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margdarsanme · 4 years

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NCERT Class 11 Psychology Chapter 8 Thinking

NCERT Solution for Class 11 Psychology Chapter 8 Thinking

NCERT TEXTBOOK QUESTIONS SOLVED

Question 1. Explain the nature of thinking.Answer: Thinking is a complex mental process involved in manipulating and analyzing information, either collected through the senses from the environment, or stored in memory from past experiences.Such manipulation and analysis occur by means of abstracting, reasoning, imagining, problem solving, judging and decision-making. It is an internal process that can be inferred from overt behavior.Main features:

Thinking is the base of all cognitive activities.

It involves manipulation and analysis of information received from the ! environment.

Thinking is mostly goal directed and one desires to reach the goal by planning. Two building blocks of thinking?

Thinking is a complex mental process and people think by means of mental images or concepts.

Mental image refers to an image which is a mental representation of a sensor}’ experience. In this we actually try to form a visual image of the whole situation.

A concept is a mental representation of a category. It refers to a class of objects,ideas, events that share common properties, e.g. When we encounter new social situation, we try to categorise it on the basis of past experience and take action towards such situations.

Question 2. What is a concept? Explain the role of concept in the thinking process.Answer: Concepts are mental categories for objects and events, which are similar to each other in one or in more than one way.

They may be organised in schema. They are mental frameworks which represents our knowledge and assumptions about the world.

Concepts are building blocks of thinking. They allow us to organize knowledge in systematic ways.

Concept formation is a basic task of thinking i.e., identifying the stimulus properties that are common to a class of objects or ideas, e.g., in the activity, the participant has to classify the stimuli either on the basis of colour or shape. It is very helpful in the thinking process.

Question 3. Identify obstacles that one may encounter in problem solving.Answer: Problem solving is thinking directed towards the solution of a specific problem,Problem solving involves following mental operations which are as follows :

Identify the problem

Represent the problem

Plan the solution: Set sub-goals

Evaluate all solutions (plays)

Select one solution and execute it

Evaluate the putcome

Rethink and redefine problems and solutions

There are two major obstacles to solving a problem. These are mental set, and lack of motivation.Mental set is a tendency of a person to solve problems by following already tried mental operations or steps.Lack of motivation is another obstacles to solving problems. Due to lack of motivation people give up easily when they encounter a problem or failure in implementing the : first step. Therefore, there is a need to persist in their effort to find a solution.

Question 4. How does reasoning help in solving problems?Answer: Reasoning is a form of problem solving. It is goal directed activity and involves ‘ inferences.Reasoning is the process of gathering and analyzing information to a arrive at a conclusion.Types of reasoning:

Inductive Reasoning: Reasoning is based on specific facts and observations. Through this reasoning people analyzing other possible reasons. Scientific reasoning is inductive in nature.

Deductive Reasoning: The deductive reasoning begins with general solution and then draws specific solution.

Analogy: Analogy helps us in identifying and visualizing the salient attributes of an object.

Question 5. Are judgement and decision-making interrelated processes? Explain.Answer: Judgement and decision-making are interrelated processes. .

In decision-making the problem before us is to choose among alternatives by evaluating the cost and benefit associated with each alternative. For example, when you have the option to choose between psychology and economics your decision will be based on future prospects.

Decision making differs from other type or problem solving. In decision-making we already know the various solutions of choices.

Judgements are not decisions although they make yield information necessary for decision.

Question 6. Why is divergent thinking important in creative thinking process?Answer: Divergent thinking^ is important in creative thinking process. It’s abilities facilitate generation of a variety of ideas which may not seem to be related.Fluency, flexibility, originality and elaboration are the abilities of divergent thinking.

Fluency : produces many ideas for a given task or a problem. The more ideas a person produces, the higher his fluency ability.

Flexibility: indicates variety in thinking. It may be thinking of different uses of an object, or different interpretation of a picture, story or different ways of solving a problem

Originality : ability to produce ideas that are rare or unusual by seeing new relationship, combining old ideas with new ones, looking at things from different prospective.

Elaboration : ability that enables a person to go into details and workout implications of new ideas.

Divergent thinking ability facilitate generations of a variety of ideas which may not seem to be related.

Divergent thinking is essential in generating a wide range of ideas. Convergent thinking is important to identify the most useful or appropriate idea.

Question 7. What are the various barriers to creative thinking?Answer: Barriers to creative thinking can be characterized as habitual, perceptual, motivational, emotional and cultural.

The tendency to be overpowered by habits can be detrimental to creative expression as it becomes difficult to think in novel ways.

Motivational and emotional barriers show that creativity is more than just a cognitive process. Lack of motivation, fear of failure, fear of rejection, poor self concept and negativism may hamper creative thinking.

Cultural barriers are related to excessive adherence to tradition, expectations, conformity, pressures and stereo types. It arises due to the fear of being different, mediocrity, social pressure, over-dependence, personal security and tendency to maintain the things as it is.Strategies to overcome the barriers of creative thinking.

There are certain attitudes, dispositions, and skills, which facilitate creative thinking.Here are some strategies to help you enhance your creative thinking abilities and skills:

Cultivate the habit of wider reading, exposure to a variety of information, and develop the art of asking questions, pondering over the mysteries of situations and objects.

Try deliberately to look for multiple angles of a task and situation to increase flexibility in your thinking.

Obsbom’s Brainstorming technique can be used to increase fluency and flexibility of ideas to open-ended situations. This helps in increasing the fluency of ideas and piling up alternatives. Brainstorming can be practiced by playing brainstorming games with family members and friends keeping its principles in mind.

Originality can be developed by practicing fluency, flexibility, and habit of associative thinking, exploring linkages, and fusing distinct or remote ideas.

Indulgence in activities, which require use of imagi-nation and original thinking rather than routine work according to the interest and hobbies.

Generate a number of possible ideas or solutions, then select the best from among them.

Think of what solutions someone else may offer for the problems.

Give your ideas the chance to incubate. Allowing time for incubation between production of ideas and the stage of evaluation of ideas may bring in the ‘Aha!’ experience.

Sometimes ideas cluster like branches of a tree. It is useful to diagram your thinking so that you can follow each possible branch to its completion.

Resist the temptation for immediate reward and success and cope with the frustration and failure. Encourage self-evaluation.Develop independent thinking in making judgments.

Visualize cause and consequence and think ahead, predicating things that have never happened, like, suppose the time starts moving backwards, what would happen? If we had no zero?, etc.

Be self-confident and positive.

Question 8. How can creative thinking be enhanced ?Answer: Strategies to enhance memory:

Originality: Originality can be developed by practicing fluency, flexibility, habit of associative thinking, exploring linkages, and fusing distinct or remote idea.

Use of Imagination: Engaging more frequently in activities which require use of imagination and original thinking rather than routine work according to interest and hobbies.

Not to accept initial ideas: Never accepting the first ideas or solution. Many ideas die because we reject them thinking that the idea might be a silly idea i.e. we have to first generate a number of possible ideas or solutions, then select the best from among them.

Getting feedback: Getting a feedback on the solutions we decide one from others who are less personally involved in the task.

Chance to Incubate : Giving ideas the chance to incubate. Allowing time for incubation between production of ideas and the stage of evaluation of ideas, may bring in the ‘Aha!’ experience.

Diagram thinking: Sometimes ideas cluster like branches of a tree. It is useful to diagram our thinking so that we can follow each possible branch to its completion.

Developing independent thinking: Developing independent thinking in making judgements, figuring out things without any help or resources.

Self confident : To be self-confident and positive. Never undermine to your creative potential to experience the joy of your creation.

Question 9. Does thinking take place without language ? Discuss.Answer:

Thinking is a silent speech

It cannot take place without language.

Benjamin Lee Whorf was of the view that language determines the contents of thought. This view is known as linguistic relativity hypothesis. In its strong version, this hypothesis holds what and how individuals can possible think is determined by the language and linguistic categories they use (linguistic determinism).

Experimental evidence, maintains that it is possible to have the same level or quality of thoughts in all languages depending upon the availability of linguistic categories and structures.

Some thoughts may be easier in one language compared to another.

Question 10. How is language acquired in human beings?Answer: To achieve linguistic competence, children must master the four sub-systems or language :

Phonology – the ability to understand and produce speech sounds

Semantics – the ability to understand words and the different combinations of words

Grammar – the ability to understand the rules by which words are arranged into sentences and the rules by which words can indicate tense and gender

Pragmatics – the ability to understand the rules of effective communication such as turn-taking, initiating and ending conversations and so on.

There are two contrasting views on how language is acquired. Some suggest that language acquisition is primarily biologically determined. This is typical nativity position in nature-nurture debate. Other position is the environmentalist position which views learning as the basis of language acquisition.Language development for behaviourists like B.F. Skinner follow the learning principles such as association, imitation and reinforcement. They explain it in terms of operant conditioning.Regional differences in pronunciation and phrasing illustrate how different patterns are reinforced in different areas.

The nativist view supported by Noam Chomsky argues that human being’s extra ordinary capacity to learn and use language is based on certain innate mechanisms.

Chomsky suggested that children are born with powerful language acquisition, device, LAD, which represents a knowledge of universal grammar.

Children throughout the world seem to have a critical period that is form infancy to puberty where learning must occur if it is to occur successfully for learning language.Most psychologists accept that both nature and nurture are important in language acquisition.

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idesigncafe · 7 years

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Overcoming Content Challenges

Authors: Steve Glancey and Bryan Meszaros from the Digital Signage Connection

Although often relegated to the back seat, the process of content creation drives the success of a digital signage program. It is therefore essential to develop a mental map of each component stage, from strategizing and budgeting, through development and optimization, and to address the unique requirements and challenges of each one. With a clear plan in place, potential stall-outs are easily avoided, and obstacles, overcome. What follows is a collection of tips and tricks that we have developed in the course of our experience, and found helpful in navigating some of the difficulties that inevitably accompany a creative undertaking. We here pass them on to you to help better position you for your next endeavor.

Obstacle #1: Project Ownership

The nature of project ownership is critical and, unfortunately, often blurred in understanding. Is the person being said to "own" a project responsible, by definition, for all aspects of its design and production? In a word: no! Rather, they manage and monitor the numerous interlocking parts of the creative engine - the gathering of assets, messaging, design, and approval - each of which is the domain of a different person, or team. This last, the granting of approval, is generally understood, and intended as the concluding step. However, its finality hinges upon the clear delineation and coordination of the preceding steps, without which requests for further changes are far more likely to arise. Changing even one textual element could disrupt the flow, look and feel of the whole product, and force the designer to go back and rework it from the ground up to accommodate the change.

Obstacle #2: Content Strategy

Designers create content within "closed environments;" they alone experience, and interact with their creations during the design process. Yet given that their creations are ultimately destined for display in "open environments" subject to such variables as viewing distance, demographics, audience journey, time of day etc., it's important to keep in mind that every content piece adhering perfectly to fundamental principles of design in the abstract carries no guarantee of effectiveness when it goes "live." All these variables, and more, should be researched and applied to your content: type, structure, design, refresh rate etc. as they will deeply impact the audience engagement with, and effectiveness of the intended message.

Obstacle #3: Playlist Strategy

Optimizing your playlist requires the delicate counterbalancing of numerous considerations, all within the framework of your budget and network objectives. Loop length, for example, must be in step with audience dwell time. Make your playlist too long, and it will be a waste of network resources; too short, and you will forfeit network opportunities. Couple dwell time with the return rate of your audience; multiply by an effective frequency of 4-7 (the number of times a viewer needs to be exposed to a message before it is thoroughly communicated); and add to that any wish to day-part, or employ triggers, feeds, or logic that activates different content depending on the time, or viewer body-language or demographics and you will begin to get the measure of what it is to develop a strategic plan that truly capitalizes on the possibilities of digital signage.

Obstacle #4: Gathering Assets

The process of gathering assets is more complicated than the phrase would suggest, as they are not, in fact, necessarily useable simply by virtue of being "digital" - a reality difficult to concede for clients unfamiliar with concepts such as image quality, and display resolution. Fortunately, a little proactive education explaining such fundamentals within the specific context of your plan to develop content for a client (using which editing program, and in which output format) often goes a long way towards bringing about the submission better-quality files, even if they are not all vector graphics, files of 300dpi or more are ideal. Of course, there is always the possibility that there are no usable assets to uncover. Sometimes the image quality of a graphic is too poor, or the asset does not exist in a version that supports editing, requiring you to start from scratch. The bottom line is: avoid assuming anything about your client's level of knowledge or organization, and be prepared to explain why their idea and/or materials may need to be scrapped or revised.

Obstacle #5: Content Licensing

Content licensing does not abide by the "finders, keepers" rule. Possession of an asset does not necessarily confer the right to display it in a commercial setting, even if it was acquired "for free" - a reality sometimes difficult to accept in a world where side-stepping costs is so often possible. However, several lawsuits over the years have been brought against digital signage companies whose network owners failed to negotiate an agreement (either in the form of a one-time payment, or an ongoing subscription) with the owner of every asset in their playlist. Given the costs incurred by such a lawsuit, it's essential to address licensing costs early and often, and to ensure that a line item appears in the budget from the very beginning. "But that CNN feed says that it's free..." Look again at the terms. Free news feeds, and most free or inexpensive weather feeds are available only for non-commercial use.

Obstacle #6: Creative Budgeting

Talking money is like talking politics: everyone has an opinion, and no one is right. The question of budget must therefore be addressed both early in the development process, and regularly throughout the lifecycle of a project, for content carries a cost not only to create, but to maintain. The viewing frequency, and relationship it bears with its physical context give it a limited shelf-life, and while you would ideally have a surplus of content from which to chose, and/or assets with an automated feature, the project will, in fact, require ongoing programming, editing and management. True, most CMS (content management systems) now support advance scheduling, but someone still needs to oversee that task. The success or failure of a digital signage project therefore will depend on the project owners ability to accurately and creatively manage the fixed initial costs and variable ongoing costs to collect, license, and schedule content assets all powered by the most costly line item: human capital.

Obstacle #7: Stretching the Dollars

Were money not an obstacle, we would all simply hire ABC or Lucasfilm to build out our playlists, and keep them fresh. But money is an obstacle. Budgetary constraints come into play for everyone at some point. That is why I am a proponent of building playlists with an eye to maximizing value, as opposed to maxing-out one's resources. This can be done in a variety of ways, including investing up-front in custom templates; reusing assets that your company originally used elsewhere; leveraging user-generated, and data-driven content; strategically recycling content; and outsourcing parts of your playlist to licensed feeds or competitively priced creative agencies.

Obstacle #8: CMS and Hardware

This subject, once broached, easily leads the ensuing discussion down the proverbial rabbit hole, but my goal is simply to highlight a few of the cascading effects of your choice in CMS, and hardware. With respect to CMS, some solutions are new, and less refined due either to their time on the market, or target simplicity, and for content managers posting only simple messages, they present an appropriate solution. However, with simplicity come limitations, and complex networks may feel the lack of editing and programming options, readymade app stores, KPIs, feeds, triggers, localization, advertising market platform integration, weighted playlists and logic playback configuration. They may also feel limited by the breath of file-type options, API, security settings, reliability, remote management features, emergency messaging capabilities, etc. If so, there are other more established, robust CMS to consider.

