2024 State of Marketing Report – by HubspotMarius Sescu
https://www.hubspot.com/state-of-marketing
· Scaling relationships and proving ROI
· Social media is the place for search, sales, and service
· Authentic influencer partnerships fuel brand growth
· The strongest connections happen via call, click, chat, and camera.
· Time saved with AI leads to more creative work
· Seeking: A single source of truth
· TLDR; Get on social, try AI, and align your systems.
· More human marketing, powered by robots
ChatGPT is a revolutionary addition to the world since its introduction in 2022. A big shift in the sector of information gathering and processing happened because of this chatbot. What is the story of ChatGPT? How is the bot responding to prompts and generating contents? Swipe through these slides prepared by Expeed Software, a web development company regarding the development and technical intricacies of ChatGPT!
Product Design Trends in 2024 | Teenage EngineeringsPixeldarts
The realm of product design is a constantly changing environment where technology and style intersect. Every year introduces fresh challenges and exciting trends that mold the future of this captivating art form. In this piece, we delve into the significant trends set to influence the look and functionality of product design in the year 2024.
How Race, Age and Gender Shape Attitudes Towards Mental HealthThinkNow
Mental health has been in the news quite a bit lately. Dozens of U.S. states are currently suing Meta for contributing to the youth mental health crisis by inserting addictive features into their products, while the U.S. Surgeon General is touring the nation to bring awareness to the growing epidemic of loneliness and isolation. The country has endured periods of low national morale, such as in the 1970s when high inflation and the energy crisis worsened public sentiment following the Vietnam War. The current mood, however, feels different. Gallup recently reported that national mental health is at an all-time low, with few bright spots to lift spirits.
To better understand how Americans are feeling and their attitudes towards mental health in general, ThinkNow conducted a nationally representative quantitative survey of 1,500 respondents and found some interesting differences among ethnic, age and gender groups.
Technology
For example, 52% agree that technology and social media have a negative impact on mental health, but when broken out by race, 61% of Whites felt technology had a negative effect, and only 48% of Hispanics thought it did.
While technology has helped us keep in touch with friends and family in faraway places, it appears to have degraded our ability to connect in person. Staying connected online is a double-edged sword since the same news feed that brings us pictures of the grandkids and fluffy kittens also feeds us news about the wars in Israel and Ukraine, the dysfunction in Washington, the latest mass shooting and the climate crisis.
Hispanics may have a built-in defense against the isolation technology breeds, owing to their large, multigenerational households, strong social support systems, and tendency to use social media to stay connected with relatives abroad.
Age and Gender
When asked how individuals rate their mental health, men rate it higher than women by 11 percentage points, and Baby Boomers rank it highest at 83%, saying it’s good or excellent vs. 57% of Gen Z saying the same.
Gen Z spends the most amount of time on social media, so the notion that social media negatively affects mental health appears to be correlated. Unfortunately, Gen Z is also the generation that’s least comfortable discussing mental health concerns with healthcare professionals. Only 40% of them state they’re comfortable discussing their issues with a professional compared to 60% of Millennials and 65% of Boomers.
Race Affects Attitudes
As seen in previous research conducted by ThinkNow, Asian Americans lag other groups when it comes to awareness of mental health issues. Twenty-four percent of Asian Americans believe that having a mental health issue is a sign of weakness compared to the 16% average for all groups. Asians are also considerably less likely to be aware of mental health services in their communities (42% vs. 55%) and most likely to seek out information on social media (51% vs. 35%).
AI Trends in Creative Operations 2024 by Artwork Flow.pdfmarketingartwork
Creative operations teams expect increased AI use in 2024. Currently, over half of tasks are not AI-enabled, but this is expected to decrease in the coming year. ChatGPT is the most popular AI tool currently. Business leaders are more actively exploring AI benefits than individual contributors. Most respondents do not believe AI will impact workforce size in 2024. However, some inhibitions still exist around AI accuracy and lack of understanding. Creatives primarily want to use AI to save time on mundane tasks and boost productivity.
Organizational culture includes values, norms, systems, symbols, language, assumptions, beliefs, and habits that influence employee behaviors and how people interpret those behaviors. It is important because culture can help or hinder a company's success. Some key aspects of Netflix's culture that help it achieve results include hiring smartly so every position has stars, focusing on attitude over just aptitude, and having a strict policy against peacocks, whiners, and jerks.
PEPSICO Presentation to CAGNY Conference Feb 2024Neil Kimberley
PepsiCo provided a safe harbor statement noting that any forward-looking statements are based on currently available information and are subject to risks and uncertainties. It also provided information on non-GAAP measures and directing readers to its website for disclosure and reconciliation. The document then discussed PepsiCo's business overview, including that it is a global beverage and convenient food company with iconic brands, $91 billion in net revenue in 2023, and nearly $14 billion in core operating profit. It operates through a divisional structure with a focus on local consumers.
2024 State of Marketing Report – by HubspotMarius Sescu
https://www.hubspot.com/state-of-marketing
· Scaling relationships and proving ROI
· Social media is the place for search, sales, and service
· Authentic influencer partnerships fuel brand growth
· The strongest connections happen via call, click, chat, and camera.
· Time saved with AI leads to more creative work
· Seeking: A single source of truth
· TLDR; Get on social, try AI, and align your systems.
· More human marketing, powered by robots
ChatGPT is a revolutionary addition to the world since its introduction in 2022. A big shift in the sector of information gathering and processing happened because of this chatbot. What is the story of ChatGPT? How is the bot responding to prompts and generating contents? Swipe through these slides prepared by Expeed Software, a web development company regarding the development and technical intricacies of ChatGPT!
Product Design Trends in 2024 | Teenage EngineeringsPixeldarts
The realm of product design is a constantly changing environment where technology and style intersect. Every year introduces fresh challenges and exciting trends that mold the future of this captivating art form. In this piece, we delve into the significant trends set to influence the look and functionality of product design in the year 2024.
How Race, Age and Gender Shape Attitudes Towards Mental HealthThinkNow
Mental health has been in the news quite a bit lately. Dozens of U.S. states are currently suing Meta for contributing to the youth mental health crisis by inserting addictive features into their products, while the U.S. Surgeon General is touring the nation to bring awareness to the growing epidemic of loneliness and isolation. The country has endured periods of low national morale, such as in the 1970s when high inflation and the energy crisis worsened public sentiment following the Vietnam War. The current mood, however, feels different. Gallup recently reported that national mental health is at an all-time low, with few bright spots to lift spirits.
To better understand how Americans are feeling and their attitudes towards mental health in general, ThinkNow conducted a nationally representative quantitative survey of 1,500 respondents and found some interesting differences among ethnic, age and gender groups.
Technology
For example, 52% agree that technology and social media have a negative impact on mental health, but when broken out by race, 61% of Whites felt technology had a negative effect, and only 48% of Hispanics thought it did.
While technology has helped us keep in touch with friends and family in faraway places, it appears to have degraded our ability to connect in person. Staying connected online is a double-edged sword since the same news feed that brings us pictures of the grandkids and fluffy kittens also feeds us news about the wars in Israel and Ukraine, the dysfunction in Washington, the latest mass shooting and the climate crisis.
Hispanics may have a built-in defense against the isolation technology breeds, owing to their large, multigenerational households, strong social support systems, and tendency to use social media to stay connected with relatives abroad.
Age and Gender
When asked how individuals rate their mental health, men rate it higher than women by 11 percentage points, and Baby Boomers rank it highest at 83%, saying it’s good or excellent vs. 57% of Gen Z saying the same.
Gen Z spends the most amount of time on social media, so the notion that social media negatively affects mental health appears to be correlated. Unfortunately, Gen Z is also the generation that’s least comfortable discussing mental health concerns with healthcare professionals. Only 40% of them state they’re comfortable discussing their issues with a professional compared to 60% of Millennials and 65% of Boomers.
Race Affects Attitudes
As seen in previous research conducted by ThinkNow, Asian Americans lag other groups when it comes to awareness of mental health issues. Twenty-four percent of Asian Americans believe that having a mental health issue is a sign of weakness compared to the 16% average for all groups. Asians are also considerably less likely to be aware of mental health services in their communities (42% vs. 55%) and most likely to seek out information on social media (51% vs. 35%).
