Fungus the Bogeyman - Kinetic Playground - Unleashed (CD)
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Assign us your assignment the paper is then sent for editing to our clients are privileged to have personal In many cases it remained the only one they saw in their lives. Though a derivative architectural work it became a legendary and poetic symbol of Crimea. Despite the 30 years that have passed since the collapse of the Soviet Union, Crimea remains a truly Soviet place.
Here and there you may see shabby residences of former communist party leaders that still look quite epic. Rattling trolley buses will take you. You can also hire an unofficial taxi for a roller coaster experience on the serpentine mountain road, while enjoying breathtaking views through the windows of your Volga car. Check in one of the simple guest houses: it is very likely that it has worn wine red curtains and dusty crystal lamps in the hall — original and authentic examples of Soviet luxury.
Going to Crimea will be especially cost effective if you take your home with you. Hidden beaches between the Crimean mountains are full of camping sites. Adventurers and hikers, archaeologists, young families and students live there in tents like hippie communities in 60s.
They eat canned food, swim naked and playing guitars into the night, gathering around a fire. But this is something these children of nature can easily tolerate. Crimea is a diverse place. In some places it looks local and private, ready to hide you in its narrow mountain tracks or small town back alleys alleys. In other places the landscape is one of towering peaks and green plateaus.
Here intimacy meets grandeur. But what makes Crimea most diverse is its multicultural feeling. This region has always had an extremely heterogeneous population, speaking various languages and following different religious traditions.
All nations nearby have kept an eye on their own sacred places and historical sites, sharing these highlands and coastlines. Sometimes the pristine Black Sea water seems to be the best thing for cooling down when it comes to a conflict. Yet, analytic and well targeted. Our thanks to everyone who entered for the high quality of work submitted. Watch out for more pieces which will be published in due course. Special thanks too to Space Doctors for their generosity in sponsoring the prize.
And to Pavla Pasekova for her inspiration and unstinting support provided to contestants and judges from start to finish. Every day millions of people all around the world use railway transport. However at the same time for many of us taking a train is perhaps not such an ordinary experience. Imagine a student on a train finally returning home after a semester of study abroad, or maybe grandparents paying a visit to their grand children in a far away megalopolis, or just a tourist who had to save money for a number of years in order to travel around Europe with hop-on hop-off rail pass.
On the other side of the fence — in the world of rail companies — it is all about constant, sometimes even aggressive, competition for passengers. And such state of affairs is not surprising, because the rail operator success formula is relatively easy and obviously not very unique — bigger passenger flow brings higher profits. That is the reason why each and every rail company tries to search for the best ways and channels to communicate with their potential passengers, to persuade you and me to use their services.
If only a few decades ago railways had more or less monopolistic position in a niche of passenger logistics, nowadays they have to fight with aviation especially low-cost airlinesbus companies and private auto transport which all, just like mushrooms after the rain, became widely spread over recent decades.
As result the first line of combat is about the fight between Fungus the Bogeyman - Kinetic Playground - Unleashed (CD) and other modes of transportation.
In this battlefield rail companies usually fight together, on a sort of joint front, while sharing a common discourse. Their language of argumentation gets constantly perfected and as of nowadays usually includes:. Trains being presented as more energy-efficient per passenger and polluting far less compared to airplanes and cars.
Historically train stations tend to be located in city centers, thus taking a train promises passenger departure and arrival to the city center, no need to travel to the distant airport, spend time for check-in, security checks and other air travel related nuisances.
The overall practicality of choosing rail transport is widely stressed. Traditionally train seats and especially berths tend to be more spacious and comfortable compared to bus or airplane seating. Train passengers also can always easily stroll around the carriage, stretch, visit the dining car etc. Rail companies tend to advertise scenic views from the train window as something totally different than clouds seen through plane windows or highways with cars passing by.
Train passengers are often promised to expect spectacular scenery. Probably the most successful examples of such branding of train trip can be seen from Swiss private railways running touristic trains Glacier ExpressBernina Express and the like.
Rail journeys just for the sake of enjoying picturesque natural beauty. The globalized world is usually about speed and air travel, so rail operators came up with a sort of contrasting idea to sell — the train journey portrayed as something refreshingly traditional.
