216 resultados para Lawrence Aviation Industries.


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Air transport is a critical link to regional, rural and remote communities in Australia. Air services provide important economic and social benefits but very little research has been done on assessing the value of regional aviation. This research provides the first empirical evidence that there is short and long run causality between regional aviation and economic growth. The authors analysed 88 regional airports in Australia over a period of 1985–86 to 2010–11 to determine the catalytic impacts of regional air transport on regional economic growth. The analysis was conducted using annual data related to total airport passenger movements – for the level of airport activity, and real aggregate taxable income – to represent economic growth. A significant bi-directional relationship was established: airports have an impact on regional economic growth and the economy directly impacts regional air transport. The economic significance of regional air transport confirms the importance of the airport as infrastructure for regional councils and the need for them to maintain and develop local airports. Funding should be targeted at airports directly to support regional development.

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This paper presents a field study of the Queensland Information Technology and Telecommunications Industry Strategy (QITIS), and of the Information Industries Board (IIB), a joint industry-state government body established in 1992 to oversee the implementation of that strategy for the development of the IT&T Industry in Queensland. The aim of the study was to analyse differing stakeholder perspectives on the strategy and on its implementation by the IIB. The study forms part of a longer-term review which aims to develop methodologies for the selection of appropriate strategies for the IT&T Industry, and for the evaluation of outcomes of strategy.

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This special issue explores the nuances of graduate creative work, the kinds of value that creative graduates add through work of various types, graduate employability issues for creative graduates, emerging and developing creative career identities and the implications for educators who are tasked with developing a capable creative workforce. Extent literature tends to characterise creative careers as either ‘precarious’ and insecure, or as the engine room of the creative economy. However, in actuality, the creative workforce is far more heterogeneous than either of these positions suggest, and creative careers are far more complex and diverse than previously thought. The task of creative educators is also much more challenging than previously supposed. In this introductory article, we commence by providing a brief overview of the creative labour debates, and the evidence for each position. We present the latest literature in this area that starts to speak to how diverse and complex the landscape of creative work actually is. We then introduce each of the articles in this special issue and indicate how they contribute to a more multi-faceted picture of creative activity, and the lives and career trajectories of graduates from creative degrees.

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A popular lexicon for announcing partnerships within aviation is being ‘on-board’. Like boarding a plane, business partnerships requires trust in the expertise and the philosophy of another organisation. This paper reports upon the process and findings from the completion of a customer engagement project within a leading Australian Airport, as part of the wider uptake of design-led innovation. The project was completed bilaterally with Airport Corporation and prominent retail business partner undertaking a design-led approach to collaboratively explore an observed market trend affecting the performance of both businesses. A design-led catalyst facilitated the completion of this project, working within the Airport Corporation to disseminate the skills and philosophy of design over an 18 month period using an action research method. Findings reveal that the working environment necessary for design to be utilised requires; trust in the design-led approach as a new and exploratory way of completing work; leadership within the execution and delivery of project deliverables, and; a shared intrinsic motivation to develop new skills through a design-led approach which challenges a business-as-usual mentality (BAU). Design-led innovation can be deployed specifically to strengthen business partnerships through collaborative and explorative customer engagement.

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The upstream oil and gas industry has been contending with massive data sets and monolithic files for many years, but “Big Data” is a relatively new concept that has the potential to significantly re-shape the industry. Despite the impressive amount of value that is being realized by Big Data technologies in other parts of the marketplace, however, much of the data collected within the oil and gas sector tends to be discarded, ignored, or analyzed in a very cursory way. This viewpoint examines existing data management practices in the upstream oil and gas industry, and compares them to practices and philosophies that have emerged in organizations that are leading the way in Big Data. The comparison shows that, in companies that are widely considered to be leaders in Big Data analytics, data is regarded as a valuable asset—but this is usually not true within the oil and gas industry insofar as data is frequently regarded there as descriptive information about a physical asset rather than something that is valuable in and of itself. The paper then discusses how the industry could potentially extract more value from data, and concludes with a series of policy-related questions to this end.