AI Trends in Creative Operations 2024 by Artwork Flow.pdfmarketingartwork
Creative operations teams expect increased AI use in 2024. Currently, over half of tasks are not AI-enabled, but this is expected to decrease in the coming year. ChatGPT is the most popular AI tool currently. Business leaders are more actively exploring AI benefits than individual contributors. Most respondents do not believe AI will impact workforce size in 2024. However, some inhibitions still exist around AI accuracy and lack of understanding. Creatives primarily want to use AI to save time on mundane tasks and boost productivity.
Organizational culture includes values, norms, systems, symbols, language, assumptions, beliefs, and habits that influence employee behaviors and how people interpret those behaviors. It is important because culture can help or hinder a company's success. Some key aspects of Netflix's culture that help it achieve results include hiring smartly so every position has stars, focusing on attitude over just aptitude, and having a strict policy against peacocks, whiners, and jerks.
PEPSICO Presentation to CAGNY Conference Feb 2024Neil Kimberley
PepsiCo provided a safe harbor statement noting that any forward-looking statements are based on currently available information and are subject to risks and uncertainties. It also provided information on non-GAAP measures and directing readers to its website for disclosure and reconciliation. The document then discussed PepsiCo's business overview, including that it is a global beverage and convenient food company with iconic brands, $91 billion in net revenue in 2023, and nearly $14 billion in core operating profit. It operates through a divisional structure with a focus on local consumers.
Content Methodology: A Best Practices Report (Webinar)contently
This document provides an overview of content methodology best practices. It defines content methodology as establishing objectives, KPIs, and a culture of continuous learning and iteration. An effective methodology focuses on connecting with audiences, creating optimal content, and optimizing processes. It also discusses why a methodology is needed due to the competitive landscape, proliferation of channels, and opportunities for improvement. Components of an effective methodology include defining objectives and KPIs, audience analysis, identifying opportunities, and evaluating resources. The document concludes with recommendations around creating a content plan, testing and optimizing content over 90 days.
How to Prepare For a Successful Job Search for 2024Albert Qian
The document provides guidance on preparing a job search for 2024. It discusses the state of the job market, focusing on growth in AI and healthcare but also continued layoffs. It recommends figuring out what you want to do by researching interests and skills, then conducting informational interviews. The job search should involve building a personal brand on LinkedIn, actively applying to jobs, tailoring resumes and interviews, maintaining job hunting as a habit, and continuing self-improvement. Once hired, the document advises setting new goals and keeping skills and networking active in case of future opportunities.
A report by thenetworkone and Kurio.
The contributing experts and agencies are (in an alphabetical order): Sylwia Rytel, Social Media Supervisor, 180heartbeats + JUNG v MATT (PL), Sharlene Jenner, Vice President - Director of Engagement Strategy, Abelson Taylor (USA), Alex Casanovas, Digital Director, Atrevia (ES), Dora Beilin, Senior Social Strategist, Barrett Hoffher (USA), Min Seo, Campaign Director, Brand New Agency (KR), Deshé M. Gully, Associate Strategist, Day One Agency (USA), Francesca Trevisan, Strategist, Different (IT), Trevor Crossman, CX and Digital Transformation Director; Olivia Hussey, Strategic Planner; Simi Srinarula, Social Media Manager, The Hallway (AUS), James Hebbert, Managing Director, Hylink (CN / UK), Mundy Álvarez, Planning Director; Pedro Rojas, Social Media Manager; Pancho González, CCO, Inbrax (CH), Oana Oprea, Head of Digital Planning, Jam Session Agency (RO), Amy Bottrill, Social Account Director, Launch (UK), Gaby Arriaga, Founder, Leonardo1452 (MX), Shantesh S Row, Creative Director, Liwa (UAE), Rajesh Mehta, Chief Strategy Officer; Dhruv Gaur, Digital Planning Lead; Leonie Mergulhao, Account Supervisor - Social Media & PR, Medulla (IN), Aurelija Plioplytė, Head of Digital & Social, Not Perfect (LI), Daiana Khaidargaliyeva, Account Manager, Osaka Labs (UK / USA), Stefanie Söhnchen, Vice President Digital, PIABO Communications (DE), Elisabeth Winiartati, Managing Consultant, Head of Global Integrated Communications; Lydia Aprina, Account Manager, Integrated Marketing and Communications; Nita Prabowo, Account Manager, Integrated Marketing and Communications; Okhi, Web Developer, PNTR Group (ID), Kei Obusan, Insights Director; Daffi Ranandi, Insights Manager, Radarr (SG), Gautam Reghunath, Co-founder & CEO, Talented (IN), Donagh Humphreys, Head of Social and Digital Innovation, THINKHOUSE (IRE), Sarah Yim, Strategy Director, Zulu Alpha Kilo (CA).
Trends In Paid Search: Navigating The Digital Landscape In 2024Search Engine Journal
The search marketing landscape is evolving rapidly with new technologies, and professionals, like you, rely on innovative paid search strategies to meet changing demands.
It’s important that you’re ready to implement new strategies in 2024.
Check this out and learn the top trends in paid search advertising that are expected to gain traction, so you can drive higher ROI more efficiently in 2024.
You’ll learn:
- The latest trends in AI and automation, and what this means for an evolving paid search ecosystem.
- New developments in privacy and data regulation.
- Emerging ad formats that are expected to make an impact next year.
Watch Sreekant Lanka from iQuanti and Irina Klein from OneMain Financial as they dive into the future of paid search and explore the trends, strategies, and technologies that will shape the search marketing landscape.
If you’re looking to assess your paid search strategy and design an industry-aligned plan for 2024, then this webinar is for you.
5 Public speaking tips from TED - Visualized summarySpeakerHub
From their humble beginnings in 1984, TED has grown into the world’s most powerful amplifier for speakers and thought-leaders to share their ideas. They have over 2,400 filmed talks (not including the 30,000+ TEDx videos) freely available online, and have hosted over 17,500 events around the world.
With over one billion views in a year, it’s no wonder that so many speakers are looking to TED for ideas on how to share their message more effectively.
The article “5 Public-Speaking Tips TED Gives Its Speakers”, by Carmine Gallo for Forbes, gives speakers five practical ways to connect with their audience, and effectively share their ideas on stage.
Whether you are gearing up to get on a TED stage yourself, or just want to master the skills that so many of their speakers possess, these tips and quotes from Chris Anderson, the TED Talks Curator, will encourage you to make the most impactful impression on your audience.
See the full article and more summaries like this on SpeakerHub here: https://speakerhub.com/blog/5-presentation-tips-ted-gives-its-speakers
See the original article on Forbes here:
http://www.forbes.com/forbes/welcome/?toURL=http://www.forbes.com/sites/carminegallo/2016/05/06/5-public-speaking-tips-ted-gives-its-speakers/&refURL=&referrer=#5c07a8221d9b
ChatGPT and the Future of Work - Clark Boyd Clark Boyd
Everyone is in agreement that ChatGPT (and other generative AI tools) will shape the future of work. Yet there is little consensus on exactly how, when, and to what extent this technology will change our world.
Businesses that extract maximum value from ChatGPT will use it as a collaborative tool for everything from brainstorming to technical maintenance.
For individuals, now is the time to pinpoint the skills the future professional will need to thrive in the AI age.
Check out this presentation to understand what ChatGPT is, how it will shape the future of work, and how you can prepare to take advantage.
The document provides career advice for getting into the tech field, including:
- Doing projects and internships in college to build a portfolio.
- Learning about different roles and technologies through industry research.
- Contributing to open source projects to build experience and network.
- Developing a personal brand through a website and social media presence.
- Networking through events, communities, and finding a mentor.
- Practicing interviews through mock interviews and whiteboarding coding questions.
Google's Just Not That Into You: Understanding Core Updates & Search IntentLily Ray
1. Core updates from Google periodically change how its algorithms assess and rank websites and pages. This can impact rankings through shifts in user intent, site quality issues being caught up to, world events influencing queries, and overhauls to search like the E-A-T framework.
