#being exposed to critical thinking processes in a variety of different fields

[prettyboysdontlookatexplosions]

still mad about this post lol so let me also say: “they taught us critical thinking in english class” is extra funny to me because there’s a genuine debate among Ed Heads about whether “critical thinking” as a discrete and decontextualized skillset can actually be taught :) so it’s pretty silly to go around confidently branding yourself as a critical thinker while simultaneously revealing that you’re extremely comfortable making assumptions about the relative simplicity of complex ideas which remain contested in their respective fields :) personally i would be pretty embarrassed to call myself a critical thinker if i also couldn’t stop myself from revealing i was totally lacking in the intellectual humility that would enable me to understand that we have yet to reach consensus on unbelievably complicated issues like how best to educate an entire population :) but i guess i was absent the day that tenth grade english covered running your mouth like an asshole on social media :)

[jujumin-translates]

★ Main Story | Act 13 - Budding Spring | Chapter 4 - Newborn Fleur Award

Chairman: “We would like to now begin the New Fleur Award Board of Directors press conference. Thank you for taking the time to join us.”

Chairman: “To start, board members Yukio Tachibana and Reni Kamkizaka will talk about the policies of the New Fleur Award.”

· • —– ٠ ✤ ٠ —– • ·

Sakuya: What kind of policies do you think they’re gonna announce?

Izumi: I didn’t look into any of the details, so I have no idea.

Sakyo: Maybe something regarding the selection process will be different from the Fleur Award in the past.

· • —– ٠ ✤ ٠ —– • ·

Yukio: “New Fleur Award Board of Directors board member, Yukio Tachibana. Thank you for your time.”

Yukio: “I would like to explain to you more about the New Fleur Award.”

Yukio: “First, one major change to the New Fleur Award’s selection process will be the introduction of a ranking system.”

Yukio: “The current method of selecting nominees via the choice of the Board of Directors will be abolished, and all theater companies that enter will be able to participate.”

Yukio: “The ranking positions will go up and down in accordance with the accumulation of two different types of points.”

Yukio: “Theater Votes, which will be cast by audience members who go to see plays in person at a theater, and SNS Votes, which will be cast by audience members who watch via live stream.”

Yukio: “For the sake of fairness, Theater Votes will be worth more points than SNS Votes, which are easier to count.”

· • —– ٠ ✤ ٠ —– • ·

Izumi: WHAT!?

Sakyo: A ranking system, huh… audience ratings will be more important than ever now.

Homare: In addition to that, it will require audience members to vote.

Tenma: So whoever’s got the crazier fans has an advantage, huh?

Banri: And it ain’t just about the SNS Votes either, right?

Itaru: If you’ve got good social networking skills, you could get trending and snag all the votes in one go.

Juza: So what you’re sayin’ is that we’re gonna have to fight for ‘em like we’ve never fought before…

· • —– ٠ ✤ ٠ —– • ·

Yukio: “It will be held once every two years.”

Yukio: “The first year will be divided into four periods, or quarters. The rankings will be tabulated every quarter in order to determine the top ten theater troupes.”

Yukio: “In the second year, the top ten troupes will compete in the finals and the winner will be awarded the New Fleur Award.”

Yukio: “The bonus prize is still ten million yen, as it always has been.”

Yukio: “The venue will be a brand new theater that is currently under construction. More of the details will be announced at a later date.”

Yukio: “Full transparency was of the utmost importance regarding this change.”

Yukio: “The winner of the New Fleur Award will not be selected by some random board members, but will be voted on by a larger audience.”

Yukio: “Each and every theater company will have a fair and equal chance to win the Fleur Award.”

Yukio: “The purpose of this is to bring life to the entirety of the world of theater by putting both old and new theater companies on a level playing field, and by encouraging a larger audience to participate.”

Yukio: “By introducing a ranking system, a wide variety of people will be involved in the selection process for the New Fleur Award.”

Yukio: “While we’ve increased our transparency, there may be some forms of unfairness that we’ve never encountered before.”

Yukio: “As the Board of Directors, we intend to take each of these instances seriously if they are to arise.”

Yukio: “While being exposed to criticism and the public opinion may make you feel anxious, and you may fail…”

Yukio: “We want to create a whole new Fleur Award with all of the people involved in theater.”

· • —– ٠ ✤ ٠ —– • ·

Izumi: Dad really has changed…

Sakyo: In a way, it’s the Yukio-san thing to do. He’s demolished the entire Fleur Award system and rebuilt it from the ground up.

Tasuku: Up until now, each theater company has been ranked based on how long they’ve been active and how recognizable their name is, but that’s finally changing.

Chikage: With past Fleur Awards, we all sort of had some idea of what theater companies were likely to win, but from now on, it’ll be much more unpredictable.

Itaru: Plus any number of new theater companies can join the fight.

· • —– ٠ ✤ ٠ —– • ·

Reni: “To continue, I will now present the detailed schedule.”

Reni: “Entries for the Fleur Cup, which will determine who will be in the running for the New Fleur Award, will open at the end of the press conference being held today.”

Reni: “There will also be a pre-voting period to allow people to get an understanding of the Fleur Cup system.”

Reni: “The pre-voting period will begin tomorrow at 7:00 a.m. Only SNS Votes will be accepted during this time, and the rankings will be announced a week later.”

Reni: “Now, please note that this pre-voting period is only a trial period to allow everyone to become acquainted with the process of the Fleur Cup.”

Reni: “The ranking results from this will have no effect on the final selection of the Fleur Cup in any capacity.”

Reni: “The final selection will begin at 7:00 a.m. on the day following the end of the pre-voting period. From that point on, the two types of votes will be available: Theater Votes and SNS Votes.”

Reni: “Thereafter, the rankings will be announced every three months. After a year has passed, the top ten troupes will be selected to participate in the finals.”

Reni: “More details regarding the finals will be announced at a later date--.”

· • —– ٠ ✤ ٠ —– • ·

Manager: W-W-W-What are we going to do!? We need to enter as soon as possible…!

Manager: Where’s the entry form? I’ll have to line up outside the Board of Directors’ office first thing in the morning…

Itaru: Who even accepts written applications anymore?

Chikage: They just announced the Fleur Cup website. It seems like entries will be sent there after filling out the required information.

Sakuya: And then the rankings will be announced a week later…?

Tsuzuru: So the current place of the troupe will be announced outright, huh…

Banri: It’s interestin’, ain’t it? I’m lookin’ forward to seein’ where the other troupes place.

Sakyo: The press conference as a whole seems to be getting a lot of attention. The voting turnout itself could be significant.

Citron: There is no need to worry! Our fans will surely vote for us!

Yuki: Letting just any theater company participate me~ans that people who created a theater company on nothing but a whim can participate too.

Tasuku: So there’s no question of activity or personal history, got it.

Kazunari: Maybe if we can get some attention, we can get to the top of the rankings.

Tsumugi: But this pre-ranking won’t affect the final selection, and even if it did, it would probably only be temporary, right?

Homare: However, when it comes to rankings, people are going to be made uneasy, no matter the outcome.

Izumi: We’re never going to know what the results are if we don’t enter, so let’s just start with that!

Omi: Right. The rice is just about done, so why don’t we have dinner now?

Kumon: Yeah~!

*Doorbell rings*

Izumi: ?

Manager: Yes, ye~s. Who is it~?

*Door opens*

Izumi: Who could it be at this hour?

*Door slams*

Manager: Awahwahwah! Everyone, we’ve got some very important guests…!

Izumi: Huh?

Yukio: Good evening.

Reni: Sorry to bother you at this hour. We’ll be on our way soon.

Izumi: Dad and Kamikizaka-san!?

Misumi: It’s like you came outta the TV~.

Yukio: The press conference was being held at a venue nearby, so we thought we’d drop by.

Yukio: After all, I won’t be able to show my face around here so easily in a short while.

Izumi: Huh?

Reni: In addition to this being his own former theater company, his daughter is now the one in charge of it. You’d likely be suspected of collusion.

Izumi: I see…

Sakyo: You really are serious about changing both the Fleur Award and its Board of Directors, huh?

Yukio: I am. With this, no one should have to grieve anymore. I want the future of the theater world to be brighter.

Itaru: Well, but it’s still getting darker in other ways.

Muku: Rankings… will it really be okay… what if we suddenly start getting backlash and get canceled on social media and no one votes for us…

Kumon: Or like, what if there’s a system error and only MANKAI Company’s votes are deemed invalid…!

Juza: All we can do is shut our mouths and wait to be sentenced.

Azuma: Fufu, you’re saying we’re going to be sentenced as if we’re criminals.

Tenma: You’re all overthinking, nothing’s set in stone yet. Jeez.

[ ⇠ Previous Part ] • [ Next Part ⇢ ]

[bdminternational]

The Role of Arts Education in Student Development

How to Bolster Arts Education in the Classroom

Arts education encompasses a range of disciplines such as visual arts, music, dance, theatre and stimulates critical thinking, problem-solving, and creativity. It encourages students from the best school in Kolkata to explore new ideas, experiment, and develop innovative approaches to challenges. Through arts, students learn to think outside the box and develop their analytical and reasoning skills.

The arts provide a platform for students to express and explore their emotions, thoughts, and experiences. Engaging in artistic activities allows students of a renowned English medium schools near Garia to develop self-awareness, self-confidence, and emotional intelligence. It helps them understand and process their feelings, enhancing their overall well-being.

Whether it's through visual arts, music, or theatre, students learn to convey messages, thoughts, and narratives in a creative and meaningful way. They develop the ability to express themselves clearly, both verbally and non-verbally, which is valuable in all areas of life.

Studies have shown that students from the top CBSE schools Kolkata involved in arts education tend to perform better academically. The skills developed through arts, such as critical thinking, creativity, and problem-solving, can positively impact performance in other subjects. Arts education also enhances memory, concentration, and attention span, leading to improved overall academic outcomes.

 The Importance of Art Education in Schools

 Art education has been linked to improved cognitive abilities, such as critical thinking, problem-solving, and decision-making skills. Through artistic processes, students learn to observe, analyse, interpret, and make connections, enhancing their overall cognitive development.