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Recent changes in the aviation industry and in the expectations of travellers have begun to alter the way we approach our understanding, and thus the segmentation, of airport passengers. The key to successful segmentation of any population lies in the selection of the criteria on which the partitions are based. Increasingly, the basic criteria used to segment passengers (purpose of trip and frequency of travel) no longer provide adequate insights into the passenger experience. In this paper, we propose a new model for passenger segmentation based on the passenger core value, time. The results are based on qualitative research conducted in-situ at Brisbane International Terminal during 2012-2013. Based on our research, a relationship between time sensitivity and degree of passenger engagement was identified. This relationship was used as the basis for a new passenger segmentation model, namely: Airport Enthusiast (engaged, non time sensitive); Time Filler (non engaged, non time sensitive); Efficiency Lover (non engaged, time sensitive) and Efficient Enthusiast (engaged, time sensitive). The outcomes of this research extend the theoretical knowledge about passenger experience in the terminal environment. These new insights can ultimately be used to optimise the allocation of space for future terminal planning and design.

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The importance of passenger experience in aviation has become well understood in the last several years. It is now generally accepted that the provision of good passenger experience is not an option, but a necessity, from an aviation profitability perspective. In this paper, we paint a picture of the future passenger experience by consolidating a number of industry and research perspectives. Using the future passenger experience as a starting point, we explore the components needed to enable this future vision. From this bottom-up approach, we identify the need to resolve data formatting and data ownership issues. The resolution of these data integration issues is necessary to enable the seamless future travel experience that is envisioned by the aviation industry. By looking at the passenger experience from this bottom-up, data centric perspective, we identify a potential shift in the way that future passenger terminals will be designed. Whereas currently the design of terminals is largely an architectural practice, in the near future, the design of the terminal building may become more of a virtual technology practice. This of course will pose a new set of challenges to designers of airport terminal environments.

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The effect of passenger satisfaction on airport profitability has been widely acknowledged in the aviation industry. As a result, there has been much attention directed towards developing a deeper understanding of the factors that influence the passenger experience. In this paper, we explore passenger experience from a novel perspective - that of the activities expected to be undertaken by passengers while in the airport terminal building. Using the Taxonomy of Passenger Experience (TOPA) as our framework, we look at the pre-travel interview data of 48 participants. The results of our analysis are used to construct an activity-centred account of the expected passenger experience for international departures. Our exploration of the expected passenger experienced revealed that not all of the TOPA activities have an equal impact on the passengers' expected experience. The processing, consumptive, preparatory and queuing activity groups featured most prominently in passengers' accounts of their upcoming airport experiences. Of these, the preparatory category was found to have the most direct impact on passenger satisfaction. Additionally, our analysis indicated that utilising queue time to prepare passengers for upcoming processing activities could have a positive effect on both satisfaction and processing efficiency. A further outcome of this research was the observation that "shopping" did not form a part of the expected experience of any of the interviewed participants. The outcomes of this study can be used by airports to assist in the management of passengers' expected experience in the terminal building. As passenger expectations and passenger satisfaction are intrinsically linked, understanding which activities have the most impact on satisfaction provides a basis from which alternate design choices can be evaluated when constructing, or fine-tuning, airport terminal designs.

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Report for the German Chamber of Commerce in China. "China’s growing economic, political, and military capacity is the most geopolitically significant development of the 21st century, which is already being branded ‘the Asian Century.’ Certainly the economic decline of the US and Europe has played directly into the hands of China’s nationalists, who yearn for a return to past glory and who seek symbolic retribution for almost two centuries of foreign oppression and humiliation...."--publisher website

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Creativity is changing the People’s Republic of China according to Li Wuwei (2011), a leading Chinese economist and policy advisor. The nation is learning to embrace a “third industrial revolution” (Rifkin, 2011) while banking the economic capital of the carbon-dependent manufacturing economy. Urbanisation is also driving change and consumer culture (Gerth, 2010). Most of China’s high-value creative service industries are found in the large urban centres of Beijing, Shanghai, Guangzhou and Shenzhen in the coastal provinces. China’s second-tier cities, including Hangzhou in Zhejiang province, are also seeking to make capital out of culture, albeit with different strategies than the coastal hubs. The Hangzhou metropolitan area is the fourth largest in China, with 8.8 million residents. Zhejiang province was once known as the “land of rice and fish.” However, with the increased emphasis on productivity in China’s economic reforms since 1978, the province became an economic heavyweight, characterised by small and medium-sized enterprises often working together to produce complementary products...

