Sunday, October 6, 2019
Marketing Essay Example | Topics and Well Written Essays - 1250 words - 1
Marketing - Essay Example The report then looks at how RLL can fit into the hot chocolate market using various promotional strategies as well as its existing resources. II. Customer Audit From the interview findings, all the respondents do like hot beverages and many of them take hot chocolate. Both male and female respondents across a wide range of age brackets like taking chocolate. Those who take chocolate drinks take them for indulgence reasons and other for relaxation. Most people get their chocolate drinks from supermarkets and local shops. When buying their chocolate drinks, most people are influenced by the thickness, a rich flavor and smoothness. Others get whatever is new in the market. The respondents who take chocolate said they would buy a hot beverage called Silk. III. Internal Audit A. Operating Results Tea and coffee dominate the UK hot drinks industry, which account for more than 90% of the industry’s total sales. The remainder of the sales (10%) is accounted for by other food beverage s such as hot chocolate. The hot beverage industry is worth more than ?1.5 billion. The tea industry is worth ?655 million, coffee industry is worth ?739 million while the other food beverages are worth ?125 million. The Forecasted future sales in the UK hot drinks industry is ?1.7 billion by 2016. ... 67% of those consumers with a household income of ?20,000-?24,999 use food beverages. Other high consumers of food beverages are those with household incomes of ?25,000 – ?34,999 (62%), ?15,000 – 19,000 and ?35,000 (64% each). The sales of instant chocolate and add milk chocolate increased from the year 2005 to 2007. B. Strategic Issues Analysis 1. Marketing objectives Launch a new hot chocolate product Generate over ?200,000 in the new product’s sales by the end of the first year. Increase the new product’s sales by 40% by the end of year 2. 2. Market segmentation All hot drinks customers from all age brackets prefer high premium products, which are full of flavor and exotic. They like expensive but restrained image. Their preferred brand does not have to be branded. Young C1C2 customers like convenient products that come at a moderate price. They also like branded products with standard products being the most accepted. For this age group, the kind of pu rchase they make conveys their status. Older C1C2s do not mind the price of the product as long as its quality is right. For them, taste is the most important factor when purchasing hot drinks products. They do not care much about the products image or exotic products. They normally view own label as poor quality. For the younger DEs the product’s price is very important. They tend to buy smaller packages of branded products whose quality must be good. They are also concerned about the image and they are likely to change products quite often. Older DEs mostly buy the cheapest products and they stick to those products that they know, that is, the traditional products. They also value own labels. 3. Competitive Advantage The company has hi-tech production facilities that
Friday, October 4, 2019
Innovations in on-line payment systems for retail customers Thesis
Innovations in on-line payment systems for retail customers - Thesis Example Master’s Thesis INNOVATIONS IN ON-LINE PAYMENT SYSTEMS FOR RETAIL CUSTOMERS MICHAEL YUSHCHENKO INNOVATIONS IN ON-LINE PAYMENT SYSTEMS FOR RETAIL CUSTOMERS Master’s Thesis At the Frankfurt School of Finance and Management Supervised by Dr. Dirk Rudolph Prof. Dr. ... The cash is transformed into electronic format. There are many types of payment systems in the world now, but the doubt lies in matters of security. It is very important to identify the secure way of online payment mode. In e-commerce the transaction usually takes place between the client, the trader and the bank. The client transfers the money to the seller through the web with the help of online banking services and the desired product is delivered to the buyer at his/ her doorstep (Abrazhevich 1-3). An electronic payment system must have the following characteristics: Security: The most important thing in online payment system is the security of transaction. Unfortunately, the electronic money is considered a simple file like the other files, which can be copied. So the problem of copying or double spending of the money should be avoided. Transferability: This deals with the transfer of funds from one account to another without a bank intermediary. Flexibility: The payment gateway must give enough flexibility to the buyers and sellers to make payments from alternative forms payment options. Reliability: The payment system must be available to eliminate system errors (Bhasker 357-358). It has been studied that in the year 2010, the market share for credit card payments has increased about 40 percent in North America. Due to this reason, American Express has launched digital payment systems in the year 2011. This would offer different forms of payment systems to the customers. In Latin America about 70 percent of the customers prefer online payment systems to traditional payment methods. In Brazil systems like SafetyPay, and BrasPag are working together to bring about a revolution in the online payment market.
