Drawing association rules between purchases and in-store behavior:an extension of the market basket analysis

Shopping behavior is often exclusively studied through consumer purchases, since they are an easily measurable ouput. Still, the observation of in-store physical behavior (paths, moves and actions) is crucial, as is the quantification of its impact on purchases. Using an innovative PDA tool to precisely record and time stamp consumer’s moves and gestures, we extend the classical Market Basket Analysis (MBA) by integrating this new kind of information. We draw associations not only from purchases but also from in-store consumer moves and actions. We compare results of our new method with classical MBA results and show a significant improvement.

Drawing association rules between purchases and in-store behaviour:an extension of the market basket analysis

Shopping behavior is often exclusively studied through consumer purchases, since they are an easily measurable ouput. Still, the observation of in-store physical behavior (path, moves and actions) is crucial, as is the quantification of its impact on purchases. Using an innovative PDA tool to precisely record and time stamp consumers' moves and actions, we extend the classical Market Basket Analysis (MBA) by integrating this new information: associations between product categories are measured not only from purchases but also from consumer physical behavior. We compare results of our new method with classical MBA results and show a significant improvement.

Dancing for women:subverting heteronormativity in a lesbian erotic dance space?

This article utilises participant observation, interview and collaborative visual data, collected with women erotic dancers, management and customers, to ascertain how far heteronormativity is subverted in a UK lesbian leisure space, Lippy (the name is a pseudonym), which provides erotic dance for women customers. The potential for a female 'gaze', the 'normativity' of gendered and sexualised bodies, and the notion of a 'women's space' are taken as areas for analysis. Women's engagement with erotic dance is complex, and this article examines the connections between sexual agency and gendered power relations, questioning how far women can exercise autonomous sexual expression in commercial sexual encounters. © The Author(s) 2012.

Performing in a night-time leisure venue: a visual analysis of erotic dance

This article analyses a range of different meanings attached to images of erotic dance, with a particular focus on the 'impression management' (Goffman 1959) enacted by dancers. It presents a visual analysis of the work of a female erotic performer in a lesbian erotic dance venue in the UK. Still photographs, along with observational data and interviews, convey the complexity and skill of an erotic dancer's diverse gendered and sexualised performances. The visual data highlights the extensive 'aesthetic labour' (Nickson et al. 2001) and 'emotional labour' (Hochschild 1983) the dancer must put in to constructing her work 'self'. However, a more ambitious use of the visual is identified: the dancer's own use of images of her work. This use of the visual by dancers themselves highlights a more complex 'impression management' strategy undertaken by a dancer and brings into question the separation of 'real' and 'work' 'selves' in erotic dance. © Sociological Research Online, 1996-2012.

A taxonomy of measures for consumer-based brand equity:drawing on the views of managers in Europe

Purpose: The purpose of this paper is to identify the components of consumer-based brand equity from the perspective of experts in brand management in the UK, Germany and Greece. Design/methodology/approach: Data were collected from semi-structured interviews with senior brand consultants and managers, five in the UK, five in Germany and five in Greece. Findings: The findings suggested four categories of measures which can be used to define brand equity. These are the consumers' understanding of brand characteristics; consumers' brand evaluation; consumers' affective response towards the brand; and consumers' behaviour towards the brand. Specific dimensions are identified as indicators of each category. Research limitations/implications: Although the focus of this study is Europe, data were only collected from the UK, Germany and Greece, countries representing three of the five European cultural clusters. The resultant taxonomy adds to the fragmented literature on brand equity measurement by proposing four categories to gauge brand equity. Practical implications: The suggested taxonomy provides indicators of a framework managers could use when assessing brand equity. Originality/value: There is little agreement on what constitutes brand equity and therefore measures of brand equity are fragmented. To date, the views of practicing managers have not been taken into account in research. This paper draws on the views of practitioners and academics to suggest a taxonomy of categories of measures for brand equity. © Emerald Group Publishing Limited.

One Approach to Drawing Tasks Statistics

Report published in the Proceedings of the National Conference on "Education and Research in the Information Society", Plovdiv, May, 2014

Medical School in the Drawing Board at Florida International University

College of Medicinemunication form the FLorida International University Office of Media Relations on the University's plan to create an Academic Health Center, including a doctorate program in medicine.