The playback quality of the hardware you choose is also something to consider carefully, as it has a profound impact of viewers' visual engagement with your message. And finally, careful thought must be put into your connectivity strategy. Will you connect your system via Wi-Fi for which you pay with a monthly bill, or through a mobile provider that you pay by the gigabyte - a costly proposition if your playlist includes large video files or frequent content updates. There is no right answer, just the solution that best fits your content strategy.

Obstacle #9: Optimization

The effectiveness of your content is in direct measure to the quality of your messaging, so even the most thoughtfully designed content campaign can benefit from regular, controlled tests of its effectiveness. A/B testing or before and after comparisons are the easiest, most affordable kind of assessment, and can bring to light adjustments likely to increase the ROI (return on investment) of the campaign at hand. For example, how did one store do vs. the other without the promotion running or using the same content in two different locations with a slight change to the CTA? Audience engagement and reaction are surprisingly difficult to anticipate; that which is relevant, which resonates with viewers, and speaks to them in "their language" changes all the time, so if effectiveness is your end, self-assessment is your means.

Obstacle #10: Creating Value

What objective do you aim to meet by means of your digital signage network? From your viewers' point of view, a digital sign is not much different from a traditional printed sign. Both boil down to a message on a wall, and therein lies their value for audience and advertiser alike. Why then is so much attention and money diverted to the frame and mounting instead of the message? Mounts, frames, and hardware are inherently depreciating assets. It is the quality of your content strategy and execution that will make your 2-million dollar investment in digital signage worth 1 million, or 5. Funneling every piece of content through your network objective (ROO/ROI) is therefore the aim to which you should direct your primary energy as a network operator on day one and year five.

Interactive Design Cafe provides end-to-end digital signage solutions with the latest touchscreen displays and multi-screen video walls, to glasses-free 3D signage and holographic advertising players. We also offer both out-of-the-box software solutions, as well as fully customized software, while specializing in branding, customer experience and service design. We are a design consultancy, not just a “sales” operation, so we often fly out to our clients location to install hardware / software, and we strive to develop long lasting relationships with our clients. Our goal is to provide the most innovative and engaging experience for your brand with top notch service and support.

To learn more about Interactive Design Cafe and how we can help your business, please visit our website http://www.interactivedesigncafe.com

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nofomoartworld · 7 years

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Hyperallergic: The Eclectic Objects that Inspired Matisse’s Art

Henri Cartier-Bresson, “Matisse with his collection of Kuba cloths and a Samoan tapa on the wall behind him, Villa La Rêve, Vence” (1944) (© Henri Cartier-Bresson/Magnum Photos, image courtesy Museum of Fine Arts, Boston)

BOSTON — In 1944, Henri Cartier-Bresson photographed Henri Matisse in his studio surrounded by curious objects: a pewter jug with a swirling design, a Samoan tapa, Chinese porcelain, Kuba cloths, seashells, a bird cage, and a 14th-century head carved from stone. Obviously Matisse loved beautiful, well-designed objects and had collected more than 200 by his death in 1954. In his mind, they were neither decorative baubles nor travel trophies. Rather, they served him as visual references that opened his mind to new possibilities in seeing and creating.

Matisse in the Studio, at the Museum of Fine Arts, Boston, is the first exhibit to focus specifically on Matisse’s objects and how they influenced his art making. Thirty-nine are paired with the paintings, drawings, bronzes, and cut-outs they either influenced or appeared in.

Vase, artist unknown, Andalusia, Spain (early 20th century), blown glass (Ancienne collection Henri Matisse, former collection of Henri Matisse, Musée Matisse, Nice. Bequest of Madame Henri Matisse, 1960. Photo by François Fernandez, image courtesy Musée Matisse / Museum of Fine Arts, Boston)

“Our exhibition is exciting because it allows you to almost step inside the space of the studio and see some of the actual materials that Matisse was looking at and he was inspired by,” said Ellen McBreen, associate professor of art history at Wheaton College and Matisse scholar. She co-curated this exhibit with Helen Burnham, the Pamela and Peter Voss curator of prints and drawings at the MFA, and Ann Dumas, curator of the Royal Academy of Arts in London, where the show will travel to next.

Early in his career, Matisse sought new ways to represent one of his lifelong passions, the human nude form. He said, it “permits me to express my almost religious awe towards life.” Thus, it’s fitting this exhibit opens with Bresson’s photo and an anthropomorphic turquoise vase Matisse found on his 1910 trip to Andalusia. No doubt the artist took pleasure in the vase’s sinuous curves, half-moon handles, and bulbous hips that bring to mind a stoutly woman. It is the central figure in his painting “Vase of Flowers” (1924).

Perhaps the vase liberated Matisse from his academic art training, which required him to draw models exactly as he saw them. He knew the era of straight-on figure representation was over. He had seen the 1901 Vincent van Gogh retrospective at Galerie Bernheim-Jeune and followed Picasso and Braque as they explored Cubism. While he wanted to abstract the human form, he wanted to do it in a simpler, more natural way.

Henri Matisse, “Vase of Flowers” (1924), oil on canvas (bequest of John T. Spaulding, © 2011 Succession H. Matisse, Paris / Artists Rights Society (ARS),  New York) * Photograph © Museum of Fine Arts, Boston

On his way to Gertrude Stein’s house in 1906, he stopped in a little Parisian junk shop and purchased a hand-carved wooden Vili figure, a tourist reproduction of those used in Congolese healing and fertility rites. He and Picasso were both drawn to its expressive language. That carving appears in Matisse’s 1907 painting “Still Life with African Statuette,” and, for the first time, the painting and object are displayed together.

In 1912, painter Clara T. MacChesney interviewed Matisse for an article in New York Times Magazine, and asked him, “What is your theory on art?” He replied by pointing to a table with a jar of nasturtiums. He said, “I do not paint that table, but the emotion it produces upon me.”

Over the next couple of years, Matisse would purchase 20 masks and figurines made in Northern and Central Africa. He took a cruder and more direct approach in depicting nudes, as seen in “Young Women,” a bronze from 1907-08. Critics reacted harshly to it and similar works, saying that Matisse strained in his abstraction and these works were “ugly” and the colors “cruel.”

Matisse in the Studio installation view at the Museum of Fine Arts, Boston, Ann and Graham Gund Gallery (photograph © Museum of Fine Arts, Boston)

Matisse noted that some African works depicted the human form as genderless or possessing both female and male characteristics. Thus, he decided to apply this idea in the bronze “Young Women.” From one angle, the two figures appear to be women embracing. From another angle, one figure rises a bit taller and has a more wide-legged stance and mannish appearance.

“Why?” MacChesney asked Matisse during their interview, when she spotted a lumpy and crudely formed female figure, from this same generation of sculptures. Matisse reached for a Javanese statue with a disproportionately large head and asked, “Is not that beautiful?” She thought not. Likely he was being coy with her, knowing she didn’t see the human body could be beautiful and expressive without being classically rendered.

Henri Matisse, “Marguerite” (1906–1907), oil on canvas (on loan from the National Musée Picasso, Paris RF 1973‑33, donation Picasso, © Succession H. Matisse / Artists Rights Society (ARS), New York, photo © RMN-Grand Palais / Art Resource, New York, image courtesy, Museum of Fine Arts, Boston)

The tribal sculptures also inspired Matisse to reinterpret portraits. In painting his 13-year-old daughter, “Marguerite” (1906-07), he wanted to evoke the emotions of innocence and childhood. So he created her portrait with the simplicity of a child’s painting with flattened features, minimal details, and even what seems like a mistake — a profile nose on a frontal face. Even the letters of Marguerite’s name across the top are scrawled as though an inexperienced hand drew them.

Yet the face looks more like a woman’s, and Matisse knew very well his daughter was growing up. In the portrait, the girl wears a black velvet choker, which seems to separate her body from her head, as if she’s wearing a mask. Coincidentally, when Matisse and Picasso decided to trade paintings, Picasso chose this one. He hung it in his studio next to a Punu mask. Perhaps he saw the mask too.

Some accuse the modernists of having culturally pillaged tribal art, while others point out that the African artists and cultures went mostly unattributed. This exhibition, which alludes to but doesn’t explicitly discuss these tensions, aims to put Matisse’s influences front and center.

Window screen (Haiti), artist unknown, North Africa (late 19th‑early 20th century), cotton plain weave cut and appliquéd to bast fiber cloth (former collection of Henri Matisse en dépot, Musée Matisse, Nice. Photo by François Fernandez, image courtesy, Musée Matisse / Museum of Fine Arts, Boston)

Matisse had a lifelong appreciation of fine tapestries, which began during his student days at École Quentin De La Tour, a textile designing school near Belgium. After he’d traveled to Morocco and Spain and saw an exhibit of Islamic art in Munich, he became enamored with Islamic architecture, design, and fabrics. He acquired at least a half-dozen haitis, which are sumptuous, pierced, and appliquéd textiles that often bear a mihrab motif — the arch shapes and latticework found in the niches of mosques.

In “The Moorish Screen” (1921), Matisse places a blue-green haiti in the room’s corner, hiding the juncture where two walls meet. Doing this envelopes the two women, dressed in pale, simple frocks, in a rich collage of patterns and jeweled colors. The eye normally tracks towards human figures, but here it’s drawn to the room’s lively décor where it spins before going towards the women.

Henri Matisse, “The Moorish Screen” (1921), oil on canvas (Philadelphia Museum of Art, bequest of Lisa Norris Elkins, 1950. Image courtesy the Philadelphia Museum of Art, © 2017 Succession H. Matisse / Artists Rights Society (ARS), New York, courtesy, Museum of Fine Arts, Boston)

One of most fascinating connections made in this exhibit comes from a 19th-century wood panel on which four Chinese calligraphy characters are made with quick, lyrical gestures. A 1951 photograph by Philippe Halsman shows Matisse making cut-outs in bed. Above him hangs this calligraphy panel, and below each character hangs one of Matisse’s gestural nude drawings, much like those in his “Acrobat” series. By this point in his life, he worked spontaneously, reducing the human form to a few lines, and showing complete total control over his application of ink.

Searching for source materials, Matisse traveled extensively and gathered works from China, Egypt, Morocco, Java, Tangiers, the Congo, Europe, and elsewhere. He had eclectic tastes and could find beauty and inspiration just as easily in a silver chocolate pot as a disproportionate statuette. Matisse was interested in how other cultures viewed life, thought about gender, and expressed beauty. His abstraction of the figure and borrowing from other cultures may have baffled viewers at the onset, but over time such experiments would become the hallmarks of modernism.

Matisse in the Studio continues at the Museum of Fine Arts (MFA), Boston (465 Huntington Ave, Boston) through July 9.

The post The Eclectic Objects that Inspired Matisse’s Art appeared first on Hyperallergic.

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architectnews · 3 years

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Archiol’s 2021 Render challenge

Archiol’s 2021 Render challenge, Architecture Competition, Design Contest

Archiol’s 2021 Render challenge Competition

6 June 2021

Archiol Render Challenge Competition Winners

Archiol’s Render Challenge Winners Announced!

Presentation skills are just as important as designing; one of the best mediums to present your architectural designs is through rendering. Architectural rendering aims to create life-like experiences of the buildings before they are built. Rendering aids the designer to convey ideas, an image that represents the designers’ imagination most realistically.

Archiol’s 2021 Render Challenge received 113 entries, scroll down to see the finest of architectural graphics from participants from all over the world.

• First Prize Winner_ Jiaman Xu, Ruiheng Zeng & Xiaoxin Wang (China)

• Second Prize Winner_ Antonella Marzi, Chiara Marzi & Marta Dituri (Italy)

• Third Prize Winner_ MiroslavNaskov (UK)

• Honorable Mention_ Niu Yifan (China)

• Honorable Mention_ ZHIXIANG XIA (China)

• Honorable Mention_ Tim CheC (US)

Archiol Render Challenge Winners in Detail

First Prize Winner_ JIAMAN XU, RUIHENG ZENG & XIAOXIN WANG

Forest fires have always been a desperate topic. In the case of severe forest fires, it is difficult to protect the lives of animals. The Amazon rainforest in 2019 and the Australian forest fires in 2020 caused devastating damage. Countless wild animals died in the fire or were displaced, causing people’s attention. It is precise because of these facts that the rescue of wild animals in fires needs to be widely recognized, and we need to provide them with a temporary shelter.

The refuge site is in New South Wales, Australia, which is hot and less rainy, which is one of the places prone to forest fires. When a fire occurs, the building uses the collected water to spray water through a spray device to form a low-temperature environment and attract animals to take refuge.

In order for our animal shelter to be self-sufficient to the greatest extent possible without human intervention, the operation of the building depends entirely on natural forces. According to realistic theories such as energy conversion, we set up rainwater and fog collection devices to solve the water problem of the building. The fog is converted into water and rainwater is collected to the water storage device at the bottom of the building, which can provide a continuous supply of the ecological environment inside the building. Provide water resources.

The refuge restores the original living environment of Australian animals as much as possible and ensures internal ecological diversity. In order to reduce the damage to the natural ecological environment, we spiral up the ecological layer to reduce the footprint of the building and recreate different ecological environments on the spirally rising ramps and natural environments that can provide sufficient refuge space for animals. Including the basic natural environment such as pools, swamps, grasslands, woods, etc., so that it is divided on each layer but connected to each other.

For example, kangaroos like to run in the bushes, koalas will sleep on eucalyptus trees, wild dogs are used to hunting in the desert, platypuses usually hide in caves by the water, and ostriches with strong adaptability are suitable for most environments, such as open plains, forests or the desert doesn’t matter to them.

After the fire, the forest is slowly recovering, and the animals can return to the natural environment and rebuild their homes. Of course, the animals can continue to stay inside the building, and the food chain can maintain the relative balance of the ecological layer. Animals can enter and leave the building at any time to increase the sense of familiarity and belonging. Perhaps more lives can be saved the next time a fire occurs.

Second Prize Winner_ Antonella Marzi, Chiara Marzi & Marta Dituri

ICE TOWERS “A powerful and evocative gesture, a reinterpretation of the monument in a modern key.” Our concept design is stemming from abstract ideas and shapes in inhospitable environments that become an architectural project. The site context aims to stimulate people’s thoughts on the consequences of human intervention in the living environment and adaptation to architecture.

Two crystalline monoliths emerge in the Arctic landscape. The building’s volume explores the sense as an ice sculpture on the rocks, by means of materials, textures, and colors. As generated by tectonic forces, they guard and conceal an entire underground world. The towers rise from a submerged area, bursting through the surface, which integrating into the landscape – between the cliff and ocean waves.

Third Prize Winner_ MiroslavNaskov

The Forest House, nestled in the serene verdure of the Northern Italian countryside provides its visitors a unique experience. It is nonconformist yet resonates with the rawness of the nature around it.

The stilted housegives one the feeling of being lifted and placed in Nature’s lap, capturing breath taking views of the lush green clad mountains as well as the calm lake set between them. The fluid design and soft volumes of the space add to the tranquillity of the space. The transparency provides panoramic views, inviting nature to become part of the space. Blurring the boundary between the interior and the exterior, the house and nature are in perfect symphony with each other.

