Mike Murawski, Director of Education & Public Programs for the Portland Art Museum, and Founding Editor of ArtMuseumTeaching.com gave this presentation at MuseumNext New York on 15 November 2016.
In it Mike asked how we can start an empathy revolution in museums? How can we more fiercely recognize the meaningful work that museum professionals are doing to enact change around the relevant issues in our communities? How do we radically expand the work of museums in bringing people together and contributing to strong, resilient communities?
Questions like these seem increasingly vital for museums, especially in this time of polarized political discourse and highly-charged social debates.
Mobility, accessibility and vulnerabilityLuca Daconto
A brief presentation of my Phd research that I used during the course "Analysis of temporary inhabitants in public spaces" in order to show concretely how a sociological research works
Mike Murawski, Director of Education & Public Programs for the Portland Art Museum, and Founding Editor of ArtMuseumTeaching.com gave this presentation at MuseumNext New York on 15 November 2016.
In it Mike asked how we can start an empathy revolution in museums? How can we more fiercely recognize the meaningful work that museum professionals are doing to enact change around the relevant issues in our communities? How do we radically expand the work of museums in bringing people together and contributing to strong, resilient communities?
Questions like these seem increasingly vital for museums, especially in this time of polarized political discourse and highly-charged social debates.
Mobility, accessibility and vulnerabilityLuca Daconto
A brief presentation of my Phd research that I used during the course "Analysis of temporary inhabitants in public spaces" in order to show concretely how a sociological research works
Is a picture worth 1,000 words? Textual AnalysisDeborahJ
This lecture will introduce semiotics or the semiology of art, a mechanism for deriving meaning that is considered to a more inclusive development of Panofsky’s Iconography
I made this slideshow for a class presentation applying Marshall McLuhan's theory to the modern medium of the internet. The points made in these slides contributed greatly to my final project, Tweory (see my links).
One day seminar with artists from Cork City given by Cliodhna Shaffrey and Sarah Searson at the National Sculpture Factory Cork and supported by the Visual Artists Ireland, full days presentation material
Lezing Leeke Reinders: over de harde stad, de zachte stad en alledaagse ruimtesgabrieldegraauw
Voor de GRAS kennisboo(s)t deelden deskundigen uit allerhande disciplines hun visie. Een schilderij kun je verhangen, een muziekstuk uitzetten, maar om architectuur kun je in de regel, tenzij het wordt opgeblazen of afgebroken, niet heen. Stadsantropoloog Leeke Reinders vertelde hoe mensen met dat gegeven omgaan.
Sue Thomas 'A Journey of Integration' PhD Thesis 2004 [computers, connectedne...Dr Sue Thomas
'A Journey of Integration: Virtuality and Physicality in a Computer-Mediated Environment'
. PhD by Published Works, 2004. Sue Thomas
This thesis details the history of Sue Thomas’s writings on computer-mediated experience since 1988, from the research for and writing of her first novel Correspondence (1992), through a second novel Water (1994) and a number of collected and single works in print and new media, to the non-fiction book Hello World: travels in virtuality (2004). It argues that computers offer an opportunity to explore our sense of connectedness not just with each other, but also with the natural, the mechanical and the digital. However, the immense promise of digital life lies in its very resistance to definition, and the growing web of online social networks must be regarded as an ecological system living and evolving on its own terms. (Chapter 6 has been removed for revision)
The Wave of the Future: Understanding Marshall McLuhanPaul Schumann
This is a summary of Marshall McLuhan's work applied to understanding the past, present and future. It covers - the medium is the message, the medium as content, hot and cool media, our change from a pre-literate to literate to post literate society, characteristics of the post literate society, and the four laws of media. It will close with a discussion of the wave of the future.
The benefits of understanding this approach are that you:
• Will understand why our present environment is the way that it is
• Gain a greater understanding of the interrelationships of past, present and future.
• Will understand the influence of media on our perception, thinking and actions
• Will gain insight on the long term future.
Paul Schumann is a practicing futurist with expertise in creativity and innovation. He has lived long enough to see forecasts fail and succeed, including some of his own. He had a thirty year career with IBM in three very different arenas - as a technologist and technology manager in semiconductor technology, as an internal entrepreneur creating the first independent business unit within IBM, and as a cultural change agent developing a more creative and innovative culture. Since retiring from IBM he has 19 years of experience in consulting as a business futurist with programs in creativity and innovation. He is the founding president of the Central Texas Chapter of the World Future Society (http://centexwfs.ning.com). And he is the founder of the Insights – Intelligence - Innovation Collaborative (http://incollaboration.ning.com) . He is on the advisory boards of the Marketing Research Association and the Austin Center for Nonprofit and community Based Organizations. More information about Paul can be found on his web site (http://www.glocalvantage.com).