Engaging in art activities provides an outlet for emotional expression and helps students develop emotional intelligence. It allows them to explore and communicate their feelings, improving their self-awareness and empathy towards others. Additionally, collaborative art projects promote teamwork, communication, and cooperation among students.

Art education exposes students to various cultural traditions, historical periods, and artistic styles. By studying different forms of art, students develop an understanding and appreciation for diverse cultures, promoting tolerance, inclusivity, and global awareness.

Studies have shown that art education positively impacts academic achievement. Engaging in art activities can improve students' focus, concentration, and attention span, which can translate to better performance in other subjects.

Art education enhances visual and spatial skills, which are valuable in many fields, including science, technology, engineering, and mathematics (STEM). Art activities promote observation, spatial reasoning, proportion, and geometry, strengthening students' visual literacy and spatial awareness.

 Integrate arts across the curriculum: Promote interdisciplinary connections by incorporating arts into other subjects. For example, the best school in Kolkata uses visual arts to enhance history lessons or uses music to explore mathematical patterns. This integration reinforces learning in multiple domains.

Provide professional development: Equip teachers with the necessary knowledge and skills to teach arts effectively. Offer workshops, training sessions, and resources that focus on arts integration, instructional strategies, and assessment methods specific to arts education.

Collaborate with local artists and organizations: Foster partnerships with local artists, musicians, theatres, museums, and cultural institutions. Invite them to give guest lectures, conduct workshops, or organize field trips. Such collaborations enrich students' experiences and expose them to various art forms at the top CBSE schools Kolkata.

Encourage student participation: Offer a variety of art classes and extracurricular activities to cater to students' diverse interests. Provide opportunities for students to showcase their talents through exhibitions, performances, and competitions. Encourage student-led initiatives and clubs centred around arts and creativity.

Engage families: Involve families in arts education by organizing art showcases, performances, or open houses. Encourage parents to support and participate in their children's artistic pursuits. Share resources and ideas with families to promote artistic activities at home.

 How parents can help foster a love for arts at home

 Parents play a crucial role in fostering a love for the arts at home. Here are some ways they can support and encourage their children's artistic interests:

Expose children to various art forms: Introduce children to a wide range of artistic experiences, including visual arts, music, dance, theatre, and literature. Take them to art museums, concerts, plays, and cultural events. Explore different genres and styles to help them discover their preferences.

Encourage creativity and self-expression: Provide opportunities for children to engage in creative activities at home. Encourage drawing, painting, sculpting, writing, singing, dancing, and role-playing. Allow them to freely express their ideas, thoughts, and emotions through various artistic mediums.

Support artistic exploration: Encourage children to try different art forms and styles. Provide access to resources, such as art books, instructional videos, online tutorials, or classes, that can help them learn and explore their artistic interests. Support their desire to experiment and learn from mistakes.

Integrate arts into everyday life: Find ways to incorporate arts into daily routines. Sing songs, create artwork, or tell stories during family time. Encourage children to illustrate their thoughts or write poems about their experiences. Make arts a natural and integral part of their lives.

Support artistic hobbies and pursuits: If your child shows a particular interest in a specific art form, provide them with opportunities to pursue it further. Enrol them in art classes, music lessons, dance classes, or drama clubs. Support their practice and help them find outlets to showcase their talents.

Celebrate and appreciate their artistic efforts: Praise and acknowledge your child's artistic achievements. Display their artwork, attend their performances, and encourage them to share their creations with family and friends. Provide constructive feedback and encouragement to nurture their passion.

It is important to note that arts education should be accessible to all students, regardless of their backgrounds or interests. By integrating arts into the curriculum, one of the best English medium schools near Garia provides a well-rounded education that nurtures creativity, emotional intelligence, and holistic development in students.

[priyanshuswiflearn1]

Improving Reasoning And Thinking Ability In Children - Swiflearn

As a child grows older, it’s an exciting time for them because it’s the critical stage of development where the child has to think fast and act on new ideas. During this crucial period of growth and development, children are also learning how to be more imaginative and creative. Many times children are not able to think independently when they are younger, but as they mature, they can do so. However, even children who seem to know a lot about everything are still developing their reasoning and thinking skills.

Many benefits can be obtained about the child’s development in a particular field if he or she is being taught in such a way. If a person is highly critical of something, the first thing that would happen to him is that he would think a lot about it, and he would try to understand the reason behind this criticism. General mental ability and reasoning process would help the child in understanding why he has been criticized and how he can improve on the issues that were slammed. If the child continues to think about things, then he will be able to improve on these criticisms. The second benefit that one can obtain from this process is that the child would be able to show that he is interested in studying. If he is teaching this interest, then he would be able to improve on these criticisms and make his teacher sees that he is engaged in knowing about what is happening in his class.

Also Read: How Maths Tuition Can Ease Your Pain?

Another benefit that one can get in this process is that the child would be able to show an interest in solving things. If a child is being criticized for doing something wrong, the child should start correcting what was done illegally. He should also try to understand why was the dishonest behavior being done. If the child does understand, then he would be able to correct what was done in a better manner. The third benefit is that the child would be able to solve many things with ease. If the child can solve the problem and solve it correctly, then the child would be able to get the most benefits out of the general mental ability and reasoning.

Improving reasoning and thinking abilities in children are an essential part of raising a well-rounded adult. Reasoning and thinking skills can be developed from a very young age, but parents need to keep their young children’s minds open so that they can think about new problems in an informed manner at an earlier age. Below are some ways to help your child develop these skills early:

• Children are constantly bombarded with lots of information from everywhere, including television, books, magazines, the Internet, and their parents. These constant sources of information can make children feel like all of the information is irrelevant and unimportant. This can cause them to become frustrated, confused, and even frustrated with the world itself. If they feel like their thoughts are being dismissed and ignored, then their general mental ability and reasoning ability can start to deteriorate.

i) For children to learn and understand logic and problem solving, they need to be able to think critically about anything they’re interested in. When children learn how to analyze situations and formulate logically-based decisions, they can take a step closer to adulthood.

ii) Children need to be exposed to lots of different ideas and different concepts so that they can develop their cognitive skills. When your child sees new things, like toys or television shows, they should have the opportunity to discuss those new ideas with you. It’s also essential for children to see you reading stories and playing board games as a way to learn how to think critically about the information they’re absorbing.

iii) Kids can be taught to use their visual senses, such as sight, sound, and touch. Being able to understand their environment and interact with it openly and engagingly is also essential so that they can learn how to interact with others as adults. It’s also important to encourage your young children to ask questions about everything because this allows them to discover new ideas and open themselves up to problems of their own.

Sign up for a free trial class at Swiflearn

• It would be best if you also encourage your child’s reasoning development through games and puzzles. Puzzles are one of the most common ways to help a child develop general mental ability and reasoning ability in children. As your child grows older, problems are one of the best ways for you to help your child develop and improve his or her cognitive skills. As your child becomes a teenager, puzzles are one of the best ways for you to keep your child interested and engaged.

• A parent has a lot of influence on a child’s intellectual development. The more involved you can be in your child’s intellectual development, the more likely that he or she will develop a positive attitude toward learning.

Also read: How to improve Kid’s Vocabulary – Spoken English for Kids

Conclusion

Many parents today, and even teachers are very much concerned about the improvement of general mental ability and reasoning ability in children. In a school setting, where the teachers are in constant touch with the children, many teachers are now teaching their children to be very critical of things, even the things that do not look very good. The school teacher might also give instructions that are harsh to some extent, and this makes some of the children feel frustrated. So, the school teachers have to be able to teach their children in such a way so that they do not get frustrated at their teachers.

Try to stay active with your children when they’re young. Help them to play a variety of games and activities, from games that allow you to participate and communicate with them to games that are just plain fun and exciting. Please encourage your children to take part in any fun activity that interests them.

Article Source: https://swiflearn.com/blog/improving-reasoning-and-thinking-ability-in-children/

[kjlrawls]

Readerly Exploration #5 - 04/19/21

Title of assigned reading: A Different Kind of Reading Instruction: using Visualizing to Bridge Reading Comprehension and Critical Literacy by Jie Y. Park.

Take-away from reading: Allowing our students to visualize the texts they interact with can equip them to be actors of change and to challenge the status quo, as they generate their own personal questions and relate their learning to the identities and experiences they bring to the classroom.

Nugget from reading: Critical literacy can mean the capacity to “read the world” and question the basic assumptions of society.

Readerly Exploration:

In this article, the author shows the relationship between visualizing strategies and the goal of critical literacy. The author describes the ways in which helping students to visualize the different texts they interact with, can actually be a tool for critical literacy. The author proves this by sharing instances and examples of this tool being used specifically through book clubs. The book clubs took place three times over a year and consisted of a group of early adolescent girls. The girls all attended different kinds of schools, were in middle school and all self-identified with different races: white, black, Asian and biracial. In their discussions, the meditators or leaders of the study helped to facilitate the conversation taking place amongst the girls, by asking questions to help them dive deeper into their reflections. While reading this article, i was immediately reminded of a YouTube channel I really enjoy watching on my own free time. The channel is called Jubilee and the last video I watched was entitled “Should sons be raised differently: Fathers vs. Daughters.” I really enjoy watching these videos because they never seem staged and they always tackle very interesting questions, by featuring individuals from a variety of backgrounds and who share very different perspectives. The way conversations in these video usually take place is that the people sharing are placed in circles and are asked to move around, such as by standing up or walking from one side of the room to the other, to express their perspectives on different issues. i love the idea of engaging students from different backgrounds in having “unfiltered talks” because i believe it exposes us all to the way everyone has different perspectives and world-views and that these impacts the way we interact with each other. As our country continues to experience political divisions, hate crimes and aggressions towards the black, and Asian and Asian American Pacific Islander community, the marginalization of the LGBTQ+ community, the perpetual spread of inaccurate information about the genocide of indigenous people, fun control or the lack thereof, tribulations at the borders where children continue to be separated form their families and the worsening effects of climate change, I think it is crucial that we teach the next generation to communicate and tackle the very root of these issues. I chose to document my reflection by drawing a picture of a group of students in my classroom I have gotten to work with throughout my field experience. This group of students consisted of all students of color: 3 black students, a Latina student (identifies as white), myself ( I identify as multiracial) and my dyad partner (identifies as black.) Many times, while we talked in our group, the concept of racism and race was brought up by some of the students. As I read this article, I could not stop but think about how beneficial a book club could have been to these students, in helping them process their own identities and experiences as being people of color in this day and age.