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Researchers have argued that the creative industries have significant effects on the wider economy, with early agendas focused on urban regeneration, job creation, and economic value-added. Later work extended to new firm creation, the growth of new markets, and regional clustering and development. This chapter reviews the evolution of thinking on classifying the creative industries as a ‘sector’, or group of sectors, and outlines contributions on economic ‘spillovers’ regarding knowledge, innovation, and graduate talent. Work on creative clusters has highlighted the widespread adoption of forms of organization and contracting developed in such clusters. Later work by the authors has contributed a ‘creative trident’ model, and shifted focus to employment and the position of creative workers in the economy, showing that there are more creatives working outside the creative industries than within them. The chapter reflects on the specific role of design and the relationship between the creative industries and innovation.

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This research project investigated and designed a modular architecture for a 3D Reconfigurable Autopilot Flight System that could be used to control actuators in both manned and unmanned aircraft. The system is based on a CAN Bus interface and allows seamless control of different types of actuators. During the course of the research the differences and similarities of autopilots for fixed-wing general aviation aircraft and unmanned aircraft were analysed focusing on the actuator interfaces. This project suggests that software and hardware used in commercial-of-the-shelf avionics could be used in manned and unmanned aviation.

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An evolving meditation upon the complex, periodic processes that mark Australia’s seasonality, and our increasing ability to disturb them. By amplifying and shining light upon a myriad of mysterious lives lived in blackness, the work presents a sensuous, deep engagement with the rich, irregular spectras of seasonal forms: whilst hinting at a far less comforting background increasingly framed by anthropogenic climate change. ’Temporal’ uses custom interactive systems, illusionary techniques and real time spatial audio processes that draw upon a rich array of media, including seasonal, nocturnal field recordings sourced in the Bundaberg region and detailed observations of foliage & flowering phases from that region. By drawing inspiration from the subtle transitions between what Europeans once named ‘Summer’ and ‘Autumn’ and the multiple seasons recognised by other cultures, whilst also including bodily disturbances within the work, ’Temporal’ creates a compellingly immersive environment that wraps audiences in luscious yet ominous atmospheres beyond sight and hearing. This work completes a two year long project of dynamic mediated installations that have been presented in Sydney, Beijing, Cairns and Bundanon, that have each been somehow choreographed by environmental cycles; alluding to a new framework for making works that we named ‘Seasonal’. These powerful, responsive & experiential works each draw attention to that which will disappear when biodiverse worlds have descended into an era of permanent darkness – an ‘extinction of human experience’. By tapping into the deeply interlocking seasonal cycles of environments that are themselves intimately linked with social, geographical & political concerns, participating audiences are therefore challenged to see the night, their locality & ecologies in new ways through extending their personal limits of perception, imagery & comprehension.

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Black Nectar is a site-specific light & sound installation, that asks audiences to take slow, sensory walks through the inky-blackness of Bundanon’s forests at night, charting personal courses through seasons of change, animality and imagination – far beyond the blinding lights and howling tones of our contemporary existence. Gathering during a time Europeans once named as ‘spring’ audiences will leave the comfy lights and sounds of Bundanon’s homestead area, to take powerful, personal, silent journeys into the long darks of night, heading ultimately towards the place of ‘Black Nectar’. This most unusual of walks begins with impending darkness, and yet ultimately ends with the faintest, sweetest of glimmers – an en-lightening, re-sounding of our seasonal futures?

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This special issue explores the nuances of graduate creative work, the kinds of value that creative graduates add through work of various types, graduate employability issues for creative graduates, emerging and developing creative career identities and the implications for educators who are tasked with developing a capable creative workforce. Extant literature tends to characterise creative careers as either ‘precarious’ and insecure, or as the engine room of the creative economy. However, in actuality, the creative workforce is far more heterogeneous than either of these positions suggest, and creative careers are far more complex and diverse than previously thought. The task of creative educators is also much more challenging than previously supposed.