The passenger is offered not just a ticket from destination A to destination B, but the experience of the journey. An experience like a trip taken from a movie script of the old film or a diary of someone who travelled on the late 19th century Orient Express.
While at the end it inevitably comes to promoting only your company or your train, and here examples and possibilities are definitely much more diverse. For instance just last year Italy witnessed an arrival to the domestic market of the new private rail company Nuovo Trasporto Viaggiatori NTV. One of the main shareholders in the company was well-known Luca di Montezemolo Chairman of the Ferrari Company. Italo trains were almost instantly praised for the level of comfort and service never seen in Italy before.
As result nowadays even ordinary passengers, and especially visitors from abroad, would refer to the NTV rail service as being associated with the Ferrari brand. And definitely in this case the reference to Ferrari is rather symbolic and brings along quite obvious connotations and meanings favorable for the company exploiting such branding. However the funniest thing in this story is that NTV-Italo trains actually have almost nothing to do with Ferrari maybe besides the choice of color and the persona of di Montezemolo.
They were produced by French transport corporation Alstom. But does it really matter if NTV managers can maintain the Ferrari connotations? It is a case where one particular train became a brand and an easily recognizable symbol.
If advertising were a singularly effective form of communication, opinions about products and services would be homogenous across the audiences that viewed the advert. Advertising must constantly work to combat these outside forces in order to homogenize the opinions of the audiences it works on. The place where we can vividly see this at work is in tourism advertising. This is because it is in consideration of places that people, for better or worse, tend to have and hold a largely monotone opinion — a sort of synthesis of various opinions and stereotypes that one collects when exposed to information of that place.
Very often advertisers of place must combat this barrage of negative opinions. We can imagine that in light of the recent knot of political circumstances the country has been in, it would be very hard for any marketer of place to create an effective campaign for Afghanistan, despite the fact that surely! Such a person would have to create an advertising campaign that in some respect could combat all the negative associations of that place; near ten years of war, a link to terrorism, a key component of the opium trade, internal strife, and very oppressive members of their society.
This extreme example very clearly illustrates the problem in marketing place, but what about a potential solution? Italy has not in the recent years held the countries that formed Yugoslavia in highest regards. It might be that the proximity allowed Italians to witness the worst of the eastern bloc without being in it, or it might be that the very same proximity brought many Yugoslavian immigrants to Italian shores. How this came about is not terribly relevant; what is to the point is that Italians still associate some of the countries with that rather bleak period of their history.
It is sad to say, but to a certain extent the rather vivid memory of Tito and ethnic tension still lingers in the memory of many Italians.
Such opinions disregard how very much those countries have changed since It is the responsibility of these countries and more specifically of the marketers of place responsible for the tourism therein, to attempt to change the opinions therein. Carnival at Rijeka, Croatia, spectators included. Let us for a moment consider just a few opening shots of a video that, although not geared specifically towards Italians, is still used to promote Croatia to an Italian audience.
The video begins in a rather straightforward manner; a few opening shots of the sea by which many tourists will arrive; the very same sea, we are shown through the images of people in seemingly traditional dresses working on boats, that seems important to a Croatian identity. It is interesting to note the presence of a white and black stripped shirt; an object often associated with Venetian gondoliers.
The next shot show a gate, presumably a city gate, opening to release a group of tourists. It is at this scene where the video becomes rather interesting, for it continues to follow this group of tourists around as they explore Croatia.
This is a splitting from a normal stylistic point of tourism advertising. Normally in tourism adverts tourists are expunged completely; in that people consider tour groups to be a nuisance in real life, in most brochures and commercials they are either removed or kept to a minimum as not to detract attention from the monuments which are meant to be exhibited.
In fact, much of the rest of Fungus the Bogeyman - Kinetic Playground - Unleashed (CD) commercial has the figures of tourists expunged in a similar manner.
As an occasional alternative, certain tourism commercial will prominently feature one tourist from whom the viewer can, for those few seconds, live a brief vicarious vacation meant to form an appetite for that place. This, however, is different; the next few shots are littered with dozens of tourists engaging in what are very obviously tourist activities. For the most part, they herd around in groups and take pictures of monuments. So if the conventional wisdom argues that the opposite should be done, why has Croatia chosen to do this?
