At Ignite@ASU, Benson explained to audience members the wonderful benefits of multimedia learning to students, tourists, and curious learners. He also spoke about the issues of usability and accessibility to content already arranged in multimedia formats, and what his company is doing to solve it.
Check out his Ignite@ASU presentation and view his solution on 10,000 Solutions to learn more about what Benson is doing to bring increased historical and cultural awareness and learning to tourists, students, and the entire world. To get involved, contact him directly at benson.garner@asu.edu.
The document outlines different motifs that are commonly used in modern music videos and provides descriptions and examples of each one. Some of the key motifs discussed include body fragmentation using close-ups of body parts, mythical and mysterious settings like jungles and fairy tale lands, references to violence and hell, and the use of impossible sequences involving fast and slow motion shots.
This document provides information about the unsigned band This Wicked Tongue and their song "Your Hands" that will be used in a music video. It notes that the song contains male and female vocals and clear separate sections. It also discusses conventions of rock music videos including a focus on live performance, rebellious elements, chaos, and large crowds. The target audience for the video is described as 17-25 year olds who like attending live shows and loud rock music. The proposed idea for the video is to combine live performance shots of the band on stage and in an open field with a narrative storyline focusing on the singers' relationship and amplifying the song's lyrics.
The document discusses the origins and types of music videos. It begins by explaining that modern music videos originated as a marketing tool to promote music recordings. It then describes four common types of music videos: performance videos that film a live show; narrative videos that tell a story; symbolic videos that represent lyrics through symbolism; and "notion of looking" videos that show the audience viewing something. The document also outlines some typical codes and conventions for music videos, such as editing techniques, camerawork, and aspects of mise-en-scene like props, costumes and location.
This document discusses different types of shots that could be used for a music magazine, including close-ups for small cover images, medium close-ups as the main cover image to show music genre, medium long shots as double page images similar to magazines like Kerrang and Q, and long shots in contents pages to feature bands while including other members.
Andrew Goodwin's theory argues that traditional narrative theories like Todorov's cannot fully describe the narrative structure of music videos. Music videos have their own unique format compared to novels and films. Key differences include lyrics driving the video's narrative rather than a standard plot structure, the singer serving as both character and narrator, and repetition of images similar to a song's chorus. A video can relate to its lyrics through illustration, amplification, or disjuncture.
The document contains a greeting and then images of various subjects including the Capitol building, British flag, music notes, artists Ed Sheeran and Eminem, art, sunshine, the social media platform Tumblr, actor Johnny Depp, and citations for the images in APA format.
The document discusses different shot types and where the author intends to use each one in a music magazine cover. Close-ups would be used as small images on the cover page to draw readers in. A medium close-up showing details of clothing, hair, and accessories would serve as the main cover image, conveying the music genre. Medium long shots arranged on the page sides would showcase group band photos. Long shots on content pages would feature full bands and highlight a focal person while including other band members.
Heavy metal developed in the late 1960s and early 1970s, but was absorbed by other genres like hard rock and grunge in the late 1980s and early 1990s. The target audience for heavy metal is typically ages 13-30, though older fans still listen due to growing up with heavy metal bands. Reasons for its wide popularity include the adrenaline-pumping music and videos. Heavy metal videos typically feature fast editing, slow motion shots, close-ups, and different camera angles to amplify the music and portray the band and narrative. Common filming locations include concert stages and warehouses to create a heavy metal atmosphere.
The document outlines different motifs that are commonly used in modern music videos and provides descriptions and examples of each one. Some of the key motifs discussed include body fragmentation using close-ups of body parts, mythical and mysterious settings like jungles and fairy tale lands, references to violence and hell, and the use of impossible sequences involving fast and slow motion shots.
This document provides information about the unsigned band This Wicked Tongue and their song "Your Hands" that will be used in a music video. It notes that the song contains male and female vocals and clear separate sections. It also discusses conventions of rock music videos including a focus on live performance, rebellious elements, chaos, and large crowds. The target audience for the video is described as 17-25 year olds who like attending live shows and loud rock music. The proposed idea for the video is to combine live performance shots of the band on stage and in an open field with a narrative storyline focusing on the singers' relationship and amplifying the song's lyrics.
