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event-kingdom-llc1 · 1 year ago

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Party Rentals Tampa

When planning an event, choosing suitable party rentals in Tampa can significantly enhance the experience for both hosts and guests. Tampa offers various options to elevate any gathering, from casual backyard birthday parties to sophisticated outdoor soirées and festive neighborhood get-togethers.

It's essential to envision the atmosphere you want to create. Consider renting a bouncy house or inflatable obstacle course for a classic backyard birthday party to keep children entertained and active. A tent for shade and shelter can also provide comfortable seating areas and designated spaces for activities or dining.

Tampa's party rental companies offer more than just traditional bounce houses. Consider renting comfortable lounge furniture and fire pits for a more upscale outdoor event to establish a sophisticated ambiance. Interactive games like giant Jenga or cornhole can also provide entertainment for both children and adults, adding a fun and competitive element to the gathering.

Themed events provide a unique experience for guests. The possibilities are endless, from pirate-themed parties with inflatable treasure chests to tropical luaus with tiki torches and festive decorations. Tailored themes can transport guests to a different world and enhance the overall ambiance of the event.

Access to essential items such as tables, chairs, table linens, and tableware is crucial for a successful event. Tampa's party rental companies offer various options for accommodating styles, from casual to formal gatherings. Creating a cohesive look that aligns with the event's theme can significantly enhance the overall visual appeal and atmosphere.

When planning party rentals in Tampa, it's essential to research local companies and secure bookings well in advance, especially for popular dates. When making rental selections, consider factors such as the guest list size, venue, and event theme.

With careful planning and the help of Tampa's party rental companies, hosting a memorable event is within reach. Personalized decorations, curated playlists, and thoughtful catering choices can provide the finishing touches to elevate the party rentals in Tampa from good to great, ensuring a memorable experience for all attendees.

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Featured Business:

Welcome to Event Kingdom LLC, the premier destination for exceptional party rentals in Tampa. Whether you are organizing a grand corporate event, a dream wedding, a delightful birthday celebration, or any other special occasion, our dedicated team is proud to provide an extensive selection of top-notch rental options to help elevate and enrich your event. Our vast inventory includes everything from majestic and tastefully adorned tents to versatile, high-quality tables and an array of stylish chairs that cater to various themes and settings. Additionally, we offer a wide range of vibrant décor options to add that perfect finishing touch to your special event.

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lishika-holidays · 1 year ago

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Coorg Calling: All-Inclusive 2-Day Package from Bangalore

At Lishika Holidays, we are passionate about crafting unforgettable travel experiences tailored to each individual’s desires. With a commitment to excellence and a deep understanding of our destinations, we specialize in curating journeys that leave a lasting impression. Whether it’s exploring hidden gems off the beaten path or indulging in luxury getaways, we strive to exceed expectations and create memories that will be cherished for a lifetime.

Day 1: Bangalore to Coorg

Your journey begins as you depart from Bangalore in the comfort of our luxurious transport. Sit back, relax, and enjoy the scenic drive through the picturesque landscapes of Karnataka. As you approach Coorg, you’ll be greeted by lush greenery, mist-covered hills, and the unmistakable aroma of coffee plantations.

Upon arrival in Coorg, you’ll check into a handpicked resort that offers a perfect blend of comfort and serenity. After freshening up, indulge in a delicious lunch featuring authentic Coorgi cuisine, known for its bold flavors and use of locally sourced ingredients.

In the afternoon, embark on a guided tour of Coorg’s most iconic attractions. Visit the breathtaking Abbey Falls, where cascading water amidst verdant surroundings creates a mesmerizing sight. Next, explore the historic Madikeri Fort, which offers panoramic views of the surrounding hills and valleys.

As the day comes to a close, return to your resort and unwind with a leisurely evening. Enjoy a sumptuous dinner under the starlit sky, accompanied by traditional music and dance performances that showcase Coorg’s vibrant culture.

Day 2: Exploring Coorg

Wake up to the serene beauty of Coorg and fuel up with a hearty breakfast at the resort. Today, immerse yourself in the natural wonders and cultural heritage of this captivating destination.

Begin your day with a visit to the Dubare Elephant Camp, where you can observe and interact with majestic elephants in their natural habitat. Participate in activities like elephant bathing and feeding, gaining insight into the conservation efforts aimed at protecting these gentle giants.

Continue your exploration with a visit to the picturesque Raja’s Seat, a scenic garden offering panoramic views of the surrounding hills and valleys. Take a moment to soak in the tranquility of this elevated vantage point, surrounded by lush greenery and blooming flowers.

Before bidding farewell to Coorg, savor a traditional Coorgi lunch that celebrates the region’s culinary heritage. As you journey back to Bangalore, reflect on the memories made and the experiences shared during your brief yet unforgettable escape to Coorg.

With Lishika Holidays, every moment of your journey is carefully curated to ensure a seamless and memorable experience. Book your all-inclusive 2-day package from Bangalore to Coorg today and embark on a journey of discovery and delight.

Read for more info: https://medium.com/@lishikaholidaysseo/coorg-calling-all-inclusive-2-day-package-from-bangalore-a6fa033dd87f

#travells #traveling #coorg

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yourtropicalgataways · 1 year ago

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About

Your Tropical Getaways, meticulously designed & founded in 1999 by the visionary Jamarison Easonyr, stands as a beacon for wanderlust souls seeking to immerse themselves in the vibrant essence of the tropics. This platform operates round the clock, providing unparalleled access to a treasure trove of information on the most breathtaking exotic destinations across the globe.

From the lush, verdant landscapes of the Amazon Rainforest to the pristine, sun-kissed beaches of the Maldives, Your Tropical Gataways is your ultimate online travel companion. Here, you can delve deep into a plethora of travel insights, tips, and guides meticulously curated to enhance your tropical expedition. Connect with us at +1 314-323-1387 to explore the tropics like never before.

Whether it's navigating the nuances of booking your next adventure, indulging in exotic cuisines, embracing thrilling adventure activities, or gaining deep cultural insights, this site offers a comprehensive, all-encompassing view of what it means to travel in the tropics. Connect with us directly through our dedicated line to personalize your journey and explore the tropics like never before.

Address: 2392 Bruce Street Maryland Heights Missouri 63043 United States

Website: https://yourtropicalgataways.com

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shagunrana2244 · 2 years ago

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Luxury Redefined: Akshar Amar Mansion’s Exclusive Amenities and Features

In the realm of opulence and sophistication, the Akshar Amar Mansion stands as a testament to exquisite living. This luxurious residence, nestled in the heart of the city, is a beacon of elegance and comfort. Akshar Amar Mansion — the name resounds in the echelons of luxury real estate. Let’s delve into the exclusive amenities and features that redefine luxury living at Akshar Amar Mansion.

1. Indoor Games Paradise:

Akshar Amar Mansion is not just a home; it’s a haven for those who appreciate recreation. The Indoor Games Arena within the premises is a testament to this commitment. Residents can indulge in a variety of games, from table tennis to chess, creating an atmosphere of camaraderie and leisure. Akshar Amar Mansion ensures that its residents have every opportunity to unwind and entertain themselves within the confines of their luxurious abode.