Examining Globalization and Imperialism’s Parallelism Essay Example for Free
Examining Globalization and Imperialism’s Parallelism Essay Introduction            Globalization cannot be merely described as a one-time event. Neither can it be defined as a pure passing fad nor a made-up term invented by various economic experts. Globalization is a social experience that has been predicted and expected to occur at the turn of the century. In recent years, it can be observed that not a single day pass by wherein globalization’s direct effects and impacts are not felt. According to Mishkin (2006), the plain and simple act of consuming foreign goods is already reflective of globalization’s power and influence. Globalization’s massive scope and reach further increase with the aid of highly modernized and sophisticated technological materials that are very much capable of breaking the barriers of space and time. Apparently, the global village that was once espoused by the renowned technological determinist, Marshall McLuhan is fast becoming a reality (Garson, 2006). Individuals, regardless of their age, culture, race and social class become connected in this seemingly borderless society.            But while a borderless society may seem to be beneficial to the growth of commerce and trade, geography’s untimely death (Murray, 2006) is clouded with doubts and animosity. Globalization thus presents a double-edged sword wherein its consequences can be either beneficial or detrimental (Collier, 2007). While globalization may actually trigger the rise of different emerging markets, which, in turn would lead to an increase of employment opportunities and product creationâ€â€these scenarios are perceived by globalization critics and detractors as yet another way of widening the economic gap between the rich and the poor. The destruction of geographical parameters enables transnational corporations to easily penetrate poverty-stricken communities with promises of wealth and prosperity. However, on a deeper contextualization of the matter, the luxury and abundance are no less than myths. Realistically speaking, globalization articulates the needs and demands of a capitalistic system that blatantly thrive on exploitation and cheap labor.            Globalization’s seemingly capitalistic nature as well as its wide scope and reach are some of the reasons behind its close association to imperialism. Going back to historical discourses it can be seen that imperialism began in an era wherein land explorations and discoveries were rampant. However, it is also important to note that imperialism in the earlier days was not merely concerned on unraveling new domains and territories. Along with it was the aim to conquer and rule over newly discovered lands and communities, which in turn resulted to territorial disputes and conflicts between Spain and Portugal. The success of each and every exploration equates to having greater chances or possibilities for geographical and economic expansion. The kingdom with the most number of colonies can readily utilized the latter’s natural resources and labor forces. Natives are subject to harsh working conditions in order to feed the colonizers’ economy.            Under these circumstances, indeed, the overt parallelism between globalization and imperialism is very much manifested. Globalization is imperialism redefined. Globalization is imperialism that operates and expands at a faster pace primarily because it is highly supported by sophisticated technology and communication channels (Janssens, 2004). Empires are continuously established by ruling parties. This is despite of Negri and Hardt’s assertion that Empires are different from conventional imperialism wherein the latter needs to distinguish a concrete spatial scope and range, while Empires are basically â€Å"decentralized and deterritorialized (Held McGrew, 2007).†Based from a critical perspective, the ideological connotations and underpinnings of globalization, imperialism and Empires of Hardt and Negri are all the same, except for the tools used for expansion and the degree or speed wherein expansion materializes. Cultural Imperialism            As globalization or imperialism for that matter, continues to disguise as a worldwide economic approach that seeks growth and development among participating nations, another dilemma occurs. This is something that goes beyond the unequal distribution of wealth and massive exploitation of the workers. As the rally for economic prosperity goes on, globalization has also permeated the cultural boundaries and slowly transformed as an impending threat to timeless beliefs, customs and traditions. Ancient practices that have been long kept and preserved by various indigenous groups are slowly eradicated and given derogatory treatments for such are viewed as no longer applicable or valuable within the context of highly modernized and digital world. This unfortunate situation thus places marginalized groups into very uncompromising situations. Indigenous groups are further pushed into the periphery. The so-called â€Å"globalization of culture (Inda Rosaldo, 2008),†which, ideally, should promote convergence and connectedness is no less than a strong manifestation of cultural imperialism.            There are three aspects that highly characterize or define the mechanisms of cultural imperialism (Hesmondhalgh, 2002). First, there is an apparent overflow of â€Å"cultural products†that are mostly derived from the West (Hesmondhalgh, 2002). These â€Å"cultural products,†are consistently enforced or spoon-fed to other cultures (Hesmondhalgh, 2002). Since cultural products are widely disseminated and seemingly forced into non-western communities, cultural imperialism thus opens the possibility of cultural homogenization (Hesmondhalgh, 2002). Lastly, the outcomes or consequences of cultural imperialism result to the death of indigenous cultures (Hersmondhalgh, 2002). Given this situation at hand, Sztompka (1993) expressed that cultural imperialism is most likely to affect or influence indigenous groups situated in communities that have had their own share of their colonial experience.            While this discussion sees the importance of sharing the practices of indigenous groups for the sake of awareness and preservation, these aspects become endangered as globalization enters into the limelight. The aim for awareness transforms into close-minded stereotypical views and preservation turns into total eradication. Death of the native tongue            Golding and Harris (1997) discussed that imperialism greatly impacts the use of language. In as far as globalization and imperialism is concerned, the massive utilization of the English language cannot be merely attributed to the fact that it is the so-called â€Å"international lingua franca (Thomason, 2007). Rather, on a closer look, it is an overt manifestation of western dominance and hegemony that readily jeopardizes language multiplicity (Tomlinson, 1999). Held (2000) shared that much of the valuable in formation is written in English. Likewise, such has been the primary medium for instruction in the academe and is very much employed in business communication. In as far as ethnic minorities are concerned, globalization’s emphasis on modernity and connectedness forces the former to learn and use the language (English) to ensure and maintain their â€Å"global competitiveness.