The document discusses the origins and types of music videos. It begins by explaining that modern music videos originated as a marketing tool to promote music recordings. It then describes four common types of music videos: performance videos that film a live show; narrative videos that tell a story; symbolic videos that represent lyrics through symbolism; and "notion of looking" videos that show the audience viewing something. The document also outlines some typical codes and conventions for music videos, such as editing techniques, camerawork, and aspects of mise-en-scene like props, costumes and location.
This document discusses different types of shots that could be used for a music magazine, including close-ups for small cover images, medium close-ups as the main cover image to show music genre, medium long shots as double page images similar to magazines like Kerrang and Q, and long shots in contents pages to feature bands while including other members.
Andrew Goodwin's theory argues that traditional narrative theories like Todorov's cannot fully describe the narrative structure of music videos. Music videos have their own unique format compared to novels and films. Key differences include lyrics driving the video's narrative rather than a standard plot structure, the singer serving as both character and narrator, and repetition of images similar to a song's chorus. A video can relate to its lyrics through illustration, amplification, or disjuncture.
The document contains a greeting and then images of various subjects including the Capitol building, British flag, music notes, artists Ed Sheeran and Eminem, art, sunshine, the social media platform Tumblr, actor Johnny Depp, and citations for the images in APA format.
The document discusses different shot types and where the author intends to use each one in a music magazine cover. Close-ups would be used as small images on the cover page to draw readers in. A medium close-up showing details of clothing, hair, and accessories would serve as the main cover image, conveying the music genre. Medium long shots arranged on the page sides would showcase group band photos. Long shots on content pages would feature full bands and highlight a focal person while including other band members.
Heavy metal developed in the late 1960s and early 1970s, but was absorbed by other genres like hard rock and grunge in the late 1980s and early 1990s. The target audience for heavy metal is typically ages 13-30, though older fans still listen due to growing up with heavy metal bands. Reasons for its wide popularity include the adrenaline-pumping music and videos. Heavy metal videos typically feature fast editing, slow motion shots, close-ups, and different camera angles to amplify the music and portray the band and narrative. Common filming locations include concert stages and warehouses to create a heavy metal atmosphere.
The document outlines photography plans for a magazine including settings, props, costumes, shot types, and composition. Settings include concrete steps, a smashed window, and abandoned warehouses. Props include guitars, metal pipes, and amplifiers. Costumes for female artists include black skinny jeans, dark tops, dresses with ripped tights, and boots. Shot types will include wide shots to fit bands and long shots to show outfits, with some low angle shots. Composition details positioning of subjects. Specific photography plans are outlined for the front cover, contents page, and double page spread.
This document outlines a music video idea for the song "Waiting All Night" by Rudimental. It proposes shooting in unusual public locations like Trafalgar Square to show the performer as a small, lonely figure among many. The narrative will follow an undiscovered artist struggling through repeated rejections until finally achieving success in the music industry. Along the way, the main character will encounter rejecting judges and other characters. Costumes will start casual but become flashy and colorful as the character rises to wealth and fame. A variety of shots like close-ups, long shots, and scene flashes with color filters will be used to depict the character's desperate journey and ultimate transformation.
The music video will have 4 settings shown over 3 stages. The first setting will be a park where the main character strolls, suggesting an ordinary day. The second setting will be a forest where the character gets lost following a mysterious person. The third setting will be a hilltop where the character discovers who the person is and suffers a heart attack. The fourth setting of performance shots will take place in a white room, intercutting between the 3 story sequences.
There are three close up shots analyzed in the document: 1) An ornament with the album title "Don't Believe The Truth" carved into it, relevant to the song. 2) A man being measured for a coffin, setting up an unexpected story. 3) The man being forced into a coffin with the lid closing, cutting to another scene. The shots are analyzed for relevance to the music, lyrics, and transitions between clips.
This call sheet provides information for filming the music video "Dead Memories" by Slipknot. It lists filming locations including Harry's house, fields, streets, and a graveyard between October 26-28. Harry's house includes an attic and bathroom. The document also identifies the directors, producers, band members playing themselves, and actors playing the protagonist who murders his bully. It provides contact details for all cast and crew members.
Analysis of 3 similar products to main piece ed sheeranLizRose2012
Ed Sheeran's music video for "The A Team" is filmed entirely in black and white, giving it a dramatic effect fitting the song's subject of a young girl's death. It uses both professional actors and brief appearances by Sheeran himself, making the video seem more realistic. Mirror shots showing the artist's inner feelings and shots of applying makeup are popular techniques that will be drawn upon for the new music video, along with scenes of everyday public life to make it feel grounded.