2. Serene Sit-Out Garden Area:

Escape the urban hustle and bustle in the tranquil sit-out garden area at Akshar Amar Mansion. This oasis of greenery provides a peaceful retreat for residents to rejuvenate their minds and bodies. Whether you prefer reading a book, sipping on a cup of coffee, or simply enjoying the beauty of nature, the sit-out garden area is a sanctuary within the city. Akshar Amar Mansion has artfully integrated this outdoor space to complement the lavish interiors, creating a harmonious living experience.

3. State-of-the-Art Gymnasium:

Fitness enthusiasts, rejoice! Akshar Amar Mansion boasts a state-of-the-art gymnasium equipped with cutting-edge exercise machines and facilities. Residents can maintain their fitness regimes without the hassle of external gym memberships. The gymnasium at Akshar Amar Mansion is not just a space for physical fitness but also a hub for social interactions among health-conscious neighbors.

4. Unmatched 24/7 Security:

Security is paramount at Akshar Amar Mansion.The residential complex is equipped with an unparalleled 24/7 security system, ensuring the safety and peace of mind of its esteemed residents. Meticulously trained security personnel and advanced surveillance technology create a fortress around Akshar Amar Mansion, leaving no room for compromise when it comes to the security of its residents.

5. CCTV Surveillance for Elevators:

Taking security to the next level, Akshar Amar Mansion has implemented CCTV surveillance specifically for elevators. This additional layer of protection ensures that every movement within the building is monitored closely. The integration of cutting-edge technology reflects Akshar Amar Mansion’s commitment to providing a secure and sophisticated living environment for its residents.

6. Advanced Fire Safety Measures:

Akshar Amar Mansion prioritizes the safety of its residents with advanced fire safety measures. The residential complex is equipped with state-of-the-art fire prevention and suppression systems, adhering to the highest safety standards. This proactive approach to safety underscores Akshar Amar Mansion’s dedication to creating a secure haven for its residents.

In conclusion, Akshar Amar Mansion is not just a residence; it is an epitome of luxury living. The carefully curated amenities and features, including the Indoor Games Arena, Sit-Out Garden Area, State-of-the-Art Gymnasium, 24/7 Security, Elevator CCTV Surveillance, and Advanced Fire Safety, showcase the commitment to providing an unparalleled living experience. Elevate your lifestyle at Akshar Amar Mansion and experience the epitome of opulence.

This article is also submitted on Medium:-https://medium.com/@shagunrana2244/luxury-redefined-akshar-amar-mansions-exclusive-amenities-and-features-3f68238d1200

For More Visit Us;-https://www.akshardevelopers.com/akshar-amar-mansion.php

#Akshar Amar Mansion

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bipin568 · 2 years ago

Text

Luxury Redefined: Akshar Amar Mansion’s Exclusive Amenities and Features

1. Indoor Games Paradise:

2. Serene Sit-Out Garden Area:

3. State-of-the-Art Gymnasium:

4. Unmatched 24/7 Security:

5. CCTV Surveillance for Elevators:

6. Advanced Fire Safety Measures:

This article is also submitted on Medium:-https://medium.com/@bipinshaikh692/luxury-redefined-akshar-amar-mansions-exclusive-amenities-and-features-3a69b14e289b

For More Visit Us:-https://www.akshardevelopers.com/akshar-amar-mansion.php

#Akshar Amar Mansion

0 notes

theglitterqueenposts-blog · 6 years ago

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Reference List

CACS 102 Assessment One: Reference List & Bibliography

Reference List

Balla P, 2018, Walking in deadly blak women’s footprints, Artlink, Issue 38.2, June 2018, p.22-29, https://search-informit-com-au.ezproxy.uow.edu.au/fullText;dn=626191023109790;res=IELHSS, (accessed:23.03.2019)

Barker, C, 2007, ‘Issues of subjectivity and identity’ in Cultural studies: theory and practice, 3rd. edn, Sage Publications, London, p.218-223.

Buchanan, I, 2010, Oxford Dictionary of Critical Theory, http://www.oxfordreference.com.ezproxy.uow.edu.au/view/10.1093/acref/9780198794790.001.0001/acref-9780198794790-e-494#, (accessed 19-21.03.2019)

Buchanan, I 2018, Oxford Dictionary of Critical Theory, Oxford University Press, England.

Gough, J, 2006, Trading Places – why make Indigenous art and where goes culture? Machine/: Visual Arts Bi-monthly, Issue 37, p.7-9, ISSN 1834-0237, www.machine.org.au.

Haggis, J, Thoughts on a politics of whiteness in a (never quite post) colonial country: abolitionism, essentialism and incommensurability, in Moreton-Robinson, A, (ed), 2004, Whitening Race, Essays in social and cultural criticism, ch.4, p.48-58.

Langton, M, 2003, Introduction: culture wars in Blacklines: Contemporary Critical Writing by Indigenous Australians, Melbourne University Press, Carlton, p.81-91.

hooks, b, 1992, Black Looks: race and representation, South End Press, Boston USA.

Kleinert, S, 2000, Renegotiating tradition: Urban Aboriginal art in Oxford Companion to Aboriginal art and culture, Oxford University Press, Melbourne, ch.12, p.267-296.

Moreton-Robinson, A, 2003, Uprootings/Regroundings: Questions of Home and Migration, Berg Publishers, New York, ch.1, p.23-40, https://is.muni.cz/el/1421/podzim2009/AJ28084/um/Moreton-Robinson.pdf, (accessed 21.03.2019).

Moreton-Robinson, A, 2003, Introduction: resistance, recovery and revitalisation, in Blacklines: Contemporary Critical Writing by Indigenous Australians, Grossman, M, (ed), Melbourne University Press, Carlton, Victoria, p.127-131.

Simon, G, PhD, 2016, Borderline Personalities: Understanding the Fractured Self, Counselling Resource, 05.12.2016, www.counsellingresource.com/features/2016/12/05/borderline-personalities/, (accessed: 04.04.2019).

Smith, B, 2008, Interview: Philosophy Bites, https://philosophybites.com>2008/09/barry-smith-on.html, (accessed via CACS102: 29.03.2019 lecture and online:04.04.2019)

Bibliography

Abercrombie, N, Hill, S, and Turner, BS, 2006, The Penguin Dictionary of Sociology, Penguin Books, London, England.

Gough, J, Naylor, S, 2009, Circuit breaking? Indigenous Australian art and critical discourse in crossing cultures: conflict, migration and convergence, The Proceedings of the 23rd International Congress in the History of Art, Professor Anderson, J (ed), Mieunyah Press, Carlton, p.820-824.

Griffiths, G 2006, The Myth of Authenticity, p.41-42, 237-241, in Ashcroft, B, Griffiths, G and Tiffin H, (eds), The Post-colonial Studies Reader, Routledge, London and New York, (accessed: 28.03.2019). <https://books.google.com.au/books?hl=en&lr=&id=zcpiQwtw4hMC&oi=fnd&pg=PR17&dq=Griffiths+1995+the+myth+of+authenticity&ots=JuX7Y3xcLX&sig=-ihIjKvvix1L0DGcpqQVYpxnjU4#v=onepage&q=Griffiths%201995%20the%20myth%20of%20authenticity&f=false,>

Hall, A, 2012, Disability and Modern Fiction: Faulkner, Morrison, Coetzee and the Nobel Prize for Literature, Pulgrave Macmillan Publishers, New York.