†Although appropriations have been made by local or non-western cultures, such as â€Å"Spanglish (Spanish and English) or Hinglish (Hindi and English) (Christensen Levinson, 2003), for example, appropriations seem to miss the larger picture. Appropriations can be viewed as a direct insult to other languages, for it implies the inability of non-western languages to ascertain competitive advantage not unless they operate under the shadows of the English language. Since many individuals utilize English, minority groups are further marginalized. Its small size cannot possibly go against the majority. Take for example the case Native Americans, the Navajos, which are surprisingly alienated in their own domains primarily because there language orientation differs from the large number of the populace (Baker, 2001). The incorporation of English in Malawi’s curricula also created adverse effects in one of ethnic groups, Lomwe, wherein, the number of its native speaker has experienced a considerable decline (Kaplan Baldauf, 1999). Obviously, such situations do not only exemplify language dominance. More than anything else, such readily projects cultural homogenizationâ€â€one of the most important determinants of cultural imperialism and / or globalization. Cultural homogenization encourages the rise of a global culture wherein issues of race and ethnicity are no longer deemed important. Consequently in order for a global culture to materialize, there is a strong need for participating entities to converge and interact via a common languageâ€â€which in reality, does not really upholds equality but a plain and pure reiteration of western interests. Global Americanization On the other hand, globalization is also perceived by experts as the seemingly tyrannical assertion of Westernâ€â€or to be more exact, American culture (Horton Patapan, 2004). This occurs as cultural products in the form of art, music, film, lifestyle etc. continues to infiltrate different communities (Pearson Simpson, 2004). Although cultural sharing and transmission are very common, the problem with this set-up is that it tacitly imposes the American way of life and perspective, with a total disregard to ethnic roots and practices. This process is described by Pearson and Simpson (2004) as â€Å"Americanization.†Americanization further threatens non-western cultures primarily because it is aided by mass media. The diffusion of values, customs and beliefs rapidly occurs. Basically, Americanization greatly affects and influences the ideological stance of indigenous groups as they are constantly bombarded by images that promote and uphold the grandiosity of the American life. The frequent exposure of natives to western thoughts and ideas can readily affect their views regarding the practices of their respective ethnic groups. As the agenda-setting theory purports, mass media is very much capable of shaping ones views and impose which topics should be deemed important or not (Woodward, 2007). Mass media, under the context of Americanization also operates as a tool for biased and stereotype representations of other cultures. Hollywood for example, is known for its seemingly impartial portrayal of Asians. More often than not, individuals with Asian descents, or to be more specificâ€â€Chinese are often presented as villains in many films (Benshoff Griffin, 2004). Likewise, Hollywood has also managed to dominate the movie industry of other countries, thus bringing death to local films. Compared to India’s Bollywood, it can be seen that in terms of the number of movies produced, the former readily outnumbers Hollywood (Wasko, 2003). However, since Hollywood has already established itself as the epitome of high quality films, this basically contributes to the decreasing appeal of Indian-made or Asian-made films. In addition to that, the seemingly negative notions attributed to Asians have readily prevented individuals from patronizing not only Bollywood, but also films which are outside the Hollywood enclave. The above-mentioned situation readily impacts the perception of Asians regarding the value and importance of their historical roots. This is most especially true as for the case of individuals whose parents have different ethnic origins. Affected parties are trapped in a situation wherein they have to choose and decide which culture is more superior and which cultural practices should be readily exercised. The matter becomes even more complicated as Americanization leads to intense consumerism of Western products which delimits the role played by local producers. According to Lockard (1998), consumerism is the result of the overlapping segments of both economic and cultural imperialism. Economically speaking, transnational companies Andersen and Gray (2008) implied that commodities such as food and dresses can alter the individual’s attitudes and orientations. Take for example, the case of fast food chains that have emerged in non-Western countries, which, in return, gave birth to a fast-food culture that readily upholds the notion that western products represent progress and modernity (Allen, Albala Nestle, 2007). The corresponding effect of this is that fast-food culture has transformed the ways wherein food is served and prepared. Those that do not adhere to the practices of fast-food culture are immediately dismissed as way too traditional (Allen, Albala Nestle, 2007). Allen, Albala and Neslte (2007) mentioned that such scenario has readily taken the attention of concerned parties from China, Mexico and even a progressive country such as France. The noise created by the growing fast-food culture expresses high tendencies of devouring not only the local practices of non-western communities, but also the survival of local individuals that rely on such industry. In the meantime, the apparent decline of musical traditions and oral lore in the Igorot (a Philippine tribe) also signifies the adverse effects of consumerism. According to Reyes (cited in Craig and King, 2002), the introduction of radio in the early 70s exposed the youth western popular music that they can enjoy on a daily basis via purchasing the cassette tapes of their favorite western artists. This situation prevented many Igorots, most especially, the younger generation from taking some time to produce songs, most especially during memorable or special events (Reyes cited in Craig King, 2002). Since youngsters are bombarded with pre-packaged music, they no longer need to exert extra effort in song making for all they have to do is purchase a copy of their favorite artists and push the play button. The problem with the consumerist approach of Americanization is that it forces indigenous cultures to believe that they actually need the