Multimedia documentation: picture attached above. 

[asgeog2260]

Research Skills In Human Geography

Over the course of the semester we have looked at a variety of research methods that can be applied to human geography and other fields. As the semester progressed, I began to feel more comfortable in collecting research, and enjoyed the freedom we had within the course to discuss topics of interest. Hay states, “The complex and varied research questions arising in human geography require a multiplicity of conceptual approaches and methods of enquiry” (Hay, pg. 3). Properly researching is essential in the field today and will contribute to stronger storytelling.

These three things I know for certain about human geography research:

Firstly, I have learned the lesson of using multiple sources of information in order to develop strong evidence towards any case study at hand. In several scenarios throughout the semester, I was exposed to different news sources and other articles that certainly contained biased information. These sources tended to twist story from a certain perspective, of failed to include particular pieces of evidence that should have been shared. Hay states, “Careful research design is an important part of ensuring rigor in qualitative research” (Hay, pg. 117). Therefore, we must be cautious of this bias and use a calculated research method with multiple sources in order to avoid this noise.

Secondly, I become more aware of my own personal backpack as a privileged university student living in Canada. After watching the documentary on Agafia’s life (The women living in a secluded environment in Siberia) I was able to grasp the concept of an invisible backpack. We must be aware of our surroundings and the potential influence of our personal backpacks “The conduct of social research necessarily has an influence on society and the people in it. By asking questions or participating in and activity, we alter people’s day-to-day lives” (Hay, pg. 29).

The invisible backpack leads me to the final thing that I know for certain, which is the most important aspect of the research process in my opinion. That is carrying out research with the awareness that you are ethically responsible for the information you are collecting. Meaning we must always respect the subject and be aware of the space/place we are travelling to. Understanding the people and their way of life should be a number one priority, in human geography producing a good story means nothing if you were knowingly corrupt throughout the process. A perfect example was also displayed in Agafia’s story, as the team of geologists who ventured onto her land managed to put the family endanger, forced themselves upon the land, as well as sexually assault Agafia. The team from Vice at least made an effort to respect her and not be too much of a burden.

 These three things I am still confused by:

Over the course of the semester there have been a few things that were discussed that still confuse me. Firstly, the topic covered in week 8 of the course “coding” still trips me up a bit. I felt like this was one of the more complicated concepts discussed in the course, and I struggled to remember when to select flat or hierarchical.

Another concept that I struggled with was creating a strong research question. While I still believe I am capable of creating a research question, this is something I would like to perfect, considering its importance. Formulating a great research question is certainly a goal of mine, Hay states “writing a compelling research proposal is a real challenge. In our view, it is probably the most demanding task that any undergraduate or graduate student experiences” (Hay, pg. 95).

The final thing that I am still confused about is source selection. I find myself strictly sticking to google scholar for trustworthy sources and would love to expand my research to other sources. I am still worried about noise and bias in articles from google but feel limited when on google scholar considering how in depth and specific each journal is. Hay states “Over-ambitious research proposals can make for very frustrating research experiences” (Hay, pg. 102). Therefore, in the future I would like to stick to strong proposals that are also more simplified. While conducting our storytelling assignment we tried to pick a topic that was much too complicated, after hearing the criticism from Dr. H, we picked a simpler topic, and everything came together.

 These three things I know for certain about me as a human geographic researcher:

One thing I know for certain about me as a human geographic researcher is how much I value ethics within the field. I have learned the importance of respecting those we are researching and while performing research in the future I will ensure to prioritize the feeling of the subjects. Secondly, I know now that I would be interested in taking the newfound knowledge learned through the course of this semester to go our and perform my own research. I would love to travel out west and carry out some type of environmental research combined with environmental impact assessments and development plans. Finally, I know for certain that I will no longer overlook potential bias from the media sources that I commonly use to collect my news.

 These three areas I need to spend time developing/learning in order to feel more confident in my skills:

There are three simple areas that I would like to further develop in order to become more confident in my researching skills. Firstly, the ability to filter through sources more efficiently would certainly allow for a smoother and stronger research process. Secondly, being able to use these sources in order to develop stronger research questions and proposals, which is another thing I seemed to struggle with over the course of the semester (storytelling proposal). Hay wants us to “keep the big picture in mind, but think through how to identity its component parts so that you have a manageable project” (Hay, pg. 101). Finally, I believe if I follow the theme of this course and focus on subjects/topics that I have a great interest in, I will be able to fully commit to the research and give myself a true opportunity to evoke some sort of change or raise awareness.

 References

Hay, I. (2016). Qualitative Research Methods in Human Geography. [VitalSource Bookshelf]. Retrieved from https://bookshelf.vitalsource.com/#/books/9780199010912/

Hooykaas, A. (2021). Lecture Notes from GEOG 2260: Applied Human Geography

Images 

Tompkins, Elizabeth / ap human geography. (n.d.). Retrieved April 11, 2021, from https://www.cusd80.com/Page/95116

Holdsworth, N. (2015, November 12). Stalin, Siberia and salt: Russian recluse’s life story made into film. from https://www.theguardian.com/world/2015/nov/12/russia-recluse-siberia-stalin-agafia-lykova-documentary

[howwelldoyouknowyourmoon]

ICSA: Virtual Summer Conference, Saturday and Sunday, July 11-12

This two-day event will include a variety of presentations, panels, and workshops for former members of cultic groups, families and friends, professionals, and researchers.

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Day 1 – Saturday Conference Sessions, July 11, 2020 (11 am - 4 pm US Eastern Time)

Day 2 – Sunday Workshops, July 12, 2020 (11 am - 4 pm US Eastern Time)

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Saturday, July 11, 2020

11:05 -11:50 / "The Neurobiology of Sexual Abuse: Flashbacks, Triggers and Healing" (Doni Whitsett)

The first part of this presentation presents a neurobiological understanding of flashbacks and triggers resulting from sexual abuse. The second part of the presentation offers suggestions for dealing with triggers, learning to manage them, and perhaps using them to facilitate healing.

11:05 -11:50 / "MIND FIXERS: The History of Mass Therapy With its Roots in Mind Dynamics Institute, Misuse of Zen Insights, and Hyping the Positive Thinking of New Thought Religion." (Joseph Kelly, Joseph Szimhart, Patrick Ryan)

The title for this presentation, “MIND FIXERS: The History of Mass Therapy With its Roots in Mind Dynamics Institute, Misuse of Zen Insights, and Hyping the Positive Thinking of New Thought Religion,” covers a vast arena for specialized workshops that range from one day to several weeks. Borrowing techniques from encounter group formats, military boot camp training, and the mindfulness movements these specialized groups operate as unregulated mass therapy businesses and are not licensed as mental health professions. The stated purpose of these “large group awareness trainings” is to increase self-realization and success in life. The outcomes, however, are problematic with some critics claiming that a form of “brainwashing” is taking place that emphasizes promotion of the workshops while any real-life gains are highly questionable. Some participants report psychological and social harm. The speakers will guide a discussion to address the criticisms.

12:00 - 12:50 / "Coercive Control and Persuasion in Relationships and Groups– Intersections and Understandings" (Rod Dubrow-Marshall; Linda Dubrow-Marshall; Carrie McManus; Andrea Silverstone)

This panel will examine contemporary understandings of coercive control in relationships and groups with practitioners from both sides of the Atlantic. The way in which the term ‘coercive control’ is now being used and applied in different jurisdictions will be discussed and how changes to the law are reflecting advances in our understanding of how coercive control works psychologically across contexts. It will also be explored how a heightened dialogue between practitioners and researchers across the fields of intimate partner violence and cults/sects and extremist groups is leading to enhanced appreciation of commonalities in the process of psychological indoctrination. Positive implications for prevention, exit and recovery and rehabilitation across these areas will also be discussed along with recommendations for policy makers.

12:00 - 12:50 PM / "Unification Church (Moonie) SGAs: The Future is Unwritten" (Lisa Kohn; Teddy Hose; Jen Kiaba)

A panel of Unification Church (Moonie) SGAs (Jen Kiaba, Teddy Hose, and Lisa Kohn) will discuss their different experiences of living in, leaving, and learning to thrive after being part of the Unification Church (the “Moonies”). The questions and discussions will focus on how the panelists experienced being part of the Unification Church, how they were able to leave the Church, how they still feel affected by their childhood in the Church, and how they have healed since leaving the Church.

1:00 - 1:50 PM / "Lived Experiences of Lesbian, Gay, and Bisexual Former Cult Members – Counseling Implications" (Cyndi Matthews; Stevie Powers)

Lesbian, Gay, and Bisexual (LGB) individuals growing up in religious cults can face opposition to their sexual orientation. They may struggle with depression, anxiety, drug/alcohol abuse, self-mutilation, and suicidal ideation. Research by presenters will describe lived experiences of LGB individuals who grew up in religious cults. Best practices based on this research, APA & ACA Codes of Ethics, along with ASERVIC and ALGBTIC competencies will be presented.

1:00 - 1:50 PM / "How Female Former Cult Members Can Reclaim their Relationship with Knowledge and Self-Identity" (Jacqueline Johnson)

High-control and coercive groups work at stealing and silencing the thoughts and knowledge base, and subsequently, the voices, of its members. For females, this dynamic becomes more problematic when those female members are, or have been, part of a misogynous group that incorporates numerous ways of subjugating women. This presentation will outline the research of Belenky et al (1986), which examines the development of women’s self, voice, and mind. Belenky and her colleagues describe the cognitive and intellectual development in women in terms of five knowledge positions (ranging from silence to construction) through which women develop their identity. This presentation will examine ways that high-control, misogynous groups subjugate women, how this affects the epistemology of female cult members, her resulting relationship to knowledge, and the possible impairments to her ability to construct her own knowledge, develop her own identity, and find her own voice. Implications for therapists working with women are discussed in terms of helping former female cult members begin to develop their identity, find their voice, and construct their own knowledge.