Drawing as a technique to facilitate childrens memory

This study examined a technique to assist children to recall more information about witnessed events. Thirty-eight fourth-grade children from a public grade school in Miami Florida participated in the experiment. The participants watched a Red Cross demonstration and were interviewed one week later about details of the demonstration. All of the children were interviewed using a police style interview. In addition, half of the children were instructed to draw during the interview. The current study supported previous findings that the instruction to draw increased the amount of information recalled. The effect of drawing was greatest for high-visual events. In addition, the instruction to draw prompted an increase in non-verbal information, which had an unusually high accuracy rate.

Bennett Hall, 1938 drawing

Bennett Hall was named for Private Logan A. Bennett of the 62nd U.S. Colored Infantry which contributed money for Lincoln University;s founding. He was a life long resident of Jefferson City, Mo. , and remained an ardent supporter of Lincoln University. This two story brick building housed young women and was occupied in 1938. It is now the new phase of living and learning for students with a concentration in Agriculture and Natural Sciences.

Drawing in Duos: The Journeys and Intersections Collaboration Project Between Istanbul and Worcester

This paper focuses on a collaborative drawing project carried out between two undergraduate drawing courses, one in İstanbul and the other in Worcester, during the Fall 2015 semester. Duos -teams of two working remotely- took turns to work on the same drawing in correspondence for three months by means of communication and sharing the changing images on-line with one another. The project introduced a collaborative method of learning based on drawing, initiated cultural exchange and cooperation. The role of drawing in the project was critical due to the direct but gradual nature of transmitting meaning onto paper. Outcomes of this project consisted of a flexible and playful creation process for students making use of the element of chance. They sought alternate ways to finalize a drawing and experienced the benefits of artistic co-production. The project has the capacity to inspire artists, instructors and others interested in creative partnership in different disciplines and can be of value as an educational model.

The Complications of the Erotic: Eroticism in Last Tango in Paris and Une liaison pornographique

Even more so than in other arts, film has tried to draw an artificial but clear line between eroticism and pornography, nonetheless perpetuating moral judgments about movies marketed as “erotic”. The explicit and repeated portrayal of sex in such films would place them dangerously near the vortex of the pornographic, and thus, since they are not concerned with transcendental issues, they would require little or no critical attention. I will however try to argue, using Last Tango in Paris and Une liaison pornographique, that many of these “erotic” films conclude that a relationship based solely on sex (i.e. “pornographic”), which ignores the complexities of individual identity and the interpersonal is doomed to fail. Also, I would like to show how these films ultimately conceive of sex as something that goes beyond the merely physical and walks the grounds of such transcendental issues as despair, loneliness, death, or love.

The drawing bazaar

Es sorprendente y paradójica la progresiva reducción de la relevancia sufrida por el dibujo en el ámbito de la enseñanza universitaria en las escuelas de arquitectura a lo largo de las últimas décadas. Digo sorprendente, porque es precisamente el dibujo el lenguaje que permite al arquitecto hacer inteligible su propuesta, tanto a sí mismo como a otros. Y digo paradójica, porque esta restricción lingüística con la que se castiga a los estudiantes de arquitectura se produce en el momento histórico en que las opciones y recursos gráficos a su disposición son máximos. La tecnología digital ha ampliado de manera exponencial el ya de por sí amplísimo vocabulario del dibujo tradicional. Sin embargo, esta ilusionante expansión del universo del lenguaje del dibujo, no se ha visto reflejada en una adaptación de la formación universitaria de características similares. The Drawing Bazaar es el compendio de muchos años de esfuerzo por parte de los autores por proporcionar a sus alumnos de la Universidad Europea de Madrid una solución a esta sorprendente paradoja a la que se enfrentaban, quizá sin ser siquiera completamente conscientes de ello. Para ello han estructurado un libro denso y complejo, con múltiples capas de lectura superpuestas que permiten desde el simple paseo, consulta y disfrute de dibujos de excelentes comunicadores gráficos, arquitectos y no arquitectos, hasta el análisis detallado y experto de las más particulares, eficaces y persuasivas estrategias plásticas.