cultural products that are being offered to them. Americanization tends to create false needs in order to serve the western interest. Since Conclusion            Indeed, undoubtedly globalization and imperialism are the same. It subdues both the economic and cultural aspects of indigenous and non-western cultures by using the idea of progress and modernity as a disguise or as a defense. With the availability of sophisticated technology, globalization or imperialism spread much faster thus bringing death to historical practices and customs. Globalization or imperialism also results to identity problems and further marginalization of ethnic groups. The consumer-driven approach have totally bastardized and transformed the cultural expression of indigenous groups into mere commodities that readily lack the artistry and intricacies of traditional works via standardization. References Allen, G; Albala, K. and Nestle, M. (2007). The Business of Food. Westport, CT: Greenwood Publishing Inc. Andersen, R. and Gray, J. (2008). Battleground: The Media. Westport, CT: Greenwood Publishing Inc. Baker, C. (2001). Foundations of Bilingual Education and Bilingualism. Clevedon: Multilingual Matters Ltd. Benshoff, H. and Griffin, S (2004). America on Film: Representing Race, Class, Gender and Sexuality at the Movies. Malden, USA: Blackwell Publishing Christensen, D. and Levinson, D.  (Eds). (2003). Encyclopedia of Community. California: Sage Publications Inc. Collier, P. (2007). The Bottom Billion. New York: Oxford University Press Inc. Garson, G. (2006). Public Information Technology and E-governance. Canada: Jones and         Bartlett Publishers Golding, P. and Harris, P. (1997). Beyond Cultural Imperialism Held, D. and McGrew A. (2007). Globalization/ Anti-Globalization: Beyond the Great Divide. Cambridge: Polity Press Hersmondhalgh, D. (2002). The Cultural Industries. London: Sage Publications Ltd. Horton, K. and Patapan, H. (2004). Globalisation and Equality. London: Routledge Inda, J. and Rosaldo, R. (2008). The Anthropology of Globalization. Malden, MA: Blackwell    Publishing Ltd. Janssens, R. 2004. Of Mice and Men: American Imperialism and American Studies. Netherlands:            Amsterdam University Press Kaplan, R. and Baldouf, R. (1999). Language Planning in Malawi, Mozambique and the Philippines. Clevedon: Multilingual Matters Ltd. Lockard, C. (1998). Dance of Life. USA: University of Hawaii Press Mishkin, F. (2006). The Next Great Globalization. New Jersey: Princeton University Press Murray, W. (2006). Geographies of Globalization. New York: Routledge Pearson, R. and Simpson, P. (2001). Critical Dictionary of Film, Television and Theory. London: Routledge Reyes, M. (2002). Under Attack: Mass Media Technology and Indigenous Musical Practices in the Philippines. In T. Craig, R. King, (Eds.). Global goes Local: Popular Culture in Asia (pp. 40-56). Hong Kong: Hong Kong University Press. Sztompka, P. (1993). The Sociology of Social Change. Oxford: Blackwell Publishers Thomason, S. (2001). Language Contact: An Introduction. Edinburgh: Edinburgh University Press Tomlinson, J. (1999). Globalization and Culture. Chicago: University of Chicago Press Wasko, J. (2003). How Hollywood Works. London: Sage Publications Ltd Woodward, G. (2007). Center Stage. Maryland: Rowman Littlefield Publishers Inc.
Thursday, October 3, 2019
Authenticity of Installation Art
Authenticity of Installation Art Artistic value is achieved only when an artwork expresses the authentic values of its maker, especially when those values are shared by the artists immediate community (Tolstoy). In early December 2010 I went to an exhibition of French artist Louise Bourgeois in Hauser Wirth gallery in London. What fascinated me immensely in that exhibition was the way in which the installation was set up. I knew for a fact that Louise Bourgeois passed away earlier in the year. I wondered, regarding the installations in particular, how it had been possible for the curator and gallery staff to recreate the pieces in such a way that would speak truthfully to the original intention of the artist. It is not an easy task for a curator to bring out in a show authenticity to the audience, however regarding installation art without the artists physical presence or mediation, I had to ask myself the question how much can a curator intervene without the art work losing its authenticity? Since the very nature of installation demands dismounting and recreating, does the art work become a duplicate or a replica of the artists work, or does it become the curators art? Is the work still authentic when copied from its original site into the exhibition space of a museum? Inevitably, Installation art, being so different in appearance and relation to its audience than traditional art, has to challenge old concepts of conservation and authenticity. In this essay, I will investigate whether installation art, without the artists presence or intervention, is authentic according to the definition of authenticity. Furthermore, this will address whether the notion of authenticity needs to be rethought in order to fit in with more recent methods in contemporary art, such as installation. A curator encompasses many areas being the interphase between artists, institutions and the public. Whereas, an artist works hard to express and experiment with feelings, emotions and viewpoints through various medium that can influence and enlighten people. Together, both need to work in close proximity when coordinating an art project, event or an exhibition to remain as authentic and truthful as possible to the work of the artist. The task of the curator is challenging being the intermediate between the artist and the viewer, therefore it is important that the exhibition brings out the artists originality, intention and authenticity to the viewer. how much can he/she intervene without the art works losing its authenticity? The problem of defining authenticity in the arts has been a controversial topic amongst art critics and experts for decades, especially regarding representation and preservation in art works. The task of a curator can be challenging being the interphase between artists, institutions and the public. He needs to work in close proximity to the artist who works hard to express and experiment with feelings, emotions and viewpoints through various medium that can influence and enlighten people. When coordinating an exhibition it is important that the curator ensures that the exhibition brings out the artists originality, innovation and intention just as the artist perceives it.