The course was about how to implement user centered design in organizations. It was part of the Master degree program in Business with orientation in User Centered Design. Laurea University of Applied Sciences.
Stakeholder Persuasion - How to quantify your gut feelingUser Intelligence
Using User Research to Convince Stakeholders
Everyone who has worked with large corporate clients knows how hard it can be to align a group of stakeholders and get them all to agree. They’re often hardly engaged in the project itself, and they are hard to convince when it comes to design decisions. In the past, we’ve worked with a number of these types of clients, and we have found a few ways to get the stakeholders more engaged. Next to that, we have learned to speak their language (sort of), which helps tremendously when you need to convince them that your solution is actually better.
In this presentation Jacco and Martijn will tell you how they have used different forms of user research to address these issues and use examples from recent project to illustrate their way of working.
This presentation provides insight into the open innovation and co-creation idea and describes a human-centred innovation approach with respect to the changing roles of market research and product design. The increased importance of strong interdisciplinary (internal) collaboration of researchers and designers for being successful in open innovation is emphasized. Only the combination of external co-creation and internal collaboration make open innovation programs successful. Embracing a human-centered innovation approach means also to intervene in existing structures of power within the company which are built upon hierarchy.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
Safalta Digital marketing institute in Noida, provide complete applications that encompass a huge range of virtual advertising and marketing additives, which includes search engine optimization, virtual communication advertising, pay-per-click on marketing, content material advertising, internet analytics, and greater. These university courses are designed for students who possess a comprehensive understanding of virtual marketing strategies and attributes.Safalta Digital Marketing Institute in Noida is a first choice for young individuals or students who are looking to start their careers in the field of digital advertising. The institute gives specialized courses designed and certification.
for beginners, providing thorough training in areas such as SEO, digital communication marketing, and PPC training in Noida. After finishing the program, students receive the certifications recognised by top different universitie, setting a strong foundation for a successful career in digital marketing.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
Normal Labour/ Stages of Labour/ Mechanism of Labour
G325 questions
1. Question 1a – Skills and Processes You must discuss two pieces of coursework in order
to show progression and development of skills.
2. Conventions of real media texts Post-Production Research and Planning Digital Technology
Explain how you have used, developed Discuss the decisions you made during How did your Research and Planning How has digital technology aided your
or challenged conventions of real media post-production of two pieces of inform your production? (GDS) creativity to during your coursework
products. (GDS) coursework. productions? (GDS)
Evaluate how you creatively drew upon Discuss the ways in which you have Describe how you developed research “Digital technology turns media
and/ or developed conventions of real exercised creativity during post- and planning skills for media production consumers into media producers”. In your
media products. production? and evaluate how these skills contributed own experience, how has your creativity
to creative decision making. Refer to a
In what ways have your productions range of examples in your answer to developed through using digital
used or developed conventions show how these skills developed over technology to complete your coursework
adopted from real media products? time. (Jan10) productions? (Exam board example)
How much of your text was ‘created’
In what ways have your productions in post-production? How has digital technology helped
challenged or played with
conventions adopted from real media
What technologies did you use to you to capture your ideas?
modify your raw material? How did What benefits do digital technologies
products? offer over analogue? Are there any
In other words, is your work generic, this change the meaning of your
work? disadvantages?
or experimental – or both?
Some media producers adopt a style What transitions/ effects did you How did digital technology influence
of working that is quite distinctive – apply during post-production? How your work in pre-production,
explore how work you have did you manipulate narrative/ production, and post-production?
produced may have been influenced colours/ lighting/ contrast/ brightness/ How have your skills with digital
by your own favourite producers/ sound etc during the edit? technology developed, and how has
directors/ designers/ publishers. Do How much of your footage ended up this influenced your productions?
you have a ‘style’? Are you an ‘on the cutting room floor’ (unused) What role might digital technology
auteur? and why? plan in the distribution of your work?
What would Andrew Goodwin say How is digital technology changing
about your work? media production?
How did your research into genre
contribute to your production work?
How did your research into audience
contribute to your production work?
How did your research into
institutions responsible for the
production and regulation of the
media influence your production
work?
What pre-production planning
techniques did you employ (scripting,
storyboarding, shot-listing, flat-
planning etc.)? How effective was
your planning – how did it help you in
the production phase?
What did you learn from planning
your first production that helped you
to improve your planning for the
second?
How did you use audience feedback
to influence your production work
while it was in progress?
Creativity
You will not get a question on creativity on its own. Creativity is ONLY used in conjunction with one of the other key areas. (GDS)
What features of your work would you say are original to you?
3. Question 1b – Concepts
Media Language Genre Audience
“Media is communication.” Discuss the ways that you “Media texts rely on audience knowledge of generic “Media texts will never be successful unless they are
have used media language to create meanings in one of codes and conventions in order for them to create carefully constructed to target established audience
your media products. meaning.” Explain how you have used or subverted needs or desires.” Evaluate the ways that you
‘Media language’ means the language of the generic conventions in one of your production pieces. constructed your media text to target a specific
medium you are working within. For example, there audience.
is a language of film which is different to the
language of music video/ television drama etc. This
is different to genre: genre can cut across media
(e.g. a sci-fi film/ TV programme/ music video (!)).