The answer would appear to be to convince the viewer that Croatia is indeed a place where a multitude of tourists visit. Showing the city devoid of people would perhaps showcase the beauty of the city and its monuments in a certain light, but it would as well make it seem abandoned and thus somewhat eerie.
This of course would not be a very good marketing point. Doing it instead in this manner showcases the liveliness — and at the same time showcases the safety — of tourism in Croatia. When a person cognizes a place it is difficult for them to do such in any form that resembles a totality.
Places, complex as they are, do not sum up easily; thus a person is obliged to think through the catalogue of opinions she or he may have of a place. For this reason, it becomes rather beneficial for the marketers of place to constantly insert new and fresh opinions into a cultural understanding. This both widens the catalogue of impressions a person may have of a place while perhaps diluting away the negative understandings that have been unfortunately maintained throughout the years.
What the advertisers of Croatia have done in the commercial done is beneficial; in a country that still tends to bear the burden of an unpleasant recently history, such a demonstration seems absolutely necessary. The effort is certainly laudable. What will be noticeable about these conversations is that each of the aforementioned are held up to represent the over-the-line excesses of mainstream pop music, eliciting some sense of moral outrage through performances heavy with cultural appropriation, sexual politics and unabashed explicit vulgarity.
A developing point from these examples is that the ensuing reactions can be traced to a branding template of sorts, widely adopted by fellow pop artists, one that sees elements of subversion and provocation performed in individual or body of works. Moreover, while provocative music augmented by subversive and countercultural imagery has been prominent of late, it is not a recent development.
On the other hand, however, such formulaic branding inclinations and attempts to translate seemingly countercultural performances into mainstream cultural mores suggest a wider phenomenon at work, one steeped in the cultural discourse of media development.
It is also something that has been somewhat shrouded in quiet abandon in terms of being a resultant commentary point. The one that I refer to would be that of the postmodernist stance toward the mass media. To demonstrate how this might be so, I will explain through the example of Lady Gaga — to be regarded from here as a cultural product — to illustrate just how this postmodernist view is reflected within the current pop music scene. Gaga has navigated her career with a well-fashioned understanding of effective brand communication that not only draws upon postmodernist cues, but also reflects the transformation of the cultural milieu in which it operates.
Her personal brand can be seen as having been carefully crafted to uniquely differentiate herself as a musician and enable her to achieve great commercial and critical success. Such logic is apparent in Gaga the cultural product. Undoubtedly, Gaga is notorious for her outlandish public appearances.
For example, her every public appearance in a bizarre-looking outfit makes her a consumed item, from which numerous mainstream media stories are produced. Even her corpus of work reflects this tendency, particularly her early works when she first blazed onto the pop music scene.
She focuses upon themes of fame, materialism, narcissism and sex. The postmodern perspective dictates the concept as autonomous realms like culture, economics, art and politics collapsing into each other and erasing previously defined boundaries. Similarly, Gaga seems to break the boundaries between image, spectacle and everyday life.
Her emphasis on style, combined with her professional persona, leads to a difficulty in maintaining a meaningful distinction between art and popular culture. This is, importantly, where her counterculture performance template digresses from her contemporaries. She straddles the fine line between commentary and self-participation by creating a narrative so hyperbolic the aim of eliciting debate and introspection that, upon further inspection, none of the other current artists seem to similarly suggest in their performance of counterculture.
This rhetorical rooting of the historical and ideological in the eternal givenness of nature is a central ploy of commercial messaging and popular culture, as identified in Mythologies by Roland Barthes, the pioneer semiologist operating in these areas. As I write a TV advertisement for Sanex Bio Response deodorant illustrates wonderfully how far this discourse of natural diversity has come in the meantime, combining with that of ecological sustainability.
This latter point is illustrated by a microscopic close-up revealing an underarm biosphere and hosts of beautiful naked women and men doing a Leni Riefenstahl style routine albeit more ethnically diverse, no longer in the cause of Herrenvolk or Kraft durch Freude but now, resoundingly, for personal freshness and diversity. The prescience of semiological or semiotic analysis is heralded in a text by Roland Barthes from as early asin which he speaks in support of cultural diversity and specificity in a language which would chime happily with the ways in which we have learned to speak of diversity today.