- how much can he/she intervene without the art works losing its authenticity? The problem of defining authenticity in the arts has been a controversial topic amongst art critics and experts for decades, especially regarding representation and preservation in art works. In early December 2010 I went to an exhibition of French artist Louise Bourgeois in Hauser Wirth gallery in London. What fascinated me immensely in that exhibition was the way in which the installation was set up. I knew for a fact that Louise Bourgeois passed away earlier in the year. I wondered, regarding the installations in particular, how it had been possible for the curator and gallery staff to recreate the pieces in such a way that would speak truthfully to the original intention of the artist. It is not an easy task for a curator to bring out in a show authenticity to the audience, however regarding installation art without the artists physical presence or mediation, I had to ask myself the question how much can a curator intervene without the art work losing its authenticity? Since the very nature of installation demands dismounting and recreating, does the art work become a duplicate or a replica of the artists work, or does it become the curators art? Is the work still au thentic when copied from its original site into the exhibition space of a museum? Inevitably, Installation art, being so different in appearance and relation to its audience than traditional art, has to challenge old concepts of conservation and authenticity. In this essay, I will investigate whether installation art, without the artists presence or intervention, is authentic according to the definition of authenticity. Furthermore, this might stress whether the old notion of authenticity needs to be rethought in order to fit in with more recent methods in contemporary art, such as installation. If one takes the meaning behind authenticity seriously the need to be genuine, original, truthful..etc. is it then possible in an installation to be authentic if it is not the artist himself who has constructed the art work? Is a part of an installation art work not the experience of constructing it itself? In order to become authentic, is it the right for an artist to make the installation? Surely the artist has his own right to do so and mind you, some artists even prefer that, but what if it is physically impossible due to the scale of the installation object? And What if the artist no longer exists, such as in the case of Louise Bourgeois. Is it then better not to reconstruct her art installations? Perhaps the notion of authenticity does not apply to installation art, as long as the intention behind the artist work is intact, who cares? Is authenticity in the art dead? Installation Art A Change in representing art What characterizes it? How is it different to the tradiational art form? By the 1960s the art world flourished with Minimalism, Dada, Happenings and Installation art. Much different to traditional art, installation art brought about new complications when dealing with conservation and presentation for museums, galleries and private patrons. The traditional relation between the viewer and the object had shifted where space, time and location became more inherent in the art work (Bishop, 2005, p. 10). Despite the difficulties in exhibiting installation art, it proved to be popular in the succeeding eras and flourished in galleries and museums around the world. However, methods of conservation and presentation are a different story when it comes to installation art. A quite coherent and clearly represented overview of different models and kinds of installation is given by Claire Bishop in her book Installation Art A Critical History, written in 2005. Her book is divided in four chapters, each presenting a different model of installation. The term installation in conjunction with art and art exhibitions is not new. However, the term was originally used in a slightly different manner. It referred to the exhibition space rather than being an independent art movement, as also indicated by Michael Archer in Installation Art written in 1996, the term installation was traditionally referred to as the process of hanging the exhibited works: In the early 1960 the terms assemblage and environment were most commonly employed to describe work in which the artist had brought together a host of materials in order to fill a given space. At that time, installation referred to nothing more than how an exhibition had been hung (Archer Petry Oliveira Oxley, 1996, p.11). A similar point is made by Julie H. Reiss in her book From Margin to Center The Spaces of Installation Art, written in 2001. She suggests that the term Installation art is post-enforced on room engulfing installations. She indicates that the term Installation art for room-size multimedia works developed from Allan Kaprows Environments that was used for these kinds of works in the 1950s. Later, it became synonymous for exhibition, therefore still referring to the exhibition space rather than a form of art. Only later the meaning of Installation for an independent art movement developed, however hard to pin down: Although the term Installation art has become widely used, it is relatively nonspecific. It refers to a wide range of artistic practices, and at times overlaps with other interrelated areas including Fluxus, Earth art, Minimalism, video art, Performance art, Conceptual art and Process art, Site specificity, institutional critique, temporality, and ephemerality are issues shared by many practitioners of these genres (Reiss, 1999, p. xiii) According to Bishop, the term installation for an art form that explored the space it is positioned in, came from the photographic documentation of an exhibition; usually referred to as exhibition shot. Therefore, the installation of art and Installation art, both, deal with the position of an art object in regard to its space and audience. However, the difference between the old term and the new art is the relation of space and work. Whereas the installation of art is secondary to the piece itself, Installation art and its site become a symbiosis, in other words they become an inseparable unity. (Bishop, 2005). Also because of this blurring in terminology and the wide span of different art objects, a correct definition of Installation art is somewhat hard to provide. Nevertheless, the next paragraphs will give deeper insights into the features and core characteristics of Installation art. The first kind of Installations art as described by Claire Bishop (2005) is the total installation. Here, the viewer is able to physically enter the artwork. Instead of using paint on canvas in order to create an illusion of three dimensional spaces, the viewer is, one could almost say, able to step into the painting, experiencing it from the inside: Installation art therefore differs from traditional media (sculpture, painting, photography, video) in that it addresses the viewer directly as a liberal presence in the space. Rather than imagining the viewer as a pair of disembodied eyes that survey the work from a distance, installation art presupposes an embodied viewer whose sense of touch, smell and sound are heightened their sense of vision (Bishop, 2005, p. 6). As indicated in the quote above, one of the most profound innovations of Installation art was a new relation between object viewer and space. This new perception of artworks are connected to Freuds psychoanalytical method of interpreting dreams; the free association method. According to