How are you using the language of the medium?
How have you used the language of music videos/
film openings/ digipaks/ magazine adverts?
What would Andrew Goodwin say about your music
video?
• How useful is the concept of genre in understanding
your work?
• How can genre be used to understand music
videos, and how is this different to genre and
(thriller) films?
• How is your work intertextual? How does it fit in with
other music videos?
• How is your production conventional of the genre?
• Why is genre useful to you as a media producer/
useful to audiences?
• Genre theorists you have quotes from: Gunther
Kress, Denis McQuail, Nicholas Abercrombie,
Christine Gledhill, Katie Wales, John Fiske. Jacques
Derrida: “A text cannot belong to no genre, it cannot
be without... a genre. Every text participates in one
or several genres, there is no genreless text.”
• How could you use the theories to discuss genre
and understand your production?
• What would Andrew Goodwin say about your work
in terms of genre?
• Genres change and evolve (see Christian Metz and
David Buckingham). How is your production using/
developing the genre?
4. • How useful is the concept of audience in
understanding your work?
• Who is your target audience? How did you develop
your target audience? How does your production
appeal to your target audience?
• How useful are various segmentation models to
describe your target audience? Demographics?
Psychographics? Findyourtribe?
• Consider theorists and theories such as: Stuart Hall:
Encoding and Decoding; Preferred/ negotiated/
oppositional readings; Denis McQuail – (Uses and
Gratification theory); Ien Ang - “Audiencehood is
becoming an even more multifaceted, fragmented
and diversified repertoire of practices and
experiences.”; Hypodermic Needle Theory
Narrative Representation
“Media texts rely on cultural experiences in order for audiences to easily make sense Analyse media representation in one of your coursework productions. (Jan10)
of narratives”. Explain how you used conventional and / or experimental narrative “Representations in media texts are often simplistic and reinforce dominant ideologies
approaches in one of your production pieces. (Exam Board Example) so that audiences can make sense of them.” Evaluate the ways that you have used/
challenged simplistic representations in one of the media products you have
produced.
• How useful is the concept of narrative in understanding your work?
• How is narrative and music videos different to narrative and film?
• How is your narrative structured? (convergent/ parallel/ circular/ linear/ non-linear/ How does your video represent different social groups/ people/ places/ lifestyles?
interweaving/ fragmented/ impressionist…?) How did you use chapters/phases? What values/ ideologies are you representing/ promoting?
• What pleasure(s) does your narrative offer the audience? Does your production create a hegemonic representation/ does it represent and
• How do you use characters in your narrative? How have you used protagonists/ reinforce the dominant ideology?
antagonists? Is Vladimir Propp useful to understand your production? What positive/ negative/ stereotypical connotations and representations are you
• Some theorists and theories you may be able to apply: Story versus plot; Tzetvan constructing/ using/ challenging?
Todorov (equilibrium etc); Claude Levi-Strauss (binary opposition); Roland How are the representations in your production the products of your own cultural
Barthes (Enigma code; Action code. Also, Open and Closed texts); Pam Cook; experience/ background/ ideology/ values?
Noam Chomsky (narrative is fundamental to human understanding) What would Laura Mulvey say about your production?
• How does the narrative structure/ ending shape the meaning of your production?
5. Section B: Media and Collective identity
There are four areas you need to understand in preparing for the exam:
1. How do the contemporary media represent nations, regions and ethnic / social / collective groups
of people in different ways?
a. How are young people/ males/ females/ gay people/ Northerners/ any social group represented?
Discuss how the representations use stereotypes; are the representations hegemonic/ reinforcing
dominant ideologies; do they challenge hegemony; are they represented as heterogenous/
homogenous; how could terms and phrases like Female solidarity/ teen solidarity/ male solidarity,
Constructed certitude, Consciously cultivated (fe)male bond/ teen bond, Socialisation, Binary,
Plurality, Femininities/ masculinities be useful in discussing the representations?; Who are these
representations aimed at, and how does this affect the way the group are represented?; Who is
creating these representations?; How are different social groups represented in the media industry, as
well as by the media?; What is the purpose of these representations?; How does the media construct
representations of groups of people?; How is collective identity constructed?
2. How does contemporary representation compare to previous time periods?
a. Compare recent texts (last 4 years) to past texts in terms of the ideas in question 1. What differences/
similarities are there?;
3. What are the social implications of different media representations of groups of people?
a. What impact does the media have on audiences’ sense of identity?; How do audiences respond to/
use media representations?; To what extent are audiences active in constructing their own sense of
identity?; How useful are Uses and Gratification theory/ Hypodermic Needle Theory/ Cultivation
theory in understanding audiences’ responses to media representations?; Does the media reflect or
shape our sense of who we are?