2:00 - 2:50 PM / "Raised in a Cult: Psychological and Social Adjustment of Second- and Third-Generation Former Cult Members" (Sofia Klufas)

Former cult members often find themselves struggling to re-integrate into mainstream society and typically describe long periods of recovery post-exit. The current study aimed to qualitatively explore the experiences of individuals raised in cults (1) during, (2) in the process of leaving, and (3) post-cult involvement in order to understand how cultic influences might impact their ability to socially and psychologically adjust to life outside of the cult upon defection. Qualitative interviews were conducted with 8 participants from across North America and Europe who self-identify as second- and/or third-generation former cult members. Responses were qualitatively analyzed for totalistic patterns of influence which may dissuade members from leaving the group or simply deviating from its norms. Participants reported a wide range of emotional responses and psychological difficulties which they perceived to be the result of their cultic upbringing including but not limited to hyper-arousal, anxiety, doctrine-related fears, feelings of isolation, depression, anger/outbursts and suicidal tendencies. Identity reconstruction and social adjustment challenges such as relationship loss due to shunning, difficulty connecting with others, language differences were also reported by participants. Raised-in cult members are a distinct population from converted cult members as they have been exposed to cultic influence throughout the course of their developmental period. While the experiences of these two groups are comparable in many ways, previous research has demonstrated that raised-in cult members are at higher risk for social and psychological difficulties (Furnari, 2005).

2:00 - 2:50 PM / "What does awe have to do with it?" (Yuval Laor)

What is awe? What role does awe play in cult recruitment? And what brings about awe experiences? The talk will discuss these and other topics related to this strange emotion and the effects it can have on us.

3:00 - 3:50 PM / "Nxivm: the Reinventive Path to Success?"(Susan Raine, Stephen Kent)

In this session I discuss the multi-level cultic organization, NXIVM. I propose that NXIVM operated as, what Susie Scott (2011) calls, a reinventive institution—that is, an organization that people enter into voluntarily, because they promise to help people transform or reinvent themselves through personal and professional growth, self-actualization, self-improvement, and success. The group’s founder and leader, Keith Raniere offered members these outcomes via the Stripe Path—a hierarchal system of courses that were supposed to empower people as they worked towards personal growth and world peace. Scott stresses, however, that reinventive institutions incorporate structures of power and are far from benign. This dynamic is evident in NXIVM, which offered to empower its members but ultimately ended up disempowering many of them—especially its most committed female followers. I follow up this discussion by addressing how Raniere had groomed many of these most dedicated women for sexual abuse and exploitation. Grant Sinnamon’s (2017) research on adult grooming and Janja Lalich’s (1997) work on the psychosexual exploitation of women in cults provide extremely useful insights for understanding Raniere’s behaviour.

3:00 - 3:50 PM / "What Do I Tell People? Empowered Ways that Cult Survivors and their Families Can Tell their Stories. Cults, Recovery and Podcasts." (Rachel Bernstein)

Nearly all my clients and podcast guests have experienced fear when thinking about telling people about their cult-related experiences. Many live in isolation because of this, and at times it's for good reason. When they've tried to share their stories, they've been responded to with insulting judgment and condescension, with confusion and disbelief, or with inappropriately voyouristic interest and invasive follow-up questions. Learn how to take control of that conversation and present your story in an educational and empowered way so you don't have to live in fear of these moments and remain silent and alone.

This two-day event will include a variety of presentations, panels, and workshops for former members of cultic groups, families and friends, professionals, and researchers.

_______________________________________

Sunday, July 12, 2020

11:00 AM - 1:00 PM / Research Workshop

The Research Workshop will be facilitated by Rod Dubrow-Marshall, Chair of the ICSA Research Network and Co-Editor of the International Journal of Coercion, Abuse and Manipulation (IJCAM). He will speak initially with a short overview about research on cults and coercive control and he will be followed by introductory talks by Cyndi Matthews, Managing Editor of IJCAM, Marie-Andrée Pelland, Co-Editor of IJCAM and Omar Saldaña from the University of Barcelona, who will each speak about research and developments in their respective areas.

The Research Workshop will focus on key areas of research currently taking place on cults and extremist groups and related areas of coercive control including intimate partner violence, trafficking and gangs. Researchers will be able to discuss the challenges they may be facing or may have faced in proposing new research projects in these areas, including getting institutional approval (IRB or ethics committee), finding participants, clarifying aspects of research design and getting support from faculty/professors. Experienced researchers will be on hand to answer questions and all those present will be able to share their ideas on current and future research including possibilities for collaboration. Plans and opportunities for the ICSA Research Network will also be discussed.  

11:00 AM - 2:00 PM / Mental Health Workshop

1:00 PM - 4:00 PM / Former Member Workshop

This workshop will include an Overview of Recovery, touching on such subjects as attachment, boundaries, and identity. There will also be an opportunity to offer reflections on sessions people have attended during the first day of the conference. The workshop is intended for both first and second/multi-generation former members.

(William Goldberg, Gillie Jenkinson)  

2:00 PM - 4:00 PM / Family Workshop

"Building Bridges; Leaving and Recovering from Cultic Groups and Relationships: A Workshop for Families"

Topics discussed include assessing a family’s unique situation; understanding why people join and leave groups; considering the nature of psychological manipulation and abuse; being accurate, objective, and up-to-date; looking at ethical issues; learning how to assess your situation; developing problem-solving skills; formulating a helping strategy; learning how to communicate more effectively with your loved one; learning new ways of coping.

(Rachel Bernstein, MSed, LMFT, Joseph Kelly, Patrick Ryan)

_______________________________________

Virtual Summer Conference

Lisa Kohn

To the Moon and Back: A Childhood Under the Influence

VIDEO: ‘Meet the author’ interview

How do you learn to love yourself?

Lisa Kohn interview on Generation Cult

_______________________________________

Teddy Hose

Talk Beliefs VIDEO: Over the Moon – Escaping Sun Myung Moon, Hak Ja Han and their family

Talk Beliefs VIDEO: Secrets of the Moonies

Growing Up “Moonie” by Teddy Hose

_______________________________________

Jen Kiaba

The Purity Knife

Life Without Reverend Moon

Why Didn’t You Just Leave?

Jen Kiaba
: Hello and welcome to my least favorite question in the entire world. It’s one I’ve heard more times than I care to count, and sadly I think that’s something many cult survivors can relate to. In the past that question used to make me clam up and spiral into shame, or mumble, “It’s not that simple.” But in those days I didn’t fully understand the coercive control mechanism that were used to keep me, and so many others, trapped. Read more:
 https://jenkiaba.medium.com/lessons-on-leaving-why-didnt-you-just-leave-789953c4689a


https://www.jenkiaba.com/portfolio

Jen Kiaba on the Ares Meyer podcast

Fuel For Nightmares: Jen Kiaba on the Elgen Strait podcast

[advernia]

push me off a bridge (to catch me as i fall)

a separate post for my ramblings for this fic!! it’s actually the longest thing i’ve written in a while, so i have a lot to ramble about haha;;

prelude

oh man... this started when two of my friends decided to go through edgar’s route at the same time AND also decided to go reacting to every single part of the route through burst texting AT THE SAME TIME, effectively flooding my inbox.... they were fully aware that i was at a seminar and unable to reply... now my inbox is filled with so much edgar screaming i cannot... (゜▽゜;)

screaming aside they were also very willing to read whatever drafts of edgar/mc i had available and this was their favorite!! thanks to them, i decided to finish this omfg... i’m actually so proud that i got this done but tbh it was getting so long that i had half a mind to let go of it already halfway through scene three haha... (;*△*;)

this has uh... some fighting scenes and tbh the first draft had absolutely none of it... this is my first time actually writing long(?) scenes and while i found thinking about them to be fun, putting them into words was some struggle??? like... i've been told that it looks okay but idk it feels clunky to me. oh well ＼| ￣ヘ￣|／

general stuff + war phase, baby!

initially this was only meant to be 3 parts + primarily focused on edgar/mc + with an unnamed mc as usual! but then since it’s an au of kyle’s route, i found myself wanting to flesh out the relationship of edgar & mc when set in a different angle + circumstances rather than just automatically implying attraction...

plus their relationship canonically starts off on the wrong foot in that route & edgar’s fully aware that mc isn’t exactly comfortable around him, so it really doesn’t sit well if i just... put them together, lol. so thus we have five scenes of them getting(?) closer!(???)

in short its a hella slow burn and not gonna lie, when i was writing their scenes i was like f i n a l l y... bless... ಠ ּ͜೦

one of the reasons i like kyle’s route is bc i actually got some feel of an actual war??? idk i think there’s so much plot that u can fill in with it, so i decided going for alternating scenes of the battlefield + med tent. while there's glimpses of the action going on, there’s also the sort of complimenting(???) or offsetting more emotional perspective of what goes on with the medics. 

tbh i stared long and hard at the cradle map when formulating some tactics and i gotta say i had a hard time calming myself down bc... 

in kyle’s route, the red army has the advantage and have pushed the black army as far back as to their bridge, which means that more or less they’ve occupied central quarter... but what dawned on me was... where the hell did the red army position their encampment from there??? 

was an encampment even necessary given that they’re like, in a really convenient area????? they probably could’ve settled themselves in some houses but tbh okay maybe it isn’t so noble of the reds to do (imposing themselves n’ stuff) + they have larger numbers so accommodating all of them is a problem but still... where’d they set up camp??? u see, when kyle + mc step out of the med tent it shows the forest bg, so... where??? on the edges of the central quarter area are where u can see them trees??? on the civic center roof?!?!