Freud, the interpretation, the making sense of our dreams, so to speak, consists of three steps: the visual images and sometimes auditory fragments (the dream itself), the analysis by free association and the expression in words or syllables. Citing the Russian artist Ilya Kabakov, Bishop suggests: These three features the sensory immediacy of conscious perception, a composite structure, and the elucidation of meaning through free-association precisely correspond to a model of viewing experience found in the total installation as described by Kabakov. We imaginatively project ourselves into an immersive scene that requires creative free association in order to articulate its meaning; in order to do this, the installations assemblage elements are taken one by one and read symbolically as metonymic part of a narrative (Bishop, 2005, p. 16). The work of art becomes a kaleidoscope, consisting of many paintings. By absorbing the viewer into the artwork it challenged the old fixed and traditional perspective of the viewer, suggesting that multiple perspectives are possible. [à ¢Ã¢â€š ¬Ã‚ ¦] various forms of institutional critique and conceptual art developed a different model of site-specificity that implicitly challenged the innocence of space and the accompanying presumption of a universal viewing subject[à ¢Ã¢â€š ¬Ã‚ ¦] (Kwon, 2002, p.13). Also, this first theatrical form of installation art posed severe problems and difficulties to the traditional treatment of art and seemed somewhat hostile towards popular cultural institutions. The size that expanded common exhibition space and use of seemingly useless components suggested a critical position towards the assumption that all objects in a museum have to be considered art. (Bishop 2005, p. 33-34). Another form of Installation art was inspired and resolved from the movement of Minimalism in the 1960s; even though minimalist sculptures were different in their relation to the exhibition space itself: [à ¢Ã¢â€š ¬Ã‚ ¦] the fact that the exhibition comprised several sculptures did not mean that it was an environment, because there are seven separate pieces (Judd in Bishop, 2005, p. 55). However, it took over core characteristics of this movement, by stressing the awareness of the relationship between artwork and the space in which it is exhibited as much as the viewers perception of it. The piece of work and the perceiving individual became inseparable. Although similar in their appearance, installations, different than minimalistic works, attempt to focus on the relationship between light and space; taking the space they are exhibited in into consideration: Like Minimalist sculpture, Ashers installation focused attention on the viewer, and on how he received and perceive any given space. Unlike Minimalism, it also showed how the white gallery space was not a timeless constant but subject to contingent flux: the installation was accessible day and night, so that the exterior light, sound and air became a permanent part of the exhibition (Bishop, 2005, p. 60). By focusing on flux and other constantly changing factors; daylight for example, the artists suggest that the perception of an object depends and is determined by the position and the period of time the perceiver observes the object; indicating our partial perception and questioning the objectivity of our perception of reality. This visitors heightened awareness of the work within its exhibition space and awareness that perception is bound to many different factors was taken to another level by involving the viewer directly with the artwork by recording or monitoring them. In the installations of Dan Graham (b.1942) made in the 1970s, mirrors and video feedback are used to stage perceptual experiments for the viewer that demonstrated how our awareness of the world is dependent on interaction with others. Grahams work is therefore a crucial consideration for this type of installation art, since the status of the viewer preoccupies his thinking throughout his decade (Bischop, 2005, p.72) This new awareness of perception also plays a crucial part in the next category of Installation art. However, it deals with this perception in a different, if not oppositional manner. With the help of different devices, engulfing darkness or colours, mirrors, sounds or assimilating environment artists tried to dislodge or annihilate the perception of the viewer. Even though done in a different oppositional way (dislodging instead of heightening the viewers perception), the visitor is forced to reflect on once position within society and history. The installations [à ¢Ã¢â€š ¬Ã‚ ¦] do not seek to increase perceptual awareness of the body but rather to reduce it, by assimilating the viewer in various ways to the surrounding space[à ¢Ã¢â€š ¬Ã‚ ¦] (Bishop, 2005, p. 101). The last of Bishops categories of different installation addresses and activates the viewer in a totally different and new manner. This last form of installation activates the spectator in opposition to most other installation because he actively participates. This form could be described as a Happening, an installation where artist and visitors act together upon a specific situation. The audience of this work is therefore envisaged as plural: rather than a one-to-one relationship between work of art and viewer, relational art sets up situation in which viewer are addressed as a collective, social mass; moreover, in many of these works we are given the structure to create a community, however temporary and utopian this might be (Bishop, 2005, 116). One of the most precursor and representative for these action or life installations are, so Bishop, the German artist Joseph Beuys and the artist Rirkrit Tiravanija born in South America to Thai parents. Beuys works were quite political constituting a mixture of installation and performance. On group exhibitions or art fairs, such as the Documenta in Kassel, he put forward political campaigns in the form of art (The Bureau for Direct Democracy, 1972), where everybody could discuss about issues, such as democracy. Tiravanija, as another example for this category of installations organized collective cooking session in a museum or gallery; conveying a communion between individuals. In his installation Untitled (tomorrow is another day) from 1996 he rebuilt his apartment at the Kà ¶lnischer Kunstverein in Cologne so visitors could cook in his kitchen or socialize in his livening room. (Bishop, 2005, p. 102-199). Though, it is hard to give a full overview of Installation art because to many different works can be included into the notion of Installation art, the short overview above intends to give a rough outline of the major categories of installation art. As it became apparent from the examples already, the new appearance of Installation art gave rise to a couple of difficulties, especially concerning conservation and reinstallation of the works. In contrary to traditional forms of art, Installation art changed the perception and position or point of view of the viewer. Because of their disarming character