Time in place: New genre public art a decade latercharlesrobb
An outline of the key ideas of Lacy, S. (2008). Time in place: New genre public art a decade later. In C. Cartiere & S. Willis (Eds.), The Practice of Public Art (0 ed., pp. 18–32). Routledge. https://doi.org/10.4324/9780203926673
Art for change It is often taken for granted that art fBetseyCalderon89
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the ...
Art for change It is often taken for granted that art f.docxrossskuddershamus
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the.
Presentatie van Elizabeth Currid bij Creative Cities Amsterdam Area (CCAA). Haar boek The Warhol Economy omvat een onderzoek naar de schijnbaar toevallige samenloop van omstandigheden in de creatieve industrie in New York die tot briljante samenwerking leidde (zoals Stephen Sprouse voor Louis Vuitton).
Is a picture worth 1,000 words? Textual AnalysisDeborahJ
This lecture will introduce semiotics or the semiology of art, a mechanism for deriving meaning that is considered to a more inclusive development of Panofsky’s Iconography
I made this slideshow for a class presentation applying Marshall McLuhan's theory to the modern medium of the internet. The points made in these slides contributed greatly to my final project, Tweory (see my links).
One day seminar with artists from Cork City given by Cliodhna Shaffrey and Sarah Searson at the National Sculpture Factory Cork and supported by the Visual Artists Ireland, full days presentation material
Lezing Leeke Reinders: over de harde stad, de zachte stad en alledaagse ruimtesgabrieldegraauw
Voor de GRAS kennisboo(s)t deelden deskundigen uit allerhande disciplines hun visie. Een schilderij kun je verhangen, een muziekstuk uitzetten, maar om architectuur kun je in de regel, tenzij het wordt opgeblazen of afgebroken, niet heen. Stadsantropoloog Leeke Reinders vertelde hoe mensen met dat gegeven omgaan.
Sue Thomas 'A Journey of Integration' PhD Thesis 2004 [computers, connectedne...Dr Sue Thomas
'A Journey of Integration: Virtuality and Physicality in a Computer-Mediated Environment'
. PhD by Published Works, 2004. Sue Thomas
This thesis details the history of Sue Thomas’s writings on computer-mediated experience since 1988, from the research for and writing of her first novel Correspondence (1992), through a second novel Water (1994) and a number of collected and single works in print and new media, to the non-fiction book Hello World: travels in virtuality (2004). It argues that computers offer an opportunity to explore our sense of connectedness not just with each other, but also with the natural, the mechanical and the digital. However, the immense promise of digital life lies in its very resistance to definition, and the growing web of online social networks must be regarded as an ecological system living and evolving on its own terms. (Chapter 6 has been removed for revision)
The Wave of the Future: Understanding Marshall McLuhanPaul Schumann
This is a summary of Marshall McLuhan's work applied to understanding the past, present and future. It covers - the medium is the message, the medium as content, hot and cool media, our change from a pre-literate to literate to post literate society, characteristics of the post literate society, and the four laws of media. It will close with a discussion of the wave of the future.
The benefits of understanding this approach are that you:
• Will understand why our present environment is the way that it is
• Gain a greater understanding of the interrelationships of past, present and future.
• Will understand the influence of media on our perception, thinking and actions
• Will gain insight on the long term future.
Paul Schumann is a practicing futurist with expertise in creativity and innovation. He has lived long enough to see forecasts fail and succeed, including some of his own. He had a thirty year career with IBM in three very different arenas - as a technologist and technology manager in semiconductor technology, as an internal entrepreneur creating the first independent business unit within IBM, and as a cultural change agent developing a more creative and innovative culture. Since retiring from IBM he has 19 years of experience in consulting as a business futurist with programs in creativity and innovation. He is the founding president of the Central Texas Chapter of the World Future Society (http://centexwfs.ning.com). And he is the founder of the Insights – Intelligence - Innovation Collaborative (http://incollaboration.ning.com) . He is on the advisory boards of the Marketing Research Association and the Austin Center for Nonprofit and community Based Organizations. More information about Paul can be found on his web site (http://www.glocalvantage.com).