The document proposes a music video for the song "On Top" by Matthew P. It will follow a girl with some undisclosed taboo issue through her day, using shots of strangers staring at her. The video aims to show that one can find happiness even in difficult situations, without eliciting viewer empathy for the protagonist. Test shoots went well. The video will be shot over three days in November at a shingle beach using a Canon DSLR camera, tripod, and stabilizer. It will feature a busker played by Travis Lurkins and the girl played by Molly Taylor.
Goodwin's theory states that music videos demonstrate genre characteristics through elements like lyrics matching visuals, music syncing with visuals, close-ups of artists, and sometimes intertextual references or voyeurism. The document analyzes two music videos - one for the punk rock band Polar Bear Club showing genre traits like close-ups of the singer but little lyrics-visuals connection, and Michael Jackson's "Thriller" exemplifying pop music video conventions through its storyline, dancing, and strong lyrics-visuals synchronization without voyeurism.
This document discusses ideas for different elements of a music video, including genre, type, setting, characters, and camera shots. It notes that the music video will draw from genres like grime, R&B, indie, and pop. It will include both performance and narrative elements, using editing to cut between the two. Settings will be realistic locations like houses and cities. Characters will include a male grime artist and a female artist from another genre. A variety of camera shots like close-ups, low angles, and establishing shots will be used.
This document discusses techniques used in music videos for rock artists. It analyzes shots from videos of The Rolling Stones, Jet, Arctic Monkeys, Red Hot Chili Peppers, and Franz Ferdinand. Group shots are used to show bands as a unit, while close-ups of guitars emphasize instruments which are important in rock. Mid shots of frontmen give insight into their style and identity. Live performances are often recreated in rock videos to portray the artists as passionate about performing rather than commercialized products.
This document analyzes the music video for the song "21 Guns" by Green Day based on criteria put forth by music video theorist Andrew Goodwin. The video features many close-ups of the band members, displays the band performing live which aligns with rock music conventions, and amplifies the lyrics through visuals of bullets during the lyrics "21 guns." While the video is straightforward without voyeurism or intertextual references, it successfully illustrates the band and genre conventions without confusing the audience. In conclusion, the analysis finds the video succeeds in meeting Goodwin's criteria of connecting the visuals and music, showing iconography of the genre, and including close-ups of the artists.
House album covers vary in style between artists but generally feature the artist or album name prominently. Well-known artists like David Guetta appear on their own covers to promote their image, while more obscure artists rely on just their name. Covers usually have a dark color scheme but some exceptions exist. The artist name is always included due to the lack of a personal image on many covers.
The document discusses plans for a music video to accompany the song "Waiting All Night" by Rudimental. It will tell the story of an undiscovered artist struggling to make it in the music industry through rejection but persevering. Key locations include Trafalgar Square to show the performer as an outcast among crowds. A range of characters like judges will reject the main character at auditions. Cinematography will include close-ups of the performer's desperate expressions and long shots of them performing to a crowd at the end, having achieved success.
The document discusses plans for a music video for the Travis song "The Beautiful Occupation". The video will feature shots of the band playing intercut with a narrative involving symbolism about war. Scenes will depict band members playing board games representing the public's innocent view of war. Locations will contrast light and dark tones, and costumes will match to stand out. News broadcasts will play in the background to add context. The video aims to amplify the song's message about helplessness regarding war through visual storytelling.
The document analyzes indie rock album covers. It notes that most covers do not feature images of the artists, instead focusing on other photographic elements. Black and white designs are common. Nearly all covers include the name of the artist and album. Photographs are more prevalent than illustrations.
This document discusses planning for the production of a magazine on electronic dance music (EDM). It outlines:
1) Using a friend as the model for the front cover photo shoot in a studio, depicting him with DJ decks as a prop representing EDM.
2) The cover lines to be featured, including "JOE WALKER-NEXT BIG THING" as the main line and smaller lines about upcoming artists.
3) The contents page layout with stories organized into 3 columns across 1 page, including artist interviews and reviews.
4) Images needed for the contents page - decks, a person "raving" with lights, and a friend reading a paper.