Hall D, 2004, Subjectivity, The New Critical Idiom, Routledge, Taylor and Francis Group, New York.

Harkins-Cross, R, 2013, Encountering the Black Screen, in Meanjin, Vol.72, no.4, p.20-33.

Moreton-Robinson, A, 2003, Tiddas Talkin’ up to the white woman: when Huggins et al took on Bell, in Blacklines: Contemporary Critical Writing by Indigenous Australians, Grossman, M, (ed), Melbourne University Press, Carlton, Victoria, p.66-77.

Onus, L, 2003, Language and lasers, in Blacklines: Contemporary Critical Writing by Indigenous Australians, Grossman, M, (ed), Melbourne University Press, Carlton, Victoria, p.92-96.

Poll, M, 2017, Radio free Redfern, https://medium.com/@mattpoll2/radio-free-redfern-19cea6527c90, (accessed:19.03.2019).

Laird, T, 2019, Hi-Vis commodities: A body corporate’s toxic economy, Artlink, Issue:39.1, artlink.com.au, (accessed 21.03.2019)

Langton, M, 2000, Homeland: sacred visions and the settler state, Artlink, Vol.20, Vol.1, p.11-16.

Maddison S, 2009, Black Politics: inside the complexity of Aboriginal political culture, Allen and Unwin, Crows Nest, ISBN: 1-74175-698-7, 978-1-74175-698-2: (accessed 23.03.2019).

Mautner, T, (ed), 2000, The Penguin Dictionary of Philosophy, London, England.

Moreton-Robinson, 2015, White Possessive: Property, power and Indigenous sovereignty, University Minnesota Press, USA, http://ebookcentral.prorequest.com, p,191-194, (accessed: 24.03.2019)

Morrissey, P, 2003, Moving, remembering, singing our place, in Blacklines: Contemporary Critical Writing by Indigenous Australians, Grossman, M, (ed), Melbourne University Press, Carlton.

Petchkovsky , L, San Roque, C, Napaljarra Jurra, R, Butler, S, 2004, Indigenous maps of subjectivity and attacks on linking: forced separation and it’s psychiatric sequelae in Australia’s Stolen Generation, Australian EJ Advanced Mental Health, Dec. 2004, pandora.nla.gov.au/tep/24225, http://pandora.nla.gov.au/pan/24225/20050403-0000/auseinet.flinders.edu.au/journal/vol3iss3/petchkovsky.pdf, ISSN: 1446-7984, (accessed: 23.03.2019).

O’Riordan, M, 2000, Charting co-existence, Artlink, Vol.20, No.1, p.62-64.

Watson, I, 2009, Aboriginality and the Violence of Colonialism, borderlands e-journal, Vol.8:1, www.borderlands.net.au, (accessed 19-21.03.2019).

Images Reference List

Chelle Barbour: Open Your Mind, 2018, mixed media on paper, 20 x 30, gallery gurls.net

Chelle Barbour: Don’t Get It Twisted, 2018, mixed media on paper, 20 x 30, gallery gurls.net

<http://gallerygurls.net/interviews/2018/10/20/in-conversation-with-chelle-barbour-on-her-latest-show-of-afro-surrealist-collages-curated-by-angela-bassett>, (accessed:30.2019)

Destiny Deacon: image: Arrears windows, 2009, inkjet print from digital image on archival paper, 60x80cm, Art Gallery NSW,

https://www.google.com.au/search?safe=active&hl=en&biw=1366&bih=657&tbm=isch&sa=1&ei=LNaaXKS-IJKvyAPVvamgBw&q=destiny+deacon+artist&oq=destin&gs_l=img.1.0.35i39j0i67l2j0l7.88554.94239.97526...0.0..1.308.3949.0j4j12j1......2....1..gws-wiz-img.....0.ZEBuCr4Rfik#imgrc=BshE9k2Y1wrZrM, (accessed:03.2019)

Isaac Bamblett-Marsh and Students Performance, 2019: http://www.caspaonline.com.au/videos/murrawadeen-goodjarga, (accessed: 09.03.2019).

Jane Strang, untitled, 2013, Portrait of Me, personal collection, (accessed: 29.03.2019).

Juundaal Strang-Yettica, 2018-19, Untitled, work in progress, personal collection, (accessed: 03.2019).

Tracey Moffatt: Mother and Baby, 2017, My Horizon, https://www.google.com.au/search?safe=active&hl=en&tbm=isch&source=hp&biw=1366&bih=657&ei=L1OdXLt016b1A_CXn8AG&q=tracey+moffatt+my+horizon&oq=tracey+moffatt+my&gs_l=img.1.0.0.2586.9708..13227...0.0..0.235.3236.0j11j6......1....1..gws-wiz-img.....0..35i39j0i10j0i8i30.WbACuWXGlB8#imgrc=_UDzcqe6Nv6edM:, (accessed 29.03.19)

Vernon Ah Kee, Annie Ah Sam, 2008, https://www.google.com.au/search?safe=active&hl=en&tbm=isch&source=hp&biw=1366&bih=657&ei=HQ-lXL7mItn59QOC1aqIDA&q=vernon+ah+kee&oq=ver&gs_l=img.1.0.35i39j0l9.944.1394..4965...0.0..1.480.1436.4-3......1....1..gws-wiz-img.....0.WuHlG39Ibjc#imgrc=Ew57TJi2FnHnhM:, https://blog.qagoma.qld.gov.au/wp-content/media/digital-blog-2012.502_001.jpg, (accessed: 04.04.2019).

Robbie Williams (b.1974): I Come Undone (2003) https://youtu.be/9yhTZEsQo_s, (accessed03.2019).

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ironflowerbluebird · 3 years ago

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People and isms. To the history of the avant-garde

The publishing house "New Literary Review" presents a book by art critic Irina Vakar "People and Isms. To the history of the avant-garde" . https://medium.com/@com548510/people-and-isms-to-the-history-of-the-avant-garde-b57bd6f124fa

Irina Vakar focuses on iconic figures and the most important areas of Russian avant-garde painting. Did "Russian Cezanneism" exist? What role did impressionism play at the beginning and end of the path of avant-garde artists? How did the work of Larionov, Malevich, Tatlin turn out to be similar to the work of Picasso? Why was non-objectivity an inevitable stage of Russian art? What was the difference between the consciousness and life priorities of modernists and avant-gardists, for example, Benois and Malevich? And what did the vanguard do when all the battles were already lost? All these questions are answered by People and Isms. Irina Vakar is the chief researcher at the Tretyakov Gallery, a specialist in Russian painting in the first third of the 20th century, curator of many exhibitions. Most of the chapters of the book are written on the basis of reports read by the author at scientific conferences.

We suggest reading a fragment of one of the chapters of the book.

"Jack of Diamonds" circa 1910: the carnival stage of the avant-garde [1]

The question of what is meant by the term Russian avant-garde and where to start its history is still controversial among specialists. In my opinion, the date of birth of this movement should be considered 1910. Malevich usually singled it out as a milestone in the history of new art. Events took place one after another: the expulsion of rebellious students from the Moscow School, the organization of the St. Petersburg Youth Union society, the Jack of Diamonds exhibition - the first action of Larionov in a series of his outrageous undertakings. In the spring of 1910, the definition of avant-garde appears , ironically uttered by A. N. Benois about Larionov and his friends.