The myth of the exhibition, Barthes writes, functions in two ways. To some degree, as a mainstay of cultural and corporate thinking in an increasingly global market and increasing internal heterogeneity within local cultures, diversity semiotics must be, however, a topic of serious interest for all brands going forward wherever they are — impacting not only on the external consumer projection and interaction but also on internal corporate cultures. It goes without saying that digitalization and social networks, displacing the old media pillars of cultural unity and relative univocality, communicate and feed back into all the pulsing life of diversity and mindfulness around difference that we have been exploring here.
And social networking tools like Facebook or Twitter are well advised to adapt semiotic methods to make sense of their own big data sets in understanding and harnessing opportunities around the same set of cultural phenomena. Even a cursory analysis of the Residual, Dominant and Emergent codes of diversity and the main trajectories they follow would reveal one major theme, pretty much eclipsed from the late s through to the financial crisis, which brings us around in some ways full circle to the values of justice, equality and myth disclosure informing the work of Roland Barthes in Mythologies.
The biggest emergent theme in diversity, one which Roland Barthes would have appreciated and which is now moving into the dominant mainstream of thinking, is is about equality and fraternity, the values that seem to have been left behind when liberty was reframed and fetishized to the exclusion of the other two as economic and regulatory liberalization — with what appears, given the wisdom of hindsight after the economic crash ofto have been a charter for the rich to get richer, the poor to get poorer with social mobility, in countries such as UK and US Brazil and some other emerging markets being honourable exceptions in this respectvirtually grinding to a halt.
On that Oregon list of diversity dimensions above some are familiar and in the comfort zone, especially in Western societies although globally things move in this area at different speeds, even in different directions. And this is no longer just about small groups of radical activists or semiologists sniping from the Fungus the Bogeyman - Kinetic Playground - Unleashed (CD) about bourgeois popular culture.
After a long time in the wilderness for this discourse it felt again exacty of the moment. They also reveal what did not change: political liberation from apartheid in coincided with economic liberalization inmeaning the wealth accumulated during or as a result of apartheid remained in the same hands. The Monkey then offers the opinion that redistribution of wealth would undo some of the socioeconomic, political and ideological diversity the Oregon definition is so keen for us to celebrate.
Share the wealth fairly and you bugger the whole diversity beanery. End of escapade. But we are getting closer to the nub of the right question now, and the whole diversity shadow play has, believe it or not, done a lot to help us get there. This is a continuation of some exploratory warm-up writing carried out in preparation for more formal work in progress, for ESOMAR, on diversity culture and semiotics.
Apologies for the indulgence here in family and Welshness. Being Welsh is a vocation, unfortunately, a bit like being Russian.
Luckily we are very badly placed to ever start a nationalist war against anybody. I have tried to limit my rumination in that direction to matters strictly relevant to diversity.
As I started this piece my partner Hester, who voices documentaries, museum guides, advertisements, corporate training videos, cartoons and computer games, asked me what I was writing about. If you talk about it in the abstract you miss it altogether, hence the need to concretize diversity in some kind of living mosaic.
For my Semiotic Monkey see Act I for an introduction every day is a diversity field day, my home life being partly in France and my working life in UK as a jumping off point for semiotic training and analysis carried out around the world.
It takes all kinds. An Englishman in the South of the country told me that more than half of French people in employment are civil servants. Or so the Englishman said — I gave him an indignant look. Or rather its antithesis, paranoid and intent on living with loaded binary oppositions. Johnson not the one who sold his soul to the devil at the crossroads.
But Robert A. Which, not believing in loaded binaries, I think is a good thing. We are all sitting here waiting patiently for the royalties. So it is a national identity playfully posited on internalised otherness and originary diversity. The Welsh do diversity beautifully. Our Prince Madoc of Gwynedd and his crew landed at what is now Mobile Bay in Alalbama a very long time before Columbus did, leaving the New World unconquered, instead assimilating nicely with the indigenous Fungus the Bogeyman - Kinetic Playground - Unleashed (CD).
The princes of Gwynedd tended to be 7 or 8 feet tall. The coming flood of grace, bounty and booty feels biblical in its scope. For Act 5 of this unfolding drama Semionaut is asking people from around the world, in a few words, to answer these two questions: 1 What is the one big thing you remember most in your personal history and experience of diversity? Diversity, like sustainability, is one of those resonant abstractions that capture the flavour of our times.