Time in place: New genre public art a decade latercharlesrobb
An outline of the key ideas of Lacy, S. (2008). Time in place: New genre public art a decade later. In C. Cartiere & S. Willis (Eds.), The Practice of Public Art (0 ed., pp. 18–32). Routledge. https://doi.org/10.4324/9780203926673
Art for change It is often taken for granted that art fBetseyCalderon89
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the ...
Art for change It is often taken for granted that art f.docxrossskuddershamus
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the.
Presentatie van Elizabeth Currid bij Creative Cities Amsterdam Area (CCAA). Haar boek The Warhol Economy omvat een onderzoek naar de schijnbaar toevallige samenloop van omstandigheden in de creatieve industrie in New York die tot briljante samenwerking leidde (zoals Stephen Sprouse voor Louis Vuitton).
ESMOD Berlin Annual Panel - (What Comes After) Metamodernism - Digital Booklet Esmod Berlin
ESMOD Berlin is pleased to present a digital publication from our inaugural Annual Panel held in May of this year. The panel discussed (What Comes After) Metamodernism, a term coined to describe the shift in contemporary culture away from the trademarks of post modernism. The panels’ brief was to explore the dominant oscillation in culture between disillusionment and meaningfulness, between apathy and empathy with key questions such as; In what direction are the globalized youth going and why? Where is there an overlap with the recent past? Where do we find a combination in the analog and digital in designing individual concepts of life?
Bringing together experts from across various cultural fields the panel discussion was led by Paul Feigelfeld from the Digital Cultures Research Lab Centre, Leuphana University, and included special guests speaker Alex Lieu, Chief Creative Officer and Lead Design Director of 42 Entertainment based in California. 42 Entertainment are one of the leading companies in transmedia marketing whom blur the boundaries between marketing and entertainment. 42 Entertainment are most well known for their innovative campaign for American industrial rock band Nine Inch Nails for their album Year Zero, which extrapolated the theme of a dystopian future beyond the album through leaking unreleased recordings online, and planting USB sticks in the toilets of concerts venues, which lead fans down a thrilling rabbit hole into a world of online and offline acts of underground resistance.
Dealing with the life and work of digital dissents, German Author and Director Angela Richter also participated in the panel discussion. Richter spoke about her time working with Wikileakers Founder and digital activist Julian Assange, of whom she wrote a play Assassinate Assange, premiering in 2012. Other notable panelists included Joerg Koch, Founder and Editor-in-Chief of German culture magazine 032c, as well as Dutch cultural philosopher Robin van den Akker, whom with his colleague Timotheus Vermeulen, coined the term metamodernsm and founded the online magazine Notes on Metamodernsim.
Traversing topics such as sci-fi literature, digital hacktivism, sustainable architecture, fashion and DIY maker culture, the publication aims to capture some of the intense and surprising discussions that took place. The ESMOD Berlin Annual Panel is a program conceived for students from a number of international schools, including L'Institut Francais de la Mode, Paris; ESMOD Berlin International Masters Programme – Sustainability in Fashion, Berlin; and Dessau Institute of Architecture. The booklet also aims to deliver an insight into how the students negotiated the concepts and questions raised during discussion.
Download the digital booklet HERE and for further information please contact Lizzie Delfs, Public Relations Manager, International Masters Programme – Sustainability in Fashion, ESMOD Berlin International University of Art for Fashion, m
Digital Culture and the Shaking Hand of ChangeMichael Edson
The presentation shows how to create and use a "problem space" to organize complex challenges. The central metaphor for the talk is the "civic handshake" — a process by which different parts of society cooperate through the informal exchange of information and the sharing of responsibilities.
In this original Digital Art and Philosophy class, we will become familiar with different forms of digital art and related philosophical issues. Digital art is anything related to computers and art such as using a computer to create art or an art display that is digitized. Philosophical aspects arise regarding art, identity, performance, interactivity, and the process of creation. Students may respond to the material in essay, performance, or digital art work (optional). Instructor: Melanie Swan. Syllabus: www.MelanieSwan.com/PCA
Cracking the Workplace Discipline Code Main.pptxWorkforce Group
Cultivating and maintaining discipline within teams is a critical differentiator for successful organisations.
Forward-thinking leaders and business managers understand the impact that discipline has on organisational success. A disciplined workforce operates with clarity, focus, and a shared understanding of expectations, ultimately driving better results, optimising productivity, and facilitating seamless collaboration.
Although discipline is not a one-size-fits-all approach, it can help create a work environment that encourages personal growth and accountability rather than solely relying on punitive measures.