2. There are many possible user intents beyond just transactional, navigational and informational. Identifying intent shifts is important during core updates. Sites may need to optimize for new intents through different content types and sections.
3. Responding effectively to core updates requires analyzing "before and after" data to understand changes, identifying new intents or page types, and ensuring content matches appropriate intents across video, images, knowledge graphs and more.
A brief introduction to DataScience with explaining of the concepts, algorithms, machine learning, supervised and unsupervised learning, clustering, statistics, data preprocessing, real-world applications etc.
It's part of a Data Science Corner Campaign where I will be discussing the fundamentals of DataScience, AIML, Statistics etc.
Time Management & Productivity - Best PracticesVit Horky
Here's my presentation on by proven best practices how to manage your work time effectively and how to improve your productivity. It includes practical tips and how to use tools such as Slack, Google Apps, Hubspot, Google Calendar, Gmail and others.
The six step guide to practical project managementMindGenius
The six step guide to practical project management
If you think managing projects is too difficult, think again.
We’ve stripped back project management processes to the
basics – to make it quicker and easier, without sacrificing
the vital ingredients for success.
“If you’re looking for some real-world guidance, then The Six Step Guide to Practical Project Management will help.”
Dr Andrew Makar, Tactical Project Management
Unlocking the Power of ChatGPT and AI in Testing - A Real-World Look, present...Applitools
During this webinar, Anand Bagmar demonstrates how AI tools such as ChatGPT can be applied to various stages of the software development life cycle (SDLC) using an eCommerce application case study. Find the on-demand recording and more info at https://applitools.info/b59
Key takeaways:
• Learn how to use ChatGPT to add AI power to your testing and test automation
• Understand the limitations of the technology and where human expertise is crucial
• Gain insight into different AI-based tools
• Adopt AI-based tools to stay relevant and optimize work for developers and testers
* ChatGPT and OpenAI belong to OpenAI, L.L.C.
The document discusses various AI tools from OpenAI like GPT-3 and DALL-E 2, as well as ChatGPT. It explores how search engines are using AI and things to consider around AI-generated content. Potential SEO uses of ChatGPT are also presented, such as generating content at scale, conducting topic research, and automating basic coding tasks. The document encourages further reading on using ChatGPT for SEO purposes.
More than Just Lines on a Map: Best Practices for U.S Bike Routes
This session highlights best practices and lessons learned for U.S. Bike Route System designation, as well as how and why these routes should be integrated into bicycle planning at the local and regional level.
Presenters:
Presenter: Kevin Luecke Toole Design Group
Co-Presenter: Virginia Sullivan Adventure Cycling Association
Ride the Storm: Navigating Through Unstable Periods / Katerina Rudko (Belka G...DevGAMM Conference
Has your project been caught in a storm of deadlines, clashing requirements, and the need to change course halfway through? If yes, then check out how the administration team navigated through all of this, relocating 160 people from 3 countries and opening 2 offices during the most turbulent time in the last 20 years. Belka Games’ Chief Administrative Officer, Katerina Rudko, will share universal approaches and life hacks that can help your project survive unstable periods when there seem to be too many tasks and a lack of time and people.
This presentation was designed to provide strategic recommendations for a brand in decline. The deck also incorporates a situational assessment, including a brand identity, positioning, architecture, and portfolio strategy for the Brand.
Presentation originally created for NYU Stern's Brand Strategy course. Design by Erica Santiago & Chris Alexander.
Good Stuff Happens in 1:1 Meetings: Why you need them and how to do them wellSaba Software
According to the latest State of the American Manager report from Gallup, employees who have regular meetings with their managers are almost three times as likely to be engaged as those who don’t. These regular check-ins keep managers and employees in sync and aligned. Want to see better manager/employee relationships in your organisation? Then make an all-in commitment to 1:1 meetings. Not sure how? You’ve come to the right place.
In this webinar with Jamie Resker, Founder and Practice Leader for Employee Performance Solutions (EPS), and Teala Wilson, Talent Management Consultant at Saba Software, you’ll get the inside track on how to hold effective 1:1 meetings, including tips for getting managers on board.
• Go beyond discussing the status of everyday work to higher level topics, including recognition, performance, development, and career aspirations
• Learn how to decide meeting frequency, what to cover, as well as roles and responsibilities of the manager and employee
• Understand how managers can build trust and make it comfortable for employees to provide upward feedback
• Unite your organisation with a unified approach to 1:1 meetings
Join us for this 1-hour webinar to get practical tips for building better manager-employee relationships with intention and purpose.
About the Speakers
Jamie Resker - Founder and Practice Leader for Employee Performance Solutions (EPS)
Jamie Resker, Practice Leader and Founder of Employee Performance Solutions, is a recognized innovator in performance management. She is the originator of the-the Performance Continuum Feedback Method® and Conversations to Optimize Employee Performance training program; tools and training that reshape communications between managers and employees to drive and align performance. Jamie is on the faculty for the Northeast Human Resources Association, is a contributor to Halogen Software's Talent Space Blog, and is an editorial advisory board member for HR Examiner.
Teala Wilson - Senior Consultant, Strategic Services, Saba Software
Teala is a Talent Management Consultant at Halogen Software, now a part of Saba Software. She has worked with teams on a national and global level supporting human resources in areas such as performance management, recruitment, employee benefit programs, training and talent development, workforce planning and internal communications. Teala also has a personal passion for visual arts and design.
Want to learn more? Join us for an upcoming Product Tour!
http://bit.ly/2yitfqu
Content Methodology: A Best Practices Report (Webinar)contently
This document provides an overview of content methodology best practices. It defines content methodology as establishing objectives, KPIs, and a culture of continuous learning and iteration. An effective methodology focuses on connecting with audiences, creating optimal content, and optimizing processes. It also discusses why a methodology is needed due to the competitive landscape, proliferation of channels, and opportunities for improvement. Components of an effective methodology include defining objectives and KPIs, audience analysis, identifying opportunities, and evaluating resources. The document concludes with recommendations around creating a content plan, testing and optimizing content over 90 days.
How to Prepare For a Successful Job Search for 2024Albert Qian
The document provides guidance on preparing a job search for 2024. It discusses the state of the job market, focusing on growth in AI and healthcare but also continued layoffs. It recommends figuring out what you want to do by researching interests and skills, then conducting informational interviews. The job search should involve building a personal brand on LinkedIn, actively applying to jobs, tailoring resumes and interviews, maintaining job hunting as a habit, and continuing self-improvement. Once hired, the document advises setting new goals and keeping skills and networking active in case of future opportunities.
A report by thenetworkone and Kurio.
The contributing experts and agencies are (in an alphabetical order): Sylwia Rytel, Social Media Supervisor, 180heartbeats + JUNG v MATT (PL), Sharlene Jenner, Vice President - Director of Engagement Strategy, Abelson Taylor (USA), Alex Casanovas, Digital Director, Atrevia (ES), Dora Beilin, Senior Social Strategist, Barrett Hoffher (USA), Min Seo, Campaign Director, Brand New Agency (KR), Deshé M. Gully, Associate Strategist, Day One Agency (USA), Francesca Trevisan, Strategist, Different (IT), Trevor Crossman, CX and Digital Transformation Director; Olivia Hussey, Strategic Planner; Simi Srinarula, Social Media Manager, The Hallway (AUS), James Hebbert, Managing Director, Hylink (CN / UK), Mundy Álvarez, Planning Director; Pedro Rojas, Social Media Manager; Pancho González, CCO, Inbrax (CH), Oana Oprea, Head of Digital Planning, Jam Session Agency (RO), Amy Bottrill, Social Account Director, Launch (UK), Gaby Arriaga, Founder, Leonardo1452 (MX), Shantesh S Row, Creative Director, Liwa (UAE), Rajesh Mehta, Chief Strategy Officer; Dhruv Gaur, Digital Planning Lead; Leonie Mergulhao, Account Supervisor - Social Media & PR, Medulla (IN), Aurelija Plioplytė, Head of Digital & Social, Not Perfect (LI), Daiana Khaidargaliyeva, Account Manager, Osaka Labs (UK / USA), Stefanie Söhnchen, Vice President Digital, PIABO Communications (DE), Elisabeth Winiartati, Managing Consultant, Head of Global Integrated Communications; Lydia Aprina, Account Manager, Integrated Marketing and Communications; Nita Prabowo, Account Manager, Integrated Marketing and Communications; Okhi, Web Developer, PNTR Group (ID), Kei Obusan, Insights Director; Daffi Ranandi, Insights Manager, Radarr (SG), Gautam Reghunath, Co-founder & CEO, Talented (IN), Donagh Humphreys, Head of Social and Digital Innovation, THINKHOUSE (IRE), Sarah Yim, Strategy Director, Zulu Alpha Kilo (CA).