5
Codes and conventions of a music video, media studiesRachaelCollinson
The document discusses the purposes and conventions of music videos. It explains that music videos are created to entertain audiences, promote songs and bands, explain lyrics and narratives, and continue artists' brand identities. It then analyzes several music videos, noting techniques like close-ups, dance routines, lighting, locations, and narrative elements. Overall, the document provides an overview of why music videos are made and what production elements and styles are commonly used.
The document discusses common elements found on rock album covers. Most covers do not prominently feature the artist and instead focus on a conceptual image related to the album's music. Dark colors are conventionally used but bright colors also appear. The title of the album and name of the band are always included.
Pop album covers typically feature the artist as the main subject, centered on the cover. The name of the artist and album are also usually included. Photographs are most commonly used rather than illustrations. Variations between covers include the artist's attire, expression, lighting, and backdrop, which provide clues to the tones of the album.
The document summarizes three photographs by Elliot Erwitt, Stephen Shore, and Alex Prager. Erwitt's photo shows people looking at an empty space on a wall where a painting should be and comments on how people will analyze anything as art. Shore's photo features vintage American cars and represents hiding flaws. Prager's photo depicts people waiting for a bus and aims to tell the stories and questions about each individual subject.
1. SunEdison's business model involved installing solar panels on large commercial rooftops like shopping centers.
2. Key partners included panel manufacturers. Key activities were panel installation. The value proposition was long-term solar solutions.
3. Revenue streams included purchasing fees from customers over long-term relationships. This model leveraged large commercial rooftops and was scalable.
The document outlines photography plans for a magazine including settings, props, costumes, shot types, and composition. Settings include concrete steps, a smashed window, and abandoned warehouses. Props include guitars, metal pipes, and amplifiers. Costumes for female artists include black skinny jeans, dark tops, dresses with ripped tights, and boots. Shot types will include wide shots to fit bands and long shots to show outfits, with some low angle shots. Composition details positioning of subjects. Specific photography plans are outlined for the front cover, contents page, and double page spread.
This document outlines a music video idea for the song "Waiting All Night" by Rudimental. It proposes shooting in unusual public locations like Trafalgar Square to show the performer as a small, lonely figure among many. The narrative will follow an undiscovered artist struggling through repeated rejections until finally achieving success in the music industry. Along the way, the main character will encounter rejecting judges and other characters. Costumes will start casual but become flashy and colorful as the character rises to wealth and fame. A variety of shots like close-ups, long shots, and scene flashes with color filters will be used to depict the character's desperate journey and ultimate transformation.
The music video will have 4 settings shown over 3 stages. The first setting will be a park where the main character strolls, suggesting an ordinary day. The second setting will be a forest where the character gets lost following a mysterious person. The third setting will be a hilltop where the character discovers who the person is and suffers a heart attack. The fourth setting of performance shots will take place in a white room, intercutting between the 3 story sequences.
There are three close up shots analyzed in the document: 1) An ornament with the album title "Don't Believe The Truth" carved into it, relevant to the song. 2) A man being measured for a coffin, setting up an unexpected story. 3) The man being forced into a coffin with the lid closing, cutting to another scene. The shots are analyzed for relevance to the music, lyrics, and transitions between clips.
This call sheet provides information for filming the music video "Dead Memories" by Slipknot. It lists filming locations including Harry's house, fields, streets, and a graveyard between October 26-28. Harry's house includes an attic and bathroom. The document also identifies the directors, producers, band members playing themselves, and actors playing the protagonist who murders his bully. It provides contact details for all cast and crew members.
Analysis of 3 similar products to main piece ed sheeranLizRose2012
Ed Sheeran's music video for "The A Team" is filmed entirely in black and white, giving it a dramatic effect fitting the song's subject of a young girl's death. It uses both professional actors and brief appearances by Sheeran himself, making the video seem more realistic. Mirror shots showing the artist's inner feelings and shots of applying makeup are popular techniques that will be drawn upon for the new music video, along with scenes of everyday public life to make it feel grounded.
The document proposes a music video for the song "On Top" by Matthew P. It will follow a girl with some undisclosed taboo issue through her day, using shots of strangers staring at her. The video aims to show that one can find happiness even in difficult situations, without eliciting viewer empathy for the protagonist. Test shoots went well. The video will be shot over three days in November at a shingle beach using a Canon DSLR camera, tripod, and stabilizer. It will feature a busker played by Travis Lurkins and the girl played by Molly Taylor.