well... a decent answer is that they could’ve set up several encampments around the area to ensure their hold on the central quarter... it still raises some questions but honestly it makes a lot more sense... but if not and they really decided to camp out like one big happy family all together, then don’t even get me started on the possibility that the camp was stationed somewhere around here:

because doing that doesn’t have a single lick of sense omfg especially tactics-wise haha... that’s like... why would you do that... you’re wasting all your advantages... o h  b o y... so you bet when i remembered that mc + loki had to pass by a forest to get back to the encampment + encountered ray & some disciples i was like... u m m... why???? if technically the reds took hold of the whole central quarter area then it actually isn’t necessary to skulk around in the forest?????? yes yes i know safety precautions + avoiding detection but... dood... it’s safer to walk in claimed territory rather than the unstable one ahaha...

plus the thing about the black bridge... uh... it's just said in the route that lancelot handles it through magic and that's all. but when i thought back on it oh my god... what did he do??????? how is he still standing??? how much of his lifespan did he shave off just to salvage that situation??????????? how is the poor boi alive?????????? the whole fucking bridge literally falls apart and that's a whole lot of chaos and people and AHHHHH!?!?!¿¿¿¿ if ur gonna make the bridge collapse (good thing they didn't think of disintegrate) it probably cost the magic tower a hefty amount but get rekt lancelot still saves the fucking day, what a king - he's practically got one foot in the grave already... this dood, seriously ಥ_ಥ

there were other things i noticed in the process of writing this based on the route events but i was like fuck it, let’s think on that another day and leave it as it is (┛ಠДಠ)┛彡┻━┻ ily kyle but oh no my brain started reprocessing the other details of ur route

thinking about all that also made me think of other more stuff, like cradle economy + livelihood haha;; it’s stated in edgar’s route (well... it’s actually pretty obvious in other routes too) that the reds are richer than the blacks, so i went ahead and assumed that the former engages in something more lucrative like mining -> jewerly / raw material / mineral trade, while for the latter something more wholesome like agriculture. idk, it works. even moreso that the reds give off the whole nobility vibe while the blacks are simple and casual. even the bg screens of the red & black streets are polarizing.

then i also went over the rest of the chosen thirteen... while the reds show no obvious weapon variety (see: swords), i’d like to believe that they’re taught to be versatile enough no matter what the situation. plus, since they have the funding, i'd like to think they're skilled in magic manipulation, too. meanwhile the black army shows weapon variety, and i’d like to think that it’s because most of their recruits aren’t soldiers in the first place: they’re farmhands / hunters / village people turned soldiers, and it’s actually easier to let them go with what they know first before encouraging them or asking them to learn something new. thus axes and spears and possible unconventional stuff like caltrops.

crimson glory

one of the things i realized was in kyle’s route, mc isn’t exactly so buddy-buddy with the red crew in comparison to other routes. she gets minimal interactions with the four, and zero aside her relationships with the top three are rather... tense.

zero was the other red officer i was initially going to add aside from edgar & kyle, but i added all of them anyway. while they don't appear all together, all of them have scenes together with edgar.

the first edgar & jonah scene shows an obvious contrast - while he's being incredibly critical about it, jonah shows actual concern for the living situations in black army territory. on the other hand, edgar chooses to tease him about it, his joking more or less implying that he isn't that concerned / bothered about it at all. the game touches up on this sometimes, often with edgar commenting on how noble jonah is while jonah shows obvious distaste for edgar's callousness.

still, they work well together. personally i'm amused with a hc of mine that looking at how edgar fights / acts only spurs jonah to act more honorably while for edgar, being exposed to jonah's noble-ness more or less makes him curious to try being honorable from time to time lol. that still doesn't stop anyone from calling him the gentle demon tho ( ⚆ _ ⚆ )

tbh since edgar is obviously sneaky on other routes i wouldn't put it past him to casually pressure lancelot to tell him wtf's going on with this war when he gets the inkling that something's wrong. edgar goes about this subtly not-so-subtly and in the most polite manner possible. lancelot knows him far too well to take bait tho - he makes sure to speak carefully since he's probably knows that edgar's going to pick apart at his words for meanings + implications, so it more or less leaves edgar a bit frustrated since it's clear that lancelot won't tell him much. still, edgar knows when not to cross the line - even he's not so keen on getting on lancelot's bad side.

that aside, i'd like to think that edgar respects lancelot a lot as a person + commander enough that he'd truly risk his life for him on instinct like a true soldier would. while i think i could've done more on writing the gravity of the collapsing bridge scene, i liked the last bit where edgar + zero immediately worried for lancelot.

let's be honest here tho in some way or another all of the reds chosen worry about their king bc bruh... let us in bruh...

the scenes of zero & edgar in the end are also my favorite! it isn’t much, but enjoyed writing their relationship briefly. tbh i think edgar is one of those people under the sleep = most vulnerable = death thinking (no thanks to claudius), so the fact that he allows himself to drift to sleep twice in zero's company is a definite sign of trust. then again, he's injured but still ( ᐛ )و

edgar, idike, kyle

y’know even if this is an edgar/mc thing, i found fleshing out the kyle/mc relationship equally important which i presented in scene three. personally speaking, i’d like to think that if ever kyle didn’t fall in love with mc (on his own route???) he’d still be watching over her anyway since her struggle in the medical field + war reminds him a bit of his younger self after his brother's death.

which is why he doesn't intervene with that one soldier scene - he doesn't coddle her either when she goes into a brief shock. perhaps it's bc he knows so well what she's going through, he decides to let her handle it on her own. this was her experience, not his. and to be fair, she asked to go to the front lines determined but wholly unprepared emotionally. he tried warning her, she wouldn’t listen. now she faces the consequences - how would she go about it?

i decided to slap a name into mc this time to highlight the trust plot: idk if i got it clearly across in the fic, but in times of war + for someone who’s been trained to be suspicious / cautious of everyone like edgar; secrets are a surefire way to catch attention + breed distrust.

tbh he's hella aware that the secret around her name is most likely personal and nothing dangerous, but it's better safe than sorry - by making sure she understands that keeping secrets wouldn't be of any good to her + situation, he gets reassurance that she really is harmless. how bad + seriously she takes it honestly surprises him tho, but then again she's been going through other stuff too so it all piled up.

idike isn’t my in-game name, but it’s the given name i spoke of in this ask, haha! initially scene five has her saying her full name (with surname), but i thought it would be more fitting if i didn’t lol ( ͡° ͜ʖ ͡°)

i tried to incorporate a mix of the personalities of edgar’s!mc + kyle’s!mc onto idike, tho at first i was only shooting for the latter - i think it kinda works??? while somewhat composed and determined (kyle’s), she still shows some naivete in her (edgar’s), especially concerning the ways of war + how secrecy & trust work in times of war.

i found emphasizing on her emotional struggle important, since it should be a big blow for her who’s never known the terror of war. the game touches upon on it a bit (tho it's post-med tent scenes) and i wanted to expand on it further since there are so many possible angles to go about it.

the i can’t heal you if you’re dead line sounds like something like shiro emiya might say but lol no i just remembered this p3 manga panel (pg 24) - its been years since i read it and i still love that line and i integrated it here... i was trying to expand that one scene for a while but then i just left it as it is.

in the catharsis scene where idike airs out everything, the fact that edgar fails to empathize with her + focuses more on her emotional state rather than offering actual help (advice maybe, but i honestly doubt he’d do that) reflects that he's still looking at her as an interesting creature and not her as a person. part 5 hints that this may be slowly changing, seeing as he called for her all of a sudden.

... idike probably keeps edgar’s glove as a token of friendship or smth haha ooPSSS i forgot to bring that back ahahaha..... ヘ（。□°）ヘ

ooofff i guess that’s all i have??? a big thank you to whoever read both hot messes™ and by that the fic + commentary itself!!! do feel free to hit the inbox for any comments + questions + more brainstorming + general screaming haha! ( ´ ▽ ` )ﾉ

[scottmaxwell360-blog]

Creative Problem Solving Interviews

To get a sense of how design professionals use creative problem solving techniques to tackle industry challenges, I interviewed three experts and asked two questions:

How do you generate ideas? (How, when, and where are you inspired? What inspires you? What obstacles do you face in coming up with a new idea and how do you overcome those obstacles?)

What process(es) do you use to solve problems? (Describe the steps of your problem-solving process. Explain your journey from inspiration to implementation.)

Niall Fitzpatrick - Photographer

How do I generate ideas / What inspires: 

There are different specialities in photography.  Folks that go deep in a very specific specialty; and others that take a broader array of interests, are perhaps two extremes. I tend lean more toward the latter. I'm very interested in exploring daily settings (people in action, portraits etc., for example); and street and landscape photography. I let the project lead me to an extent. That said, being "prepared" is essential. I like to build a story with my photos. I’m always looking for a way to use the moment and timing to describe the project. This requires a few essential elements:

Base idea framework: having a conceptual framework for what I want to achieve - a loose framework with not too tight an expectation. This allows me to follow my eye and the surroundings to evolve the story I’m trying to describe.

Inspiration: The surroundings, people, landscape, and light - these are elements of my inspiration. But really the biggest element of inspiration comes from taking the time to "see." It's tempting to hurry through a photo shoot; or settle for a "good" shot. But I find that for inspiration to flow I need to take time to see. This can manifest in different ways: Looking at the setting from different angles or perspectives, snapping to warm up with 'no expectations'; sitting and watching; exploring and walking; ultimately getting in the 'zone' which is when I'm thinking less and doing more. Ideas beget ideas.

A willingness to follow the flow: Things often don’t go to plan. A subject shows up late; the sun doesn’t come out; the scene isn’t what you anticipated. I like to follow the moment – see what happens naturally. How can I use it? These elements often present subconsciously “in-the-moment” but the critical element is a willingness to be flexible.

What obstacles do I face?

Lack of focus is a critical blocker for me - feeling rushed in process or not being prepared. 

Bringing Energy: In addition, particularly when people are involved in the shoot, making sure I have energy to bring to the project, to motivate others and or direct the subject. A tired me is a less creative me. 

Being Prepared: Finally, it is critical to be prepared. Being prepared includes a fluidity with the camera. If I put my equipment away for a period of time and then pick up and shoot it invariably means I am not 'one' with that camera. This leads to basic mistakes: overlooking critical settings; shoot perhaps at wrong settings; slow and focused more on camera than subject. The more I use a camera the more fluid I am - hence why I try to shoot daily. 