The structure uses prefabricated 3D Printed structural elements. This not only eases the process of fabrication and significantly reduces cost but also has least impact on the natural environment. Bespoke furniture designed for the space uses a similar language in design and materiality providing a wholesome yet luxurious experience in all.

Honorable Mention_ Niu Yifan

The globalized new coronavirus epidemic has thrown architectural problems with meaningful thinking to architects. Now in the post-epidemic era, how should architects rethink and define the contemporary attributes of physical public spaces? How to tap and strengthen the quality and value that cannot be replaced by virtual space, and make a targeted response in the design?

My work intends to show the current social situation in a warmer and more hopeful post-epidemic era. Through the architectural vision of the post-epidemic era. I designed a city with extremely prosperous traffic, because traffic is a prerequisite for urban development.

I also designed a public transportation transfer station that can be rotated to facilitate the transfer and transfer of people. This rotation takes five minutes. When the turntable returns to its original position, the station will welcome the next wave of people, and people will meet in this regular and random space. The transmission lasts ten minutes. Then continue to spin for the next five minutes.

This work shows the sense of science and technology that people yearn for in the post-epidemic era and the warm connection between human. The sun shines into your sight through the movable buildings built under traffic, and everything is under the radiation of the sun, with a sense of post-modernity and technology. Everything is very peaceful and full of hope, expressing the prosperous industrial and social development after the epidemic.

Honorable Mention_ ZHIXIANG XIA

The image indicate an architecture which is driven by our minds. I’m always thinking about creating an architecture embodying our souls. The main structure of the architecture can grow and expand as our mind keeps developing. From bottom to top, every part of the structure shows the different stages of our mind, which in the image I visualize it by the people’s activities.

And the connectivity is infinite and continuous; everything is intertwined and bounded together with an invisible force which can be described as the inner inspiration of every thought. Finally, architecture becomes an extension of our minds and it fully shows our inner space.

Honorable Mention_ Tim CheC

The distance between Mars and the Earth is approximately 225 million kilometers, making it the closest “livable” planet to the Earth. Whether the movie” The Martian”, the landing news of the NASA’s “Perseverance”, or even the “SpaceX” company founded by Elon Musk, they all showed us the mysterious appearance of Mars. I am the person who love future technologies and science fiction pretty much. I can’t help but think, when I am 50 years old, will I be able to live on Mars at that time?

In this artwork, I tried to imagine what it might look like when people live on Mars in the future. I took Transit-Oriented-Development (TOD ) as my main concept. The various facilities are connected by channels. The center of the facilities is a big rocket, which will carry the residents transport between different planets.

The main residential facility large greenhouse buildings, which are filled with plants and oxygen. It creates a suitable space for people to live in. On the outer side, there are some Industrial facilities which can mine buried ice and create energy for residents to use.

Is it possible to build a self-sufficient city on Mars? How does it feel like when living on Mars? Are there other planets that can be explored by humans besides Mars? I am curious and excited in the technology and lifestyle of future. I hope through this artwork, everyone can share their imagination about the future living lifestyle.

Shortlisted Entries

• Reality is merely an illusion _ Aditya Bhole

• Echoes of Nirvana_ Chang Wu

• In the middle of Mediterranean sea_ Patricija Gjugjaj

• Parallel 2077_ Lingfang Shao

• House on a Pavilion _ Tanvi Daga

• What is a vertical city _Xinyu Li

• _ Davide Cannone & Ilaria Impagnatiello

• The Blurred Forest _ HAOXIAN CAI

• Residential Energy Gathering Ring _ Wenqi Fan

• Non-To-Scale Megastructures: Where Man Meets the Machine _ Mohamad Alamin Younis

• Gaotai Residential _Bó Hú & Yixuan Yang

• “parts of a whole”_ Lingjing Shi

• A roundabout near the entrance of a small city_ Ioulianos Angelos Karantzios

• _ Shreyash Gupta

• _ Florian Mladek

Archiol Render Challenge Competition Jury

Competition Jury:

• Randy Sovich, AIA Randy M. Sovich, AIA, is co-editor of T3XTURE, an international architectural and design publication exploring texture, ornament, and pattern in a new architecture. He is the founding principal of R. M. Sovich Architecture, Inc., a socially-conscious practice located in Baltimore, Maryland, creating nurturing places for communities, the disenfranchised, and vulnerable populations.

• Nicole Cullinan Nicole Cullinan is an Australian born European writer who has an established career in the architecture and arts industry. Sheenjoys the privilege of working with a number of prominent creatives, discovering what it is that makes their work unique. With a passion for place making and the built environment. She is a published academic author and an alumnus of The University of Melbourne.

With a side hustle in photography, her images have been featured on the National Gallery of Victoria and Heide Museum of Modern Art websites and socials. Recently she exhibited as part of the Photo 2021 collaboration with French artist JR at Federation Square. She believes the architects work can be more than what the eye can see; ‘allegoria dei sensi’. A trinity of function, form and feeling.

• Igor Neminov Igor is an Art Director at Shimahara Visual, based in Los Angeles and has produced an innumerable amount of marketing and competition images for a some of LA’s award winning Architecture firms, which includes Morphosis, P-A-T-T-E-R-N-S, Tom Wiscombe and Frank Gehry Architects. Igor is an award winning artist with over 10 years of professional design experience. He is also a gifted leader who is able to raise the artistic bar of everyone around him.

Organiser: Artuminate: https://ift.tt/3fYIb2H Winners Announcement: https://ift.tt/3uXtrp2

Previously on e-architect:

post updated 29 Apr 2021

Archiol Render Challenge Competition

Due to some technical issues in the initial registration period the organisers were asked to extend the registration dates of the Render Challenge Competition which was announced earlier.

Extended timeline is as follows:

Registration Deadline: 5th May 2021

Submission Deadline: 7th May 2021

Result Announcement: 5th June 2021

All deadlines are 11:59 PM UTC (Coordinated Universal Time).

8 Mar 2021

Archiol’s 2021 – Render challenge Contest

Introduction Presentation skills are just as important as designing; one of the best mediums to present your architectural designs is through rendering. Architectural rendering aims to create life-like experiences of the buildings before they are built.

Rendering aids the designer to convey his or her ideas, an image that represents the designers’ imagination most realistically.

Competition Brief Create one rendered architectural graphic design that says it all. As this competition aims at exploring and understanding rendering (a medium of conveying designs) to an unimaginable extent, so you are free to choose the type, location, scale. The Rendering can be hand-drawn or digital.

Specific Requirements: A single rendered Image A description of not more than 500 words (100 words minimum)

Awards Interview Interview of the all the winners ( top 3 + honourable mentions) Photos, articles and news will be published on our platform

Publication All the winning entries will be published on our platform.

Certificate: Top 3 entries will receive certificates All our winners will receive e certificate. All the participants will receive a participation certificate.

Important dates and judgement criteria Registration deadline: 28th April 2021 Submission deadline: 30th April 2021 Result announcement: 31st May 2021

After completing the checkout, you will automatically receive a confirmation e-mail. If you can’t find the e-mail in your inbox, please check your spam folder.

Fees A standard registration fees of ₹1200

Jury To be announced

For more details please visit our website archiol.com Competition link: archiol.com/archiol-competitions/render_challenge_2021

Subscribe to our news letters for regular updates. Learn more on: https://ift.tt/3ry2lUE Facebook: https://ift.tt/3chsWim Instagram: https://ift.tt/38kbAzQ https://ift.tt/3qzNQOR Pinterest: https://ift.tt/3l1U8p5

Archiol’s 2021 – Render challenge images / information received 080321

Korea Architecture Competitions

Recent Korean architecture contests on e-architect:

3rd Generation New Towns in Korea Design Contest 3rd Generation New Towns in Korea Architecture Competition

Main Library Gwangju Design Contest Main Library Gwangju Competition

South Korea Architectural Designs

South Korean Architecture Designs – architectural selection below:

Hankook Technoplex, Pangyo, outskirts of Seoul Design: Foster + Partners photo : TIME OF BLUE Hankook Technoplex Pangyo Top-level executives are co-located with their teams on different levels, which promotes interaction between the key members, and enables a more fluid flow of information within the company.

Amorepacific Head Office, Yongsan-gu, Seoul Design: David Chipperfield Architects photograph © Noshe Amorepacific Headquarters in Seoul This new rectilinear building is located between the site of a spacious public park currently under development, and a business district of high-rise towers.

Architectural Competitions

Current / Recent architectural contests on e-architect:

Bcome 2020 Competition

2020 Bcome International Ideas Competition

2A Continental Architectural Awards 2020 2A Continental Architectural Awards 2020

Re-imagining Stations Competition Network Rail Re-imagining Stations Competition

London Architectural Competitions

24H Architecture Competition

Flexible Housing Competition for Great Places Lakes & Dales Partnership

Architecture Competition

Comments / photos for Archiol’s 2021 – Render challenge page welcome

The post Archiol’s 2021 Render challenge appeared first on e-architect.

#e-architect

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juniperpublishersophthalmology · 4 years

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Visual Impairment and Smart Cities: Perspectives on Mobility- Juniper Publishers

Juniper Publishers- JOJ Ophthalmology

Abstract

Introduction: Visually impaired people face many problems when it comes to urban mobility, even though law guarantees their rights. Many of them are able to guide well themselves using white canes and tactile devices, but they still needs some help from the others to successfully complete their journey or assignment, which reduces their autonomy or even their safety. When using public transportation, the visually impaired report lack of awareness and sensitivity of people in general. Improvements of labor field are also important in order to evidence the value of the visually challenged manpower to economy, exercising social inclusion and meliorating their self-esteem. Thus, the idea of a smart city is extremely relevant, because it characterizes progress of infrastructure and services using technology, making city administration, education, public security, health service, housing and transportation even more connected and efficient. The purpose of this study is to show that the combination between concepts related to mobility of unsighted people and to smart cities results in benefits for both the visually impaired and the society.

Discussion: Improving visually impaired autonomy in mobility gathering concepts based on smart cities.

Conclusion: The fusion of concepts related to visual impairment and smart cities is extremely beneficial for autonomy, mobility and economy.

Keywords: Visual impairment; Autonomy; Technology; Mobility; lob market; Smart cities, White cane

Introduction

The term "visual impairment" refers to irreversible visual loss, even after medical treatment. World Health Organization (WHO) classifies visual function in 4 levels: normal vision, moderate visual impairment, severe visual impairment and blindness. Moderate visual impairment combined with severe visual impairment under the term "low vision". Individual with this condition, despite the visual loss, is able to plan and/or execute assignments. About 1% of the world population presents some kind of visual deficiency, and more than 90% of those are distributed in third world countries [1].

Visual loss can be either congenital or acquired. A person who had developed blindness during his life has visual memories, thus, such memories are preserved. However, those who were born blind will not have the capacity of forming visual images, but they will develop strategies in order to structure a mental representation of space. Unsighted people normally use sonorous, kinesthetic, tactile, thermal and olfactory information through reminiscent senses [2]. In those cases, moving through places requires sensor-motor-cognitive skills, including perception, codification, learning and space information recall. That assignment can be stressfull, especially for the existence of two factors that directly affects the process of space orientation: environment layout and environment quality information [2].

Even though law guarantees their rights, visually impaired people face many problems when it comes to urban mobility. Many of them are able to guide well themselves using white canes and tactile devices, but they still needs some help from others to successfully complete their journey or assignment, which reduces their autonomy or even their safety. When using public transportation, the visually impaired report lack of awareness and sensitivity of people in general and the need of help to inform bus destination, for example [2].

Absence of great urban mobility results in negative consequences not only for people's life quality, but also for economy, including factors that influence since Brazilian social security till the indexes of productivity and of competitiveness at job market [3]. Is doubtless that mobility technology facilitates the access to visual, tactile, olfactory and sonorous information through systems like Braille, conventional canes, especial boards, etc. It's concession should be considered as an integrant and an indispensable part of the rehabilitation or habilitation process [4].

Nowadays, new mobility technology is emerging such as electronic canes, which integrate the information given by the ultrasound sensor to the traditional cane characteristics, maintaining the touch technique used in independent dislocation [1]. Another example is WAYFINDR® App that uses beacons (proximity device that sends information), Bluetooth, headphones, bone conduction and the smart phone itself, permitting visually impaired people to walk on streets in a more independent way [5].

The concept of a smart city includes also an idea of urban management based on Technology of Information and Communication [3], using hardware and software as sensors, Radio Frequency Identification (RFID), beacons, and other items related to de Internet of Things concept (IoT) [6-8]. Many of the technologies applied resort to Global Positioning System (GPS) for the purpose of collecting location data. However, GPS can suffer interference from obstacles which hind satellite's signal propagation, as indoor places, where signal hardly can be captured with enough quality. Thereby, other forms to localization will be required, as well as inertial sensors or ultrasound pulses [9].

Accordingly, at smart cities will be possible monitoring, localization and geo referencing actions, traffic preventive maintenance, alternative transportation and itinerary and route information. Users also can report urban accessibility features trough their ride, describing street and sidewalk conditions, for an example [3]. The purpose of the present study is to show that the combination between concepts related to mobility of unsighted people and to smart cities results in benefits for both the visually impaired and the society.

Discussion

A person who is blind or has low vision faces many adversities during the day. Those difficulties goes since obstacles in the way till poor infrastructure on educational and on professional fields [5]. Among the most common structural problems are bumpy sidewalks and few or none signaling, making harder and dangerous to cross streets [10]. In general, the visually impaired recur to some instruments that give space orientation on urban mobility and they are directly influenced by the city infrastructure [4].

White cane pencil tip: ideal for places still unknown. Enables different types of soil identification by vibration and sounds produced [4].

White cane roller tip: used for space recognition at places without many obstacles [4].

Walls: are used as a safety reference for the visually challenge [4].

Lowered sidewalks: offer risks when tactile floor is not present to indicate where the sidewalk starts [4].

Tactile floor: very helpful, but needs to be perfectly installed in order to preserve its information [4].

Urban furniture: benches, trashcans, street sings, bus stop, telephone cabins, etc [4].

Another aspect of a poor urban mobility is the negatives consequences for city economy, mentioning the impact on Brazilian social security when it comes to the occurrence of accidents and to the raise of governmental pensions; besides productivity reduction as the employee spends extra time and effort commuting to work [3].

Difficulties are present also on the job market. To professional qualify and to be competitive can be a great challenge for people who suffer from visual loss. Thus, assistant technology is indispensable because it provides more independency for the visually impaired and freedom to do everyday duty in a plainer way. Yet, technology incentive, especially for mobility, is extremely important and even determinant to insert this group in professional, educational and social communication spheres, making them participatory in society [11]. Some projects have already been developed, as WAYFINDR® App. That system recurs location data given by beacons via Bluetooth to define one’s location, then, audio instructions are created to guide the individual trough the space, avoiding dangerous spots, permitting people to reach their destination safer and faster [5].

There are also some projects of the so-called smart canes [1].

E Touch cane: is known as the "speakerphone cane" .It has Global Positioning System (GPS), voice recognition and headphones, by which the visually impaired, indicates its starting point and destination by voice command [1].