Goodwin's theory states that music videos demonstrate genre characteristics through elements like lyrics matching visuals, music syncing with visuals, close-ups of artists, and sometimes intertextual references or voyeurism. The document analyzes two music videos - one for the punk rock band Polar Bear Club showing genre traits like close-ups of the singer but little lyrics-visuals connection, and Michael Jackson's "Thriller" exemplifying pop music video conventions through its storyline, dancing, and strong lyrics-visuals synchronization without voyeurism.
This document discusses ideas for different elements of a music video, including genre, type, setting, characters, and camera shots. It notes that the music video will draw from genres like grime, R&B, indie, and pop. It will include both performance and narrative elements, using editing to cut between the two. Settings will be realistic locations like houses and cities. Characters will include a male grime artist and a female artist from another genre. A variety of camera shots like close-ups, low angles, and establishing shots will be used.
This document discusses techniques used in music videos for rock artists. It analyzes shots from videos of The Rolling Stones, Jet, Arctic Monkeys, Red Hot Chili Peppers, and Franz Ferdinand. Group shots are used to show bands as a unit, while close-ups of guitars emphasize instruments which are important in rock. Mid shots of frontmen give insight into their style and identity. Live performances are often recreated in rock videos to portray the artists as passionate about performing rather than commercialized products.
This document analyzes the music video for the song "21 Guns" by Green Day based on criteria put forth by music video theorist Andrew Goodwin. The video features many close-ups of the band members, displays the band performing live which aligns with rock music conventions, and amplifies the lyrics through visuals of bullets during the lyrics "21 guns." While the video is straightforward without voyeurism or intertextual references, it successfully illustrates the band and genre conventions without confusing the audience. In conclusion, the analysis finds the video succeeds in meeting Goodwin's criteria of connecting the visuals and music, showing iconography of the genre, and including close-ups of the artists.
House album covers vary in style between artists but generally feature the artist or album name prominently. Well-known artists like David Guetta appear on their own covers to promote their image, while more obscure artists rely on just their name. Covers usually have a dark color scheme but some exceptions exist. The artist name is always included due to the lack of a personal image on many covers.
The document discusses plans for a music video to accompany the song "Waiting All Night" by Rudimental. It will tell the story of an undiscovered artist struggling to make it in the music industry through rejection but persevering. Key locations include Trafalgar Square to show the performer as an outcast among crowds. A range of characters like judges will reject the main character at auditions. Cinematography will include close-ups of the performer's desperate expressions and long shots of them performing to a crowd at the end, having achieved success.
The document discusses plans for a music video for the Travis song "The Beautiful Occupation". The video will feature shots of the band playing intercut with a narrative involving symbolism about war. Scenes will depict band members playing board games representing the public's innocent view of war. Locations will contrast light and dark tones, and costumes will match to stand out. News broadcasts will play in the background to add context. The video aims to amplify the song's message about helplessness regarding war through visual storytelling.
The document analyzes indie rock album covers. It notes that most covers do not feature images of the artists, instead focusing on other photographic elements. Black and white designs are common. Nearly all covers include the name of the artist and album. Photographs are more prevalent than illustrations.
This document discusses planning for the production of a magazine on electronic dance music (EDM). It outlines:
1) Using a friend as the model for the front cover photo shoot in a studio, depicting him with DJ decks as a prop representing EDM.
2) The cover lines to be featured, including "JOE WALKER-NEXT BIG THING" as the main line and smaller lines about upcoming artists.
3) The contents page layout with stories organized into 3 columns across 1 page, including artist interviews and reviews.
4) Images needed for the contents page - decks, a person "raving" with lights, and a friend reading a paper.
5
Codes and conventions of a music video, media studiesRachaelCollinson
The document discusses the purposes and conventions of music videos. It explains that music videos are created to entertain audiences, promote songs and bands, explain lyrics and narratives, and continue artists' brand identities. It then analyzes several music videos, noting techniques like close-ups, dance routines, lighting, locations, and narrative elements. Overall, the document provides an overview of why music videos are made and what production elements and styles are commonly used.
The document discusses common elements found on rock album covers. Most covers do not prominently feature the artist and instead focus on a conceptual image related to the album's music. Dark colors are conventionally used but bright colors also appear. The title of the album and name of the band are always included.