I overcome obstacles by:

Being practiced and fluid with the camera

Well rested

Creating an environment of relaxation for both myself and the subjects of my photos (where people are involved)

Where possible researching the setting

Timing the setting (golden hour, planning for ideal light, etc)

Continual study of photography; in particular examining and understanding the art of others

What process(es) do you use to solve problems? 

In photography problems arrive in a variety of possible categories including:

Subject not presenting as expected or not willing to participate as expected

Lighting (how is the light at this time - soft, harsh, other)

Setting (physical surroundings) not as anticipated

The objective (why am I here not going as planned)

When I approach a shoot I try to keep these things in mind so I’m prepared. The best way to ensure you can overcome a problem during the creative process is to be prepared and focused. The journey from inspiration to implementation involves ensuring I am ready; have timed the shoot (conditions), can take advantage of light, and know how to engage my subject. It’s also important to have a mastery of the technical approach. Knowing how to use in-camera or post-processing techniques to achieve the desired outcome. In the end though –inspiration often comes from the moment. Implementation comes from practicing technique such that one thinks less about the camera and more about the objective.

Alecia Lewis - Graphic Designer

1) Idea generation, inspiration, and obstacles:

Idea generation and inspiration: I'm often inspired by people - the more you know and understand and develop real conversations and empathize with them and how they relate to things. That's true communication and that's what really inspires me to do great works that connects people with ideas. Of course, I also subscribe to several design blogs to see trends and see what's new and how others are solving similar problems. Often, I just think "Man, they're so clever, how do I improve on that?” Really, I'd say my most creative pieces were thought of after hanging out with a big group of friends. Then, on my way home or laying in bed, I'll think about a project I was working on, and instantly the ideas start to form. I substantiate my ideas with a real understanding of best practices and commonalities, or biases that already exist around us, almost capitalizing on them.

Obstacles I face are really deadlines and ignorance. People who contribute to my work as a designer, while they provide their expertise of the market, often aren't aware of design principles, design thinking, or best practices for that matter. They've often not even Googled design terms like "hierarchy". Just the other day, the executive who claims to be a strategist with all of the experience says, "Oh, well, I don't know your lingo." My lingo isn't some revolutionary terms or design speak. It's founded in basic, standard terminology that designers use. With all of their experience "working with designers", you would think they would have compassion or respect and would, at the very least, Google things like "design principles" and see that not everything can be the same size. In order for your CTA (call to action) to actually evoke an action in their audience, it needs to stand out, not be surrounded by everything else.

As a designer, I’ve exposed myself to the executive’s field and researched best practices and developed personas. I ask questions about the piece - where it lives, why it lives there, how the viewer gets to it, etc. Oftentimes people haven't thought about the process in a holistic way, but I, as a competent champion of effective communication, have knowledge of the sales cycle, market strategy and economics, and I always approach things in that way.

I overcome those obstacles in a variety of ways. Just as I'm designing a print or digital piece, I take the same path to addresses my frustrations - define, identify, research, understand, relate, concept, create, execute, test, evaluate, complete. Essentially I try to put myself in their shoes, understand the problem from their perspective, and address it by provided validated information that supports my views, and enlighten them to why I make the choices I make.

Sometimes people recognize the effort, applaud, and move on. Other times they could care less and just want it their way. I'm not always right, but I do always have a purpose so it keeps me motivated. I will say though, this is also the reason that I changed jobs - because I worked with people who didn't care to be better, do better, or communicate better, so I changed jobs to find more purpose - to use my creative talents to advocate for something I believe in, which is affecting positive change in the world.

So now when I feel defeated by idiots, I still have the reward of doing good work for a good cause. Oh, and the deadlines - well, everyone thinks creativity is like science. “It should only take 2 hours. Last time it took 2 hours, so this time it should.” Well creativity isn't a science, it's a journey. Every new piece is a new story, and it's extremely frustrating when the story has to be told too fast and you skip parts. Because if you skip too much it doesn't make sense.

2) Process to Solving a Problem:

Every designers process is different, but the good ones are similar and start with

Defining the problem: So many times people who request work have no idea what problem they are actually solving - which seems insane, but is absolutely true. Literally, they'll say "I want x" and I start asking questions and they actually want "7%dg".

Next, you identify your audience: understanding them, their likes/dislikes, why they do what they do, what they need/don't need... relating to them and almost becoming them.

Research and more research: Now that you really know the audience, you do a real competitive analysis - you look to see what competitors are doing right and wrong, and understand the real value proposition so that you can differentiate your solution from theirs.

Create: Because we can relate to the audience and understand the market, we get to create - you could use any word here like develop or ideate - either way, this is the sketching, the inception of the idea, the concepting phase - this, to me, is the most fun part.

Execution: which is the creation of the piece, the development of the idea - massaging the good ideas and eliminating the bad ones that may have had potential but don't solve the needs of the audience.

Testing: this is when you send the piece out and actually obtain feedback. Often the feedback is measured in sales initiatives and lead gen numbers, but really it should be like an email. You send two out and judge the outcomes compared to each other. Then you deliver to the world because now your work is validated. It helps the viewer, it dismisses alternatives, it is validated. Now it should be approved to be printed or coded and sent out to the masses.

Reflection: Then the key is to look back - and reflect. This is the retrospective, which rarely happens, but always should - this is the discovery of the process, it's efficiencies and inefficiencies.  You get to find out if the piece and audience are really who you think they are. Seeking a true understanding of what worked and why it worked, or what didn't, and being honest with yourself that we're not all brilliant every time, but we need to grow from the feedback and let it continue to nourish your next iteration,

Completing the Cycle: then the cycle is complete because you've solved the initial need or provided the initial solution, while also informing the next piece.

So often, defining the problem, the persona development of the audience, the research, ideation is skipped. The testing and retrospective -- all of these phases are skipped because someone says, "I need X" and incompetent people say, "Designer, you have 2 hours to give me X" while no one asks questions are challenges the reasoning. So "X" is not a true solution. It's an unsubstantiated demand that will likely produce some success, but not the success that a truly validated, well thought-out initiative could have provided.

So I'll say the general process is, "get assigned, ask a million questions, research, design, revise based on feedback from non-designers, attempt to educate them, revise more, then send out to the public to be forgotten about" lol ...but real designers like me have adapted. For instance, I don't know every audience member but I've formed a generalization that I can attribute to the brand, then I ensure that I understand the holistic nature of the piece, and then design.

Also, I'm not even sure these are all of the steps, but, that's basically everything. The funny thing too is it's on my list to put something like this together for my company - to truly show the executives how much more productive and proficient our company could be if we followed a real process, and to also explain to them why things take so long - because good design can't be bottlenecked by time. It has to be well-informed in order to inform the right audience and produce the best results. I'll also add: the creative team I'm on is referred to as "Creative Solutions" because we aren't a "service" department, we don't cater to people's needs of X - we are presented with a problem and create solutions that solve those business needs.

Ashley Stacey - Photographer

1) Idea generation, inspiration, and obstacles:

Ideas often come to me while I’m shooting, which can be both a blessing and a curse.  A blessing because it’s often the person and or landscape that inspire me – anything I can do to that helps bring out the very best in that person is my goal. So, if that means switching from what I had planned to a completely different set and/or position to make them more comfortable, then that’s what we do. I’ve been the subject in front of the lens and know how uncomfortable it can be sometimes – making a last-minute change that allows comfort (and ultimately confidence) to shine through is worth every obstacle that may come with that change.  Which brings me to the “curse” part of this question – these last-minute changes can introduce obstacles with lighting, composition, props, etc. To get around this, I try to move as quickly as possible rearranging sets or re-positioning the subject – my hope is for a seamless shoot where the subject doesn’t even notice we ran into the obstacle(s) in the first place.  

2) Process to Solving a Problem:

The process I use to solve a problem depends on the problem. For example, if it’s around creativity, I think about past shoots I’ve done -  what worked and what didn’t. I also try to put myself in the shoes of my clients and think about if I were them – what would make me happy? My clients hire me (hopefully) having looked at some of my work, which means they like my “creative eye”. If it’s something that I like, the hope is that ultimately, they will as well. On the flip side, if the problem revolves around business operations, I think about whether I can relate the problem to my corporate experience – if so, I incorporate what I’ve learned from past experiences in my next steps.

[pho---to---graph]

Henry Fox Talbot – The Haystack

Posted on July 7, 2015 by Steve Middlehurst In April 1844 William Henry Fox Talbot set up a camera loaded with light sensitive paper and photographed (i) a haystack on his country estate at Lacock Abbey in Wiltshire. The haystack had presumably been constructed in the summer of 1843 but as we have no clue to its original size we cannot tell if it has been used to feed livestock all winter or only recently opened. A ladder leans against the stack, blocks are obviously being cut starting from the top down and we can see that the hay knife has been left high in the stack to the left of the ladder (ii). We can see how the stack has been designed with an undercut to minimise rising damp and painstakingly thatched to protect the valuable crop from the rain. Another thatched roof can be seen behind the stack but this looks more likely to be a barn. I partly chose this image because I lived in rural Italy for a number of years and stacks not dissimilar to this still exist in the mountains of Abruzzo, I found an ancient hay knife in the outbuildings of the house we lived in. This, of course provides a punctum (1) in this photograph that is quite personal to me.

Overall the composition has a strong geometry with the bright ladder and its dark shadow  providing contrast to the mid-tones of the hay. The Haystack is a study of light, tone and texture with the shadows of the ladder, the eaves of the thatch and the undercut all playing important roles in defining the significant and detailed forms in the scene. The dark leaves overhead provide a contrasting backdrop to the stack.

Such a stack would have been common place in rural England in the 1840s, unremarkable, probably identical to many other stacks in the Lacock area if not on the estate itself. This leads me to wonder why Fox Talbot photographed this particular stack, what did he want to communicate to his audience and who did he perceive that audience to be? Because this is a well know photograph, one of a series that Fox Talbot published in The Pencil of Nature in 1844 (2) (iii), it has been analysed, considered, critiqued and interpreted for over 175 years.

