Bennetton

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United Colors of Benetton used controversial advertising in the early 1990s to promote awareness of social issues like racism, AIDS prevention, and poverty through provocative images. Their 1991 campaign featured multiracial families and people of different ethnicities to promote racial harmony and understanding. They also aimed to educate people about AIDS and poverty through ads showing the human impacts of these issues.

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Presentation about United Colors of Benetton

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სოციალური მედია როგორც მარკეტინგული კომუნიკაციის ხელსაწყო საქართველოში

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გაიგე რით სჯობს პირადი ბლოგები თემატურს, რა ძალას ფლობენ პირადი ბლოგების ავტორები, როგორ შევქმნათ საუკეთესო პირადი ბლოგი. დაესწარი საქართველოში ყველაზე პოპულარული პირადი ბლოგის ავტორის პრეზენტაციას და გაიგე მეტი ე.წ. ”პერსონალკებზე”.

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Revolutions come in many varieties. Some tear down established notions destructively, while others consist of forging new paradigms through constructive means such as an ideological or technological innovation that fundamentally alters an individual or group’s creative path. But all have their place in history. This paper charts a course of change in art and art styles, as been practiced by some modern-day Igbo artists. It follows the meandering path that has been influenced by technological advances that have in turn influenced art culture and practices in technique. In particular, this paper examines how the modern-day processes of digital art have attempted to broaden the modern-day Igbo artist’s knowledge base, and has influenced new ways of doing old things. Together these ideas have impacted modern-day art by creating a fertile landscape allowing an artist’s inquisitive tendency to take root and uniquely flourish. The aim of this paper is to analyze the various digital paintings produced by three modern-day Igbo artists (Ikenna Aghanya, Okechukwu Johnson and Chidi Onwuekwe) and in turn examine how the use of the computer, as an art tool has affected their creative process. The paper will also look at the functions of this medium as it pertains to each of the decorative paintings done by these artists.

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一比一原版UC Berkeley毕业证加利福尼亚大学|伯克利分校毕业证成绩单如何办理

beduwt

For centuries, Africa has been home to a multitude of societies with different cultural landscapes, social structures, and strongly defined aesthetic ideals. In the absence of the written word, Africa’s legacy consists of a vast mélange of complex symbols, patterns, and signs. These aesthetically abstract configurations and unique characters replaced linguistic symbols commonly used for recording the history of remarkable events, the deeds of great kings, celebrations, births and deaths, and extraordinary occurrences. Mary Nooter Robert in Inscribing Identity: The Body, suggests “symbols that replaced letters or characters represent the sounds of a language, a logographic system in which a single character represents a word” (Robert 2007:57). Therefore, Africa has contributed to the world a rich tradition of typography; from ancient Egyptian hieroglyphs, to rock inscriptions found throughout the Sahara Desert, as well as rock paintings and drawings in the Tassili Plateau of the Atlas Mountains in the Fezzan). In fact, the rich diversity of esoteric symbols throughout Africa has inspired both craftsmen and artists for centuries. They have refashioned the antiquated and unique into contemporary forms, which now appear etched on pottery, cast on bronze and precious metals, carved on wood, woven into textiles, stitched on cloth, or inscribed on the human body.

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