Trends In Paid Search: Navigating The Digital Landscape In 2024Search Engine Journal
The search marketing landscape is evolving rapidly with new technologies, and professionals, like you, rely on innovative paid search strategies to meet changing demands.
It’s important that you’re ready to implement new strategies in 2024.
Check this out and learn the top trends in paid search advertising that are expected to gain traction, so you can drive higher ROI more efficiently in 2024.
You’ll learn:
- The latest trends in AI and automation, and what this means for an evolving paid search ecosystem.
- New developments in privacy and data regulation.
- Emerging ad formats that are expected to make an impact next year.
Watch Sreekant Lanka from iQuanti and Irina Klein from OneMain Financial as they dive into the future of paid search and explore the trends, strategies, and technologies that will shape the search marketing landscape.
If you’re looking to assess your paid search strategy and design an industry-aligned plan for 2024, then this webinar is for you.
5 Public speaking tips from TED - Visualized summarySpeakerHub
From their humble beginnings in 1984, TED has grown into the world’s most powerful amplifier for speakers and thought-leaders to share their ideas. They have over 2,400 filmed talks (not including the 30,000+ TEDx videos) freely available online, and have hosted over 17,500 events around the world.
With over one billion views in a year, it’s no wonder that so many speakers are looking to TED for ideas on how to share their message more effectively.
The article “5 Public-Speaking Tips TED Gives Its Speakers”, by Carmine Gallo for Forbes, gives speakers five practical ways to connect with their audience, and effectively share their ideas on stage.
Whether you are gearing up to get on a TED stage yourself, or just want to master the skills that so many of their speakers possess, these tips and quotes from Chris Anderson, the TED Talks Curator, will encourage you to make the most impactful impression on your audience.
See the full article and more summaries like this on SpeakerHub here: https://speakerhub.com/blog/5-presentation-tips-ted-gives-its-speakers
See the original article on Forbes here:
http://www.forbes.com/forbes/welcome/?toURL=http://www.forbes.com/sites/carminegallo/2016/05/06/5-public-speaking-tips-ted-gives-its-speakers/&refURL=&referrer=#5c07a8221d9b
ChatGPT and the Future of Work - Clark Boyd Clark Boyd
Everyone is in agreement that ChatGPT (and other generative AI tools) will shape the future of work. Yet there is little consensus on exactly how, when, and to what extent this technology will change our world.
Businesses that extract maximum value from ChatGPT will use it as a collaborative tool for everything from brainstorming to technical maintenance.
For individuals, now is the time to pinpoint the skills the future professional will need to thrive in the AI age.
Check out this presentation to understand what ChatGPT is, how it will shape the future of work, and how you can prepare to take advantage.
The document provides career advice for getting into the tech field, including:
- Doing projects and internships in college to build a portfolio.
- Learning about different roles and technologies through industry research.
- Contributing to open source projects to build experience and network.
- Developing a personal brand through a website and social media presence.
- Networking through events, communities, and finding a mentor.
- Practicing interviews through mock interviews and whiteboarding coding questions.
Google's Just Not That Into You: Understanding Core Updates & Search IntentLily Ray
1. Core updates from Google periodically change how its algorithms assess and rank websites and pages. This can impact rankings through shifts in user intent, site quality issues being caught up to, world events influencing queries, and overhauls to search like the E-A-T framework.
2. There are many possible user intents beyond just transactional, navigational and informational. Identifying intent shifts is important during core updates. Sites may need to optimize for new intents through different content types and sections.
3. Responding effectively to core updates requires analyzing "before and after" data to understand changes, identifying new intents or page types, and ensuring content matches appropriate intents across video, images, knowledge graphs and more.
A brief introduction to DataScience with explaining of the concepts, algorithms, machine learning, supervised and unsupervised learning, clustering, statistics, data preprocessing, real-world applications etc.
It's part of a Data Science Corner Campaign where I will be discussing the fundamentals of DataScience, AIML, Statistics etc.
Time Management & Productivity - Best PracticesVit Horky
Here's my presentation on by proven best practices how to manage your work time effectively and how to improve your productivity. It includes practical tips and how to use tools such as Slack, Google Apps, Hubspot, Google Calendar, Gmail and others.
The six step guide to practical project managementMindGenius
The six step guide to practical project management
If you think managing projects is too difficult, think again.
We’ve stripped back project management processes to the
basics – to make it quicker and easier, without sacrificing
the vital ingredients for success.
“If you’re looking for some real-world guidance, then The Six Step Guide to Practical Project Management will help.”
Dr Andrew Makar, Tactical Project Management
Unlocking the Power of ChatGPT and AI in Testing - A Real-World Look, present...Applitools
During this webinar, Anand Bagmar demonstrates how AI tools such as ChatGPT can be applied to various stages of the software development life cycle (SDLC) using an eCommerce application case study. Find the on-demand recording and more info at https://applitools.info/b59
Key takeaways:
• Learn how to use ChatGPT to add AI power to your testing and test automation
• Understand the limitations of the technology and where human expertise is crucial
• Gain insight into different AI-based tools
• Adopt AI-based tools to stay relevant and optimize work for developers and testers
* ChatGPT and OpenAI belong to OpenAI, L.L.C.
The document discusses various AI tools from OpenAI like GPT-3 and DALL-E 2, as well as ChatGPT. It explores how search engines are using AI and things to consider around AI-generated content. Potential SEO uses of ChatGPT are also presented, such as generating content at scale, conducting topic research, and automating basic coding tasks. The document encourages further reading on using ChatGPT for SEO purposes.
More than Just Lines on a Map: Best Practices for U.S Bike Routes
This session highlights best practices and lessons learned for U.S. Bike Route System designation, as well as how and why these routes should be integrated into bicycle planning at the local and regional level.
Presenters:
Presenter: Kevin Luecke Toole Design Group
Co-Presenter: Virginia Sullivan Adventure Cycling Association
Ride the Storm: Navigating Through Unstable Periods / Katerina Rudko (Belka G...DevGAMM Conference
Has your project been caught in a storm of deadlines, clashing requirements, and the need to change course halfway through? If yes, then check out how the administration team navigated through all of this, relocating 160 people from 3 countries and opening 2 offices during the most turbulent time in the last 20 years. Belka Games’ Chief Administrative Officer, Katerina Rudko, will share universal approaches and life hacks that can help your project survive unstable periods when there seem to be too many tasks and a lack of time and people.
This presentation was designed to provide strategic recommendations for a brand in decline. The deck also incorporates a situational assessment, including a brand identity, positioning, architecture, and portfolio strategy for the Brand.
Presentation originally created for NYU Stern's Brand Strategy course. Design by Erica Santiago & Chris Alexander.
Good Stuff Happens in 1:1 Meetings: Why you need them and how to do them wellSaba Software
According to the latest State of the American Manager report from Gallup, employees who have regular meetings with their managers are almost three times as likely to be engaged as those who don’t. These regular check-ins keep managers and employees in sync and aligned. Want to see better manager/employee relationships in your organisation? Then make an all-in commitment to 1:1 meetings. Not sure how? You’ve come to the right place.
