery from the Great Recession. Unlike the early-2000s recession, when profitability quickly recovered and then peaked just three years later, our survey found that four years into the current recovery the A&E industry has yet to return to pre-recession financial strength. On Wall Street, there is a saying that the market climbs a “wall of worry,” and certainly A&E firms have endured a gauntlet of challenges following the worst recession since the Great Depression: the federal government sequester, a sluggish housing market, a lack of comprehensive transportation funding and even the “polar vortex” that slowed construction activity in early 2014.
In packaging, NDC provides basis weight, thickness, coat weight and moisture measurement and control systems for a diverse array of applications in the converting and film extrusion industries and also provides solutions for customers in nonwovens and calendering. For the food and bulk industries, NDC delivers both on-line and at-process analyzers for the measurement of key constituents such as moisture, fat, oil and protein. NDC’s broad spectrum of measurement solutions are used in the food, chemicals, minerals building materials, pharmaceutical and tobacco industries.
These examples are enough to give clear and positive impressions and indications to the creative industries in Malaysia with regards to the potentials of uplifting Islamic film genres and the importance of creating films that fulfil Islamic shariah’ which are not lacking behind in terms of advancement in content, context and technology. Hence, relevant partiesneed to grab these opportunities to penetrate into the market share in the creativeindustry in Malaysia based on society’s current increase of awareness towards Islamic genre films or Islamic art works. Malaysia has what it takes to uplift and uphold the dignity of Islam as role models to other Islamic countries around the world. Creativeindustry would provide wider and better opportunities for the involvement of creative industries. The involvement of unified support from various parties including the government, private sectors, and NGOs would most significantly contribute to the success of developing a more positive and credible creativeindustry in Malaysia.
We sincerely appreciate the inspiration; support and guidance of all those people who have been instrumental in making this project a success. We are grateful to Mr. Mritunjay Ojha, our Cryptography and System Security professor and Mrs. Rakhi Kalantri, our Software Architecture teacher for encouraging us to broaden our horizons and read more and learn more by way of assignments which help us discover topics like these. We would also like to express our gratitude to Mrs. Kiruthika, the HOD for the Computer Department for her encouragement for the same. We would also like to extend our thanks to Mr. Achuthan Nair, for his wonderful insights and encouragement to write the article.
hybridized form that combines with it, but instead see UGC in relation to the concept of informality in media production, distribution, and consumption (p. 890). They define informal media systems as those that fall outside the purview of state policy, regulation, taxation, and dimension. Thus, informal media would include DIY publishing, video, photography, and many other forms of amateur production and distribution activities, such as family photography. The interesting aspect about this conceptualization is that it implies that UGC moves back and forth between formality and informality over time and that the different components of specific UGC platforms and content exhibit differing degrees of formality at any one time. These formal/informal components are then intrinsic to many cultural practices, as illustrated with the example of photography (Lobato et al., 2011, p. 894). Moreover, the field of UGC would also be engaged with and reliant upon a variety of industrial and institutional media systems and governmental policies. Consequently, to pose the question from the side of users or from the side of companies is not sufficient to see the impact and interrelations of user/consumer practices within the cultural industries. This space of relationships, understood as a context to observe creative processes, is what we will try to develop in the subsequent sections.