It is a term with wide-ranging connotations which tend, on most occasions, to be emotionally charged because diversity sits on an ideological fault line or, across cultures, a variety of them. For an instinctive conservative, an aficionado of tradition and clear-cut identities, talk of diversity can trigger anti-liberal and anti-PC warning lights.
As I write an anti-EC UKIP Independence Party politician has been holding the spread of gay marriage responsible for the divine retribution visited on the British in the floods and Fungus the Bogeyman - Kinetic Playground - Unleashed (CD) that ravaged the land like a plague at the end of While others, of course, are more inclined to attribute this to climate change or the notorious vagaries of the weather in this part of the world. Conversely the d-word becomes a rallying call for tolerance, openness, equality, community and collaboration — for a warm liberal construction of humanity.
Locally that visual and verbal language of positive diversity will have, at any point in time, its own rash of bugbears. I felt at the time that the Thatcher regime may have been secretly getting a little warm under the collar about school teachers and polytechnic lecturers in places like Camden and Islington having plans to try to make homosexuality compulsory.
They had to be crushed by any means, as did the miners. Why do black British actors have to go to America to succeed?
Are their parents sending them to the wrong schools by any chance? Could they perhaps be exercising their freedom of choice in education a little more responsibly? Meanwhile still in the background there rumble on in the Anglican Church, that relic of an earlier imperial phase of globalization, corrosive debates around the ordination of female or gay priests and bishops that stretch to near breaking point the ideological bonds that can link places as diverse as the West coasts of Africa and the United States through the historical mediation of the Archbishop of Canterbury.
Who knows ultimately the truth behind any of this diverse traffic of culture and semiosis? He observes, reports, keeps an open mind. While having the reputation of a timeless classic in the Western world, red lipstick was considered outdated by Russian females for a long time. But new generations grow and times change.
According to street fashion pictures and cutting edge beauty blogs, red lipstick has been getting back in fashion. However, unlike the s the triumphal age of red lipstick a woman with scarlet lips is not trying to convey the image of a femme fatale. Hip youngsters combine it with old-school eyeglasses and skinny jeans and manage to maintain the status quo of infantile Millennials.
This is determined by the submissive character of a woman in patriarchal Russian society. On the contrary, it becomes a manifesto of the female identity without connotations of submissive femininity. Satisfied with their life opportunities, younger Millennial girls were never forced to become go-getters and are rather passive in their social communication. Consumers feel no longer obliged to act and to speak: red lipstick speaks for them and reveals their desire to participate in dialogue with the opposite sex.
In conclusion and in summary, the red lipstick trend is determined by relatively new need states relevant to leading edge female consumers, the younger representatives of Generation Y.
Though showing some similarities to their Western peers, Russian youngsters are special. The particular character of their consumption drivers is obviously rooted in Russian culture and local specifics. These include such phenomena as utopian imagination, the shift in gender roles, and an individualism which, in contrast with an earlier generation of go-getters, combines for Millennial girls with a new kind of passivity.
The action was based on using some codes of traditional prayer, combining it with typical words from left-wing manifestos — to the accompaniment of raw garage guitar riffs. The intention of the performance was to decode the Cathedral of Christ the Saviour that has recently become a symbol of corrupted clergy, who together with the state officials converted religious happenings into the kind of high-class leisure activity, half entertainment half political congress.
These girls — a philosopher, a poet and a visual artist — objected against this wicked transformation. So they decided to speak, and the message was clear enough to many — from honest priests to the common people. Unfortunately the voice of postmodernity, which sometimes sounds loud enough to be heard, in this particular case was too noisy for the system.
This is especially tricky since any system in essence deaf implies a serious need for amplification as well as up-to-date hearing devices. Quite soon the girls were apprehended, brought in by the police and accused of extremism — inciting the flames of religious hostility and hatred.
The Russian Orthodox Church also found that the performance art was a blasphemy. The criminal case against the three young girls was publicized all over the world, and in the West they were treated like victims of a kind of political barbarism, inherent to Russia and its rulers. Freedom of expression. Freedom of belief. Freedom of art. Freedom of personal choice and responsibility, which is much stronger and vital than democracy.