In this webinar with Jamie Resker, Founder and Practice Leader for Employee Performance Solutions (EPS), and Teala Wilson, Talent Management Consultant at Saba Software, you’ll get the inside track on how to hold effective 1:1 meetings, including tips for getting managers on board.
• Go beyond discussing the status of everyday work to higher level topics, including recognition, performance, development, and career aspirations
• Learn how to decide meeting frequency, what to cover, as well as roles and responsibilities of the manager and employee
• Understand how managers can build trust and make it comfortable for employees to provide upward feedback
• Unite your organisation with a unified approach to 1:1 meetings
Join us for this 1-hour webinar to get practical tips for building better manager-employee relationships with intention and purpose.
About the Speakers
Jamie Resker - Founder and Practice Leader for Employee Performance Solutions (EPS)
Jamie Resker, Practice Leader and Founder of Employee Performance Solutions, is a recognized innovator in performance management. She is the originator of the-the Performance Continuum Feedback Method® and Conversations to Optimize Employee Performance training program; tools and training that reshape communications between managers and employees to drive and align performance. Jamie is on the faculty for the Northeast Human Resources Association, is a contributor to Halogen Software's Talent Space Blog, and is an editorial advisory board member for HR Examiner.
Teala Wilson - Senior Consultant, Strategic Services, Saba Software
Teala is a Talent Management Consultant at Halogen Software, now a part of Saba Software. She has worked with teams on a national and global level supporting human resources in areas such as performance management, recruitment, employee benefit programs, training and talent development, workforce planning and internal communications. Teala also has a personal passion for visual arts and design.
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4. 6 7
For several years now Michel Platnic has been creating works
after Francis Bacon. The works follow specific painterly scenes
by Bacon, ostensibly exploring them by reconstruction and
shifting, on the technical as well as conceptual-psychological
levels of the work, while employing drawing, painting, sculpture,
photography, video, and performance.
On the technical level, Platnic re-stages painterly scenes,
and expands them by infusing duration and movement into
them. The work process involves a meticulous perusal of
Bacon's chosen work; constructing a matching setting, which
Platnic creates in his studio, while performing all the necessary
acts of planning, measuring, cutting, sculpting, painting, etc.;
directing the figures in keeping with the composition of the
chosen scene; painting on the models' bodies or on his own;
assimilating the figures into the constructed background via
painting; unifying all of the above processes into the final work,
which is a photograph or a video of a given scene.
On the conceptual level, Platnic seems to be
comprehensively familiar with Bacon's paintings—their intricate
architectural structure, the perception of space they embody,
the emotional tumult concealed in them—yet he uses all these
as a mere point of departure, striving to emerge therefrom
onto other, additional dimensions. His work does not attempt
to reconstruct or duplicate the exceptional painterly moment
in Bacon's work, but rather to operate in relation to it. Thus, the
painterly gestures underlying Platnic's practice may be awkward
and crude at times, the proposed alternatives to the structure
Voilà déjà quelques années que Michel Platnic crée des
œuvres sur les traces de Francis Bacon. Ces œuvres s'inspirent
de scènes picturales spécifiques de Bacon et d'une certaine
manière les passent au crible par le biais d'une reconstruction
et d'un déplacement qui ont lieu tant sur le plan technique
du travail que sur celui du concept et de la psychologie. Il
utilise pour ce faire le dessin, la peinture, la sculpture, la
photographie, la vidéo et l'installation.
Sur le plan technique, Platnic emprunte des scènes
peintes, les met de nouveau en scène et en déplace les
limites en leur donnant durée et mouvement. Le processus
de travail comprend un examen minutieux du travail choisi
de Bacon; la construction d'un décor correspondant, que
l'artiste crée en studio en réalisant tous les stades nécessaires
de la programmation, de le mesure, du découpage, de la
sculpture, de la peinture (et autres); la mise en scène des
personnages conformément à la composition de la scène
choisie; la peinture à même le corps des modèles ou sur son
propre corps; l'intégration du personnage à la toile de fond
construite par le biais de la peinture; l'unification de toutes
ces démarches en un travail achevé, qui est une photographie
ou une vidéo de la scène en question.
Sur le plan du concept, il semble que Platnic ait une
connaissance approfondie des tableaux de Bacon: leur
structure architecturale complexe, la vision de l'espace qu'ils
contiennent, la tourmente affective qu'ils renferment. Mais il
n'utilise tout cela que comme point de départ; il veut en sortir
1 Gilles Deleuze, Francis Bacon, The Logic of Sensation, trans. Daniel W. Smith (London & New York:
Continuum, 2005), pp. 20-21.
2 Ibid., p. 22.
1 Gilles Deleuze, Francis Bacon: Logique de la sensation, Editions de la Différence, 1981, p. 19.
2 Ibid., p. 20.
of the painted scene or the props appearing in it may have a
grotesque facet, and the circumstances of the situation, as well
as the psychology of the treated scenes, may gain a different
meaning, but all these interfere neither with an immediate
identification of the chosen scene nor with embarking on the
journey it suggests.
In his book Francis Bacon: The Logic of Sensation, Gilles
Deleuze proposes regarding Bacon's work process as one which
strives "to dismantle the face, to rediscover the head or make
it emerge from beneath the face."1
Deleuze thus differentiates
between structure and matter with reference to the human
body. The body, he maintains, is faceless, but the head is a part
of the body. Moreover, "the body is revealed only when it ceases
to be supported by the bones, when the flesh ceases to cover
the bones, when the two exist for each other, but each on its
own terms: the bone as the material structure of the body, the
flesh as the bodily material of the Figure."2
In contrast to a long tradition of painters who sought to
capture a specific expression and address the face as the most
substantial site in which the psyche is reflected, a window to
the other, Deleuze suggests reading Bacon's work as subverting
this basic assumption, digging under the facial cover to expose
the head, its animal trait, that which defines and differentiates
each individual.
In Totality and Infinity, in the chapter about "Ethics and
the Face," Emmanuel Levinas writes: "The relation with the face,
with the other absolutely other which I can not contain, the
vers des dimensions supplémentaires, autres. Son travail
n'essaie pas de reconstituer ou de reproduire le merveilleux
moment pictural de l'œuvre de Bacon mais bien plutôt d'agir
par rapport à celui-ci. Ainsi, les gestes picturaux incarnés
dans la démarche de Platnic peuvent être parfois grossiers
et démesurés; les alternatives qu'il propose à la structure de
la scène picturale ou les accessoires qui y apparaissent ont
parfois une dimension grotesque, et les circonstances de la
situation, de même que l'horizon psychologique de la scène
traitée, acquièrent une signification différente. Mais rien de
cela n'empêche l'identification immédiate de la scène choisie
et le départ pour le voyage proposé.
Dans son livre Francis Bacon: Logique de la sensation,
Gilles Deleuze propose de considérer la démarche de Bacon
comme voulant "défaire le visage, retrouver ou faire surgir
la tête sous le visage."1
Deleuze produit ainsi, par rapport au
corps humain, une distinction entre la structure et la matière.
Selon lui, le corps est dépourvu de visage, mais la tête en fait
partie. Plus même: "le corps ne se révèle que lorsqu'il cesse
d'être sous-tendu par les os, lorsque la chair cesse de recouvrir
les os, lorsqu'ils existent l'un pour l'autre, mais chacun de son
côté, les os comme structure matérielle du corps, la chair
comme matériau corporel de la Figure."2
Contrairement à une longue tradition de peintres,
qui voulaient saisir une certaine expression du visage et le
traiter lui-même comme le reflet le plus significatif de l'âme,
comme une fenêtre ouverte sur l'autre, Deleuze propose de
After Bacon: From Composition to Choreography Sur les traces de Francis Bacon: De la composition à la chorégraphie
Hadas Maor Hadas Maor
5. 8 9
other in this sense infinite, is nonetheless my idea, a commerce
[namely, exchange, dialogue; H.M.]."3
The other's face, which
is, ostensibly, the most exposed and open aspect of his body,
is, in fact, an expression of its infinity, being a manifestation
of totality and wholeness. The face is the body part that turns
towards; at the same time, however, it is a sublime expression
of that which is turned away, disappears, and refuses to be
contained. The face articulates the most overt aspect, and at
the same time—the most sublime, hidden, transcendental
facet. One may thus say that, to some extent, Platnic's work
process strives to reinstate the figures in Bacon's paintings
with the face, to constitute a relationship with them, to enable
them—and hence himself as well—re-existence.