4. To what extent is human identity increasingly ‘mediated’?
a. Does the media reflect or shape our sense of who we are?; Is the media increasingly important in how
we shape our identity?; How powerful is the media in shaping/ helping us to shape who we are?
In the exam you:
b. have a choice of two questions
c. have 60 minutes to answer the ‘Collective identity’ question
d. MUST write about two media (e.g. film and magazines. It doesn’t need to be even between the two
media, so could be 90% on one and 10% on the other)
e. Must include theory or theorists and apply them to your case studies
f. Should be able to discuss past, present and future
We have looked at collective identity in terms of teen/ youth and gender. Other schools will have looked at all
sorts (e.g. Africans; Muslims; Northerners; the working class…). The exam question will be broad enough so
that you can write about whatever area you have studied.
_______________________________________________________________
These are the kind of questions you will be asked.
1. Discuss the contemporary representation of a nation, region or social group in the media, using specific
textual examples from at least two media to support your answer. (Exam Board Sample)
2. How far does the representation of a particular social group change over time? Refer to at least two
media in your answer. (Exam Board Sample)
3. Looking at two media, describe the ways in which a particular group of people are collectively
represented or provided for, using specific examples to support your response. (Textbook)
4. Analyse the ways in which the media represent one group of people that you have studied. (Jan 2010)
5. “The media do not construct collective identity; they merely reflect it”. Discuss. (Jan 2010)
A couple of bonus ideas:
6. To what extent do audiences use media to construct their own sense of collective identity?
7. “The media has replaced family, society and religion as the main source of collective identity.” Discuss.
6. G325 Critical Perspective in Media – Information from the Exam Board
The purpose of this unit is to assess candidates’ knowledge and understanding of media concepts, contexts and critical debates, through their understanding of
one contemporary media issue and their ability to evaluate their own practical work in reflective and theoretical ways.
The examination is two hours. Candidates are required to answer two compulsory questions, on their own production work, and one question from a choice of six
topic areas. The unit is marked out of a total of 100, with the two questions on production work marked out of 25 each, and the media theory question marked out
of 50.
There are two sections to this paper:
Section A: Theoretical Evaluation of Production (50 marks)
Section B: Contemporary Media Issues (50 marks)
Section A: Theoretical Evaluation of Production necessarily always fit easily and in an orthodox way. Thus in some cases
Candidates answer two compulsory questions. The first requires them to candidates will be describing their productions in terms of them not relating
describe and evaluate their skills development over the course of their straightforwardly to the concept. For example, a candidate producing three
production work, from Foundation Portfolio to Advanced Portfolio. The second websites over their two portfolios might describe ways in which websites cannot
asks them to identify one production and evaluate it in relation to one theoretical be understood easily through applying conventional narrative theory. Whether
concept. the candidate applies the concept to the product or uses the production to
challenge the concept, it is essential that candidates are sufficiently
Question 1(a) requires candidates to describe and evaluate their skills knowledgeable about the concept for either approach. Candidates may choose
development over the course of their production work, from Foundation Portfolio to write about work undertaken at AS or A2, main task or preliminary/ancillary.
to Advanced Portfolio. The focus of this evaluation must be on skills
development, and the question will require them to adapt this to one or two Section B: Contemporary Media Issues
specific production practices. The list of practices to which questions will relate One question to be answered from a choice of six topic areas offered by OCR.
is as follows: There will be two questions from each topic area.
Digital Technology The topic areas require understanding of contemporary media texts, industries,
Research and planning audiences and debates.
Post-production
Using conventions from real media texts Candidates must choose one of the following topic areas, in advance of the
Creativity (will only be asked alongside one of the other categories) examination and, through specific case studies, texts, debates and research of
Questions will be posed using one or two of these categories. the candidates’ choice, prepare to demonstrate understanding of the
Where candidates have produced relevant work outside the context of their A contemporary issue. This understanding must combine knowledge of at least
Level media course, they are free to additionally refer to this experience. two media and a range of texts, industries, audiences and debates, but these
are to be selected by the centre / candidate. The assessment of the response
Question 1(b) requires candidates to select one production and evaluate it in will be generic, allowing for the broadest possible range of responses within the
relation to a media concept. The list of concepts to which questions will relate is topic area chosen. Each topic is accompanied by four prompt questions, and
as follows: candidates must be prepared to answer an exam question that relates to one or
Genre more of these four prompts. There should be emphasis on the historical, the
Narrative contemporary and the future in relation to the chosen topic, with most attention
Representation on the present. The categories of contemporary media issues are:
Audience
Media language Contemporary Media Regulation
Global Media
In the examination, questions will be set using one of these concepts only. Media and Collective Identity
In some circumstances, candidates will be expected to select the production Media in the Online Age
that appears to relate most effectively to the specific concept that arises in the Post-modern Media
exam question. However, the requirement for candidates to evaluate one of ‘We Media’ and Democracy
their productions in relation to a concept does not assume that the concept will