This is probably one of the universal points where democracy starts, and this is definitely the point of no return. When people lack something — from bread to democracy, they start to search for a substitute. And if they do not find it somewhere around, they create it.
So, the Pussy Riot case inspired and fostered a fresh semiotic space, including innovative words and Internet-memes, fashion, ads and virus ads. The market, actively soaking up and using available myths, had to respond, despite the fact that a lot of international corporations state that they are neutral to politics and religious issues — this is the matter of business and an element of their politics. Yet, it turns out that in some situations consumers might take this into their own hands and started to influence various markets, some even unconsciously.
This might lead to a very positive finding. The market is obviously a system itself, having its laws and rules and existing due to the law of supply and demand, a match between opportunism and hedonism. They can conduct a market research study and get closer to their consumers if they are willing to. Anyway, they are the end decision-makers — they decide what to produce, where to sell and how to promote it.
However, consumers may have a great impact on the semiotic landscape. If consumers are active enough and the symbols are strong and recognizable, they can even interfere in the world of brands and products quite freely and straightforwardly.
No need to say that the picture below gained the majority of votes. IKEA decided to excluded these participants from the contest together with the picture submitted. Certainly, most consumers were disappointed: the winner they personally chose was rejected. The following pictures show such an attempt from SKN — a company that provides air conditioning services and installment of air conditioners.
These are the images used for an on-line promotion. An easily readable parallel for the Air Con installers. There is Fungus the Bogeyman - Kinetic Playground - Unleashed (CD) a night club ad, on billboards, which uses the image of a girl wearing a pink mask.
This seems as intriguing as a members only club, where Victorian gentlemen talk freely about politics and women! Such collections are usually called collaborative and are treated as co-branding initiatives. However, they usually appear as a result of long negotiating process. These below covers for iPhones. Of course, they are available in different colors. Lots of stores offer a variety of symbols and interpretations on Pussy Riot t-shirts. These are becoming almost trendier than Vivienne Westwood — and definitely more unique than Zara.
Quite recently a German lingerie brand uploaded a quite provocative viral video on a similar theme. Nevertheless, liked or disliked, approved or disapproved, it was immediately spread via thousands of Facebook pages and blogs. The concept might ideally fit the Converse brand, to give one example — both in terms of ideology and category relevance. Thompson, the father of gonzo and famous Converse-lover, were alive, he would definitely agree to star in a Pussy Riot-style ad. Whatever emerges betting shops could probably earn a lot by accepting bets for the names of new players.
The task seems definitely risky but worth trying. Serums have become the new elixir of beauty. Almost every brand has a serum product and they seem to be the staple of many a beauty regime. The semiotics of serums reveals a very skilful blend of semantic, packaging and product formulation codes.
I would argue that it is a combination of factors. First the semantics of the word serum itself is replete with positive connotations. Secondly, serums play upon the two sides to the beauty industry. On the one hand there is the perpetuation, and petrification of good looks.
On the other side there is the fight against the onslaught of attrition, derma-abrasion and of course anno domini too. So the positioning of the serum is essentially Janus faced. It promises to immortalize your beauty via the alchemy of the mythical elixir on the one hand. The truth of this proposition is reinforced by the idea of a truth serum, something that forces us to be sincere and the connotative links between beauty and truth traced back to Platonism and notions of Platonic forms — serums, it is insinuated help you access this deep ontology of truth.
On the other hand, serums are also a form of vaccine, or an anti-serum used for inoculation. In the case of serums on the market they are inoculating against the disease of decay and entropy. These underlying discourses are reinforced by the packaging codes in the sector.
Serum packs tend to emphasize the preciousness and daintiness of the products as beauty unguents but also stress the concentrated nature of the contents, as if nutritional value had been crammed in with geological force. Serums are the royal jelly or caviar of the beauty world and packaging cues this in spades. Analysis of serums packaging is as indebted to design thinking as to semiotic thinking. Serum packs draw upon such tricks as symmetry, golden ratio, contour bias and emotional design in order to attract customers and to buttress the high price point.
There is also a subliminal link between miniaturization and premium technological efficiency that is coded through designs.
As research pioneer Louis Cheskin discovered, customers tend to transfer the forms and meanings they encounter in packs to expectations of the contents. This is more important as ever more time poor consumers ruthlessly scan shelves for brands that catch their attention. These packs are not prototypical of the category norm but I think do represent the variety and the imagination placed within this category.