Pop album covers typically feature the artist as the main subject, centered on the cover. The name of the artist and album are also usually included. Photographs are most commonly used rather than illustrations. Variations between covers include the artist's attire, expression, lighting, and backdrop, which provide clues to the tones of the album.
The document summarizes three photographs by Elliot Erwitt, Stephen Shore, and Alex Prager. Erwitt's photo shows people looking at an empty space on a wall where a painting should be and comments on how people will analyze anything as art. Shore's photo features vintage American cars and represents hiding flaws. Prager's photo depicts people waiting for a bus and aims to tell the stories and questions about each individual subject.
1. SunEdison's business model involved installing solar panels on large commercial rooftops like shopping centers.
2. Key partners included panel manufacturers. Key activities were panel installation. The value proposition was long-term solar solutions.
3. Revenue streams included purchasing fees from customers over long-term relationships. This model leveraged large commercial rooftops and was scalable.
This document discusses business model innovation and design thinking. It introduces the Business Model Canvas, a tool used to systematically describe, challenge, design and invent business models. The canvas breaks down a business model into nine building blocks: customer segments, value propositions, channels, customer relationships, revenue streams, key resources, key activities, key partners, and cost structure. It argues that business leaders need to adopt a design mindset and use tools like the canvas to experiment with new business model ideas through building model prototypes. Successful business models often involve taking risks to experiment rather than trying to prove ideas in advance. The document advocates an ongoing process of research, business model design, and implementing business model prototypes to drive innovation.
The document discusses the key resources section of the Business Model Canvas. It defines key resources as the most important tangible and intangible things needed for a business model to work. Examples of tangible resources include physical assets like factories, human resources like employees, and financial resources like capital. Intangible resources include intellectual property, brands, user bases, and customer trust. The document cautions against getting too granular and stresses the importance of identifying only the essential resources that drive the business model.
Business Model Innovation and Design at TodaiYves Pigneur
The document discusses business model innovation and design. It provides examples of companies that achieved success by focusing on business model innovation rather than just product innovation alone. These companies invented new business models rather than simply copying competitors. The document advocates for business leaders to operate more like surgeons, prototype like designers, and experiment like scientists when innovating business models.
The document discusses business model design thinking and testing models. It emphasizes analyzing business models from the customer perspective using tools like empathy maps. Design thinking principles for business models include prototyping ideas quickly and gaining customer insights to iteratively improve models. Business models should not get attached to initial ideas and should experiment to discover new opportunities.
This document discusses business model innovation. It begins by describing business model environment assessment and patterns. It then discusses service innovation, process innovation, and business model innovation. Examples are given of Flickr innovating its business model. The talk will cover scenario and storytelling, task analysis, prototyping, service blueprints, and process management for service design. It will also discuss measuring innovation and moving from service to business models.
The document discusses tools and processes for designing and testing business models and value propositions. It describes the Business Model Canvas and Value Proposition Canvas as tools to help create value for businesses and customers. It also discusses using these canvases in an iterative process of design, search, testing and evolution to develop value propositions that customers want.
Lean Startup - by Hristo Neychev (bring your ideas to life faster, smarter, a...Hristo Neychev
Lean Startup ideas, trends, and best practices through the lens of my experience in four industries, three startups, and two continents.
Lean Startup methodologies are applicable to both small and large organisation focused on creating new products and services under conditions of extreme uncertainty.
The document discusses tools and processes for designing and testing value propositions for businesses. It describes using the Value Proposition Canvas tool to iteratively search for value propositions that customers want through designing, testing, and evolving propositions. It emphasizes managing the non-linear process of value proposition design by systematically applying tools like the Canvas to reduce risk.
Wayanad-The-Touristry-Heaven to the tour.pptxcosmo-soil
Wayanad, nestled in Kerala's Western Ghats, is a lush paradise renowned for its scenic landscapes, rich biodiversity, and cultural heritage. From trekking Chembra Peak to exploring ancient Edakkal Caves, Wayanad offers thrilling adventures and serene experiences. Its vibrant economy, driven by agriculture and tourism, highlights a harmonious blend of nature, tradition, and modernity.
Discovering Egypt A Step-by-Step Guide to Planning Your Trip.pptImperial Egypt
Travelling to Egypt is like stepping into a time capsule where the past and present coexist, offering a unique blend of history, culture, and stunning landscapes.