In fact it was whilst quite casually turning the pages of Ian Jeffrey’s How to Read a Photograph (3) that I paused to read his interpretation of The Haystack and began to think about the variety of ways in which we can read this calotype and how those readings have probably changed over time. It is interesting to consider such an old image in this way because, whilst we feel compelled to label it, there were no strongly established photographic genres in 1844 and no history of this type of image to speak of so Fox-Talbot only saw his work in the context of his drawing, his scientific research (iv) and as a commercial opportunity. He did refer to his calotypes as Art saying in his introduction to The Pencil of Nature that the book is a “first attempt to exhibit an Art of so great a singularity”  and refers to the process as “Photogenic Drawing” (v) but I cannot shake off the feeling that the practical process or the commercial potential was more interesting to him than the end result.

Fox Talbot, like many educated men of his time, maintained regular correspondence with contacts all over Europe and from the letters held in the De Montford University archive (5) it is possible to find many references to his photographic work but the ones I found (vii) were predominantly practical, or scientific in nature; and perhaps not surprisingly he was very interested in arguing the advantages of his Calotype process over the Daguerreotype. The discussions he was engaged in rarely touched upon the aesthetics of his or other photographer’s work and one letter from Fox Talbot to William Jerdan, the Editor of the Literary Gazette (vi), is particularly revealing; he wrote “The Complexity of the Art requires a division of labour; one person should invent new processes while another puts in execution those already ascertained, but hitherto I have been the chief operator myself in the different branches of the invention.”

We do know that Pencil of Nature is as much a catalogue as a photo book. Fox talbot selected subjects that showed the potential uses of photography; a photograph of his china collection is accompanied by a text explaining how this would help recover them if they were stolen, the leaf of a plant is contact printed as a botanical specimen, and the haystack is included to show how well photography could record “a multitude of minute details which add to the truth and reality of the representation, but which no artist would take the trouble to copy faithfully from nature.” He also places some photographs into the context of schools of painting, his famous Open Door is referenced to the “Dutch school of art”. All of which supports Gerry Badger’s description of the book as “an advertisement, a calling card, an experiment, a history, an aesthetic achievement and a manifesto” (6).

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Ian Jeffrey looking at The Haystack with a post modern eye suggests that the ladder has been placed here to provide human scale, “it serves as an attribute, making practical sense of the haystack”. He goes on to say that the sparse composition leaves the audience focusing on the items that are there so the ladder becomes suggestive of Jacob’s ladder which reached from earth to heaven. All valid points from a highly respected critic; I don’t see the ladder as being “placed” by the photographer, it is logical to me that it has been left here from the last time they cut into the hay which also explains why the hay knife has been left so high on the stack. I didn’t find the ladder suggestive of anything other than a practical way of accessing the hay.

When Fox Talbot photographed The Haystack, his intent appears to have been to show how his new process could capture the infinite detail in a large and recognisable object. He created a pleasing composition and may or may not have had one of his farm labourers bring a ladder and hay knife into the scene to add human scale or human interest. His message was primarily concerned with the functionality of the Calotype; his audience was probably a mixture of the scientific establishment, the British artists he hoped would “assist the enterprise” and the middle-class buyers who, not being able to afford a Constable, might buy a Fox Talbot instead.

Jeffrey sees the photograph as an example of the conceptual game “in which one step forward delivers things and words and one step back discloses the scene itself in all its natural complexity” (3). One the one hand I see it as a romantic view of rural life that has personal links to my life and on the other hand as a photograph taken by someone more interested in process and technology than the picture, rather like those internet conversations about pixels that appear to reduce photography to a technological arms-race. But, my interpretation is no more right than Jeffrey’s nor has this eminent art historian and critic has in any way missed the point, far from it.

The haystack is a prefect example of the practical application of Roland Barthes concept of “The Death of the Author” (7) and the idea of “Creative Attention” as proposed by Ainslie Ellis and Jonathan Bayer (8). (These ideas have been discussed in previous essays – see note viii below)

The post modernist view which is strongly based on Barthes’ essay The Death of the Author argues that whilst “the sway of the author remains powerful” the viewer is the primary controller of Art’s meaning. Barthes argues that reducing the influence of the author “utterly transforms” a piece of art and The Haystack is a perfect example of this process. Its power as a photograph is built upon a complex combination of its original context including the history of Fox Talbot and his competition with Daguerre, the mysteries and ambiguities that exist inside the frame and its aesthetic appeal but this is only relevant as a springboard for the ideas the viewer creates by engaging in a dialogue with the image. Harking back to Bayer’s idea, The Haystack releases its meanings slowly and has been doing so for over 175 years.

(I have also looked at this photograph in the context of semiotics here.)

Notes on Text

(i) Fox talbot patented��the calotype in 1843. Light sensitive paper was exposed in a camera, developed and fixed to create a negative. A print was made by exposing another sheet of light sensitive paper placed in contact with the negative. (1) I was intrigued to find a letter in the de Montford archive where he uses the term “photograph” as a generic term “Several photographic processes being now known, which are materially different from each other, I consider it to be absolutely necessary to distinguish them by different names, in the same way that we distinguish different styles of painting or engraving. Photographs executed on a silver plate have received, and will no doubt retain, the name of Daguerréotype. The new kind of photographs, which are the subject of this letter, I propose to distinguish by the name of Calotype; a term which, I hope, when the become known, will not be found to have been misapplied.” (

(ii) Since the advent of silage hay is is used far less for animal feeding and when it is used it is bailed and stacked as opposed to just stacked. The art of making a haystack has nearly disappeared in England but in many parts of Southern and Eastern Europe both the stack and the the unique triangular knives that are used to carve out the hay are still common.

(iii) Fox Talbot’s great contribution to the process of photography was the concept of printing multiple copies of the same picture from a single negative. The Pencil of Nature was the first ever photo book and ran to to six separate volumes that in total contained twenty four calotypes.

(iv) By all accounts Fox-Talbot was a brilliant man, as a gentleman scientist he explored many fields and was awarded a honorary Doctors of Laws degree by Edinburgh University not for his contribution to the arts or even his political career (he served in Palmerston’s government when the MP for Chippenham) but for his many contributions to science. In mathematics there is the “Talbot’s Curve”, in physics “Talbot’s Law” and the “Talbot” is a unit of luminous energy; there are two species names after him in the filed of botany and for good measure there is a Talbot crater on the moon. (4)

(v) He also points out that “you just can’t get the staff” saying that the chief difficulty he faces is the “paucity” of “skilful manual assistance”.

(vi) The full text reads: “I intend sending you a Copy of my new work the Pencil of Nature which I expect will be published tomorrow. I have met with difficulties innumerable in this first attempt at Photographic publication, & therefore I hope all imperfections will be candidly allowed for, and excused – I have every reason to hope the work will improve greatly as it proceeds, & that British Talent will come forward and assist the enterprise The Complexity of the Art requires a division of labour; one person should invent new processes while another puts in execution those already ascertained, but hitherto I have been the chief operator myself in the different branches of the invention.” (Document number 5013 in The Correspondence of William Henry Fox Talbot held by the De Montford University (5))

(vii) It is important to recognise that Larry J Schaaf has recorded approximately 10,000 letters to and from Fox Talbot so it would be quite wrong to give the impression that I have done anymore than skimmed the surface of this resource. I concentrated on reading the letters written between early 1843 and late 1844 which covered the period of The Haystack photograph and the publication of The Pencil of Nature.

(viii) The Death of the Author is discussed in two essays about post modernism here and here and the ideas of Ainslie Ellis and Jonathan Bayer are looked at here and here)

Sources

Books

(1) Barthes, Roland. (1980) Camera Lucida. London: Vintage Books

(3) Jeffrey, Ian ( 2008) How to Read a Photograph: Understanding, Interpreting and Enjoying the Great Photographers. London: Thames and Hudson.

(6) Badger, Gerry (2007) The Genius of Photography: How Photography has Changed our Lives. London: Quadrille.

(7) Barthes, Roland (1968) The Death of the Author. (Included within Image, music, Text, translated by Stephen Heath (1977)) London: Fontana Press

(8) Bayer, Jonathan (1977) Reading Photographs: Understanding the Aesthetics of Photography. The Photographers’ Gallery. New York: Pantheon

Internet

(2) Fox Talbot, William Henry (1844) The Pencil of Nature (accessed at PCCA 6.7.15) – http://www.photocriticism.com/members/archivetexts/photohistory/talbot/talbotpencila.html

(4) Schaaf, Larry J. The Correspondence of William Henry Fox Talbot (accessed at the de Montford University Fox Talbot archive 6.7.15) – http://foxtalbot.dmu.ac.uk/talbot/biography.html

(5) Schaaf, Larry J. The Correspondence of William Henry Fox Talbot (accessed at the de Montford University Fox Talbot archive 6.7.15) – http://foxtalbot.dmu.ac.uk

[justinplotkin87]

it is able to cool small-to-midsize rooms quite effects

The Blast Personal Fan  merits a comprehensive evaluate as non-public neck air cooling enthusiasts are a rather new idea in consumerism. Given the intensity and amplification of the summer time’s warmth, the innovation in private air con units is tough to head not noted.

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 The portability of the Blast AC neck fan changed into nearly imaginable years ago but speedy ahead to the summer time of 2020 and the transportable Blast air conditioners are of the seasons ought to-have objects. Coupling the Blast Personal Fan  private neck fan device with the rather-modern Blast Personal Fan  and clients have quite the high-priced way of taking care of the new and humid temperature spikes at the horizon by using taking the sizzle out of the summer one head and neck at a time.

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 The excellent element is the brand backing the sector’s most popular wearable air conditioner, which is Blast. The trademarked, house-maintain logo name in private transportable AC gadgets is virtually trailblazing its very own route within the international of excessive-tech, present day, low cost customizable air con abilities. With the hot in-call for success of the stylish Blast Personal Fan , the Blast Personal Fan  has caught the attention of tens of hundreds of individuals from around the sector already due to the specific, useful ability to customize and customise chilled air-float for hours on give up each time, anywhere wished maximum.