The figures in Bacon's paintings are habitually isolated in
geometric structures, situated on smooth color surfaces devoid
of specific context. Platnic's works duplicate the representation
array in Bacon's paintings, yet operate, as aforesaid, on a slightly
different level in terms of their signification. Most of all they
seem to engage with existence, with being. Platnic departs
from the painted scene; via a multi-stage process he creates
a transformation from painting to photography, from stills to
video, from composition to choreography, from an introverted
contemplative dimension to an extroverted performative
one. He endeavors to introduce the temporal dimension into
the spatial, the dimension of movement into the picture, to
deviate from the given boundaries of the medium and create
unmediated contact with the viewer.
Whereas in his early works Platnic employed select models
to enact the figures in the scenes, over time, increasingly, he
himself enacts the various figures in the works. His reference to
the tension between body and image, between painting and
performance, and the significance of the use of his own body
are interestingly manifested already in the early work Picture,
2010, a photograph featuring Platnic, hung on the wall as if
he were an object, a picture. The work heralds his complex
future use of the presence of his body in his works, a presence
which goes beyond the body being a stain of color, a mass
with volume in space, a carrier and catalyst of a given content,
toward a presence which is at once figurative and performative.
One reference relevant to this work is Stelarc's series of
"Suspensions" from the 1980s, where the artist suspended
himself in various spaces and diverse situations with hooks
inserted into his skin (the series included 25 body suspensions
over a period of 13 years). By so doing, Stelarc transformed
himself, in the spirit of the period, into the subject, the material,
and the site of the act at one and the same time. Such multi-
dimensional use of the body is also present, albeit in a less
violent manner, in Platnic's body of work in question.
déchiffrer le travail de Bacon comme subvertissant cet axiome
fondamental, comme creusant sous l'enveloppe du visage,
afin de dévoiler et de dénuder la tête, et ce faisant, l'esprit
vivant de l'homme, ce qui le spécifie et le définit.
Dans son livre Totalité et Infini, Essai sur l'extériorité, au
chapitre intitulé "Visage et éthique," Emmanuel Levinas écrit:
"Le rapport avec le visage, avec l'autre absolument autre que
je ne saurais contenir, avec l'autre, dans ce sens, infini, est
cependant mon Idée, un commerce."3
Le visage de l'autre, qui
est apparemment la part la plus visible et la plus dévoilée de
son corps, est en fait l'expression de son infinité, en tant que
ce même visage est au-delà de l'ensemble ou de la totalité.
Le visage est le membre qui s'adresse à [autrui], mais il est
en même temps l'expression supérieure de ce qui se tourne,
qui disparaît et refuse d'être contenu. Le visage exprime la
part la plus visible et dans le même temps la plus cachée, la
plus sublime, le côté transcendantal. D'une certaine manière,
on peut dire que la démarche de Platnic tend à restituer leur
visage aux personnages de Bacon, à établir avec eux des
rapports, à leur permettre – et ce faisant, se permettre à lui-
même – une existence renouvelée.
En règle générale, les personnages de Bacon
apparaissent isolés dans des structures de forme
géométrique esquissées sur un fond de surfaces colorées
lisses, dépourvues de contexte spécifique. Les travaux de
Platnic reproduisent le dispositif représentatif existant dans
les tableaux de Bacon, mais du point de vue de leur sous-
entendu, ils agissent, on l'a vu, sur un plan quelque peu
différent. Ils semblent plus que tout traiter de l'existence,
de la présence. Platnic part de la scène peinte, et dans une
démarche à plusieurs temps il produit une transformation
de la peinture en photographie, de l'immobile en vidéo,
de la composition en chorégraphie, de la dimension
contemplative, introvertie, en dimension performative,
extravertie. Il tend à introduire la dimension du temps dans
l'espace et celle du mouvement dans le tableau, à forcer
les limites données du medium et à créer, semble-t-il, un
rapport d'immédiateté avec le spectateur.
Si dans ses premiers travaux Platnic a choisi des
modèles pour incarner les personnages représentés dans
les scènes, c'est lui-même qui, au fil du temps et de plus en
plus fréquemment, incarne les différents personnages de ses
travaux. Son attitude vis-à-vis de la tension existant entre
le corps et l'image, entre la peinture et la performance, et
l'importance de l'utilisation de son propre corps, trouvent
une expression intéressante dès son travail de 2010, Tableau
p. 8
, photographie dans laquelle il apparaît suspendu à un
mur tel un objet, une image. Cette œuvre marque l'utilisation
complexe que fera bientôt Platnic de la présence du corps
dans ses travaux, présence qui excède l'être du corps comme
tache de couleur, comme bloc volumineux dans l'espace,
vecteur et catalyseur d'un certain contenu, vers une présence
qui est en même temps figurative et performative.
On trouve un contexte pertinent à ce travail dans
la série Suspensions de Stelarc (de son vrai nom Stelios
Arcadiou), réalisée au cours des années 80, dans le cadre
de laquelle l'artiste s'est suspendu dans différents espaces
et dans des situations changeantes, au moyen d'hameçons
qui tenaient son corps (la série comprenait 25 actes de
suspension s'étalant sur une période de 13 ans). En agissant
de la sorte, Stelarc s'est transformé simultanément, dans
l'esprit de la période pendant laquelle il a œuvré, en sujet, en
matière et en lieu du déroulement de l'action. Cette multi-
dimensionnalité de l'utilisation du corps est également
présente, bien que de manière moins violente, dans le corpus
des travaux de Platnic dont il est ici question.
3 Emmanuel Levinas, Totality and Infinity: An Essay on Exteriority, trans. Alphonso Lingis (Norwell, MA: Kluwer
Academic Publishers, 1991), p. 197.
3 Levinas, Totalité et Infini, Essai sur l'extériorité, Martinus Nijhoff, The Hague, 1961, p. 171.
Picture, 2010
C-print, ed. 5 + 1 A.P., 150x225
6. 10 11
Another relevant reference is Yosef-Joseph Dadoune's
Phoenix, 2010, a two-channel video piece in which the artist
is suspended horizontally above the ground of his hometown,
Ofakim. Dadoune's work introduces issues of body and culture,
place and belonging, concerns addressed in at least some
of Platnic's early works, such as Magen David, 2010,p. 101
or
Menorah, 2010. These works also contain a distinctive ritual
dimension, an important channel still evolving in Platnic's work.
But the performative aspect and the engagement with
the body are only a part of a more complex whole which Platnic
wishes to explore in his body of works after Bacon. In retrospect,
one may indicate Self-Portrait, 2009,p. 121
as already spanning
the majority of elements to comprise this corpus. Constructed as
a multi-phase process, the work begins with the observation of
a painting by Lucian Freud, Reflection with Two Children, 1965,
and a self-portrait photograph based on that painting. Next,
Platnic paints a self-portrait of himself from the photograph,
and finally—he paints the same portrait directly on his body,
while accentuating and repeating the same brush strokes and
the same coloration. By using acrylic paints directly on his body,
Platnic creates a live portrait that echoes the real portrait which
remains hidden under the thick coat of paint, but also Freud's
original portrait, which served as a point of departure for the
work. The result is a blurring of the physiological contours in
favor of the painterly contours, an interpretation of Freud's
original painting alongside an interpretation of Platnic's own
self. Furthermore, by creating a living painting, a tableau vivant,
with its ambiguity, Platnic transforms himself into the ostensibly
two-dimensional painted figure, and subsequently infuses it
with three-dimensionality and an anima by means of the video.