In the chain of these events, the exhibition "Jack of Diamonds" was the most important. “Whoever remembers this exhibition must not forget the impression [2] ,” wrote Malevich. “The strongest youth in their picturesque spirit united under the flag of the Jack of Diamonds” [3] . New Russian painting did not know such consolidation in the future: the future leaders of several artistic movements came out as a united front against traditional art, striking the public with de-aestheticization, an apology for “ugliness” (the attitude to the problem of beauty sharply separated the avant-garde artists from the representatives of modernism, among whom were their former associates - Goluborozovists, and critics, who almost without exception did not accept the exhibition).

J. Ortega y Gasset, as you know, considered “unpopularity” to be the main sign of the new art: it is “characteristic of it that it divides the public into two classes of people: those who understand it, and those who are not able to understand it.” . <…> Hence the irritation in the mass” [4] . It is no coincidence that historians of literary futurism attach such importance to the manifesto Slap in the Face of Public Taste (published in December 1912).

The exhibition "Jack of Diamonds", which opened in December 1910, was the first and very full-fledged "slap in the face." For the first time, she demonstrated a programmatic break with all aesthetic ideas prevailing in society. “The concentration of almost all the forces of the Russian pictorial avant-garde at one exhibition, apparently, exceeded some critical value and, figuratively speaking, led to an explosion that deafened the public and scattered the artists themselves” [5] , writes A. V. Krusanov. According to Malevich, "it was ... the first raging volcano in the clearing of the age-old dormancy of fine art" [6] .

It is interesting that such an impression was created almost exclusively by the means of painting itself. Apart from the shocking title, the exhibition was not accompanied by any actions that would later be characteristic of avant-garde culture (manifestos, disputes, theatricalization of behavior, etc.). Tapestry hanging that enhances the action of the paintings (M. A. Voloshin wrote in a review: “We must do justice to the organizers of the exhibition: they did everything to infuriate the visitor’s eyes” [7]), strictly speaking, was not a new exposition technique: it was used at that time not only in salons selling paintings, but also in museums, for example, in the Tretyakov Gallery. In general, according to Konchalovsky, “our group did not think of 'shocking' the bourgeois <…>. We did not think about anything other than painting, except for solving our problems in art. "Ideology" came later, when in 1912-1913, after the split, "Jack of Diamonds" began to arrange disputes in the Polytechnic Museum and the Futurists joined us" [8]. Thus, the initial stage of the movement seems to fall out of the usual idea of the avant-garde as the art of "gesture", manifestations and theories, equivalent to artistic practice. And at the same time, it was precisely in 1910-1912 that the most explosive, full of powerful innovative pathos, primitivist paintings by Mashkov, Larionov, Goncharova, Konchalovsky were created, which Voloshin called the core of the "Jack of Diamonds" of 1910. This short period of Sturm und Drang already by 1913 is replaced not only by the disengagement, but also by some fatigue of the innovators of the first draft; at the same time, a generation of mature avant-garde, creators of non-objective painting and theorists of new art, enter the arena.

The chronological boundary lies somewhere in 1913-1914, during the period of strengthening the positions of cubism and the creation of its counter-reliefs by Tatlin; however, Larionov, obviously, entered this stage a year and a half earlier, by the time of the creation of Rayonism, Kandinsky did it even earlier (he generally occupies a rather isolated position in the history of the Russian avant-garde). Around this time, the turn of the indigenous jacks of diamonds to Cezanne also belongs. At the beginning of 1914, the avant-garde role of the "Jack of Diamonds" was completed by the architectural panels of Lentulov, which gave the Russian version of a certain "cubo-orphism"; in subsequent works, while remaining brilliant painters, the “jacks” move to positions of moderate innovation, bordering on traditionalism.

So, if we proceed from the logic of successive innovative (anti-academic and anti-modernist) currents, the outlined scheme will seem acceptable. But it is difficult to reconcile it with the point of view (mainly of culturologists, philologists and art theorists), according to which the avant-garde, unlike modernism, is occupied not so much with the innovation of form and content, but with an active and always unexpected impact on the public, that is, in the language of semiotics, shifts attention from syntax and semantics to pragmatics: “Avant-garde is first of all an unusual pragmatic task, unusual behavior of subject and object <…>. The main thing is the effectiveness of art - it is designed to amaze, stir up, provoke an active reaction" [9]., - writes M. I. Shapir. In this system of ideas, the avant-garde begins with futurism, and among Russian artists only Larionov of the era of Luchism, Malevich, Tatlin and other non-objectives are ranked among it.

But, perhaps, between the cheerful art of the "Jack of Diamonds" around 1910 and strict geometric abstraction, there really is nothing in common, and these are not phases of one process, but fundamentally different artistic phenomena? I think there is still more in common, but it does not lie on the surface, but lies in the origins of creative thinking and “world relations” (Malevich’s expression), which go into the archaic layers of the people’s consciousness.

G. G. Pospelov in his already classic book [10] for the first time revealed the inner meaning of the painting of the early "Jack of Diamonds", linking it with folk culture in its festively theatrical forms, perceived by artists as a utopian image of national unity. Including the art of "jacks" in the tradition (and in addition to urban folklore, primitivism is linked here with the painting of the Moscow school, with symbolism, with theatrical quests of the late 19th - early 20th centuries), Pospelov does not set himself the task of emphasizing those features of Jack of Diamonds primitivism that precede the mature avant-garde, although in conclusion he points to this circumstance. I would like to isolate the avant-garde component of the "Jack of Diamonds".

The first thing that surprises is the strange incompatibility of the painting of the "Jacks" and the sources that inspired them. I have already had to write about the effect of the well-known definition of Russian cezannists , which loses its credibility when directly comparing the paintings of the Jacks of Diamonds with the painting of the French master [11] . Or their fascination with the sign, well known and documented. And yet, you feel bewildered looking at the preserved authentic signs of that time - boring, slick, "decent" painting [12]. The daring manner of writing, the “lethal” color, which so struck contemporaries at the exhibition of 1910, have very little in common with the methods of self-taught. Even the brush of Niko Pirosmani, next to the canvases of Moscow primitivists, begins to seem mundane and mundane. Naturally, this is not about challenging the statements of artists about their own work; however, it can be assumed that they saw something more in signboards and other examples of the primitive, perhaps suggested to them by their historical memory. In addition, their creative energy processed impressions in the most radical way, “grinding” all sources beyond recognition, and if Cezanne or Rimbaud [13] were subjected to obvious barbarization, then modern folklore acquired a scale incomparable with the prototype.

Fairs and booths at the beginning of the 20th century were also not quite what is drawn to the imagination. The ideological meaning of the national holiday of the fair at that time had already been lost; these were habitual trading enterprises, they went not so much to participate in the festivities as to shop; this is clearly seen, for example, in the paintings of Kustodiev and Malyutin. In general, the forms of folk culture in large cities were of particular importance, they remained fragments of an ancient tradition that lived peacefully, or rather, lived out its life on the sidelines of modern cultural space. And although Pospelov repeatedly emphasizes the utopian nature of the jack of diamonds program, he sees the origins of this utopia in the present and the recent past. To me, these origins seem to go back to ancient times, and the program itself is in many respects opposed to modern culture.