the works disperse or decentre the traditional or fixed point of view by either heightening or dissolute the viewers perception. Most importantly, however for the further chapters if this paper is the caducity or time and place specificity seemingly inherent to this new form of art. They all rely on the literal presence of the viewer in that particular moment of being and demanding the v iewers first hand experience. [à ¢Ã¢â€š ¬Ã‚ ¦the art work] articulate and define itself through properties, qualities or meaning produced in specific relationships between and object or event and a position it occupies (Kaye, 2000, p.1). All of them seem to be linked to their time and place that makes a reconstruction at another place (another museum or gallery for example) impossible without loosing its original meaning. This or a similar point is also made by Miwon Kwon in her book One Place after Another Site-specific Art and Locational Identity, written in 2004 as much as in her article One Place After Another: Notes on Site-Specificity published by Erika Suderburg ( 2000) in Space, Site Intervention, Situating Installation Art. In her writings on installations, she stresses the importance and influence of the site and location the work was intended for by the artist. Because of this site-specificity the first-hand experience of the viewer remains, also for her, a crucial point in the acquaintance of Installation Art: The (neo-avant-garde) aspiration to exceed the limitations of traditional media, like paintings and sculpture, as well as their institutional setting; the epistemological challenge to relocate meaning from within the art object to the contingencies of its context; the radical restructuring of the subject from an old Cartesian model to a phenomological one of lived bodily experience [à ¢Ã¢â€š ¬Ã‚ ¦] all these imperatives came together in arts new attachments to the actuality of site (Suderburg, 2000, p. 39) Therefore, Installation art, being another step within the development or the search of art for its limits, led to a type of art that took its environment into consideration, to an extend that the actual presence of the viewer was of crucial importance. Moreover, Kwon suggests that the new kind of art inherent another characteristic that gave rise to difficulties for cultural institutions, such as museums. Maybe influenced by Conceptual art, as well the artists of installations increasingly blurred the borderline between art and non-art. This came to the fore when the installations were accompanied by debates and discussions (like the works of Joseph Beuys and Rirkrit Tiravanija presented above). This way, the first-hand experience became even more crucial because the bases of art became increasingly fluid and virtual. (Suderburg, 2004, Ch.2). Since some of the works could not be moved from its original site, either because they were too big or they emerged with the site (like wall paintings, for example, Richard Serra Splashing, installation at Catelli Warehouse, 1968), reproduction became a common means to transfer the art objects into institutionalized exhibition space. [à ¢Ã¢â€š ¬Ã‚ ¦] the re-creations come to coexist with or replace the old, functioning as new originals (some even finding homes in permanent collections of museums) (Kwon, 2004, p. 48). Clearly, there are a multitude of problems concerning Installation art. Most of the works seem as if they could not be preserved for future generations at all. Should these objects that are so much bound to a time and place art all be exhibited? How can one possibly exhibit an action that took place at a certain time and place performed by a certain group of people? Without doubt there are and have been exhibitions of artist such as Joseph Beuys in museums all around th e world? How can his works be preserved or re-experienced in a totally different place by totally different people? However, the next chapters of this paper will focus on the problems of authenticity and authorship regarding the conservation and re-building of installations. If an installations has to be re-installed or material has to be protected from decline conservators, curators and sometimes even the artist are confronted with the question in how far they are allowed to engage into the original artwork without loosing its meaning or originality. Much of the materials used are subject to enormous change and mortality, such as media technology, natural products or other time bound devices. What kind of problems of authenticity evolve and how are these problems solved and recognized in every-day practice?
Wednesday, October 2, 2019
Competition in America :: essays papers
Competition in America Accusing American society of being too competitive is a broad allegation, though competition is no doubt an essential part of our daily lives. It is evident in the law-making authorities of our country, in addition to state and local leaders. It is apparent in everyday business, whether in the stock market or in simple business advertisements. Sporting events contain enormous amounts of competition, but this friendly competition sometimes gets out of hand. Our society would be nothing without certain forms of competition, though sometimes competition turns into rivalry. Political leaders are always under some pressure from competition. Every four years or so, the President of the United States must try to hold his office from newcomers hungry for his seat in the oval office. Recently, George W. Bush visited Florida to show his support to some of the victims of Hurricane Floyd, probably earning him some brownie points for the next election. In turn President Clinton decided to declare a state of emergency on parts of North Carolina. Though the hurricane hadn’t even hit them yet, it freed up money for them in case they needed it. Competition like this is surely noticeable in other political areas, sometimes creating heated debates like the one between Scott Harshbarger and Paul Cellucci. The debate was filled with insults and offensive comments between the two, and personally turned away any interest I had in politics. Companies compete every day, in the stock market and out. Rising stock prices, profit gains, and increasing capital growth force companies of similar character to increase their productivity and wealth as well. Computer companies are especially guilty of this competitiveness. Every time a new, faster computer chip is introduced, every company tries to better it. These kinds of revisions are essential for economic growth, and likewise do not have a noticeably negative effect on our society. Every day there seems to be a new 10-10 number that you can dial to save on long distance phone calls. I personally don’t understand it, but there is obviously a market for long distance phone bill savings. This kind of competition is simple and innocent, but is becoming confusing. Sporting events have become more popular, and respectively more competitive. Little League is probably one of the worst areas for competition- not coming from the players, but from the parents.