«Low Cost» electronic cane: it has two sensors that warn the visually impaired when there is some obstacle within a certain distance [1].

«Smart» electronic cane: created by the Universität Konstanz, this type of electronic cane is able to trace routes and identify signs that have Quick Response codes (QR codes) to help the user cross streets or find establishments [1].

Smart Cane: developed by students at the University of Michigan, can recognize radio frequency identification tags located along the route [1].

It is important to note that with the advent of generations of communities and services that have the Web conception as a platform, possibilities of information dissemination and data sharing have increased. That fact happened due to popularization of Internet and to increased shared data flow, allowing the user to participate in creation of content. That is a great contribution for many smart cities tools [9]. The collected and processed data make possible to plan some action such as details about the path where the user travels with his smart cane, after processing references about the place. That technology should also be used at environments as school, work or home [3].

A smart city uses information and communication technology resources, providing more interactivity in order to improve its infrastructure and its public services in general, making that administration, education, health service, public security, and housing and transportation sectors even more connected and efficient. Technology is the starting point for a smart city [8].

Conclusion

It is possible to infer that through the fusion between the concepts of Technology of Information and Communication applied in auxiliary devices for people with visual impairment and the idea of smart cities has a positive impact on these people's life quality. Therefore, the greater autonomy of the visually impaired results in greater self-esteem, better security and ensure competitiveness in job market. In addition, infrastructure is benefited with improvements generating more interactivity and development for the city.

Acknowledgement

We are grateful to CNPq for the Technological and Industrial Initiation grant A granted by process no 180180/ 2017-7 for the project “Support magnifying glass with color change and adjustment of light intensity for visual rehabilitation” to student Caio Henrique Marques Texeira.

For more Open Access Journals in Juniper Publishers please click on: https://juniperpublishers.com

For more articles in JOJ Ophthalmology (JOJO) please click on: https://juniperpublishers.com/jojo/index.php

For more Open Access Journals please click on: https://juniperpublishers.com

#Juniper Publishers #juniper publishers contact info #juniper publisher reviews #Juniper publishers publishing group #juniper publishers journals

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homancheung-blog · 5 years

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DPS Weekly Blog:

13/10/2019

Me and one of the senior designers at Rose discussed about my internships. So far she is pretty happy with my performance as I can mostly deliver what they want at a high standard. Still, one thing mentioned specifically is that when it comes to imagery research or understanding abstract ideas in an early stage, I often struggle with the “literal interpretation” situation which I can only stick with similar or actual ideas instead of having a more creative approach. If I have to search images with the theme “Family”, I will probably only aim for family portraits instead of being more inclusive, open-minded for anything; such as a house, relationships, trusts, and generations, etc.

I noticed this problem as I realised I prone to stay on Pinterest when searching for inspiration, which hugely limited my visions and the possibility for new ideas. I was bored and disinterested at first when I was asked for gathering images, but after looking at what others have collected I noticed that I was so blinded to my own conception, scared of being off-topic. As I know being comprehensive is invaluable and essential for idea development, I should cultivate the habit of spending more time hunting for raw ideas and resources, practicing how to bring an idea to its extend without fear.

The following post is edited from my personal journal recoding highlights of my events and internships in the previous weeks. Future updates and posts will be directly uploaded to this blog.

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philipfloyd · 5 years

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The Complete Google Marketing Tools List Every Business Should Know About

Google is quite disputed be search marketers all over the world but we can all agree on one thing: Google offers lots of tools and features which can help every business, big or small, to thrive and make the most of their activity. From developer tools to business management and valuable resources, here it is – what we hope to be – the complete list of Google marketing tools.

We’ve scooped the whole internet to find the most useful and relevant Google tools for everyone who wants to create a good and powerful marketing strategy and a successful business. Here we go!

I. Google Marketing Tools to Monitor& Grow Your Business

Google Analytics

Google Ads

Keyword Planner

Search Ads 360

Google Marketing Platform

Google AdSense

Google My Business

II. Google Resources & Trends

Google Trends

Google Patents

Google Scholar

Google News

Google Play Developer

Google Alerts

Youtube for Business

Blogger

III. Google Tools for Time & Projects Management

Google Calendar

Google’s Assistant

Data Studio

Gmail

Google Drive

Google Cloud

Google Contacts

Hire

IV. Google Developer Tools

Google Search Console

Speed Insights

Mobile-Friendly Test

AMP Test

Structured Data Testing Tool

Rich Results Test

Google Optimize

Tag Manager

Google Fonts

Google Domains

I. Google Marketing Tools to Monitor & Grow Your Business

1. Google Analytics

Every business that has a website should have a Google Analytics account to track and measure website traffic. It is a paid tool and one of the most widely used tools for website analytics. It has data on users’ demographics, interests, behavior, and more, plus data on acquisition channels for third party campaigns, site traffic and speed, real-time activity.

Most recent updates and integrations with Google Ads and Search Console made it a fundamental tool for every business. You have all the information in one place, which allows you to create better connections regarding your data. You have access to the Acquisition, Behavior and Conversions data in one place, which means more possibilities to discover insights:

find out the most engaging landing pages that bring visitors through organic search;

determine the landing pages which have the highest engagement but lack organic search visitors;

identify the best ranking queries for each landing page and more.

GA helps you track any fluctuations in your traffic evolution, so you can spot any drops or improvements and check furthermore whether there is a connection to Google penalties.

Measure overall organic traffic to better understand your users and get insights based on the activity that happens on your website or set up goals to track specific user interactions on site.

The data give you the power to make valuable business decisions.

2. Google Ads

Google Ads (former Google AdWords) is an optional tool that you can use to create advertising campaigns on Google Search, Youtube, Mobile Apps or remarketing on third-party websites. Google Ads is an advertising tool, that works on a bidding strategy. When you create a campaign, you’re allowed to add a landing page and create brief advertisements, service offerings, product listings, video content and generate mobile application installs. You can choose out of three pricing models, based on the type you’d like to use:

pay-per-click (PPC) pricing model for driving traffic to the website;

cost-per-acquisition (CPA) for acquiring conversions (eg. purchases or signups);

cost-per-thousand viewable impressions (vCPM) for increasing awareness.

The first two pricing models are available for paid search, and the last one can be available only for Display Network campaigns (a large resource of websites, videos, and apps where your ads can appear).

Google Ads can give you lots of insights on the searched keyword phrases, best performing landing pages, type of visitors and other descriptive information.

3. Keyword Planner

Google Keyword Planner is an important feature from the Google Ads tools. You can use it independently, no matter if you pay or not. There’s a catch though. If you have active campaigns, you’ll get more information comparing to a non-paid account.

It is a keyword research tool, which can be used for getting insights on the terminology used for different topics or keyword ideas, plus search volumes for every country and language, search trend. You have the possibility to apply filters and get only the results you are interested in.

4. Search Ads 360

DoubleClick Search was rebranded under the name Search Ads 360, and it’s an ad serving platform. Unlike Google Ads, Search Ads 360 allows you to distribute and manage ads that appear on other sites you’ve negotiated media buys for.

With Search Ads 360, you save a lot of time by managing your ads across engines, make better decisions and increase your Return on Investment (ROI) for search marketing. The tool provides multiple bid strategies, which are more accurate and better targeted:

Conversions: Use CPA or monthly spend to get more actions.

Revenue: Use ERS, ROAS or monthly spend to get the highest revenue.

Advanced targeting: Use ERS, ROAS and CPA targets for a customized strategy.

Clicks: Get the most clicks while meeting a target monthly spend.

Keyword positions: Use this strategy to keep keywords on a certain position or within a position range.

5. Google Marketing Platform

Google Marketing Platform is a suite of tools designed for businesses to have smarter marketing measurement and better results. It is a paid tool and it includes advertising and analytics tools by Google such as Analytics 360, Search Ads 360, Display and Video 360, Tag manager 360, optimize 360 and more. Some of them were presented already, and some of them can be found below in the article.

Along with the change made for AdWords & DoubleClick, which became Ads and Search Ads 360, Google integrated the new tools into a new platform: Google Marketing Platform to have in one place all the tools that a business needs.

Every business owner and marketer has one major pain point: to better understand their customers. Having all the tools in one place makes it easier to gather all the information and easily compare the information side by side than using different web pages and platforms.

6. Google AdSense

Google Adsense is an easy way to earn money online by placing ads on your website and YouTube channel. If you’re using AdSense, on your website there will be placed ads from advertisers through the Google Network.

Do you know those ads that appear on sites on the right or left side, or on the bottom of the page besides the main content? Some of those ads are served automatically by publishers. You can see text, image, video or even interactive media advertisements which target the audience of the site. Below is an example of such ad:

7. Google My Business

For local SEO you need to register on GMB. Google My Business is connected to Google Maps and here you can add your contact information such as NAP (name, address, phone), website, open hours, photos, posts and a lot more.

The process is simple, create a GMB account, add all the information, choose a verification method, after that use the code you received in the verification step and submit the request. After that, you’ll be able to see your location on Google Maps.

There are several ways to verify your GMB listing:

By postcard

By phone

By email

Instant verification

Bulk verification for more locations.

Whenever you search for a specific company, if it is registered on Google My Business, you’ll find that information on the right side of SERP. Beside the NAP information, you can see Q&A posted by users, popular time visits.

Also, you can add your social profiles and see all the reviews from your users, integrated into this snippet.

It is recommended to register on GMB because users can get directions, and this will increase the number of clients that come to your store.

II. Google Resources & Trends

8. Google Trends

Google Trends is a free service from Google that analyzes the popularity of a certain topic/keyword on Web search, News search, Google Shopping or Youtube search. The website uses graphs for displaying information and comparing actions.

You can see and compare data across lots of regions and locations around the Globe. There is a time frame available starting with 2004.

For businesses, Google Trends can be very useful for spotting trends and understanding the evolution of certain keywords and search for keywords. You can easily identify seasonal trends, then create content at the right time. Even though we are strong advocates of evergreen content, seasonal content can be an additional traffic boost, which shouldn’t be avoided.

9. Google Patents

Google Patents provides one of the most comprehensive collections of patent data. Patents are a good source for documentation. We’ve used Google Patents for understanding the way Google’s algorithm works and documented a blog post about context SEO.

Bill Slawski is the founder of SEO by the Sea and Google patents master because he can make any individual understand the encrypted world of patents.

I started paying attention to, and looking for new patents from Google after reading on about Information Retrieval based upon historical data, which was written by some of Google’s top search engineers, and focused upon indexing stale content and spam content, and how Google might avoid both.

Bill Slawski

Director of SEO Research at Go Fish Digital

10. Google Scholar

Google Scholar is a free and accessible web search platform that provides a lot of academic literature. Google has a massive collection of resources, which can be a go-to place for case studies or stats for every-day business. You can find articles, theses, books, abstracts and court opinions, from academic publishers, professional societies, online repositories, universities and other web sites.

It is a good place for documenting on a specific topic or field of activity, where you have your business.

11. Google News

It’s a must to keep up with the news, see what is out there. Find out any information that could benefit you and could influence your business. On Google News you see lots of articles based on your regions and language settings. You can see customized headlines, based on your preferences.

Google News can also be used as a source of inspiration for marketing campaigns, articles ideas, business goals and for implementing new business strategies. Search for any topic you’re interested in, such as digital marketing or business, technology, entertainment, science, sports, science, health.

12. Google Play Developer

Google Play is a digital service that offers a large collection of Android apps, games, music, movies, TV, books, magazines & more. Developers can add that type of content on this digital distribution service.

You need to sign up for a Google Play developer account to create apps using your Play Console. Create an account and pay the $25 registration fee. Go to All applications > Create application. Then, select a default language and add a title for your app. Type the name of your app as you want it to appear on Google Play.

13. Google Alerts

Google Alerts is a tool for managing your online reputation, by following topics or companies that you’re interested in. There are customizable settings for every alert, based on your preferences.

Google Alerts can be used for companies to receive notifications on specific topics and be up-to-date with what’s happening in your domain of interest. You’ll receive emails every time Google finds an article about a topic you set an alert for.

The tool can be useful for cases when you want to monitor your brand or spot trends, spy on your competitors and find out valuable information for future marketing campaigns. See exactly where your competitors appear (sources), what type of content is promoted, what is the context.

14. Youtube for Business

As a company that wants to thrive in the online world, having a Youtube account is a great asset. For SEO, Youtube can generate more brand awareness and therefore traffic to the website. There are certain situations when the video content has better rankings that the website content.

In the screenshot below you can see that for the query “cronuts with puff pastry” Food And Wine is ranking with the Youtube video on the second position and with the website content on the second page.

Might be an isolated case, might be a real fact. There’s the same content, the difference is that on Youtube it is posted a month later than the article on the blog. The difference, in this case, might be the Domain Authority gained by Youtube in comparison to foodandwine.com. Another great Youtube benefit is the comment section. Comments and user-generated content, in general, are a great asset for SEO.

Long story short, Youtube is a tool that shouldn’t miss from a company’s profile.

15. Blogger

Similar to WordPress, Google Blogger is a platform for blogs with more limited features. It can help you create a fully customizable theme to fit your blogger style. From simple and sleek to fun and funky, there’s a whole list of themes.

Blogger can be used by anyone who wants to have a blog. Google made it easy to write your posts and to manage them without problems. It’s even easier than WordPress. We all know how important content is, so businesses shouldn’t encounter any issues in achieving that with Blogger.

In 2019, blogging should mean fresh and evergreen content, updated consistently, serving users’ purpose.

III. Google Tools for Time & Projects Management

16. Google Calendar

For every business owner, organizing tasks is very important for management and transparency. Google Calendar is a time-management tool that allows you to schedule every meeting and event and receive reminders.

The good thing about the calendar is the fact that you can synchronize it with your smartphone and have all your information in your pocket. You can manage your calendars and see the information categorized based on that. Invite guests and send them reminders to the meetings.

Google Calendar allows you to schedule whatever type of event and integrate other plug-ins and manage time and activity more efficiently. For example if you’re having webinars or meetings, you can use Cisco Webex, Zoom, GoToMeeting and more.

17. Google’s Assistant

Google’s Assistant is an AI-powered virtual assistant available on mobile, smart home devices, smart display, and a lot more. Very easy to use and set up to find whatever you want on search and on your phone (emails, messages, phone numbers, WhatsApp messages and a lot more) by offering us the possibility to make voice searches and personalize our content on Android, even if you’re offline.

Google Assistant might be the best fit for every business because it has lots of functions to manage every day to day activity easily and more efficiently. This app helps you perform the following actions:

Find contacts, call, email, send messages on social apps.

Set different actions on your personal phone (set alarm, turn on NFC, turn on Bluetooth, and so on).

Organize your calendar and set up important reminders.

Open apps on your device.

Set reminders for small things. Just say “OK Google, remind me that my car keys are in the kitchen on the counter” and Google Assistant will recall it for you when you ask again.

Listen to podcasts, webinars, songs.