The goal and pathos of the utopia of the primitivists - the image of popular celebration and unity - in Pospelov's book has an unambiguously positive meaning. I see this pathos, if we use the terminology of M. M. Bakhtin, “ambivalent” - destructive and creative. Otherwise, it is difficult to explain why any “Walk on the Maiden’s Field” depicted by Yuon is so strikingly different from Larionov’s “Walks in a Provincial Town” or Goncharov’s “Wrestlers” (we are talking not only about the style of these works, but also about the attitude of the authors to image object); where does the fighting spirit that sounds in the words of Larionov: “The worse, the better”, or Mashkov: “We wanted to destroy the whole deadly painted world with our painting ...” [14] ?

Here I will allow myself one terminological substitution: I will try to introduce Bakhtin's "carnival" [15] instead of Pospel's "street action" [15] , without being embarrassed by the shabbiness of this concept. This operation will not seem absurd, given that Pospelov often uses the term "decrease", and other provisions of Bakhtin are clearly heard in the subtext of the book about "Jack of Diamonds". Although Pospelov's "street action" and Bakhtin's "carnival" are related, they are by no means identical: in relation to the art of "jacks of diamonds", they, in my opinion, correlate approximately in the same way as involvement in tradition and avant-gardism.

As you know, Bakhtin interpreted the concept of carnival both strictly historically and broadly. Already in his dissertation "Rabelais in the history of realism" he placed as one of the chapters a short article "Rabelais and Gogol" [16] , where he explored the connection between Gogol and the folk laughter culture of his homeland, using the main categories of his book on Rabelais. He approaches this issue even more freely in a conversation with V.D. Duvakin, where he applies the concept of “carnival” to several figures of Russian culture of the early 20th century, in particular to Mayakovsky [17]. True, Bakhtin notices every time that these are just some features of the “carnival element”, combined with other qualities and manifested in a different historical and cultural environment. This approach allows us to use this definition as a capacious metaphor, and not a term that has a specific historical meaning.

According to Bakhtin, the main thing that distinguishes carnival from any other folk holiday is its universality (it is a stop, a temporary cancellation of all "serious" life) and its "world-contemplative" meaning. This meaning consists in the denial, ridicule of all the realities and values of "normal" life, their turning, turning inside out. Everyone participates in the carnival: all the people temporarily live according to the opposite laws - the laws of laughter. A person who unexpectedly got to the carnival and was unfamiliar with its laws would be shocked no less than the viewer at the exhibition "Jack of Diamonds": a carnival slap in the face or obscenity would seem to him as offensive as "the sum of twisted bodies" to a lover of classical art. The "Jack of Diamonds" turned over all the usual aesthetic categories accepted in society: beautiful and ugly, high and low,

One of the most shocking impressions at the exhibition was related to the interpretation of the image of a person. In carnival, as well as in theatrical, forms (unlike pictorial ones), the main place is occupied by a person (and/or anthropomorphic figures). Therefore, it is not surprising that in the painting of the participants in the "Jack of Diamonds" in 1910, portraits prevailed, which, according to Voloshin, "at first glance look monstrous and terrifying" [18] . The comic decline affected not only the objectification of a person, the “still life approach” (first noted by Voloshin), but also the exaggeration of individual features, which, according to the same critic, turns the portraits of Mashkov and Konchalovsky into seriously interpreted caricatures.

Carnival laughter, according to Bakhtin, is universal, “aimed at everything and everyone (including the carnival participants themselves)” [19]. In Mashkov's portraits, the social position of the model is ridiculed at once (both a respectable dandy woman and a poet or artist are funny), and the tradition of a situation portrait, and the mythology of the Beautiful Lady, and the idea of good taste. No, it is not ridiculed, but bathed in cheerful, "jubilant" (Bakhtin's expression) laughter, with its help it is cleared of clichés. It is difficult to determine what is so good, for example, "Portrait of V. P. Vinogradova", rather clumsy in drawing, with a standardly planted figure against an almost kitsch background and impudently painted face and hands. Among Mashkov's portraits of this period, there are undoubtedly more perfect ones. The famous double self-portrait with Konchalovsky is also, to be strict with him, quite naturalistic, a bit dry in painting and frankly quotable. And yet these canvases delight in a very special way;[20] . Not psychologism, not the features of an ideal in the appearance of a person, not even the beauty of painting, but laughter becomes the basis, the meaning of the image.

One of the main objects of laughter is the artist himself. Self-portraits of the jacks of diamonds give all variations of carnival travesty, reversals: this is the denial of the "high" in the very status of the artist and his occupation - "holy art" (physical exercises, sports will be more important), and the emphasized prosaic nature of his own appearance (Konchalovsky), and put on Larionov mask of the "fool" (again in the carnival sense). Voloshin remarked: “... there is something funny and stupid in his talent. One has only to look at his "Self-Portrait" or "Soldier"" [21] . It is appropriate to recall the comparison of Larionov with Rabelais [22] and his characters [23] , which in different years was made by people who knew him.

There is no way to enumerate all the features of the painting of the "jacks", in which the carnival attitude is palpable. This is an exaggeration, an intensification of the characteristic properties of the motif, "excessiveness", "hyperbolism of forms", which Pospelov wrote about, and the "feast images" associated with it. An apology for thickness, gluttony, object power (lush bread, grandiose pumpkins, Mashkov’s female body-hams) is accompanied by “tasty”, sweetness, juiciness of the paint itself (“I would have eaten Mashkov’s painting” - a review of one of the viewers at the exhibition “Jack of Diamonds "in the Tretyakov Gallery).

Admiring the materiality of paint distinguishes the “jacks” both from realists, striving for “the body to be - so the body, water so water” (Repin), and from the symbolists, who gravitated towards spiritualization, dematerialization and depicted objects, and pictorial means.

[1] This article is a revised text of the report “Jack of Diamonds” = early avant-garde. An Attempt to Substantiate” read at the conference “Jack of Diamonds and the Early Avant-Garde” at the GII in November 2005. Conference proceedings have not been published.

[2] Malevich K. S. The last chapter of the unfinished autobiography // Khardzhiev N. I. Articles about the avant-garde: In 2 vol. M., 1997. T. 1. P. 134.

[3] Ibid.

[4] Ortega y Gasset J. Aesthetics. Philosophy of Culture / Entry. Art. G. M. Friedlander; comp. V. E. Bagno. M., 1991. S. 221–222.

[5] Krusanov A. V. Russian avant-garde: 1907–1932 (Historical review): In 3 vols. T. I. Combat decade. Book. 1. M.: New Literary Review, 2010. P. 339.

[6] Malevich K.S. Decree. op. S. 135.

[7] Voloshin M.A. Moscow Chronicle. Exhibitions. "Jack of Diamonds" // Russian Art Chronicle. 1911. No. 1. S. 10–12.

[8] Cited. by: P. P. Konchalovsky: Artistic heritage / Comp. K. V. Frolova, author. intro. Art. A. D. Chegodaev. M., 1964. S. 22. Note that Konchalovsky refers to “our group” the future founders of the “Jack of Diamonds” society, and not Larionov and his associates, with whom they parted ways already during the exhibition.