In this deck, you will learn the significance of workplace discipline for organisational success. You’ll also learn
• Four (4) workplace discipline methods you should consider
• The best and most practical approach to implementing workplace discipline.
• Three (3) key tips to maintain a disciplined workplace.
Putting the SPARK into Virtual Training.pptxCynthia Clay
This 60-minute webinar, sponsored by Adobe, was delivered for the Training Mag Network. It explored the five elements of SPARK: Storytelling, Purpose, Action, Relationships, and Kudos. Knowing how to tell a well-structured story is key to building long-term memory. Stating a clear purpose that doesn't take away from the discovery learning process is critical. Ensuring that people move from theory to practical application is imperative. Creating strong social learning is the key to commitment and engagement. Validating and affirming participants' comments is the way to create a positive learning environment.
3.0 Project 2_ Developing My Brand Identity Kit.pptxtanyjahb
A personal brand exploration presentation summarizes an individual's unique qualities and goals, covering strengths, values, passions, and target audience. It helps individuals understand what makes them stand out, their desired image, and how they aim to achieve it.
Kseniya Leshchenko: Shared development support service model as the way to ma...Lviv Startup Club
Kseniya Leshchenko: Shared development support service model as the way to make small projects with small budgets profitable for the company (UA)
Kyiv PMDay 2024 Summer
Website – www.pmday.org
Youtube – https://www.youtube.com/startuplviv
FB – https://www.facebook.com/pmdayconference
RMD24 | Debunking the non-endemic revenue myth Marvin Vacquier Droop | First ...BBPMedia1
Marvin neemt je in deze presentatie mee in de voordelen van non-endemic advertising op retail media netwerken. Hij brengt ook de uitdagingen in beeld die de markt op dit moment heeft op het gebied van retail media voor niet-leveranciers.
Retail media wordt gezien als het nieuwe advertising-medium en ook mediabureaus richten massaal retail media-afdelingen op. Merken die niet in de betreffende winkel liggen staan ook nog niet in de rij om op de retail media netwerken te adverteren. Marvin belicht de uitdagingen die er zijn om echt aansluiting te vinden op die markt van non-endemic advertising.
Digital Transformation and IT Strategy Toolkit and TemplatesAurelien Domont, MBA
This Digital Transformation and IT Strategy Toolkit was created by ex-McKinsey, Deloitte and BCG Management Consultants, after more than 5,000 hours of work. It is considered the world's best & most comprehensive Digital Transformation and IT Strategy Toolkit. It includes all the Frameworks, Best Practices & Templates required to successfully undertake the Digital Transformation of your organization and define a robust IT Strategy.
Editable Toolkit to help you reuse our content: 700 Powerpoint slides | 35 Excel sheets | 84 minutes of Video training
This PowerPoint presentation is only a small preview of our Toolkits. For more details, visit www.domontconsulting.com
What is the TDS Return Filing Due Date for FY 2024-25.pdfseoforlegalpillers
It is crucial for the taxpayers to understand about the TDS Return Filing Due Date, so that they can fulfill your TDS obligations efficiently. Taxpayers can avoid penalties by sticking to the deadlines and by accurate filing of TDS. Timely filing of TDS will make sure about the availability of tax credits. You can also seek the professional guidance of experts like Legal Pillers for timely filing of the TDS Return.
VAT Registration Outlined In UAE: Benefits and Requirementsuae taxgpt
Vat Registration is a legal obligation for businesses meeting the threshold requirement, helping companies avoid fines and ramifications. Contact now!
https://viralsocialtrends.com/vat-registration-outlined-in-uae/
Implicitly or explicitly all competing businesses employ a strategy to select a mix
of marketing resources. Formulating such competitive strategies fundamentally
involves recognizing relationships between elements of the marketing mix (e.g.,
price and product quality), as well as assessing competitive and market conditions
(i.e., industry structure in the language of economics).
The world of search engine optimization (SEO) is buzzing with discussions after Google confirmed that around 2,500 leaked internal documents related to its Search feature are indeed authentic. The revelation has sparked significant concerns within the SEO community. The leaked documents were initially reported by SEO experts Rand Fishkin and Mike King, igniting widespread analysis and discourse. For More Info:- https://news.arihantwebtech.com/search-disrupted-googles-leaked-documents-rock-the-seo-world/
Tata Group Dials Taiwan for Its Chipmaking Ambition in Gujarat’s DholeraAvirahi City Dholera
The Tata Group, a titan of Indian industry, is making waves with its advanced talks with Taiwanese chipmakers Powerchip Semiconductor Manufacturing Corporation (PSMC) and UMC Group. The goal? Establishing a cutting-edge semiconductor fabrication unit (fab) in Dholera, Gujarat. This isn’t just any project; it’s a potential game changer for India’s chipmaking aspirations and a boon for investors seeking promising residential projects in dholera sir.