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 A Closer Look at Wearable Blast AC

 The Blast Wearable transportable cooling solution is right for using interior in addition to outdoors (wherein one can be going about their day to day sports). Thanks to the in-constructed battery that comes preloaded within the tool, it is able to deliver seamless operability for as much as 30 hours with none apparent drop in performance.

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 Lastly, the unit functions a 3-manner pace adjuster that lets in customers to manage its fan speed with the touch of a button. Finally, there is a USB-C charging slot that enables the Blast Wearable to be replenished speedy.

 How Does the Blast Personal Fan Work?

 As referred to earlier, the Blast Wearable can quietly produce a move of bloodless, at ease air that permits users to remain clean always. In phrases of its internal operations, the tool makes use of a aggregate of thermal electric cooling and powerful, enclosed cooling lovers that have been made to dish out air the use of a a hundred and twenty° adjustable air blade.

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     Wrap the device around one’s neck in a manner that is relaxed and non-intrusive.

   Adjust the fan pace the usage of the LED controls at the aspect of the unit. There are three settings to pick from (low, medium, or high).

   Use the system for so long as required and then flip off after its process is achieved.

 Why Choose Blast Personal AC Fan?

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 Simply put, the Blast Personal Fan  is designed to copy the movement of a exquisite cooling fan. Its bendable layout makes it clean to wear around one’s neck for lengthy periods with none obvious discomfort. The Blast transportable unit is also ideal to be used when one is lying around at home, running inside an office area, or maybe working out at a health club.

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 Thanks to its compact design, you could carry across the Blast Wearable air cooler in their bags readily and can also be taken whilst one is holidaying or on a commercial enterprise ride.

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 One of the critical troubles with several different brands of transportable coolers is that they're no longer easy to use. However, that is not the case with a Blast Wearable because it pretty plenty equipped to be used straight out of the box. To installation, all one has to do is fee the unit after which turn on the tool.

 Easy to clean

 A notably underrated facet of Blast Wearables is that it is able to be cleaned the use of a dry material. Thanks to its first rate outer frame, dirt can not come to a decision the unit fast (a great deal much less stain it completely).

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 The Blast Wearable portable AC may be used for as much as 30 hours on a single charge cycle. Not best that, even after lengthy periods of continuous hobby, the system additionally does no longer start to expose signs of bad performance problems

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 A Look at Blast Personal Fan

 The Blast Personal Fan  is an air-cooling system that does not feature any lengthy chords and can be carried around effortlessly. It is not only chargeable but also extremely clean to control. Furthermore, way to its powerful fan system, it is able to cool small-to-midsize rooms quite effects (as in line with one’s wishes and necessities).

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 In terms of how this cooling solution works, the Blast Personal Fan  works directly out of the box. To install, all one has to do is without a doubt fee the gadget and activate the tool. As in line with the reputable product internet site, the AC can blow out 2.7m/s of refreshing cold air in real-time. As a result of this, it may relax any room it's far placed in inside a rely of mins. Lastly, it's far convenient to easy the unit — all one has to do is take a dry cloth and wipe the areas wherein dust may have amassed.

 Where to Buy the Portable and Wearable Blast AC Units?

 The most accessible and most problem-loose manner of facilitating a buy is by means of travelling the legit organization website. At the time of writing this article, the Blast Personal Fan  is presently available for a 50% discount. There are four buying alternatives that users can select from:

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 The mini laptop transportable air conditioner from Blast is priced slightly better however is likewise a more effective standalone unit versus a wearable neck wrap. Here are the prices for the Blast Personal Fan :

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   Two devices are to be had for $249.98

   Three units are available for $281.48

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 Contacting Blast Customer Service Support

 The largest red meat with the Blast air conditioners has been the sluggish, not on time shipments of the non-public portable AC units. However, fortunately if analyzing and seeing this these days, the Blast Personal Fan  is expected to be all caught up and usually being shipped for all new orders made nowadays. The responsive customer service group at Blast could be able to provide specific dates and shipping timeframes when going to the professional internet site and monitoring the order with the aid of variety.

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https://signalscv.com/2021/07/buddy-buds-pro-reviews-scam-alert-2021-does-buddy-buds-earbuds-work/ https://signalscv.com/2021/07/buddy-buds-earbuds-reviews-2021-legit-or-scam-complete-info/ https://signalscv.com/2021/07/knee-force-customer-review-2021-get-instant-relief-from-knee-pain/ https://signalscv.com/2021/07/wifitron-wifi-booster-customer-reviews-best-wifi-extender-2021/ https://signalscv.com/2021/07/killer-fly-racket-reviews-2021-does-electric-bug-zapper-racket-work/ https://signalscv.com/2021/07/frost-air-cooler-reviews-2021-does-frost-cooler-legit-or-another-scam/

[trackingsysteminpakistan]

How to Choose Best GPS Tracking Solution in Pakistan

TrackQlik #1 GPS Tracking in Pakistan enables you to simply track or steer a device that uses the Global Positioning System (GPS) to identify actual movement of a vehicle, asset, person, or animal.

TrackQlik #1 GPS Tracking in Pakistan

Currently, more than half of Pakistani government and commercial fleets use GPS Tracking in Pakistan. It is difficult to calculate all the businesses that arise to meet the needs of helping the fleet solve the problems of responsibility, compliance, efficiency, and safety. 

However, there was a problem: some of them were not delivering. Now your customers are looking for new solutions. They don't want to repeat their mistakes and end up with another solution that does not meet the requirements. 

Investing in GPS tracking solutions is very easy. However, the hardest part is finding a partner with the skills, experience, and compatibility to achieve the results your organization seeks to achieve. This is where the right supplier can help-it's a proven process that helps you browse countless suppliers, so no matter who you choose, you will get the information you need to buy.

Identifying the issues that your company faces

Identifying your difficulties is the first step in choosing the best solutions for GPS Tracking in Pakistan. Are you, for example, overspending on gas? Do you have issues with crashes caused by bugs? Are your mobile assets being used for backend work by your employees? When was the last time you looked for your trailer or generator?

This procedure must be completed by all departments that use technology. Having a variety of viewpoints can assist you in selecting the optimal solution and ensuring that important difficulties are not left unsolved. Furthermore, integrating all departments from the beginning will assure buy-in from the start.

Contemplate including other people in the process, such as drivers, dispatchers, mechanics, and others. While having people with a broader perspective is beneficial, those who are likely to be daily users can provide significant insight into the challenges they confront. This is yet another excellent method for obtaining buy-in.

Align Capabilities and Solutions to the Issues Faced by Your Fleet

Start connecting the difficulties you want to solve with  GPS Tracking in Pakistan to the functions and advantages of prospective solutions once you've determined what problems you want to solve. Consider both your immediate and long-term objectives when determining the functionality your company requires. Because you may require a more powerful solution in the future, it's critical to find a GPS tracking solution that will grow with your company and expand to your demands.

You should also think about what the GPS supplier has to offer. Do they have any other goods besides GPS tracking to fulfil future needs?

Most companies that utilize  GPS Tracking in Pakistan are also using compliance software and safety equipment like smart cameras. Another product that assists businesses that rely on mobile labor to earn revenue is business management software.

There's one more thing you should keep in mind: Take the effort to figure out what other types of operational software your company employs. There's a good chance you could profit from some data integration – and don't forget to consult with others in your company.

Data from fuel cards, diagnostics, routing and dispatch software, GIS software, and work system integration are just a few of the data sources that can be transferred to other platforms. Adding data integration might be a time-consuming process.

 Put Potential GPS Tracking Solutions to the Test

Should you buy a brand new car without first taking it for a test drive? Choosing a new GPS Tracking in Pakistan follows the same principle. We propose conducting a pilot test with a few different providers so that you can evaluate their features. If a supplier refuses to let you trial before you buy, your expectations are unlikely to match the vendor's statements.

This is really an excellent opportunity to obtain some actual information. Your pilot can serve as a standard for future enhancements.

Select the Most Appropriate GPS Tracking Service Provider

You ought to be able to see how the proposed GPS tracking solution would benefit your company during a pilot. You should also look into the GPS tracking company's track record, credibility, and client service. Although price is important, it should not be the sole consideration. If these other crucial requirements aren't met, it's not a good idea to choose a GPS tracking solution just because it's the cheapest.

The efficiency of their setup is another wonderful indicator of a reliable partner. If you're intending to use vehicle-installed GPS tracking gear rather than a plc, be sure to ask questions regarding their setup process.

As many GPS monitoring services provided by GPS Tracking in Pakistan rely on vendors for installation, it's important to learn how they choose vendors and maintain their quality.

Put your new GPS tracking system into action.

It's critical to execute your new GPS tracking solution properly once you've found the best GPS tracking service for you. Make sure your employees are aware of your strategy and that they are properly trained on how to use the programme. It's also critical to maintain the GPS tracking setup process well-organized.

You must also make advantage of the programme. You will not realize the full advantage of your investment if you do not use the data from a  GPS Tracking in Pakistan. It's very uncommon to see a return on investment of more than 100% simply by making a few minor changes.

When a company implements a solution, it's customary for them to observe an instant improvement in key fleet KPIs. However, following that initial accomplishment, it's critical to keep fleet management in mind.

Finally, remaining connected with your vendor allows your company to benefit from best practices created over years of field experience working with outstanding customers. Regular communication with your vendor's personnel can expose a wealth of insider information, as well as keep you informed about new features and improvements coming your way. Consider how involved you need to be with your provider, inform them, and collaborate on a regular basis to ensure your fleet management project is a success.

TrackQlik Features:

· Mobile Biometric Digitization with Voice & Facial Recognition

· Field Survey

· Geo Fencing Software

· Field Document Verification

· Field Force Data Collection

· Field Force Request Management

· Field Force Route Optimization

· Field Force Task & Expenses

· Field Service Management

· Order & Delivery Tracking

· Transportation & Fleet Tracking

· Mobile Forms & Field Data

· Field Service Visibility & Management

Services TrackQlik offer:

· Survey Digitization Services

· Quality & Quantity Assurance

· Field Inspection & Surveillance

· Digital Stock Reconciliation

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Call #:+923333331225

Email: sales@trackqlik.com