Shockwave Rider :: essays research papers
There are numerous books on the science fiction market, that deal with the myriad of possibilities involving the technology of the future. John Brunner's book, 'Shockwave Rider,'; is one of the most popular, as well as one of the most famous, books dealing with this issue. Brunner presents many different realities to the reader, and they are all potentially very realistic in terms of the current state of technology. For the most part, Brunner seems to illustrate that technology, as it relates to the world wide datanet, is a good thing. This is not to say that he does not illustrate it as a very negative reality in the world he presents to the reader, but he does indicate that the world wide datanet and technology has great potential to make the world a better place for all concerned. In Brunner's book we have a reality that is incredibly tense, and almost plausible today. The space that the author deals with is filled with endless bits of information (information overload to be more precise), corporate domination, and it appears, just like many science fiction books that deal with the planet earth in the future, everything is known about everyone. there are no secrets from the system. Brunner illustrates this as a reality that is not necessarily very desirable. He plants a character, Nickie Haflinger, onto the scene. As with many books we can look at this character and see the author within. Haflinger is a prodigy whose talents allow him to switch identities with a simple phone call. By the advanced technology and the ingenuity that is completely Haflinger's, we see that the author is not one to be content with the realities that may be a possibility in the future of technology. Brunner clearly illustrates, by the previous description of Haflinger, that technology and the advances within that field, are incredibly beneficial, or they can be. but he is clearly unhappy with the way things have turned out due to the controlling nature of the governments. This is further illustrated in the fact that Brunner's hero is a young man who is bent on changing the world. He struggles to evade the officials and uses all skills available to him, whether inherent skills or technological ones, to the best of his ability, to put an end to the misuse of power that is so much a part of his world which involves the entity of the world wide datanet. Perhaps, one of the most insightful parts of the book comes in the first half, when Haflinger is experiencing flashbacks due to interrogations. It is in these sections that we see the inner mind of Brunner as he deflty
Tuesday, October 1, 2019
Accounting 310 Unit 3db Activity Based Costing & Process Costing
Compare and contrast job order costing to process costing methods. Comparison: These systems are to determine the manufacturing costs of products. Both costing systems combine direct materials, direct labor and overhead which is indirect costs or could be considered a direct cost in the process costing method nonetheless both systems use this in the process of producing products. The manufacturing accountants assign cost objectives to raw materials inventory, work in process inventory and finished goods. These systems are necessary to determine inventory, profit and the units that are sold and the price for them. The cost flows through the general ledger accounts for direct materials, direct labor and overhead is also the same. Contrast: Job order costing is for customized orders to meet the specific needs of a customer. This type of manufacturing doesn’t take place until the customer puts in a request for items. This process involves the company predicting the cost to get the job done, negotiating a price with the customer and then set out a timeframe to start and complete the job order. Wild & Shaw, 2012) Job order costing tracks specific costs to specific jobs it could be a single unit or a small amount of similar units. Records are maintained on a job cost sheet for each job. The job cost sheet shows the customer the job number assigned, product and key dates. (Wild & Shaw, 2012) In essence, job order costing is for companies that produce different products in small amount s. Process costing method focal point is for high volume of one type of product or many similar products. Manufacturing of products takes place through a synchronized process. Processing is based on demand that is forecasted by managers not based on customized orders like job order processing. For example, Avon Products, Inc manufacturing facility is located in a suburb of Chicago and they use process costing method to produce lotion and makeup. Also, worth mentioning is that direct materials, labor and overhead are assigned to departments. It focuses on departmental functions and the job cost sheet tracks cost for units within several related departments. What kind of system works best in what kinds of companies? Job order processing system works best for companies that are producing multiple items that may vary in size or color and is used best for customized production. Companies that produce t-shirts, wedding invitations or airplane manufacturers are good examples of businesses that use this type of system. This system worked well for a previous plumbing company I worked for, the client will tell the plumber the problem, he would then negotiate a price and sometimes the client wouldn’t be happy with the price and he would have to decline the offer or possibly lower his offer. Afterwards, he would setup a time and date to get started and would tell them when he would be finished, however he required his payment upfront sometimes and with larger jobs the client would pay a deposit upfront and he would use that to purchase materials or pay his laborers and the remaining balance was due once the work was complete. Cost processing system works well with companies that have a series of steps that has to be done repetitively in order to complete a task. Companies like Avon that produces cosmetics, Pepsi that produces soft drinks and Hershey that produces chocolate use this type of system. What kind of system makes sense for your company, given that you plan to start with only one version of your product but at some point in the future may offer a variety of options? Since there is a standard design, one type of product at this time the processing cost method would be the best fit so that one product is no different from the other. It will be able to produce large number of units on a continuous basis and all units will pass through a similar process. Wild & Shaw, 2012) This methodology makes more sense for my company because it is producing homogenous products, there is no need for flexibility and a high volume needs to be produced quickly. Each department will be responsible for producing a certain output that will then become input for another department and this will happen in sequence. In the future we will continue with process as well just like with Pepsi and Avon they started out with one product and overtime added additional products to their line of service. References AIU Online. (2010). ACCT310: Unit 3: Process vs Job Order Processing [Multimedia presentation]. Retrieved from AIU Online Virtual Campus. Managerial Accounting: ACCT310-1103B-04 website Job order costing and processing compared. (2010-2011). Retrieved from http://worldacademyonline. com/article/13/271/job_order_costing_and_process_costing_c ompared. html Internal Accounting Engineering: System Requirements, Job Order System. (n. d). Retrieved from http://www. internalaccounting. com/jobcost. Wild, J. J. & Shaw, K. W. (2012). Managerial Accounting. (3rd ed. ). New York, NY: McGraw Hill Irwin
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