In a fast evolving technology, Google is taking part in history. Google’s Assistant created a lot of buzz through a unique demonstration at Google I/0. The made an actual call to a salon for a haircut appointment.

youtube

18. Data Studio

Data Studio makes it very easy for business owners to visualize data and make it accessible and useful, so your team or clients understand and find the information faster. There are three steps for setting up your dashboard:

Start your project and connect to all your data source to turn your data into informative reports. Connect to multiple Data Sources within one report.

Customize your data by choosing a layout and themes, select metrics and apply your settings to visualize the data.

Share the report with the people who are interested.

Data Studio allows you to tell great data stories to support better business decisions. It works best for creating reports and visualizing the evolution and the changes for every business. It has a few awesome templates which can be used.

19. Gmail

Gmail can be a great support for getting your business emails and creating filters. For setting your work email on Gmail, go to Settings » Accounts and Import » Check mail from other accounts (using POP3). After that, you need to add your email address, password and add the email settings.

Other than that, Gmail is great for setting filters and getting only the information you want without polluting the inbox section. There are lots of actions which can be applied, depending on the type of email you get:

archive it;

star it;

apply a label;

forward it;

delete it;

never send to spam;

always mark it as important;

never mark it as important;

categorize it.

20. Google Drive

Google Drive is a storage platform where you could save Docs, Sheets, Lists, images and other information that you think is valuable for you. It is very easy to use and can be synchronized with your smartphone to keep your data. You can store files on their up to 15 Gb for free.

Save business information, statistical data, presentations, documents, Excel files and whatever you want.

21. Google Cloud

Google Cloud is a suite of cloud computing for secure storage and lots of useful integrations, such as data analytics products. Works very well with Gmail, Calendar, Docs, and Drive. The service boasts with high security whether you build, create, code or store.

When you first sign up for an account, Google offers $300 for free to experiment with different products over a period of 12 months. There are endless solutions to use Google Cloud:

Move to cloud by transferring everything.

Use the hybrid option which allows you to work with open container-based services.

Try the API management platform.

Connect IoT devices.

22. Google Contacts

Google Contacts is a contact management tool that allows you to keep all your contacts in one place and add email, phone number, job title. Apply labels for more filtering options and a more segmented list.

23. Hire

Finding the right candidates can be hard. Google developed Hire, which helps small to medium businesses to share jobs, identify candidates, build a relationship with them and attract them to the company. It uses an applicant tracking system making the recruiting process easier and more engaging.

It has 4 management sections included:

candidate activity, where you have all your candidate information in one place.

candidate relationship management.

candidate sourcing where you can distribute jobs.

G Suite integration

IV. Google Developer Tools

24. Google Search Console

Google Search Console provides valuable information regarding organic traffic, website performance and issues. Every webmaster should register their website into Search Console to have an accurate image of their users’ activity, especially because it’s a free to use service.

Search Console can offer valuable information that will help you get lots of insights. You can set up the next actions:

Check indexability status for any page and see issues related to that;

Check mobile usability for any page you’d like;

Look at the top keywords that bring traffic to your website;

Get a list with the most clicked pages on your website;

See the Index Coverage report with all the pages on your site that Google bots tried to crawl and index, along with all the issues;

Troubleshoot issues for AMP, mobile usability, and other search features;

See top linking sites;

Verify manual actions and security issues;

See sitemaps that Google has found on your site, and submit new ones.

25. Speed Insights

SpeedInsights is a testing tool that gives you recommendations to make your website load faster. Analyze the website and get instant results based on the mobile and desktop version.

The loading speed time is very important for user experience and can easily influence all future actions for a client. Every website should be verified and implement the recommendations. The improved PageSpeed Insights gives you directions on:

The server response time (TTFB) which translates into the time the server it takes to show you that information on the site you entered from SERP.

How to optimize and reduce image size without affecting the visual appearance.

Minimize the render-blocking JavaScript and CSS and structure HTML accordingly.

Verify the Browser Cache Policy.

Optimize the Field Data (insights about the content there is on the screen and the JavaScript execution).

26. Mobile-Friendly Test

Mobile-Friendly Test is a stand-alone tool, which can give extra information beside Pagespeed Insights for mobile. It is mandatory, not even optional to have mobile-friendly websites if you want to thrive in your business. The web has more and more mobile users. Creating websites that are mobile friendly will make them suited for other devices and improve performance.

Add the domain URL, and the testing tool will analyze it. The results will say if the website is mobile friendly or not. For the second situation, the tool will give you some directions. Implement the instructions and run the test once again.

27. AMP Test

Since we’ve talked about mobile optimization, you can AMP to rank better on mobile. Accelerated Mobile Pages is a project designed by Google to make websites load faster and rank better in Google for mobile devices.

AMP is built for speed. Special design, effects and features are not important in the accelerated mobile page. There are three steps to setup AMP:

Create your AMP pages;

Validate your AMP pages;

Make your content discoverable.

You need somebody with technical experience to setup AMP. Before finding somebody, you can test your AMP pages through the AMP testing tool and see what’s the status. The tool shows you if you have valid MAP pages or, on the contrary, the tested page doesn’t have AMP settings.

28. Structured Data Testing Tool

Structured Data Testing Tool helps you discover if the markup data is implemented correctly. It is the easiest way to view a result from your data and check if you set them right. Structured data markup is used by a website to make Google understand better the content on a page.

You’ll have to add the URL to the page that has structured data implemented and check it. After the analysis is over, the tool will be detected and let you know if it has any errors, warnings and items. In case you’ve done some wrong markup, then you’ll be able to see exactly what the issues are. Check out the next printscreen to see a wrong markup structured data setup. Instead of the actual name of the product is the URL.

Bad implementation and abusive structured data use will trigger the Structured Markup Penalty by Google. Make sure your website complies with the quality guidelines and the markup information is showing ok in SERP.

29. Rich Results Test

Rich Results Test is a tool that analyzes your public page to see which rich results can be generated by the structured data it contains. Below you can see an example of a page for Pink’s concerts.

The page is tested and for each Rich results, you get the number of warnings, if there are any. In our case, we found warning for some optional fields, such as:

Missing field ‘performer’

Missing field ‘endDate’

Missing field ‘description’

Missing field ‘image’.

If you have a website that uses or wants to use rich snippets for helping the user get to the most relevant shortcuts on the website, then rich snippets are a great integration. But, it’s important to generate them correctly.

30. Google Optimize

There are two versions, Google Optimize which is the free version and Optimize 360 which is a premium testing. It is an integrated tool that offers A/B testing, website testing and tools for small businesses. Optimize helps every business to test and deliver more personalized experiences on the site.

You can use data from your accounts and there are three options available:

Integrate Google Analytics and use only the data you have there to identify the sections from your site that need improvements.

Use advanced methods through the Bayesian statistical methods to react to the real-world performance of your experiments for more accurate results.

Select sophisticated targeting tools to test the right experience for your customers at the time moment.

There are many situations and templates you could use for offering the right experience to your users. For example, you can create customized messages at checkout or redesign your homepage and a lot more.

31. Tag Manager

Tag Manager is a system created by Google for a simpler way to manage JavaScript and HTML tags used for tracking and analytics on websites. The nice part of the tool is the fact that it gives you information on whether the tag is applied correctly or not. It is easier to install the Tag Manager than editing site code every time you want to add HTML/JavaScript snippets to your website.

You can add a tag from lots of Google tools, such as Analytics, Ads, Search Ads 360, Optimize, Google Surveys and a lot more or even customize. For each tool you’ll have a snippet that you need to add to header.php file.

32. Google Fonts

As the name says it, Google offers a library of licensed fonts. The interactive web directory allows to add fonts in your account and use APIs for conveniently using the fonts via CSS and Android.

Google Fonts is an open-source and 100% free for commercial use. Download fonts for free or embed them in your website easily by selecting the fonts you like. You even get directions on how to add them on your website. Choose fonts that load fast to embed them into a webpage.

33. Google Domains

Google Domains helps you register for a domain, build a site, have web hosting and create a personalized email. The offers start at $12 per year depending on the domain ending or top-level domain and has no additional cost for more domains.

You have to search for a domain to see if the one you want doesn’t already exist. Google domains provides powerful tools and free integrations to have painless management of your domains and lets you choose how much personal contact information you share.

Conclusion

Either you’re trying to create editorial calendars, want to hire new members to your team, create friendly websites, make money online with your website and for your business, track results, create blogs, generate visitors through video and monitor your brand, there are lots of Google tools suited for every business.

30. Google Contacts

32. Hire

It has 4 management sections included:

candidate activity, where you have all your candidate information in one place.

candidate relationship management.

candidate sourcing where you can distribute jobs.

G Suite integration

33. Google Domains

The post The Complete Google Marketing Tools List Every Business Should Know About appeared first on SEO Blog | cognitiveSEO Blog on SEO Tactics & Strategies.

from Marketing https://cognitiveseo.com/blog/21623/google-marketing-tools/ via http://www.rssmix.com/

0 notes

wjwilliams29 · 5 years

Text

The Complete Google Marketing Tools List Every Business Should Know About

We’ve scooped the whole internet to find the most useful and relevant Google tools for everyone who wants to create a good and powerful marketing strategy and a successful business. Here we go!

I. Google Marketing Tools to Monitor& Grow Your Business

Google Analytics

Google Ads

Keyword Planner

Search Ads 360

Google Marketing Platform

Google AdSense

Google My Business

II. Google Resources & Trends

Google Trends

Google Patents

Google Scholar

Google News

Google Play Developer

Google Alerts

Youtube for Business

Blogger

III. Google Tools for Time & Projects Management

Google Calendar

Google’s Assistant

Data Studio

Gmail

Google Drive

Google Cloud

Google Contacts

Hire

IV. Google Developer Tools

Google Search Console

Speed Insights

Mobile-Friendly Test

AMP Test

Structured Data Testing Tool

Rich Results Test

Google Optimize

Tag Manager

Google Fonts

Google Domains

I. Google Marketing Tools to Monitor & Grow Your Business

1. Google Analytics

find out the most engaging landing pages that bring visitors through organic search;

determine the landing pages which have the highest engagement but lack organic search visitors;

identify the best ranking queries for each landing page and more.

GA helps you track any fluctuations in your traffic evolution, so you can spot any drops or improvements and check furthermore whether there is a connection to Google penalties.

Measure overall organic traffic to better understand your users and get insights based on the activity that happens on your website or set up goals to track specific user interactions on site.

The data give you the power to make valuable business decisions.

2. Google Ads

pay-per-click (PPC) pricing model for driving traffic to the website;

cost-per-acquisition (CPA) for acquiring conversions (eg. purchases or signups);

cost-per-thousand viewable impressions (vCPM) for increasing awareness.

Google Ads can give you lots of insights on the searched keyword phrases, best performing landing pages, type of visitors and other descriptive information.

3. Keyword Planner

4. Search Ads 360

Conversions: Use CPA or monthly spend to get more actions.

Revenue: Use ERS, ROAS or monthly spend to get the highest revenue.

Advanced targeting: Use ERS, ROAS and CPA targets for a customized strategy.

Clicks: Get the most clicks while meeting a target monthly spend.

Keyword positions: Use this strategy to keep keywords on a certain position or within a position range.

5. Google Marketing Platform

6. Google AdSense

7. Google My Business

There are several ways to verify your GMB listing:

By postcard

By phone

By email

Instant verification

Bulk verification for more locations.

Also, you can add your social profiles and see all the reviews from your users, integrated into this snippet.

It is recommended to register on GMB because users can get directions, and this will increase the number of clients that come to your store.

II. Google Resources & Trends

8. Google Trends

You can see and compare data across lots of regions and locations around the Globe. There is a time frame available starting with 2004.

9. Google Patents

Bill Slawski is the founder of SEO by the Sea and Google patents master because he can make any individual understand the encrypted world of patents.

Bill Slawski

Director of SEO Research at Go Fish Digital

10. Google Scholar

It is a good place for documenting on a specific topic or field of activity, where you have your business.

11. Google News

12. Google Play Developer

13. Google Alerts

Google Alerts is a tool for managing your online reputation, by following topics or companies that you’re interested in. There are customizable settings for every alert, based on your preferences.

14. Youtube for Business

Long story short, Youtube is a tool that shouldn’t miss from a company’s profile.

15. Blogger

In 2019, blogging should mean fresh and evergreen content, updated consistently, serving users’ purpose.

III. Google Tools for Time & Projects Management

16. Google Calendar

17. Google’s Assistant

Find contacts, call, email, send messages on social apps.

Set different actions on your personal phone (set alarm, turn on NFC, turn on Bluetooth, and so on).

Organize your calendar and set up important reminders.

Open apps on your device.

Set reminders for small things. Just say “OK Google, remind me that my car keys are in the kitchen on the counter” and Google Assistant will recall it for you when you ask again.

Listen to podcasts, webinars, songs.

youtube

18. Data Studio

Start your project and connect to all your data source to turn your data into informative reports. Connect to multiple Data Sources within one report.

Customize your data by choosing a layout and themes, select metrics and apply your settings to visualize the data.

Share the report with the people who are interested.

19. Gmail

archive it;

star it;

apply a label;

forward it;

delete it;

never send to spam;

always mark it as important;

never mark it as important;

categorize it.

20. Google Drive

Save business information, statistical data, presentations, documents, Excel files and whatever you want.

21. Google Cloud

When you first sign up for an account, Google offers $300 for free to experiment with different products over a period of 12 months. There are endless solutions to use Google Cloud:

Move to cloud by transferring everything.

Use the hybrid option which allows you to work with open container-based services.

Try the API management platform.

Connect IoT devices.

22. Google Contacts

23. Hire

It has 4 management sections included:

candidate activity, where you have all your candidate information in one place.

candidate relationship management.

candidate sourcing where you can distribute jobs.

G Suite integration

IV. Google Developer Tools

24. Google Search Console

Search Console can offer valuable information that will help you get lots of insights. You can set up the next actions:

Check indexability status for any page and see issues related to that;

Check mobile usability for any page you’d like;

Look at the top keywords that bring traffic to your website;

Get a list with the most clicked pages on your website;

See the Index Coverage report with all the pages on your site that Google bots tried to crawl and index, along with all the issues;

Troubleshoot issues for AMP, mobile usability, and other search features;

See top linking sites;

Verify manual actions and security issues;

See sitemaps that Google has found on your site, and submit new ones.

25. Speed Insights

SpeedInsights is a testing tool that gives you recommendations to make your website load faster. Analyze the website and get instant results based on the mobile and desktop version.

The server response time (TTFB) which translates into the time the server it takes to show you that information on the site you entered from SERP.

How to optimize and reduce image size without affecting the visual appearance.

Minimize the render-blocking JavaScript and CSS and structure HTML accordingly.

Verify the Browser Cache Policy.

Optimize the Field Data (insights about the content there is on the screen and the JavaScript execution).

26. Mobile-Friendly Test

27. AMP Test

AMP is built for speed. Special design, effects and features are not important in the accelerated mobile page. There are three steps to setup AMP:

Create your AMP pages;

Validate your AMP pages;

Make your content discoverable.

28. Structured Data Testing Tool

29. Rich Results Test

Rich Results Test is a tool that analyzes your public page to see which rich results can be generated by the structured data it contains. Below you can see an example of a page for Pink’s concerts.