See more: https://imperialegypt.com/tour-packages/
Assessing the Influence of Transportation on the Tourism Industry in Nigeriagsochially
This research dissertation investigates the complex interplay between transportation and the tourism industry in Nigeria, aiming to unravel critical insights that contribute to the enhancement of the overall tourist experience. The study employs a multi-faceted approach, literature review establishes a robust theoretical framework, incorporating The Service Quality and Satisfaction Theory to guide the research questions and hypotheses.
The methodology involves the distribution of a structured questionnaire, ensuring a representative sample and facilitating a comprehensive analysis of the gathered data.
Key findings include the nuanced perceptions of transportation infrastructure adequacy, safety and security concerns, financial influences on travel decisions, and the cultural and ecological impacts of transportation choices. These findings culminate in a comprehensive set of recommendations for policymakers and practitioners in the Nigerian tourism industry. The findings contribute to the existing literature by providing actionable insights for policymakers, stakeholders, and researchers in the Nigerian tourism sector.
The recommendations encompass gender-sensitive planning, infrastructure enhancements, safety measures, and strategic interventions to address financial constraints, ensuring a holistic and sustainable development of the tourism industry in Nigeria.
Author: Imafidon Osademwingie Martins
Best Places to Stay in New Brunswick, Canada.Mahogany Manor
New Brunswick, a picturesque province in eastern Canada, offers a plethora of unique and charming places to stay for every kind of traveler. From the historic allure of Fredericton and the vibrant culture of Saint John to the natural beauty of Fundy National Park and the serene coastal towns like St. Andrews by-the-Sea, there's something for everyone. Whether you prefer luxury resorts, cozy inns, rustic lodges, or budget-friendly options, the best places to stay in New Brunswick ensure a memorable stay, allowing you to fully immerse yourself in the province's rich history, stunning landscapes, and warm hospitality.
https://www.mmanor.ca/blog/best-5-bed-and-breakfast-new-brunswick-canada
Our excursions in tahiti offer stunning lagoon tours, vibrant marine life encounters, and cultural experiences. We ensure unforgettable adventures amidst breathtaking landscapes and serene waters. For more information, mail us at tracey@uniquetahiti.com.
How do I plan a Kilimanjaro Climb?
Planning to climb Mount Kilimanjaro is an exciting yet detailed process. Here’s a step-by-step guide to help you prepare for this incredible adventure.
What Challenges Await Beginners in SnowshoeingSnowshoe Tahoe
Discover the exhilarating world of snowshoeing through our presentation, highlighting the challenges faced by beginners. From physical exertion to technical finesse and braving harsh winter conditions, each step in the snow brings new obstacles and unforgettable adventures. Embrace the challenge and conquer the winter wonderland with confidence!
Un viaje a Buenos Aires y sus alrededoresJudy Hochberg
A travelogue of my recent trip to Argentina, most to Buenos Aires, but including excursion to Iguazú waterfalls, Tigre, and Colonia del Sacramento in Uruguay
How To Change Your Name On American Airlines Aadvantage.pptxedqour001namechange
American Airlines permits passengers to change/correct names on their AAdvantage account. Also, you can request a name change both online via a web portal and offline over the phone. For further information on how to change your name on American Airlines Advantage, get in touch with the airline’s customer service. Also, you can reach out to a consolidation desk at +1-866-738-0741 for quick assistance.
You can easily change/correct a name on your flight ticket under the American Airlines name change policy. The airline provides multiple online and offline modes to place a name change request. To learn more about how to change a name on American Airlines ticket, you can directly approach the airline’s customer support. Moreover, you can connect with a flight expert at +1-866-738-0741 for quick assistance.
6. Washington Crossing the Delaware - Emanuel Gottlieb Leutze - Oil on canvas painted in 1851
–
Commemorates the crossing of the Delaware River by George Washington in December of 1776,
during
the Revolutionary War which led the troops to the battle of Trenton, where US forces successfully
overtook the Hessians stationed there. Historical figures James Madison and James Monore are
also
depicted in the painting; James Monroe holding the American Flag. The flag depicted is inaccurate
as
the Betsy Ross version shown was not created until six months later according to historical
records. (cc) The Metropolitan Museum @bensongarner
@bensongarner
of Art on Wikimedia Commons
I’d like to start by telling you a short story about my wife and I. We have a great passion for history and traveling. Two summers ago my wife and I had the opportunity to travel back East for a couple of weeks to tour the sites.