[9] Shapir M. I. Aesthetic experience of the XX century: avant-garde and postmodernism // Philologica. 1995. No. 2. S. 138.

[10] Pospelov G.G. “The Jack of Diamonds”: Primitive and Urban Folklore in Moscow Painting of the 1910s. M.: Sov. artist, 1990. Note that the author of the book considers the concept of "Jack of Diamonds" broadly, including in it the painting of both Larionov and Goncharova (participants only in the exhibition of 1910), and the founders of the society of the same name, which arose at the end of 1911: Konchalovsky, Mashkov, Lentulov and others. In other words, the book is about the early, pictorial phase of the Moscow avant-garde.

[11] See present. ed. S. 250.

[12] Of course, it cannot be ruled out that the most interesting signs from the point of view of artists simply did not survive to this day.

[13] Let us recall the creative response of D. Burliuk described by B. Livshits to the poems of a French poet previously unknown to him (Livshits B. K. One and a half-eyed archer: Poems, translations, memoirs. L .: Sov. writer, 1989. P. 317–318 ).

[14] Ilya Mashkov / Ed.-comp. I. S. Bolotina. M.: Sov. artist, 1977. S. 408.

[15] See: Bakhtin M. M. Creativity of Francois Rabelais and folk culture of the Middle Ages and the Renaissance. M.: Artist. lit., 1965.

[16] Bakhtin M. M. Rabelais and Gogol (The Art of the Word and Folk Laughter Culture) // Bakhtin M. M. Creativity of Francois Rabelais and the folk culture of the Middle Ages and the Renaissance. 2nd ed. M.: Artist. lit., 1990. Appendix. pp. 526–536.

[17] Conversations between V.D. Duvakin and M.M. Bakhtin / Entry. Art. S. G. Bocharova and V. V. Radzishevsky; zakl. Art. V. V. Kozhinova. M.: Progress, 1996. S. 132–133.

[18] Voloshin M.A. Modern portrait painters // Russian Thought. 1911. No. 6. Det. 3. <Untitled (4th section of the rubric "Artistic life (Moscow)".> P. 25–31.

[19] Bakhtin M. M. Creativity of Francois Rabelais and folk culture of the Middle Ages and the Renaissance. 2nd ed. M.: Artist. lit., 1990. S. 17.

[20] I. I. Yasinsky. Cheerful exhibition // Birzhevye Vedomosti. Morning issue 1912. December 8. No. 13288. P. 6. (quoted from: A. V. Krusanov, op. op. p. 556). The cited article is devoted to another exhibition - the Union of Youth (St. Petersburg, 1912–1913). Sustained in the feuilleton genre, it nevertheless remarkably describes the nature of the universal, uncontrollable "non-malicious" laughter that seized the audience at the exhibition.

[21] Voloshin M.A. Moscow Chronicle. Exhibitions. "Jack of Diamonds". pp. 10–12.

[22] Theater expert B. Clarke wrote about Larionov's ballet The Jester (1922): "The spirit of The Jester is not in 'painting', not in static, not in intellectuality, this little fairy tale is the greatest nonsense, absurdity raised to the power of n + 1. <...> And since this is so, why not make every detail lead to a single goal - the praise of absurdity. This is what Rabelais did <…> with the help of words <…>; Larionov does the same with the help of colors and movements ”(quoted from: Pospelov G. G., Ilyukhina E. A. Decree. Op. P. 333).

[23] The artist Gerta Nemenova, who spoke with Larionov in 1929–1930, recalled: “Then I had not yet read Rabelais, now I understand how the heroes of Pantagruel were akin to him” (Nemenova G. M. Paris ... Paris / / Natalia Goncharova Mikhail Larionov: Memoirs of contemporaries. M., 1995. P. 146).

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wolfliving · 7 years ago

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Intro to “Smarter Homes”

*I probably shouldn't cut and paste this, but I’m leaving it here just in case Tumblr somehow outlasts Medium, which seems at least plausible.

https://medium.com/@iotwatch/smarter-homes-how-technology-has-changed-your-home-life-an-introduction-5e8306a59a31

by Alexandra Deschamps-Sonsino, “#iot since 2006 with @GNLamp @iotlondon @knowcards @iot__mark”

Smarter Homes: how technology has changed your home life (an introduction)

I’ve spent the last year writing a book on smart homes for Apress. It’s obviously not to get rich, but to explore some personal obsessions and share my findings in public. I’ve had the best time writing too, but I know that not everyone will want to commit to this read. So here’s a short introduction.

Who is it for?

I wrote the book for my mum who is only starting to understand what I’ve built my career on (the internet of things). I wanted her to understand that my attraction to electronics and computing concepts was really historically connected to the early home economics classes she would have experienced as a young woman. I also wrote the book for women everywhere who are the core audience of technology companies looking to sell into the home. I wanted them to make the connection between their husband’s (sterotyping massively here, bear with me) shed full of electronics prototypes and their own history of home purchases. I wanted my peers in the technology sector to realise how much of their livelihood is connected to purchases those women will make. Many technology companies will struggle to understand *how* they’ll make that case and return to some 100 year old expressions women have grown tired of. Finally, I know industrial designers don’t do that much reading but I think there’s something in it for them. History of design books always focus on the best looking products in history as opposed to what is actually at the root of that product and the reasons why it needed to be redesigned (it needed to sell!) and why that redesign sometimes isn’t a guarantee of commercial success.

My book therefore connects broader social changes, technical innovation and the fluid image of ‘good home living’ that fuels the economy at large. All of this makes up the ‘smart home’ many of you will have been reading about for over a decade.

The smart home is not new

At it’s heart, the book makes the case that the smart home isn’t new. It’s a wolf in sheep’s clothing and a repetition of old ideas, some of which were failures, that are revisited and sold as new, as part of a digital and internet-enabled landscape that has added in effect very little to home habits. We still sleep in beds, we still do dishes, we still hang our clothes to dry. Who does them and how they do them differs, but a living room from the 1970s and ours now is comparable (go visit the fantastic Geffrye Museum when they reopen in 2020).

Alone or together?

If anything, we interact less with our homes than we once did. We don’t host as much as we used to, and since the 1970s and the introduction of central heating and air conditioning, we live in boxes isolated from our natural environmnet. The internet changed our access to information, our relationships to one another, our relationships to the city and its services, but not our homes per se. Many new technologies in fact have productised and individualised a communal experience which would have brought with it many social and psychological benefits. I discuss some of the attempts to re-communalise individual home experiences and their failures. We’re in the middle of a second attempt at this with co-living.

I discuss how privacy as we consider it now was a long, slow process of shutting out the world from our own lived experience. Sitting alone at home with the television on, browsing on a phone, like so many elderly people (or teenagers) do, is experiencing the world as we wish to see it, without changing ourselves, nor having to adapt or learn. Not only this but I discuss how we offer a well-curated window into our home lives with social media without actually inviting people in.

The home dictates what works and what doesn’t.

But history is also littered with product ideas that are unable to fit into the physical fabric of the home. Edison, as one of the examples I mention, was convinced that people would listen to music with cylinders, refusing to admit that stacking vinyls in a bookshelf was much easier.