The page is tested and for each Rich results, you get the number of warnings, if there are any. In our case, we found warning for some optional fields, such as:

Missing field ‘performer’

Missing field ‘endDate’

Missing field ‘description’

Missing field ‘image’.

30. Google Optimize

You can use data from your accounts and there are three options available:

Integrate Google Analytics and use only the data you have there to identify the sections from your site that need improvements.

Use advanced methods through the Bayesian statistical methods to react to the real-world performance of your experiments for more accurate results.

Select sophisticated targeting tools to test the right experience for your customers at the time moment.

31. Tag Manager

32. Google Fonts

As the name says it, Google offers a library of licensed fonts. The interactive web directory allows to add fonts in your account and use APIs for conveniently using the fonts via CSS and Android.

33. Google Domains

Conclusion

30. Google Contacts

32. Hire

It has 4 management sections included:

candidate activity, where you have all your candidate information in one place.

candidate relationship management.

candidate sourcing where you can distribute jobs.

G Suite integration

33. Google Domains

The post The Complete Google Marketing Tools List Every Business Should Know About appeared first on SEO Blog | cognitiveSEO Blog on SEO Tactics & Strategies.

0 notes

krisggordon · 5 years

Text

The Complete Google Marketing Tools List Every Business Should Know About

We’ve scooped the whole internet to find the most useful and relevant Google tools for everyone who wants to create a good and powerful marketing strategy and a successful business. Here we go!

I. Google Marketing Tools to Monitor& Grow Your Business

Google Analytics

Google Ads

Keyword Planner

Search Ads 360

Google Marketing Platform

Google AdSense

Google My Business

II. Google Resources & Trends

Google Trends

Google Patents

Google Scholar

Google News

Google Play Developer

Google Alerts

Youtube for Business

Blogger

III. Google Tools for Time & Projects Management

Google Calendar

Google’s Assistant

Data Studio

Gmail

Google Drive

Google Cloud

Google Contacts

Hire

IV. Google Developer Tools

Google Search Console

Speed Insights

Mobile-Friendly Test

AMP Test

Structured Data Testing Tool

Rich Results Test

Google Optimize

Tag Manager

Google Fonts

Google Domains

I. Google Marketing Tools to Monitor & Grow Your Business

1. Google Analytics

find out the most engaging landing pages that bring visitors through organic search;

determine the landing pages which have the highest engagement but lack organic search visitors;

identify the best ranking queries for each landing page and more.

GA helps you track any fluctuations in your traffic evolution, so you can spot any drops or improvements and check furthermore whether there is a connection to Google penalties.

Measure overall organic traffic to better understand your users and get insights based on the activity that happens on your website or set up goals to track specific user interactions on site.

The data give you the power to make valuable business decisions.

2. Google Ads

pay-per-click (PPC) pricing model for driving traffic to the website;

cost-per-acquisition (CPA) for acquiring conversions (eg. purchases or signups);

cost-per-thousand viewable impressions (vCPM) for increasing awareness.

Google Ads can give you lots of insights on the searched keyword phrases, best performing landing pages, type of visitors and other descriptive information.

3. Keyword Planner

4. Search Ads 360

Conversions: Use CPA or monthly spend to get more actions.

Revenue: Use ERS, ROAS or monthly spend to get the highest revenue.

Advanced targeting: Use ERS, ROAS and CPA targets for a customized strategy.

Clicks: Get the most clicks while meeting a target monthly spend.

Keyword positions: Use this strategy to keep keywords on a certain position or within a position range.

5. Google Marketing Platform

6. Google AdSense

7. Google My Business

There are several ways to verify your GMB listing:

By postcard

By phone

By email

Instant verification

Bulk verification for more locations.

Also, you can add your social profiles and see all the reviews from your users, integrated into this snippet.

It is recommended to register on GMB because users can get directions, and this will increase the number of clients that come to your store.

II. Google Resources & Trends

8. Google Trends

You can see and compare data across lots of regions and locations around the Globe. There is a time frame available starting with 2004.

9. Google Patents

Bill Slawski is the founder of SEO by the Sea and Google patents master because he can make any individual understand the encrypted world of patents.

Bill Slawski

Director of SEO Research at Go Fish Digital

10. Google Scholar

It is a good place for documenting on a specific topic or field of activity, where you have your business.

11. Google News

12. Google Play Developer

13. Google Alerts

Google Alerts is a tool for managing your online reputation, by following topics or companies that you’re interested in. There are customizable settings for every alert, based on your preferences.

14. Youtube for Business

Long story short, Youtube is a tool that shouldn’t miss from a company’s profile.

15. Blogger

In 2019, blogging should mean fresh and evergreen content, updated consistently, serving users’ purpose.

III. Google Tools for Time & Projects Management

16. Google Calendar

17. Google’s Assistant

Find contacts, call, email, send messages on social apps.

Set different actions on your personal phone (set alarm, turn on NFC, turn on Bluetooth, and so on).

Organize your calendar and set up important reminders.

Open apps on your device.

Set reminders for small things. Just say “OK Google, remind me that my car keys are in the kitchen on the counter” and Google Assistant will recall it for you when you ask again.

Listen to podcasts, webinars, songs.

youtube

18. Data Studio

Start your project and connect to all your data source to turn your data into informative reports. Connect to multiple Data Sources within one report.

Customize your data by choosing a layout and themes, select metrics and apply your settings to visualize the data.

Share the report with the people who are interested.

19. Gmail

archive it;

star it;

apply a label;

forward it;

delete it;

never send to spam;

always mark it as important;

never mark it as important;

categorize it.

20. Google Drive

Save business information, statistical data, presentations, documents, Excel files and whatever you want.

21. Google Cloud

When you first sign up for an account, Google offers $300 for free to experiment with different products over a period of 12 months. There are endless solutions to use Google Cloud:

Move to cloud by transferring everything.

Use the hybrid option which allows you to work with open container-based services.

Try the API management platform.

Connect IoT devices.

22. Google Contacts

23. Hire

It has 4 management sections included:

candidate activity, where you have all your candidate information in one place.

candidate relationship management.

candidate sourcing where you can distribute jobs.

G Suite integration

IV. Google Developer Tools

24. Google Search Console

Search Console can offer valuable information that will help you get lots of insights. You can set up the next actions:

Check indexability status for any page and see issues related to that;

Check mobile usability for any page you’d like;

Look at the top keywords that bring traffic to your website;

Get a list with the most clicked pages on your website;

See the Index Coverage report with all the pages on your site that Google bots tried to crawl and index, along with all the issues;

Troubleshoot issues for AMP, mobile usability, and other search features;

See top linking sites;

Verify manual actions and security issues;

See sitemaps that Google has found on your site, and submit new ones.

25. Speed Insights

SpeedInsights is a testing tool that gives you recommendations to make your website load faster. Analyze the website and get instant results based on the mobile and desktop version.

The server response time (TTFB) which translates into the time the server it takes to show you that information on the site you entered from SERP.

How to optimize and reduce image size without affecting the visual appearance.

Minimize the render-blocking JavaScript and CSS and structure HTML accordingly.

Verify the Browser Cache Policy.

Optimize the Field Data (insights about the content there is on the screen and the JavaScript execution).

26. Mobile-Friendly Test

27. AMP Test

AMP is built for speed. Special design, effects and features are not important in the accelerated mobile page. There are three steps to setup AMP:

Create your AMP pages;

Validate your AMP pages;

Make your content discoverable.

28. Structured Data Testing Tool

29. Rich Results Test

Rich Results Test is a tool that analyzes your public page to see which rich results can be generated by the structured data it contains. Below you can see an example of a page for Pink’s concerts.

The page is tested and for each Rich results, you get the number of warnings, if there are any. In our case, we found warning for some optional fields, such as:

Missing field ‘performer’

Missing field ‘endDate’

Missing field ‘description’

Missing field ‘image’.

30. Google Optimize

You can use data from your accounts and there are three options available:

Integrate Google Analytics and use only the data you have there to identify the sections from your site that need improvements.

Use advanced methods through the Bayesian statistical methods to react to the real-world performance of your experiments for more accurate results.

Select sophisticated targeting tools to test the right experience for your customers at the time moment.

31. Tag Manager

32. Google Fonts

As the name says it, Google offers a library of licensed fonts. The interactive web directory allows to add fonts in your account and use APIs for conveniently using the fonts via CSS and Android.

33. Google Domains

Conclusion

30. Google Contacts

32. Hire

It has 4 management sections included:

candidate activity, where you have all your candidate information in one place.

candidate relationship management.

candidate sourcing where you can distribute jobs.

G Suite integration

33. Google Domains

The post The Complete Google Marketing Tools List Every Business Should Know About appeared first on SEO Blog | cognitiveSEO Blog on SEO Tactics & Strategies.

from Marketing https://cognitiveseo.com/blog/21623/google-marketing-tools/ via http://www.rssmix.com/

0 notes

kdyeowritingsample · 6 years

Text

Invisible Work & Data Citation in the Digital Humanities

Introduction and Perspective

In their call for papers, Graban et. al cite the challenges of “diverging expectations, unequal labor, and invisible work” as particular and central to difficulty surrounding how to delineate and emphasize the value of Digital Humanities work – work that, as well as being done in “intellectual and economic climates that prioritize external over internal validation,” is often highly varied, interdisciplinary, possessing of multiple potential uses, and available for access by many potential communities. It is, “by definition, … eccentric, unpredictable, highly customized, and prone to failure.” (Posner)

With this in mind, I have chosen to explore not only the nature and perception of invisible work, but what I consider a possible aspect of its origin: a disconnect between expectation and practice, and the “issue” of data within the humanities. Is it shared and cited properly? Could a misunderstanding of the subject – and what constitutes “data” in the first place – be both a silent symptom and contributing cause to the problem of invisible work and the way that Digital Humanities work is perceived?

Specifically within the context of Digital Humanities, I believe that this underlying difference in opinion (or basic understanding) of what “counts” as data in social sciences and related subjects may encourage a less-than accurate outside view of our work and its value -- especially in collaboration with researchers and professionals from fields with a more definite and robust history of and community commitment to shared and attributable data.

At first blush – and based on my own experiences consulting and discussing with students from related disciplines – the subject of “data in the humanities” rings too often with curiosity or mild novelty. It is occasionally a surprise that much of what they work with, create, and utilize in various analysis – and to various creative ends – can even be conceptualized as “data” or even sets of data that are as citable and shareable as tables of numbers or coordinates. If that’s true for them, I can imagine it must be so outside of a humanities context, working with employers, researchers, etc who are unfamiliar not only with what constitutes our work and study, but with a conception of data that does not fall in line with their experience.

It’s no real surprise, I suppose – data is an abstraction of the world, and the world is already complex. It -- and data, as a concept -- is perceived, approached, and conceptualized differently in different contexts. Much of my research has involved falling further down a rabbit hole that I’ve lived in for some months now, exploring definitions and understandings of the topic and considering how it might eventually feed into the issue of invisible work. What makes it invisible could be, in my mind, related to the same conceptual issues that sometimes blur the lines of what we do and do not call data, decreasing the likelihood of useful citation or attribution. I think it would be helpful for those in the humanities who hear the word “data” and assume irrelevance to consider its inherent complexities and how they might enhance collaborative work with Digital Humanists, and its ensuing visibility.

Data is representational and contextual, possessing of semantics and structure, like a book. It can and often is quantitative, but can also be qualitative in nature: images, sounds, scans of text, digitized editions of major works, etc. For further thought: “Digital representations of pre-existing artifacts now often take multi-media forms …. Human culture did not end when humans built computers, however, so digital artifacts and born-digital objects are also objects of study for humanities disciplines.” (Sperberg-McQueen 2010).

As the way that data is stored, structured, framed and presented is a reflection of intent, it seems to me that a growing tradition and emphasis on citable data in the humanities could ultimately be used to underline the necessity and validity of Digital Humanities work, driving its visibility.

I suppose it’s like starting at the very beginning, or attempting to remedy a social perspective at an intellectual root, using tools and perspectives from the related discipline of Data Curation. In my mind, it’s easy to look into the challenges within general conceptualization or understanding of data as an object, commodity, or philosophical idea, and how they might feed into the general “epistemic potential” of the humanities work and study that utilize this data (as Graban et. al emphasize in their questioning). I think, too, that when we stand back and ask who is driving the “agenda” of research efforts or development, or even how to secure funded support, data is more than just relevant – it could be a major key.

Additionally, I came across some curious perspectives re: Digital Humanities and data in general. Noah Wardrip-Fruin, for example, in a 2012 article, stated concerns about the field being “limited and marginalized by the perception that it’s simply about data.” I think that this is false – I think we are “limited and marginalized” more by the perception of what data is (and therefore how it can and should be used).

I realize, also, that there is understandable disagreement about modeling practices related to data or attempting to repackage them in order to encourage understanding by other disciplines – for example, Daniel Allington states that an “underlying problem” in Digital Humanities is the “ongoing reconstruction of all disciplines on the social model of the natural sciences.” I’d like to emphasize that, while I absolutely believe that improved citation practices would have the potential to assist in gathering of funds, etc, my main emphasis is the encouragement of collaboration and the pursuit of changing perspectives that would decrease invisibility of work – not “that knowledge can and should be valued primarily for its moneymaking potential.”

Continued Musings re: Citable Data & Invisible Work

Born-digital materials increase by the year, as do digital preservation practices that create “representations of pre-existing artifacts” such as books, maps, letters, and myriad others. Humanists have increasing access to these materials, as well as “digital art forms, hypertexts, interactive games, databases, and digital records” to use, study and analyze. In truth, data in the humanities is as expansive and dynamic as human culture itself, and includes objects such as “digitized editions of major works; transcriptions of manuscripts; thematic collections [and] language corpora.” (Sperberg-McQueen 2010)

However, while humanists are also responsible for the creation and release of these resources, born-digital or otherwise –and though this has been true as long as we’ve had the technology, with increasing popularity of digital editions and the digitization of journals and other scholarly publications -- whether or not they’ve been properly curated as data is debatable, which also means that, in most cases, neither have they been cited or made citable. There are many contributing factors to this, but first I guess we ought to make clear what we mean by “citable” data.

Citation of data is essentially the same as what is generally understood and practiced in the context of academic research and scholarship, and is important because all data should be considered legitimate (and therefore citable) as a product of research (FORCE11), humanities or otherwise. Proper citation also leads to expanded usability and collaboration, which in the age of “open data” is not just desirable, but seemingly more and more a requirement for proper data maintenance and presentation in the first place. Best practices are not only sensible to researchers, but actionable by relevant machines and applications.

This is highlighted in the Joint Declaration of Data Citation Principles from FORCE11, or The Future of Research Communications and e-Scholarship, which states in its preamble “sound, reproducible scholarship rests upon a foundation of robust, accessible data.” The Principles themselves are meant to address the purpose, function, and attribution of data citations, and emphasize several qualities as most important or necessary, including proper credit and attribution, evidence, unique identification with persistent methodology, access, persistence of standard, specificity and verifiability, and, lastly, interoperability (or flexibility).