In this context one might mention two artists whose work
includes direct painting on their own bodies or that of select
models, although not after existing art works. One is Alexa Meade
who paints directly on the bodies of people, and subsequently
photographs them in congruent narrative contexts in the public
sphere. By presenting the photographs, she forthwith inverts
the classical genre of trompe-l'oeil painting, which strives to
inspire a sense of three-dimensionality to two-dimensional
representations, and the result is indeed deceptive, resembling
a photographed oil painting. The other is Liu Bolin who paints
on his own body with the intent of assimilating his figure in the
background of various sites where he photographs himself—in
open expanses, well-known tourist sites, or closed spaces such
as shops overflowing with items. This results in elusive images
with a slight visual disturbance which reveals the presence of
the artist's body in the picture. By so doing, Bolin wishes to
present those who have become invisible in society due to
historical, political, or economic forces.
Bacon's Three Studies for Portrait of Lucian Freud,
1965,p. 48
features three complementary portraits of artist
Lucian Freud. The paintings are obscure, profound, and stormy.
Their color applications are thick, directly calling to mind the
spiritual and mental intensities of the depicted figure. The
Un autre contexte pertinent est Phœnix, œuvre réalisée
en 2010 par Joseph Dadoune. Il s'agit d'un travail vidéo sur
deux canaux, dans lequel on voit l'artiste suspendu dans l'air
au-dessus d'Ofakim, la ville où il a grandi. Ce travail soulève
les problématiques du corps et de la culture, du lieu et de
l'appartenance, autant de contenus qui s'expriment au moins
en partie dans les premiers travaux de Platnic, tels Maguen
David,2010
p.101
,ouMenorah,2010
p.10
également.Cestravaux
contiennent également une dimension rituelle caractérisée,
voie qui se trouve encore en plein développement dans
l'œuvre de Platnic.
Toutefois, l'aspect performatif et le traitement du corps
ne sont qu'une partie d'un ensemble plus complexe, dont
Platnic désire traiter dans le cadre du corpus de ses travaux
inspirés de Bacon. On peut rétrospectivement marquer
Autoportrait, 2009
p. 121
, comme comprenant déjà la plupart
des éléments qui composeront ce corpus. Ce travail, construit
comme une démarche à étapes multiples, commence par
l'observation de la toile de Lucien Freud, Reflet avec deux
enfants, 1965, et une auto-photographie basée sur cette
même toile. Ensuite, Platnic peint un autoportrait basé sur la
photo, et finalement, il peint ce même portrait directement
sur son corps, en insistant et en revenant sur les mêmes
aplats et sur la même coloration. En utilisant des couleurs
acryliques directement sur son corps, il crée un portrait
vivant qui fait écho au portrait réel resté caché sous la couche
épaisse de couleur, mais également au portrait original de
Freud qui a servi de point de départ au travail. Le résultat
est un brouillage des traits physiologiques au profit des
traits picturaux, d'une interprétation de la toile originale de
Freud, aux côtés d'une interprétation du moi de Platnic lui-
même. Qui plus est, en créant une peinture vivante – avec
toute l'ambiguïté que renferme un tel concept – Platnic se
transforme en personnage peint, en apparence, sous deux
dimensions, puis lui restitue multi-dimensionnalité et vie par
le biais du tournage vidéo.
A ce propos, il est intéressant de rappeler deux artistes
dont la pratique comprend la peinture directe sur leur propre
corps, ou sur celui de modèles choisis, même si cela n'est
pas basé sur des œuvres d'art existantes. La première des
deux est Alexa Meade, qui peint directement sur le corps de
personnes puis les photographie dans un contexte narratif
adapté dans l'espace public. En exposant les photos, Meade
transforme complètement le genre classique du trompe-l'œil,
qui tend à donner la sensation de tridimensionnalité à des
représentations bidimensionnelles, et le résultat est en effet
troublant et ressemble à une peinture à l'huile photographiée.
Le second est Liu Bolin, qui peint sur son propre corps, dans
l'intention de s'intégrer à la toile de fond de différents sites
sur lesquels il se photographie – tels des paysages, des lieux
touristiques connus ou des espaces clos, comme par exemple
des magasins bourrés de marchandises. Le résultat en est des
images troublantes dotées d'une légère distorsion visuelle
qui suggère la présence de l'artiste dans le tableau. Bolin
veut ainsi éveiller le débat autour de ceux qui sont devenus
invisibles au sein de la société, du fait de forces historiques,
politiques ou économiques.
Dans le travail de Bacon Trois études pour un portrait de
Lucien Freud, 1965
p. 48
, on voit trois portraits se complétant
de Lucien Freud. Les toiles sont brouillées, profondes,
tourmentées. La touche de couleur est épaisse et directement
liée aux intensités de l'âme et de l'esprit du personnage peint.
Le mouvement donné à la peinture est énergique, il dérange
la structure picturale, la limite de la peau ou du visage.
L'intérieur est extériorisé, le corps est dans le vent, l'usuel est
déformé. C'est comme si ce travail décrivait trois états d'âme,
de conscience, s'exprimant par le biais de la différence entre
les types de regards et leur focalisation.
C'est exactement le point de départ de Platnic. Dans
le cadre de son travail Sur les traces de Trois études pour un
portrait de Lucien Freud, 1965, 2013
p. 52-54
, projeté sur trois
écrans vidéo, conformément aux trois parties du triptyque
peint, il incarne le personnage de Freud et apparaît
simultanément sur les trois écrans. Il change la dimension
transgressive contenue dans les toiles de Bacon en une
transformation du medium qui permet l'introduction du
Menorah, 2010
C-print, ed. 5 + 1 A.P., 20x20
7. 12 13
painting momentum is fierce and sweeping. It disrupts the
painterly structure, the boundary of the skin or the face. The
interior is breached from without, body fuses with spirit, the
ordinarywiththedistorted.Theworkportraysthreepsychological
states, three states of consciousness, as it were, manifested
through the difference in the type and focus of the gaze.
Platnic begins his work precisely at this point. In After
Three Studies for Portrait of Lucian Freud, 1965, 2013,pp. 52-54
presented on three video screens, which correspond with
the three parts of the painted triptych, he enacts the figure
of Freud, appearing on all three screens simultaneously. He
replaces the transgressive dimension in Bacon's paintings
with a mediumal transformation which enables introduction
of time and movement, and reinforces the engagement with
the gaze. The body's movement on video is slow, implied; what
is accentuated is the movement of the eyes, the eyelids, and
finally—the figure's direct gaze at the viewer.
After Three Studies of Lucian Freud, 1969, 2014,pp. 86-88
consists of three screens, portraying the seated figure from
three different angles. During the work process the figure moves
restlessly in the chair, changing position from time to time or
passing something from one hand to the other. The duration
of the video on each screen is slightly different, and since they
are not synchronized, a different combination between the
three images appears at every given moment, like an ongoing
permutation which acquires a different manifestation in every
point in time. This aspect reinforces the figure's instability and
disquiet, as well as the general sense of emotional transience.
Platnic's process is manifested most quintessentially and
radically, however, in After Triptych, 1983, 2014.p. 69
At first sight
the images presented on the three screens seem to be, more or
less, faithful to the original painterly scene, as in other works by
Platnic. A closer look, however, reveals a transgressive process,
whereby the figure in one of the side screens gets up from its
chair and leaves the photographed frame. This act opens the
door to another, more radical unraveling of the notion of border
in the work, because it exposes the fact that the work includes,
inseparably, documentation of the construction of the set and the
preparation of the background for shooting the work. Thus, the
construction of the set also turns out to be performative, and the
work continues to enhance the repeated movement in and out,
the tension between the visible and the perceptible, the trickling
between dimensions. This blending between the preparatory
phase, the performance phase, and the phase of presentation
generates a cross; an indefinite hybrid. The work deviates
from the boundaries of its own being, presenting a conscious
disintegration and melting of one category into the other.
The significant insistence on documenting all the
processes on video has been a recurring feature in Platnic's
works over the years, as in the early piece Self-Portrait in a Pool,
2009.p. 116
This position is likely associated with confronting the
dimension of disintegration, the ephemerality of the human
body, and the physical as well as mental transformations
integral to processes of maturing and old age on the one hand,
or preservation and perpetuation on the other. It expresses a
desire to preserve the moment of "pre" and the moment of
"post," and make them coexist, producing an ongoing illusion
between original and copy, reality and fiction, before and after,
present, past, and future.