The computerised home

I address the role of computers of course, arguing that the idea of a computerised home (or what eventually became a smart home) was dictated by the technical capabilities of home computers and not inspired by home life. Home living was not the starting point of computer development but became its biggest audience. The history around the arguments used to convince the general public that this was a worthy purchase are almost identical to the ones used to sell radios 60 years before. I also had the great pleasure of interviewing Jim Sutherland, creator of the first computer for the home (it took up the whole basement) and find out about his motivations.

Smart House

One of the most enjoyable bits to write about was the history of the term ‘smart home’. I was able to talk to David Jerry MacFadyen who organised the first event in the world to coin the term ‘smart house’ and and Ralph Lee Smith who wrote a fantastic book documenting their vision in the 1980s. I also dive into the history of domotics briefly, a cousin of the smart home. As a form of marketing it almost succeeded even if it failed as a project.

The future of the home

I finish the book by discussing some possible home futures with references to the pioneering thoughts of artists like Mark Leckey, Wesley Goatley, MAIO architects, Superflux and others. One of the last chapters even breaks down the whole home and what connected product you could now buy (but may not be around long). The present and the future merge into one as images of future home living from the 1950s and 60s weigh heavy in our consciousness. We must strip ourselves of their power to examine exactly what it is we want to experience at home (alone or with our loved ones) in the future and in my closing chapter I point us to some directions based on what’s happened in the past.

What’s next?

I’ll be talking more about the book in the coming months and will be organising a launch party in East London where I’ll be selling books (sign up to the newsletter to get the latest details). I’m also organising 2 guided tours across Europe where I’ll invite participants to explore some of the themes of the book through museum visits. It’s in September and October, so join me and share with your colleagues and friends! If you’re out of ideas, it would make an excellent Christmas gift too.

#Alexandra Deschamps-Sonsino #IoT #Smarter Homes

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shagunrana2244 · 2 years ago

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financialinvestingradio · 5 years ago

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FIR 98: One Insight Away!!

What if the problems facing your business could be solved with ONE INSIGHT? What would you do to gain the Insight You Needed to move your business forward? If the INSIGHT YOU GAINED required you to make changes to your business...would you do it?

Hey, welcome everybody to another episode of ClickAI Radio. My name is Grant Larsen. Alright, so today we are talking about insights one insight away. So there's many of you know, Russell Brunson, he uses this phrase a lot called one funnel away. I'm sure a lot of us have heard that. And what I like about that idea is that it keeps us moving forward, right? It's this notion that, alright, I've got a problem I'm trying to solve. And what I'm really looking for is just that next funnel, right, that next opportunity, and that could be the tipping point that helps me solve some problem and grow the business.

Well, it's similar in terms of AI. So with AI, it's one insight away, how many insights will it take for us to actually solve a problem for our business? So to do that, I started looking at the notion of insights. And where when did insights come about? And how did people start even talking about insights? I found one place right here is kind of an interesting, there's a book actually on Amazon. It's called inside out kind of kind of clicky. Inside Out, get ideas out of your head and into the world. And the author is Tina Seelig. She's a unit at Stanford University professor, and she discusses how to take her ingenious course I think I'm saying the name right. And to make imaginative ideas, reality.

Interesting, right. Okay. And here's another one. This one's actually called inside out. The words are combined, it's a website insightoutshow.com. And, and it's actually a pretty interesting set of podcasts. They're they're dedicated to bringing insights or exposing insights that have changed people's lives. And so it's got some best selling entrepreneurs and authors and thought leaders that are on there. So that was kind of interesting.

I also looked into some examples of people that that found insights, and then they applied them. Here's one that was particularly interesting. This was on medium.com. It says guy that when was this anyway, this was about a year ago or so. This guy, he pulled an 18 ton truck at some state titles. And he's trying to this is an a sportsman or strongman competition, right? And he's pretty, pretty small guy. And he's pulling a truck that's 200 times heavier than him. And he ended up placing fourth, and he beat a ton of people that were much larger and much stronger. And, and he goes on to describe I love what he says here. He says, how's it even possible? How is it possible that a guy that's 10 to 50 kilograms heavier than me?

They couldn't get the truck as far as I did. And he points out, it all came down to a single insight. Being in one of the lightest weight divisions, I didn't have the luxury of watching a whole bunch of people go before me to figure out the best way to do it. I had only two chances. So for the competitors went before me, I got up right beside them in front of them at an angle, I got an every position I could watch how they did it any any point for advantage others might miss. And then he says I found it. This is a cool part. Okay, he he finds the insight. And of course, if we get meta here for a moment, he really introspect it right? He watched others, he saw what was going on, he looked at what information was available to him.

Hint, Hint, nudge, nudge, and then he goes on, he says, I found it.

And he's got some video on this. Anyway, he says, you'll notice in the video, not long after I start pulling, there's a point where I stop at the pedestrian crossing, and really leaning hard. No one else did that. They tried to pull slow and steady the whole time. They did that because that's the way you usually do. Trump poll. Then he goes on to say, but they did it because they didn't see what I saw. So here's the insight. He said just after the start, there was a small divot in the road in perceptible unless you saw it from the side, and we're really paying attention. So he ended up what happened is the people that were just going sort of slow and steady, the truck would get into that divot. And they couldn't pull through, they didn't have the momentum.

He However, when he came up to that point, let the truck come into the divot, and knew to let it sort of roll back a little, then he leaned in super hard, and pulled it out of that divot and ended up taking for what a What a cool insight, right, he studied the situation, look at the information that was available to him. So back in 1936, in the one of the co founders of the London School of Economics, published a book called The Art of thought, I think his name is Graham Wallace, and called the art of thought. And he outlined four stages in the creative process.

Okay, so it was Wallace's stages of control where when you're going to get insight, there's some preparation, then there's some incubation illumination, and then verification, right? So so in this guy's example, where he's got the truck, right, and he's doing some preparation, right, he's watching the people. So that's the preparation is seeing how they get through it. And then he incubates and ultimately enough to the point where he can discover this debit. And then the illumination comes about, and he's able to leverage it. So what if we did that with our business? Right? What if we took the four steps preparation, incubation illumination and verification? What if I said, with artificial intelligence, that's how we get insights for our business. So the preparation stage is obviously doing transactions in my business. And there's a point where I need to prepare and curate that information. And then I need to think about what problems Am I trying to solve, like, in the case of this truck guy, right? That's pulling it. His problem, of course, was how do I beat everyone else, when he didn't really know at the time, is that his real problem was not, how do I beat everyone? It was, how do I get through that divot. And so in the course of incubation, he sees this and then some illumination comes on how he can actually use the debit to his advantage, and then pull on through to it.

So we use artificial intelligence to do the same thing. We go through our preparation, we incubate we think about what problem we are trying to solve. And in the course of doing it, we actually get some illumination on Wait a minute, maybe the problem I'm solving isn't the one I originally thought there. There's another problem here. And that's illuminating me into in terms of what I need to go solve. So that led me to this interesting point here, I looked something up. And it was, what's the difference between insight and intuition? And it turns out that one of the definitions that I saw was that, hey, intuition is the use of patterns that you've already learned. Whereas insight is the discovery of new patterns. And so in the case of this guy pull in this truck, right? So he's got some intuition on things that he can do, to perhaps use his body and align it properly to pull the truck through, but what he really needed. And what he ultimately discovered was an insight, a new pattern, which was, how do I actually deal with the real problem at hand, which is this divot that's got me stuck. Alright. So insight, that turns out is being able to see something right clearly that what's times we didn't know even existed beforehand.