As you can see, while there are shared and presumably applicable “ideals” as to what constitutes proper citation, ideas and approaches may change based on field of research, as the conceptualization of data may also differ. In the humanities especially, practices seem to be generally mixed and variable. This is due in part to the sheer variety of research and objects of data, but also to a lack of general standardization, education, and perspective within the field regarding data and its citation, as “what is data and what is theory varies from discipline to discipline” (Renear et al. 2009). Accordingly, researchers may simply be unsure how to cite certain resources, particularly in the digital realm, where “resources … combine and recombine with eachother in unpredictable ways,” or where “it may be challenging to identify a title of a data resource, or the names of those intellectually responsible for its content, or the nature of their contribution… [or] a publisher or date of publication” (Sperberg-McQueen 2010). For example, how do we know when to cite a physical journal versus its electronic counterpart? What are the differences between citation of a representation of a book and the book itself? Lacking in standardization of citation practices within the humanities necessarily reflects the broader digital environment, where there are sometimes no established methods for divining the citable identity of various objects. This bleeds into perspectives of completed work and its weight or utility.

Additionally, data citation in the humanities can be affected by factors such as uncertainty related to copyright or intellectual property standards, citation chains that obscure provenance, versioning, quiddity, and the actual longevity (or perceived longevity) of resources. While approaches that have traditionally worked in various fields are historic, understood, and widely accepted – such as rules for citation of earlier publications or copy-texts, for example – they simply do not always translate in a digital context, and it may not occur to a researcher that there is need for them to.

After all, humanities disciplines have devised their own curation practices and theories for hundreds of years, and have necessarily adapted them based on emerging technology. This might make adequate citation less a question of conformance to the standards of other fields, and perhaps more one of “shared concepts” or “shared frameworks” of terminology and understanding between fields, which can be considered beneficial for everyone involved, from the initial researcher to their peers, to university librarians, to data professionals responsible for curation services and innovation, and finally to those in Digital Humanities who work with data to create visualizations, corpuses, and other tools.

As a means of comparing between disciplines, Renear et al. offer “Towards a Cross-Disciplinary Notion of Data Level in Data Curation,” which proposes “comparing the widely used NASA data level categories for remote sensing data with traditional notions of scholarly transcription and editing found in the theory textual crticisim or textual philology” (Renear et al 2009).

Essentially, we are encouraged to consider inherent relationships between drastically different sets of data. These relationships are meant to be understood due to how various data levels (or simply categories, as derived based on amount of processing) are situated “operationally” within a dataset, and not necessarily shared conceptual nature or epistemic significance.

This is useful not just as a means of mentally experimenting with the concept of shared levels, but as a glimpse into the diversity and potential depth of humanities data as a whole (it’s also a paper I’ve thought a lot about, moving between studying data curation, textual history, and now Digital Humanities). Here are some examples of the levels as derived in the article:

But why focus on placement within an organizational schema?

I would argue that the practice of proper and accurate citation (especially with intent toward shareable, reproducible sets of data) ultimately lends itself in particular to the organizational infrastructure of datasets and bases – it feeds into metadata, for example, populating indexes with usable tags and reinforcing the usability and thoroughness of a finding aid. This has the ultimate benefit of promoting ease of access for the user, deepening the potential utility of a project, and broadening perspectives about what data is, what data can do, and what is “meaningful” work.

To take things a step further: data infrastructures “do not simply support research, they fundamentally change the practices and organization of research – the questions asked, how they are asked, how they are answered, how the answers are deployed, who is conducting the research and how they operate as researchers.” (Kitchin 2014). Because data structures are informed by cultural, political and ethical factors based on their intended usage (and the prejudices and intentions of their creators) these echo and rebound indefinitely, and can begin to recolor the landscape of academic inquiry. If we’re very positive, it’s easy to assume that humanities data citation could yield conceptual growth and connection that would enhance academic discourse, credentialing, and scholarship beyond the confines of humanities disciplines as understood. The most important thing here, of course, is how it might affect Digital Humanities work. The fact that citation of data often yields increased collaboration and sharing is an answer to something I took away from Posner’s No Half Measures: that digital humanities projects “do not need supporters – they need collaborators.” Additionally, it increasing the authority of humanities data might necessarily increase the authority of those who work with it, bleeding still further into increased context, weight, and implied value.

All this would necessarily enhance the educational perspectives and needs of data professionals, but also Digital Humanists and their hopeful collaborators. I’m thinking of this particularly with emphasis re: increased understanding and validity, streamlining of design. For Data Curation specifically, a multidisciplinary framework of shared concepts would lend itself to “commonalities … across superficially disparate data practices” and therefore “more robust and effective … theory and technique” (Cragin et al., 2007). I think we could say the same for Digital Humanities – projects that felt unrelated might in fact pull from similar sets of data, strengthening interdisciplinary bonding and collaboration. It might be easier for a researcher or employer to compare projects, and thus have an improved understanding of the work they entail. There may in time be measures and best practices in place that delineate “epistemic potentials for questioning agency, access, participation and use in digital humanities projects.” (Graban et al., 2009)

This could also be true for both educators and students within humanities disciplines, as citation promotes and actively enables open data initiatives. While there is unprecedented availability of resources via online portals, digitization efforts, and the rise of the e-book and born-digital materials, movement toward standardized terminology and attribution through citation could mean a much easier time locating needed resources, as well as spark new conceptual linkage and alliance between fields. This is already being done to some extent through communities of researchers interested in sharing and indexing articles and datasets, but it could be extended to undergraduate/graduate academic cohorts with no issue, and perhaps bleed upward into the professional realm through increased collaboration.

Annotations

1) Posner, Miriam. "No Half Measures: Overcoming Common Challenges to Doing Digital Humanities in the Library." Journal of Library Administration 53 (2013): 43-52.

As it says on the tin. A frank, eye-opening look into typical issues that arise in undertaking Digital Humanities work. Though this is more specifically through the lens of practice in libraries/with librarians, I think this gives perspective that can be applied throughout the field and in various diverse contexts.

2) Sperberg-McQueen, M. (2012). Data citation in the humanities, What’s the problem. P. F. Uhlir (Ed.), For Attribution—Developing Data Attribution and Citation Practices and Standards Summary of an International Workshop (pp. 59-64). Washington, DC: National Academies Press.

Discussion of the “problem” of data citation in the humanities. This clearly lays out the underlying theoretical/conceptual disconnect that contributes to lack of citation, and makes the case for why it is so important – not just for data curators and other professionals, but humanists (digital and otherwise).

3) Renear, A.H., Dolan, M., Trainor, K., Cragin, M.H. (2009). Towards a cross-disciplinary notion of data level in data curation. Proceedings of the 72nd ASIS&T Annual Meeting. Vancouver, BC.

This article stuck with me after I first read it, and I’ve found myself returning to it again and again. It provides an interesting and relevant example of applying cross-disciplinary perspectives to the concept of “data.” This is an example of the kind of project I think could bridge the gap of understanding and contribute to better visibility re: work in Digital Humanities.

4) Wardrip-Fruin, N. (n.d.). The Prison House of Data. Inside Higher Ed.

An example of a differing perspective. Noah believes that perspectives of data are limiting to the field of Digital Humanities – that the idea of being “all about data” is pigeon-holing and of negative effect. I agree that perspectives related to meaning, weight and validity have influence on the way that Digital Humanists and their work are viewed by collaborators, other researchers, and employers, etc, but I have other ideas as to how and why that I have used this paper as an excuse to explore.

5) Polk, Jennifer. "Transition Q&A: Paige Morgan, Digital Humanities Librarian." Links to an external site.University Affairs, April 11, 2016.

I find Paige’s insight invaluable, and have used it not only to formulate recommendations, but also to further my understanding of what it’s like to actually work in Digital Humanities. This interview is very grounding. I also really enjoyed hearing her speak!

6) Data Citation Synthesis Group: Joint Declaration of Data Citation Principles. Martone M. (ed.) San Diego CA: FORCE11; 2014.

This is a great starting point for beginning to develop ideas as to proper/complete/useful data citation. It could be used in this way as an introduction, but also in development of protocol or at various stages of project development.

7) Allington, Daniel. "The Managerial Humanities; Or, Why the Digital Humanities Don't Exist” March 31, 2013.

Another deepening perspective. I do not believe that Daniel Allington would agree that a benefit of increased or improved citation practices would be the potential of better funding for Digital Humanities projects, or that we ought to emulate the practices of other disciplines to strengthen or validate the structuring of our own.

Suggestions

Humanities researchers, educators and students with interest can begin with familiarizing themselves with principles of data citation – this can promote an understanding of basic purposes, functions, and attributions of good citation practices, but also of their importance within the context of humanities research. The first step in embracing best practices is simply to try practicing them – but there are myriad examples of opening data through citation available, as well as ready applicable standards (such as the DDI/Data Documentation Initiative, or DataCite). My idea that this could provide a sort of trickling up of increased attribution → increased validity → increased visibility by default.

Here are some relevant introductory resources:

Creative Commons. https://creativecommons.org/choose/zero/

DataCite. https://www.datacite.org/cite-your-data.html

DDI/Data Documentation Initiative. http://www.ddialliance.org/

DataCite Bibliography. https://datacite.hypotheses.org/bibliography

Digital Research Infrastructure for the Arts and Humanities. http://dariah.eu/

Humanities at Scale. http://has.dariah.eu/

The main goal – the center of my idea – is that citable humanities data could improve perspectives and understandings of humanist’s work by strengthening its academic foundation.

In general, the most important aspect here are those perspectives and understandings themselves. I think there could be increased discussion about citation of data, but also about the nature of Digital Humanities itself – such as the Demystifying Digital Humanities workshops that Paige mentions working on in her interview. A theme I noticed in readings specifically about issues in Digital Humanities was kind of a lack of shared knowledge or definition – the kind of general “rules” or ideas that contribute to standardization within a field. Nancy Posner, for example, mentions the need for administrative help and structuring in addressing various challenges inherent in Digital Humanities work. It just seems like a younger field with need for development of “culture” – if that wording works -- and part of that, in my opinion, is achieved through sharing and academic tradition.

Additionally, the benefits of improved citation as I theorize them might help alleviate such other issues as lack of communication between Digital Humanists, increased interdisciplinary collaboration, and perhaps even issues with equitability when working on interdisciplinary projects, through better understanding of the nature of DH work.

References Consulted

Adler, Nancy J. (1986). International dimensions of organizational behavior. Thunderbird International Business Review, vol. 28 issue 1, pp. 31-32.

Allington, Daniel. "The Managerial Humanities; Or, Why the Digital Humanities Don't Exist” March 31, 2013.

Cragin, Melissa H., MacMullen W. John, Wallis, Jillian, Zimmerman, Ann, Gold, Anna. Managing scientific data for long-term access and use. (2006). Proceedings of the Association for Information Science and Technology. TOC no. 43, 1, pp. 1-9.

Data Citation Synthesis Group: Joint Declaration of Data Citation Principles. Martone M. (ed.) San Diego CA: FORCE11; 2014.

Duerr, R. E., Downs, R. R., Tilmes, C., Barkstrom, B., Lenhardt, W. C., Glassy, J., Bermudez, L. E., & Slaughter, P. (2011). On the utility of identification schemes for digital earth science data: An assessment and recommendations. Earth Science Informatics, 1–22.

Kitchin, Rob. (2014). Conceptualizing data. In The Data Revolution: Big Data, Open Data, Data Infrastructures & Their Consequences, pp. 1-26. Sage.

Palmer, Carole L., Weber, Nicholas M., Muñoz, Trevor, & Renear, Allen H. (2013). Foundations of data curation: The pedagogy and practice of ‘purposeful work’ with research data. Archive Journal, 3.

Polk, Jennifer. "Transition Q&A: Paige Morgan, Digital Humanities Librarian." Links to an external site.University Affairs, April 11, 2016.

Posner, Miriam. "No Half Measures: Overcoming Common Challenges to Doing Digital Humanities in the Library." Journal of Library Administration 53 (2013): 43-52.

Renear, A.H., Dolan, M., Trainor, K., Cragin, M.H. (2009). Towards a cross-disciplinary notion of data level in data curation. Proceedings of the 72nd ASIS&T Annual Meeting. Vancouver, BC.

Sperberg-McQueen, M. (2012). Data citation in the humanities, What’s the problem P. F. Uhlir (Ed.), For Attribution—Developing Data Attribution and Citation Practices and Standards Summary of an International Workshop (pp. 59-64). Washington, DC: National Academies Press.

Tarez Samra Graban, Paul F. Marty, Allen Romano, and Micah Vandegrift. Call For Papers: Invisible Work in the Digital Humanities. Florida State University. 2017.

http://iwdh.cci.fsu.edu/themes/

Wardrip-Fruin, N. (n.d.). The Prison House of Data. Inside Higher Ed.

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mikibin-blog1 · 6 years

Text

Think Like Ai Weiwei

He’s been both the exiled rebel artist from China and the world-renowned creator of the Tate Museum “Sunflower Seeds” exhibition. He’s done everything from flipping off famous monuments to designing Beijing’s 2008 Olympic Bird’s Nest stadium.

//image in the middle: Ai weiwei, abstract illustration of him in the middle

//draw sunflower seeds on one side of him

// draw the bird nest stadium on the other side

With his expansive and ongoing art projects and architectural works, it is quite impossible to put Ai Weiwei in any artistic category.

// We print out all the photos of his work and slowly move them up the screen, sliding them across a desk. - a scrolling list, in the film develop frame, all Ai weiwei’s iconic work in photography, architecture, documentary, sculpture, scrolling down

For Weiwei, the creative process is grounded in activism; Weiwei insists that artists need to engage directly with current events, and do so as loudly as possible. By first observing and researching his subjects, Weiwei compiles resources and data from global crises and events to create his art projects. Ai Weiwei avoids personal style and thinks like a designer, presenting subjects in a way that can drive further activism and movement. In order to do so, the creative process must be based on the power to act and speak fearlessly in support of global human rights.

//A drawing picture of Weiwei with sand, charcoal, and moveable paints surrounding him. During narration, artist smears charcoal over Weiwei, splatters paint on him, and a cacophony of colors and media surround him.

When asked about how he works and begins projects, Weiwei immediately insists the greatest trait of an artist is fearlessness. As an artist, he strives to be forward, direct and clear about the issue he brings light to. Because of this, he has a variation of representational projects, and very direct projects that immediately point to an injustice.

//On a piece of paper, where background is filled up with words used by ai weiwei for human injustice, use bold red paint to paint the english word “fearless” and chinese character “wuwei”.

//by the end of the scene, the paper is torn down from the sketch book

SICHUAN - GATHERING RESOURCES FROM AN EVENT

After the Sichuan earthquake in 2008, Ai Weiwei responded to the Chinese government’s silence about the children’s deaths by posting a list of the 5,000 names of children killed because of the collapse of their schools. The government remained secretive about the earthquake because it brought light to the poor construction of the schools. His piece wasn’t necessarily “artistic” or “abstract”, but Weiwei’s point was clear - he wanted to honor the deaths of the children and bring to light a tragedy the Chinese government hoped to conceal. He further took all the colored school bags from each school and created a huge frieze and used the bags to spell the quote from a mother who lost her child in the earthquake: “She lived happily on this earth for seven years”. Weiwei collected the hundreds of reinforcing steel bars collected from the rubbles, and piled them up on an exhibition floor in fluid shapes.