We had a lot of fun. I starred as knife thrower with a street performer, played piano on a street corner in New York, my wife stole a kiss from me at LOVE Park, I dropped the rental car keys into the gated pit that houses Plymouth Rock and we met Paul Giamati.
But the coolest experiences we had were to visit the famous historical sites. We saw the estates of Washington, Adams, and Jefferson. We went to Arlington Cemetery, Washington DC, Independence Hall, the Liberty Bell, and to Gettysburg, and Valley Forge.
While we were at Gettysburg and Valley Forge, we purchased driving tours on CD that guided us around the parks and provided fantastic historical information about key areas. This made the trip more meaningful as we were able to really connect with the sites we were visiting.
Richard Mayer, a Professor of Psychology, explained the great benefits to multimedia learning. The stimulation of both the audio and visual centers of our brains creates more meaningful connections and allows for deeper understanding when experienced together than when experienced individually.
For example, if you are shown a picture at a museum, as well as some text explaining the picture, it may take you some time to really connect what is happening in the picture with what is being described in the text as both are stimulating the visual center of your brain.
However, if you can process the image visually, while being told audibly that the picture entitled Washington Crossing the Delaware was painted by Emanuel Gottlieb Leutze (LOIT suh) in 1851. That the original painting was done on a 12x21 foot canvas and includes other historical figures, James Madison and James Monroe.
James Monroe is seen holding the Betsy Ross version of the flag, which is inaccurate since it wasn’t actually created until six months after this event took place. This multimedia format allows you to form a quicker, more sound connection between the visual of the picture and the audio information.
The ability to form connections to our surroundings is beneficial to students, tourists, and curious learners. But, while the benefits of multimedia learning are fairly obvious, there are considerable issues with widespread usability and accessibility to content already arranged in this format.
There are currently thousands of historical societies, museums, and tour agencies, across the globe producing a great variety of multimedia tours. These tours range from simple MP3 files to full scale packages complete with sound files, maps, text, video, and images.
While there is a vast amount of existing content, for the most part, a person must be at a tour site, know that a tour is available, and then rent some type of hardware in order to experience the multimedia tour.
Additionally, tours are rarely marketed in such a way that visitors to a site, and especially non-visitors, would know how to obtain them. Had we not been in the right area of the visitor’s centers, we wouldn’t have known to rent the driving tours of Valley Forge and Gettysburg, let alone that the tours even existed.
Now, should a person know that a specific tour exists and where to get it, they wouldn’t have the opportunity to preview the tour before purchasing it. This leads individuals to purchase tours that they might consider boring, age inappropriate, or that don’t correlate to their specific learning style.
The last problem we faced was synchronizing timing and navigation. We had to be at the correct location and have the correlating audio track playing at the same time. This problem got worse when we had to stop the car several times along the way to look at a map.
It’s amazing to me that in today’s society these problems even exist. Modern technology coupled with rising trends in mobile internet devices like smart phones and tablet PCs make a more accessible, efficient delivery method for audio-visual content a realistic possibility.
What if one website existed to collect all audio-visual tours available, allowing tourists, educators, and curious learners alike to search out and download the widest range of multimedia tours in the world, and for content to be validated through user rankings, reviews, and social networks.
Additionally, internet and mobile apps would be the vehicle for experiencing content and would include modern features such as GPS automation, QR code readers, and NFC chips for easier, quicker downloading of content while traveling, in the classroom, or from the comfort of your home.
iTunes brought music listeners easy, widespread access to a broad base of music genres, along with quality, individualistic, and culturally rich sounds. Like iTunes, the system I am proposing would create accessibility to valuable, educational, and exciting tour content.
With the help of consumers, businesses, historical societies, museums, and government agencies, my mission is to utilize modern technologies and mobile devices to bring increased historical and cultural awareness and learning to tourists, students, and the entire world.
To fulfill this mission, I started AudioExcursions, a recent winner of the Edson competition, and a company that has received validation from industry mentors, customers, and investors. To get involved, leave a comment at 10,000 solutions, email me directly, or come talk to me during the intermission and networking portions.