And that often includes having an understanding of the cause and the effect relationships, meaning if I, if I do something, then something else will happen. Sometimes we call it an epiphany or an aha moment, you know, I've applied AI to multiple organizations, there's typically this epiphany, or this insight moment, right, which is, oh, gotcha. Now that I look at what the AI is telling me about my sales transactions. I didn't realize that, you know, when it's Tuesday in Belgium that I shouldn't be selling or whatever it is, right? So these insights come and then you start to realize, wait, I've got to go solve some of these specific problems. I thought it was solving a bigger problem. But before I can, metaphorically move my truck further down. I've got to get through the divot and AI brings those insights. So the real question is, how can I reduce the time to getting insights? So if the value is let me get insights, I'd that I'd actually like to get some velocity with that. Could I get insights more quickly, right. Could I get through that? iteration cycle faster. And of course, there are multiple ways to do that. But here's one example. This was, this was an example from Google. And they were they were working on reducing time to insight with AI. This is an interesting article from them. They were using some of their video imaging computer vision AI, right, which is actually takes takes a lot of horsepower from from the computational perspective, but in any event, in their article, they they ended up using AI to analyze videos, and they were doing it with Dunkin Donuts.

And, you know, because you know, can you have too many donuts? I don't know. So they're using it with Dunkin Donuts. And they were building a Youtube video to promote I think it's called their Donut Fries. I didn't even know such a thing existed. But apparently, if you marry a donut with a potato, you get fries, Donut Fries. So in any event, they were they were doing this donut fries thing. And by by running AI against their videos, they were able to make adjustments to the video. And they got more than 6000 comments on it, which ultimately built the right sentiment score for them to get the right promotion level.

Gosh, what does that mean? The net effect is they ended up getting insight tank time down to 28 minutes right now that's that's kind of amazing, right? I mean, that that's not typical. But the point is, you'd want to be able to take your business, get your business information, and then run it through a cycle and get that turnaround time as quickly as possible. Because the sooner we can discover the divots in the road, that are the real problems we need to solve for our business. Actually, then the better it is for us, we can move our truck move our business forward. Okay, everyone, the key to reduce time to insight is to use AI in your business. Hey, everyone, thank you for joining and until next time, go get some insights.

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clickairadio · 5 years ago

Text

CAIR 17: One Insight Away!!

Hint, Hint, nudge, nudge, and then he goes on, he says, I found it.

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charleshoskinsoncrypto · 5 years ago

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The Cardano Foundation donates to African graphic novel — Trust

(Written by @ElliotHill of the Cardano Foundation)

The Cardano Foundation is proud to announce that it has donated US$2,500 in ada to the Trust graphic novel, a pan-African project designed to raise awareness of blockchain technology’s power to deliver financial sovereignty to underserved communities.

The Trust graphic novel will teach youth in Africa and beyond the power of blockchain for financial independence, with an expected publication date in 2021. Trust is written and illustrated by Kenyan novelist and illustrator Chief Nyamweya, and Canadian tech entrepreneur and blockchain educator Anne Connelly.

A distinguished graphic novelist, Chief Nyamweya previously authored the socially-impactful novel ‘Art of Unlearning’ in 2018, curated ‘Ink and Pixels — A history of graphic art in Kenya’ in 2015, and has now turned his attention to evangelizing blockchain throughout the African continent.

Anne Connelly has worked with Médecins Sans Frontières/Doctors Without Borders Canada in the Central African Republic and the Democratic Republic of Congo, now sitting on their board of directors. Anne is passionate about technology’s power to transform communities, especially those in developing countries, and she has previously been named among Canada’s 50 most inspirational women in technology.

Trust follows the story of a young Kenyan woman named Moraa, who uses blockchain to transform her community, the fictional Wahengaland. Moraa uses blockchain to overcome significant challenges associated with money, land titles, and corruption — pervasive issues in many developing nations that could be alleviated through the implementation of blockchain technology.

Chief Nyamweya, explaining the importance of using art to spread awareness of blockchain, says:

“By using storytelling to educate readers about blockchain technology, we hope to inspire millions of African youth to imagine alternative futures. Trust also empowers African youth to create these futures, by providing them with the training and tools to implement blockchain. Trust graphic novel will direct readers to online blogs and other learning resources, helping African youth become the next generation of crypto users, entrepreneurs, and developers.”

Trust will be published both in print and through a mobile-first digital version. According to data from the World Bank and the African Development Bank, there are over 650 million mobile users on the African continent, many of whom are in the 15–24 age bracket, representing an enormous opportunity to spread awareness of blockchain’s power for financial transformation.

The Cardano Foundation firmly believes that blockchain technology will have the greatest impact in nations where traditional financial infrastructure is dramatically underserved. As a result, the Foundation sees strong potential for decentralized ledgers — in particular, the Cardano blockchain due to its highly decentralized nature — to bring rapid change to the way value is transacted and distributed in developing nations.

Nathan Kaiser, Chairperson of the Cardano Foundation, says:

“Education is key to the adoption and proliferation of blockchain technology, and engaging visual arts like the Trust graphic novel are powerful tools for reaching a large and diverse audience. The Cardano Foundation’s interest in the African continent extends far beyond commercial applications for the Cardano protocol. We are genuinely invested in driving true socioeconomic transformation in underserved communities, and our donations to projects like Trust are just a small part of our wider investment in the continent of Africa itself.”

Watch a preview of Trust below:

Trust is the latest of many of the Cardano Foundation’s engagements in social and economic initiatives both on the African continent and within the wider global community, which include taking an active role in the creation and development of the South African National Blockchain Alliance (SANBA), and expanding out the Foundation’s service offerings to all 54 African nations.

The Cardano Foundation is committed to widening access to blockchain educational resources, evidenced most recently through activities to empower rural youth in the American state of Wyoming to participate in blockchain development, the approval of a research grant for blockchain governance in association with Harvard’s Berkman Klein Center, and the Foundation’s contributions to the MIT digital currency initiative.

The Cardano Foundation looks forward to reading the finished novel in 2021 and sharing this powerful piece of educational art with our worldwide community.

About Trust graphic novel: Trust is a graphic novel set in the fictional African nation of Wahengaland. It tells the story of Moraa, a young Kenyan woman who learns about blockchain and uses it to transform her community. By using storytelling to educate readers about blockchain technology we hope to inspire millions of African youth to imagine alternative futures and create them by providing them with the training and tools to create it. The book will link to online blogs and other learning resources to help readers take the next step to become crypto users, entrepreneurs, and developers. Trust will be published in 2021. Learn more here.

The Cardano Foundation donates to African graphic novel — Trust was originally published in cardanorss on Medium, where people are continuing the conversation by highlighting and responding to this story.

from Stories by Cardano Foundation on Medium https://medium.com/cardanorss/the-cardano-foundation-donates-to-african-graphic-novel-trust-a8c50d51427b?source=rss-1ff55485eb1e------2 via IFTTT

#IFTTT #Stories by Cardano Foundation on Medium

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homelessnessessay771 · 5 years ago

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