They are also a good showcase of why the siren call of beauty serums has been answered to such lucrative effect. Chris Arning For a long time, Absolut Vodka dominated the vodka category. Eventually Grey Goose found a gap for innovation. Analysis of the vodka category enables definition of the following Residual, Dominant, and Emergent visual codes:. There was then a period where Absolut focused on purity, which was symbolically prominent the Dominant code.
Grey Goose signalled a rupture by opening up the vodka category to a characterful interpretation the Emergent code. Sobiesky Residual and Absolut Dominant packaging can be organised according to their signs into two main poles.
On one side is the pole of tradition, which claims vodka as a national treasure, and on the other side is the pole of purity, which stresses vodka freshness and transparency. As such, the move from emphasis on textual to more arresting visual codes enables Grey Goose to keep the codes of purity — the use of the blue, the fresh air of the sea — whilst freeing it from the traditional cultural cues in order to create a characterful interpretation.
Drawing on a sophisticated version of the codes of purity, Grey Goose displays a refined artistic graphic, a delicate alliance of blue and grey tones, and the aforementioned elegance of the wine bottle.
As a result, Grey Goose brand differentiation could be summed up by the semiotic square below:. Powerful, the theme of craftsmanship is opening the way for more global interpretations. One might imagine a Brazilian vodka made from Amazonian fruit. Eccentric aristocratic Orientalist travellers of the 18 th and 19 th century sought a contact with the Middle East that could express all that they denied themselves at home. Slowly lifting the veil, the artists soaked the meeting between East and West in pathos and mystic eroticism.
By comparison, the 21 st century has seen political institutions in the west aggressively tear away the veil, to de- veil rather than un- veil. Yet the Middle East withholds. Total revelation. To dress the walls of an area for future dialogue between East and West capitalized, E ast and W est with Orientalist art seems itself, paradoxically, to be an instance of an intellectually more established form of orientalism in the critical Edward Said sense — and to reinforce the polarising Language of Civilizations.
We need to be smarter than this. Orientalist rhetoric in the Said sense is still pervasive and relevant. Economic development and technological advance has somewhat leveled the power differential between Europe, the USA and the Middle East. But popular depictions of the Middle East too often foreground an imported Western Liberalism and use this as a standard from which to interrogate social relations in the region — with all the familiar received iconography around oppressed women in hijabs or burkas lowering their eyes, suicide bombers dreaming of the virgins that await them in paradise and so forth.
Despite honorable intentions books by exiles, such as The Kite Runner and Reading Lolita in Tehran, are written specifically for a Western audience and the narrators neatly extricate themselves from the Middle East. In a sense, Western Liberalism itself becomes the narrator. Widening access to technology and the Internet across the region is crucial, yet it does not represent an essential disruption. This photo by Mehraneh Atashi, taken in a traditional exclusively male strong man gym in Tehran, shows one way of easing the discourse out of the semiotic monopoly of a Western Liberal viewpoint.
The emergence of technology, made possible by the development of the rational faculty, paved the way for the first stage: the tool. A tool provides a mechanical advantage in accomplishing a physical task, and must be powered by human or animal effort.
Hunter-gatherers developed tools mainly for procuring food. Tools such as a container, spear, arrow, plow, or hammer that augments physical labor to more efficiently achieve his objective. Later animal-powered tools such as the plow and the horse, increased the productivity of food production about tenfold over the technology of the hunter-gatherers. Tools allow one to do things impossible to accomplish with one's body alone, such as seeing minute visual detail with a microscope, manipulating heavy objects with a pulley and cart, or carrying volumes of water in a bucket.
The second technological stage was the creation of the machine. A machine a powered machine to be more precise is a tool that substitutes the element of human physical effort, and requires the operator only to control its function.
Machines became widespread with the industrial revolution, though windmills, a type of machine, are much older. Examples of this include cars, trains, computers, and lights. Machines allow humans to tremendously exceed the limitations of their bodies. Putting a machine on the farm, a tractor, increased food productivity at least tenfold over the technology of the plow and the horse. The third, and final stage of technological evolution is the automation.
The automation is a machine that removes the element of human control with an automatic algorithm.
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