In the creative process for this project, Weiwei studied the catastrophe, collected and gathered all the data and resources available to him, and displayed them in a memorial way, one that was accessible to an audience while honoring the children.

// split screen:

//on the left:

//Recreate the bag frieze art work. Colored paper in the shape of bags, placed on by one on a big sheet of paper, to from the character “7”

//on the right:

//On a blank excel document, screen videoing typing in the information of the children’s information from the earthquake.

//full screen:

//A stack of house of card, by the end of it it blows up and collapse

LESS REPRESENTATIONAL ART VS. MORE REPRESENTATIONAL ART

In his vast portfolio, Weiwei’s creative process is specific to the content he works with. In his “Fairytale” piece, Weiwei sent 1,001 Chinese people who had never been to Europe to wander around Kassel, Germany. His thinking for this project was simply to give the opportunity of travel to these 1,001 individuals, and bring to light the importance of traveling. The beauty of art pieces like this is that his message is easily accessible while simultaneously benefiting another group of individuals, one of the few consistencies seen in Weiwei’s work.

On another level, Weiwei’s “Sunflower Seeds” exhibition and recent “Good Fences Make Good Neighbors” NYC exhibition include much more representational and conceptual elements. And much like the philanthropic work seen in “Fairytale”, Weiwei’s “Sunflower Seeds” project involved employing thousands of Chinese workers to hand paint all the individual porcelain seeds at the Tate museum.

//video footage of the people traveling and arriving at Germany,

// video footage of chinese workers hand paint the porcelain sunflower seeds

AVOIDING STYLE AND THINKING AS A DESIGNER

Weiwei further challenges himself by working with media he is unfamiliar with, to understand the benefits it offers in certain projects. For his Tate exhibition “Sunflower Seeds”, Weiwei used porcelain specifically because he hated the material. Weiwei further avoids staying consistent with media because he intends for his work to be about issues and not his own personal style. Weiwei wants his work to speak for itself long after him. When working, Weiwei prefers to think as a designer - how can ideas be remodeled to represent global issues to the audience in a new light?

//a piece of paper, bold read, “hate” on top of it

//folding it into a small origami crane, the word hate has been distorted, it is put into a still water pond symbolizing peace

BLOG

Ai’s sketchbook is his blog and corresponding social media sites. Weiwei’s online posts are entryways to what surrounds Ai Weiwei on a daily basis, as he describes his posts in interviews. His posts indicate what drives him to continue working on projects. The blogging is less an artistic interpretation and more about the issues that need to be represented, and the work that must be done for these issues.

//on the twitter page, in the posting page, screen recording

//one by one type in the the great quotes from Ai weiwei

COLLABORATION

When asked about how he stays creative, Weiwei claims that he is actually only creative when he is collaborating with other artists and surrounding himself with other individuals. His more famous collaboration with Herzog de Meuron led to the Beijing Olympics Bird Nest stadium. The mind blowing architecture is a mixture of form and shape inspiration from Ai Weiwei’s previous experience, and the simplicity and functional design principle from Herzog de Meuron.

// a chinese brush painting the silhouette of the outline of bird nest stadium

// as soon as it is finished, another pop up card, display the 3d version of bird nest stadium

QUIETLY LOUD

Ai Weiwei is quiet in the sense that he begins his process by observing and researching - gathering all he can about his work. He further intends to strip his projects of his own style and using consistent media, and rather create projects that best suit each global issue he addresses. But alongside hiding away in his Berlin studio, Weiwei’s work stands as some of the loudest, most controversial work in recent years, leading to his Chinese exile. With all of his work, Weiwei drives political and social awareness by creating pieces that vividly capture catastrophes and human injustices, from refugee movements to Chinese governmental oppression. Because of the way he works, Weiwei’s projects will continue to speak loud and clear long after Weiwei’s life.

//on a blank piece of paper, use white crayon to paint the word “quiet” on top fo the paper, and splash bold paint on top of it so the word “quite” appears

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jeffreydellit0-blog · 6 years

Text

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jamesodell2 · 7 years

Photo

Jean Micheal Basquite Analysis:

In this session we were introduced to a new artist called Jean Micheal Basquait who created informal graffiti and was part of the duo SAMO. He also created abstract pieces of art with the use of cheap resources such as emoltion paint and wax crayons etc and did these in all different scales also on odd surfaces such as doors and windows.

What our aim was for this session was to firstly look and analyse some of Basquait’s most famous pieces and write words and visual images which came into our heads. The first image we looked at from Jeans collection was very bright and quite godly, I though this because of the colours he used and small symbols and illustrations which all linked to religious and maybe cultural issues during that time. The others words and phrases I came up with for this piece was: influences Thor - lightning Most kings get their heads cut off - frustrated

One other image I decided to look at was the final image and this really appealed to me because it was very busy and contained many different theories and meanings. What ideas I gathered from this was human strength and not just being physical and maybe showing the similarities between mental and physical. However I though this piece was based a lot around power and this changes different things such as human form to science and atomic symbols.

Unlike most artists Basquait didn't want to create a piece of art, but just simple illustrations of his thoughts. He didn't usually think about the art he was creating and was just focusing on what was going on in his mind/ life as he was thinking it. He wasn't worried about what he created as long as it gave of his expression and thoughts, this didn't have to be through image and he didn't take no care in what this looked like and portrayed to different audiences through visual poetry.

What i liked about Jean Basquiat’s work is the visual consistency it contains through each image and the way it contains pieces of his early work of SAMO which was small bits of poetry hidden within the image. His work also gives of a conscience which creates different effects to audience.

Overall I thought this session was really good and helped us link back to the relation between text and image, this is because I feel Basquait uses this really well through small pieces of text and random small illustrations which give his images special meanings.

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jaredtudawali6-blog · 7 years

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What information Is - And Just what it is Not.

information Reviews & Overview.

info Tips & Overview.

The International Journal of Regulation as well as Infotech provides reducing side and comprehensive analysis of Information Technology, interactions as well as cyberspace legislation along with the concerns emerging from applying Info and also Communications Technologies (ICT) to legal practice. BUT (yes, there's that large yet once again) ... that info is not valuable to her. It begins with the review of integers as well as an extensive insurance coverage of the fundamentals of limited group theory complied with by the RSA and also ElGamal ciphers. The second information within this collection is that they could workout furthermore apart from reducing the calorie consumption to multiply the result. Regulars are the resource of created information that are launched or issued after a certain amount of time. The journal concentrates on understanding systems and advanced information systems, including their academic foundations, facilities and enabling technologies.. Articles disseminated through are indexed, abstracted and also referenced by lots of abstracting and info services, bibliographic networks, registration firms, collection networks, as well as consortia. A highly skilled and fully qualified company that focuses on the field of innovation public relations can assist research companies market their products to the masses, yet not in a traditional advertising and marketing or advertising feeling. This component likewise covers medical local area network and also systems and also information safety and also protection. To learn more on these areas of passion you can go to Perpignan France Tourism Workplace on line. But Google needs to locate a method to transmit its info at no cost to its individuals. February 24, 2011: We included a description of the details we receive from third party services such as Facebook Link. The various other info presents certain formulaes as well as step by step instructions through which someone can determine their calorie demand much more accurately. You could give specific directly recognizable information eco slim to HubPages directly, such as Your initial and also last name, telephone number, address, tax info (such as a Social Safety and security Number), bank card or PayPal ® details, as well as email address (jointly, Personally Identifiable Information") when deciding to register, to purchase through the Service, to take part in promotions or surveys, or to register for any type of newsletters or various other circulation checklists.

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u1512727-pa5304-cw3-blog · 7 years

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CW3

ReferencesChion, M. (2013). Audio-Vision. 1st ed. New York: Armand Colin.Kalinak, K. (2010). Film music. 1st ed. Oxford: Oxford University Press.Schaeffer, P. (2013). In search of a concrete music. 1st ed. [S.l.: s.n.].Before I set about brainstorming and outlining the idea for my CW2 project, I knew it was imperative that I had a competent understanding of the historical context of the field I was working in, audio-visual material. This was so as to ensure that I was working in a definitive direction, for a pre-determined goal, and not just working for the sake of working.

In my own music outside of the learning environment, I intentionally try to use field-recorded sounds, obscuring their original sources. In this regard, I take a large degree of inspiration from Musique Concréte (concrete music), a style developed and popularized by Pierre Schaeffer in the early 1940s that emphasizes the contextual repurposing of recorded sounds to achieve a piece of music which is fundamentally a collage of field-recorded sounds. This prior experience with this particular technique gave me an advantage when creating my CW2 compositions, as I had already been exposed to the mechanical logistics of recording sound before contextually repurposing it.

I understood the concept of synchresis prior to starting the project, as it tied in with my experience with Musique Concréte. The phenomenon of synchresis is “an acronym formed by the telescoping together of the two words synchronism and synthesis: “The spontaneous and irresistible mental fusion, completely free of any logic, that happens between a sound and a visual when these occur at exactly the same time.”” (Chion, 2013) Synchresis is, in a nutshell, the harmonious relationship between visual elements and the visual cues used to represent them, which are more often than not a completely different sound altogether than that which the visual element in question would produce in real life: “This re-association is done for many reasons: sometimes in the interests of making a sound appear more “real” than reality (what Chion calls rendered sound ) – walking on cornstarch, for instance, records as a better footstep in snow than snow itself” (Chion, 2013) This is an example of acousmatic sound, that being sound that is recorded with the intended purpose of said recording being played back, and not reproduced in a live environment or context.

This fundamental understanding of synchresis was crucial in my own approach to my CW2 compositions, as I understood that a lot of the sounds I needed for my linear composition would have to exploit this phenomenon. At the same time, however, my lack of resources meant that I had to stay true to life in a lot of instances also.

Before I even started gathering my foley recordings, I asked myself where I wanted my compositions to be categorized, canonically. I considered who my contemporaries would be in order to allow that to influence my own artistic direction. The single most consistent influence was Flying Lotus. In their review of Lotus’ third studio LP, Cosmogramma, Billboard said: “Flying Lotus’ appeal lies in his ability to seamlessly combine disparate sounds.” I, however, consider this to be a severe underestimate of what makes Flying Lotus so captivating. He has, throughout his career, displayed an understanding of the audio-visual relationship that artists seldom do. His insistence on ensuring the visual components of his art are cohesive with the audio components, and his consistency in doing so, are what make Flying Lotus such a singular talent.

The video to Flying Lotus’ Ready Err Not, from his fifth studio album, You’re Dead!, was one of the biggest sources of inspiration for my own linear CW2 composition. Despite being a music video, the visuals (animated by David Firth) tell a narrative using unsettling imagery. The disturbing visuals create a juxtaposition with the calm and ethereal music, cultivating an atmosphere of unease. This was something I wanted to emulate in my own composition, which was the main reason why I decided to use the video to Pala Leda by Janzilker, as it too is an animated video exploring dark subject matter. I took note that the video to Ready Err Not has additional sounds not in the album version of the song. These sounds are mainly recorded foley which corresponds with the visual cues in the clip. I decided that I wanted to head in the same direction, creating a piece that effectively used both musical motifs as well as foley, equally, in correspondence with a visual, to create a harmonious, coherent whole and tell a story in the process.

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For certain sounds in my linear composition, I made heavy use of synchresis. For example, when a person blinks, there is no discernible, audible sound. However, when different characters in my linear composition blinked, I would record myself literally turning a page in a book, producing a very satisfying sound that read as an eyelid flicking. I then processed this sound, compressing it and adding reverb, in order to make it sit in the mix atop the musical motifs.

Similarly, certain visual cues more abstract in nature had no real-world sonic counterpart at all. For example, a series of geometric patterns expanding and contracting is a purely abstract concept which doesn’t produce a sound at all, it is a wholly visual element. Therefore, it was up to me to use the concept of synchresis to produce a new sound altogether which would effectively register as an appropriate sound to the audience. For sounds such as these, I relied more on sound synthesis than foley recording, in order to make use of abnormally longer decays and emphasise the abstract nature of the sounds.

For the musical motifs, I drew upon three distinct musical styles: ambient soundscapes, lo-fi beats, and trap music. These three sonic aesthetics were used to represent different stages in the narrative, juxtaposing the surreal, unsettling imagery with ethereal sonics, akin to Flying Lotus’ signature style.

As production of my linear piece went on, I began to blur the line between music and foley. For example, in the transition into the trap segment of my musical motif, instead of using a foley recording for the synchresis of the protagonist’s heartbeat, I simply played the kick drum of the previous musical piece in time with his heart visibly beating. Although this sound has just been heard for over 3 minutes as part of a consistent percussive rhythm, synchronizing it with the visual cue of a heart beating suddenly makes it read seamlessly as an actual heartbeat.

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My non-linear piece was similarly influenced by Flying Lotus. After seeing Lotus perform live twice in the space of a few days in 2013, once at Park Life festival in Manchester and once at the Roundhouse in Camden, I was struck by just how spontaneous every element of his performance was. Both the music and the visuals were completely different each time. One of the creators of the visuals for Flying Lotus’ live sets, John King, describes this unique process: “It’s all live improvisational performance, he may play something totally abstract that we’ve never heard before or everything might be out of order. We have great moments of flow and synchronicity and we’re finding new things all the time because it’s not set, it’s not time-coded.” In essence, this means that never are the same sounds or visuals produced twice.

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I was greatly inspired by this unique and spontaneous audio-visual relationship and decided to emulate it in my own non-linear composition for CW3. I took the influence from Flying Lotus further than just the mechanical logistics of his live performance: in fact, the visuals I used in my composition were from a free video pack released by Beeple, an animator and video maker heavily affiliated with Lotus’ record label and creative collective, Brainfeeder. The same animator who produced the video to Flying Lotus’ Kill Your Co-Workers, a song which heavily inspired the music in my own non-linear composition.

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I created an Ableton project which would function as a fully autonomous live set, blending music with imagery, but never in the same way twice, thereby creating a unique, non-linear audio-visual relationship. However, fundamentally, I lack the human component of an actual assistant acting as my personal VDJ. On the contrary, my visuals are controlled strictly by an algorithm that was carefully programmed using Ableton’s Follow Action parameters. Despite my meticulous attention when programming these parameters, without the human intervention of a conscious third-party, it is very much possible (though unlikely) for sounds and visuals to be repeated in the same arrangement in sequence.

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I’m satisfied that my CW2 compositions, both the linear and non-linear, are consistent with my contemporaries in the field of audio-visual art. My passion for sound, and my interest in the marriage between sound and image has manifested itself as an innate understanding of the fundamental principles of the two, which has helped me greatly in understanding the context in which my own art exists. In retrospect, a deeper understanding of Michel Chion’s ideas on the audio-visual would have benefited me not only logistically, but also conceptually. This is a lesson I will take with me going forward.

Bibliography

Chion, M. (2013). Audio-Vision. 1st ed. New York: Armand Colin.

Kalinak, K. (2010). Film music. 1st ed. Oxford: Oxford University Press.

Schaeffer, P. (2013). In search of a concrete music.

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