Visit : https://www.avirahi.com/blog/tata-group-dials-taiwan-for-its-chipmaking-ambition-in-gujarats-dholera/
6. Gesamtkunstwerk [guh-zahmt-koonst-verk] Coined by opera composer Richard Wagner, this term can be loosely translated to mean "universal artwork" or as "a synthesis of the arts" or as "a total work of art."
9. This is even more true in an age of social media.
10.
11.
12. Intel’s Museum of Me puts online data into a whole new context. It identifies friends you frequently interact with, photos you’ve uploaded, things you ‘like,’ and other Facebook assets, and assembles it into a portrait of you - all in an elegant, surrealist video.
13. As of June 10, 2011, about half a million users have shared links to Intel’s campaign promoting its new Core i5 processor… …which is more traffic than Intel’s official corporate museum has attracted.
15. “ By art, let’s say we mean the products of the traditional, professionalized art world, a privileged class of esthetic objects set apart from ordinary communicative acts, authored by a special person called an artist. ”
16. “ For social media, let’s say we mean all these new-fangled media platforms which are highly accessible, and based around enabling open-ended conversations between networks of participants. ”
17. “ The utility of this operation is that it lets us see that the question of art and social media actually involves an opposition between two different fields, with different logics: a relatively exclusive, closed-in type of expression vs. a relatively open, relation-based mode of operation. ” - BEN DAVIS, Associate Editor, ArtNet
18. And he’s not alone... Many artists and critics dismiss online media as a threat to the arts.
19. “ Many of us in the arts battle the technology invasion, performing our own version of the refrain that those who do not remember their own history are condemned to repeat it. ” ROCCO LANDESMAN CHAIRMAN, National Endowment for the Arts
24. “ None of these innovations led to the death of the art form, but instead contributed to its spread and helped create new audiences. ” ROCCO LANDESMAN CHAIRMAN, National Endowment for the Arts
29. On May 25, 2011, Man Bartlett spent 24 straight hours inside New York’s Port Authority Bus Terminal. During this time, he navigated through the terminal’s vast and complex architecture, asking the people he encounters (and the people who followed the project online) 2 questions: “Where have you been?” “Where are you going?” SOURCE: Creative Time Tweets http://creativetime.org/programs/archive/2011/tweets/
30. Port Authority’s 168 gates served as points of departure for a series of conversations about the relationship between memory and geography. Through this dialogue, #24hPort connected two audiences: physical passers-by in Port Authority and the artist’s geographically dispersed Twitter followers. The project also explored the roles of both the transportation system—in which the terminal, and New York City more broadly, are major hubs—and emerging, online social platforms like Twitter in facilitating cultural exchange. SOURCE: Creative Time Tweets http://creativetime.org/programs/archive/2011/tweets/
31. The project’s Twitter stream documented the endeavor, producing a real-time history of the artist and audience’s collective experience as it unfolded over 24 hours. SOURCE: Creative Time Tweets http://creativetime.org/programs/archive/2011/tweets/
33. OPEN-ENDEDNESS “ The possibilities are endless. ” Louise Shannon CURATOR, Victoria & Albert Museum SOURCE: The Social Revolution by Barbara Pollock http://artnews.com/issues/article.asp?art_id=3333
34. “ Networks are saturated with the traces of our lives: messages we send, blog entries we post, borders we cross. Decode: Digital Design Sensations ” SCALE SOURCE: The Social Revolution by Barbara Pollock http://artnews.com/issues/article.asp?art_id=3333
40. There are 3 approaches to art: REALIST “This is a cup. This is not a work of art.” OBJECTIVIST “This cup is beautiful, and therefore a work of art.” RELATIVIST “If this cup is in a museum, it must be a work of art.”
42. Art stimulates emotions and/or intellect. “ If a man is infected by the author’s condition of soul, if he feels this emotion and this union with others, than the object with has effected this is art. LEO TOLSTOY What is Art? ”
47. “ Every human being is an artist, a freedom being, called to participate in transforming and reshaping the conditions, thinking, and structures that shape and inform our lives. - JOSEPH BEUYS ”