The viewer's moment of insight regarding the melting
of boundaries and the blending of disciplines is a decisive
moment in understanding the work, which, in fact, signifies the
essence of Platnic's praxis in this entire project: the turning to
the viewer, establishing unmediated contact, deviating from
the boundaries of painting, photography, or video, creating a
living, dynamic, near-interactive tension between the art object
and the viewer.
temps et du mouvement et le renforcement de la thématique
du regard. Le mouvement corporel vu dans la vidéo est lent,
suggéré, et ce qui s'exprime plus particulièrement est le
mouvement de yeux, des paupières, et pour finir – le regard
direct que porte le personnage sur le spectateur.
Le travail Sur les traces de Trois études pour Lucien Freud,
1969, 2014
p. 86-88
, est composé de trois écrans sur lesquels est
représenté un personnage assis, sous trois angles différents.
Au cours du travail, le personnage se meut sur sa chaise avec
inconfort, change de temps à autre de position ou passe
quelque chose d'une main à l'autre. Le temps de passage
de la vidéo sur chacun des écrans est légèrement différent,
et comme ils ne sont pas synchronisés, on assiste à tout
moment à un croisement différent entre les trois images qui
y apparaissent, telle une permutation continue recevant à
chaque moment un spectacle différent. Cet aspect renforce
l'instabilité et la gêne du personnage et même le sentiment
de précarité affective générale qui l'habite.
Il semble toutefois que le travail Sur les traces de
Triptyque, 1983, 2014
p. 69
, présente la démarche de Platnic
de façon encore plus extrême et plus caractérisée. A
première vue, il semble que les images présentées sur les
trois écrans sont plus ou moins fidèles à la scène picturale
originale, comme les autres travaux de Platnic. Mais un
regard approfondi découvrira dans ce travail une démarche
transgressive dans le cadre de laquelle le personnage
apparaissant sur les deux écrans extrêmes se lève de sa chaise
et sort du cadre photographié. Cette démarche ouvre la
porte à une altération supplémentaire, plus radicale encore,
du concept de limite, car elle révèle le fait que le travail
comprend, de manière indissociable, un témoignage du
processus de construction du décor et de la préparation de la
toile de fond pour le tournage. Ce processus se révèle donc
être, lui aussi, performatif, et le travail prolonge et renforce
le mouvement répétitif vers l'intérieur et vers l'extérieur, la
tension entre ce qui est vu et ce qu'on en perçoit, le passage
subtil d'une dimension à l'autre. Ce mélange entre le stade de
la préparation, celui de la performance et celui de l'exposition
produit un greffon, un hybride indéfini. Le travail excède
les limites de son être propre et présente un effondrement
conscient d'une catégorie dans l'autre, sa dissolution en elle.
L'entêtement significatif à conserver sous forme
de témoignage vidéo toutes les étapes est une position
récurrente que l'on retrouve dans les travaux de Platnic au
fil des années, comme par exemple Autoportrait dans une
piscine, 2009
p. 116
. Cette position est liée, semble-t-il, à la
confrontation avec la dimension de l'usure et de la précarité
du corps humain, ainsi qu'aux changements corporels
et psychiques qui sont le lot inséparable des processus
de maturité et de vieillesse, d'une part, et de ceux de la
conservation et de la perpétuation, d'autre part. Elle exprime
une sorte de désir de conserver et de faire exister ensemble
l'instant préalable et l'instant postérieur, et produit un
trouble continu entre l'original et la copie, la réalité et la
fiction, l'avant et l'après, entre présent, passé et futur.
Le moment où le spectateur appréhende la dissolution
des limites et le mélange des domaines est un moment crucial
dans la compréhension du travail et il marque en fait l'essence
de la démarche de Platnic dans le projet tout entier: s'adresser
au spectateur, créer un lien d'immédiateté avec lui, excéder
les limites de la peinture, de la photo ou de la vidéo, créer une
tension entre le vivant et le dynamique, le presque interactif,
entre l'objet artistique et le spectateur.
8. 14 15
Francis Bacon, Three Studies for a Portrait of John Edwards, 1984
Oil on canvas, 3 panels, 198x147.5 each
Collection of Yageo Foundation, Taiwan
1984 ,אדוארדס ג'ון לדיוקן מתווים שלושה ,בייקון פרנסיס
כ"א 198x147.5 ,לוחות 3 ,בד על שמן
טייוואן ,יגיאו קרן אוסף
Untitled,2013,sketch,29.7x21/29.7x21,מתווה,2013,כותרתללא
13. 24 25
Francis Bacon, Figure at a Washbasin, 1976
Oil on canvas, 198x147.5
Collection of Museo de Arte Contemporáneo de Caracas (MACC)
1976 ,כיור מעל גוחנת דמות ,בייקון פרנסיס
198x147.5 ,בד על שמן
קראקס ,בת–זמננו לאמנות המוזיאון ,MACC אוסף
16. 30 31
Francis Bacon, Study from the Human Body, 1991
Oil on canvas, 198x147.5
Private collection
1991 ,האדם מגוף מתווה ,בייקון פרנסיס
198x147.5 ,בד על שמן
פרטי אוסף
Untitled,2013,sketch,29.7x21/29.7x21,מתווה,2013,כותרתללא
29. 56 57
Francis Bacon, Study for Portrait II
(after the Life Mask of William Blake), 1955
Oil on canvas, 61x51
Collection of Tate Gallery, London
II לדיוקן מתווה ,בייקון פרנסיס
1955 ,)בלייק ויליאם של החיים מסכת (בעקבות
61x51 ,בד על שמן
לונדון ,גלרי טייט אוסף
30. 58 59
>>
After Study for Portrait II (after the Life Mask of William Blake), 1955, 2013
C-print, ed. 6 + 2 A.P., 61x51
Video, full HD, ed. 6 + 2 A.P., 18 min
2013 ,1955 ,)בלייק ויליאם של החיים מסכת (בעקבות II לדיוקן מתווה בעקבות
61x51 ,אמן אבחנות 2 + 6 של מהדורה ,צבע תצלום
'דק 18 ,אמן אבחנות 2 + 6 של מהדורה ,full HD ,וידיאו
31. 60 61
Francis Bacon, Triptych, 1983
Oil and pastel on canvas, 3 panels, 198x147.5 each
Collection of Juan Albelló
1983 ,טריפטיכון ,בייקון פרנסיס
כ"א 198x147.5 ,לוחות 3 ,בד על ופסטל שמן
אלבלו חואן אוסף
36. 70 71
Francis Bacon, Lying Figure, 1966
Oil on canvas, 198x147
Collection of Museo Nacional Centro de Arte Reina Sofia, Madrid
1966 ,שוכבת דמות ,בייקון פרנסיס
198x147 ,בד על שמן
מדריד ,סופיה ריינה הלאומי המוזיאון אוסף
Untitled,2013,sketch,29.7x21/29.7x21,מתווה,2013,כותרתללא
48. 94 95
Attributed to Thomas Hawker, King Charles II, 1680
Oil on canvas, 226.7x135.6
Collection of the National Portrait Gallery, London
1680 ,השני צ'ארלס המלך ,הוקר לתומאס מיוחס
226.7x135.6 ,בד על שמן
לונדון ,גלרי פורטרט נשיונל אוסף
53. 104 105
Ori Reisman, Portrait of Rakefet
Bar-Kama, 1978
Oil on canvas, 55x46
Collection of Tel Aviv Museum of Art
Acquired through a contribution from
The Recanati Fund for Acquisition of
Israeli Art
1978 ,בר–קמא רקפת דיוקן ,ריזמן אורי
55x46 ,בד על שמן
לאמנות אביב תל מוזיאון אוסף
לרכישת רקנאטי קרן בתרומת רכישה
ישראלית אמנות
>>
Portrait of Tamar, 2011
C-print, ed. 6 + 2 A.P., 55x46
2011 ,תמר דיוקן
55x46 ,אמן אבחנות 2 + 6 של מהדורה ,צבע תצלום